大象传媒

Donald Macleod follows Bruckner鈥檚 ascent into the organ lofts of Europe.

Anton Bruckner was one of the great symphonists, and yet recognition for his talents as a composer came late in life. An Austrian by birth, noted for his improvisatory skills at the organ, he received invitations to travel abroad to France and England to demonstrate his skills. But though he would eventually be recognised as one of the most innovative composers of the late 19th century, during his lifetime he was plagued by doubt, not helped by the harsh reactions of Viennese music critics. He was also often dubbed a buffoon because of his dress, dialect and mannerisms. This week Donald Macleod lifts the lid on the life and music of Anton Bruckner, focusing upon different themes to better understand both the man and the music.

Bruckner鈥檚 interest in the organ developed from a very young age, watching his father play for their local church. By the age of ten, he was deputising for his father and after being accepted as a chorister at St. Florian monastery, would go on to establish his reputation as a virtuoso performer and improviser on the organ in the monastery church there. Despite his talents, Bruckner was often shy when it came to putting himself forward. At an interview for the post of organist at Linz Cathedral, his own teacher had to chivvy him along to attend. But once the panel heard him play, there was no question that he was the right person for the job.

Throughout his career, his reputation as an improviser at the organ often over-shadowed his reputation as a composer. He received an invitation to perform on the organ of Notre Dame in Paris, where distinguished guests such as Saint-Sa毛ns and Gounod were greatly impressed. Then in the 1870s he was invited to give six recitals in London at the Royal Albert Hall, where he held the audience so spell-bound on the Father Willis organ, that he was asked to give further concerts at the Crystal Palace. But despite Bruckner's great success at the organ, we鈥檙e left asking why, as a composer, he left so few compositions for this instrument.

Prelude in E flat, WAB 127 No 2
Edwin Horn, organ

Postlude in D minor, WAB 126
Gerd Schaller, organ

Libera me, WAB 22
RIAS Chamber Choir
Academy for Early Music, Berlin
艁ukasz Borowicz, conductor

Vor Arneths Grab, WAB 53
RIAS Chamber Choir
Members of the Academy for Early Music, Berlin
艁ukasz Borowicz, conductor

Prelude and Fugue in C minor, WAB 131
Gerd Schaller, organ

Te Deum, WAB 45
Jessye Norman, soprano
Yvonne Minton, alto
David Rendall, tenor
Samuel Ramey, bass
Chicago Symphony Chorus
Chicago Symphony Orchestra
Daniel Barenboim, conductor

Bruckner, arr. Edwin Horn
March in D minor, WAB 96
Hansj枚rg Albrecht, organ

Produced by Luke Whitlock