V. P. Konnov
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DOI:
https://doi.org/10.25807/PBH.22225064.2019.48.21.29
This paper is dedicated to one of the general principles of architectonics
in symphonies by Anton Bruckner (1824–1896). Antithetical relation-
ships between simultaneous and successive constituents within the
outward musical framework ensure the correlation between typological
outlines of Bruckner’s symphonic dramaturgy and the composer’s life.
Nevertheless, all the manifestations of the creative power and personal
phenomenology of the composer were solidly integrated. This kind of
harmonious unity was perceived by the contemporaries as mystery, and,
consequently, led many researchers to numinous or esoteric scientifi c
constructs. In this paper the concept of Bruckner’s creative cosmos,
embedded into the outline, which was put forward by the famous Aus-
trian musicologist and philologist Manfred Wagner, who defi ned the
integrant principle of Anton Bruckner’s phenomenon by means of the
“term” parataxis. This initiative is expanded here in perspectives of the
research which were conventional for Anton Bruckner’s historiography:
“Life and work” and “Two styles: symphonic and church”.
Keywords: architectonics of music, antithetical relationships of constituents within outward framework, correlation between symphonic dramaturgy and the composer’s
life, numinous and esoteric scientifi c constructs, harmonious unity of creative cosmos.
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