Anton Bruckner (1824-1896). Par BRUCKNER ANTON / DOSS THOMAS (Arr.). Anton Bruckner (b. 4.9.1824, Ansfelden, d. 11.10.1896, Vienna) didn?t have it easy. Throughout his life, the Austrian composer was plagued by self-doubt. Anton Bruckner came from a simple, rural background. After the death of his father, he was accepted as a choirboy at the monastery of Sankt Florian in 1837. After several years as a school assistant and his own organ and piano studies, he first worked as organist in St. Florian, then from 1855 as 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. In 1868 Anton Bruckner became professor of basso continuo, counterpoint and organ at the Vienna Conservatory; ten years later court organist; and in 1891 finally honorary doctor of the University of Vienna. He was considered an important organ virtuoso of his era, but had to wait a long time for recognition as a composer. It was not until Symphony No.7 in E major, composed between 1881 and 1883, with the famous Adagio written under the effects of Wagner's death, that he achieved the recognition he had hoped for, even if he was reluctant to accept it given his inclination towards scepticism and self-criticism. Anton Bruckner was a loner who did not want to follow a particular school or doctrine. He composed numerous sacred vocal works, such as his three masses, the Missa Solemnis in B flat minor (1854), the Te Deum (1881-84) and numerous motets. As a symphonic composer, he wrote a total of nine symphonies and many symphonic studies from 1863 onwards, tending to revise completed versions several times over. Bruckner's orchestral works were long considered unplayable, but in fact were merely exceptionally bold for the tonal language of their time, uniting traditions from Beethoven through Wagner to folk music, on the threshold between late Romanticism and Modernism. Anton Bruckner composed about 40 motets during his lifetime, the earliest a setting of Pange lingua around 1835, and the last, Vexilla regis, in 1892. Thomas Doss has compiled some of these motets in this volume for symphonic wind orchestra. These motets show many characteristics of personal expression, especially Bruckner's colourful harmony in the earlier works, which is in places aligned with Franz Schubert (changes between major and minor; and movements in thirds). Later works are characterised by many components which, in addition to the expanded stature of the movements, include above all a sense of the instrumentation as an outward phenomenon and the harmony as a compositional feature that works more internally. Some aspects of Bruckner's work are the result of his long period of study, which familiarised him not only with the tradition of his craft, but also gave him insights into the 'modernity' of his time in such composers as Wagner, Liszt and Berlioz. From this developed his personal standpoint, which always pursues the connection between the old and the new. / Date parution : 2023-08-12/ Répertoire / Concert Band/Harmonie

Easy Bruckner Piano Duets-Easy Bruckner Piano Duets features all four movements of Anton Bruckner's 7th symphony condensed and abbreviated into four gorgeous nuggets of gold. With practice backing tracks and performances on the accompanying CD. Highly playable.

It S Heaven-Anton Bruckner's Seventh Symphony unlocked by Mark Goddard for flexible ensemble. This arrangement retains the essence of the great work yet is easy to play flexible and concise.Available in three separate versions - woodwind (SP1192) brass (SP1193) and strings (SP1194) - which combine together as required.Woodwind pack includes the full score plus 12 parts: Part 1: Flute and/or Oboe and/or B Flat Clarinet/Soprano SaxophonePart 2: Oboe and/or B Flat Clarinet and/or E Flat Alto SaxophonePart 3: B Flat Clarinet and/or E Flat Alto SaxophonePart 4: Bassoon and/or B FlatClarinet/Bass Clarinet and/or B Flat Tenor Saxophone and/or E Flat Baritone Saxophone

Anton Bruckner's Seventh Symphony unlocked by Mark Goddard for flexible ensemble. This arrangement retains the essence of the great work yet is easy to play flexible and concise.Available in three separate versions - woodwind (SP1192) brass (SP1193) and strings (SP1194) - which combine together as required.The Brass pack includes the full score plus 14 parts: Part 1: B Flat Trumpet/Cornet (2 Copies) and/or E Flat Piccolo Trumpet/E Flat Soprano CornetPart 2: B Flat Trumpet/Cornet (2 Copies)Part 3: B Flat Trumpet/Cornet and/or Horn in F and/or E Flat Tenor Horn and/orTrombone Bass Clef and/or B Flat Trombone Treble ClefPart 4: Trombone Bass Clef and/or Tuba Bass Clef and/orB Flat Trombone/B Flat Bass Treble Clef and/or E Flat Bass (Treble Clef)

This volume is an ideal supplement to The Classical Piano Method: Method Book 3 (ED 13563) - contains easy to intermediate repertoire, suitable for pianists who have completed Method Book 2 of the series, or for those returning to the instrument after a break - includes a selection of 23 beautiful classical duets and arrangements of well-known classical pieces, with straightforward accompaniments ideal for a teacher or friend - comes with a CD recording of all pieces played by professional concert pianists on a grand piano, providing model performances to hel you learn - offers full demonstration tracks on the CD, as well as the accompaniments alone, for play-along purposes - presents pieces in a progressively graded format, providing you with relevant repertoire as your playing develops / Piano 4 Mains

Anton Bruckner (1824-1896). Par BRUCKNER ANTON. Anton Bruckner (b. 4.9.1824, Ansfelden, d. 11.10.1896, Vienna) didn’t have it easy. Throughout his life, the Austrian composer was plagued by self-doubt. Anton Bruckner came from a simple, rural background. After the death of his father, he was accepted as a choirboy at the monastery of Sankt Florian in 1837. After several years as a school assistant and his own organ and piano studies, he first worked as organist in St. Florian, then from 1855 as 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. In 1868 Anton Bruckner became professor of basso continuo, counterpoint and organ at the Vienna Conservatory; ten years later court organist; and in 1891 finally honorary doctor of the University of Vienna. He was considered an important organ virtuoso of his era, but had to wait a long time for recognition as a composer. It was not until Symphony No.7 in E major, composed between 1881 and 1883, with the famous Adagio written under the effects of Wagner's death, that he achieved the recognition he had hoped for, even if he was reluctant to accept it given his inclination towards scepticism and self-criticism. Anton Bruckner was a loner who did not want to follow a particular school or doctrine. He composed numerous sacred vocal works, such as his three masses, the Missa Solemnis in B flat minor (1854), the Te Deum (1881-84) and numerous motets. As a symphonic composer, he wrote a total of nine symphonies and many symphonic studies from 1863 onwards, tending to revise completed versions several times over. Bruckner's orchestral works were long considered unplayable, but in fact were merely exceptionally bold for the tonal language of their time, uniting traditions from Beethoven through Wagner to folk music, on the threshold between late Romanticism and Modernism. Anton Bruckner composed about 40 motets during his lifetime, the earliest a setting of Pange lingua around 1835, and the last, Vexilla regis, in 1892. Thomas Doss has compiled some of these motets in this volume for symphonic wind orchestra. These motets show many characteristics of personal expression, especially Bruckner's colourful harmony in the earlier works, which is in places aligned with Franz Schubert (changes between major and minor; and movements in thirds). Later works are characterised by many components which, in addition to the expanded stature of the movements, include above all a sense of the instrumentation as an outward phenomenon and the harmony as a compositional feature that works more internally. Some aspects of Bruckner's work are the result of his long period of study, which familiarised him not only with the tradition of his craft, but also gave him insights into the 'modernity' of his time in such composers as Wagner, Liszt and Berlioz. From this developed his personal standpoint, which always pursues the connection between the old and the new. / Date parution : 2023-07-31/ Répertoire / Concert Band/Harmonie