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9003643992375.Pdf Böck liest Bruckner II A Composer as Suitor Ein Komponist auf Freiersfüßen Anton Bruckner (1824–1896) 1 Marsch in C major for piano / C-Dur für Klavier, WAB 217/1 (1862) 2:14 2 Brief Bruckners an Josefi ne Lang, Linz, 16. August 1866 2.50 3 Brief Bruckners an Josefi ne Weilnböck, Neufelden, 21. April 1891 0:56 4 Brief Bruckners an Karoline Weilnböck, Neufelden, 21. April 1891 0:54 Anton Bruckner 5 „Vor der schlummernden Mutter“, Lied in F major / F-Dur, WAB 206 (1861) 1:09 6 Brief Bruckners an Maria Högelsberger, Wien, 22. April 1874 1:06 7 Brief Bruckners an Maria Högelsberger, Wien, 29. Juli 1874 0:50 8 Brief Therese Högelsbergers an Bruckner, 24. Juli 1894 0:27 Anton Bruckner 9 Mazurka in A minor for piano / a-moll für Klavier, WAB 218 (1862) 1:02 bl Brief Maria Bartls an Bruckner, 9. September 1880 0:34 bm Brief Lina Bartls an Bruckner, 9. September 1880 1:40 bn Brief Maria Bartls an Bruckner, 7. November 1880 2:33 bo Brief Maria Bartls an Bruckner, 5. April 1881 2:55 2 Anton Bruckner bp „O, habt die Thräne gern“, Lied in A minor / a-moll, WAB 205 (1861) 0:57 bq Brief Bruckners an Marie Lorenz, Eger, 23. April 1881 1:11 br Brief Bruckners an Marie Demar, Wien, 11. Mai 1885 1:08 bs Brief Mitzi Reinhards an Bruckner, 11. Juni 1885 2:17 Anton Bruckner bt Piano Piece in E-fl at major / Klavierstück Es-Dur, WAB 119 (1862 oder 1863) 0:51 bu Brief Bruckners an Martha Rauscher, Linz, 5. November 1888 1:31 cl Brief Bruckners an Martha Rauscher, Linz, 23. November 1888 1:19 Anton Bruckner cm Im April, Lied in A-fl at major / As-Dur, WAB 75 (vor 1865) 3:53 cn Brief Leopoldine Horkys an Bruckner, 4. Oktober 1890 1:17 co Brief Ludmilla Barwicks an Bruckner, 1. Jänner 1891 0:52 Anton Bruckner cp Herbstkummer, Lied in E minor / e-moll, WAB 72 (1864) 3:31 cq Brief Mina Reischls an Bruckner, 16. September 1891 0:33 cr Brief Bruckners an Mina Reischl, Altheim, 23. Oktober 1891 0:59 cs Brief Bruckners an Mina Reischl, Altheim, 6. Dezember 1892 0:48 ct Brief Mina Reischls an Bruckner, 12. Oktober 1893 1:12 cu Brief Bruckners an Mina Reischl, Altheim, 14. Oktober 1893 1:18 3 Anton Bruckner dl Abendklänge, Charakterstück in E minor for violin and piano / e-moll für Violine und Klavier, WAB 110 (1866) 1:23 dm Brief Ida Buhzs an Bruckner, 16. Oktober 1891 0:31 dn Brief Ida Buhzs an Bruckner, 19. September 1892 0:48 do Brief Ida Buhzs an Bruckner, 17. November 1892 0:49 dp Brief Ida Buhzs an Bruckner, 13. Februar 1894 1:57 dq Brief Ida Buhzs an Bruckner, 21. Juli 1894 1:33 Franz Wilhelm Abt (1819–1885)/Anton Bruckner dr „Juchheisa, juchhei!“, Walzerlied in G major / G-Dur, op. 245, Nr. 8/WAB add 321 (1850–51) 2:11 ds Brief Bruckners an Aurelia Stolzar, Wien, 23. August 1892 1:34 dt Brief Bruckners an Katharina Kachelmaier, Wien, 3. September 1892 0:24 Anton Bruckner du Walzer in E-fl at major for Piano / Es-Dur für Klavier, WAB 224/1 (1862) 2:03 el Brief Bruckners an Valerie Edle von Pistor, Wien, 26. Februar 1893 1:33 em Brief Bruckners an Valerie Edle von Pistor, Wien, 19. Juni 1893 1:09 4 Anton Bruckner en Marsch in C major for Piano / C-Dur für Klavier, WAB 217/1 (1862) 0:31 eo Brief Irma Neweklowskis an Bruckner, 4. September 1894 