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Anton Bruckner

January 09, 2023

"Bruckner" redirects here. For other uses, see Bruckner (disambiguation).

Josef Anton Bruckner (German: [ˈantoːn ˈbʁʊknɐ] (listen); 4 September 1824 – 11 October 1896) was an Austrian composer, organist, and music theorist best known for his symphonies, masses, Te Deum and motets. The first are considered emblematic of the final stage of Austro-German Romanticism because of their rich harmonic language, strongly polyphonic character, and considerable length.[1] Bruckner's compositions helped to define contemporary musical radicalism, owing to their dissonances, unprepared modulations, and roving harmonies.

Anton Bruckner wearing the badge of the Order of Franz Joseph (portrait by Josef Büche [de])

Unlike other musical radicals such as Richard Wagner and Hugo Wolf, Bruckner showed extreme humility before other musicians, Wagner in particular. This apparent dichotomy between Bruckner the man and Bruckner the composer hampers efforts to describe his life in a way that gives a straightforward context for his music. Hans von Bülow described him as "half genius, half simpleton".[2] Bruckner was critical of his own work and often reworked his compositions. There are several versions of many of his works.

His works, the symphonies in particular, had detractors, most notably the influential Austrian critic Eduard Hanslick and other supporters of Johannes Brahms, who pointed to their large size and use of repetition,[3] as well as to Bruckner's propensity for revising many of his works, often with the assistance of colleagues, and his apparent indecision about which versions he preferred. On the other hand, Bruckner was greatly admired by subsequent composers, including his friend Gustav Mahler.

Life and career

Early life

 
The house in Ansfelden, Austria, where Anton Bruckner was born. It is now the Anton Bruckner Museum.

Anton Bruckner was born in Ansfelden (then a village, now a suburb of Linz) on 4 September 1824. The ancestors of Bruckner's family were farmers and craftsmen; their history can be traced as far back as the 16th century. They lived near a bridge south of Sindelburg, which led to their being called "Bruckhner an der Bruckhen" (bridgers on the bridge). Bruckner's grandfather was appointed schoolmaster in Ansfelden in 1776; this position was inherited by Bruckner's father, Anton Bruckner Sr., in 1823.[4] It was a poorly paid but well-respected position in the rural environment.[5][6] Bruckner Sr. married Therese Helm, and they had eleven children, Anton Bruckner being the eldest.[7]

Music was a part of the school curriculum, and Bruckner's father was his first music teacher.[5] Bruckner learned to play the organ early as a child. He was very dedicated to the instrument just as he was later in life in composing, often practising for 12 hours a day.[8] He entered school when he was six, proved to be a hard-working student, and was promoted to upper class early. While studying, Bruckner also helped his father in teaching the other children. After Bruckner received his confirmation in 1833, Bruckner's father sent him to another school in Hörsching. The schoolmaster, Johann Baptist Weiß, was a music enthusiast and respected organist. Here, Bruckner completed his school education and refined his skills as an organist. Around 1835 Bruckner wrote his first composition, a Pange lingua – one of the compositions which he revised at the end of his life.[9] When his father became ill, Anton returned to Ansfelden to help him in his work.

Teacher's education

 
St Florian's Priory, where Bruckner lived on many occasions during his life

Bruckner's father died in 1837, when Bruckner was 13 years old. The teacher's position and house were given to a successor, and Bruckner was sent to the Augustinian monastery in Sankt Florian to become a choirboy.[5][10] In addition to choir practice, his education included violin and organ lessons. Bruckner was in awe of the monastery's great organ, which was built during the late baroque era and rebuilt in 1837, and he sometimes played it during church services. Later, the organ was to be called the "Bruckner Organ". Despite his musical abilities, Bruckner's mother sent her son to a teaching seminar in Linz in 1841.

After completing the seminar with an excellent grade, Bruckner was sent as a teacher's assistant to a school in Windhaag. The living standards and pay were appalling and Bruckner was constantly humiliated by his superior, teacher Franz Fuchs. Despite the difficult situation, Bruckner never complained or rebelled; a belief in his own inferiority was to remain one of Bruckner's main personal traits during his whole life. He stayed at Windhaag from age 17 to 19, teaching subjects that had nothing to do with music.

Prelate Michael Arneth noticed Bruckner's bad situation in Windhaag and awarded him a teacher's assistant position in the vicinity of the monastic town of Sankt Florian, sending him to Kronstorf an der Enns for two years. Here he would be able to have more of a part in musical activity. The time in Kronstorf was a much happier one for Bruckner. Between 1843 and 1845, Bruckner was the pupil of Leopold von Zenetti in Enns.[11] Compared to the few works he wrote in Windhaag, the Kronstorf compositions from 1843 to 1845 show a significantly improved artistic ability, and finally the beginnings of what could be called "the Bruckner style".[12] Among the Kronstorf works is the vocal piece Asperges me (WAB 4), which the young teacher's assistant, out of line given his position, signed with "Anton Bruckner m.p.ria. Comp[onist]". This has been interpreted as a lone early sign of Bruckner's artistic ambitions. Otherwise, little is known of Bruckner's life plans and intentions.[13]

Organist in Sankt Florian

 
The "Bruckner Organ" in Sankt Florian

After the Kronstorf period, Bruckner returned to Sankt Florian in 1845 where, for the next 10 years, he would work as a teacher and an organist.[4] In May 1845, Bruckner passed an examination, which allowed him to begin work as an assistant teacher in one of the village schools of Sankt Florian. He continued to improve his education by taking further courses, passing an examination giving him permission to also teach in higher education institutes, receiving the grade "very good" in all disciplines.[14] In 1848 Bruckner was appointed an organist in Sankt Florian and in 1851 this was made a regular position.[5] In Sankt Florian, most of the repertoire consisted of the music of Michael Haydn, Johann Georg Albrechtsberger and Franz Joseph Aumann.[15] During his stay in Sankt Florian, Bruckner continued to work with Zenetti.[16]

Study period

In 1855, Bruckner, aspiring to become a student of the famous Vienna music theorist Simon Sechter, showed the master his Missa solemnis (WAB 29), written a year earlier, and was accepted. The education, which included skills in music theory and counterpoint among others, took place mostly via correspondence, but also included long in-person sessions in Vienna. Sechter's teaching would have a profound influence on Bruckner. Later, when Bruckner began teaching music himself, he would base his curriculum on Sechter's book Die Grundsätze der musikalischen Komposition (Leipzig 1853/54).[17]

 
Bruckner, c. 1860

Largely self-taught as a composer, Bruckner only started composing seriously at age 37 in 1861. Bruckner studied further with Otto Kitzler, who was nine years younger than him and who introduced him to the music of Richard Wagner, which Bruckner studied extensively from 1863 onwards. Bruckner considered the earliest orchestral works (the "study" Symphony in F minor, the three orchestral pieces, the March in D minor and the Overture in G minor, which he composed in 1862–1863), mere school exercises, done under the supervision of Otto Kitzler. He continued his studies to the age of 40. Broad fame and acceptance did not come until he was over 60 (after the premiere of his Seventh Symphony in 1884). In 1861 he had already made the acquaintance of Franz Liszt who, like Bruckner, had a strong, Catholic religious faith and who first and foremost was a harmonic innovator, initiating the new German school together with Wagner. In May 1861 he made his concert debut, as both composer and conductor of his Ave Maria, set in seven parts.[18] Soon after Bruckner had ended his studies under Sechter and Kitzler, he wrote his first mature work, the Mass in D Minor. From 1861 to 1868, he alternated his time between Vienna and Sankt Florian. He wished to ensure he knew how to make his music modern, but he also wanted to spend time in a more religious setting.

The Vienna period

In 1868, after Sechter had died, Bruckner hesitantly accepted Sechter's post as a teacher of music theory at the Vienna Conservatory, during which time he concentrated most of his energy on writing symphonies. These symphonies were poorly received, at times considered "wild" and "nonsensical". His students at the Conservatory included Richard Robert.[19] His student, Friedrich Klose, wrote a book about his impressions of Bruckner as a composer and a teacher.[20]

He later accepted a post at the Vienna University in 1875,[21] where he tried to make music theory a part of the curriculum. Overall, he was unhappy in Vienna, which was musically dominated by the critic Eduard Hanslick. At the time, there was a feud between advocates of the music of Wagner and Brahms; by aligning himself with Wagner, Bruckner made an unintentional enemy out of Hanslick. He was not without supporters, though. Deutsche Zeitung's music critic Theodor Helm, and famous conductors such as Arthur Nikisch and Franz Schalk constantly tried to bring his music to the public, and for this purpose proposed "improvements" for making Bruckner's music more acceptable to the public. While Bruckner allowed these changes, he also made sure in his will to bequeath his original scores to the Austrian National Library in Vienna, confident of their musical validity.[citation needed]

In addition to his symphonies, Bruckner wrote Masses, motets and other sacred choral works, and a few chamber works, including a string quintet. Unlike his romantic symphonies, some of Bruckner's choral works are often conservative and contrapuntal in style; however, the Te Deum, Helgoland, Psalm 150 and at least one Mass demonstrate innovative and radical uses of chromaticism.

Biographers generally characterize Bruckner as a "simple" provincial man,[22] and many biographers have complained that there is huge discrepancy between Bruckner's life and his work. For example, Karl Grebe said: "his life doesn't tell anything about his work, and his work doesn't tell anything about his life, that's the uncomfortable fact any biography must start from."[23] Anecdotes abound as to Bruckner's dogged pursuit of his chosen craft and his humble acceptance of the fame that eventually came his way. Once, after a rehearsal of his Fourth Symphony in 1881, the well-meaning Bruckner tipped the conductor Hans Richter: "When the symphony was over," Richter related, "Bruckner came to me, his face beaming with enthusiasm and joy. I felt him press a coin into my hand. 'Take this' he said, 'and drink a glass of beer to my health.'" Richter, of course, accepted the coin, a Maria Theresa thaler, and wore it on his watch-chain ever after.

