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Anton Bruckner
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Anton Bruckner (Ansfelden, Austria, 9 de septiembre de 1824 - Viena, 11 de octubre de 1896). Compositor y organista austriaco.
Nació en un pequeño pueblo, en el norte del país. Devoto católico, sus estudios musicales se extendieron hasta la edad de 40 años, bajo la dirección de Simon Sechter y Otto Kitzler. Éste último lo introdujo al universo musical de Richard Wagner, que Bruckner estudió extensivamente desde 1863. Después de terminar sus estudios escribió su primera obra madura, la Misa en re menor.
En 1868 aceptó la posición de profesor de teoría de la música en el Conservatorio de Viena, momento a partir del que concentró la mayor parte de su energía en escribir sinfonías. Sin embargo, sus obras fueron mal recibidas, consideradas «salvajes» y «absurdas». Bruckner aceptó más adelante una posición en la Universidad de Viena en 1875, donde enseñó teoría de la música.Dentro del círculo de sus adeptos en la Universidad se encontraban Hugo Wolff y Gustav Mahler, en ese entonces aún estudiantes.
Nació en un pequeño pueblo, en el norte del país. Devoto católico, sus estudios musicales se extendieron hasta la edad de 40 años, bajo la dirección de Simon Sechter y Otto Kitzler. Éste último lo introdujo al universo musical de Richard Wagner, que Bruckner estudió extensivamente desde 1863. Después de terminar sus estudios escribió su primera obra madura, la Misa en re menor.
En 1868 aceptó la posición de profesor de teoría de la música en el Conservatorio de Viena, momento a partir del que concentró la mayor parte de su energía en escribir sinfonías. Sin embargo, sus obras fueron mal recibidas, consideradas «salvajes» y «absurdas». Bruckner aceptó más adelante una posición en la Universidad de Viena en 1875, donde enseñó teoría de la música.Dentro del círculo de sus adeptos en la Universidad se encontraban Hugo Wolff y Gustav Mahler, en ese entonces aún estudiantes.
Álbumes más escuchados
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BRUCKNER: THE COMPLETE SYMPHONIES
Anton Bruckner
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Symphony 5
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BRUCKNER: Motets
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Symphony 8
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Temas más escuchados
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Allegro moderato
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Scherzo: Allegro moderato - Trio: Allegro moderato
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Libera me, WAB 21
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IV. Finale: Adagio - Allegro Moderato
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Locus iste, WAB 23
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Os Justi, WAB 30
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Pange Lingua, WAB 33
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Adagio
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Notas
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AnneChovie escribió:
Sometimes his music irritates me in a way no other composers music can. Not even Prokofiev. He seems at times almost incompetent. I am not trying to be mean, really. A lot of his music is very beautiful, and there are works (2nd symphony, the Motets), and bits of his works, that I really do like a lot, but sometimes he gets these moronic loud galloping repeated figures going… somehow Wagner can pull that off, sometimes Bruckner just really doesn’t pull it off. And his defenders tell me “Oh, he was an organist” What the bloody hell does that mean? And wasn’t Bach an organist also? No one ever needs to defend Bach’s music.
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Gamester escribió:
Hey! Care to join the new "Classical and Romantic Music" group! Check it out and join if you like! :o)
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MetalManni escribió:
Symphony No. 6, 1st movement FTW!
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Conservationist escribió:
Bruckner's attitude reminds me of Schopenhauer: seeking quietude through intense realization. Mahler is more neurotic, dramatic.
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Taxes escribió:
Very interesting article indeed, and remarkably well balanced too, I would have thought that in the context when it was written, that he would have put more emphasis on the similarities between the two. 1940 is still a while before both Bruckner and Mahler reached the peak of popularity that we can see today (and this especially true in the latter case), seems to me that in such a case it would have been very tempting to exaggerate the points of agreement between those two then negliged composers.
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Taxes escribió:
I agree with that, that's probably something that comes from the respective personalities of the two composers. Walter says something in the same vein when he mentions that "at bottom Bruckner's spirit was repose, Mahler's unrest." which he follows with the also very accurate: "Bruckner's musical message stems from the sphere of the saints; in Mahler speaks the impassioned prophet.". So I think that this "social" dimension to Mahler's music in contrast to Bruckner's more introspective character is something that he understood fully.
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zunari escribió:
He died virgin
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CreamCat escribió:
Interesting article, Taxes. Although Mahler and Bruckner have undeniable similarities, there is one fundemental difference, I think. Bruckner is a much more "existential" composer in the sense that his music deals with existence itself. At least in his symphonies, there's no room for other persons than the listener. It's you left alone with the mountains and the valleys - while you search for any proof that you actually exist in a psychological sense. Mahler was a much more "social" composer. His music could only exist in between human relations.
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Taxes escribió:
Some interesting stuff here http://www.uv.es/~calaforr/walter.html, the famous Bruno Walter essay on the nature of Bruckner and Mahler. It's nice to see him note the parenting between Schubert and the two later composers, and unsurprisingly perhaps, his Bruckner Seventh is some of the most Schubertian non Schubert that I've heard. Holy fucking walls of text though, when will you silly German speaking people ever learn? :o
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CreamCat escribió:
Vienna...it's all about cake and hatred.
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ArousedNinja escribió:
Ok, good. Hug accepted. Also, most of my friends who like to irrationally hate on Bruckner, like me, admit that he was an excellent composer. I don't know, people from Vienna feel entitled to hate on him.
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CreamCat escribió:
ArousedNinja: Believe it or not, I wasn't too serious myself with that comment. *hug*
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ArousedNinja escribió:
People who are in serious need of a corkscrew.
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Taxes escribió:
No but seriously, what kind of twisted person would someone have to be to dislike something like the Seventh?!
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ArousedNinja escribió:
And CreamFreud, -10 points for those hasty assumptions. I am actually objective enough to appreciate Bruckner's music, and I have listened to his symphonies and 'understood' them. I don't like Bruckner for shallow reasons, and even if I didn't, I'd pretend I do anyway, just to get reactions like yours. But you can 'learn' me any time.
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ArousedNinja escribió:
Ah my bad. Someone else told me about the three Bs thing and I didn't bother to check, in my pointless rage. Which means there is only one conclusion, fuck Bruckner AND Wagner. But yeah you got the Viennese sarcasm right, because that's where I'm from.
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kaisertallico escribió:
Totally agree with CreamCat.
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CreamCat escribió:
One day when I bother, if that day ever comes, I'll learn you f*cktards how to appreciate BOTH Brahms and Bruckner. But I ain't the Messiah or anything, so don't expect that to happen anytime soon...The point is if you can't concentrate long enough to listen through a Bruckner symphony, you're probably too dumb to understand it anyway.
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KraeheK escribió:
Haha, thanks for the luls, ArousedNinja, I almost pissed myself.
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Seavas escribió:
Oh yes it is. At least it used to be. It was Wagner who proposed the three Bs include Bruckner rather than Brahms, but those three Bs have included so many different composers over the years that no one combination may be considered canonical. Brahms was much more hostile towards Bruckner's compositions in his writings (in his echt-Viennese sarcastic manner), the only composer from the Wagnerian camp he respected was Wagner himself.
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Bruckner: Symphony No. 5
Festspielhaus, Baden-Baden, Alemania
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