Season 10 · 3 Nov 202110#4 From Lascaux to modern music, the permanence of the political stakes in aesthetics- 2:01:43Gigantic post-Wagnerian symphonies.
Appears in 11 videos · 12 passages.
Dominique Pagani mainly discusses Bruckner as one of the figures descending from Wagner. He counts him among the three great post-Wagnerians1 and cites him several times within that line, notably for his brass writing2. He stresses the scale of his symphonies, which he calls gigantic3. He often compares him with Mahler, but judges him "always thicker" than Mahler4. He notes that the two composers met the same fate: rejected after the war, they later returned to the repertoire5. In his view, Bruckner also belongs to the "club of nine", the composers who wrote nine symphonies6, and he points out that Bruckner is sometimes added to the "B"s of German music7. Finally, he mentions a documentary showing Bruckner undergoing brutal psychiatric treatment8. These mentions remain brief and do not come with a detailed analysis of any particular work.
Summary produced automatically from 12 of the passages below, to be reviewed; the numbers link to the moment in the session.
Joseph Anton Bruckner (; German: ; 4 September 1824 – 11 October 1896) was an Austrian composer and organist best known for his symphonies and sacred music, which includes Masses, Te Deum and motets. The symphonies are considered emblematic of the final stage of Austro-German Romanticism because of their rich harmonic language, strongly polyphonic character, and considerable length. Bruckner's compositions helped to define contemporary musical radicalism, owing to their dissonances, unprepared modulations, and roving harmonies. […]
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