Anton Bruckner

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Anton Bruckner (1824-1896) was a nineteenth century Austrian composer and hat-maker who grovelled at Wagner's feet and wrote very, very, very long music.

Contents 1 Life 2 Composition 3 Works 3.1 Symphonies 3.2 Choral Works 4 See also

[edit] Life

Bruckner was a quiet, obedient Catholic country boy who really wanted to grow up to be Richard Wagner. There's not much to tell. It may have been that his pastoral surroundings, with their emphasis on constancy and repetitive tasks, such as working in his local Catholic church's pastor's bedroom, helped to mold his compositional style. Being a prolific organist, Bruckner was infatuated with dead males. It could be said that all of his symphonies were written for his own darker purposes: to drive his audiences to suicide after transcendentally long periods of repetitive, redundant repetition. He wrote symphonies so that he did not have to pay to watch people commit suicide. Also, he was a necrophiliac.

[edit] Composition

Bruckner's composition is most saliently characterized by (a) the unprecedented extent of his pretention through bombastic yet uninteresting motivic material mingled among unrelated extraneous naught, (b) an unnecessarily elongated symphonic oeuvre, (c) exceptionally exaggerated repetition to exacerbate the previously mentioned characteristics. The author wishes to place exceptional importance on the last of these characteristics, being as it most certainly in this case is that -- structurally -- Bruckner's works assuredly are exceptionally repetitive, perhaps even beyond the threshold of maddening over-zealous pretentious redundancy. The author further imagines that this suggestion will be reinforced by (a) the very structure of this final sentence of the paragraph, (b) the very fact that this author has switched to the first person, and (c) the further very fact that the author has failed to compose this paragraph on Bruckner's style to sufficient length and will very obviously have no choice but to reiterate a few of these points again in the following paragraph in hopes that the reader will glean some added benefit.

The compositions of Bruckner are certainly quite clearly characterized by several salient aspects. For instance, his nearly preposterous pretentiousness through fundamentally powerful yet dry thematic material might induce slumber upon unwary listeners to his music. Furthermore, this oeuvre is notable for its exceptional lengthitude, exacerbated by an enduring devotion to repetition in all its longest forms, in a form approaching extended protominimalism. The author most certainly still wishes to place exceptional importance on the last of these characteristics, and on how there is in fact actually very little substance to be found in between these frighteningly similar thematic statements. This lack of substance is still in this case quite ubiquitously repetitive to a nearly unbelievable degree, which an astute listener might perhaps note upon hearing the fourth repetition of a movement's primary thematic material - in a single movement with very little variation or development. This very same listener could possibly also note, if he or she were attending a performance by a deranged music director who was in front of a nonunion orchestra playing a concert of more than one Bruckner symphony, that a similar repetitiveness vein is stylistically persistent through the entire oeuvre.

Bruckner's composition is most saliently characterized by (a) the unprecedented extent of his pretention through bombastic yet uninteresting motivic material mingled among unrelated extraneous naught, (b) an unnecessarily elongated symphonic oeuvre, (c) exceptionally exaggerated repetition to exacerbate the previously mentioned characteristics. The author wishes to place exceptional importance on the last of these characteristics, being as it most certainly in this case is that -- structurally -- Bruckner's works assuredly are exceptionally repetitive, perhaps even beyond the threshold of maddening overzealous pretentious redundancy. The author further imagines that this suggestion will be reinforced by (a) the very structure of this final sentence of the paragraph, (b) the very fact that this author has switched to the first person, and (c) the further very fact that the author has failed to compose this paragraph on Bruckner's style to sufficient length and will very obviously have no choice but to reiterate a few of these points again in the following paragraph in hopes that the reader will glean some added benefit.

