scholarly, if less inventive, Leopold Nowak who went on to produce new editions of all Bruckner's symphonies, including use of the severely cut last (1892) version of the Eighth the composer was persuaded to promulgate for publication. Conductor Wilhelm Furtwängler criticized what he called Haas's "violation myth" in his private notebooks: "Only unproductive minds can seriously believe that a great productive artist [i.e., Bruckner] can be 'put under pressure' for the duration of a depression. ... The falsification that is done here to the character of Bruckner - Bruckner as a fool - is much greater than [that done] by the essays [attempts?] of the first scholars, Loewe and Schalk." On the other hand, conductor Georg Tintner, even as a Jewish victim of Nazi persecution, subsequently described Haas as "brilliant" and called Haas's edition of Bruckner's Eighth Symphony "the best" of all available versions although he himself chose to record the original 1887 version. Many conductors including Herbert von Karajan, Bernard Haitink, Daniel Barenboim, Takashi Asahina and Günter Wand continued to prefer Haas's editions, even after the Nowak editions became available. Other work Haas also edited some of the music of Hugo Wolf, Claudio Monteverdi's Il Ritorno d'Ulisse in Patria, Christoph Willibald von Gluck's Don Juan ballet score, and other Baroque music. He also wrote about the Wiener Singspiel, Wolfgang Amadeus Mozart and Johann Sebastian Bach. References External links The International Bruckner Society and the N.S.D.A.P.: A Case Study of Robert Haas and the Critical Edition (summary of an article viewing Haas's work in the context of Naziism) 1886 births 1960 deaths 20th-century Austrian people 20th-century Austrian musicologists Beethoven scholars German Bohemian people Writers from Prague