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- Publisher
- Wiley
- Copyright
- Music Analysis © 2018 John Wiley & Sons Ltd
- ISSN
- 0262-5245
- eISSN
- 1468-2249
- DOI
- 10.1111/musa.12128
- Publisher site
- See Article on Publisher Site
Abstract
As a composer who had received intensive training in music theory, notably through Simon Sechter and Otto Kitzler, Bruckner's understanding of sonata form as a bipartite design as addressed in Formenlehre manuals is no secret to us. By taking as its point of departure an examination of the treatises of Ernst Friedrich Richter and Johann Christian Lobe, which Bruckner had consulted, this paper broadens our understanding of Bruckner's treatment of form and content in the sonata discourse by exploring his compositional approaches within a specific formal area – the music surrounding the onset of the recapitulation – in order to show how the perception of the development plus recapitulation as a unified formal space is reinforced. Analyses of opening movements and finales of his symphonies have revealed three major strategies of projecting the binary construction: ‘false recapitulation’, Type 2 sonata (Hepokoski and Darcy 2006), and what I call ‘enclosure’; the third strategy provides an additional means of evading the boundary between the development and recapitulation. At a time when composers such as Berlioz and Liszt had already discarded sonata form and were experimenting with new formal criteria, tonal‐harmonic options and alternative aesthetics, Bruckner remained faithful to it and expressed his belief in its potential for the symphonic medium.
Journal
Music Analysis – Wiley
Published: Oct 1, 2018