Look up floruit in Wiktionary, the free dictionary.

Floruit ( /ˈflɔərjʉ.ɪt/ or /ˈflɒrʉ.ɪt/), abbreviated fl. (or occasionally flor.), is a Latin verb meaning "flourished", denoting the period of time during which something (such as a person, school, movement, or species) was active.

Broadly, the term is employed in reference to the peak of activity for a person, movement, etc.^[1] More specifically, it is often used in genealogy and historical writing when a person's birth or death dates are unknown, but some other evidence exists that indicates when he or she was alive.^[1] For example, if there are wills attested by John Jones in 1204, 1207 and 1229, and a record of his marriage in 1197, a record concerning him might be written as "John Jones (fl. 1197–1229)". It is used in art history when dating the career of an artist. In this context, it specifically denotes the period of the individual's artistic activity, not just the known existence of the artist.^[2]

See also[link]

• Circa
• Family tree

References[link]

v t e Chronology Main articles Time · Astronomy · Geology · Paleontology · Archaeology · History Eras and epochs Calendar eras Human Era · Ab urbe condita · Anno Domini (Common Era) · Anno Mundi · Byzantine era · Spanish era · Before Present · Hijri · Egyptian · Sothic cycle · Hindu units of measurement · Hindu Yugas Regnal year Canon of Kings · Lists of kings · Limmu · Seleucid era Era names Chinese · Japanese · Korean · Vietnamese Calendars (Pre-)Julian Pre-Julian Roman · Original Julian · Proleptic Julian · Revised Julian Gregorian Gregorian · Proleptic Gregorian · Old Style and New Style dates Astronomical Lunisolar · Solar · Lunar · Astronomical year numbering Others Iranian · Islamic · Chinese sexagenary cycle · ISO week date Astronomic time   Chronology Portal Cosmic Calendar · Ephemeris · Galactic year · Metonic cycle · Milankovitch cycles Geologic time Concepts Deep time · Geological history of Earth · Geological time units Standards Global Standard Stratigraphic Age (GSSA) · Global Boundary Stratotype Section and Point (GSSP) Methods Chronostratigraphy · Geochronology · Isotope geochemistry · Law of superposition · Optical dating · Samarium-neodymium dating Archaeological methods Absolute dating Incremental dating · Archaeomagnetic dating · Dendrochronology · Glottochronology · Ice core · Lichenometry · Paleomagnetism · Radiocarbon dating · Radiometric dating · Tephrochronology · Thermoluminescence dating · Uranium-lead dating Relative dating Seriation · Stratification · Fluorine absorption dating Genetic methods Amino acid dating · Molecular clock Related topics Chronicle · New Chronology · Periodization · Synchronoptic view · Timeline · Year zero · Circa · Floruit · ASPRO chronology

Per Nørgård (pronounced [ˈpʰeɐ̯ ˈnɶɐ̯ɡ̊ɒːˀ]) (born July 13, 1932) is a Danish composer.

Biography[link]

Nørgård was born in Gentofte, Denmark. He studied with Vagn Holmboe at the Royal Danish Academy of Music in Copenhagen, and subsequently with Nadia Boulanger in Paris. To begin with, he was strongly influenced by the Nordic styles of Jean Sibelius, Carl Nielsen and Vagn Holmboe. In the 1960s, Nørgård began exploring the modernist techniques of central Europe, eventually developing a serial compositional system based on the "infinity series" (Nørgård 1975), which he used in his Voyage into the Golden Screen, the Second and Third Symphonies, I Ching, and other works of the late 1960s and 70s (Mortensen [n.d.]). Later he became interested in the Swiss artist Adolf Wölfli, who inspired many of Nørgård's works (Anon [n.d.]), including the 4th symphony, the opera Det Guddommelige Tivoli and Papalagi for solo guitar.

Nørgård has composed works in all major genres: six operas, two ballets, seven symphonies and other pieces for orchestra, several concertos, choral and vocal works, an enormous number of chamber works (among them ten string quartets) and several solo instrumental works. These include a number of works for the guitar, mostly written for the Danish guitarist Erling Møldrup: In Memory Of... (1978), Papalagi (1981), a series of suites called Tales from a Hand (1985–2001), Early Morn (1997–98) and Rondino Amorino (1999). One of his most important works for percussion solo is I Ching (1982) for the Danish percussionist Gert Mortensen. He has also composed music for several films, including The Red Cloak (1966), Babette's Feast (1987), and Hamlet, Prince of Denmark (1993).

Nørgård is also a prolific writer. He has written many articles dealing with music not only from a technical but also a philosophical viewpoint.

Music[link]

Uendelighedsrækken in G major (the first 32 terms)

Nørgård's music often features the use of the infinity series (Danish Uendelighedsrækken) for serializing melody, harmony, and rhythm in musical composition. The method takes its name from the endlessly self-similar nature of the resulting musical material, comparable to fractal geometry. Mathematically, the infinity series is an integer sequence. The first few terms of its simplest form are 0, 1, −1, 2, 1, 0, −2, 3, … (sequence A004718 in OEIS).

Nørgård discovered the melodic infinity series in 1959 and it proved an inspiration for many of his works during the 1960s. However, it was not until his Voyage into the Golden Screen for small ensemble (1968)—which has been identified as the first "properly instrumental piece of spectral composition" (Anderson 2000, 14)—and Symphony No. 2 (1970) that it provided the structure for an entire work (Nørgård 1975, 9). The harmonic and rhythmic infinity series were developed in the early 1970s and the three series were first integrated in Nørgård's Symphony No. 3.

