Part One
Theoretical Perspective and Compositional Practice
1 A composer learns his craft: lessons in form and orchestration, 1861–3*
Paul Hawkshaw
For Anton Bruckner, completion of his counterpoint studies with Simon Sechter in March 1861 signalled the end of an extended compositional hiatus. A fruitful though brief creative period followed, which saw the completion of two great motets – Ave Maria (WAB 6) and Afferentur Regi (WAB 1), the Festkantate (WAB 16) for the new Linz Cathedral and a handful of smaller works.1 By 25 April 1862, when Bruckner completed the cantata, he had already immersed himself again in study, this time investigating form and orchestration with the conductor/cellist, Otto Kitzler.2 Most of the surviving exercises which Bruckner wrote for Kitzler are preserved in one volume – the so-called Kitzler Studienbuch.3 Its 326 pages are full of autograph sketches, annotations, and exercises, as well as complete and incomplete compositions which testify to an extremely rigorous and extensive training in both form and orchestration. The Kitzler Studienbuch is fascinating for its insights into the history of musical pedagogy in the nineteenth century as well as for the historical and theoretical implications of the terminology and format of its exercises. As a document of musical analysis in the middle of the nineteenth century it is invaluable.
Due to its inaccessibility the Studienbuch has achieved little notoriety in the musical world. Leopold Nowak drew attention to its existence when he published the C minor String Quartet (WAB 111), one of the exercises in the miscellany. He later transcribed the F minor 'Student' Symphony (WAB 99) sketches located in the final pages of the miscellany.4 Otherwise, with the exception of the March in D Minor (WAB 96), Three Orchestral Pieces (WAB 97), and a Piano Sonata movement in G Minor, none of the exercises has been published.5 After a brief overview of the contents of the miscellany, this chapter will illustrate some of the structural issues of concern to Bruckner and apply his analytical terminology to examples from the Sonata movement, String Quartet, F minor Symphony and another Kitzler composition, the Overture in G Minor (WAB 98). Possible contemporary theoretical sources for the exercises and formal concepts they represent will be identified. I will conclude with a few thoughts on the significance of the miscellany in the context of the composer's biography and our understanding of his music and working procedures. There is a wealth of knowledge to be obtained from the Kitzler Studienbuch.
The miscellany consists of 163 folios in various sizes in oblong format. They contain numerous autograph dates between Christmas 1861 and 10 July 1863 and are arranged in chronological order. Bruckner was responsible for the order because he numbered the pages himself and included occasional cross-references. Table 1.1 contains a list of the contents. The first column indicates the foliation; the second lists the autograph dates; the third identifies the object of study; and the fourth provides a brief description of the material on the pages in question. Throughout the miscellany, the exercises are in a wide variety of keys and metres and employ numerous textures from chorales through different broken-chord and arpeggiated figurations. The vast majority are in two-stave keyboard or four-stave string quartet score. Many are melody/bass skeletons with occasional chords and contrapuntal voices filled in or indicated by figured bass. Bruckner sometimes omitted accidentals and committed textbook errors in voice-leading –parallel fifths, for example – which would make an elementary harmony teacher cringe. These are probably a consequence of the speed with which he proceeded (as evidenced by the dates throughout) as well as an indication that both teacher and pupil were preoccupied with formal issues, not with details of counterpoint and voice-leading which the composer had already more than mastered with Simon Sechter.
The studies began with cadences and modulations to nearly-related keys (verwandte Tonarten). At first Bruckner was concerned with cadences and modulations within a single period (Periode). Here the standard format was to write out an eight-measure period followed by three or four alternative cadences or modulations for that period (Ex. 1.1).6 On fol. 8r. he began to experiment with writing consecutive periods using the same material with different cadences and/or modulatory structures. In Ex. 1.2 he wrote his opening period cadencing in the dominant and followed it with a second eight-measure period. The term Periode refers to the groups of eight measures; his term for each four-measure subdivision is Glied which will be translated for the remainder of this article as 'phrase'. In his terminology the last four measures of the second period in Ex. 1.2.
