Word: bruckner
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Before a competent reading of Peter Mennin's Canzona and the concluding Ten Thousand Men of Harvard the band tackled a parvum opus of Anton Bruckner: the March in Eb, "originally for street band," as Walker announced with pain. The thing never should have been arranged for modern band, and HUB was roundly hissed for it--and hissed back, according to tradition...
Hysterical Herons. "The trouble with most of today's conductors," says Swarowsky, "is that they are not sure of style. A Dürer is not a Rembrandt; a Bruckner symphony is not a Wagner opera. Each style needs its own realization." To sharpen his students' sense of style, Swarowsky suppresses their personalities, dismisses their interpretive urges as mere dilettantism. He leads them through rigorous analyses of scores. "You learn," recalls Mehta, "what the composer is doing and why, and how he entered the composition-through the back door, as it were. We never heard in Swarowsky...
...ability to put himself into the music in a very, very intense way and to tell the musicians a great deal about how he wants it played." Says the Israel Philharmonic's chief concertmaster, Zvi Haftel: "He is more than just a gifted conductor. To change from Bruckner, which he conducts like a saint or an Indian priest, to Webern and then to Stravinsky with a burning fire and conviction-and transmit it to the orchestra-that is genius...
...cultural pursuit, political issue, spectator sport, historical tradition or simple daily pleasure. Other countries may name their streets after composers, but Austria must be the only place where a crack train is called the Mozart Express, and where the national airline has planes called Beethoven, Schubert and Bruckner. Even affairs of state become insignificant next to the true national passion; today, the directorship of the Vienna State Opera is a post scarcely less prestigious than the presidency of the Republic...
Mahler, born in 1860, was one of the last great Romantics. Because of the way he transformed the symphonic tradition extending from Mozart to Anton Bruckner, he was also, in Steinberg's words, "the father of contemporary music-the forerunner of Schoenberg, Berg and Webern." Yet no composer was ever less interested in the objective development of musical form as such. For Mahler, composing was a highly subjective process of grappling with the deepest, most painful questions of life. "The creative act and actual experience," he said, are "one and the same...