Bruckner rhythm

Last updated July 06, 2024

The Bruckner rhythm is a 2 + 3 (duplet + triplet) or 3 + 2 rhythm in Anton Bruckner's symphonic music, where it occurs prevalently,^[1]^[2] and in many different ways.^[3]

One example is in the main theme of the first movement of Symphony No. 4, from bars 43 forward:^[4]

Bruckner also used the rhythm with a single pitch repeated, and this is the only way it occurs in Symphony No. 2 (e.g., bars 20 and 122).^[5] In Symphony No. 6, the Bruckner rhythm occurs to a much greater extent than in previous works, in several parts at slightly different times. At first it occurs as a string ostinato high in the violins' range against a melody of different rhythm in the cellos (bar 3),^[6] while at bars 195–209 it serves to articulate hexatonic cycle block chords.^[7] The rhythm occurs in somewhat more "manageable" form in the secondary theme group of Symphony No. 8, where it usually occurs in the same way in all the parts.

The Bruckner rhythm also occurs in the works of other composers, such as in Howard Hanson's Romantic Symphony, where it occurs mostly in the horns' and trumpets' parts.

Related Research Articles

Josef Anton Bruckner was an Austrian composer and organist best known for his symphonies and sacred music, which includes Masses, Te Deum and motets. The symphonies 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.

Anton Bruckner's Symphony No. 5 in B-flat major WAB 105, was written in 1875–1876, with minor changes over the next two years. It came at a time of trouble and disillusion for the composer: a lawsuit, from which he was exonerated, and a reduction in salary. Dedicated to Karl von Stremayr, education minister in the Austro-Hungarian Empire, the symphony has at times been nicknamed the "Tragic", the "Church of Faith" or the "Pizzicato"; Bruckner himself referred to it as the "Fantastic" without applying this or any other name formally.

The Symphony No. 7 in C major, Op. 105, is a single-movement work for orchestra written from 1914 to 1924 by the Finnish composer Jean Sibelius.

The Symphony No. 6 in A major, WAB 106, by Austrian composer Anton Bruckner (1824–1896) is a work in four movements composed between 24 September 1879, and 3 September 1881 and dedicated to his landlord, Anton van Ölzelt-Newin. Only two movements from it were performed in public in the composer's lifetime. Though it possesses many characteristic features of a Bruckner symphony, it differs the most from the rest of his symphonic repertory. Redlich went so far as to cite the lack of hallmarks of Bruckner's symphonic compositional style in the Sixth Symphony for the somewhat bewildered reaction of supporters and critics alike.

Anton Bruckner's Symphony No. 7 in E major, WAB 107, is one of the composer's best-known symphonies. It was written between 1881 and 1883 and was revised in 1885. It is dedicated to Ludwig II of Bavaria. The premiere, given under Arthur Nikisch and the Gewandhaus Orchestra in the opera house at Leipzig on 30 December 1884, brought Bruckner the greatest success he had known in his life. The symphony is sometimes referred to as the "Lyric", though the appellation is not the composer's own, and is seldom used.

Anton Bruckner's Symphony No. 8 in C minor, WAB 108, is the last symphony the composer completed. It exists in two major versions of 1887 and 1890. It was premiered under conductor Hans Richter in 1892 at the Musikverein, Vienna. It is dedicated to the Emperor Franz Joseph I of Austria.

The Symphony No. 9 in D minor, WAB 109, is the last symphony on which Anton Bruckner worked, leaving the last movement incomplete at the time of his death in 1896; Bruckner dedicated it "to the beloved God". The symphony was premiered under Ferdinand Löwe in Vienna in 1903.

<span class="mw-page-title-main">Symphony No. 1 (Bruckner)</span>

Anton Bruckner's Symphony No. 1 in C minor, WAB 101, was the first symphony the composer thought worthy of performing and bequeathing to the Austrian National Library. Chronologically it comes after the Study Symphony in F minor and before the "nullified" Symphony in D minor. The composer gave it the nickname Das kecke Beserl, and conducted its 1868 premiere. Much later, after Bruckner was granted an honorary University of Vienna doctorate in 1891, he dedicated the 1890–1891 version of the work to that institution.

<span class="mw-page-title-main">Symphony No. 2 (Bruckner)</span> Symphony by Anton Bruckner

Anton Bruckner's Symphony No. 2 in C minor, sometimes known as the "Symphony of Pauses", was completed in 1872. It was actually the fourth symphony composed by Bruckner, after the Symphony in F minor (1863), the Symphony No. 1 in C minor (1866), and the Symphony in D minor (1869).

Anton Bruckner's Symphony No. 3 in D minor, WAB 103, was dedicated to Richard Wagner and is sometimes known as his "Wagner Symphony". It was written in 1873, revised in 1877 and again in 1889.