Works[link]

Symphonic[link]

• Symphony No. 1 Sinfonia austera (1953–55)
• Symphony No. 2 (1970)
• Symphony No. 3 (1972–75)
• Symphony No. 4 (1981)
• Symphony No. 5 (1990)
• Symphony No. 6 At the End of the Day (1998–99)
• Symphony No. 7 (2006)

Concerti[link]

• Violin Concerto No. 1 Helle Nacht (1986–87)
• Violin Concerto No. 2 Borderlines
• Piano Concerto Concerto in due tempi (1994–95)

Selected other works[link]

• Trio No. 1 (1955) Op.15
• Konstellationer (Constellations) (1958)
• Piano Sonata No.2 Op.20
• Voyage into the Golden Screen (1968)
• Libra (1973)
• Turn (1973)
• Siddharta (1974–79)
• Wie ein Kind (Like a Child) (1979–80)
• Drømmesange (Dream Songs) (1981)
• I Ching (1982)
• Najader (The Naiads) (1986)
• Solo Intimo Op. 8 for Solo 'Cello (1953)

Awards[link]

• Nordic Council Music Prize (1974) for his opera Gilgamesh
• Léonie Sonning Music Prize (1996; Denmark)

Sources[link]

• Anon. [n.d.] "Adolf Wölffli: Wölfli's influence". (Archived copy from 23 October 2007, from the composer's former website. Accessed 14 May 2010)
• Anderson, Julian. 2000. "A Provisional History of Spectral Music." Contemporary Music Review 19, no. 2 ("Spectral Music History and Techniques", edited by Joshua Fineberg): 7–22.
• Mortensen, Jørgen. [n.d.] "Uendelighedsrækken" (The Infinity Series), English version. (Archived copy, accessed 14 May 2010. Formerly on the composer's website, taken off line in November 2007.)
• Nørgård, Per. 1975. "Inside a Symphony". Translated by L. K. Christensen. Numus-West 2, no. 2:4–16.

External links[link]

• The infinity series (Archived copy, accessed 14 May 2010. Formerly at the composer's website, taken down in November 2007.)
• Plain language description of infinity series generation. (Accessed 15 May 2011)

Ton Koopman (born 2 October 1944 in Zwolle, Netherlands) is a conductor, organist and harpsichordist.

Koopman had a "classical education" and then studied the organ (with Simon C. Jansen), harpsichord (with Gustav Leonhardt) and musicology in Amsterdam. He specialized in Baroque music and received the Prix d'Excellence for both organ and harpsichord.

In 1979 Koopman founded the Amsterdam Baroque Orchestra and the Amsterdam Baroque Choir in 1992 (now combined as the Amsterdam Baroque Orchestra & Choir). Koopman concentrates on Baroque music, especially that of Bach, and is a leading figure in the authentic performance movement. While a number of early-music conductors have ventured into newer music, Koopman has not. He has said, "I draw the line at Mozart’s death" (1791).^[1] One exception is his recording of the Concert Champêtre of Francis Poulenc, written in 1928.

Among Koopman's most ambitious projects was the recording of the complete cycle of all of Bach's cantatas, a project completed in 2005. Soloists for the project were among others Lisa Larsson, Sandrine Piau, Sibylla Rubens, Barbara Schlick, Caroline Stam, Deborah York and Johannette Zomer (soprano), Bogna Bartosz, Michael Chance, Franziska Gottwald, Bernhard Landauer, Elisabeth von Magnus, Annette Markert and Kai Wessel (alto), Paul Agnew, Jörg Dürmüller, James Gilchrist, Christoph Prégardien and Gerd Türk (tenor) and Klaus Mertens (bass). Koopman has received many prizes for his recordings. In 2005 he has commenced Dieterich Buxtehude – Opera Omnia, a project to record the complete works of Dieterich Buxtehude. As of March 2010, eleven volumes have been released.^[2] He was elected president of the "International Dieterich Buxtehude Society" in 2004.

Koopman's extensive discography includes the complete Bach cantatas and organ works, St Matthew Passion (twice) and St John Passion, Mass in B minor, Christmas Oratorio, a recording of his own reconstruction of the lost St Mark Passion, concertos and harpsichord works by Bach, Mozart's Coronation Mass and Vespers, Requiem, a cycle of Mozart symphonies, Vivaldi's The Four Seasons, Handel's Messiah and Organ Concertos, et al.

Besides his work with the Amsterdam Baroque Orchestra & Choir, he is in frequent demand as guest conductor and as harpsichordist and organist. Some of his organ interpretations have drawn criticism for their overuse of ornamentation. His aim is always to achieve authenticity in performance, using exact copies of historical instruments from the time of the composer.

In 2003 he established his own recording company "Antoine Marchand" (a French translation of his name).

In April 2003 he was knighted in the Netherlands, receiving the Order of the Netherlands Lion.

In 2011, Koopman begins a three-year stint as artist-in-residence with the Cleveland Orchestra.^[3]

He is professor at The Royal Conservatory of The Hague. He is married to Tini Mathot, who is also an accomplished harpsichordist, and the two frequently perform together. Ms. Mathot is also his chief recording producer, as well as a teacher at the Royal Conservatory.^[4]

References[link]

1. ^ http://ottosbaroquemusick-bachradio.blogspot.com/2010/12/bach-js-harpsichord-concertos-amsterdam.html
2. ^ Dieterich Buxtehude - Opera Omnia
3. ^ http://www.mercurynews.com/music/ci_17321899
4. ^ http://www.bach-cantatas.com/Bio/Mathot-Tini.htm

• Interview
• Reviews
• Biography at Naxos.com
• Biography at Leiden University
• Article at Leiden University
• Other article at Leiden University
• Bach-cantatas.com: Ton Koopman
• On-Line meeting

External links[link]

• Ton Koopman official website
• International Dieterich Buxtehude Society
• Weblog
• Ton Koopman's guest page and recorded sessions at U-Sophia, where minds meet on-line

Wikimedia Commons has media related to: Ton Koopman

Anton Bruckner wearing the Order of Franz Joseph (portrait by Josef Büche)

 Anton Bruckner (help·info) ((1824-09-04)4 September 1824 – 11 October 1896(1896-10-11)) was an Austrian composer known for his symphonies, masses, and motets. The first are considered emblematic of the final stage of Austro-German Romanticism because of their rich harmonic language, strongly polyphonic character, and considerable length.^[1] Bruckner's compositions helped to define contemporary musical radicalism, owing to their dissonances, unprepared modulations, and roving harmonies.

Unlike other musical radicals, such as Richard Wagner or Hugo Wolf who fit the enfant terrible mould, Bruckner showed extreme humility before other musicians, Wagner in particular. This apparent dichotomy between Bruckner the man and Bruckner the composer hampers efforts to describe his life in a way that gives a straightforward context for his music.

