Carnegie Hall

Anton Bruckner (1824–1896) did not even attempt to compose a symphony until he was 39 years old. At the time, he had begun to gain recognition as an organist, but was still completely unknown as a composer. He labeled his first attempt a “study symphony”; the second he later rejected, calling it “die Nullte,” or “No. 0.” Finally, upon finishing his third venture, he felt confident enough to call it his First Symphony. But he found that he faced an uphill climb every time he tried to get one of his symphonies performed: Orchestras turned up their noses, and critics were openly hostile. He eventually achieved a measure of success with his Fourth Symphony, and at the work’s premiere in 1881 in Vienna, he was called repeatedly to the stage for bows. Bruckner’s troubles were far from over, however: He had to wait nearly 20 years to hear his Fifth Symphony, and only a portion of his Sixth was ever performed in his lifetime.

Perhaps what allowed Bruckner to continue composing in the face of such withering criticism was his incredible piety. He once remarked to fellow Austrian composer Gustav Mahler (1860–1911) that he had “to work very hard … Otherwise I will not pass before God, before whom I shall soon stand. He will say: ‘Why else have I given you talent, than that you should sing My praise and glory? But you have accomplished much too little.’”

A 17-year-old Mahler was present for one of the worst fiascos of Bruckner’s life: the humiliating premiere of his Third Symphony. The composer had dedicated the Third to his musical idol, Richard Wagner (1813–1883), which immediately antagonized many critics and listeners who felt that Wagner’s operas were destroying classical music. The uncomprehending audience at the premiere of the Third Symphony hissed, laughed, and walked out in droves. Mahler was one of a handful of enthusiastic admirers who, recognizing Bruckner’s genius, remained to console the weeping master at the end of the performance.

More than 30 years later, Mahler—then music director of the New York Philharmonic—led the Carnegie Hall premiere of Bruckner’s Fourth Symphony on March 30, 1910. That same year—just one year before his own death—Mahler willingly gave up the profits on the publication of his first four symphonies so that his publisher, Universal Edition, could publish Bruckner’s works. The New York Philharmonic went on to present the New York premieres of Bruckner’s Fifth and Sixth symphonies at Carnegie Hall, as well as the US premiere of his unfinished Ninth Symphony.

Bruckner’s remaining symphonies received their Carnegie Hall premieres as follows:

• Symphony No. 7 with the Boston Symphony Orchestra conducted by Karl Muck: December 6, 1906
• Symphony No. 8 (New York Premiere) with the Boston Symphony Orchestra conducted by Max Fiedler: March 18, 1909
• Symphony No. 3 with the State Symphony Orchestra of New York conducted by Josef Stransky: October 22, 1924
• Symphony No. 2 with the New York Philharmonic conducted by Willem Mengelberg: December 17, 1925
• Symphony No. 1 with The Philadelphia Orchestra conducted by Riccardo Muti: May 7, 1985