Anton Bruckner (born in 1824 in Ansfeld near Linz, died in Vienna in 1896) was a composer, organist and educator. Alongside Richard Wagner and Franz Liszt, he is regarded as one of the most striking figures of romanticism in music. The basis of his work consists of 9 grand symphonies, 3 masses and choral works, a quintet.
A. Bruckner was born into the family of a rural teacher and followed in his father’s footsteps quite early on. He probably would have remained working as a provincial teacher, an organist, but in the end his desire to create was insurmountable. It must be noted that Bruckner remained largely self-taught. He became a professional musician in 1853, when he won the Linz Organ Competition. It was also in Linz that he created his first mature works and soon began extramural studies of harmony and counterpoint in Vienna with prof. Simon Sechter. After his death, A. Bruckner took his place in the conservatory and from 1868 finally settled in Vienna. He worked as a professor until 1891, and a year later ceased serving as an organist at the Palace Chapel. His organist talent was universally appreciated. Starting with 1875, he lectured at the University of Vienna. Among his students were such personalities as Gustav Mahler and Arthur Nikisch. In Vienna, A. Bruckner devoted himself almost exclusively to the creation of symphonies, but his name was not recognized until after 1880.
In 1886 A. Bruckner was awarded the Order of Francis Joseph, and in 1891 he was also bestowed the title of Honorary Doctor of the University of Vienna. The composer died while composing the end of his Symphony No. 9. A. Bruckner is buried in the St. Florian Monastery in Linz.
A. Bruckner secured his place in the history of music as one of the most famous and original symphonists in the world. His orchestra is very peculiar: there are no such colourful instruments as English horn, piccolo and bass clarinets, harp, cymbals, triangle. In his symphonies, there is no need to look for any "plots", specific "actions" or events: the music itself is expressive and specific enough. He treats the cycle as a single epic: the first part captures the main conflict; in the second he often establishes tragic conflicts (A. Bruckner is often regarded as the greatest master of Adagio after Ludwig van Beethoven); the third, the Scherzo, is a respite, usually filled with the rhythms and intonations of Austrian folklore. The finals are the culmination and atomic nucleus of the whole cycle. The themes of the former parts often emerge. The Codas sound like hymns to the composer’s most important ethical attitudes: God, Nature, and the Spirit.
Symphony No. 1 (in C minor, Op. 77, 1865–1866; Rev. 2, 1891, premiere on 18 December 1868 in Linz). Being extremely scrupulous when it came to the quality of his work, A. Bruckner considered only his third symphony in a row to be worthy of the First. Recalling the creation of the symphony, the composer asserted that he had never been as bold as while writing it. The symphony was truly very original at the time, with many new aspects in form and musical language. It also clearly displays the influence of R. Wagner. In this symphony, however, it is already clear how A. Bruckner combines the exaggerated emotionality, characteristic of the romantic style, with the structure of the form of classical symphonies. And at the same time, he always remains faithful to his ideological and emotional attitudes. They are felt in all four parts of the symphony: the lyrical and dramatic first, where impressive dynamic waves and frequent culminating explosions alternate; in the lyrical Adagio with dominant strings and winds, solo episodes played by flute, oboe or clarinet; dancing in the merrily furious Scherzo, not yet quite the rhythm of a typical Ländler; in a powerful, stormy finale with a triumphant Coda. Starting with this symphony, A. Bruckner begins to appear as a composer of his own style. Only his last two symphonies will stand out in more complex musical language.
While creating his First, A. Bruckner experienced major creative upswing and was captured by optimistic enthusiasm. However, he remained self-critical: the symphony was completed in 1866, but the composer began editing and improving it almost immediately; thus, the premiere took place only two years later. It was conducted by the author himself. Although the premiere was successful, one would not call the further fate of the piece a happy one. The orchestra of Viennese philharmonic rejected it as "clumsy", and other orchestras were in no hurry to perform it either. This negatively affected the composer’s mental health, even giving rise to thoughts of changing profession. Today, we can thank God and Mr. Bruckner himself that such thoughts did not come into fruition.
I. Allegro
II. Adagio
III. Scherzo
IV. Finale
Symphony No. 2 (in C minor, Op. 93, 1871–1872; Rev. 2 and 3 in 1876–1877 and 1895, premiered in Vienna on 26 October, 1873). When A. Bruckner proposed the new symphony to the Vienna Orchestra, its conductor, one of the most influential conductors of the time Felix Otto Desoff, declared the symphony too long and futile (Unsinn). A. Bruckner humbly agreed to shorten it by... 40 beats. Only two years later did the orchestra decide to perform the symphony under the baton of the author. The piece was successful, but continued to be criticised for the length of the music. In fact, before A. Bruckner, no one has written such long symphonies. And, this led to regular editions of symphonies. In order to make the music more understandable, A. Bruckner started using the “general pause” method (instrument) in his Second: the whole orchestra is suddenly silenced for at least one beat. The composer explained, "If I want to say something important, I have to hold my breath beforehand”. The orchestra called it the “Pausen-Sinfonie”. During the premiere, it was performed in abbreviated form and with adjusted orchestrations. However, a year later, A. Bruckner once again radically remade the symphony, creating new episodes. This edition was dedicated to F. Liszt. When the latter one did not react in any way, the piece remained the only one to not be assigned to anyone.
The work is imbued with the spirit of Upper Austrian folklore. The symphony has a very bright thematic and emotional arch between the 1st and 4th parts, which will also become a feature of A. Bruckner's style. By the way, in the original version of the symphony, the 2nd and 3rd parts were swapped.
The music of the first part is dominated by bright, pastoral, even rural lyricism. There are neither dramatic moments of tension nor stunning climaxes. It is Dominated by timbres of strings. The striking first general pause is heard in less than two minutes; the second continues the lyrical mood and creates an atmosphere of bright sadness, longing; Scherzo is a majestic, broad Ländler; in the finale passions arise, dramatic flashes are immediately heard. In the end, a long crescendo leads to a retreat where the main theme of Part I is heard. Everything is crowned by a Coda of a bright, joyful mood.
I. Moderato
II. Andante: Feierlich etwas bewegt
III. Scherzo: Masig schelle
IV. Finale: Mehr schelle