His works, the symphonies in particular, had detractors, most notably the influential Austrian critic Eduard Hanslick, and other supporters of Johannes Brahms, who pointed to their large size, use of repetition,^[2] and Bruckner's propensity to revise many of his works, often with the assistance of colleagues, and his apparent indecision about which versions he preferred. On the other hand, Bruckner was greatly admired by subsequent composers, including his friend Gustav Mahler, who described him as "half simpleton, half God".^[3]

Biography[link]

Early life[link]

The birthhouse of Anton Bruckner in Ansfelden

Anton Bruckner was born in Ansfelden (then a village, now a suburb of Linz) on 4 September 1824. The ancestors of Bruckner's family were farmers and craftsmen; their history has been tracked back to the 16th century. They lived near a bridge south of Sindelburg, which led to them being called "Pruckhner an der Pruckhen". Bruckner's grandfather had gained the schoolmaster position in Ansfelden in 1776; this position was inherited by Bruckner's father, Anton Bruckner senior in 1823.^[4] It was a poorly paid but well-respected position in the rural environment.^[5][6] Music belonged to the school curriculum, and Bruckner's father was his first music teacher.^[5] Bruckner learned to play the organ early as a child. He entered school when he was six, proved to be a hard-working student, and was promoted to upper class early. While studying, Bruckner also helped his father in teaching the other children. After Bruckner received his confirmation in 1833, Bruckner's father decided to send him to another school in Hörsching. The schoolmaster, Johann Baptist Weiß, was a music enthusiast and respected organist. Here, Bruckner completed his school education and learned to play the organ excellently. He also wrote his first composition, Vier Präludien in Es-Dur für Orgel for the organ. However, biographers do not regard the work as exceptional; in his youth, Bruckner was gifted, but not a genius. When his father became ill, Anton returned to Ansfelden to help him in his work.

Teacher's education[link]

St. Florian's Priory, where Bruckner lived on many occasions during his life

Bruckner's father died in 1837, when Bruckner was 13 years old. The teacher's position and house were given to a successor, and Bruckner was sent to the Augustinian monastery in St. Florian to become a choirboy.^[5][7] In addition to choir practice, his education included violin and organ lessons. Bruckner was in awe of the monastery's great organ, which was built during the late baroque era and rebuilt in 1837, and he sometimes played it during church services. Later, the organ was to be called the "Bruckner Organ". Despite his musical abilities, Bruckner's mother decided that her son's future profession remained a teacher, and in 1840 Bruckner was sent to a teacher seminar in Linz. After completing the seminar with an excellent grade, he was sent as a teacher's assistant to a school in Windhaag. The living standards and pay were horrible, and Bruckner was constantly humiliated by his superior, teacher Franz Fuchs. Despite the difficult situation, Bruckner never complained or rebelled; a belief of inferiority was to remain one of Bruckner's main personal characteristics during his whole life. Prelate Michael Arneth noticed Bruckner's bad situation in Windhaag and awarded him a teacher's assistant position in St. Florian, sending him to Kronstorf an der Enns for two years. The time in Kronstorf was a much happier one for Bruckner. Compared to the few works he wrote in Windhaag, the Kronstorf compositions from 1843–1845 show a significantly improved artistic ability, and finally the beginnings of what could be called "the Bruckner style".^[8]

Organist in St. Florian[link]

The "Bruckner Organ" in St Florian

After the Kronstorf period, Bruckner returned to St Florian in 1845, where, for the next 10 years, he would work as a teacher and an organist.^[4] In May 1845, Bruckner passed an examination, which allowed him to begin work as an assistant teacher in one of the village schools of St. Florian. He continued to improve his education by taking further courses, passing an examination giving him the permission to also teach in higher education institutes, receiving the grade "very good" in all disciplines.^[9] In 1848 he was appointed an organist in St. Florian and in 1851 this was made a regular position.^[5] In St Florian, most of the repertoire consisted of the music of Michael Haydn, Johann Georg Albrechtsberger and Franz Joseph Aumann.^[10] In 1855, he took up a counterpoint course with Simon Sechter. In 1861 he studied further with Otto Kitzler, who introduced him to the music of Richard Wagner, which Bruckner studied extensively from 1863 onwards. Bruckner continued his studies to the age of 40. Broad fame and acceptance did not come until he was over 60. A devout Catholic who loved to drink beer, Bruckner was out of step with his contemporaries. In 1861 he had already made the acquaintance of Franz Liszt who, like Bruckner, had a strong, Catholic religious faith and who first and foremost was a harmonic innovator, initiating the new German school together with Wagner. Soon after Bruckner had ended his studies under Sechter and Kitzler, he wrote his first mature work, the Mass in D Minor.

The Vienna period[link]

Bruckner, circa 1860

In 1868, after Sechter had died, Bruckner hesitantly accepted Sechter's post as a teacher of music theory at the Vienna Conservatory, during which time he concentrated most of his energy on writing symphonies. These symphonies, however, were poorly received, at times considered "wild" and "nonsensical". He later accepted a post at the Vienna University in 1875,^[11] where he tried to make music theory a part of the curriculum. Overall, he was unhappy in Vienna, which was musically dominated by the critic Eduard Hanslick. At the time there was a feud between advocates of the music of Wagner and Brahms; by aligning himself with Wagner, Bruckner made an unintentional enemy out of Hanslick. However, he was not without supporters; Deutsche Zeitung's music critic Theodor Helm, and famous conductors such as Arthur Nikisch and Franz Schalk constantly tried to bring his music to the public, and for this purpose proposed 'improvements' for making Bruckner's music more acceptable to the public. While Bruckner allowed these changes, he also made sure in his will to bequeath his original scores to the Vienna National Library, confident of their musical validity^{[citation needed]}.

In addition to his symphonies, Bruckner wrote masses, motets and other sacred choral works, and a few chamber works, including a string quintet. Unlike his romantic symphonies, some of Bruckner's choral works are often conservative and contrapuntal in style; however, the Te Deum, Helgoland, Psalm 150 and at least one Mass demonstrate innovative and radical uses of chromaticism.

Biographers generally characterize Bruckner as a "simple" provincial man,^[12] and many biographers have complained that there is huge discrepancy between Bruckner's life and his work. For example, Karl Grebe said: "his life doesn't tell anything about his work, and his work doesn't tell anything about his life, that's the uncomfortable fact any biography must start from."^[13] Numerous anecdotes abound as to Bruckner's dogged pursuit of his chosen craft and his humble acceptance of the fame that eventually came his way. Once, after a rehearsal of his Fourth Symphony, the well-meaning Bruckner tipped the conductor Hans Richter: "When the symphony was over," Richter related, "Bruckner came to me, his face beaming with enthusiasm and joy. I felt him press a coin into my hand. 'Take this' he said, 'and drink a glass of beer to my health.'" Richter, of course, accepted the coin, a Maria Theresa thaler, and wore it on his watch-chain ever after.

