Although he was a proficient organist, Anton Bruckner left few compositions for the organ. [1] [2]
Bruckner has mainly made his name because of his organ playing during his journeys to Nancy, Paris, London and the states of imperial Austria. His celebrity as organist was mainly based on his improvisation skill. The compositions Bruckner left for the organ are of secondary significance in his portfolio. With the exception of the later Perger Präludium with its romantic chromaticism, the few organ works date from his earlier lifetime and are mainly based on the baroque tradition. [3]
Only five pieces and two sketches are indubitably autograph compositions: [4]
In addition:
A few "complete editions" of the organ works have been released. Even if one includes the "apocryphal" preludes WAB 127 and 128, the playing time only slightly exceeds half an hour: 33 minutes for Horn, 26 minutes for Schaller, who does not include these preludes.
In addition to the seven preludes WAB 127 and WAB 128, there are other short organ works, that are assigned to Bruckner in obscure collections. Franz Haselböck has recorded some of them on harmonium - very interesting as a curiosity, but unfortunately they were not released on CD. With all the necessary critical restraint, a collection of such curiosities would be desired. [3]
A recording by AMuSicScoRe of the 22 issued pieces from the Bruckner Präludienbuch can be heard on YouTube:
A few other not issued pieces from the Bruckner Präludienbuch by AMuSicScoRe can be heard on YouTube:
A few pieces from Bruckner's Kurze-General-Baß-Regeln, WAB add 258 can by AMuSicScoRe can be heard on YouTube:
The Mass No. 3 in F minor, WAB 28, is a setting of the mass ordinary for vocal soloists, chorus and orchestra, and organ ad libitum, that Anton Bruckner composed in 1867–1868.
The Requiem in D minor, WAB 39, is a Missa pro defunctis composed by Anton Bruckner in 1849.
The Missa solemnis, WAB 29, is a solemn mass composed by Anton Bruckner in 1854 for the installation of Friedrich Mayer as abbot of St. Florian Monastery on 14 September 1854.
The Four Orchestral Pieces are four short orchestral pieces, which Anton Bruckner composed in the fall of 1862 during his tuition with Otto Kitzler.
The Fest-Kantate Preiset den Herrn, WAB 16, is a festive cantata composed by Anton Bruckner in 1862 for the celebration of the laying of the foundation stone of the new Mariä-Empfängnis-Dom of Linz.
The Windhaager Messe, WAB 25, is a missa brevis composed by Anton Bruckner in 1842.
The Kronstorfer Messe, WAB 146, is a missa brevis composed by Anton Bruckner in 1843-1844.
Ave Maria, WAB 5, is a setting of the Latin prayer Ave Maria by Anton Bruckner.
Tantum ergo, WAB 42, is a setting of the hymn Tantum ergo composed by Anton Bruckner in 1846.
Tantum ergo, WAB 44, is the last of eight settings of the hymn Tantum ergo composed by Anton Bruckner in c. 1854.
The Arneth Cantata, WAB 61, is a cantata composed by Anton Bruckner in 1852.
The Symphonisches Präludium in C minor, WAB add 332, is an orchestral composition by Anton Bruckner or his entourage, composed in 1876. The work was discovered shortly after World War II. Heinrich Tschuppik, who found the orchestral score of the work in the estate of Bruckner's pupil Rudolf Krzyzanowski, attributed the authorship to Bruckner. Thirty years later, Mahler scholar Paul Banks, who knew only a four-stave reduction of the work, proposed that the work might be attributed to Mahler. While the exact circumstances of the composition of this Prelude have not been determined, it is certain to have been composed within the circle of Bruckner and his students at the Vienna Conservatory of Music. Based on the original orchestral score, it seems likely that the work was at least sketched by Bruckner, possibly as an exercise in orchestration for Krzyzanowski.
Wie bist du, Frühling, gut und treu, WAB 58 is a lied composed by Anton Bruckner in 1856 on a text of Oskar von Redwitz.