[Recommended] Carefully selected masterpieces by Bruckner, the great master of symphonies and sacred music
Anton Bruckner, the Australian composer and organist renowned as a master of symphonies and sacred music.
In this article, we present some of his most widely celebrated works—pieces known for their weighty character and a pronounced religious tone that reflects his devout Catholic faith.
Please enjoy, along with videos and commentary, a selection of quintessentially Brucknerian works, rich in depth and evoking elegant, monumental vistas reminiscent of Austria’s abundant natural landscapes and the majestic Baroque churches.
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[Recommended] Carefully selected masterpieces by Bruckner, the master of symphonies and sacred music (1–10)
String Quintet in F majorAnton Bruckner

A chamber work composed in 1879 when Anton Bruckner was 55 years old.
It is said to have been written at the recommendation of Joseph Hellmesberger Sr., a prominent violinist in Vienna at the time, but exchanges over certain revisions dragged on, and the piece was not premiered until 1881.
It is a richly textured work in which the tones of the violin, viola, and cello resonate together.
De Teum in C majorAnton Bruckner

Among Anton Bruckner’s sacred works, the Te Deum is performed relatively often.
It is a choral piece that begins with the traditional text “We praise thee, O God” and consists of five movements.
This work is notable for its majestic, powerful, and richly weighty character.
Reminiscence in E-flat major, WAB 117Anton Bruckner

Anton Bruckner’s piano piece Reminiscence in A-flat major, WAB 117, was composed in 1868 and published in Vienna in 1900.
Though Bruckner earned renown throughout his life as a composer of sacred music and symphonies, this work reveals another side of him—his organist’s technique and profound emotional expression.
In about five minutes, it sketches an introspective, richly expressive scene.
A gently spoken melody quietly seeps into the listener’s heart, making it a deeply affecting piece.
[Recommended] Carefully selected masterpieces by Bruckner, a master of symphonies and sacred music (11–20)
Mass No. 3Anton Bruckner

Mass No.
3 in F minor was composed between 1867 and 1868.
Fusing Bruckner’s deep faith with his mature compositional technique, this Mass achieves a dignified yet emotionally rich musical expression, and it is no exaggeration to call it the culmination of his sacred music.
In particular, the Benedictus features the warm timbre of the strings, which will resonate in the listener’s heart.
Bruckner’s music, with its complex yet beautiful harmonies, captivates those who hear it.
Why not listen to it on a quiet night or when you want to calm your mind?
Symphony No. 0 in D minorAnton Bruckner

A work that can be regarded as one of Anton Bruckner’s foremost early compositions.
Although it was begun before the First Symphony, the prevailing view today is that it was completed after No.
1.
It is rarely performed or recorded and was once omitted even from complete symphony sets, but it has drawn attention as a forerunner of Bruckner’s symphonic style.
Requiem in D minorAnton Bruckner

This Requiem was composed by Anton Bruckner as an expression of mourning for his late benefactor.
Scored for soprano, alto, tenor, and bass soloists, mixed four-part choir, orchestra, and organ, it is known for its poignant yet dignified character.
It was premiered in 1849 at St.
Florian Church, and was revised in his later years in 1982, the version that survives today.
Missa SolemnisAnton Bruckner

Composed in 1854, the Missa solemnis is a six-movement mass by Anton Bruckner, written under the strong influence of St.
Florian Abbey and imbued with his deep faith.
Scored for soloists, four-part mixed choir, and orchestra, the work conveys both the musical depth of Bruckner and the profundity of his religious conviction.
Though it is a profoundly religious work, the sincerity of this devout Catholic’s heart shines through in the music, offering a refreshing and uplifting experience to listeners regardless of their personal beliefs.