Bruckner was a renowned organist in his day, impressing audiences in France in 1869, and England in 1871, giving six recitals on a new Henry Willis organ at Royal Albert Hall in London and five more at the Crystal Palace. Though he wrote no major works for the organ,^[14] his improvisation sessions sometimes yielded ideas for the symphonies. Indeed, the orchestration in his symphonies often involves abrupt switches and call-and-response between multiple groups of instruments, much like switching manuals on an organ. He taught organ performance at the Conservatory; among his students were Hans Rott and Franz Schmidt. Gustav Mahler, who called Bruckner his "forerunner", attended the conservatory at this time (Walter n.d.).

Bruckner was a lifelong bachelor who made numerous unsuccessful marriage proposals to teenage girls. One such was the daughter of a friend, called Louise; in his grief he is believed to have written the cantata "Entsagen" (Renunciation). His affection for teenage girls led to an accusation of impropriety where he taught music, and while he was exonerated, he decided to concentrate on teaching boys afterwards. His calendar for 1874 details the names of girls who appealed to him, and the list of such girls in all his diaries was very long. In 1880 he fell for a 17-year-old peasant girl in the cast of the Oberammergau Passion Play. His interest in young girls seems to have been motivated by his fear of sin; he believed that (unlike older women) he could be certain that he was marrying a virgin. His unsuccessful proposals to teenagers continued when he was past his 70th birthday; one prospect came near to marrying him, but broke off the engagement when she refused to convert to Catholicism.^[15]

In July 1886, the Emperor decorated him with the Order of Franz Joseph.^[16]

Bruckner died in Vienna in 1896 at the age of 72. He is buried in the crypt of St. Florian monastery church, right below his favorite organ.^[17] He had always had a morbid fascination with death and dead bodies, and left explicit instructions to embalm his corpse.

The Anton Bruckner Private University for Music, Drama, and Dance, an institution of higher education in Linz, close to his native Ansfelden, was named after him in 1932 ("Bruckner Conservatory Linz" until 2004). The Bruckner Orchester Linz was also named in his honor.

Compositions[link]

Sometimes Bruckner's works are referred to by WAB numbers, from the Werkverzeichnis Anton Bruckner, a catalogue of Bruckner's works edited by Renate Grasberger.

The revision issue has generated controversy. A common explanation for the multiple versions is that Bruckner was willing to revise his work on the basis of harsh, uninformed criticism from his colleagues. "The result of such advice was to awaken immediately all the insecurity in the non-musical part of Bruckner's personality," musicologist Deryck Cooke writes. "Lacking all self-assurance in such matters, he felt obliged to bow to the opinions of his friends, 'the experts,' to permit ... revisions and even to help make them in some cases."^[18] This explanation was widely accepted when it was championed by Bruckner scholar Robert Haas, who was the chief editor of the first critical editions of Bruckner's works published by the International Bruckner Society; it continues to be found in the majority of program notes and biographical sketches concerning Bruckner. Haas' work was endorsed by the Nazis and so fell out of favour after the war as the Allies enforced denazification.^[19] Haas' rival Leopold Nowak was appointed to produce a whole new critical edition of Bruckner's works. He and others such as Benjamin Korstvedt and conductor Leon Botstein argued that Haas' explanation is at best idle speculation, at worst a shady justification of Haas' own editorial decisions. Also, it has been pointed out that Bruckner often started work on a symphony just days after finishing the one before.^[20] As Cooke writes, "In spite of continued opposition and criticism, and many well-meaning exhortations to caution from his friends, he looked neither to right nor left, but simply got down to work on the next symphony."^[18] The matter of Bruckner's authentic texts and the reasons for his changes to them remains politicised and uncomfortable.^[19]

Symphonies[link]

Style[link]

Anton Bruckner

Bruckner's symphonies are all in four movements (though he was unable to complete the finale of the Ninth), starting with a modified sonata allegro form, a slow movement in ABA’B’A’’ form (except in the Study Symphony, the First and the Sixth), a scherzo in 3/4 time, and a modified sonata allegro form finale. (In the Eighth, Ninth, and the first version of the Second, the slow movements and scherzo are reversed. The revised version of the Fourth features a scherzo – the "Hunt scherzo" – in which the outer sections are in 2/4 meter, not the customary 3/4.) They are scored for a fairly standard orchestra of woodwinds in pairs, four horns, two or three trumpets, three trombones, tuba, timpani and strings. The later symphonies increase this complement, but not by much. Notable is the use of Wagner tubas in his last three symphonies. With the exception of Symphony No. 4, none of Bruckner's symphonies has subtitles, and most of the nicknames were not thought up by the composer. Bruckner's works are trademarked with powerful codas and grand finales, as well as the frequent use of unison passages and orchestral tutti. His style of orchestral writing was criticized by his Viennese contemporaries, but by the middle of the 20th century musicologists recognized that Bruckner's orchestration was modeled after the sound of his primary instrument, the pipe organ.

Nicholas Temperley writes in the New Grove Dictionary of Music and Musicians (1980) that Bruckner

alone succeeded in creating a new school of symphonic writing.... Some have classified him as a conservative, some as a radical. Really he was neither, or alternatively was a fusion of both.... [H]is music, though Wagnerian in its orchestration and in its huge rising and falling periods, patently has its roots in older styles. Bruckner took Beethoven's Ninth Symphony as his starting-point.... The introduction to the first movement, beginning mysteriously and climbing slowly with fragments of the first theme to the gigantic full statement of that theme, was taken over by Bruckner; so was the awe-inspiring coda of the first movement. The scherzo and slow movement, with their alternation of melodies, are models for Bruckner's spacious middle movements, while the finale with a grand culminating hymn is a feature of almost every Bruckner symphony.^[21]

Bruckner is the first composer since Schubert about whom it is possible to make such generalizations. His symphonies deliberately followed a pattern, each one building on the achievements of its predecessors.... His melodic and harmonic style changed little, and it had as much of Schubert in it as of Wagner.... His technique in the development and transformation of themes, learnt from Beethoven, Liszt and Wagner, was unsurpassed, and he was almost the equal of Brahms in the art of melodic variation.^[22]

Cooke adds, also in the New Grove,

Despite its general debt to Beethoven and Wagner, the "Bruckner Symphony" is a unique conception, not only because of the individuality of its spirit and its materials, but even more because of the absolute originality of its formal processes. At first, these processes seemed so strange and unprecedented that they were taken as evidence of sheer incompetence.... Now it is recognized that Bruckner's unorthodox structural methods were inevitable.... Bruckner created a new and monumental type of symphonic organism, which abjured the tense, dynamic continuity of Beethoven, and the broad, fluid continuity of Wagner, in order to express something profoundly different from either composer, something elemental and metaphysical.^[23]

