Anton Bruckner
Austrian composer, 1824-1896
"The Austrian composer was known for his symphonies, masses, and motets. The first are considered emblematic of the final stage of Austro-German Romanticism because of their rich harmonic language, strongly polyphonic character, and considerable length. Bruckner's compositions helped to define contemporary musical radicalism, owing to their dissonances, unprepared modulations, and roving harmonies. Bruckner was greatly admired by subsequent composers including his friend Gustav Mahler, who described him as ""half simpleton, half God""."
Source: Wikipedia
Komponist (1824-1896). Autograph letter signed (“Bruckner m[anu]p[ro]p[ria]“). O. O. u. D. 1 S. 8vo.
$ 13,387 / 12.000 €
(60379)
To an unnamed addressee, giving instructions how to conduct a specific passage. – Small tear in centerfold.
Komponist (1824-1896). Signed cabinet photograph on the verso „ABruckerm[anu]p[ro]p[ria].“ ohne Ort und Datum. 113 : 170 mm. Minimale Knickspur.
$ 13,387 / 12.000 €
(94253)
Late bust portrait in profile facing right. Photography: Franz Hanfstaengl's Art Publisher in Munich. Signed on the reverse by Bruckner. Signed photographs by Anton Bruckner are very rare.
Komponist (1824-1896). Autograph letter signed ("ABruckner"). Linz. 26.12.1864. 3 SS. auf Doppelblatt. Gr.-4to.
$ 27,890 / 25.000 €
(72802/BN46859)
To his friend Rodolf Weinwurm, the conductor of the Wiener Singakademie, about the premiere of his Mass No. 1 in D-minor in the Linz cathedral and the Redoutensaal, expressing his surprise that the latter was packed with listeners despite the seriousness of his composition, and mentioning that his concert was attended by Josef, Archduke of Austria - He intends to have a clean copy of the full score made, which he would like to send to the Weinwurm to deliver to the critic Eduard Hanslick and the composer and conductor Johann Herbeck, hoping the latter would agree to have it performed in the Vienna Musikverein, as a performance in the church would require too much rehearsal.
- The mass, which was highly successful both among the critics and the audience, was a breakthrough for Bruckner as a composer. It was performed in Vienna on 10 February 1867, conducted by Johann Herbeck and with Bruckner playing the organ..
Komponist (1824-1896). Calling card signed with date on reverse. O. O. 27.05.1892. 1 S. Visitenkartkartenformat.
$ 7,251 / 6.500 €
(73004/BN47249)
"Dr ABruckner | 27. Mai 1892". - In pencil, somewhat dusty and with a crease. Traces of a paperclip and imprinted: "Prof. Anton Bruckner | Ehren-Doctor der Philosophie | der k. k. Universität in Wien | Ritter des Franz Josef-Ordens | k. k. Hoforganist".
Komponist (1824-1896). Autograph calling card signed. O. O. 23.05.1892. 7 Zeilen auf 2 SS. Visitkartenformat.
$ 9,483 / 8.500 €
(74372/BN48417)
To the Austrian writer Aurelius Polzer, whose Poem "Das Deutsche Lied" Bruckner had set to music (WAB 63): "Accept [...] my great admiration and warmest greetings! 23.5.1892. | Dr. ABruckner".
Komponist (1824-1896). Eigenh. Brief mit U. Steyr. 2 SS. auf Doppelblatt. 8vo.
$ 16,734 / 15.000 €
(90088/BN59539)
An einen "hochwolgeborenen Herrn Director", d. i. der Komponist und Dirigent Eduard Kremser, der von 1869 bis 1899 als Chormeister des Wiener Männergesangvereins wirkte: "Bauend auf Ihre Güte bitte ich innig, mich wissen lassen zu wollen: Wann und wo findet die letzte Probe von 'Helgoland' statt! Derselben möchte ich doch so gerne beiwohnen, wenn irgend möglich [...]". - "Helgoland", Bruckners weltliche Kantate für Männerchor und großes Orchester in g-Moll, war 1893 als Auftragswerk für die 50-Jahr-Feier des Wiener Männergesang-Vereins komponiert worden.
Da Bruckner seine Neunte Sinfonie unvollendet hinterließ, gilt "Helgoland" als das letzte vollendete Werk des Komponisten, das einige Tage nach diesem Brief, am 8. Oktober, unter der Leitung von Eduard Kremser uraufgeführt wurde..
Komponist (1824-1896). Visitenkarte. Berlin. Visitkartenformat.