0:59 ep Brief Maria Gürtlers an Bruckner, 3. September 1894 0:39 eq Brief Christine Březinas an Bruckner, zum 4. September 1894 0:39 Anton Bruckner er Erinnerung, Charakterstück in A-fl at major for piano / As-Dur für Klavier, WAB 117 (1868) 4:08 Wolfgang Böck speaker/Sprecher Elisabeth Wimmer soprano/Sopran Daniel Linton-France piano/Klavier Alexander Knaak violin/Violine 5 Ein Komponist auf Freiersfüßen Nachdem der Auftakt der Reihe Böck liest Bruckner das Weibliche mehr und mehr zu einem immerwährend Einblicke in den oberösterreichischen Lebensabschnitt jungen Ideal stilisiert worden zu sein (die zahlreichen in und das Selbstbild des Komponisten gewährte, widmet Bruckners Nachlass erhaltenen Mädchenbilder zeigen sich die zweite von insgesamt fünf Lesungen mit Musik durchwegs sehr junge, sehr hübsche Gesichter), ohne nicht ohne Augenzwinkern Anton Bruckners jahrzehnte- dass Bruckner noch an eine tatsächliche Realisierung seiner langer, freilich erfolgloser Suche nach einer Ehefrau, stellt Sehnsüchte dachte. […] Vielleicht etwas nahegegangen zu einige der als Lebensgefährtinnen ausersehenen Damen sein scheinen Bruckner in späteren Jahren nur die Kontakte anhand der erhaltenen Schreiben an sie oder von ihnen zu Marie Bartl, einer der jugendlichen Laiendarstellerinnen vor und thematisiert die „geradezu absurden Mengen des Passionsspiels in Oberammergau 1880 […], zu Marie überstürzter Heiratsanträge“ (Hans-Joachim Hinrichsen) Demar, deren künstlerische Begeisterung Bruckner fälschlich des ewigen Junggesellen ebenso wie jene Briefe, mit denen als persönliche Zuneigung auslegte, zu Mina Reischl, einer Verehrerinnen ihrerseits dem inzwischen zu Ruhm und schönen Kaufmannstochter aus Altheim, die ihn zwar 1891 Ansehen gelangten Komponisten Avancen machten. Die wegen des großen Altersunterschiedes ,endgültig‘ ablehn- Musikwissenschaftlerin und Bruckner-Forscherin Elisabeth te, aber seine Werbungen 1893 wieder mit hinhaltender Maier hat darauf hingewiesen, „dass Bruckners Umgang Freundlichkeit zuließ […], und zu dem Stubenmädchen mit dem anderen Geschlecht zeitlebens kompliziert und Ida Buhz in Berlin, in dessen aufrichtiger Fürsorge eher vielschichtig blieb und viele verschiedene Facetten – von Caritas als Eros enthalten war. Die Verbindung mit Ida, die der Suche nach einer ‚guten Partie‘, nach einer tüchtig zunächst zu einer ‚richtigen‘ Verlobung führte, scheiterte wirtschaftenden Hausfrau bis hin zum ganz im Dienste der offiziell an der Konfessionsverschiedenheit (Ida war eine schöpferischen Kreativität stehenden Anschwärmen einer sehr gläubige und in ihrer Kirche aktiv mitarbeitende Pro- Muse – aufwies, jedoch nie zu einer wirklich persönlichen testantin), zusätzlich dürfte sich Bruckner aber vor seinen zwischenmenschlichen Beziehung reifen konnte“. Über Schülern und jugendlichen Freunden durch Idas einfaches seine lebenslangen Bemühungen, zu einer „eigenen Gattin“ Wesen geniert gezeigt haben, wenn wir den Darstellungen (Bruckner) zu gelangen, schreibt sie zusammenfassend: in den Erinnerungsberichten Glauben schenken dürfen. (In „Bruckners vermutlich einzige ‚große Liebe‘ war die Linzer Wahrheit scheint Ida jedoch eine durchaus für Mädchen Fleischhauerstochter Josefine Lang, die 1866 seinen Antrag damals übliche Bildung genossen zu haben, sie spielte wegen des zu großen Altersunterschiedes von 20 Jahren sogar Klavier.) Zudem scheint Bruckner auch diese Be- ablehnte. […] In späteren Jahren, besonders, als sein Haus- ziehung eher als ‚Eroberung‘ denn als Liebesbeziehung wesen durch Katharina Kachelmaier geregelt war, bewegen gesehen zu haben […].