Bruckner was a renowned organist in his day, impressing audiences in France in 1869, and the United Kingdom in 1871, giving six recitals on a new Henry Willis organ at Royal Albert Hall in London and five more at the Crystal Palace. Though he wrote no major works for the organ,[24] his improvisation sessions sometimes yielded ideas for the symphonies. He taught organ performance at the Conservatory; among his students were Hans Rott and Franz Schmidt. Gustav Mahler, who called Bruckner his "forerunner", attended the conservatory at this time.[25]

Bruckner was a lifelong bachelor who made numerous unsuccessful marriage proposals to teenage girls. One such was the daughter of a friend, called Louise; in his grief he is believed to have written the cantata "Entsagen" (Renunciation). His affection for teenage girls led to an accusation of impropriety where he taught music, and while he was exonerated, he decided to concentrate on teaching boys afterwards. His calendar for 1874 details the names of girls who appealed to him, and the list of such girls in all his diaries was very long. In 1880 he fell for a 17-year-old peasant girl in the cast of the Oberammergau Passion Play. His interest in teenage girls seems to have been motivated by his fear of sin; he believed that (unlike older women) he could be certain that he was marrying a virgin. His unsuccessful proposals to teenagers continued when he was past his 70th birthday; one prospect, Berlin hotel chambermaid Ida Buhz, came near to marrying him but broke off the engagement when she refused to convert to Catholicism.[26][27][28] He suffered from periodic attacks of depression, with his numerous failed attempts to find a female companion only adding to his unhappiness.[29]

In July 1886, the Emperor decorated him with the Order of Franz Joseph.[30] He most likely retired from his position at the University of Vienna in 1892, at the age of 68. He wrote a great deal of music that he used to help teach his students.

Bruckner died in Vienna in 1896 at the age of 72. He is buried in the crypt of the monastery church at Sankt Florian, immediately below his favorite organ.[31] He had always had a morbid fascination with death and dead bodies,[32] and left explicit instructions regarding the embalming of his corpse.

The Anton Bruckner Private University for Music, Drama, and Dance, an institution of higher education in Linz, close to his native Ansfelden, was named after him in 1932 (as the "Bruckner Conservatory Linz" until 2004). The Bruckner Orchestra Linz was also named in his honor.

Compositions

See also: List of compositions by Anton Bruckner
 
Portrait of Anton Bruckner (1889)

Sometimes Bruckner's works are referred to by WAB numbers, from the Werkverzeichnis Anton Bruckner, a catalogue of Bruckner's works edited by Renate Grasberger.

The revision issue has generated controversy. A common explanation for the multiple versions is that Bruckner was willing to revise his work on the basis of harsh, uninformed criticism from his colleagues. "The result of such advice was to awaken immediately all the insecurity in the non-musical part of Bruckner's personality," musicologist Deryck Cooke writes. "Lacking all self-assurance in such matters, he felt obliged to bow to the opinions of his friends, 'the experts,' to permit ... revisions and even to help make them in some cases."[33] This explanation was widely accepted when it was championed by Bruckner scholar Robert Haas, who was the chief editor of the first critical editions of Bruckner's works published by the International Bruckner Society; it continues to be found in the majority of program notes and biographical sketches concerning Bruckner. Haas's work was endorsed by the Nazis and so fell out of favour after the war as the Allies enforced denazification.[34] Haas's rival Leopold Nowak was appointed to produce a whole new critical edition of Bruckner's works. He and others such as Benjamin Korstvedt [fr] and conductor Leon Botstein argued that Haas's explanation is at best idle speculation, at worst a shady justification of Haas's own editorial decisions. Also, it has been pointed out that Bruckner often started work on a symphony just days after finishing the one before.[35] As Deryck Cooke writes, "In spite of continued opposition and criticism, and many well-meaning exhortations to caution from his friends, he looked neither to right nor left, but simply got down to work on the next symphony."[33] The matter of Bruckner's authentic texts and the reasons for his changes to them remains politicised and uncomfortable.[34]

Symphonies

Further information: List of symphonies by Anton Bruckner
Symphony no. 3, third movement (excerpt)

"Bruckner expanded the concept of the symphonic form in ways that have never been witnessed before or since. … When listening to a Bruckner symphony, one encounters some of the most complex symphonic writing ever created. As scholars study Bruckner's scores they continue to revel in the complexity of Bruckner's creative logic."[36]

Bruckner composed eleven symphonies, the first, the Study Symphony in F minor in 1863, the last, the unfinished Symphony No. 9 in D minor in 1887–96. With the exception of Symphony No. 4 (Romantic), none of Bruckner's symphonies originally had a subtitle and in the case of those that now do, the nicknames or subtitles did not originate with the composer.

Style

 
Bruckner with the Order of Franz Joseph, 1886

Bruckner's symphonies are scored for a fairly standard orchestra of woodwinds in pairs, four horns, two or three trumpets, three trombones, tuba (from the second version of the Fourth), timpani and strings. The later symphonies increase this complement, but not by much. Notable is the use of Wagner tubas in his last three symphonies. Only the Eighth has harp, and percussion besides timpani in all versions. (The Seventh, in some versions, features a single cymbal crash alongside a triangle roll at the climax of the second movement). Bruckner's style of orchestral writing was criticized by his Viennese contemporaries (Eduard Hanslick and his circle), but by the middle of the twentieth century, musicologists recognized that his orchestration was modeled after the sound of his primary instrument, the pipe organ, i.e., alternating between two groups of instruments, as when changing from one manual of the organ to another.

Structure

The structure of Bruckner's symphonies is in a way an extension of that of Beethoven's symphonies. Bruckner's symphonies are in four movements.[37]

  • The first movement, in 4
    4     or 2
    2    , is, from Symphony No. 2 on, an allegro in modified sonata form with three thematic groups.[38] The first group is mostly displayed in piano or pianissimo on a tremolo of the string instruments and is, after a long crescendo, repeated in tutti. The second group, melodious and in ABA' lied form, is mostly of contrapuntal structure. The third group, mostly rhythmical and often in unison, is sometimes a variant of the first group, as in Symphony No. 4. The often extensive development is followed by a modified and somewhat shortened reprise[39] and a powerful coda.
  • The second movement, mostly an adagio in 4
    4    , is generally in ABA′B′A″ lied form. The first thematic group, sometime rhythmical, is developed and magnified in the third and fifth parts. The second group is mostly a melody in cantilena form.[40] The adagio is put in third position in the first version of Symphony No. 2, and in Symphony No. 8 and Symphony No. 9.
  • The scherzo in 3
    4     and in minor mode is often fiery. The, sometimes very short, trio is more melodious and often in Ländler form. The da capo reprise, in Bruckner's early symphonies, ends with a short, powerful coda. The revised version of the Symphony No. 4 features a scherzo – the "Hunt scherzo" – in which the outer sections are in 2
    4     and in major mode.
  • The Finale, in 4
    4     or 2
    2    , is, as the first movement, an allegro in modified sonata form with three thematic groups. The first group, often a kind of introduction, is followed by a second, melodious and often contrapuntal group, and a third, rhythmical and often in unison, group, which is sometimes a variant of the first group, as in Symphony No. 2. The development, often of dramatic character, is followed by a less formal reprise, which is sometimes inverted (C′B′A') as in Symphony No. 7,[41] and a coda in which the first thematic group of the first movement is magnified. In the coda of Symphony No. 8, the first thematic group of all four movements are magnified.

Nicholas Temperley writes in the New Grove Dictionary of Music and Musicians (1980) that Bruckner

alone succeeded in creating a new school of symphonic writing.... Some have classified him as a conservative, some as a radical. Really he was neither, or alternatively was a fusion of both.... [H]is music, though Wagnerian in its orchestration and in its huge rising and falling periods, patently has its roots in older styles. Bruckner took Beethoven's Ninth Symphony as his starting-point.... The introduction to the first movement, beginning mysteriously and climbing slowly with fragments of the first theme to the gigantic full statement of that theme, was taken over by Bruckner; so was the awe-inspiring coda of the first movement. The scherzo and slow movement, with their alternation of melodies, are models for Bruckner's spacious middle movements, while the finale with a grand culminating hymn is a feature of almost every Bruckner symphony.[42]

Bruckner is the first composer since Schubert about whom it is possible to make such generalizations. His symphonies deliberately followed a pattern, each one building on the achievements of its predecessors.... His melodic and harmonic style changed little, and it had as much of Schubert in it as of Wagner.... His technique in the development and transformation of themes, learnt from Beethoven, Liszt and Wagner, was unsurpassed, and he was almost the equal of Brahms in the art of melodic variation.[43]

Deryck Cooke adds, also in the New Grove,

Despite its general debt to Beethoven and Wagner, the "Bruckner Symphony" is a unique conception, not only because of the individuality of its spirit and its materials, but even more because of the absolute originality of its formal processes. At first, these processes seemed so strange and unprecedented that they were taken as evidence of sheer incompetence.... Now it is recognized that Bruckner's unorthodox structural methods were inevitable.... Bruckner created a new and monumental type of symphonic organism, which abjured the tense, dynamic continuity of Beethoven, and the broad, fluid continuity of Wagner, in order to express something profoundly different from either composer, something elemental and metaphysical.[44]

In a concert review, Bernard Holland described parts of the first movements of Bruckner's sixth and seventh symphonies as follows: "There is the same slow, broad introduction, the drawn-out climaxes that grow, pull back and then grow some more – a sort of musical coitus interruptus."[45]

In the 2001 Second Edition of the New Grove, Mark Evan Bonds called the Bruckner symphonies "monumental in scope and design, combining lyricism with an inherently polyphonic design.... Bruckner favored an approach to large-scale form that relied more on large-scale thematic and harmonic juxtaposition. Over the course of his output, one senses an ever-increasing interest in cyclic integration that culminates in his masterpiece, the Symphony No. 8 in C minor, a work whose final page integrates the main themes of all four movements simultaneously."[46]

 
Copy of the Tilgner bust

In 1990, the American artist Jack Ox gave a paper called The Systematic Translation of Anton Bruckner's Eighth Symphony into a series of Thirteen Paintings at the Bruckner Symposium in Linz Austria; here she structurally analyzed all of the Eighth Symphony's themes. She then proceeded to show how she mapped this musical data into a series of twelve large, painted visualizations.[47] The conference report was published in 1993.[48]

The Bruckner Problem

Further information: Versions and editions of Bruckner's symphonies

"The Bruckner Problem" refers to the difficulties and complications resulting from the numerous contrasting versions and editions that exist for most of the symphonies.[49] The term gained currency following the publication (in 1969) of an article dealing with the subject, "The Bruckner Problem Simplified" by musicologist Deryck Cooke, which brought the issue to the attention of English-speaking musicians.[50]

The first versions of Bruckner's symphonies often presented an instrumental, contrapuntal and rhythmic complexity (Brucknerian rhythm "2 + 3", use of quintuplets), the originality of which has not been understood and which were considered unperformable by the musicians. In order to make them "performable", the symphonies, except Symphonies No. 5, No. 6 and No. 7, have been revised several times. Consequently, there are several versions and editions, mainly of Symphonies 3, 4 and 8, which have been deeply emended by Bruckner's friends and associates, and it is not always possible to tell whether the emendations had Bruckner's direct authorization.

