Anton Bruckner's epic symphonies endure 200 years after his birth

This year, the classical music world celebrates the artistry of Anton Bruckner. The Austro-German composer was born 200 years ago on Sept. 4, 1824, near Linz, Austria, and died Oct. 11, 1896, in Vienna.

An organ virtuoso who served as a cathedral organist in Linz and later as court organist in Vienna, he taught at the Vienna Conservatory and lectured at the University of Vienna. A self-taught composer, he began composing seriously at 37, studying Richard Wagner’s music, in particular. He looked to Ludwig van Beethoven’s Symphony No. 9 as a model for his symphonies and incorporated Wagner’s large structures and colorful harmonies.

Bruckner’s experience as an organist might have influenced his orchestration choices, as well, incorporating blocks of sounds, as if pulling out organ stops or switching manuals (organ keyboards). Depending on the symphony and the performance, the length of a Bruckner symphony runs 60 to 80 minutes and can be an endurance contest for performers and listeners.

Bruckner’s groundbreaking, massive symphonies and ultimate fame contrasted with his humble persona. Pianist and conductor Hans von Bülow described him as “half genius, half simpleton.”

In addition to composing sacred music, Bruckner is best known for composing nine numbered symphonies, as well as two early, unnumbered symphonies. He frequently revised them, usually three or four times, creating an ongoing debate over which edition is best.

Bruckner presented his second and third symphonies to Wagner in 1873 asking which he might dedicate to him. Wagner selected the third, since it included quotations from several of his operas (which were removed in later editions.)

Originally composed in 1874 and revised several times, Bruckner’s Symphony No. 4 (Romantic) became his first great success. In 1881, Hans Richter conducted its premiere in Vienna to great acclaim.

Symphony No. 7, composed in from 1881 to 1883 and revised in 1885, was the most beloved by audiences during his lifetime.

Scholar Benjamin Korstvedt explains the lasting appeal of Bruckner’s music: “It’s big in spirit, rich in content, deep in implication — and these qualities are the source of much of its greatness. His music truly does contain multitudes — and that is exactly why it has the power to fascinate us, to be reborn in different ways every time it is performed and heard — even now, generations later.”

Leading orchestras around the world are presenting Bruckner symphonies in concert.

Gustavo Dudamel and the Los Angeles Philharmonic showcased Symphony No. 1 in January. In March, Franz Welser-Möst conducted the Cleveland Symphony Orchestra in Symphony No. 4. In April, Benjamin Zander led the Boston Symphony Orchestra in Symphony No. 9, as did Manfred Honeck and the National Symphony Orchestra in May.

Next season, Simone Young will be conducting the New York Philharmonic in Symphony No. 6. Amsterdam’s Concertgebouw Orchestra is presenting a unique cycle over a year and a half, performing Symphonies Nos. 1 to 9 under the direction of nine leading Bruckner experts.