A manuscript page from Bruckner’s Symphony No. 2, initially rejected by the Vienna Philharmonic as “unperformable.” During the 19th century, composers increasingly turned toward works of greater scale and ambition. No one had pushed musical architecture to the monumental extremes of Richard Wagner , whose music dramas reshaped ideas of duration, weight, and expressive density. Anton Bruckner , a devoted admirer of Wagner, absorbed these qualities into his symphonic thinking, expanding his works toward breadth, grandeur, and spiritual gravity. Like Wagner, Bruckner labored over his compositions for years. His symphonies underwent repeated revisions, often driven by insecurity and external pressure. Some critics famously—and unfairly—claimed that Bruckner had written the same symphony nine times (or ten, counting the anomalous “Symphony No. 0”). While it is true that he wrestled with similar formal and stylistic problems throughout his life—particularly those of extended form and large-...
Hector Berlioz, a composer of emotional extremes, transformed personal crisis into music of dramatic beauty and psychological depth. Hector Berlioz was born on December 11, 1803, in La Côte-Saint-André, a small town near Lyon, France. The eldest of five children, he was educated at home by his father, Louis-Joseph, a respected physician who introduced him to literature, science, and languages. Music, at least initially, was regarded as cultivated leisure rather than a professional destiny. The house in La Côte-Saint-André near Lyon where Hector Berlioz spent his childhood years. From an early age, Berlioz displayed an unusually sensitive temperament. Stories moved him to tears; sounds and images left indelible emotional impressions. At twelve, he fell passionately in love with his neighbor’s eighteen-year-old daughter, Estelle Dubœuf, and instinctively sought musical expression for feelings he could not articulate otherwise. Beginning with a simple recorder found in a drawer, he soon...