Looking for authentic versions of the symphonies, Robert Haas produced during the 1930s a first critical edition of Bruckner's works based on the original scores. After World War II other scholars (Leopold Nowak, William Carragan, Benjamin-Gunnar Cohrs et al.) carried on with this work.

Sacred choral works

 
"Ave Maria"
The second of Bruckner's three settings of "Ave Maria" performed by the United States Navy Band's Sea Chanters ensemble
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Bruckner was a devoutly religious man, and composed numerous sacred works. He wrote a Te Deum, five psalm settings (including Psalm 150 in the 1890s), a Festive cantata, a Magnificat, about forty motets (among them eight settings of Tantum ergo, and three settings of both Christus factus est and Ave Maria), and at least seven Masses.

The three early Masses (Windhaager Messe, Kronstorfer Messe and Messe für den Gründonnerstag), composed between 1842 and 1844, were short Austrian Landmessen for use in local churches and did not always set all the numbers of the ordinary. His Requiem in D minor of 1849 is the earliest work Bruckner himself considered worthy of preservation. It shows the clear influence of Mozart's Requiem (also in D minor) and similar works of Michael Haydn. The seldom performed Missa solemnis, composed in 1854 for Friedrich Mayer's installation, was the last major work Bruckner composed before he started to study with Simon Sechter, with the possible exception of Psalm 146, a large work, for SATB soloists, double choir and orchestra.

The three Masses which Bruckner wrote in the 1860s and revised later on in his life are more often performed. The Masses numbered 1 in D minor and 3 in F minor are for solo singers, mixed choir, organ ad libitum and orchestra, while No. 2 in E minor is for mixed choir and a small group of wind instruments, and was written in an attempt to meet the Cecilians halfway. The Cecilians wanted to rid church music of instruments entirely. No. 3 was clearly meant for concert, rather than liturgical performance, and it is the only one of his Masses in which he set the first line of the Gloria, "Gloria in excelsis Deo", and of the Credo, "Credo in unum Deum", to music. In concert performances of the other Masses, these lines are intoned by a tenor soloist in the way a priest would, with a line of plainsong.

Secular vocal works

 
"Anton Bruckner arrives in Heaven". Bruckner is greeted by (from left to right): Liszt, Wagner, Schubert, Schumann, Weber, Mozart, Beethoven, Gluck, Haydn, Handel, Bach. (Silhouette drawing by Otto Böhler)

As a young man Bruckner sang in men's choirs and wrote music for them. Bruckner's secular choral music was mostly written for choral societies. The texts are always in German. Some of these works were written specifically for private occasions such as weddings, funerals, birthdays or name-days, many of these being dedicated to friends and acquaintances of the composer.[51] This music is rarely performed. Biographer Derek Watson characterizes the pieces for men's choir as being "of little concern to the non-German listener".[52] Of about 30 such pieces, a most unusual and evocative composition is the song Abendzauber (1878) for men's choir, man soloist, yodelers and four horns.

Bruckner also composed 20 Lieder, of which only a few have been published. The Lieder that Bruckner composed in 1861–1862 during his tuition by Otto Kitzler have not been WAB classified.[53] In 2013 the Austrian National Library was able to acquire a facsimile of the Kitzler-Studienbuch, the autograph manuscript hitherto unavailable to the public. The facsimile is edited by Paul Hawkshaw and Erich Wolfgang Partsch in Band XXV of Bruckner's Gesamtausgabe.[54]

Bruckner composed also five name-day cantatas, as well as two patriotic cantatas, Germanenzug and Helgoland, on texts by August Silberstein. Germanenzug (WAB 70), composed in 1863–1864, was Bruckner's first published work. Helgoland (WAB 71), for TTBB men's choir and large orchestra, was composed in 1893 and was Bruckner's last completed composition and the only secular vocal work that he thought worthy enough to bequeath to the Austrian National Library.

Other works

During his apprenticeship with Otto Kitzler, Bruckner composed three short orchestral pieces and a March in D minor as orchestration exercises. At that time he also wrote an Overture in G minor. These works, which are occasionally included in recordings of the symphonies, show already hints of Bruckner's emerging style.

A String Quartet in C minor and the additional Rondo in C minor, also composed in 1862, were discovered decades after Bruckner's death. The later String Quintet in F Major of 1879, contemporaneous with the Fifth and Sixth symphonies, has been frequently performed. The Intermezzo in D minor, which was intended to replace its scherzo, is not frequently performed.

A Symphonisches Präludium (Symphonic Prelude) in C minor was discovered by Mahler scholar Paul Banks in the Austrian National Library in 1974 in a piano duet transcription. Banks ascribed it to Gustav Mahler, and had it orchestrated by Albrecht Gürsching. In 1985 Wolfgang Hiltl, who had retrieved the original score by Rudolf Krzyzanowski, had it published by Doblinger (issued in 2002). According to scholar Benjamin-Gunnar Cohrs, the stylistic examination of this "prelude" shows that it is all Bruckner's. Possibly Bruckner had given a draft-score to his pupil Krzyzanowski, which already contained the string parts and some important lines for woodwind and brass, as an exercise in instrumentation.[55]

Bruckner's Two Aequali of 1847 for three trombones are solemn, brief works. The Military march of 1865 is an occasional work as a gesture of appreciation for the Militär-Kapelle der Jäger-Truppe of Linz. Abendklänge of 1866 is a short character piece for violin and piano.

Bruckner also wrote a Lancer-Quadrille (c. 1850) and a few other small works for piano. Most of this music was written for teaching purposes. Sixteen other pieces for piano, which Bruckner composed in 1862 during his tuition by Kitzler, have not been WAB classified.[56] A facsimile of these pieces is found in the Kitzler-Studienbuch.[54]

Bruckner was a renowned organist at the St Florian's Priory, where he improvised frequently. Those improvisations were usually not transcribed, so that only a few of his works for organ has survived. The five Preludes in E-flat major (1836–1837), classified WAB 127 and WAB 128, as well as a few other WAB-unclassified works, which have been found in Bruckner's Präludienbuch, are probably not by Bruckner.[57]

Bruckner never wrote an opera, and as much as he was a fan of Wagner's music dramas, he was uninterested in drama.[58] In 1893 he thought about writing an opera called Astra based on a novel by Gertrud Bollé-Hellmund.[59] Although he attended performances of Wagner's operas, he was much more interested in the music than the plot. After seeing Wagner's Götterdämmerung, he asked: "Tell me, why did they burn the woman at the end?"[60] Nor did Bruckner ever write an oratorio.

Bruckner Gesamtausgabe

Main article: Bruckner Gesamtausgabe

Published by Musikwissenschaftlicher Verlag in Vienna, the Bruckner Kritische Gesamtausgabe (Bruckner's Critical Complete Edition) comprises three successive editions.

  • The first edition (1934–1944, Editorial Head: Robert Haas) included 'hybrid' scores for Symphonies 2 and 8 and other similar conflations for some other revised works.
  • In the second edition (1951–1989, Editorial Head: Leopold Nowak) Nowak et al. went about publishing several versions of some works, in the process correcting some mistakes of Haas. After Nowak's resignation, (1990 onwards, Editorial Head: Herbert Vogg) William Carragan, Paul Hawkshaw, Benjamin-Gunnar Cohrs et al. are in the process of reviewing and further correcting the work of Haas and Nowak.[61]
  • In 2011 it has been decided to issue a new edition (editorial board: Paul Hawkshaw, Thomas Leibnitz, Andreas Lindner, Angela Pachovsky, Thomas Röder), which will include the content of the current edition and integrate it with sources the had been retrieved since its publication.

Reception in the 20th century

Because of the long duration and vast orchestral canvas of much of his music, Bruckner's popularity has greatly benefited from the introduction of long-playing media and from improvements in recording technology.

Decades after his death, the Nazis strongly approved of Bruckner's music because they saw it as expressing the zeitgeist of the German volk, and Hitler even consecrated a bust of Bruckner in a widely photographed ceremony in 1937 at Regensburg's Walhalla temple. Bruckner's music was among the most popular in Nazi Germany.

Near the end of World War II, Adolf Hitler became enamored with the music of Bruckner, and, as a result, planned to convert the monastery of St. Florian in Linz – where Bruckner had played the organ, and where he was buried – into a repository of Bruckner's manuscripts. Hitler evicted the monks from the building and personally paid for the restoration of the organ and the institution of a Bruckner study center there. He also paid for the Haas collection of Bruckner's works to be published, and himself purchased material for the proposed library. Additionally, Hitler caused the founding of the Bruckner Symphony Orchestra, which began presenting concerts in Fall 1943. His plan for one of the bell towers in Linz to play a theme from Bruckner's Fourth Symphony never came to pass.[62] The Adagio from Bruckner's Seventh Symphony was broadcast by German radio (Deutscher Reichsrundfunk) when it announced the news of Hitler's death on 1 May 1945.

Today the Brucknerhaus in Linz, which opened in 1974, is named after him.

The approval by Hitler and the Nazis of his music did not hurt Bruckner's standing in the postwar media, and several movies and TV productions in Europe and the United States have used excerpts from his music ever since the 1950s, as they already did in the 1930s.[63] Nor did the Israel Philharmonic Orchestra ever ban Bruckner's music as they have Wagner's, even recording the Eighth Symphony with Zubin Mehta.

Bruckner's symphonic works, much maligned in Vienna in his lifetime, now have an important place in the tradition and musical repertoire of the Vienna Philharmonic Orchestra.

