• Name: Anton Bruckner
• Birthday: 09/04/1824
• Birth Place: Ansfelden, Austria
• Died: 10/11/1896
• Place of Death: Vienna, Austria
• Period: Post-Romantic
• Genre: Classical

Title	Release
Symphonien	2008
Symphony No. 2	1998
(51) Os justi, gradual for chorus in Lydian mode, WAB 30 WA	1981
(202) Symphony No. 4 in E flat ("Romantic"), WAB 104 WA	2007
(188) Symphony No. 7 in E major, WAB 107	1999
(173) Symphony No. 8 in C minor, WAB 108	2002
(163) Symphony No. 9 in D minor, WAB 109
Pieces (3) for orchestra, WAB 97 WA
Abendzauber, for baritone, chorus, 3 yodellers & 4 horns in G flat major, WAB 57 WA	1995
Adagio, for orchestra (discarded from Symphony No. 3, rev. version)	2001
(10) Aequale, for alto, tenor & bass trombones No. 1 in C major, WAB 114	1990
(9) Aequale, for alto, tenor & bass trombones No. 2 in C major, WAB 149	1971
(16) Afferentur Regi, offertorium for chorus & 3 trombones in F major, WAB 1 WA	1981
(6) Ave Maria (I), motet for soprano, alto, chorus, cello & organ in F major, WAB 5	1993
(71) Ave Maria (II), motet for chorus in F major, WAB 6 WA
(5) Ave Maria (III), motet for alto & organ (or harmonium) in F major, WAB 7
(35) Ave Maria (unspecified)
(2) Ave regina coelorum, Gregorian choral for voice (or unison chorus) & organ, WAB 8	1997
Bassoon Concerto in B flat major, CW 36/195	1994
Bassoon Concerto in E flat major, CW 36/139	1994
(5) Christus factus est (I) (Chorale-Mass), Mass for chorus in F major, WAB 9	1993
(22) Christus factus est (II), gradual for chorus, 3 violins & 2 trombones in D minor, WAB 10	2008
(18) Christus factus est (III), gradual for chorus in D minor, WAB 11	1997
(2) Das deutsche lied ("Wie durchs Bergtal"), song for male chorus & brass in D minor, WAB 63 WA	1995
(21) Ecce sacerdos, antiphon for chorus, 3 trombones & organ in A minor, WAB 13 WA	1981
(6) Erinnerung, for piano in A flat major, WAB 117
(2) Fantasie, for piano in G major, WAB 118	1994
Fugue, for organ in D minor, WAB 125	1990
Germanenzug ("Germanen durchschreiten), for male chorus & brass in D minor, WAB 70	1991
(3) Helgoland ("Hoch auf der Nordsee"), for chorus & orchestra in G minor, WAB 71	1992
Improvisationsskizze Bad Ischl, for organ (arr. by Edwin Horn)	1990
In jener letzten der Nächte, chorale for chorus in F minor, WAB 17	1998
(10) Intermezzo, for string quintet in D minor, WAB 113	1994
(7) Inveni David (I), offertory for male chorus & 4 trombones in F minor, WAB 19	1979
(2) Klavierstück, for piano in E flat major, WAB 119	1994
Kleine Vortragsstüke (3), for piano, 4 hands, WAB 124	1994
(2) Lancier-Quadrille, for piano in C major, WAB 120	1994
(5) Libera me, Domine (I), motet for chorus & organ in F major, WAB 21	1979
(6) Libera me, Domine (II), motet for chorus, 3 trombones & organ in F minor, WAB 22	2008
(82) Locus iste, gradual for chorus in C major, WAB 23
March, for band in E flat major, WAB 116
(2) March, for orchestra in D minor, WAB 96
(9) Mass No. 1, for soloists, chorus, orchestra & organ in D minor, WAB 26	2003
(41) Mass No. 2, for chorus & winds in E minor, WAB 27	2008
(18) Mass No. 3, for soloists, chorus, orchestra & organ in F minor ("Great"), WAB 28	1988
(2) Mass, for alto, 2 horns & organ in C major ("Windhaager Messe"), WAB 25
(2) Messe ohne Gloria (Kronstorfer Mass), for chorus in D minor, WAB 146	1993
(3) Missa Solemnis, for soloists, chorus & orchestra in B flat minor, WAB 29
O du liebes Jesukind, for tenor & organ in F major, WAB 145 (poss. spurious)	1998
(11) Overture, for orchestra in G minor, WAB 98
(4) Pange lingua et Tantum ergo, motet for chorus in Phrygian mode, WAB 33	1993
(16) Pange lingua, hymn for chorus in D major, WAB 32 WA	1981

Although Bruckner wrote a great deal of sacred choral music (including not only his grandly conceived Mass No. 3, but also his more intimate Mass No. 2 and his astringent motets, which fuse renaissance and nineteenth century techniques), he is best known for his symphonies: two unnumbered apprentice works, eight completed mature symphonies, and the first three movements of a Ninth (The finale has been reconstructed by several hands, but most performances include just the movements Bruckner completed). The symphonies, influenced to some extent by Wagner and identified with his school by the Viennese public, are monumental: expansive in scale, rigorous (if sometimes gigantist) in formal design, and often elaborate in their contrapuntal writing. Their sonorities are stately and organ-like; the Viennese critic Graf wrote that Bruckner "pondered over chords and chord associations as a medieval architect contemplated the original forms of a Gothic cathedral." Despite occasional folk influences in the scherzos, his symphonies are uniformly high-minded, even religious, in spirit. Together, they form the weightiest body of symphonies between Schubert (whom he greatly admired) and Mahler.

Bruckner was born in the town of Ansfelden, Austria, on September 4, 1824, and he spent the first years of his career as a choirmaster for a group of monks and as a church organist in Linz. After several years of studying composition and counterpoint by mail, he passed exams at the Vienna Conservatory in 1861. In the early 1860s he created his first large works, including a Symphony in D minor that he later derisively named "die Nullte," the Symphony No. 0. He was present at the premiere of Wagner's Tristan und Isolde in 1865 and remained a near fanatical admirer of Wagner, but the extent to which his own vast musical structures were modeled on Wagner's is a matter of debate. He landed a teaching post at the Conservatory in 1868, but always retained something of his original rustic character. An often-repeated anecdote tells how he gave a tip to the aristocratic conductor Hans Richter after a successful rehearsal of his Symphony No. 4, telling Richter to go and buy himself a beer. Bruckner died in Vienna on October 11, 1896. ~ All Music Guide, All Music Guide