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アントン・ブルックナー

アントン・ブルックナー

作曲

1824 — 1896
ブルックナーは、オーストリア・リンツ近郊のアンスフェルデンで、1824年9月4日、学校長兼オルガン奏者を父として生まれた。1837年の父の死後、聖フローリアン修道院の聖歌隊に入団。リンツで教員養成所に通った後、1955年からはリンツ大聖堂のオルガニストとなった。その傍ら作曲を熱心に学び、ジーモン・ゼヒターやオットー・キッツラーに和声法から管弦楽法に至るレッスンを受けた。キッツラーの影響でワーグナーに傾倒するようになり、生涯に何度もバイロイトを訪れている。 1868年には、ウィーン国立音楽院の教授に就任し、通奏低音やオルガンを教えようになる。1876年には、第1回バイロイト音楽祭で《ニーベルングの指環》の初演を聴き、それをきっかけとして交響曲第1番から第5番を大幅に改訂した。1877年の交響曲第3番の初演は、曲の長大さゆえに大半の聴衆が途中で退出してしまったが、最後まで聴いていたわずかな人々からは熱狂的に迎えられた。その中には、青年時代のマーラーも混じっていたという。 1880年代に入ると、交響曲作曲家としての名声が徐々に定着。「テ・デウム」と交響曲第7番は特に成功し、一気にその名を知らしめることになった。もっとも懐疑的な性格だったブルックナー自身は、賞賛を素直に受け入れず、作品の改訂に勤しんだ。それゆえ彼の作品には、大抵複数のヴァージョンが存在する。 晩年、死の病に侵されていたブルックナーは、オーストリア皇帝からベルヴェデーレ宮殿内の平屋建ての住居を賜与され、死の日までそこに住んだ。そして1896年10月11日、朝には交響曲第9番第4楽章の作曲を行っていたが、午後に72歳で死去した。

Composer

1824 – 1896 Anton Bruckner did not have it easy. The Austrian composer was plagued by self-doubt throughout his life. But despite all his insecurities, he left behind an impressive musical legacy that continues to fascinate music lovers worldwide to this day. Born on 4 September 1824 in Ansfelden, a small village near Linz, he grew up in modest circumstances. After the death of his father, he was accepted as a choirboy at St. Florian's Abbey in 1837. There he received his first musical training, particularly on the organ, and developed a deep attachment to church music at an early age. After training as a teacher, he initially worked as a school assistant before devoting himself entirely to music. In addition to his work as an organist, he continued his self-taught training before finally receiving official training in music theory and composition. From 1855 he was the cathedral organist in Linz. Introduced to music theory and instrumentation by Simon Sechter and Otto Kitzler, he discovered Richard Wagner as an artistic role model, whom he admired throughout his life and also visited several times in Bayreuth. This admiration for Wagner meant that Bruckner's music was often considered too ‘modern’ or ‘too bold’ for his time, which not only earned him recognition, but also numerous critics.

Anton Bruckner's path to recognition

In 1868, Anton Bruckner became professor of basso continuo, counterpoint, and organ at the Vienna Conservatory, ten years later court organist and finally, in 1891, an honorary doctorate from the University of Vienna. Although these academic successes earned him respect, his real passion was for composition. However, Bruckner had to wait a long time for recognition. His works, especially his symphonies, were often perceived as unwieldy, too long or too complex. Critics accused him of his music being difficult to understand and too reminiscent of Wagner. The turning point came with Anton Bruckner's 7th Symphony, which was composed between 1881 and 1883. The famous Adagio of this symphony, influenced by the death of Richard Wagner, became the musical turning point of his life. He finally received the long-awaited recognition, both in Austria and in Germany. The premiere in Leipzig in 1884 was a triumphant success and the symphony quickly spread throughout Europe. Despite this success, Bruckner remained an insecure composer, often plagued by doubts. He tended to revise his works again and again because he was never satisfied with his own compositions. As a result, there are different versions of many of his symphonies.

Monumental symphonies as a legacy

Bruckner's symphonic oeuvre comprises nine large-scale works, many of which were revised several times. Bruckner's 8th Symphony, premiered in 1892, is one of his most monumental works and is moving due to its dramatic intensity and tonal richness. It is considered one of the most important symphonies of the late 19th century and combines elements of German Romanticism with innovative harmonic developments. His last work, the Symphony No. 9 in D minor, remained unfinished. Planned as a grand farewell symphony, Bruckner only managed to complete three movements. The poignant third movement, the Adagio, is often regarded as his musical testament. Bruckner himself hoped that his already composed Te Deum could be used as the final movement for the symphony, but this was not realised after his death. A characteristic feature of Bruckner's symphonies is their monumental structure. They often begin with slow, mysterious introductions before huge waves of sound build up. His orchestral language is characterised by dramatic climaxes, massive brass sounds and deeply felt spirituality. Many of his symphonies have almost meditative passages in which he seems to achieve a kind of musical transcendence.

Sacred works and the Te Deum

In addition to his symphonies, Bruckner devoted himself intensively to sacred music. His masses, motets, and the Te Deum are among the most important works of church music of the 19th century. The Te Deum, composed between 1881 and 1884, is considered Bruckner's greatest contribution to sacred choral music. In church music in particular, Bruckner found a form of expression that reflected his deep religiousness. His three great masses and his numerous smaller sacred works display a unique combination of contrapuntal rigour and Romantic expressiveness. He created impressive sound spaces in which his admiration for Beethoven, Wagner, and the church music of the 16th century are united.

Bruckner as a person — a life full of contradictions

Bruckner was a loner who did not want to follow any school or doctrine. His personality was characterised by a deep faith, but at the same time by an almost childlike insecurity. While he often fearlessly broke new ground in his music, he was often reserved and full of self-doubt in his personal dealings. He had great difficulty finding his way in Viennese society. His rural origins, his Upper Austrian dialect and his awkward manner made him an outsider in Viennese artistic circles. The supporters of Johannes Brahms in particular, the so-called ‘Brahms faction’, vehemently rejected him and his music. These musical battles between the supporters of Wagner and those of Brahms did not make it easy for Bruckner to assert himself in Vienna. Nevertheless, he remained true to his musical vision. He refused to be deterred and continued to compose — frequently against all odds. His music was never designed to please the public or to pick up on current trends. Instead, he created works that are timeless and were often only fully appreciated decades after they were written.

Anton Bruckner's legacy

Bruckner died in Vienna on 11 October 1896. He was buried in the crypt of St Florian's Abbey Basilica, directly beneath his beloved organ. His wish that his music should live on has been more than fulfilled. Today, his symphonies are among the most important works in music history and his orchestral works are performed all over the world.