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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 met 'n [[Barok]] of [[Renaissance]] komponis as een van die [[Romantiek]]. Tog is sy volwasse komposisionele styl gewaagd wat betref vorm, harmonie en tonaliteit. Sy ontsaglike [[polifonie]]<nowiki/>se vaardighede, sy vermoë om argaïese vorms te inkorporeer binne sy eie gevorderde styl, sy voorliefde vir skielike kontraste van timbre en dinamika en sy gebruik van manjifieke koperblaasinstrument effekte getuig alles van sy gewaagdheid en oorspronklikheid. Bruckner se orkestrasie is egter merkwaardig ekonomies, maar is heeltemal anders as die uitbundige homogeniteit van Wagner. Families van instrumente word afwisselend of beurtelings gespeel in kontrasterende groepe (bv. koperblaasinstrumente teenoor houtblaasinstrumente), welke 'n pragtige en monumentale grootsheid bereik wat buite proporsie is tot die relatief beskeie aantal en tipe instrumente wat gebruik word. geen van Bruckner se simfonieë is programmaties behalwe insoverre hulle "gelaai is met die grootsheid van God."
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.”
[[Lêer:Anton Bruckner Bust.jpg|duimnael|Kopie van die Tilgner borsbeeld]]
[[Lêer:Bruckner arrives in heaven.jpg|duimnael|"Anton Bruckner arriveer in die Hemel". Bruckner word gegroet deur (van links na regs): [[Franz Liszt|Liszt]], [[Richard Wagner|Wagner]], [[Franz Schubert|Schubert]], [[Robert Schumann|Schumann]], [[Carl Maria von Weber|Weber]], [[Wolfgang Amadeus Mozart|Mozart]], [[Ludwig van Beethoven|Beethoven]], [[Christoph Willibald Gluck|Gluck]], [[Joseph Haydn|Haydn]], [[Georg Friedrich Händel]], [[Johann Sebastian Bach|Bach]]. (Silhouettekening deur [[Otto Böhler (artist)|Otto Böhler]])]]
BecauseAs gevolg van die talle ofomwerkinge theen manywysigings revisionswat Bruckner madeaangebring tohet hisaan symphonicsy scoressimfoniese werke, therehet hasdie alwaysprobleem existednog thealtyd problemvoorgekom ofvan whichwelke versionweergawe isdie bestbeste invir performanceopvoerings is. As a'n generalalgemene rule,reel however,is thedie firsteerste version isweergawe usuallygewoonlik preferableverkieslik. TheDie secondtweede halfhelfte ofvan thedie 20th20ste centuryeeu sawhet a'n hugegroot expansionuitbreiding ingesien thewat public'sbetref appreciationdie ofpubliek se waardering van Bruckner, whosewie musicse repaysmusiek definitief 'n ageduldige patientbenadering approachaan ondie thekant partvan ofdie theluisteraar listenerbeloon.<ref>"Bruckner, Anton." Encyclopædia Britannica. Encyclopædia Britannica Ultimate Reference Suite. Chicago: Encyclopædia Britannica, 2012.</ref>
== Die belangrijkste werke van Bruckner ==
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