In popular culture

The life of Bruckner was portrayed in Jan Schmidt-Garre's 1995 film Bruckner's Decision, which focuses on his recovery in an Austrian spa. Ken Russell's TV movie The Strange Affliction of Anton Bruckner, starring Peter Mackriel, also fictionalizes Bruckner's real-life stay at a sanatorium because of obsessive-compulsive disorder (or 'numeromania' as it was then described).[64]

In addition, Visconti used the music of Bruckner for his Senso (1954), its plot concerned with the Austrian invasion of Italy in the 1860s."[65] The score by Carl Davis for the restoration of the 1925 film Ben-Hur takes "inspiration from Bruckner to achieve reverence in biblical scenes."[66]

See also

References

Notes

  1. ^ (in French) Paul-Gilbert Langevin, Anton Bruckner – apogée de la symphonie, l'Age d'Homme, Lausanne, 1977 – ISBN 978-2-8251-0880-2
  2. ^ In German "halb Genie, halb Trottel". This description is often, but mistakenly, attributed to Gustav Mahler. Hans-Joachim Hinrichsen: "»Halb Genie, halb Trottel«. Hans von Bülows Urteil über Anton Bruckner". In: IBG-Mitteilungsblatt 55 (2000), pp. 21–24.
  3. ^ "The laconic idiom of restraint, the art of mere suggestion, involving economy of means and form, is not theirs." Bruno Walter observed, comparing Bruckner and Gustav Mahler (see Walter 1940).
  4. ^ a b Rudolf Kloiber: Handbuch der klassischen und romantischen Symphonie. Breitkopf & Härtel, Wiesbaden 1964. ISBN 978-3-7651-0017-8. Pages 241–285
  5. ^ a b c d Grebe, Karl (1972). Anton Bruckner. Hamburg: Rowohlt Taschenbuchverlag. ISBN 978-3-499-50190-6.
  6. ^ Schönzeler, Hans-Hubert (1970). Bruckner. New York: Grossman Publishers. p. 8. Josef Bruckner had twelve children, and one of them, Anton, born in 1791, became a teacher like his father. ... In 1823 he married Therese Helm from Streyr, a marriage which was to be blessed with eleven children, ... Their eldest was Josef Anton, born on 4 September 1824 and named after his grandfather.
  7. ^ . 52composers.com. Archived from the original on 27 July 2018. Retrieved 27 July 2018.
  8. ^ Classical Music (Visual Reference Guide Series).
  9. ^ "Discography of Pange lingua WAB 31". Brucknerdiskografie.nl. 26 April 2014. Retrieved 30 June 2014.
  10. ^ Watson, Derek (1997). Bruckner. New York: Schuster & Macmillan. p. 3.
  11. ^ Paul-Gilbert Langevin, Anton Bruckner – apogée de la symphonie, pp. 17, 306
  12. ^ Grebe1972, p. 27.
  13. ^ Hinrichsen 2010, p. 18.
  14. ^ Grebe 1972, pp. 27–34.
  15. ^ Hawkshaw, Paul (2007). "Anton Bruckner's Counterpoint Studies at the Monastery of Saint Florian, 1845–55". The Musical Quarterly. 90 (1): 94.
  16. ^ "Bruckner Gemeinde". www.antonbruckner.at.
  17. ^ Hinrichsen, Hans-Joachim, ed. (2010). Bruckner Handbuch. Stuttgart: J. B. Metzler'sche Verlagsbuchhandlung and Carl Ernst Poeschel Verlag. p. 31.
  18. ^ "Bruckner: Motets – CD – CDA66062 – Anton Bruckner (1824–1896)". Hyperion Records. Retrieved 6 February 2014.
  19. ^ Henry-Louis de La Grange, Gustav Mahler: Volume 3. "Vienna: Triumph and Disillusion" (1904–1907), footnote 66, p. 486; Retrieved 28 August 2013
  20. ^ Klose, Friedrich (1927). Meine Lehrjahre bei Bruckner; Erinnerungen und Betrachtungen. Regensburg, G. Bosse.
  21. ^ Schönzeler 1970, p. 70: "In July 1875 Bruckner ... proposed yet a third time to the university of Vienna that a lectureship in harmony and counterpoint be created, and at long last, despite Hanslick's opposition, his application was successful. Bruckner was appointed to the post, and on 25 November 1875 he gave his opening oration."
  22. ^ Peter Gammond, Bluff Your Way in Music. London: Ravette Books (1985):: 33. "it is generally said that Bruckner was a very simple man ... If, after listening to one of his symphonies, you still feel that he was simple, then you are not the kind of person who should be reading this book."
  23. ^ Grebe 1972, p. [page needed].
  24. ^ Watson 1997, p. 73: "Unlike Franck or Reger, however, he [Bruckner] has not left a single composition of any value for his instrument."
  25. ^ Walter n.d.[incomplete short citation]
  26. ^ Wolff, Werner (1942), Anton Bruckner Rustic Genius, E.P. Dutton & Co
  27. ^ Wilson. C. (1966), Chords and Discords: Purely Personal Opinions on Music, Crown Publishers, p.40
  28. ^ Engel, G. (1940), "The Life of Anton Bruckner", in Chord and Dischord: A Journal of Modern Musical Progress, Bruckner Society of America, Inc., January 1940 – (Vol. 2, No.1)
  29. ^ "BRUCKNER, Anton (1824–1896)".
  30. ^ Watson 1997, p. 39.
  31. ^ Schönzeler 1970, p. 108: "Bruckner's ... body was taken to St. Florian. ... There, in a splendid sarcophagus, lie the earthly remains of Anton Bruckner, but from above the crypt, from the great 'Bruckner Organ', his living spirit still bursts forth."
  32. ^ Service, Tom (1 April 2014). "Sex, death and dissonance: the strange, obsessive world of Anton Bruckner". The Guardian. Retrieved 4 April 2018.
  33. ^ a b Cooke, New Grove (1980), 3:360.
  34. ^ a b Johnson, Stephen (10 January 1996), Bruckner: guilty or not guilty?, The Independent, UK, archived from the original on 7 May 2022
  35. ^ Watson 1997, p. 46.
  36. ^ "Anton Bruckner – An Introduction by John F. Berky". Abruckner.com. Retrieved 30 June 2014.
  37. ^ "Carragan, William: Timed Analysis Tables – Anton Bruckner". www.abruckner.com.
  38. ^ William Carragan: The Bruckner Brand, Part 1 – The Three-Theme Exposition
  39. ^ "Torring, Ebbe: Essay & Appendix on Recapitulations in Bruckner Symphonies – Anton Bruckner". www.abruckner.com.
  40. ^ William Carragan: The Bruckner Brand, Part 2 – The Five-Part Song Form
  41. ^ William Carragan – Bruckner's Golden Arches
  42. ^ Temperley, New Grove (1980), 18:461–462.
  43. ^ Temperley, New Grove (1980), 18:462.
  44. ^ Cooke, New Grove (1980), 3:365.
  45. ^ Holland, Bernard (25 January 2008). "In a Show of Accessibility, Schumann Joins Bruckner". The New York Times.
  46. ^ Bonds, New Grove (2001), 24:839.
  47. ^ "Bruckner". intermediaprojects.org.
  48. ^ Ox, Anton Bruckner Institute Linz (1993), 83:101.
  49. ^ H. C. Robbins Landon, The Symphonies of Joseph Haydn. London: Universal Edition & Rockliff (1955): 101. "The Bruckner problem is ... complicated by the fact that not only did the composer often revise his own works but to a certain extent sanctioned the alterations, even those on the largest scale, which his pupils and others found it advisable to make. The case of Haydn is simpler, since we are not faced with two or more alternatives but with one."
  50. ^ Cooke 1969.
  51. ^ "Anton Bruckner's Critical Complete Edition – Songs and secular choral works". Mwv.at. Retrieved 30 June 2014.
  52. ^ Watson 1997, p. 72: "They are of little concern to the non-German listener and do not represent important stages in Bruckner's creative unfolding."
  53. ^ "Discography of Bruckner's secular choral music by Hans Roelofs". Brucknerdiskografie.nl. Retrieved 19 June 2020.
  54. ^ a b Kitzler Study Book – Facsimile ISBN 978-3-900270-99-5
  55. ^ "Benjamin-Gunnar Cohrs: Symphonisches Präludium – Composed by Anton Bruckner?, 2006/rev.2010" (PDF). (PDF) from the original on 27 September 2013. Retrieved 30 June 2014.
  56. ^ "Discography of Bruckner's piano works by Hans Roelofs". Brucknerdiskografie.nl. Retrieved 30 June 2014.
  57. ^ "Bruckner's organ works listed and commented by Hans Roelofs". Brucknerdiskografie.nl. Retrieved 19 June 2020.
  58. ^ Watson 1997, p. 19: "Studying Tristan Bruckner used a piano score without text – a sign of how unconcerned he was with opera as drama."
  59. ^ Watson 1997, pp. 45–46.
  60. ^ Keith William Kinder, The Wind and Wind-chorus Music of Anton Bruckner. Westport, Connecticut: Greenwood Publishing Group (2000): 51, note 14
  61. ^ "Anton Bruckner (1824–1896) – Kritische Gesamtausgabe". Mwv.at. Retrieved 30 June 2014.
  62. ^ Evans, Richard J. (2008) The Third Reich at War. New York: Penguin Books. p. 579. ISBN 978-0-14-311671-4
  63. ^ "Bruckner in the Movies, TV and Radio". Abruckner.com. Retrieved 27 August 2012.
  64. ^ Charles P. Mitchell, The Great Composers Portrayed on Film: 1913 through 2002. Jefferson, North Carolina: McFarland & Company, Inc., Publishers (2004): 49 – 50
  65. ^ Cooke 2008, p. 437.
  66. ^ Cooke, Mervyn (2008). A History of Film Music. Cambridge: Cambridge University Press. p. 39.

