A composer who has given to the world as many orchestral symphonies as Beethoven; a number of choral works, all laid out on the largest scale; who enjoyed the esteem and admiration of Richard Wagner; who lived for about thirty years in Vienna as neighbour, and in a sense the rival, of Brahms; whose compositions, and even whose name, are almost unknown to English musicians; such was Anton Bruckner (1824-96), a man of strong character and individuality, who by diligence and determination has made for himself a name and position in the world of music. Nor has this been accomplished by mere push and personal assertiveness, for Bruckner was a man of simple, straightforward character, who was content to let his life speak for itself, and so far as his works were concerned, to wait for a hearing. It is said that some of his early symphonies were not performed until many years after they were written. An examination of his scores reveals an extraordinary command of the resources of counterpoint, as well as a vigorous and direct manner of presenting his ideas. He writes, too, in a manner grateful to the orchestral performers, affording, without any mere striving after effect, the several instruments opportunities for the display of their powers. [Sidenote: =Bruckner’s Symphonies=] There is also a certain romantic formality, if such a contradiction in terms may be allowed, about his symphonies, which in part creates a feeling as though Cherubini had come to life again and become imbued with the modernity of the men of our time. Had Bruckner been as great a melodist as he is a contrapuntalist, the balance of musical power would not have been exactly what it is to-day, and Schumann and Brahms would have had a serious competitor. [Sidenote: =String Quintett in F major=] But it is here that a weakness is revealed which no mere technical skill or elaborate orchestration can hide. Many of Bruckner’s works are no doubt here and there quite melodious, but this is the case when the influence of other masters, chiefly Beethoven and Wagner, is most evident. In spite, however, of considerations of this kind, his music deserves more than a passing word, although so far as concerns the subject treated of in this book, Bruckner has left but one chamber music composition, a Quintett for strings in F major. This work, however, made a considerable stir in musical circles when it appeared, and it is said to have been played with the greatest success by the Hellmesberger Quartett in Vienna, that most critical of musical centres. We are not aware if Bruckner has written any other chamber music; at any rate nothing further appears in the list of his music which has reached England. This Quintett has not, it is believed, been performed here, nor indeed, so far as we know (1902), has any work of Bruckner’s been given, save his Seventh Symphony, which was performed in London, under Dr. Richter, in the year 1887.