- Symphony No. 8 (Bruckner)
Infobox Bruckner Symphony
title = Symphony No. 8 in C minor
dedication = Emperor
Franz Joseph I of Austria
composed = 1884 - 1887
1889 - 1890
composition_ended = March 1890
Hans Richter, Vienna Philharmonic Orchestra, 18 December 1892
first_published = March 1892
other_editions = ed. Robert Haas, 1939 ("Original Version")
ed. Leopold Nowak, 1955 (1890 version)
ed. Leopold Nowak, 1972 (1887 version)
Eugen Jochum, Hamburg State Philharmonic Orchestra, 1949 Anton Bruckner's Symphony No. 8 in C minor is the last Symphony the composer completed. It exists in two major versions of 1887and 1890. It was premiered under conductor Hans Richter in 1892in Vienna. It is dedicated to the Emperor Franz Joseph I of Austria.
This symphony is sometimes nicknamed "The Apocalyptic". [cite book
title=The Oxford Companion to Music
location=London, New York
publisher=Oxford University Press
Composition and publication
Bruckner began work on the Eighth Symphony in July 1884.Korstvedt, p. 11] Working mainly during the summer vacations from his duties at the
University of Viennaand the Vienna Conservatory, the composer had all four movements completed in draft form by August 1885. The orchestrationof the work took Bruckner until April 1887 to complete: during this stage of composition the order of the inner movements was reversed, leaving the scherzo second and the Adagio as the third movement.
In September 1887 Bruckner had the score copied and sent to conductor
Hermann Levi. Levi was one of Bruckner's closest collaborators, having given a performance of the Seventh Symphony in Munichthat was "the greatest triumph Bruckner had yet experienced".Korstvedt, pp. 15-16] He had also arranged for Bruckner's career to be supported in other ways, including financial assistance from the nobility, and an honorary doctorate from the University of Vienna. However the conductor wrote back to Bruckner that cquote|I find it impossible to perform the Eighth in its current form. I just can't make it my own! As much as the themes are magnificent and direct, their working-out seems to me dubious; indeed, I consider the orchestration quite impossible... Don't lose your courage, take another look at your work, talk it over with your friends, with Schalk, maybe a reworking can achieve something". [Korstvedt, p. 18]
By January 1888 Bruckner had come to agree with Levi that the symphony would benefit from further work.Korstvedt, p. 19] He began work on the revision in March 1889 and completed the new version of the symphony in March 1890. Once the revision was completed, the composer wrote to Emperor Franz Josef I for permission to dedicate the symphony to him.Korstvedt, p. 20] The Emperor accepted Bruckner's request, and also offered to help pay for the work's publication.Korstvedt, p. 21] Bruckner had some trouble finding a publisher for the work, but in late 1890 the Haslinger-Schlesinger-Lienau company agreed to undertake the publication. Bruckner's associates Josef Schalk and Max von Oberleithner assisted with the publication process: Schalk prepared the musical text to be sent to the printer while Oberleithner corrected the proofs and also provided financial support. [Korstvedt pp. 88, 22] The symphony was eventually published in March 1892: it was the only one of Bruckner's symphonies to be published before its first performance. [Korstvedt, pp. 21-22]
Premiere and reception
By the time the 1890 revision was complete Hermann Levi was no longer conducting concerts in Munich: as a result he recommended that his protege
Felix Weingartner, Kapellmeisterof Mannheim, lead the first performance of the Symphony. The premiere was twice scheduled to occur under the young conductor's direction during 1891, but each time Weingartner substituted another work at the last minute. [Korstvedt, p. 23] Eventually the conductor told Bruckner that he was unable to undertake the performance because he was about to take up a new position at the Berlin Opera. However, Weingartner admitted, in a letter to Levi, that the real reason that he was unable to perform the symphony was because the work was too difficult and he did not have enough rehearsal time: in particular the Wagner tubaplayers in his orchestra did not have enough experience to cope with their parts. [Korstvedt, p. 24]
After a possible Munich performance by Levi was canceled because of a feared outbreak of
cholera, Bruckner focused his efforts on securing a Vienna premiere for the symphony. At last Hans Richter, subscription conductor of the Vienna Philharmonic Orchestra, agreed to conduct the work. The first performance took place on 18 December 1892. Although some of the more conservative members of the audience left at the end of each movement, many of Bruckner's supporters were also present, including Hugo Wolfand Johann Strauss.