Sources

  • Bruckner, Anton. Symphony No. 8/2, C minor, 1890 version. Edited by Leopold Nowak. New York: Eulenberg, 1994.
  • Cooke, Deryck (1969), "The Bruckner Problem Simplified", The Musical Times, CX (1511): 59–62, ISSN 0027-4666, JSTOR 953722
  • Gilliam, Bryan (1997). "The Annexation of Anton Bruckner: Nazi Revisionism and the Politics of Appropriation". In Jackson, Timothy L.; Hawkshaw, Paul (eds.). Bruckner Studies. Cambridge: Cambridge University Press. pp. 72–91. ISBN 978-0-521-57014-5.
  • Uwe Harten, Anton Bruckner. Ein Handbuch. Residenz Verlag, Salzburg, 1996. ISBN 978-3-7017-1030-0.
  • Korstvedt, Benjamin M. [] Anton Bruckner: Symphony No. 8 (Cambridge, UK: Cambridge University Press, 2000), 19.
  • The New Grove Dictionary of Music and Musicians, ed. Stanley Sadie, (London: Macmillan, 1980), 20 vols. ISBN 978-0-333-23111-1.
  • The New Grove Dictionary of Music and Musicians, second edition, ed. Stanley Sadie, (London: Macmillan, 2001), 29 vols. ISBN 978-0-333-60800-5.
  • Horton, Julian, "Bruckner's Symphonies: Analysis, Reception and Cultural Politics", 2004, Cambridge.
  • Korstvedt, Benjamin (2004), "Bruckner editions: the revolution revisited", in Williamson, John (ed.), The Cambridge Companion to Bruckner, Cambridge Companions to Music, Cambridge University Press, ISBN 978-0-521-00878-5
  • James R. Oestreich, "Problems and Detours on Bruckner's Timeline", The New York Times, 10 July 2005, Sec. Arts and Leisure, p. 23.
  • Walter, Bruno (November 1940), "Bruckner and Mahler", Chord and Dischord, Bruckner Society of America, II (2): 2–12, retrieved 29 July 2006
  • Cornelis van Zwol [fr], Anton Bruckner 1824–1896 – Leven en werken, Thoth, Bussum, Netherlands, 2012 ISBN 978-90-6868-590-9

Further reading

External links

 
Wikimedia Commons has media related to Anton Bruckner.
 
Wikiquote has quotations related to Anton Bruckner.

