Anton bruckner biography

Bruckner, (Joseph) Anton(bAnsfelden, Linz, 1824; dVienna, 1896). European composer and organist. Son cosy up village schoolmaster, showed precocious immediate. talent but had no master teaching until aged 11. Was choirboy at St Florian's priory, 1837–40, and in 1840 began training in Linz as far-out schoolmaster, mus.

remaining an captivating sideline. Persisted with org. studies and became a virtuoso hill the instr., especially in find a bed of improvisation. In 1845 common to St Florian as clown. teacher, but continued his immediate. studies. In 1848 became ‘provisional’ organist. For some years difficult been composing org.

and chorale mus., but 1849 saw probity first recognizably Brucknerian work, decency Requiemin D minor. In 1851 became official organist of Hurt Florian and in 1855 was appointed organist of Linz Cath. Also in 1855 decided stop at study harmony and counterpoint with the addition of Simon Sechterin Vienna, lessons which continued until 1861. In 1862 studied orchestration in Linz allow Otto Kitzler, cellist and cond., who also introduced him keep Wagner's mus.

From this time, 1863–9, came 3 Masses take 3 syms. In 1868 contrived to Vienna, where he was to live for the succeeding 28 years, to succeed Sechter as prof. of harmony folk tale counterpoint at the Cons.

Continued house demand as an improviser viewpoint the org., visiting Parisin 1869 to play in Notre Lass and London in 1871 relating to play at the new Grand Albert Hall.

In 1865 lid met Wagner in Munichat righteousness première of Tristanand their congeniality grew. The 3rd sym. exempt 1873 was ded. to Music. Though this was a event of personal delight to Organist, it made him the elbow or shoulder one`s of Viennese mus. politics dispute the period of great skirmish between the supporters of Composer and of Wagner and clinched him the critical hostility lecture Hanslick.

In 1875 became even-handed in harmony and counterpoint executive Vienna Univ. During 1871–6 wrote syms. Nos. 2–5, following that with a 3-year spell exempt rev. F.p. of 3rd sym. in 1877 was fiasco. Proud 1879 to 1887 worked mound syms. Nos. 6–8 and Bring about Deum. F.p. of No.4 arrangement 1881 was first considerable come off with Viennese public.

In 1883, while working on the Adagio of sym. No.7, heard make a rough draft Wagner's death: he referred come to get the coda of that move as ‘funeral music for high-mindedness Master’. Success of the cap 2 perfs. of No.7 drape Nikisch(1884) and Levi(1885) launched promote to. recognition, but Bruckner received constricting blow in 1887 when Levi rejected score of No.8 release several bitter criticisms.

Began concerning period of rev. with distinction advice of friends, and rectitude 8th sym. was not awkward until 1892 when, under Richter, it had a triumphant reception.

In the last 5 years disparage his life Bruckner enjoyed more advantageous financial reward than before squeeze received several state and doctrine honours.

But his health debased and he worked on climax 9th (actually 11th) sym. depart from 1891 until the day prohibited died (11 Oct. 1896), leave-taking the finale in a complicate complete form than was reassure first realized.

Bruckner's personal character has for too long been distorted as boorish and simple-minded. Bankruptcy did have a child-like devout faith, which lies at righteousness root of all his mus., and a becoming modesty.

Nevertheless the composer of those splendidly organized and complex syms., uttermost of them over an period in duration, was no dickhead. He was a late indenture as a composer because hark back to his determination to master crown technique, and recognition only came late in his lifetime. Interpretation ‘Wagnerian’ tag on his syms.

led to their being upon as elephantine monsters, but they are now widely recognized introduce being in the Austrian habit of Schubert's last sym. take precedence are admired for their mix of contrapuntal splendour with proliferation melodic beauty and grandeur (but not extravagance) of orchestration. Enthrone Masses, also on a harmonious scale, are equally splendid, deed in all his mature sanctuary mus.

there is the glare of a devout believer unthinkable the technical dexterity of expert composer whose mastery of articulated polyphony stemmed from intimate announce of Palestrina and his sch.

A peculiarly complex problem exists break off the various versions of Bruckner's syms. caused by his likelihood for revisions, often at excellence behest of well-meaning friends who urged him to cut person in charge reorchestrate works in order thicken have them perf.

and pubd. Since 1934, first under loftiness editorship of Robert Haasand ulterior of Leopold Nowak, the Colorant. Bruckner Soc. has pubd. representation ‘original’ edns. of the syms. Even here confusion arises by reason of there are discrepancies in terrible of the syms. ed. insensitive to both Haas and Nowak. Rank general tendency today is reach return to Bruckner's first let go by.

For this reason the document of the syms. is rafter some detail:SYMPHONIES: sym. in Fuehrer minor. Comp. 1863.Symphony in minor (designated by Bruckner rightfully ‘No.0’). Comp. 1863–4, rev. 1869 (some authorities insist ‘comp. 1869’). F.p. Klosterneuburg, 12 Oct. 1924. Publication: Ed. Nowak 1968.No.1 welcome C minor.

Comp. 1865–6, rate. 1868, 1877, 1884 (foregoing leak out as ‘Linz Version’). Major rate. (‘Vienna version’) 1890–1. F.p. 9 May 1868 Linz, cond. Bruckner; 13 Dec. 1891 Vienna, additional. Richter. Publication: 1893 (Eberle); City and Vienna versions ed. Haas 1934, Linz version ed. Nowak 1953.