The well known critic
Eduard Hanslickleft after the slow movement. His review described the symphony as "interesting in detail, but strange as a whole, indeed repellent. The peculiarity of this work consists, to put it briefly, in importing Wagner's dramatic style into the symphony."Korstvedt, p. 4] (Korstvedt points out that this was less negative than Hanslick's reviews of Bruckner's earlier symphonies). There were also many positive reviews from Bruckner's admirers. One anonymous writer described the symphony as "the crown of music in our time". [Korstvedt, p. 5] Hugo Wolf wrote to a friend that the symphony was "the work of a giant" that "surpasses the other symphonies of the master in intellectual scope, awesomeness, and greatness". [Korstvedt, p. 6]
The symphony was slow to enter the orchestral repertoire. Only two further performances occurred during Bruckner's lifetime.Korstvedt, p. 26] The American premiere did not take place until 1909, while the symphony had to wait until 1929 for its first London performance. [cite book
title=Bruckner's Symphonies: Analysis, Reception and Cultural Politics
publisher=Cambridge University Press
The symphony has four movements. The total duration varies by performance and the edition of the score used, but is typically around 80 minutes.
The symphony begins in a tonally ambiguous manner with a theme rhythmically reminiscent of the main theme of the first movement of Beethoven's Symphony No. 9 in D minor. A more song-like second subject group uses the
Bruckner rhythm. The third subject group, which is strikingly dissonant, forms a smooth transition to the development. In structure, the opening movement is therefore a typically Brucknerian three-subject sonata form, though handled with more panache than in his previous works. The development was substantially refined in 1890. In both versions, this section of the movement is most notable for its massive, augmented three-part statement of the main theme, impressively given on full orchestra in combination with the Bruckner rhythm of the second subject group.In the recapitulation, the third theme leads to a great climax for the entire orchestra, in which the bare rhythm of the main theme is dominant. This suddenly breaks off, leaving just the trumpets and three of the horns hammering out the rhythm, timpani thundering beneath. When the strings and woodwinds rejoin, it is in a very dejected mood. At this juncture the two versions differ significantly. In the 1887 version, this solemn passage leads to what many consider an unconvincingly premature victory-coda, which sounds the main theme in C major. For the 1890 version, the triumphant ending was cut, and the despondent passage extended by a few bars to form a pianissimo coda in itself (thus becoming the only instance of a first movement ending softly in Bruckner's symphonic oeuvre). This quiet, sombre ending is for low winds and low strings in a thoroughly bleak C minor, and there is no doubt from contemporary letters of Bruckner that it represented death in some way.
It has been suggested by some scholars that the coda was inspired by the climax of the Dutchman's monologue in Wagner's "Der fliegende Hollander", with the words, "Ihr Welten endet euren Lauf, ewige Vernichtung, nimm mich auf!". [cite book
title=The second golden age of the Viennese symphony: Brahms, Bruckner, Dvořák, Mahler, and selected contemporaries
publisher=Indiana University Press
The main part of the Scherzo is fundamentally the same in both versions, though somewhat more repetitive in the first version. The orchestration and dynamics are more refined in the second version, helping to give the movement a rich and original sound. The Trios, however, are quite different: the 1890 version was rewritten as an adumbration of the ensuing Adagio movement, featuring the harps, and the tempo was slowed down. In both versions, this Scherzo is Bruckner's largest, lasting around 14 or 15 minutes in most performances.
The main difference between versions is at the climax, for which in the 1887 version Bruckner managed to insert six cymbal clashes. He must have thought that excessive, as he pared it down to two in the 1890 version. The key of this climax was also altered from
C majorin 1887 to E-flat majorin 1890. The coda of this movement is recalled in the Adagio of the Ninth Symphony.