$ 3,570 / 3.200 €
(91538/BN60851)
"Anton Bruckner | k. k. Hoforganist | Lector an der k. k. Universität | Professor am Conservatorium | Ritter des Frz. Josef Orden". - Bruckners eigenh. Datierung in Bleistift "Berlin 1891" wurde vom Empfänger mit Tuschfeder nachgezogen; die Karte ist auf Trägerpapier montiert, auf dem der Sammler Bruckners Lebensdaten notierte sowie den Hinweis "von ihm selbst erhalten". - 1891 hatte Bruckner seine erste (von insgesamt zwei) Reisen nach Berlin unternommen, wo am 31. Mai sein Te Deum unter Siegfried Ochs aufgeführt wurde.
- Verso eine (durch Montage fast unlesbare) Notiz von Sammlerhand, die festhält, dass er die Karte von Bruckner selbst im Rahmen des 22. Tonkünstlerfests, das vom 30. V. bis 3. VI. in Berlin stattfand, erhalten hatte. - Gering fleckig..
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E. Brief mit U.
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E. Brief mit U.
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Schriftstück m. e. U.
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Eigenh. Musikmanuskript (Fragment).
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One page from Bruckner’s manuscript score for the fourth movement of the first version of his 8th Symphony in C minor, with only the instrument names, clarinet notes in the 11th bar, and notes for the three C trumpets in bars 11 and 12. A statement of authenticity was penned at the bottom by music teacher Karl Aigner: “Dr. Ant. Bruckner’s Handschrift, St. Florian, 8 Septb 1912, Karl Aigner.” Central vertical and horizontal folds with partial edge separations, uniform toning with a few mild stains, and various small edge tears, otherwise fine condition. Symphony No. 8 in C minor was the last symphony Bruckner completed, and went through a number of revisions and editions before finalized. This is from the first version, which he revised after receiving harsh criticism—he sent it to conductor Hermann Levi for his input, who said Bruckner’s Seventh Symphony was the greatest symphony written after Beethoven, but that the Eighth was a confusing jumble. A tremendous piece from a figurehead of Romanticism.
Visitenkarte m. e. Zusatz
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Kabinettphotographie im Oval mit eigenh. Widmung und Unterschrift auf der Rückseite.
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Eigenh. Musikmanuskript.
Autograph ist nicht mehr verfügbar
Autograph sketches for the Scherzo movement of the unfinished Symphony no.9 in D minor, NOT RECORDED OR PUBLISHED IN SÄMTLICHE WERKE. Written in pencil in Bruckner's shaky but indomitable hand, on up to 6 three-stave systems per page, with autograph heading and date (" IX te ! Scherzo 4. 1. 89."), some bar sequences numbered by the composer ("1...2...3...4...5...6...7...8..."), the pitches changed or confirmed by the composer in many places with letter-names and annotated by him in the margins, containing extensive autograph cancellations, revisions and corrections. The most significant Bruckner manuscript to be offered in recent years. Bruckner’s Ninth Symphony ranks alongside Schubert’s Eighth and Mahler’s Tenth as one of the greatest unfinisched creation in all music. This 4-page sketch, evidently the first surviving draft for the iconic scherzo, was unknown to the editiors of Bruckner’s collected works. The writing of his ninth symphony, one of the mightiest creations in the entire symphonic repertory, occupied the last nine years of Bruckner's life. Dedicated to 'dem lieben Gott', and with a famously unfinished finale, it represents the composer's musical testament, a truly sublime score into which Bruckner poured his unshakeable belief as well as his tortured doubts. The present manuscript, unknown to the editors of Bruckner's works in the collected edition, is a continuity sketch for the first eighty-eight bars of the Scherzo (with its celebrated, hammered, drumbeat theme), and evidently represents Bruckner's first attempts to write the movement; a somewhat neater and more extended sketch for the movement, written on the same day (4 January 1889), is preserved in the Austrian National Library (Mus. Hs. 3196). These are the only two known sketches for the movement. The autograph score of the first three movements, as well as the bulk of autograph material relating to the finale, is also located in the Austrian National Library. The first performance of the symphony, in a revised version, was given by Bruckner pupil Ferdinand Löwe (1865-1925) with the Wiener Konzertvereinsorchester, on 11 February 1903. The first performance of the work in its original form took place as late as 1932 in Munich under the baton of Siegmund von Hausegger. LITERATURE Anton Bruckner. Sämtliche Werke: ix ('Studienpartitur 2., revidierte Ausgabe'), ed. Leopold Nowak (1951); ix ('2. Satz...Scherzo und Trio: Entwürfe'), ed. Benjamin Gunnar Cohrs (1998); ix ('Finale'), ed. John A. Phillips (1996); ix ('1. Satz - Scherzo & Trio - Adagio'), ed. Benjamin Gunnar Cohrs (2001) PROVENANCE J.A. Stargardt, Berlin, Catalogue 700 (2014), lot 665
Ausschnitt mit eigenh. Datum und U.
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