Anton Bruckner
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1824-09-04
https://musicbrainz.org/artist/9debb4c3-dc10-440f-9c96-b777d51ea998
Anton Bruckner

Anton Bruckner Biography (BBC)

Anton Bruckner was born in rural Upper Austria in 1824. The son of a village schoolmaster, he initially intended to follow in his father’s footsteps, but at the age of 13 he was accepted as a choirboy at the Augustinian monastery of St Florian, where he received a thorough musical education. During his twenties, he tried various teaching posts, but the desire to compose was growing more urgent.

In 1855 he applied for the post of organist at Linz Cathedral and was appointed by a unanimous decision. He now submitted himself to a rigorous programme of advanced musical education: a six-year correspondence course in harmony and counterpoint, and lessons in form and orchestration. It was only when he was nearing 40 that Bruckner at last felt free to compose as he wished.

Three magnificent Mass-settings followed. But a remark by a critic about the symphonic character of the D minor Mass was interpreted by the devoutly religious Bruckner as a sign of vocation. At around the same time he encountered Beethoven’s Ninth Symphony and Wagner’s Tristan und Isolde and was bowled over by both. His own symphonies, from the so-called ‘No. 0’ onwards, show him attempting to forge a synthesis of Wagner’s highly charged, volatile Romanticism, Beethoven’s huge symphonic drama and the more stable formal proportions of Baroque and Rococo church music.

After recovering from a nervous breakdown in 1866–7, Bruckner decided to move to Vienna to pursue his symphonic vocation, where he was encouraged by the influential conductor Johann Herbeck. But he made a powerful enemy in the anti-Wagnerian critic Eduard Hanslick, whose hostility caused Bruckner much pain and soul-searching. Years of neglect followed the catastrophic premiere of the Third Symphony (1877), despite Bruckner’s continuing successes as an organist.

Thanks to the efforts of the conductors Hans Richter and Arthur Nikisch, and to pupils such as Franz and Josef Schalk, his fortunes as a composer gradually began to change. The Leipzig premiere of the Seventh Symphony (1881–3) was a triumph, as was the Viennese first performance of the revised Eighth (1890). In his last decade Bruckner set out on what was intended as the summation of his work as a symphonist: the Ninth Symphony, dedicated to his ‘dear God’. But growing anxiety held up its progress, and the finale survives only in extensive sketches, crucial pages of which disappeared after the composer’s death in 1896.

In some ways a Wagnerian Romantic, Bruckner also had profound roots in early Classical, Baroque and even Renaissance church music. Visionary grandeur and serenity can be found alongside some of the darkest, most troubled music written in the 19th century.

Profile © Stephen Johnson

Anton Bruckner Biography (Wikipedia)

Josef Anton Bruckner ( (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. Bruckner's compositions helped to define contemporary musical radicalism, owing to their dissonances, unprepared modulations, and roving harmonies.

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 person 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". Bruckner was self-critical of his work, and often reworked his compositions. There are several versions of many of his works.

This entry is from Wikipedia, the user-contributed encyclopedia. It may not have been reviewed by professional editors and is licensed under an Attribution-ShareAlike Creative Commons License. If you find the biography content factually incorrect or highly offensive you can edit this article at Wikipedia. Find out more about our use of this data.

Anton Bruckner Performances & Interviews


Anton Bruckner Tracks

Anton Bruckner
Mass No.3 in F minor
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Mass No.3 in F minor

Mass No.3 in F minor

Singer
Ľuba Orgonášová
Jennifer Johnston
Robert Dean Smith
Derek Welton
Choir
Orfeon Pamplones
Conductor

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Anton Bruckner
Symphony No. 3 in D minor
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Symphony No. 3 in D minor

