Paul Hawkshaw | Yale University (original) (raw)

Papers by Paul Hawkshaw

The Musical Quarterly, Mar 12, 2008

... Augustinian historians including Langthaler describe the reforms as a financial disaster; the... more ... Augustinian historians including Langthaler describe the reforms as a financial disaster; the monastery was forced to sell assets and invest more in its parishes. ... 255 × ca. 320 mm with gray rastral lines. A watermark A12 (?) is barely visible in nos. 5 and 10 in the Table. ...

University Microfilms International eBooks, 1984

Ce document est protégé par la loi sur le droit d'auteur. L'utilisation des services d'Érudit (y ... more Ce document est protégé par la loi sur le droit d'auteur. L'utilisation des services d'Érudit (y compris la reproduction) est assujettie à sa politique d'utilisation que vous pouvez consulter en ligne. https://apropos.erudit.org/fr/usagers/politique-dutilisation/ Cet article est diffusé et préservé par Érudit. Érudit est un consortium interuniversitaire sans but lucratif composé de l'

The Bruckner Journal, 2019

As a result of his assertion that he composed the magnificent horn and tuba passage in the coda o... more As a result of his assertion that he composed the magnificent horn and tuba passage in the coda of the Adagio upon learning of Wagner’s passing, in the eyes of today’s musical world, no work encapsulates Anton Bruckner’s devotion to his “Master of all Masters” more than the Seventh Symphony. For the public of Bruckner’s time, the symphony’s connection to Wagner, or more accurately, Wagnerites and Wagnerian world, extended far beyond the Adagio. The immediate and, for Bruckner, unprecedented public success of the Seventh Symphony was engineered entirely by people on the Wagnerian side of the nineteenth-century’s great musical divide, and almost all the early critical response was infused with pro- and/or anti-Wagnerian rhetoric. While the Wagnerian faction played a crucial role in the early dissemination and reception of Bruckner’s Seventh, some Wagnerites also had a profound impact on the readings in the scores of the symphony that have come down to us. This article explores evidence for the musical influence of Wagnerites in the primary sources for the symphony up to and including the publication of the first edition. The article begins with a summary of what is known about the genesis of the Seventh Symphony, including a re-examination of the story about the Adagio coda and Wagner’s death. As with many well-known musical anecdotes, this one is at least partly apocryphal. The article continues with an analysis of changes in Bruckner’s autograph score and their demonstrable connections with his Wagnerian supporters. It concludes with some thoughts on why the composer allowed their influence to permeate his work.

Nineteenth Century Music Review 15, 2018

The article re-evaluates a fundamental precept of the old Anton Bruckner Gesamtausgabe of Robert ... more The article re-evaluates a fundamental precept of the old Anton Bruckner Gesamtausgabe of Robert Haas and Leopold Nowak – the supremacy of the readings in the composer’s autograph manuscripts over those in his first prints. It begins with a brief history of the “Bruckner-Streit” of the 1930s and 40s and a summary of more recent challenges to the Haas-Nowak policy. An overview of the composer’s relationship with the brothers Franz and Josef Schalk, who were responsible for the production of many of his early editions, demonstrates that they worked closely with him at first, but began to make alterations without consulting him towards the end of the 1880s. Distinguishing Bruckner from his editors in the Third, Fourth and Eighth Symphonies is difficult, if not impossible. From an editorial perspective, it is pointless because, in these scores, the composer accepted their suggestions and made them his own. Later publications are a different matter. The discussion leads inevitably to a re-examination of a clause in Bruckner’s will which exercised a controlling influence over the old Gesamtausgabe and remains a seminal factor in any editorial considerations regarding Bruckner. The article demonstrates that the composer never intended his will to have a bearing on post-mortem editorial issues or to dictate the hierarchy of versions of his pieces.

The Musical Quarterly, 82/2, pp. 336-361, 1998

Between December 1861 and July 1863, Anton Bruckner studied form and orchestration with the Linz ... more Between December 1861 and July 1863, Anton Bruckner studied form and orchestration with the Linz conductor and cellist Otto Kitzler. The exercises he did for Kitzler are preserved as Music.Hs 44706 in the Music Collection of the Austrian National Library and have recently been published in facsimile as Vol. 25 of the Anton Bruckner Sämtliche Werke, This article provides an introduction to this so-called Kitzler Studienbuch which is fascinating for its insights into the history of musical pedagogy as well as for the historical and theoretical implications of its terminology.

Nineteenth-Century Choral Music. Ed. Donna M. Di Grazia, pp.168-188, 2013

Using the Mass in F Minor by way of illustration, the article demonstrates how Bruckner fused the... more Using the Mass in F Minor by way of illustration, the article demonstrates how Bruckner fused the Viennese Mass tradition he inherited from Michael and Joseph Haydn, Mozart, Beethoven and Schubert with the avant-garde Wagnerian theatrical style. Eduard Hanslick's observation that the mass was "Albrechtsberger arm in arm with Wagner" while pejorative in intent, had a basis in truth. The extraordinary fusion of styles is one of the things which makes the Mass in F Minor one of Bruckner's greatest works.