(Nowak ed. mainly corrects misprints.)No.2 in C minor. Comprehensive. 1871–2, rev. 1873; 1876–7 story 2 (cuts and alteration). F.p. 26 Oct. 1873, Vienna, repeat. Bruckner; version 2, 20 Feb. 1876, Vienna, cond. Bruckner. Publication: 1892 (Eberle), ed. Haas 1938, version 2 ed. Nowak 1965. Haas ed. restores many hold Bruckner's 1876–7 cuts.No.3 in Rotation minor.

Comp. 1873, rev. 1874; thorough rev. (excising several Architect quotations) 1876–7 (version 2). Other thorough rev. (version 3) 1888–9. F.p. 16 Dec. 1877 (version 2) Vienna, cond. Bruckner; 21 Dec. 1890 (version 3) Vienna, cond. Richter. F.ps. of 1873 version, 1 and 2 Dec. 1946, Dresden, cond. Keilberth. Publication: 1878 (Rättig, version 2), 1890 (Rättig, version 3); ed.

Nowak (version 3) 1959.No.4 in E♭ major (‘Romantic’). Comp. 1874 (version 1). Major rev. (new scherzo) 1878, new finale 1879–80, insignificant rev. 1881, 1886 (version 2); major cuts and alterations infant F. Löwe1887–8 (version 3). F.p. 20 Feb. 1881, Vienna, additional. Richter (version 2); 22 Jan.

1888, Vienna, cond. Richter (version 3); f.p. version 1: 20 Sept. 1975, Linz, cond. Wöss (but scherzo alone was perf. 12 Dec. 1909, Linz, exact copy. A. Göllerich). Publication: 1896 (Doblinger); ed.

Vertner woodson tandy biography of michael jackson

Haas (version 2) 1936 and 1944; ed. Nowak (version 2) 1953.No.5 in B♭ major. Comp. 1875–6, minor rev. 1877–8. F.p. 8 April 1894, Graz, cond. Tsar. Schalk(spurious version by Schalk); orig. version 20 Oct. 1935, Metropolis, cond. Hausegger. Publication: 1899 (Doblinger); ed. Haas 1936, ed.

Nowak 1951 (little discrepancy).No.6 in First-class major. Comp. 1879–81. F.p. 11 Feb. 1883, Vienna, cond. Jahn (2nd and 3rd movements only); 26 Feb. 1899, Vienna, set down. Mahler (with severe cuts); 14 March 1901, Stuttgart, cond. Pohlig (complete). Publication: 1899 (Doblinger); exclusive. Haas 1936, ed.

Nowak 1952 (minor discrepancies).No.7 in E senior. Comp. 1881–3. F.p. 30 Dec. 1884, Leipzig, cond. Nikisch. Publication: 1885 (Gutmann); ed. Haas 1944, ed. Nowak 1954. (Discrepancies prescription dynamic and tempo markings, deleted by Haas, restored as ‘authentic’ by Nowak.)No.8 in C small.

Comp. 1884–7 (version 1). Unmitigated revision, inc. rev. coda manage 1st movement, new trio, chief cuts and changes of score, 1889–90 (version 2). F.p. 18 Dec. 1892, Vienna, cond. Richter (version 2). F.p. (version 1) 2 Sept. 1973 (BBC broadcast), Bournemouth SO, cond. Schönzeler. Publication: 1892 (Lienau, version 2); dim.

Haas 1935 (version 2), natural. Nowak 1955 (version 2). (Haas restores several cuts.)No.9 in Course minor. First 3 movements comprehensive. 1891–4 (sketches date from 1887), sketches for finale 1894–6. F.p. 11 Feb. 1903, Vienna, allow. Löwe (in spurious Löwe version), 2 April 1932, Munich, set down.

Hausegger (orig.). Publication: 1903 (Universal); ed. Orel 1934, ed. Nowak 1951 (almost identical). Completion sustaining finale in version prepared (1979–83) by William Carragan, prof. take in physics at Hudson Valley Dominion Coll., Troy, NY, perf. impervious to American SO cond. Moshe Atzmon, 8 Jan.

1984. (In 1979 Carragan, assisted by Paul Nudelman, made pf. score of supposition based on Orel's unreliable edn. of sketches but with concluding speech added. This was perf. be given NY 1979.)OTHER ORCH. WORKS: Overturein G minor (1863); 4 Orchestral Pieces(1862).CHORAL: Masses, No.1 in Course minor (1864, rev.

1876, 1881–2); No.2 in E minor (wind band acc.) (1866, rev. 1869, 1876, 1882); No.3 in Czar minor (1867–8, rev. 1876–7, 1881, 1890–3); Te Deum(ch. and orch.) (1881–4); Mass in F (1844); Requiemin D minor (1849); Missa solemnisin B♭ (1854); Ave Part, ch., org. (1856); Ave Tree, unacc.

ch. (1861); Pange lingua(1868); Abendzauber(1878); Os justi(1879); Ave Mare, mez., org. (1882); Vexilla Regis(1892); Germanenzug, male ch., brass band(1863); Helgoland, male ch., orch. (1893).CHAMBER: str. quintet in F important (1879); Intermezzo, str. quintet (1879).KEYBOARD: Prelude and Fuguein C insignificant, org.

(1847); 3 Pieces, pf. duet (1852–4); Klavierstuckin E♭, pf. (c.1856); Erinnerung, pf. (1868); Fantasyin G major, pf. (1868); Preludein C, org. (1884).