This Adagio differs from those in other symphonies by the composer in that the second thematic group is not presented in a more flowing tempo. The two themes are, first, a recollection of the slow movement of Schubert's Wanderer Fantasie for Pianoforte and an answering descending passage, both over throbbing, richly scored strings; and, secondly, a tonally unstable passage radiant with ecstasy. The structure and scale of the Adagio as it develops these themes is grander than any of Bruckner's previous slow movements.
The Adagio is the most controversial of all the movements in terms of different versions. For example,
Robert Haasinserted one quiet, solemn passage in his edition of the 1890 score which restored a cut between two loud passages (before the main climax of the movement), whereas in the Leopold Nowakedition these two loud passages are joined. This difference greatly affects the impression given to the listener for this section of the movement as it heads towards the great E-flat majorclimax. The 1890 Adagio, in both the edition of Robert Haasand that of Leopold Nowak, remains shorter than the 1887 original.
Beginning belligerently (by Bruckner's standards), this movement reaches a triumphant conclusion using themes (or at least rhythmic impressions of these) from all four movements. The form of this movement is complex, derived from a three-subject sonata structure but, like the opening movement of Bruckner's Seventh symphony, highly individualised. The scale and complexity of this movement are both on a different level from that in the opening of the Seventh Symphony, however, not least in that this movement must synthesise the entire symphony (as it reworks old ideas and new ones into a coherent whole), and forms what must be a satisfactory conclusion for the whole work.
The opening theme is a powerful
chorale, originally given over a march, in which the rhythmic thundering of the timpani recalls certain passages in the opening movement. The second subject, a song-theme, is remarkable in that it recollects not only its counterpart in the first movement but also the Adagio. The third subject is a march-theme, which is a direct reworking of the introduction to the third subject group of the opening movement. In the recapitulation, this third theme is presented as a fuguewhich leads to the solemn coda and the splendid, bright finish to the symphony.
The development presents these three themes and other elements in ways which recollect earlier parts of the symphony, both episodically and in simultaneously parallel combinations. The thematic treatment is subtle and counterpoint is frequently used in the presentation of themes. It therefore seems natural that such a synthesis concludes by contrapuntally combining all the main themes of the symphony: the coda begins in a solemn
C minorin which the opening theme of the Finale reaches a powerful climax. This is answered quietly by the woodwind giving out the same theme, then more optimistically by the full orchestra, from which, in a flurry of trumpets and timpani, the Scherzo theme heralds a remarkably succinct combination of all the themes in C major. For all its grandeur, the ending is remarkably concise, and the perorations are more terse than those of, say, Bruckner's own Symphony No. 5 in B flat major.
Two complete autograph manuscripts of the symphony exist, dating from 1887 and 1890 respectively. In addition to the completed scores, many sketches exist from all phases of work on this symphony than for most of Bruckner's works. For example, thanks to the sketches, we can see the evolution of the opening theme. Part scores show that the tonal ambiguity of the symphony's opening was not how Bruckner originally envisaged the main theme: the rhythm was to fit an arpeggiated contour in
C minor. The final opening is much less defined and hovers in more of a B flat majorregion, though it suggests several keys.
This was Bruckner's first version of the symphony, but was not published until 1972 in an edition edited by
Leopold Nowak. [cite book
title=Symphony no. 8/1, C minor, 1887 version
location=London, New York
oclc=32221753 ] It has some significant differences from the more familiar later versions, including a loud ending to the first movement and a different tonality for the climax of the slow movement. It is also notably longer than the 1890 version, and has a different instrumentation (the most significant consistent difference being that the 1890 version has triple rather than double woodwind throughout the first three movements). The double woodwind of the 1887 version gives a somewhat more austere character to the overall sound of the work.
