ABSTRACT
The Anton Bruckner literature traditionally takes a rather defensive stance with regard to the relationship of Bruckner as composer to Wagner as composer. When Josef Schalk defines Bruckner's musical language in his 'pure instrumental music' as 'more German than anything hitherto', he uses the word 'German' not in the chauvinistic or militaristic sense, but rather as the essence of an aesthetic or even moral standard. According to his understanding, 'German music' makes heavy demands not only on the work itself but on the listener as well. Recurring throughout his writing like a virtual refrain is the counter-example which does not attain this level of quality – a type of music which he disparagingly calls 'amusement'. In Wagner's terms the word 'German' combined nationalistic tendencies with an abundance of such ethical creeds as idealism, rejection of practical rationality, and renunciation of commercial thinking.