<span class="mw-page-title-main">Symphony No. 4 (Bruckner)</span> Symphony by Anton Bruckner

Anton Bruckner's Symphony No. 4 in E-flat major, WAB 104, is one of the composer's most popular works. It was written in 1874 and revised several times through 1888. It was dedicated to Prince Konstantin of Hohenlohe-Schillingsfürst. It was premiered in 1881 by Hans Richter in Vienna to great acclaim.

<span class="mw-page-title-main">Symphony in F minor (Bruckner)</span> Symphony by Anton Bruckner

Anton Bruckner's Symphony in F minor, WAB 99, was written in 1863, at the end of his study period in form and orchestration by Otto Kitzler.

The Te Deum in C major, WAB 45, is a setting of the Te Deum hymn, composed by Anton Bruckner for SATB choir and soloists, orchestra, and organ ad libitum.

The Magnificat, WAB 24 is a setting of the Magnificat for SATB choir and soloists, orchestra and organ composed by Anton Bruckner in 1852.

<span class="mw-page-title-main">String Quartet (Bruckner)</span>

The String Quartet in C minor WAB 111, was composed by Anton Bruckner's in 1862 during his tuition by Otto Kitzler.

<span class="mw-page-title-main">Mass No. 1 (Bruckner)</span>

The Mass No. 1 in D minor, WAB 26 by Anton Bruckner, is a setting of the Mass ordinary for soloists, mixed choir and orchestra, and organ.

There have been many different versions and editions of the symphonies of Anton Bruckner.

Ave Maria, WAB 5, is a setting of the Latin prayer Ave Maria by Anton Bruckner.

The Marsch in E-flat major, WAB 116, is a military march composed by Anton Bruckner in 1865.

<span class="mw-page-title-main">Gerd Schaller</span> German conductor (born 1965)

Gerd Schaller is a German conductor, best known for his performing and recording rare works, including the first full recordings of Bruckner's output.

References

↑ Milton John Cross & David Ewen, Encyclopedia of the Great Composers and Their Music. New York: Doubleday (1962): 158. "The second element is a rhythmic pattern so often employed by the composer that it is known as the "Bruckner rhythm."
↑ Hans-Hubert Schönzeler (1978). Bruckner. London: Marion Boyars Publishers. p. 59.
↑ John Williamson, "The Brucknerian symphony: an overview", The Cambridge Companion to Bruckner, ed. John Williamson. Cambridge, Cambridge University Press (2004): 79. "Yet even so instantly recognizable a rhythmic tic can be used with great variety."
↑ Benjamin Korstvedt [ fr ], "Aspects of Bruckner's approach to symphonic form" The Cambridge Companion to Bruckner, ed. John Williamson. Cambridge, Cambridge University Press (2004): 186.
↑ Derek Watson, Bruckner. New York: Schuster & Macmillan (1997): 81
↑ (Williamson, 2004): 79
↑ Kevin Swinden, "Bruckner and harmony" The Cambridge Companion to Bruckner, ed. John Williamson. Cambridge, Cambridge University Press (2004): 222. "The orchestral texture through this passage is thick, articulating block chords in the 'Bruckner-rhythm' that characterizes the movement, supporting a reprise of the first theme of the symphony."

External links

Symphonie No. 2 de Bruckner : Scores at the International Music Score Library Project
Time analysis Symphony No. 2, William Carragan
Symphonie No. 4 de Bruckner : Scores at the International Music Score Library Project
Time analysis Symphony No. 4, William Carragan
Symphonie No. 6 de Bruckner : Scores at the International Music Score Library Project
Time analysis Symphony No. 6, William Carragan
Free scores by Symphonie No. 8 de Bruckner at the International Music Score Library Project (IMSLP)
Time analysis Symphony No. 8, William Carragan

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[1] Milton John Cross & David Ewen, Encyclopedia of the Great Composers and Their Music. New York: Doubleday (1962): 158. "The second element is a rhythmic pattern so often employed by the composer that it is known as the "Bruckner rhythm."

[2] Hans-Hubert Schönzeler (1978). Bruckner. London: Marion Boyars Publishers. p. 59.

[3] John Williamson, "The Brucknerian symphony: an overview", The Cambridge Companion to Bruckner, ed. John Williamson. Cambridge, Cambridge University Press (2004): 79. "Yet even so instantly recognizable a rhythmic tic can be used with great variety."

[4] Benjamin Korstvedt [ fr ], "Aspects of Bruckner's approach to symphonic form" The Cambridge Companion to Bruckner, ed. John Williamson. Cambridge, Cambridge University Press (2004): 186.

[5] Derek Watson, Bruckner. New York: Schuster & Macmillan (1997): 81

[6] (Williamson, 2004): 79

[7] Kevin Swinden, "Bruckner and harmony" The Cambridge Companion to Bruckner, ed. John Williamson. Cambridge, Cambridge University Press (2004): 222. "The orchestral texture through this passage is thick, articulating block chords in the 'Bruckner-rhythm' that characterizes the movement, supporting a reprise of the first theme of the symphony."

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