Anton Bruckner

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Bruckner, Anton

Bruckner, Anton (änˈtōn bro͝okˈnər), 1824–96, Austrian composer. He was appointed organist at the Linz cathedral in 1856 before becoming court organist in Vienna in 1868, where he later taught at the conservatory and university. He established a reputation as a virtuoso organist on trips to France in 1869 and to England in 1871, but as a composer he gained recognition slowly. Although he was influenced by the chromatic harmony and orchestral grandeur of Wagner's music, his work is marked by contrapuntal complexity and extended melodies, in the formal tradition of Beethoven and Schubert. His outstanding works are the Masses in D Minor (1864), in E Minor (1869), and F Minor (1872); a Te Deum (1886); and nine symphonies, of which the Fourth or Romantic (1881), the Eighth, or Apocalyptic (composed 1884–87), and the Ninth (composed 1891–96) are best known. He also wrote motets, cantatas, chamber music, piano and organ pieces, and pieces for male chorus.


See studies by H. F. Redlich (1955), E. Doernberg (1960, repr. 1968), and R. Simpson (Am. ed. 1968).

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The following article is from The Great Soviet Encyclopedia (1979). It might be outdated or ideologically biased.

Bruckner, Anton


Born Sept. 4, 1824, in the village of Ansfelden, near Linz; died Oct. 11, 1896, in Vienna. Austrian composer, organist, and teacher.

Bruckner was an organist in Austrian monasteries and later at Linz Cathedral. From 1868 he lived in Vienna, where he was teacher of music theory and organ at the conservatory and the university. Bruckner primarily wrote symphonic music, reviving in his works the monumental style of Beethoven’s and Schubert’s symphonies. The most important of these are the Third Symphony, dedicated to R. Wagner (1873); the Fourth, “Romantic” (1874); the Seventh (1883); the Eighth, so-called Tragic (1887); and the Ninth, so-called Gothic, which remained unfinished (1894). Bruckner also composed religious music, including the Te Deum and masses for organ.

Bruckner’s music is characterized by loftiness, seriousness, and conceptual profundity combined with a dramatic quality and epic scope; it is also marked by warmth and sincerity. Bruckner’s symphonies embody his reverential awe before the greatness of the universe, and this lends a unique exaltation and hymnal quality to his music. Folklore intonations are often utilized by Bruckner in his works.


Rappoport, L. A. Bruckner. Moscow, 1963.
Göllerich, A., and A. Auer. A. Bruckner, vols. 1-4. Regensburg, 1922-37.
Auer, M. A. Bruckner: Sein Leben und Werk, 6th ed. Vienna, 1949.
Kurth, E. A. Bruckner, vols. 1-2. Berlin, 1925.
Dennert, M. A. Bruckner. Leipzig, 1958.
Nowak, L. A. Bruckner: Musik und Leben. Vienna-Munich, 1964.
Simpson, R. The Essence of Bruckner. London, 1967.


The Great Soviet Encyclopedia, 3rd Edition (1970-1979). © 2010 The Gale Group, Inc. All rights reserved.
References in periodicals archive ?
In a letter dated 27 January 1891--that is, at the time when he was busy with the last revision of his First Symphony--Bruckner asked Weingartner to "strictly observe the cuts in the Finale as indicated; otherwise it would be far too long, and is valid only for later times, and for a circle of friends and connoisseurs" (Bruckner, Briefe, 2:114; my quotation in English is from Crawford Howie, Anton Bruckner: A Documentary Biography, 2 vols., Studies in the History and Interpretation of Music, 83 [Lewiston, NY: Edwin Mellen Press, 2002], 2:616).
The second half of the concert was Anton Bruckner's Symphony No 7.
This brought him into contact with important musicologists and musicians such as August Wilhelm Ambros (a native of My to near Rokycany), Guido Adler (a native of Ivancice), Eduard Hanslick (born in Prague), Franz Krenn, Eusebius Mandyczewski and Anton Bruckner. He soon managed to make a name for himself, for example for the first year of the magazine Vierteljahrsschrift fur Musikwissenschaft (1885) he translated two French texts.
Christian Kolonovits' score initially has a misterioso alpine feel (with nods to Anton Bruckner) but later becomes more conventionally dramatic-romantic.
In the same volume is Anton Bruckner's "Quiet contemplation on an autumn evening." This is a lovely barcarolle-like piece, which is reminiscent of a Mendelssohn "Song Without Words."
Anton Bruckner's Fourth Symphony was his first really successful big-scale work, but it didn't come easy.
In 1995, at the age of ninety, he published a monograph on the Austrian composer Anton Bruckner (1824-96).
It combines poignant images and powerful music (Anton Bruckner's Fifth Symphony second movement) with a clever twist - the images are all a peak at momentous events of the future.
This book has its origins in the International Bruckner Conference 'Perspectives on Anton Bruckner: Composer, Theorist, Teacher, Performer' held at Connecticut College in the USA in February 1994.
But Daverio finds in them "a heightened intensity of expression" and an inventiveness presaging the music of Anton Bruckner, Max Reger, and Arnold Schonberg.
Chamber Music on the Fox presents a free screening of Hans Conrad Fischer's 1974 film, "The Life of Anton Bruckner," taking a look into the life and the musical compositions of the Romantic composer, at 6 p.m.