“ sich die immer sehr stereotypen Kontaktaufnahmen oder Das Thema „Bruckner und die Frauen“ ist in der Biographie Werbungen zunehmend im Bereich der Irrealität: Bruckner des Komponisten zwar allgegenwärtig, wurde aber noch war des Öfteren im Zustand der Verliebtheit, doch scheint nicht in größerem Zusammenhang untersucht, da auf den 6 ersten Blick nur wenige konkrete Anhaltspunkte existieren. im Marsch C-Dur WAB 217, Nr. 1 aus dem Frühjahr 1862 „Wie zu erwarten, rankt sich um dieses Kapitel von Bruckners eine abwechslungsreiche Gestaltung vor allem durch den Biographie ein dichter Kranz von belletristischer Literatur, Einsatz von Punktierungen erreicht wird. die den eklatanten Mangel an greifbaren Dokumenten Die Textvorlagen zu acht der im „Kitzler-Studienbuch“ durch Spekulationen auszugleichen sucht“ (Maier). In klarer enthaltenen Liedübungen sind der unter dem Pseudonym Abgrenzung dazu beschränkt sich die hier als Livemitschnitt Wilfried von der Neun veröffentlichten Gedichtsammlung Welt vorgelegte Lesung in Gestalt der thematisch einschlägigen und Herz des lutherischen Pastors und Lyrikers Friedrich Briefe von und an Bruckner konsequent auf die Primärquellen Wilhelm Traugott Schöpff entnommen. Wahrscheinlich zu diesem bisher sträflich vernachlässigten Aspekt von hat Kitzler sie gezielt für seinen Schüler ausgesucht, um Bruckners Leben. Die Textauswahl, die einen Großteil der diesen den Umgang mit unterschiedlichen Versmaßen noch vorhandenen Schreiben Bruckners an Frauen sowie und verschieden langen Gedichtzeilen trainieren zu lassen. von Frauen an Bruckner umfasst, lässt dabei gleichzeitig Schöpffs Gedicht Verständniß der Thränen diente Bruckner ein Stück Sozialgeschichte des 19. Jahrhunderts lebendig dabei sogar zweimal als Grundlage für eine Kompositions- werden und wirft nicht zuletzt ein Schlaglicht auf die da- übung, wobei nur die von ihm mit „8 tactige zweitheilige maligen Geschlechterrollen und -stereotypen. Liedform“ bezeichnete erste Vertonung von „O, habt die Musikalisch umrahmt und kommentiert werden die Briefe Thräne gern“ a-moll WAB 205 aus dem Dezember 1861 unter anderem von drei Klavierstücken und zwei Klavier- über eine vollständig ausgeführte Klavierbegleitung verfügt. liedern aus dem sogenannten „Kitzler-Studienbuch“, das Das kurz darauf, gegen Ende Dezember 1861 ins „Kitzler- Bruckner während der Ausbildung bei dem seinerzeitigen Studienbuch“eingetragene Lied Vor der schlummernden Linzer Theaterkapellmeister Otto Kitzler anlegte. Es ent- Mutter F-Dur WAB 206 auf einen Text des gleichen Autors hält Werke und Entwürfe aus dem Zeitraum zwischen nimmt durch eine ausdrucksvoll geführte Gesangsstimme Herbst 1861 und Sommer 1863, die Bruckner auf dem für sich ein und verrät durch seine Klavierbegleitung die Weg zur Ausprägung eines individuellen Stils zeigen. Die
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