In a concert review, Bernard Holland described parts of the first movements of Bruckner's sixth and seventh symphonies as follows: "There is the same slow, broad introduction, the drawn-out climaxes that grow, pull back and then grow some more – a sort of musical coitus interruptus."^[24]

In the 2001 Second Edition of the New Grove, Mark Evan Bonds called the Bruckner symphonies "monumental in scope and design, combining lyricism with an inherently polyphonic design.... Bruckner favored an approach to large-scale form that relied more on large-scale thematic and harmonic juxtaposition. Over the course of his output, one senses an ever-increasing interest in cyclic integration that culminates in his masterpiece, the Symphony No. 8 in C minor, a work whose final page integrates the main themes of all four movements simultaneously."^[25]

Works[link]

Otto Kitzler, Bruckner's last composition teacher, set him three final tasks as the climax of his studies: a choral work (Psalm 112), an overture (the Overture in G minor), and a symphony. The last, completed in 1863, was then Bruckner's Study Symphony in F minor. Bruckner later rejected this work, but he did not destroy it. While it certainly reminds one of earlier composers such as Robert Schumann, it undeniably also bears the hallmarks of the later Bruckner style. Kitzler simply commented that the work was "not very inspired". It was first performed in 1924 and not published until 1973 and is occasionally listed as Symphony No. 00.

Bruckner's Symphony No. 1 in C minor (sometimes called by Bruckner "das kecke Beserl", roughly translated as "the saucy maid"^[26]) was completed in 1866, but the original text of this symphony was not reconstructed until 1998. Instead, it is commonly known in two versions, the so-called Linz Version which is based mainly on rhythmical revisions made in 1877, and the completely revised Vienna Version of 1891, which begins to reveal his mature style, e.g. Symphony No. 8.

Next was the so-called Symphony No. 0 in D minor of 1869, a work which was so harshly criticized that Bruckner retracted it completely, and it was not performed at all during his lifetime, hence his choice for the number of the symphony.

His next attempt was a sketch of the first movement to a Symphony in B-flat major, but he did no further work on it afterwards. This sketch can be heard on John Berky's site.^[27]

The Symphony No. 2 in C minor of 1872 was revised in 1873, 1876, 1877 and 1892. It is sometimes called the Symphony of Pauses for its dramatic use of whole-orchestra rests, which accentuate the form of the piece. In the Carragan edition of the 1872 version, the Scherzo is placed second and the Adagio third. It is in the same key as No. 1.^[28]

Bruckner presented his Symphony No. 3 in D minor, written in 1873, to Wagner along with the Second, asking which of them he might dedicate to him. Wagner chose the Third, and Bruckner sent him a fair copy soon after, which is why the original version of the Wagner Symphony is preserved so well despite revisions in 1874, 1876, 1877 and 1888–9. One factor that helped Wagner choose which symphony to accept the dedication of was that the Third contains quotations from Wagner's music dramas, such as Die Walküre and Lohengrin.^[29] These quotations were taken out in the revised versions.

Bruckner's first great success was his Symphony No. 4 in E flat major, more commonly known as the Romantic Symphony, the only epithet applied to a symphony by the composer himself. The 1874 version has been seldom played and success came only after major revisions in 1878, including a completely new scherzo and finale, and again in 1880–1, once again with a completely rewritten finale. This version was premiered in 1881 (under the conductor Hans Richter). Bruckner made more minor revisions of this symphony in 1886–8.

Bruckner's Symphony No. 5 in B flat major crowns his most productive era of symphony-writing, finished at the beginning of 1876. Until recently we knew only the thoroughly revised version of 1878. In 2008 the original concepts of this symphony were edited and performed by Akira Naito with the Tokyo New City Orchestra.^[30] Many consider this symphony to be Bruckner's lifetime masterpiece in the area of counterpoint. For example, the Finale is a combined fugue and sonata form movement: the first theme (characterized by the downward leap of an octave) appears in the exposition as a four-part fugue in the strings and the concluding theme of the exposition is presented first as a chorale in the brass, then as a four-part fugue in the development, and culminating in a double fugue with the first theme at the recapitulation; additionally, the coda combines not only these two themes but also the main theme of the first movement. Bruckner never heard it played by an orchestra.^[31]

Symphony No. 6 in A major, written in 1879–1881, is an oft-neglected work;^[32] whereas the Bruckner rhythm (two quarters plus a quarter triplet or vice versa) is an important part of his previous symphonies, it pervades this work, particularly in the first movement, making it particularly difficult to perform.

Bruckner, 1894

Symphony No. 7 in E major was the most beloved of Bruckner's symphonies with audiences of the time, and is still popular. It was written 1881–1883 and revised in 1885. During the time that Bruckner began work on this symphony, he was aware that Wagner's death was imminent, and so the Adagio is slow mournful music for Wagner, and for the first time in Bruckner's oeuvre, Wagner tubas are included in the orchestra.

Bruckner began composition of his Symphony No. 8 in C minor in 1884. In 1887 Bruckner sent the work to Hermann Levi, the conductor who had led his Seventh to great success. Levi, who had said Bruckner’s Seventh Symphony was the greatest symphony written after Beethoven, believed that the Eighth was a confusing jumble. Devastated by Levi's assessment,^[33] Bruckner revised the work, sometimes with the aid of Franz Schalk, and completed this new version in 1890. Cooke writes that "Bruckner not only recomposed [the Eighth]... but greatly improved it in a number of ways.... This is the one symphony that Bruckner did not fully achieve in his first definite version, to which there can be no question of going back."^[34]

The final accomplishment of Bruckner's life was to be his Symphony No. 9 in D minor which he started in August 1887, and which he dedicated "To God the Beloved." The first three movements were completed by the end of 1894, the Adagio alone taking 18 months to complete. Work was delayed by the composer's poor health and by his compulsion to revise his early symphonies, and by the time of his death in 1896 he had not finished the last movement. The first three movements remained unperformed until their premiere in Vienna (in Ferdinand Löwe's version) on 11 February 1903.

Bruckner suggested using his Te Deum as a Finale, which would complete the homage to Beethoven's Ninth symphony (also in D minor). The problem was that the Te Deum is in C major, while the Ninth Symphony is in D minor, and, although Bruckner began sketching a transition from the Adagio key of E major to the triumphant key of C major, he did not pursue the idea.^[35] There have been several attempts to complete these sketches and prepare them for performance, as well as completions of his later sketches for an instrumental Finale, but only the first three movements of the symphony are usually performed.