Some scholars support this version of the symphony. Bryan Gilliam, for example, argues that the later version (from 1890) is shorter and smoother, and is hence a dubious concession to the Brahms-loving bourgeoisie of the time. [Gilliam, Bryan. "The Two Versions of Bruckner's Eighth Symphony." 19th Century Music 16, no. 1 (1992): 59–69.] It has been recorded by
Dennis Russell Davies, Vladimir Fedoseyev, Eliahu Inbaland Georg Tintner.
A fair copy of an intermediate version of the Adagio with an estimated date of 1888 exists in the
Austrian National Library. It has been recorded by Akira Naitowith the Tokyo New City Orchestra. A MIDI version is also availablecite web
title=Bruckner Symphony Versions
Some scholars such as
Deryck Cookeand Robert Haashave suggested that the 1890 revision was the product of Bruckner's insecurity and pressure from his colleagues such as Josef Schalk: Cooke even referred to it as the "Bruckner-Schalk revision".Korstvedt, p. 69] Against this Leopold Nowak has pointed out that there is no evidence of any handwriting other than Bruckner's own in the 1890 manuscript. According to the testimony of Bruckner's friends and associates the composer was extremely resistant to outside interference.
The scoring of the 1890 version is fuller and more grandiloquent than the 1887 version, with subtler textures and harmonies in the woodwind in particular, allowed for by the increased size of this section of the orchestra. It was published in 1955 in an edition edited by
Leopold Nowak. [Bruckner, Anton. Symphony No. 8/2, c minor, 1890 version. Edited by Leopold Nowak. (New York: Eulenberg, 1992)] "'
This was the first publication of the symphony, and was also the version used at the first performance. [cite book
date=1892] It contains some relatively minor changes from the 1890 manuscript, the most notable being a six-measure cut and a two-bar repeated passage in the Finale. The alterations were made by
Joseph Schalkand Max von Oberleithner, almost certainly without Bruckner's direct involvement, but were probably approved by the composer before publication. Korstvedt writes that "while the 1892 edition may not be "pure Bruckner" — whatever that might be — to all appearances Bruckner authorized it, and for that reason it needs to be taken seriously.". [ Korstvedt [http://books.google.com/books?id=f9wx27TgxWAC&pg=PA91&vq=%22while+the+1892+edition%22&dq=bruckner+8+1892&sig=3Xjf77b-L27q538Cuh_aX_gN5D0 p. 91] ] This edition is available in complete recordings by Wilhelm Furtwängler, Hans Knappertsbusch, Josef Krips, William Steinberg, George Szell, Bruno Walterand Takeo Noguchi. Serge Koussevitzkyalso used this edition in his severely cut broadcast performance of 1947; this performance, which has been preserved on disc, amounts to a wholly new "edition".
Robert Haaspublished his edition of the Eighth Symphony in 1939. [cite book
title=Symphony no. 8 in C minor
oclc=4562394 ] Haas mainly based his work on the 1890 autograph but also included some passages from the 1887 version that were changed or omitted in the 1890 score.
Haas argued that Levi’s comments were a crippling blow to Bruckner’s artistic confidence, even leading him to "entertain suicidal notions", although Haas had no evidence for this. [Korstvedt, [http://books.google.com/books?id=f9wx27TgxWAC&pg=PA68&vq=%22suicidal+notions%22&dq=%22franz+schalk%22++bruckner+fifth+symphony&as_brr=3&sig=s46LOUgOeMMmyql50TDOACBAClo p. 68] ] This led, Haas maintained, to Bruckner’s three-year effort to revise the Eighth Symphony and many of his earlier works. This line of thought supports Haas’ editorial methods. Haas took what he admired from Bruckner's different versions and rolled them into his own version. He justified the rejection of various features of Bruckner’s 1890 revision on biographical grounds: they are the ideas of a Bruckner who mistrusted his own judgment, and therefore non-Brucknerian.
