Bruckner

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Anton Bruckner (1824-1896)
Happy 200th Birthday Anton Bruckner
The music of Anton Bruckner, born as the son of a schoolmaster and church organist in Ansfelden near Linz on 4 September 1824, still strongly resonates today. Yet he was more than just an artist, he was a visionary. One
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Bruckner’s Crypt – A Return to St Florian Monastery
This year, in 2024, we are celebrating the 200th birthday of an inventive and revered composer of the late 19th century, Anton Bruckner. Having performed his symphonies many times, what better way to honor the composer than to make a
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On This Day
11 October: Anton Bruckner Died
The Bruckner Year 2024, celebrating the 200th birthday of one of the most innovative composers of the second half of the 19th century, will see the release of multiple recordings of the Bruckner cycle. The composer was plagued by crippling
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On This Day
4 September: Anton Bruckner Was Born
Born in the tiny village of Ansfelden on 4 September 1824, Anton Bruckner became one of the most innovative figures of the second half of the 19th century. Today we primarily remember him for his symphonies and sacred compositions, rooted
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On This Day
9 May: Bruckner’s Symphony No. 1 Was Premiered
On 9 May 1868, Anton Bruckner stepped onto the podium in the Austrian town of Linz. He stood in front of an orchestra consisting of members of the Linz theatre, regimental bands, and some local amateur musicians, and the premiere
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Getting to Zero
Bruckner’s Symphony No. 0 in D Minor, “Nullte”
Anton Bruckner (1824-1896) is known for his 9 symphonies. No. 1 falls into his early style; Nos. 2-5 are his middle style, culminating in the consummate mastery evident in the Fifth; Nos. 6-8 and the incomplete 9th form the last
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Anton Bruckner
“It is to God that I must give account” 125 years ago, on 11 October 1896, Anton Bruckner (1824-1896) died from acute heart disease brought on by persistent alcoholism. His funeral took place in the Karlskirche in Vienna on 14
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Bruckner: Symphony No. 2 in C minor
Premiered Today in 1873
Plagued by crippling insecurities, Anton Bruckner endlessly revised his musical scores, and seemingly allowed outside influences to shape the content of his music. Untangling the relative merits of Bruckner’s various versions and finding a definitive musical text has been a
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