Sacred choral works[link]

	"Ave Maria" The second of Bruckner's three settings of "Ave Maria" performed by the United States Navy Band's Sea Chanters ensemble
Problems listening to this file? See media help.

Bruckner was a devoutly religious man, and composed numerous sacred works. He wrote a Te Deum, settings of five Psalms (including Psalm 150 in the 1890s), about forty motets (among them three settings of both Christus factus est pro nobis and Ave Maria), and at least seven Masses. His Requiem in D minor of 1849 is the earliest work Bruckner himself considered worthy of preservation. It shows the clear influence of Mozart's Requiem (also in D minor) and similar works of Michael Haydn. His early Masses were usually short Austrian Landmessen for use in local churches and did not always set all the numbers of the ordinary. The three Masses Bruckner wrote in the 1860s and revised later on in his life are more often performed. The Masses numbered 1 in D minor and 3 in F minor are for solo singers, mixed choir, organ and orchestra, while No. 2 in E minor is for mixed choir and a small group of wind instruments, and was written in an attempt to meet the Cecilians halfway. The Cecilians wanted to rid church music of instruments entirely. No. 3 was clearly meant for concert, rather than liturgical performance, and it is the only one of his Masses in which he set the first line of the Gloria, "Gloria in excelsis Deo", and of the Credo, "Credo in unum Deum", to music. In concert performances of the other Masses, these lines are intoned by a tenor soloist in the way a priest would, with a line of plainsong.

Other music[link]

"Anton Bruckner arrives in Heaven". Bruckner is greeted by (from left to right): Liszt, Wagner, Schubert, Schumann, Weber, Mozart, Beethoven, Gluck, Haydn, Handel, Bach. (Silhouette drawing by Otto Böhler)

As a young man Bruckner sang in men's choirs and wrote music for them. This music is rarely performed. Biographer Derek Watson characterizes the pieces for men's choir as being "of little concern to the non-German listener".^[36] Of thirty such pieces, the cantate Helgoland of 1893, is the only secular vocal work Bruckner thought worthy enough to bequeath to the Vienna National Library.

The Overture in G minor of 1862 (revised in 1863) is occasionally included in recordings of the symphonies, and it is one of the works Bruckner wrote during his apprentice with Otto Kitzler. At that time he also wrote, as orchestration exercises, a March in D minor and three short orchestral pieces. These works already show hints of Bruckner's emerging style.

A String Quartet in C minor Bruckner composed in 1862 was discovered decades after Bruckner's death. The later String Quintet in F Major of 1879, contemporaneous with the Fifth and Sixth symphonies, has been frequently performed.

There is an orchestral Symphonic Prelude that is attributed to Bruckner and also to Mahler and Bruckner's pupil Krzyzanowski. It was discovered in the Vienna National Library in 1974 in a piano duet transcription and later orchestrated by Albrecht Gürsching, who did not know the original orchestral score (published by Doblinger, Vienna). According to BJ Cohrs it is probably the work of Bruckner himself.^[37]

Bruckner's Two Aequale of 1847 for three trombones is a solemn, brief work. Bruckner also wrote Lancer-Quadrille (c. 1850) and a few other small works for piano, as well as a few organ works.

Among his most unusual and evocative compositions is the choral Abendzauber (1878) for tenor, yodelers and four alpine horns. This work, which was never performed in Bruckner's lifetime, can be heard on YouTube.^[38]

Bruckner never wrote an opera, and as much as he was a fan of Wagner's music dramas, he was uninterested in drama.^[39] In 1893 he thought about writing an opera called Astra based on a novel by Gertrud Bollé-Hellmund.^[40] Although he attended performances of Wagner's operas, he was much more interested in the music than the plot. After seeing Wagner's Götterdämmerung, he asked: "Tell me, why did they burn the woman at the end?"^[41] Nor did Bruckner ever write an oratorio.

The Bruckner Problem[link]

The Bruckner Problem is a term that refers to the difficulties and complications resulting from the numerous contrasting versions and editions that exist for most of the symphonies of Anton Bruckner.^[42] The term gained currency following the publication (in 1969) of an article dealing with the subject, "The Bruckner Problem Simplified," by musicologist Deryck Cooke, which brought the issue to the attention of English-speaking musicians.^[43]

The early published editions of Bruckner's works[link]

The editions of Bruckner's works published during and slightly after Bruckner's lifetime tended to "incorporate orchestral retouching, alterations in phrasing, articulation, and dynamics, and added tempo and expression markings," and on occasion were cut.^[44] These changes were made by Bruckner's friends and associates, and it is not always possible to tell whether the emendations had Bruckner's direct authorization.^[45] These were the versions that were used for nearly all performances until the 1930s. Cooke judges all these publications as "spurious" because they "did not represent Bruckner's own intentions,"^[46] while Korstvedt classifies them into three categories:

• Not authentic: versions that "contain extensive modifications and additions made without Bruckner's approval, participation, or knowledge".^[45]
• Authentic: "authentic versions prepared, supervised, and authorized by Bruckner. They do contain some elements that did not originate from the composer, but especially in the light of his publication of them, this is not enough reason to reject them."^[47]
• Grey area: publications that "differ in some ways from the readings of Bruckner's last manuscript scores and certain contain some external editorial emendations ... yet they were published with Bruckner's apparent approval." "More study is needed" into these texts.^[48]

Korstvedt argues that it was not uncommon for differences to exist between the autograph manuscripts and the first publications of musical works in the late nineteenth century, and that while the discrepancies in Bruckner's case are "unusually pronounced" they are not "essentially aberrant."^[48] He points to the example of Verdi's Falstaff, whose musical text contains substantial contributions from the leader of the orchestra of La Scala which were apparently welcomed by the composer.^[48]

Approaches to the Bruckner Problem[link]

Robert Haas[link]

Robert Haas produced an edition of Bruckner's original scores during the 1930s that was endorsed by the Third Reich. The Nazis appropriated Bruckner for ideological reasons and the matter of his original scores became uncomfortable after the war. While the Allies enforced denazification, Haas' work was frowned upon and his rival Leopold Nowak was appointed to produce a whole new edition from scratch.^[19] Nowak claimed that in the case of Symphonies No. 2 and No. 8, Haas mixed and matched passages from an early version and a later version to create "hybrid" scores.^[49][50] However, when the manuscripts became available in microfilm, it was found that the passages that Haas had allegedly mixed in from earlier manuscripts were actually crossed out in the manuscript that Haas worked with; Bruckner wrote a letter to the conductor Felix Weingartner, in which he mentioned the cut passages and hoped that they will prove "valid for posterity, and for a circle of friends and connoisseurs".^[19]

Deryck Cooke[link]

In the case of the Third Symphony, Cooke identified and compared the following six scores:

1. 1873 original version (then still unpublished);
2. 1874 first revision (then still unpublished);
3. 1877 second revision, published in 1878 as the first edition;
4. 1877 Fritz Oeser edition of the same (published by the International Bruckner Society in 1950);
5. 1889 another revision (Cooke called this a Bruckner-Schalk revision), edited by Theodor Raettig, published 1890;
6. 1889 the same, edited by Leopold Nowak as part of the Complete Edition.

