Linz, Austria ~ engraving by J. Ouartlev, 1863

Austrian composer and organist Anton Bruckner is primarily known today for his symphonies – his music is often paired with that of Gustav Mahler as the apotheosis of the late Romantic Austro-German symphonic tradition. Although Bruckner and Mahler symphonies share many characteristics – a common musical heritage and language, the robust late nineteenth century orchestra, sprawling scales and harmonies in which the symphony seems to encompass an entire world of expression – in many ways their music also differs.  Mahler was 36 years younger than Bruckner, whom Mahler admired and considered his forerunner – at 17 years old, Mahler was present at the premiere of Bruckner’s Third Symphony in 1877.  Mahler famously said “A symphony must be like the world. It must contain everything.” and his symphonies contain myriad references to themes, experiences, and objects from life. Many of Mahler’s symphonies incorporate vocal soloists and chorus – and hence text – whereas Bruckner’s symphonies are without exception purely instrumental works (which is interesting to note as Bruckner also composed many sacred choral works in addition to his symphonic output). Bruckner’s symphonies inhabit a more abstract, elemental “tone world” than Mahler’s – every bit as overwhelming, inspiring, and at times terrifying as Mahler’s, but for the most part at more of a remove from direct references to the world we live in. The Romantic Fourth Symphony is an exception.

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