Anton Bruckner: Verskil tussen weergawes
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[[Lêer:Oesterreich stift stflorian brucknerorgel.jpg|duimnael|right|Die "Bruckner Orrel" in Sankt Florian]]
[[Lêer:Bruckner erhaelt Diplom.png|duimnael|Bruckner met die [[Orde van Franz Joseph]], 1886]]
Bruckner het basies slegs een simfoniese begrip nagestreef, wat met die verloop van sy loopbaan stadig ontwikkel en verander het. Die sleutel tot sy behandeling van groot musikale vorme is die dramatiese gebruik van tonaliteit oor 'n lang tydsverloop. (Die adagio beweging van 'n Bruckner simfonie kan 'n ontsagwekkende emosionele ondervinding van 30 minute lank wees) Sy vroegste simfonieë verteenwoordig die eerste fase van hierdie ontwikkeling, terwyl die Simfonie No. 3 in D Mineur (1873) die essensie van sy volwasse styl ontsluier. Die Simfonie No. 5 in B-moll majeur (1875–76) het hierdie vorm sy finale aanslag gegee, welke Bruckner sou najaag in 'n verdere drie voltooide simfonieë en 'n onvoltooide simfonie. Die eerste bewegings van Bruckner se simfonieë open sagkens, en die tonale tussenspel word dikwels gesuggereer in selfs die vroegste mate. (sien [[maatstreep]])
Die trio seksie van die scherzo bevat dikwels 'n teer en sagte landelike dans, soos die wat Bruckner in sy jeug vergesel het. Die finale bewegings, soos die eerste, is gebou op 'n drie-onderwerp uitgebreide sonatevorm, en inkorporeer aspekte van die eerste drie bewegings. Die laaste beweging van die Vyfde Simfonie, wat eindig in 'n massiewe dubbele fuga, is uniek in Bruckner se simfonieë en is ongetwyfeld sy beste finale. Beide die eerste en laaste bewegings van Bruckner se simfonieë bevat gewoonlik utgebreide kodas met vlammende perorasies.
Met sy gedissiplineerde akademiese opleiding, sterk godsdienstige neigings, en ongewoon stadige pad na volwassenheid, is Bruckner meer vergelykbaar The trio section of the scherzo usually contains a gentle peasant dance, like those Bruckner accompanied in his boyhood.
The final movements, like the first, are built on a three-subject expanded sonata form and incorporate elements of the first three movements. The last movement of the Fifth Symphony, which ends in a massive double fugue, is unique in Bruckner's symphonies and is undoubtedly his greatest finale. Both the first and last movements of Bruckner's symphonies usually have mightily expanded codas with blazing perorations.
With his disciplined academic training, strong religious inclinations, and unusually slow route to maturity, Bruckner more closely resembled a Baroque or Renaissance composer than one of the Romantic era. Yet his mature compositional style is daring in form, harmony, and tonality. His immense polyphonic skill, his ability to incorporate archaic forms within his own advanced style, his fondness for sudden contrasts of timbre and dynamics, and his use of magnificent brass effects all testify to his boldness and originality. Bruckner's orchestration is remarkably economical, however, and is quite unlike the lavish homogeneity of Wagner. Families of instruments are sounded alternately in contrasted groups (e.g., brasses against woodwinds), achieving a beauty and monumentality out of all proportion to the relatively modest number and type of instruments employed. None of Bruckner's symphonies are programmatic except insofar as they are “charged with the grandeur of God.”
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