January 09, 2023
anton, bruckner, bruckner, redirects, here, other, uses, bruckner, disambiguation, josef, german, ˈantoːn, ˈbʁʊknɐ, listen, september, 1824, october, 1896, austrian, composer, organist, music, theorist, best, known, symphonies, masses, deum, motets, first, con. Bruckner redirects here For other uses see Bruckner disambiguation Josef Anton Bruckner German ˈantoːn ˈbʁʊknɐ listen 4 September 1824 11 October 1896 was an Austrian composer organist and music theorist best known for his symphonies masses Te Deum and motets The first are considered emblematic of the final stage of Austro German Romanticism because of their rich harmonic language strongly polyphonic character and considerable length 1 Bruckner s compositions helped to define contemporary musical radicalism owing to their dissonances unprepared modulations and roving harmonies Anton Bruckner wearing the badge of the Order of Franz Joseph portrait by Josef Buche de Unlike other musical radicals such as Richard Wagner and Hugo Wolf Bruckner showed extreme humility before other musicians Wagner in particular This apparent dichotomy between Bruckner the man and Bruckner the composer hampers efforts to describe his life in a way that gives a straightforward context for his music Hans von Bulow described him as half genius half simpleton 2 Bruckner was critical of his own work and often reworked his compositions There are several versions of many of his works His works the symphonies in particular had detractors most notably the influential Austrian critic Eduard Hanslick and other supporters of Johannes Brahms who pointed to their large size and use of repetition 3 as well as to Bruckner s propensity for revising many of his works often with the assistance of colleagues and his apparent indecision about which versions he preferred On the other hand Bruckner was greatly admired by subsequent composers including his friend Gustav Mahler Contents 1 Life and career 1 1 Early life 1 2 Teacher s education 1 3 Organist in Sankt Florian 1 4 Study period 1 5 The Vienna period 2 Compositions 2 1 Symphonies 2 1 1 Style 2 1 2 Structure 2 1 3 The Bruckner Problem 2 2 Sacred choral works 2 3 Secular vocal works 2 4 Other works 2 5 Bruckner Gesamtausgabe 3 Reception in the 20th century 3 1 In popular culture 4 See also 5 References 5 1 Notes 5 2 Sources 6 Further reading 7 External linksLife and career EditEarly life Edit The house in Ansfelden Austria where Anton Bruckner was born It is now the Anton Bruckner Museum Anton Bruckner was born in Ansfelden then a village now a suburb of Linz on 4 September 1824 The ancestors of Bruckner s family were farmers and craftsmen their history can be traced as far back as the 16th century They lived near a bridge south of Sindelburg which led to their being called Bruckhner an der Bruckhen bridgers on the bridge Bruckner s grandfather was appointed schoolmaster in Ansfelden in 1776 this position was inherited by Bruckner s father Anton Bruckner Sr in 1823 4 It was a poorly paid but well respected position in the rural environment 5 6 Bruckner Sr married Therese Helm and they had eleven children Anton Bruckner being the eldest 7 Music was a part of the school curriculum and Bruckner s father was his first music teacher 5 Bruckner learned to play the organ early as a child He was very dedicated to the instrument just as he was later in life in composing often practising for 12 hours a day 8 He entered school when he was six proved to be a hard working student and was promoted to upper class early While studying Bruckner also helped his father in teaching the other children After Bruckner received his confirmation in 1833 Bruckner s father sent him to another school in Horsching The schoolmaster Johann Baptist Weiss was a music enthusiast and respected organist Here Bruckner completed his school education and refined his skills as an organist Around 1835 Bruckner wrote his first composition a Pange lingua one of the compositions which he revised at the end of his life 9 When his father became ill Anton returned to Ansfelden to help him in his work Teacher s education Edit St Florian s Priory where Bruckner lived on many occasions during his life Bruckner s father died in 1837 when Bruckner was 13 years old The teacher s position and house were given to a successor and Bruckner was sent to the Augustinian monastery in Sankt Florian to become a choirboy 5 10 In addition to choir practice his education included violin and organ lessons Bruckner was in awe of the monastery s great organ which was built during the late baroque era and rebuilt in 1837 and he sometimes played it during church services Later the organ was to be called the Bruckner Organ Despite his musical abilities Bruckner s mother sent her son to a teaching seminar in Linz in 1841 After completing the seminar with an excellent grade Bruckner was sent as a teacher s assistant to a school in Windhaag The living standards and pay were appalling and Bruckner was constantly humiliated by his superior teacher Franz Fuchs Despite the difficult situation Bruckner never complained or rebelled a belief in his own inferiority was to remain one of Bruckner s main personal traits during his whole life He stayed at Windhaag from age 17 to 19 teaching subjects that had nothing to do with music Prelate Michael Arneth noticed Bruckner s bad situation in Windhaag and awarded him a teacher s assistant position in the vicinity of the monastic town of Sankt Florian sending him to Kronstorf an der Enns for two years Here he would be able to have more of a part in musical activity The time in Kronstorf was a much happier one for Bruckner Between 1843 and 1845 Bruckner was the pupil of Leopold von Zenetti in Enns 11 Compared to the few works he wrote in Windhaag the Kronstorf compositions from 1843 to 1845 show a significantly improved artistic ability and finally the beginnings of what could be called the Bruckner style 12 Among the Kronstorf works is the vocal piece Asperges me WAB 4 which the young teacher s assistant out of line given his position signed with Anton Bruckner m p ria Comp onist This has been interpreted as a lone early sign of Bruckner s artistic ambitions Otherwise little is known of Bruckner s life plans and intentions 13 Organist in Sankt Florian Edit The Bruckner Organ in Sankt Florian After the Kronstorf period Bruckner returned to Sankt Florian in 1845 where for the next 10 years he would work as a teacher and an organist 4 In May 1845 Bruckner passed an examination which allowed him to begin work as an assistant teacher in one of the village schools of Sankt Florian He continued to improve his education by taking further courses passing an examination giving him permission to also teach in higher education institutes receiving the grade very good in all disciplines 14 In 1848 Bruckner was appointed an organist in Sankt Florian and in 1851 this was made a regular position 5 In Sankt Florian most of the repertoire consisted of the music of Michael Haydn Johann Georg Albrechtsberger and Franz Joseph Aumann 15 During his stay in Sankt Florian Bruckner continued to work with Zenetti 16 Study period Edit In 1855 Bruckner aspiring to become a student of the famous Vienna music theorist Simon Sechter showed the master his Missa solemnis WAB 29 written a year earlier and was accepted The education which included skills in music theory and counterpoint among others took place mostly via correspondence but also included long in person sessions in Vienna Sechter s teaching would have a profound influence on Bruckner Later when Bruckner began teaching music himself he would base his curriculum on Sechter s book Die Grundsatze der musikalischen Komposition Leipzig 1853 54 17 Bruckner c 1860 Largely self taught as a composer Bruckner only started composing seriously at age 37 in 1861 Bruckner studied further with Otto Kitzler who was nine years younger than him and who introduced him to the music of Richard Wagner which Bruckner studied extensively from 1863 onwards Bruckner considered the earliest orchestral works the study Symphony in F minor the three orchestral pieces the March in D minor and the Overture in G minor which he composed in 1862 1863 mere school exercises done under the supervision of Otto Kitzler He continued his studies to the age of 40 Broad fame and acceptance did not come until he was over 60 after the premiere of his Seventh Symphony in 1884 In 1861 he had already made the acquaintance of Franz Liszt who like Bruckner had a strong Catholic religious faith and who first and foremost was a harmonic innovator initiating the new German school together with Wagner In May 1861 he made his concert debut as both composer and conductor of his Ave Maria set in seven parts 18 Soon after Bruckner had ended his studies under Sechter and Kitzler he wrote his first mature work the Mass in D Minor From 1861 to 1868 he alternated his time between Vienna and Sankt Florian He wished to ensure he knew how to make his music modern but he also wanted to spend time in a more religious setting The Vienna period Edit In 1868 after Sechter had died Bruckner hesitantly accepted Sechter s post as a teacher of music theory at the Vienna Conservatory during which time he concentrated most of his energy on writing symphonies These symphonies were poorly received at times considered wild and nonsensical His students at the Conservatory included Richard Robert 19 His student Friedrich Klose wrote a book about his impressions of Bruckner as a composer and a teacher 20 He later accepted a post at the Vienna University in 1875 21 where he tried to make music theory a part of the curriculum Overall he was unhappy in Vienna which was musically dominated by the critic Eduard Hanslick At the time there was a feud between advocates of the music of Wagner and Brahms by aligning himself with Wagner Bruckner made an unintentional enemy out of Hanslick He was not without supporters though Deutsche Zeitung s music critic Theodor Helm and famous conductors such as Arthur Nikisch and Franz Schalk constantly tried to bring his music to the public and for this purpose proposed improvements for making Bruckner s music more acceptable to the public While Bruckner allowed these changes he also made sure in his will to bequeath his original scores to the Austrian National Library in Vienna confident of their musical validity citation needed In addition to his symphonies Bruckner wrote Masses motets and other sacred choral works and a few chamber works including a string quintet Unlike his romantic symphonies some of Bruckner s choral works are often conservative and contrapuntal in style however the Te Deum Helgoland Psalm 150 and at least one Mass demonstrate innovative and radical uses of chromaticism Biographers generally characterize Bruckner as a simple provincial man 22 and many biographers have complained that there is huge discrepancy between Bruckner s life and his work For example Karl Grebe said his life doesn t tell anything about his work and his work doesn t tell anything about his life that s the uncomfortable fact any biography must start from 23 Anecdotes abound as to Bruckner s dogged pursuit of his chosen craft and his humble acceptance of the fame that eventually came his way Once after a rehearsal of his Fourth Symphony in 1881 the well meaning Bruckner tipped the conductor Hans Richter When the symphony was over Richter related Bruckner came to me his face beaming with enthusiasm and joy I felt him press a coin into my hand Take this he said and drink a glass of beer to my health Richter of course accepted the coin a Maria Theresa thaler and wore it on his watch chain ever after Bruckner was a renowned organist in his day impressing audiences in France in 1869 and the United Kingdom in 1871 giving six recitals on a new Henry Willis organ at Royal Albert Hall in London and five more at the Crystal Palace Though he wrote no major works for the organ 24 his improvisation sessions sometimes yielded ideas for the symphonies He taught organ performance at the Conservatory among his students were Hans Rott and Franz Schmidt Gustav Mahler who called Bruckner his forerunner attended the conservatory at this time 25 Bruckner was a lifelong bachelor who made numerous unsuccessful marriage proposals to teenage girls One such was the daughter of a friend called Louise in his grief he is believed to have written the cantata Entsagen Renunciation His affection for teenage girls led to an accusation of impropriety where he taught music and while he was exonerated he decided to concentrate on teaching boys afterwards His calendar for 1874 details the names of girls who appealed to him and the list of such girls in all his diaries was very long In 1880 he fell for a 17 year old peasant girl in the cast of the Oberammergau Passion Play His interest in teenage girls seems to have been motivated by his fear of sin he believed that unlike older women he could be certain that he was marrying a virgin His unsuccessful proposals to teenagers continued when he was past his 70th birthday one prospect Berlin hotel chambermaid Ida Buhz came near to marrying him but broke off the engagement when she refused to convert to Catholicism 26 27 28 He suffered from periodic attacks of depression with his numerous failed attempts to find a female companion only adding to his unhappiness 29 In July 1886 the Emperor decorated him with the Order of Franz Joseph 30 He most likely retired from his position at the University of Vienna in 1892 at the age of 68 He wrote a great deal of music that he used to help teach his students Bruckner died in Vienna in 1896 at the age of 72 He is buried in the crypt of the monastery church at Sankt Florian immediately below his favorite organ 31 He had always had a morbid fascination with death and dead bodies 32 and left explicit instructions regarding the embalming of his corpse The Anton Bruckner Private University for Music Drama and Dance an institution of higher education in Linz close to his native Ansfelden was named after him in 1932 as the Bruckner Conservatory Linz until 2004 The Bruckner Orchestra Linz was also named in his honor Compositions EditSee also List of compositions by Anton Bruckner Portrait of Anton Bruckner 1889 Sometimes Bruckner s works are referred to by WAB numbers from the Werkverzeichnis Anton Bruckner a catalogue of Bruckner s works edited by Renate Grasberger The revision issue has generated controversy A common explanation for the multiple versions is that Bruckner was willing to revise his work on the basis of harsh uninformed criticism from his colleagues The result of such advice was to awaken immediately all the insecurity in the non musical part of Bruckner s personality musicologist Deryck Cooke writes Lacking all self assurance in such matters he felt obliged to bow to the opinions of his friends the experts to permit revisions and even to help make them in some cases 33 This