Table 1.1 Contents of the Kitzler Studienbuch
|
Foliation | Autograph dates | Subject of the exercise 1 | Description |
|
| | Cadences and Modulations | Piano and string quartet scores |
1r.–8r., l. 8 | | within one 8-measure period | (Ex. 1.1) |
8r., l. 9– 9v., l. 4 | | within two 8-measure periods | (Ex. 1.2) |
9v., l. 5– 15v., l. 6 | Christmas 1861 [10r.] | 2-and 3-section Song Forms regular periods | Song and piano scores Waltz, Polka, Galop, Mazurka, Minuet 8-and 16-measure periods (Ex. 1.3) |
| 1 Jan. 1862 [13r.] | |
| 2 Jan. 1862 [13v.] | |
15v., l. 7– 21v. | 6 Jan. 1862 [16r.] | irregular periods trio forms | Piano scores |
Minuet and Trio, March and Trio |
| | | Periods of 8–6–8, 6–4–6, 12–8–12 etc. measures |
| | | Song in trio form |
| | | 16 measure periods (Ex. 1.4) |
22r.–29r. | | expanded periods | Song and piano scores (Ex. 1.5) |
29v.–39r., l. 4 | | Scherzo and Trio | Strinq quartet scores |
38r.–40v. | | Etude | Piano scores |
41r.–52v. | | Variations | Piano and string quartet scores |
53r.–68v. | | Rondo | Piano scores |
69r.–70r. | 6 Jun. 1862 Fri. before Pentecost [70r.] | Sonata form 9 thematic sketches | Piano scores (Ex. 1.6) |
70v.–72v. | | 5 first groups with bridge sections | Piano sonatas |
73r.–75r. | | 5 second groups [with closing sections] | for each of the previous 5 first groups with bridge sections |
75v.–78v. | | 2 developments with recapitulations | for two of the previous expositions |
79r.–82v. | 29 Jun. 1862 [79r.] | Sonata Movement in G minor | complete movement |
| | String Quartet in C Minor (WAB 111) | Autograph score |
83r.–89r. | | 1st movement | Sonata form |
89v.–92v. | 28 Jul. 1862 9:00pm [92v.] | Andante | Small Rondo form |
93r.–93v. | | Scherzo | Two-section song form |
94r. | | Trio | Two-section song form |
94v.–98v. | Linz 7 Aug. 1862 [98v.] | Rondo | Middle Rondo form |
99r.–103v. | 15 Aug. 1862 7:30pm [103v.] | Rondo [alternate] | Large Rondo form |
104r.–107r., l. 3 | 22 Aug. 1862 Kirnberger Wald [107r.] | 'Der Trompeter an der Katzbach' | Song for bass and piano |
107r., l. 4– 109v., l. 4 | 25 Aug. 1862 5:00pm [109v.] | Fantasies in small forms | Four piano pieces successive periods |
109v., l. 5– 114v. | 26 Aug. 1862 [109v.] | Instrumentation Woodwinds, Contrabass, Piano | Arrangements of the fourth Fantasy |
| 26 Aug. 1862 8:00pm [112r.] | | |
113r.–114r. | 2 Sept. 1862 [113v.] | Five pieces | Piano pieces to be orchestrated two-and three-section song form |
115r.–117r. | | Brass | Chorales and fanfares |
117v.–125v. | | Orchestration of Beethoven's Pathétique Sonata | Orchestral score (exposition only) |
126r.–133r. | Linz 12 Oct. 1862 [132r.] | Orchestral Compositions March in D minor (WAB 96) | Orchestral score and sketches March in three-section song form; Trio in two-section song form |
133v.–143v. | 10 Nov. 1862 [139r.] | Three Pieces (WAB 97) | Orchestral score and sketches – three-section song form |
| Linz 16 Nov. 1862 after 6:00pm [143v.] | | |
144r.–151r. | 18 Nov. 1862 [144r.] | Overture in G minor (WAB 98) | Sketches |
| 27 Nov.... |