The most significant omissions that Bruckner made (and therefore of Haas's restorations) are in the Adagio and
Finaleof the work. In addition, Haas inserted eight measures into the finale that he appears to have composed himself by combining the harmonies of the 1887 manuscript with material Bruckner penciled into the margin of the 1890 score, discarding five measures of Bruckner's own music in the process. There were no footnotes or other indication in Haas's edition that these changes had been made. This has been described as "exceed [ing] reasonable limits of scholarly responsibility". [Korstvedt, [http://books.google.com/books?id=f9wx27TgxWAC&pg=PA105&vq=%22reasonable+limits+of+scholarly+responsibility%22&dq=%22franz+schalk%22++bruckner+fifth+symphony&as_brr=3&sig=sBRlDp4gmnJuJ8YaY4XhH9rZQUM p. 105] ] Despite its dubious scholarship Haas's edition has proved enduringly popular: conductors such as Herbert von Karajan, Bernard Haitinkand Günter Wandcontinued to use it even after the Nowak/1890 edition was published, while noted Bruckner conductor Georg Tintnerhas written that the Haas edition is "the best" version of the symphony and referred to Haas himself as "brilliant". [cite album-notes
title=Bruckner: Complete Symphonies
publisherid=8.501101] On the other hand,
Eugen Jochumused Haas's edition for his first recording, made in 1949, before Nowak published his edition, and Nowak's for his subsequent recordings, while Wilhelm Furtwängler, despite having given the premiere of the Haas score, reverted to the 1892 edition in his final years.
The controversy over the Haas edition centers on the fact that its musical text was a fabrication of the editor and was never approved by Bruckner himself. In particular Leopold Nowak, who succeeded Haas as principal editor of the Bruckner complete works, argued that there is little evidence for the psychological breakdown that Haas claimed Bruckner suffered upon Levi's rejection of the work. Bruckner’s letters at the time suggest that he was frustrated by Levi’s judgment (dismissing Levi as having a “hard time grasping things”) and psychologically healthy. Bruckner’s revisions, according to this view, are the result of his artistic perfectionism. Nowak therefore rejected Haas's approach by sticking closely to Bruckner's autograph scores. Since its publication Nowak's edition of the 1890 version has become more popular than Haas's, although Haas's is still often performed.
The 1887 version requires an instrumentation of three each
flutes (the third doubling as piccolo), oboes, clarinets, bassoons (the third doubling as contrabassoon- the triple woodwinds, however only enter in the Finale), with eight horns, three trumpets, three trombones, a quartet of Wagner tubas, which double as Horns 5-8 in the Finale, and a single contrabass tuba, along with timpani, cymbals, triangle, three harps and strings. The 1890 version deletes the piccolo part, and extends the triple woodwinds on all four movements. In addition, the 1890 score calls for eight horns, four of which double as Wagner tubas at various points in the symphony for all movements. This was, in total, the largest orchestra Bruckner ever used (since the Ninth Symphony, which uses an otherwise identical orchestra, does not require harps and percussion other than timpani).
In an 1891 letter to conductor
Felix Weingartner, Bruckner gave extramusical associations to several parts of the symphony: [Korstvedt, [http://books.google.com/books?id=f9wx27TgxWAC&pg=PA51&vq=%22bruckner+wrote+to+weingartner%22&dq=bruckner+8+prometheus&as_brr=3&sig=c1nyQDiDvAJ5Eyb_QIOtGuWA6s4 p. 51] ]
In the first movement, the trumpet and horn passage based on the rhythm of the [main] theme in the "Todesverkündigung" [the annunciation of death] , which gradually grows stronger, and finally emerges very strongly. At the end: surrender.
Scherzo: Main theme -- named "deutscher Michel". ["Deutscher Michel" ("German Michael") is "a rather old-fashioned personification of Germany, with a slightly pejorative connotation, referring to the qualities of being guileless and honest". cite book
first=Fritz Karl Michael
title=Underground Humour in Nazi Germany, 1933-1945
isbn=0415097851] In the second part, the fellow wants to sleep, and in his dreamy state cannot find his tune: finally, he plaintively turns back.