Cooke considered the 1873 and 1874 versions to be "pure pedantry" and that "the first two scores were mere discarded attempts, which have never been published or performed [at that time]" (Cooke 362). Therefore he concluded that there was only a choice between the 1877 version and the discredited (in his opinion) 1889 Bruckner-Schalk revision.

Cooke's position on the first versions has been severely criticised by later musicologists, most notably Julian Horton, saying that "his dismissal of the first version of the Third [Symphony] ... on the grounds that they were not performing versions is untenable. The fact that this score was not performed before it was revised does not render it illegitimate" (Horton 2004).

Reception in the 20th century[link]

Because of the long duration and vast orchestral canvas of much of his music, Bruckner's popularity has greatly benefited from the introduction of long-playing media and from improvements in recording technology.

Decades after his death, the Nazis strongly approved of Bruckner's music because it was considered by them to be an expression of the zeitgeist of the German volk, and Hitler even consecrated a bust of Bruckner in a widely photographed ceremony in 1937 at Regensburg's Walhalla temple. Bruckner's music was among the most popular in Nazi Germany and the Adagio from his Seventh Symphony was broadcast by the German radio (Deutscher Reichsrundfunk) upon announcing the news of Hitler's death on 1 May 1945. However, this did not hurt Bruckner's standing in the postwar media, and several movies and TV productions in Europe and the United States have used excerpts from his music ever since the 1950s, as they already did in the 1930s.^[51] Nor did the Israel Philharmonic Orchestra ever ban Bruckner's music as they have Wagner's, even recording with Zubin Mehta the Eighth Symphony.

Bruckner's symphonic works, much maligned in Vienna in his lifetime, now have an important place in the tradition and musical repertoire of the Vienna Philharmonic Orchestra.

The life of Bruckner was portrayed in Jan Schmidt-Garre's 1995 film Bruckner's Decision, which focuses on his recovery in the Austrian spa. Ken Russell's TV movie The Strange Affliction of Anton Bruckner, starring Peter Mackriel, also fictionalizes Bruckner's real-life stay at a sanatorium because of obsessive-compulsive disorder (or 'numeromania' as it was then described).^[52]

In addition, "Visconti used the music of Bruckner for his Senso (1953), its plot concerned with the Austrian invasion of Italy in the 1860s."^[53] The score by Carl Davis for Ben-Hur takes "inspiration from Bruckner to achieve reverence in biblical scenes."^[54]

Conductors[link]

Bruno Walter, who acted as an "ambassador" for Bruckner in the United States, made celebrated recordings of symphonies 4, 7 and 9 late in his career and wrote an essay on "Bruckner and Mahler". Otto Klemperer made one of the first two recordings of Bruckner (the Adagio of the Eighth Symphony from 1924).^[55] Wilhelm Furtwängler made his conducting debut with the Ninth Symphony in 1906 and conducted Bruckner constantly throughout his career.

Hans Knappertsbusch was unusual in continuing to perform the first published editions of Bruckner's symphonies even after the critical editions became available. Eugen Jochum recorded Bruckner's numbered symphonies many times, as did Herbert von Karajan. Günter Wand, in addition to audio recordings, also made video recordings of his Bruckner concerts. Georg Tintner received acclaim late in life for his complete cycle of recordings on the Naxos label.

The Romanian conductor Sergiu Celibidache did not conduct all of Bruckner's symphonies, but those that he did conduct resulted in readings of great breadth, possibly the longest accounts of the works on record. This is especially true in the case of the Eighth Symphony, which lasts over 100 minutes. Although he never made commercial recordings of Bruckner, several recordings of concert performances were released after his death.

Eliahu Inbal recorded an early cycle which featured some previously unrecorded versions. For instance, Inbal was the first conductor to record the first version of Bruckner's Third, Fourth, and the completed finale to the Ninth. Daniel Barenboim recorded two complete cycles of Bruckner's symphonies, one with the Chicago Symphony Orchestra, the other with the Berlin Philharmonic Orchestra. Sir Georg Solti also recorded a complete cycle with the Chicago Symphony. Bernard Haitink recorded all of Bruckner's numbered symphonies with the Concertgebouw Orchestra, and re-recorded several symphonies with the Vienna Philharmonic and Berlin Philharmonic. Carlo Maria Giulini made a speciality of Bruckner's late symphonies. Giuseppe Sinopoli was in the process of recording all Bruckner's symphonies at the time of his death.

More recently Riccardo Chailly, Christoph von Dohnanyi, Christian Thielemann, Mariss Jansons, Benjamin Zander and Simone Young have recorded several Bruckner symphonies. Leon Botstein is the most recent conductor to record inauthentic versions of Bruckner's symphonies (e.g., the 1894 Schalk version of the Fifth).

See also[link]

	Book: Anton Bruckner
Wikipedia books are collections of articles that can be downloaded or ordered in print.

• Bruckner Orchestra Linz
• International Bruckner Society
• List of Austrians in music
• List of Austrians

Media[link]

	Locus iste (1.8 Mb)
Problems listening to this file? See media help.

