By Ernst Kurth
This is often the 1st e-book to supply huge annotated translations from the writings of the track theorist Ernst Kurth (1886-1946), who wrote 3 pioneering experiences at the song of J.S. Bach, Richard Wagner and Anton Bruckner. The booklet will familiarize present day English-speaking students with Kurth's theoretical principles and leading edge analytical suggestions via his commentaries at the passages from those composers. an in depth introductory essay discusses the highbrow and socio-cultural historical past required for realizing Kurth's paintings.
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Additional resources for Ernst Kurth: Selected Writings
12, p. 60). 833/3). , Berlin: Hesse, 1924-32; 2nd edn. Tutzing: Schneider, 1966), vol. II (Der musikalische Aufbau von Richard Wagners "Tristan und Isolde"), 10-11. 4 (1924), 262-69. Note that Wetzel's review was printed back to back with Lorenz's, which Kurth surely interpreted as another jab from the German musicological establishment. Introduction 29 and went through three editions and several reprintings. 92 Bruckner, Kurth's most ambitious analytical effort, arose from years of teaching about the symphonies and choral works to a variety of audiences.
See note 80 above. , 102, 118-19, 220-21). Carl Dahlhaus comments on the problems of Kurth's melodic-genetic viewpoint in "Bach und der 'lineare Kontrapunkt'," Bach-Jahrbuch 49 (1962), 55-79. Rudolf Louis and Ludwig Thuille, Harmonielehre (Stuttgart: Carl Griininger, 1907). Arnold Schoenberg, Harmonielehre. Robert Wason discusses the work of several authors who attempted to modernize Simon Sechter's essentially eighteenth-century teachings to accommodate nineteenth-century harmony (Viennese Harmonic Theory, 90-111).
In genuine counterpoint, harmony consists, not in inert tone stacks, but rather in variously charged configurations of "potential energy," generated when lines "get caught" in chords. 73 Grundlagen, with its intuitively satisfying ideology, brought Kurth international notoriety. Some scholars, and especially composers, found the book insightful and suggestive. One reviewer of the second edition, for example, agreed with Paul Bekker's evaluation of the book as a strikingly original and fruitful view of Bach's 71 72 73 Bent, Analysis, 46.