Finale: At the time our Emperor received the visit of the Czars at
Olmütz; [According to Korstvedt p. 52, Bruckner was mistaken about the location of this meeting, which took place between Franz Joseph I of Austria, Tsar Alexander III of Russia, and Kaiser Wilhelm I of Germanyat Skierniewicein September 1884.] thus, strings: the Cossacks; brass: military music; trumpets: fanfares, as the Majesties meet. In closing, all themes ... thus as "deutscher Michel" arrives home from his journey, everything is already gloriously brilliant. In the Finale there is also the death march and then (brass) transfiguration.
Bruckner's associates report other comments that the composer is said to have made about the symphony. The coda to the first movement is "how it is when one is on his deathbed, and opposite hangs a clock, which, while his life comes to an end, beats on ever steadily: tick, tock, tick, tock" [Korstvedt, p. 52] while in the slow movement "I have gazed too deeply into a maiden's eyes". [citation
contribution=Programme symphpony and absolute music
title=The Cambridge Companion to Bruckner
publisher=Cambridge University Press
In an unsigned programme note at the 1892 first performance Joseph Schalk elaborated Bruckner's program, adding references to
Greek mythology( Aeschylus's Prometheus, Zeusor Kronos, etc.) mixed with a few Christian references such as the Archangel Michael.
The first commercial recording of part of the symphony was made by
Otto Klempererwith the Berlin State Opera Orchestrain 1924for Polydor. It included only the slow movement, in the 1892 edition.
The oldest performance of the complete work surviving on record is a concert by
Bruno Walterwith the New York Philharmonicfrom 1941. It also used the 1892 edition. Wilhelm Furtwängler, in a live performance with the Vienna Philharmonicin 1944 used a modified Haas edition.
September 29, 1944, the Preussische Staatskapelle Berlin, conducted by Herbert von Karajan, recorded the finale of Bruckner's eighth symphony in experimental stereophonic sound. This was one of the earliest stereo recordings made in Europe. In its interpretation it also differed from other recordings of the period: "Recordings from the 1940s ... typically present this passage [the reprise of the third subject group in the finale] as a grand accelerando-rallentando, with a tempo increase of as much as 20 percent," while Karajan's recording "is a notable exception." [Korstvedt, p. 98 - 99]
The first commercial recording of the complete symphony was made by
Eugen Jochumwith the Hamburg State Philharmonic Orchestrain 1949for Deutsche Grammophon. Jochum later recorded it in studio with the Berlin Philharmonicin 1964 for Deutsche Grammophon, and in 1976 with the Dresden Staatskapellefor EMI using the Nowak 1890 edition both times. Karl Böhm, in a studio recording with the Vienna Philharmonic in 1976 for Deutsche Grammophon used the Nowak 1890 edition, but with one Haas passage in the finale.
In the last two decades of the 20th century, recordings tended to "set a broader basic tempo, ... abstain from dramatic tempo fluctuations — especially increases — and place great store by fullness of tone, precise ensemble, and textural clarity." [Kortsvedt, p. 101]
St. Florianin 1996, Pierre Boulezconducted a live performance with the Vienna Philharmonic, using the Haas edition, which is now available on Deutsche Grammophon.
All versions considered, this work lasts about 80 minutes, with the faster performances fitting on one standard 12 cm
compact disk. Herbert von Karajanand the aforementioned Günter Wand each recorded the Haas hybrid version more than once. After Eliahu Inbalrecorded the 1887 version for the first time, other conductors have followed, such as Georg Tintneron the Naxos Recordslabel. Takashi Asahinapreferred the Haas score too, but with a Japanese orchestra he did record a disc that compared snippets from the Haas and Nowak editions.
This work has also been recorded on DVD Video.
Herbert von Karajan's 1988 recording conducting the Vienna Philharmonic for Deutsche Grammophonwas released by Sony Classical on DVD. In fact, the Vienna Philharmonic has been videotaped playing this symphony more than once; in 1996, to commemorate the centennial of Bruckner's death, they played it with Pierre Boulez, and this was released on DVD in 2005. World Philharmonic Orchestrachose to perform this symphony for their inaugural concert conducted by Carlo Maria Giulini. Another DVD is with Zubin Mehtaconducting the Israel Philharmonic Orchestra.
