Bruckner: A Resurgence of Interest
Bruckner, Bruckner, everywhere you turn. Not too long ago, perhaps three or four decades back, this composer was somewhat of an enigma, particularly outside the borders of Central Europe. His reputation often preceded him, shrouded in a mix of reverence and misunderstanding. Many perceived him as a devout man, somewhat out of touch with the modern world, and his monumental symphonies were frequently regarded as monumentally dull by those unaccustomed to their grandeur.
Often viewed as a provincial figure, Bruckner lacked the sophistication associated with contemporaries like Brahms or Mahler. His symphonies, numbering nine—or is it eleven, or even eighteen?—came with a daunting editorial history, and the uncomfortable association with Nazi propagandists lingered over his legacy. While Bruckner was never entirely absent from concert programs, he had long occupied the role of the resident eccentric within the classical music repertoire.
Yet, for all the challenges his music presents, there has always existed a devoted community of scholars, critics, and musicians who champion Bruckner’s work. “There is no doubt that once people become fond of Bruckner, they become deeply enamored,” remarked the editor of Gramophone magazine nearly a century ago. Today, this affection seems to be blossoming more than ever.
Performances of Bruckner’s symphonies are now more frequent than ever, not solely due to this year marking the 200th anniversary of his birth. Fresh recordings emerge constantly, showcasing innovative interpretations that range from period instruments to complete cycles by our most esteemed orchestras. In the past, Bruckner’s works were often paired with Mozart to attract audiences; now, he carries enough weight to bring along the likes of Messiaen or Ligeti. Clearly, perceptions have evolved, and the once-common clichés surrounding his music have quieted. What was once referred to as the “Bruckner Problem” has shifted, giving way to what many now consider the Bruckner Moment.
Conductors have played a pivotal role in this transformation. Many of today’s maestros not only appreciate Bruckner but harbor a genuine love for his scores. For a select few, conducting a Bruckner symphony can approach a transcendent experience. The era of Bruckner being the domain of the grizzled, gray-haired conductor is behind us; for instance, Yannick Nézet-Séguin recorded the Seventh Symphony at the youthful age of 31. With more opportunities to study and perform his music early in their careers, conductors are now better equipped to tackle these intricate works. As technical standards have improved, even lesser-known orchestras are capable of delivering compelling interpretations of compositions that once posed significant challenges.
This leads us to ponder: What is it like to conduct Bruckner’s music? Why do his symphonies, deeply rooted in a profound Catholic faith, resonate so powerfully in an increasingly secular world? How have these lengthy and complex compositions grown in stature at a time when our attention spans seem to dwindle? In a series of interviews, seven conductors shared their insights; below are edited excerpts from those revealing conversations.
