Symphony No.1 in c minor, WAB 101

The symphonies of the Austrian composer ANTON BRUCKNER are characterised as cathedrals of sound. He composed nine symphonies (Nos. 1–9), of which the Ninth is unfinished with no final movement. Other works include the so-called 'Study Symphony' (No. 00) in F minor (1863), the 'Nullte' Symphony in D minor (No. 0, 1869), and sketches for a symphony in B flat major. There are various editions of his works, including his own. Unlike other composers who made their mark from an early age, almost all of Bruckner's works that are now part of the repertoire were written after he turned 40. Until then, his career as a musician was linked to church practice. From 1845 onwards, he was the organist at St Florian's Monastery, where he wrote choral and organ works for church services and became renowned as a virtuoso organ improviser. For the next 12 years, he was organist at Linz Cathedral. He began his professional musical training at the age of 31 and, at the age of 37 in 1861, passed his exams in organ performance and theoretical subjects at the Vienna Conservatory with great success. In 1868, Bruckner was invited to teach at the Vienna Conservatory. He was a remarkable theorist, pedagogue and organist, and his class was attended by the most talented conductors and composers, who would later become famous. Anton Bruckner’s symphonic vision developed gradually, shaped by his evolving ideas about large-scale musical architecture. When he composed his SYMPHONY NO. 1 IN C MINOR between 1865 and 1866, the 41-year-old composer was still serving as organist at the Old Cathedral (Alter Dom) in Linz. The symphony premiered under his own baton on May 9^th, 1868, just months before his relocation to Vienna. The performance was well received and favorably reviewed by the influential critic Eduard Hanslick—though Hanslick’s later assessments of Bruckner’s symphonic output turned sharply critical. Public interest in Bruckner’s monumental symphonies was rekindled in the 1880s, during the final decade of his life, largely due to performances championed by his former students. His Seventh Symphony marked a turning point in international recognition, prompting renewed attention to his earlier works. Among those drawn to his music was conductor Hans Richter, one of Bruckner’s most devoted advocates, who requested the score for the First Symphony. Bruckner agreed but chose to revise the piece, which had not been performed since its premiere. The revised version of Symphony No. 1 was performed on December 13^th 1891 by the Vienna Philharmonic under Richter’s direction. It was published two years later and became known as the “Vienna Version.” An earlier revision, completed in Vienna in 1877, was later designated the “Linz Version,” though it remained unpublished until 1935, when it appeared in the Complete Bruckner Edition. The primary differences between the two versions lie in the orchestration and the development of thematic material. Symphony No. 1 comprises four movements. According to Bruckner himself, the finale, marked Bewegt, feurig (translated as 'moving and fiery'), was inspired first. He then turned his attention to the third movement, the Scherzo (Lebhaft – lively), with the Trio (Langsam – slow), and the first movement, the Allegro. While travelling to Munich to attend the third performance of Wagner's opera Tristan und Isolde on June 19^th, 1865, Bruckner met his idol, Wagner, in person and received an autographed photograph from him. Although the symphony already had three completed movements, Bruckner was reluctant to show it to Wagner. Inspired by the dark sensuality of Tristan und Isolde, he continued working on the symphony. Wagner's music left a deep mark on his harmonic language, especially in his later symphonies. Before completing the score, Bruckner also attended the premiere in Budapest of Franz Liszt's oratorio The Legend of St. Elizabeth and was greatly impressed by its orchestration. Returning to Linz, he composed a new scherzo but kept the trio. On April 14^th, 1866, he finished the second movement, the deeply emotional Adagio. On that same day, he finished the second movement, the deeply emotional Adagio. In concert practice, the 'Linz version' is performed more often, as it reflects the composer's original intentions. However, it is reasonable to assume that the 'Vienna' version' reflects the composer's final wishes and mature compositional experience. After receiving an honorary doctorate from the University of Vienna on 11 December 1891, the 'Vienna version' was presented two days later and he dedicated it to the university as a token of gratitude. These two versions of Symphony No. 1 reveal the creative explorations of Anton Bruckner, widely regarded as one of the greatest symphonic composers of the second half of the 19^th century.