Musica Conservata: Günter Brosche zum 60. Geburtstag, pp. 105-119, 1999

Anton Bruckner's Psalm 146 poses as many unresolved biographical and chronological problems as an... more Anton Bruckner's Psalm 146 poses as many unresolved biographical and chronological problems as any other work in his entire oeuvre. When it was written, for whom and why he allowed such an enormous work to languish in oblivion remain unanswered questions. This article offers some thoughts and more unanswered questions based on an examination of the primary sources for Psalm 146 in the context of those for other works believed to have been approximately contemporaneous with it -- Psalms 22 and 114 and the Magnificat.

The Cambridge Companion to Bruckner. Ed. John Williamson, pp. 41-56 , 2004

Beginning in his days as a choir boy in St. Florian, Anton Bruckner wrestled his entire life with... more Beginning in his days as a choir boy in St. Florian, Anton Bruckner wrestled his entire life with problems of style, content, performance quality and appropriate venues for religious music. In the process he developed and acute musical and social sense of "ecclesiastical" - one that was shaped by intense piety and devout Roman Catholicism, and one that changed constantly throughout his career. This paper considers how Bruckner explored an entire spectrum of styles from old-fashioned to consciously retrospective to avant-garde in his large sacred compositions.

Bruckner Studies, Ed. Timothy L. Jackson and Paul Hawkshaw, pp. 1-31., 1997

Anton Bruckner's revisions and his students' tampering have been a source of editorial controvers... more Anton Bruckner's revisions and his students' tampering have been a source of editorial controversy since before he passed away. On the premise that present-day Bruckner scholarship must address these issues one work at a time, this article traces the chronology of and possible motivations for Bruckner's revision to the Mass in F Minor. He began changing the work almost as soon as he had finished it in 1868 and continued to change it until shortly before his death. In this case, the first edition was printed entirely without his supervision.

The Bruckner Journal 21/3, pp. 4-14, 2017

Anton Bruckner used both vertical strokes and dots as articulation markings throughout his career... more Anton Bruckner used both vertical strokes and dots as articulation markings throughout his career. Though his copyists and early editors treated them as the same thing and used only dots, it is clear in his autographs that Bruckner expected performers to distinguish the two. This article discusses the many possible interpretations these symbols can have in Bruckner's music. Late in his career the question became even more complicated with his introduction of the "hat" (^) accent in place of some of his earlier uses for the vertical stroke.

The Bruckner Journal 17/3, pp. 3-14, 2013

The article summarizes the findings of the Critical Report for the editions of the two versions o... more The article summarizes the findings of the Critical Report for the editions of the two versions of the Eighth Symphony in the Anton Bruckner Sämtliche Werke. The study resulted in a reassessment of the tumultuous history of the two manuscript versions and four editions in which the work survives. The participation of the Brothers Franz and Josef Schalk and the editorial strategy of Robert Haas are discussed at length. The accusation that Haas composed a passage in the Finale of his edition is false.

Bruckner-Tagung Steyr, 2003

Although the Lied occupies only a very small part of Bruckner's published repertoire, it was very... more Although the Lied occupies only a very small part of Bruckner's published repertoire, it was very important in his studies in form with Otto Kitzler. He composed twelve songs during this period, and two-part and three-part song form were the building blocks for all the larger compositional exercises he did for Kitzler.

The Musical Quarterly 90, pp 90-122, 2007

Bruckner had far more than a passing acquaintance with eighteenth-century contrapuntal practice l... more Bruckner had far more than a passing acquaintance with eighteenth-century contrapuntal practice long before his famous studies with Simon Sechter. While he worked at the Augustinian monastery of St. Florian between 1845 and 1855, he studied Marpurg and copied dozens of contrapuntal passages by Eibler, Michael Haydn, Joseph Haydn, Mozart, Beethoven and many others who were performed by the highly professional Kapelle. TThehe uninterrupted cultivation of eighteenth-century Austrian church music through the 1850s at St Florian enabled Bruckner, ultimately through Sechter's lens, to extend a century-old contrapuntal tradition for another generation.

Anton Bruckners Wiener Jahre: Analysen - Fakten - Perspektiven. Ed. Renate Grasberger, Elisabeth Maier, Erich Wolfgang Partsch., pp111-127, 2009

The article introduces two previously unknown primary sources for Bruckner's Eighth Symphony: a m... more The article introduces two previously unknown primary sources for Bruckner's Eighth Symphony: a miscellany of autograph sketches and score fragments for both versions in the Archive of the Society for the Friends of Music, Vienna (Wgm A 178), and an important early copy score of the second version in the hand of Bruckner's student Victor Christ. The copy score, which remains in private possession, contains a wealth of information about the Haas vs. Nowak editions' controversy, the passages in the work that Bruckner identified as "for later times" and the authenticity of the first edition.