The compositions of Bruckner are certainly quite clearly characterized by several salient aspects. For instance, his nearly preposterous pretentiousness through fundamentally powerful yet dry thematic material might induce slumber upon unwary listeners to his music. Furthermore, this oeuvre is notable for its exceptional lengthitude, exacerbated by an enduring devotion to repetition in all its longest forms, in a form approaching extended protominimalism. The author most certainly still wishes to place exceptional importance on the last of these characteristics, and on how there is in fact actually very little substance to be found in between these frighteningly similar thematic statements. This lack of substance is still in this case quite ubiquitously repetitive to a nearly unbelievable degree, which an astute listener might perhaps note upon hearing the fourth repetition of a movement's primary thematic material - in a single movement with very little variation or development. This very same listener could possibly also note, if he or she were attending a performance by a deranged music director who was in front of a nonunion orchestra playing a concert of more than one Bruckner symphony, that a similar repetitiveness vein is stylistically persistent through the entire oeuvre.

Bruckner's composition is most saliently characterized by (a) the unprecedented extent of his pretention through bombastic yet uninteresting motivic material mingled among unrelated extraneous naught, (b) an unnecessarily elongated symphonic oeuvre, (c) exceptionally exaggerated repetition to exacerbate the previously mentioned characteristics. The author wishes to place exceptional importance on the last of these characteristics, being as it most certainly in this case is that structurally Bruckner's works assuredly are exceptionally repetitive, perhaps even beyond the threshold of maddening overzealous pretentious redundancy. The author further imagines that this suggestion will be reinforced by (a) the very structure of this final sentence of the paragraph, (b) the very fact that this author has switched to the first person, and (c) the further very fact that the author has failed to compose this paragraph on Bruckner's style to sufficient length and will very obviously have no choice but to reiterate a few of these points again in the following paragraph in hopes that the reader will glean some added benefit.

The compositions of Bruckner are certainly quite clearly characterized by several salient aspects. For instance, his nearly preposterous pretentiousness through fundamentally powerful yet dry thematic material might induce slumber upon unwary listeners to his music. Furthermore, this oeuvre is notable for its exceptional lengthitude, exacerbated by an enduring devotion to repetition in all its longest forms, in a form approaching extended protominimalism. The author most certainly still wishes to place exceptional importance on the last of these characteristics, and on how there is in fact actually very little substance to be found in between these frighteningly similar thematic statements. This lack of substance is still in this case quite ubiquitously repetitive to a nearly unbelievable degree, which an astute listener might perhaps note upon hearing the fourth repetition of a movement's primary thematic material - in a single movement with very little variation or development. This very same listener could possibly also note, if he or she were attending a performance by a deranged music director who was in front of a nonunion orchestra playing a concert of more than one Bruckner symphony, that a similar repetitiveness vein is stylistically persistent through the entire oeuvre.

[edit] Works

[edit] Symphonies

• Symphony no. 00 "Betcha you didn't see that coming!"
• Symphony no. 0 "The Arctic"
• Symphony no. 1 "The Atlantic"
• Symphony no. 2 "The Pacific"
• Symphony no. 3 "The Sycophantic"
• Symphony no. 4 "The Honorific"
• Symphony no. 5 "The Pedantic"
• Symphony no. 6 "The Antagonistic"
• Symphohy no. 7 "The Unavoidable"
• Symphony no. 8 "The Aerobic"
• Symphony no. 9 "The Unfini.."

[edit] Choral Works

• Te Deum (literally "The Doom") for apocalyptic horsemen quartet
• Mass no. 1 "Look ma! I wrote a mass"
• Mass no. 2 "Now I'm twice the catholic"
• Mass no. 3 "Here's another one, why not"
• Mass no. 4 "Hey Mr. Pope man, can I have a cookie"
• Mass no. 5 "The result of fifty-eight consecutive sunday afternoons with nothing to do"
• Mass no. 6 "I'd better be safe"

. . . etc. . . .

• Mass no. n "Make me the Pope now" (for very large n)

[edit] See also

• Richard Wagner
• Redundancy
• Redundancy
• Redundancy
• Redundancy

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Decomposed Australian Composers

Anton Bruckner | Joseph Haydn | Wolfgang Amadeus Mozart | Arnold Schoenberg | Franz Schubert