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See also:BRUCKNER, ANTON (1824–1896) , See also:Austrian musical composer, was See also:born on the 4th of See also:September 1824 at Ansfelden in upper See also:Austria. He successfully competed for the organistship for See also:Linz See also:Cathedral in 1855. In 1867 he succeeded his former See also:master of See also:counterpoint, Sechter, as organist of the Hofkapelle in See also:Vienna, and also became See also:professor in the conservatorium. In 1875 he was appointed to a lectureship in the university. His most striking See also:- TALENT (Lat. talentum, adaptation of Gr. TaXavrov, balance, ! Recollections of a First Visit to the Alps (1841); Vacation Rambles weight, from root raX-, to lift, as in rXi vac, to bear, 1-aXas, and Thoughts, comprising recollections of three Continental
talent .was shown in his extemporizations on the See also:organ. His success in an organ competition at See also:Nancy in 1869 led to his playing in See also:Paris and See also:London (six recitals at the See also:Albert See also:- HALL
- HALL (generally known as SCHWABISCH-HALL, tc distinguish it from the small town of Hall in Tirol and Bad-Hall, a health resort in Upper Austria)
- HALL (O.E. heall, a common Teutonic word, cf. Ger. Halle)
- HALL, BASIL (1788-1844)
- HALL, CARL CHRISTIAN (1812–1888)
- HALL, CHARLES FRANCIS (1821-1871)
- HALL, CHRISTOPHER NEWMAN (1816—19oz)
- HALL, EDWARD (c. 1498-1547)
- HALL, FITZEDWARD (1825-1901)
- HALL, ISAAC HOLLISTER (1837-1896)
- HALL, JAMES (1793–1868)
- HALL, JAMES (1811–1898)
- HALL, JOSEPH (1574-1656)
- HALL, MARSHALL (1790-1857)
- HALL, ROBERT (1764-1831)
- HALL, SAMUEL CARTER (5800-5889)
- HALL, SIR JAMES (1761-1832)
- HALL, WILLIAM EDWARD (1835-1894)
Hall, 1871). His permanent reputation, however, rests on his compositions, especially his nine symphonies. In these gigantic efforts the See also:influence of See also:Wagner is See also:paramount in almost every feature of See also:harmony and orchestration; and if sustained seriousness of purpose and See also:style were all that was necessary to give coherence to See also:works in which these influences are stultified by the rhythmic uniformities of an experienced See also:improvisatore and the impressions of classical See also:form as taught in See also:schools, then Bruckner would certainly have been what the extreme Wagnerian party called him, the symphonic successor of See also:Beethoven, or the Wagner of the See also:symphony. But their lack of organization and proportion, to say nothing of See also:humour, will always make their revival a somewhat severe task. No composer has ever been more consistent to lofty ideals, though few who have ever had an ideal have shown less adroitness in their methods of embodying it. The most poetic and admired feature of his style is a slow growth to a gigantic See also:climax, slow enough and gigantic enough for any situation in Wagner's Nibelungen tetralogy. The symphonies in which these climaxes occur are in obviously unskilful classical form, with only an outward See also:appearance of freedom; and the See also:Great See also:Pyramid would hardly be more out of See also:place in an See also:- OXFORD
- OXFORD, EARLS OF
- OXFORD, EDWARD DE VERE, 17TH EARL
- OXFORD, JOHN DE VERE, 13TH EARL OF (1443-1513)
- OXFORD, PROVISIONS OF
- OXFORD, ROBERT DE VERE, 9TH EARL OF (1362-1392)
- OXFORD, ROBERT HARLEY, 1ST
Oxford quadrangle than Bruckner's climaxes in his four-See also:movement symphonies with their " second subjects " and recapitulations. Nor is it likely that Bruckner would have been much more successful in handling these gigantic things in their legitimate Wagnerian dramatic environment, for even in his last three symphonies he hardly ever frees himself from the trammels of square See also:rhythm; and, as he accepts the classical See also:sonata-formswithout inquiry into their meaning or relevance, so he accepts the Wagnerian See also:stage See also:orchestra in its minutest details, without inquiry as to its relevance for the purposes and See also:acoustics of the See also:concert-See also:room, and with the same lack of sense of See also:relief that ruins the See also:balance of his rhythmic periods. So unsophisticated a temperament may be not unpoetical, but it is eminently undramatic, as well as unsymphonic. Of Bruckner's choral works, which include three masses and several See also:psalms and motets, the most famous is the Te Deum (1885?),I which shows his characteristic See also:power in massive effect. Bruckner wished this to be appended to the three See also:complete movements of his 9th symphony, which his last illness (ending in his See also:death at Vienna on the r 1 th of See also:October 1896) prevented him from See also:finishing. This 9th symphony is designed, with characteristic tactlessness and simplicity, to follow Beethoven's 9th symphony in every possible point which could See also:challenge comparison; in See also:key (D See also:minor), opening (mysterious tremolo leading to tremendous unison tutti), contrasts (return in first movement) and choral See also:finale. The three complete movements were first performed in Vienna in 1903, and have done more for Bruckner's fame than anything since the See also:production in 1884 of his 7th symphony (of which the slow movement is an See also:elegy on the death of Wagner). It is probable that the impression produced by this 9th symphony is the deeper as owing little or nothing to the musical politics which had gone far to prevent the 7th symphony from See also:standing on its own unmistakable merits. It does not, however, seem likely that Bruckner's See also:work will have much influence on musical progress; for the See also:modern characteristics in which its strength lies are obviously better realized in other forms which have often been handled successfully by composers greatly Bruckner's inferiors both in invention and sincerity. (D. F.
End of Article: BRUCKNER, ANTON (1824–1896)
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