References[link]

Notes

Sources

Further reading

External links[link]

Wikimedia Commons has media related to: Anton Bruckner

• Free scores by Anton Bruckner in the Choral Public Domain Library (ChoralWiki)
• Free scores by Anton Bruckner in the Werner Icking Music Archive (WIMA)
• Free scores by Anton Bruckner at the International Music Score Library Project
• The life of Anton Bruckner in Chord and Discord, American Bruckner Society, 1940. A very well-written biography, with references to the conflict with the Hanslick/Brahms field, and 19th century Austrian culture and society.
• The Bruckner Journal devoted to Anton Bruckner, edited by Ken Ward, caters for lay enthusiasts, musicians and academics. Produced in the UK
• Bruckner Discography edited by John F. Berky and Hans Roelofs – Detailed listing recordings of Anton Bruckner's works. Also includes articles and free downloads
• Extensive article (35 pages) by Aart van der Wal on Bruckner's Symphony No. 9, unfinished finale
• Classical Net – Bruckner Bio, Recordings, and Essays
• UV.es – Anton Bruckner Bibliography
• Detailed information on the various editions and revisions of Bruckner's symphonies
• Discography and List of Works
• MPG.de
• Bruckner biography, 19th century Austrian culture and society
• Bruckner MIDIs at Classical Archives
• Homepage for Bruckner's House museum (Ger)
• The Music of Eternity by David B. Hart, First Things

Antonio Di Natale

Personal information
Date of birth	(1977-10-13) 13 October 1977 (age 34)
Place of birth	Naples, Italy
Height	1.70 m (5 ft 7 in)
Playing position	Striker
Club information
Current club	Udinese
Number	10
Youth career
	Empoli
Senior career*
Years	Team	Apps†	(Gls)†
1996–2004	Empoli	158	(49)
1997–1998	→ Iperzola (loan)	33	(6)
1998	→ Varese (loan)	4	(0)
1998–1999	→ Viareggio (loan)	25	(12)
2004–	Udinese	264	(135)
National team‡
2002–	Italy	37	(10)
* Senior club appearances and goals counted for the domestic league only and correct as of 13 May 2012. † Appearances (Goals). ‡ National team caps and goals correct as of 1 June 2012

Antonio Di Natale (Italian pronunciation: [anˈtɔnjo dinaˈtale]) (born 13 October 1977) is an Italian footballer who plays for Serie A club Udinese.

A versatile striker with a lethal eye for goal, Di Natale can play anywhere in the front line, as a lone striker or out wide in an attacking trident. He is notable for his dribbling skills, pace and for his ability to score and create goals. Di Natale earned the prestigious award of being the Serie A 'Capocannoniere' for the 2009/10 season, as well as the 2010/11 season.

Club career[link]

Though born in Naples, Antonio Di Natale moved up north and joined Empoli's youth system. He impressed while playing for the Tuscany side in Serie A.

After having joined Udinese in the 2004–05 Serie A season, Di Natale partnered with Vincenzo Iaquinta and David Di Michele in attack, and the Friulian club finished 4th place at the end of the season and qualified for the UEFA Champions League for the following year. Di Natale finished his debut season with a record of 33 games and seven goals.

In the 2007–08 season, Di Natale scored 17 goals. The two most notable goals were scored on matchday 4, when Udinese played against Reggina. He scored a brilliant lob in the 5th minute and a terrific volley in the 63rd with his favored left foot. Forming a formidable attacking duo with Fabio Quagliarella, Di Natale improved his goal tally, becoming the focal point of the attack. In 2007, he was named captain of Udinese and his contract was extended to 30 June 2012.^[1][2]

15 May 2010 saw the conclusion of Di Natale's best-ever season, scoring 29 goals in Serie A, and contributing 54% of Udinese's total goals.^[3] He also surpassed Oliver Bierhoff's club record for most league goals in a season, who had scored 28. A brace against Bari on 9 May 2010 saw Di Natale surpass the 100 goal mark in Serie A. For his performances, Di Natale was voted Italian Footballer of the Year and finished as the top scorer in Serie A. He also received the Serie A Fair Play award, for interrupting play in a match while Lazio's Libor Kozak was injured, with Udinese down 3-2 late in the game.^[4]

On 14 November 2010, he scored a hat-trick during a match with Udinese against Lecce and on 28 November 2010, he scored a second consecutive home hat-trick during a match against Napoli. During the 2010–11 season, Di Natale had the best strike rate of any player in Italy, scoring 28 goals in 36 games with a strike rate of 0.78 goals per game. This was also the third best strike rate in Europe, behind Cristiano Ronaldo and Lionel Messi.^[5] As of 11 March 2012 Di Natale is second in the Serie A scoring title behind Zlatan Ibrahimović.^[6]

International career[link]

He made his debut with the Italy national team on 20 November 2002, in a friendly match against Turkey. He won few caps in later years, scoring his first goal on 18 February 2004 against the Czech Republic.

In 2006 he regained a spot with the Azzurri under new coach Roberto Donadoni, and was involved in the Euro 2008 qualification campaign. He was then called up to UEFA Euro 2008, where he missed a crucial penalty during the quarter-final penalty shoot out against Spain who went on to win 4-2.

He missed the 2009 Confederations Cup because of a knee injury, which occurred on 28 March 2009 in an international match against Montenegro.

He took part at the 2010 World Cup where he was given the number 10 shirt. On 24 June 2010 he scored a goal in the 3–2 defeat against Slovakia which resulted Italy finishing bottom of its group.

Career statistics[link]

As of 13 May 2012

Individual[link]

• Serie A Top Scorer (2): 2010, 2011
• Italian Footballer of the Year: 2010
• Pallone d'Argento: 2011

References[link]

Italy squad v t e Italy squad – UEFA Euro 2008 1 Buffon 2 Panucci 3 Grosso 4 Chiellini 5 Gamberini 6 Barzagli 7 Del Piero (c) 8 Gattuso 9 Toni 10 De Rossi 11 Di Natale 12 Borriello 13 Ambrosini 14 Amelia 15 Quagliarella 16 Camoranesi 17 De Sanctis 18 Cassano 19 Zambrotta 20 Perrotta 21 Pirlo 22 Aquilani 23 Materazzi Coach: Donadoni v t e Italy squad – 2010 FIFA World Cup 1 Buffon 2 Maggio 3 Criscito 4 Chiellini 5 Cannavaro (c) 6 De Rossi 7 Pepe 8 Gattuso 9 Iaquinta 10 Di Natale 11 Gilardino 12 Marchetti 13 Bocchetti 14 De Sanctis 15 Marchisio 16 Camoranesi 17 Palombo 18 Quagliarella 19 Zambrotta 20 Pazzini 21 Pirlo 22 Montolivo 23 Bonucci Coach: Lippi v t e Italy squad – UEFA Euro 2012 1 Buffon (c) 2 Maggio 3 Chiellini 4 Ogbonna 5 Motta 6 Balzaretti 7 Abate 8 Marchisio 9 Balotelli 10 Cassano 11 Di Natale 12 Sirigu 13 Giaccherini 14 De Sanctis 15 Barzagli 16 De Rossi 17 Borini 18 Montolivo 19 Bonucci 20 Giovinco 21 Pirlo 22 Diamanti 23 Nocerino Coach: Prandelli