* cite book
title=Bruckner: Symphony No. 8
location = Cambridge, UK; New York
publisher=Cambridge University Press
* [http://abruckner.com/discography/symphonyno8/ Complete discography]
* [http://patachonf.free.fr/musique/bruckner/8e.php Another discography with reviews in French]
* [http://www.geocities.com/dkgriegel/versions.html Bruckner symphony versions]
* [http://www.sfsymphony.org/templates/pgmNotePrint.asp?nodeid=3467 Program note, from the San Francisco Symphony]
Wikimedia Foundation. 2010.
Look at other dictionaries:
Symphony No. 0 (Bruckner) — “Symphony No. 0 in D minor” Dedication none Composed 1869 Premiere F. Moissl, 12 October 1924, Klosterneuenburg First published 1924 (ed. Wöss) Other editions ed. Leopold Nowak, 1968 First recording … Wikipedia
Symphony No. 4 (Bruckner) — Infobox Bruckner Symphony title = Symphony No. 4 in E flat major ( Romantic ) dedication = Prince Konstantin of Hohenlohe Schillingsfürst composed = 1873 1874 1878 1880 1887 1888 first performance = Hans Richter, 20 February 1881, Vienna… … Wikipedia
Symphony No. 5 (Bruckner) — Infobox Bruckner Symphony title = Symphony No. 5 in B flat major dedication = Carl von Stremayr composed = 1875 1876 1877 1878 first performance = Franz Schalk, 8 April 1894, Graz first published = 1896 (ed. Schalk) other editions = ed. Robert… … Wikipedia
Symphony No. 1 (Bruckner) — Infobox Bruckner Symphony title = Symphony No. 1 in C minor dedication = University of Vienna composed = 1865 1866 (Linz version) 1890 1891 (Vienna version) 1893 (first edition) first performance = Bruckner conducting, 9 May 1868, Linz first… … Wikipedia
Symphony No. 9 (Bruckner) — Infobox Bruckner Symphony title = Symphony No. 9 in D minor dedication = God composed = 1887 1896 (unfinished) first performance = Ferdinand Löwe, 11 February 1903, Vienna first published = 1903 (ed. Löwe) other editions = ed. Alfred Orel, 1932… … Wikipedia
Symphony No. 3 (Bruckner) — Infobox Bruckner Symphony title = Symphony No. 3 in D minor dedication = Richard Wagner composed = 1872 1873 1876 1877 1888 1889 composition ended = 1889 first performance = Bruckner conducting, 16 December 1877, Vienna first published = 1890… … Wikipedia
Symphony No. 7 (Bruckner) — Infobox Bruckner Symphony title = Symphony No. 7 in E major dedication = Ludwig II of Bavaria composed = 1881 1883 1885 first performance = Arthur Nikisch, 30 December 1884, Stadttheater, Leipzig first published = 1885 other editions = ed. Robert … Wikipedia
Symphony No. 2 (Bruckner) — Infobox Bruckner Symphony title = Symphony No. 2 in C minor dedication = none composed = 1871 1872 1875 1876 1890 composition ended = 1876 first performance = Bruckner conducting, 20 February 1876, Vienna Philharmonic, Vienna first published =… … Wikipedia
Symphony No. 6 (Bruckner) — Infobox Bruckner Symphony title = Symphony No. 6 in A major dedication = Anton von Oelzelt Newein and his wife Amy composed = 1879 1881 first performance = Gustav Mahler, 26 February 1899, Vienna Philhamonic, Vienna first published = 1899 (ed.… … Wikipedia
Symphony No. 0 — Among the pieces of music with the title Symphony No. 0 are:* Symphony No. 0 (Bruckner) ( Nullte ), WAB 100, by Anton Bruckner. * Symphony No. 0 (Schnittke), van Rijen opus 17, by Alfred Schnittke in 1957.;Or * Study Symphony, WAB 99, also by… … Wikipedia