explanation was widely accepted when it was championed by Bruckner scholar Robert Haas who was the chief editor of the first critical editions of Bruckner s works published by the International Bruckner Society it continues to be found in the majority of program notes and biographical sketches concerning Bruckner Haas s work was endorsed by the Nazis and so fell out of favour after the war as the Allies enforced denazification 34 Haas s rival Leopold Nowak was appointed to produce a whole new critical edition of Bruckner s works He and others such as Benjamin Korstvedt fr and conductor Leon Botstein argued that Haas s explanation is at best idle speculation at worst a shady justification of Haas s own editorial decisions Also it has been pointed out that Bruckner often started work on a symphony just days after finishing the one before 35 As Deryck Cooke writes In spite of continued opposition and criticism and many well meaning exhortations to caution from his friends he looked neither to right nor left but simply got down to work on the next symphony 33 The matter of Bruckner s authentic texts and the reasons for his changes to them remains politicised and uncomfortable 34 Symphonies Edit Further information List of symphonies by Anton Bruckner source source Symphony no 3 third movement excerpt Bruckner expanded the concept of the symphonic form in ways that have never been witnessed before or since When listening to a Bruckner symphony one encounters some of the most complex symphonic writing ever created As scholars study Bruckner s scores they continue to revel in the complexity of Bruckner s creative logic 36 Bruckner composed eleven symphonies the first the Study Symphony in F minor in 1863 the last the unfinished Symphony No 9 in D minor in 1887 96 With the exception of Symphony No 4 Romantic none of Bruckner s symphonies originally had a subtitle and in the case of those that now do the nicknames or subtitles did not originate with the composer Style Edit Bruckner with the Order of Franz Joseph 1886 Bruckner s symphonies are scored for a fairly standard orchestra of woodwinds in pairs four horns two or three trumpets three trombones tuba from the second version of the Fourth timpani and strings The later symphonies increase this complement but not by much Notable is the use of Wagner tubas in his last three symphonies Only the Eighth has harp and percussion besides timpani in all versions The Seventh in some versions features a single cymbal crash alongside a triangle roll at the climax of the second movement Bruckner s style of orchestral writing was criticized by his Viennese contemporaries Eduard Hanslick and his circle but by the middle of the twentieth century musicologists recognized that his orchestration was modeled after the sound of his primary instrument the pipe organ i e alternating between two groups of instruments as when changing from one manual of the organ to another Structure Edit The structure of Bruckner s symphonies is in a way an extension of that of Beethoven s symphonies Bruckner s symphonies are in four movements 37 The first movement in 44 or 22 is from Symphony No 2 on an allegro in modified sonata form with three thematic groups 38 The first group is mostly displayed in piano or pianissimo on a tremolo of the string instruments and is after a long crescendo repeated in tutti The second group melodious and in ABA lied form is mostly of contrapuntal structure The third group mostly rhythmical and often in unison is sometimes a variant of the first group as in Symphony No 4 The often extensive development is followed by a modified and somewhat shortened reprise 39 and a powerful coda The second movement mostly an adagio in 44 is generally in ABA B A lied form The first thematic group sometime rhythmical is developed and magnified in the third and fifth parts The second group is mostly a melody in cantilena form 40 The adagio is put in third position in the first version of Symphony No 2 and in Symphony No 8 and Symphony No 9 The scherzo in 34 and in minor mode is often fiery The sometimes very short trio is more melodious and often in Landler form The da capo reprise in Bruckner s early symphonies ends with a short powerful coda The revised version of the Symphony No 4 features a scherzo the Hunt scherzo in which the outer sections are in 24 and in major mode The Finale in 44 or 22 is as the first movement an allegro in modified sonata form with three thematic groups The first group often a kind of introduction is followed by a second melodious and often contrapuntal group and a third rhythmical and often in unison group which is sometimes a variant of the first group as in Symphony No 2 The development often of dramatic character is followed by a less formal reprise which is sometimes inverted C B A as in Symphony No 7 41 and a coda in which the first thematic group of the first movement is magnified In the coda of Symphony No 8 the first thematic group of all four movements are magnified Nicholas Temperley writes in the New Grove Dictionary of Music and Musicians 1980 that Bruckner alone succeeded in creating a new school of symphonic writing Some have classified him as a conservative some as a radical Really he was neither or alternatively was a fusion of both H is music though Wagnerian in its orchestration and in its huge rising and falling periods patently has its roots in older styles Bruckner took Beethoven s Ninth Symphony as his starting point The introduction to the first movement beginning mysteriously and climbing slowly with fragments of the first theme to the gigantic full statement of that theme was taken over by Bruckner so was the awe inspiring coda of the first movement The scherzo and slow movement with their alternation of melodies are models for Bruckner s spacious middle movements while the finale with a grand culminating hymn is a feature of almost every Bruckner symphony 42 Bruckner is the first composer since Schubert about whom it is possible to make such generalizations His symphonies deliberately followed a pattern each one building on the achievements of its predecessors His melodic and harmonic style changed little and it had as much of Schubert in it as of Wagner His technique in the development and transformation of themes learnt from Beethoven Liszt and Wagner was unsurpassed and he was almost the equal of Brahms in the art of melodic variation 43 Deryck Cooke adds also in the New Grove Despite its general debt to Beethoven and Wagner the Bruckner Symphony is a unique conception not only because of the individuality of its spirit and its materials but even more because of the absolute originality of its formal processes At first these processes seemed so strange and unprecedented that they were taken as evidence of sheer incompetence Now it is recognized that Bruckner s unorthodox structural methods were inevitable Bruckner created a new and monumental type of symphonic organism which abjured the tense dynamic continuity of Beethoven and the broad fluid continuity of Wagner in order to express something profoundly different from either composer something elemental and metaphysical 44 In a concert review Bernard Holland described parts of the first movements of Bruckner s sixth and seventh symphonies as follows There is the same slow broad introduction the drawn out climaxes that grow pull back and then grow some more a sort of musical coitus interruptus 45 In the 2001 Second Edition of the New Grove Mark Evan Bonds called the Bruckner symphonies monumental in scope and design combining lyricism with an inherently polyphonic design Bruckner favored an approach to large scale form that relied more on large scale thematic and harmonic juxtaposition Over the course of his output one senses an ever increasing interest in cyclic integration that culminates in his masterpiece the Symphony No 8 in C minor a work whose final page integrates the main themes of all four movements simultaneously 46 Copy of the Tilgner bust In 1990 the American artist Jack Ox gave a paper called The Systematic Translation of Anton Bruckner s Eighth Symphony into a series of Thirteen Paintings at the Bruckner Symposium in Linz Austria here she structurally analyzed all of the Eighth Symphony s themes She then proceeded to show how she mapped this musical data into a series of twelve large painted visualizations 47 The conference report was published in 1993 48 The Bruckner Problem Edit Further information Versions and editions of Bruckner s symphonies The Bruckner Problem refers to the difficulties and complications resulting from the numerous contrasting versions and editions that exist for most of the symphonies 49 The term gained currency following the publication in 1969 of an article dealing with the subject The Bruckner Problem Simplified by musicologist Deryck Cooke which brought the issue to the attention of English speaking musicians 50 The first versions of Bruckner s symphonies often presented an instrumental contrapuntal and rhythmic complexity Brucknerian rhythm 2 3 use of quintuplets the originality of which has not been understood and which were considered unperformable by the musicians In order to make them performable the symphonies except Symphonies No 5 No 6 and No 7 have been revised several times Consequently there are several versions and editions mainly of Symphonies 3 4 and 8 which have been deeply emended by Bruckner s friends and associates and it is not always possible to tell whether the emendations had Bruckner s direct authorization Looking for authentic versions of the symphonies Robert Haas produced during the 1930s a first critical edition of Bruckner s works based on the original scores After World War II other scholars Leopold Nowak William Carragan Benjamin Gunnar Cohrs et al carried on with this work Sacred choral works Edit Ave Maria source source The second of Bruckner s three settings of Ave Maria performed by the United States Navy Band s Sea Chanters ensemble Problems playing this file See media help Bruckner was a devoutly religious man and composed numerous sacred works He wrote a Te Deum five psalm settings including Psalm 150 in the 1890s a Festive cantata a Magnificat about forty motets among them eight settings of Tantum ergo and three settings of both Christus factus est and Ave Maria and at least seven Masses The three early Masses Windhaager Messe Kronstorfer Messe and Messe fur den Grundonnerstag composed between 1842 and 1844 were short Austrian Landmessen for use in local churches and did not always set all the numbers of the ordinary His Requiem in D minor of 1849 is the earliest work Bruckner himself considered worthy of preservation It shows the clear influence of Mozart s Requiem also in D minor and similar works of Michael Haydn The seldom performed Missa solemnis composed in 1854 for Friedrich Mayer s installation was the last major work Bruckner composed before he started to study with Simon Sechter with the possible exception of Psalm 146 a large work for SATB soloists double choir and orchestra The three Masses which Bruckner wrote in the 1860s and revised later on in his life are more often performed The Masses numbered 1 in D minor and 3 in F minor are for solo singers mixed choir organ ad libitum and orchestra while No 2 in E minor is for mixed choir and a small group of wind instruments and was written in an attempt to meet the Cecilians halfway The Cecilians wanted to rid church music of instruments entirely No 3 was clearly meant for concert rather than liturgical performance and it is the only one of his Masses in which he set the first line of the Gloria Gloria in excelsis Deo and of the Credo Credo in unum Deum to music In concert performances of the other Masses these lines are intoned by a tenor soloist in the way a priest would with a line of plainsong Secular vocal works Edit Anton Bruckner arrives in Heaven Bruckner is greeted by from left to right Liszt Wagner Schubert Schumann Weber Mozart Beethoven Gluck Haydn Handel Bach Silhouette drawing by Otto Bohler As a young man Bruckner sang in men s choirs and wrote music for them Bruckner s secular choral music was mostly written for choral societies The texts are always in German Some of these works were written specifically for private occasions such as weddings funerals birthdays or name days many of these being dedicated to friends and acquaintances of the composer 51 This music is rarely performed Biographer Derek Watson characterizes the pieces for men s choir as being of little concern to the non German listener 52 Of about 30 such pieces a most unusual and evocative composition is the song Abendzauber 1878 for men s choir man soloist yodelers and four horns Bruckner also composed 20 Lieder of which only a few have been published The Lieder that Bruckner composed in 1861 1862 during his tuition by Otto Kitzler have not been WAB classified 53 In 2013 the Austrian National Library was able to acquire a facsimile of the Kitzler Studienbuch the autograph manuscript hitherto unavailable to the public The facsimile is edited by Paul Hawkshaw and Erich Wolfgang Partsch in Band XXV of Bruckner s Gesamtausgabe 54 Bruckner composed also five name day cantatas as well as two patriotic cantatas Germanenzug and Helgoland on texts by August Silberstein Germanenzug WAB 70 composed in 1863 1864 was Bruckner s first published work Helgoland WAB 71 for TTBB men s choir and large orchestra was composed in 1893 and was Bruckner s last completed composition and the only secular vocal work that he thought worthy enough to bequeath to the Austrian National Library Other works Edit During his apprenticeship with Otto Kitzler Bruckner composed three short orchestral pieces and a March in D minor as orchestration exercises At that time he also wrote an Overture in G minor These works which are occasionally included in recordings of the symphonies show already hints of Bruckner s emerging style A String Quartet in C minor and the additional Rondo in C minor also composed in 1862 were discovered decades after Bruckner s death The later String Quintet in F Major of 1879 contemporaneous with the Fifth and Sixth symphonies has been frequently performed The Intermezzo in D minor which was intended to replace its scherzo is not frequently performed A Symphonisches Praludium Symphonic Prelude in C minor was discovered by Mahler scholar Paul Banks in the Austrian National Library in 1974 in a piano duet transcription Banks ascribed it to Gustav Mahler and had it orchestrated by Albrecht Gursching In 1985 Wolfgang Hiltl who had retrieved the original score by Rudolf Krzyzanowski had it published by Doblinger issued in 2002 According to scholar Benjamin Gunnar Cohrs the stylistic examination of this prelude shows that it is all Bruckner s Possibly Bruckner had given a draft score to his pupil Krzyzanowski which already contained the string parts and some important lines for woodwind and brass as an exercise