Symphony No. 3 in D minor

Orchestra
WDR Symphony Orchestra
Anton Bruckner
Symphony No 5 in B flat
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Symphony No 5 in B flat
Anton Bruckner
Ave Maria
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Ave Maria
Anton Bruckner
Os justi
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Os justi
Anton Bruckner
Locus iste
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Locus iste
Anton Bruckner
Christus factus est
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Christus factus est
Anton Bruckner
Virga Jesse Floruit
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Virga Jesse Floruit
Anton Bruckner
Os Justi
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Os Justi
Anton Bruckner
String Quintet in F major
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String Quintet in F major
Anton Bruckner
Symphony no. 6 in A major
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Symphony no. 6 in A major
Anton Bruckner
Symphony No. 6 in A Major, WAB 106: I. Majestoso
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Symphony No. 6 in A Major, WAB 106: I. Majestoso
Anton Bruckner
Te Deum in C
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Te Deum in C
Anton Bruckner
Ave Maria
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Ave Maria

Ave Maria

Choir
Winchester Cathedral Girls Choir and Lay Clerks
Anton Bruckner
Four Last Songs
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Four Last Songs
Anton Bruckner
Symphony No 4 in E flat (Romantic) - 3rd mvt, excerpt
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Symphony No 4 in E flat (Romantic) - 3rd mvt, excerpt
Anton Bruckner
String Quartet in C minor (1st movement)
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String Quartet in C minor (1st movement)
Anton Bruckner
Symphony No 4 (4th mvt - conclusion)
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Symphony No 4 (4th mvt - conclusion)
Anton Bruckner
Christus factus est
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Christus factus est
Anton Bruckner
Symphony No.9 - 2nd movement Scherzo
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Symphony No.9 - 2nd movement Scherzo
Anton Bruckner
Ecce sacerdos
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Ecce sacerdos
Anton Bruckner
3 Motets: Ave Maria; Christus factus est; Locus iste
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3 Motets: Ave Maria; Christus factus est; Locus iste
Anton Bruckner
Symphony no. 5 in B flat major
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Symphony no. 5 in B flat major
Anton Bruckner
Pange lingua
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Pange lingua
Anton Bruckner
Symphony No 7 in E major
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Symphony No 7 in E major
Anton Bruckner
Erinnerung
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Erinnerung
Anton Bruckner
Os iusti
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Os iusti
Anton Bruckner
Symphony No.8 in C minor (1890 version, ed. Haas)
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Symphony No.8 in C minor (1890 version, ed. Haas)
Anton Bruckner
Symphony No 3 (1st mvt - conclusion)
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Symphony No 3 (1st mvt - conclusion)
Anton Bruckner
Symphony No.7 (2nd mvt: Adagio)
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Symphony No.7 (2nd mvt: Adagio)
Anton Bruckner
Symphony No. 9 in D Minor, WAB 109: ii) Scherzo. Bewegt, lebhaft
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Symphony No. 9 in D Minor, WAB 109: ii) Scherzo. Bewegt, lebhaft
Anton Bruckner
Symphony No. 7 in E major (3rd mvt, Scherzo)
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Symphony No. 7 in E major (3rd mvt, Scherzo)
Anton Bruckner
Vexilla regis
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Vexilla regis
Anton Bruckner
Tota pulchra es, Maria
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Tota pulchra es, Maria
Anton Bruckner
Symphony no 4 in E flat major, 'Romantic'
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Symphony no 4 in E flat major, 'Romantic'
Anton Bruckner
Symphony No. 2 In C Minor, iii. Scherzo
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Symphony No. 2 In C Minor, iii. Scherzo

Symphony No. 2 In C Minor, iii. Scherzo

Orchestra
Montreal Metropolitan Orchestra
Anton Bruckner
2 graduals for chorus: Locus iste & Christus Factus est
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2 graduals for chorus: Locus iste & Christus Factus est
Anton Bruckner
Symphony No.4 in E flat major, 'Romantic'
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Symphony No.4 in E flat major, 'Romantic'
Anton Bruckner
Introit: Locus iste
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Introit: Locus iste
Anton Bruckner
Os justi
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Os justi
Anton Bruckner
Symphony no 4 in E flat major, 'Romantic'
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Symphony no 4 in E flat major, 'Romantic'
Anton Bruckner
Os justi for 8 voices
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Os justi for 8 voices
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