in instrumentation 55 Bruckner s Two Aequali of 1847 for three trombones are solemn brief works The Military march of 1865 is an occasional work as a gesture of appreciation for the Militar Kapelle der Jager Truppe of Linz Abendklange of 1866 is a short character piece for violin and piano Bruckner also wrote a Lancer Quadrille c 1850 and a few other small works for piano Most of this music was written for teaching purposes Sixteen other pieces for piano which Bruckner composed in 1862 during his tuition by Kitzler have not been WAB classified 56 A facsimile of these pieces is found in the Kitzler Studienbuch 54 Bruckner was a renowned organist at the St Florian s Priory where he improvised frequently Those improvisations were usually not transcribed so that only a few of his works for organ has survived The five Preludes in E flat major 1836 1837 classified WAB 127 and WAB 128 as well as a few other WAB unclassified works which have been found in Bruckner s Praludienbuch are probably not by Bruckner 57 Bruckner never wrote an opera and as much as he was a fan of Wagner s music dramas he was uninterested in drama 58 In 1893 he thought about writing an opera called Astra based on a novel by Gertrud Bolle Hellmund 59 Although he attended performances of Wagner s operas he was much more interested in the music than the plot After seeing Wagner s Gotterdammerung he asked Tell me why did they burn the woman at the end 60 Nor did Bruckner ever write an oratorio Bruckner Gesamtausgabe Edit Main article Bruckner Gesamtausgabe Published by Musikwissenschaftlicher Verlag in Vienna the Bruckner Kritische Gesamtausgabe Bruckner s Critical Complete Edition comprises three successive editions The first edition 1934 1944 Editorial Head Robert Haas included hybrid scores for Symphonies 2 and 8 and other similar conflations for some other revised works In the second edition 1951 1989 Editorial Head Leopold Nowak Nowak et al went about publishing several versions of some works in the process correcting some mistakes of Haas After Nowak s resignation 1990 onwards Editorial Head Herbert Vogg William Carragan Paul Hawkshaw Benjamin Gunnar Cohrs et al are in the process of reviewing and further correcting the work of Haas and Nowak 61 In 2011 it has been decided to issue a new edition editorial board Paul Hawkshaw Thomas Leibnitz Andreas Lindner Angela Pachovsky Thomas Roder which will include the content of the current edition and integrate it with sources the had been retrieved since its publication Reception in the 20th century EditBecause of the long duration and vast orchestral canvas of much of his music Bruckner s popularity has greatly benefited from the introduction of long playing media and from improvements in recording technology Decades after his death the Nazis strongly approved of Bruckner s music because they saw it as expressing the zeitgeist of the German volk and Hitler even consecrated a bust of Bruckner in a widely photographed ceremony in 1937 at Regensburg s Walhalla temple Bruckner s music was among the most popular in Nazi Germany Near the end of World War II Adolf Hitler became enamored with the music of Bruckner and as a result planned to convert the monastery of St Florian in Linz where Bruckner had played the organ and where he was buried into a repository of Bruckner s manuscripts Hitler evicted the monks from the building and personally paid for the restoration of the organ and the institution of a Bruckner study center there He also paid for the Haas collection of Bruckner s works to be published and himself purchased material for the proposed library Additionally Hitler caused the founding of the Bruckner Symphony Orchestra which began presenting concerts in Fall 1943 His plan for one of the bell towers in Linz to play a theme from Bruckner s Fourth Symphony never came to pass 62 The Adagio from Bruckner s Seventh Symphony was broadcast by German radio Deutscher Reichsrundfunk when it announced the news of Hitler s death on 1 May 1945 Today the Brucknerhaus in Linz which opened in 1974 is named after him The approval by Hitler and the Nazis of his music did not hurt Bruckner s standing in the postwar media and several movies and TV productions in Europe and the United States have used excerpts from his music ever since the 1950s as they already did in the 1930s 63 Nor did the Israel Philharmonic Orchestra ever ban Bruckner s music as they have Wagner s even recording the Eighth Symphony with Zubin Mehta Bruckner s symphonic works much maligned in Vienna in his lifetime now have an important place in the tradition and musical repertoire of the Vienna Philharmonic Orchestra In popular culture Edit The life of Bruckner was portrayed in Jan Schmidt Garre s 1995 film Bruckner s Decision which focuses on his recovery in an Austrian spa Ken Russell s TV movie The Strange Affliction of Anton Bruckner starring Peter Mackriel also fictionalizes Bruckner s real life stay at a sanatorium because of obsessive compulsive disorder or numeromania as it was then described 64 In addition Visconti used the music of Bruckner for his Senso 1954 its plot concerned with the Austrian invasion of Italy in the 1860s 65 The score by Carl Davis for the restoration of the 1925 film Ben Hur takes inspiration from Bruckner to achieve reverence in biblical scenes 66 See also EditBruckner Orchestra Linz International Bruckner Society List of Austrians List of Austrians in musicReferences EditNotes Edit in French Paul Gilbert Langevin Anton Bruckner apogee de la symphonie l Age d Homme Lausanne 1977 ISBN 978 2 8251 0880 2 In German halb Genie halb Trottel This description is often but mistakenly attributed to Gustav Mahler Hans Joachim Hinrichsen Halb Genie halb Trottel Hans von Bulows Urteil uber Anton Bruckner In IBG Mitteilungsblatt 55 2000 pp 21 24 The laconic idiom of restraint the art of mere suggestion involving economy of means and form is not theirs Bruno Walter observed comparing Bruckner and Gustav Mahler see Walter 1940 a b Rudolf Kloiber Handbuch der klassischen und romantischen Symphonie Breitkopf amp Hartel Wiesbaden 1964 ISBN 978 3 7651 0017 8 Pages 241 285 a b c d Grebe Karl 1972 Anton Bruckner Hamburg Rowohlt Taschenbuchverlag ISBN 978 3 499 50190 6 Schonzeler Hans Hubert 1970 Bruckner New York Grossman Publishers p 8 Josef Bruckner had twelve children and one of them Anton born in 1791 became a teacher like his father In 1823 he married Therese Helm from Streyr a marriage which was to be blessed with eleven children Their eldest was Josef Anton born on 4 September 1824 and named after his grandfather Bruckner in a nutshell 52composers com Archived from the original on 27 July 2018 Retrieved 27 July 2018 Classical Music Visual Reference Guide Series Discography of Pange lingua WAB 31 Brucknerdiskografie nl 26 April 2014 Retrieved 30 June 2014 Watson Derek 1997 Bruckner New York Schuster amp Macmillan p 3 Paul Gilbert Langevin Anton Bruckner apogee de la symphonie pp 17 306 Grebe1972 p 27 Hinrichsen 2010 p 18 Grebe 1972 pp 27 34 Hawkshaw Paul 2007 Anton Bruckner s Counterpoint Studies at the Monastery of Saint Florian 1845 55 The Musical Quarterly 90 1 94 Bruckner Gemeinde www antonbruckner at Hinrichsen Hans Joachim ed 2010 Bruckner Handbuch Stuttgart J B Metzler sche Verlagsbuchhandlung and Carl Ernst Poeschel Verlag p 31 Bruckner Motets CD CDA66062 Anton Bruckner 1824 1896 Hyperion Records Retrieved 6 February 2014 Henry Louis de La Grange Gustav Mahler Volume 3 Vienna Triumph and Disillusion 1904 1907 footnote 66 p 486 Retrieved 28 August 2013 Klose Friedrich 1927 Meine Lehrjahre bei Bruckner Erinnerungen und Betrachtungen Regensburg G Bosse Schonzeler 1970 p 70 In July 1875 Bruckner proposed yet a third time to the university of Vienna that a lectureship in harmony and counterpoint be created and at long last despite Hanslick s opposition his application was successful Bruckner was appointed to the post and on 25 November 1875 he gave his opening oration Peter Gammond Bluff Your Way in Music London Ravette Books 1985 33 it is generally said that Bruckner was a very simple man If after listening to one of his symphonies you still feel that he was simple then you are not the kind of person who should be reading this book Grebe 1972 p page needed Watson 1997 p 73 Unlike Franck or Reger however he Bruckner has not left a single composition of any value for his instrument Walter n d incomplete short citation Wolff Werner 1942 Anton Bruckner Rustic Genius E P Dutton amp Co Wilson C 1966 Chords and Discords Purely Personal Opinions on Music Crown Publishers p 40 Engel G 1940 The Life of Anton Bruckner in Chord and Dischord A Journal of Modern Musical Progress Bruckner Society of America Inc January 1940 Vol 2 No 1 BRUCKNER Anton 1824 1896 Watson 1997 p 39 Schonzeler 1970 p 108 Bruckner s body was taken to St Florian There in a splendid sarcophagus lie the earthly remains of Anton Bruckner but from above the crypt from the great Bruckner Organ his living spirit still bursts forth Service Tom 1 April 2014 Sex death and dissonance the strange obsessive world of Anton Bruckner The Guardian Retrieved 4 April 2018 a b Cooke New Grove 1980 3 360 a b Johnson Stephen 10 January 1996 Bruckner guilty or not guilty The Independent UK archived from the original on 7 May 2022 Watson 1997 p 46 Anton Bruckner An Introduction by John F Berky Abruckner com Retrieved 30 June 2014 Carragan William Timed Analysis Tables Anton Bruckner www abruckner com William Carragan The Bruckner Brand Part 1 The Three Theme Exposition Torring Ebbe Essay amp Appendix on Recapitulations in Bruckner Symphonies Anton Bruckner www abruckner com William Carragan The Bruckner Brand Part 2 The Five Part Song Form William Carragan Bruckner s Golden Arches Temperley New Grove 1980 18 461 462 Temperley New Grove 1980 18 462 Cooke New Grove 1980 3 365 Holland Bernard 25 January 2008 In a Show of Accessibility Schumann Joins Bruckner The New York Times Bonds New Grove 2001 24 839 Bruckner intermediaprojects org Ox Anton Bruckner Institute Linz 1993 83 101 H C Robbins Landon The Symphonies of Joseph Haydn London Universal Edition amp Rockliff 1955 101 The Bruckner problem is complicated by the fact that not only did the composer often revise his own works but to a certain extent sanctioned the alterations even those on the largest scale which his pupils and others found it advisable to make The case of Haydn is simpler since we are not faced with two or more alternatives but with one Cooke 1969 Anton Bruckner s Critical Complete Edition Songs and secular choral works Mwv at Retrieved 30 June 2014 Watson 1997 p 72 They are of little concern to the non German listener and do not represent important stages in Bruckner s creative unfolding Discography of Bruckner s secular choral music by Hans Roelofs Brucknerdiskografie nl Retrieved 19 June 2020 a b Kitzler Study Book Facsimile ISBN 978 3 900270 99 5 Benjamin Gunnar Cohrs Symphonisches Praludium Composed by Anton Bruckner 2006 rev 2010 PDF Archived PDF from the original on 27 September 2013 Retrieved 30 June 2014 Discography of Bruckner s piano works by Hans Roelofs Brucknerdiskografie nl Retrieved 30 June 2014 Bruckner s organ works listed and commented by Hans Roelofs Brucknerdiskografie nl Retrieved 19 June 2020 Watson 1997 p 19 Studying Tristan Bruckner used a piano score without text a sign of how unconcerned he was with opera as drama Watson 1997 pp 45 46 Keith William Kinder The Wind and Wind chorus Music of Anton Bruckner Westport Connecticut Greenwood Publishing Group 2000 51 note 14 Anton Bruckner 1824 1896 Kritische Gesamtausgabe Mwv at Retrieved 30 June 2014 Evans Richard J 2008 The Third Reich at War New York Penguin Books p 579 ISBN 978 0 14 311671 4 Bruckner in the Movies TV and Radio Abruckner com Retrieved 27 August 2012 Charles P Mitchell The Great Composers Portrayed on Film 1913 through 2002 Jefferson North Carolina McFarland amp Company Inc Publishers 2004 49 50 Cooke 2008 p 437 Cooke Mervyn 2008 A History of Film Music Cambridge Cambridge University Press p 39 Sources Edit Bruckner Anton Symphony No 8 2 C minor 1890 version Edited by Leopold Nowak New York Eulenberg 1994 Cooke Deryck 1969 The Bruckner Problem Simplified The Musical Times CX 1511 59 62 ISSN 0027 4666 JSTOR 953722 Gilliam Bryan 1997 The Annexation of Anton Bruckner Nazi Revisionism and the Politics of Appropriation In Jackson Timothy L Hawkshaw Paul eds Bruckner Studies Cambridge Cambridge University Press pp 72 91 ISBN 978 0 521 57014 5 Uwe Harten Anton Bruckner Ein Handbuch Residenz Verlag Salzburg 1996 ISBN 978 3 7017 1030 0 Korstvedt Benjamin M Anton Bruckner Symphony No 8 Cambridge UK Cambridge University Press 2000 19 The New Grove Dictionary of Music and Musicians ed Stanley Sadie London Macmillan 1980 20 vols ISBN 978 0 333 23111 1 The New Grove Dictionary of Music and Musicians second edition ed Stanley Sadie London Macmillan 2001 29 vols ISBN 978 0 333 60800 5 Horton Julian Bruckner s Symphonies Analysis Reception and Cultural Politics 2004 Cambridge Korstvedt Benjamin 2004 Bruckner editions the revolution revisited in Williamson John ed The Cambridge Companion to Bruckner Cambridge Companions to Music Cambridge University Press ISBN 978 0 521 00878 5 James R Oestreich Problems and Detours on Bruckner s Timeline The New York Times 10 July 2005 Sec Arts and Leisure p 23 Walter Bruno November 1940 Bruckner and Mahler Chord and Dischord Bruckner Society of America II 2 2 12 retrieved 29 July 2006 Cornelis van Zwol fr Anton Bruckner 1824 1896 Leven en werken Thoth Bussum Netherlands 2012 ISBN 978 90 6868 590 9Further reading EditGollerich August 25 October 1896 Anton Bruckner Neue musikalische Presse in German 5 43 361 Retrieved 11 May 2020 via RIPM Helm Theodor 18 October 1896 Anton Bruckner Neue musikalische Presse in German 5 42 1 5 Retrieved 11 May 2020 via RIPM Anton Bruckner Neue Berliner Musikzeitung in German 50 43 361 22 October 1896 Retrieved 11 May 2020 via RIPM Tovey Donald Francis 1911 Bruckner Anton In Chisholm Hugh ed Encyclopaedia Britannica 11th ed Cambridge University Press Bruckner Anton Encyclopedia Americana 1920 External links Edit Wikimedia Commons has media related to Anton Bruckner Wikiquote has quotations related to Anton Bruckner Free scores by Anton Bruckner in the Choral Public Domain Library ChoralWiki Free scores by Anton Bruckner at the International Music Score Library Project IMSLP The Bruckner Society of America The Bruckner Journal devoted to Anton Bruckner edited by Ken Ward caters for lay enthusiasts musicians and academics Produced in the UK Bruckner Discography edited by John F Berky and Hans Roelofs Detailed listing recordings of Anton Bruckner s works Also includes articles and free downloads Portals Classical music Biography Music Retrieved from https en wikipedia org w index php title Anton Bruckner amp oldid 1125465194, wikipedia, wiki, book, books, library,

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