Aus Kitzlers Studienbuch - 14 pieces - (From Kitzler's Study Book)
Lancier-Quadrille in C-Dur (WAB 120)
Drei kleine Stücke zu vier Händen (WAB 124) - (Three small pieces for four hands)
Quadrille zu vier Händen (WAB 121) - (Quadrille to four hands)
"Klavierstück" in Es-Dur (WAB 119)
"Stille Betrachtung an einem Herbstabend" in fis-Moll (WAB 123)
"Steiermärker" in G-Dur (WAB 122)
"Fantasie" in G-Dur (WAB 119)
"Erinnerung" in As-Dur (WAB 117)

Includes 13 world première recordings

Dispensable bauble or desirable bijou. How are these miniature pieces, studies and teacher assignments to be ascertained? Anton Bruckner was a lifelong organist so for him, transitioning to the piano would have been instinctive. But it seems that most of these pieces were written as test assignments for his composition teacher, Otto Kitzler, a German cellist, conductor and composer, whose teaching methods were based on the music of Schumann, Mendelssohn and Wagner. Was Anton simply following homework guidelines to satisfy his tutor, or was he establishing his own wellspring. Consider also the "Quadrille", which is no more than a type of square dance. Did Anton Bruckner write most of his piano pieces as sideline distractions, or were they actual stepping stones in his development as a composer of monumental symphonic works?

Nevertheless, some of these pieces are of the 'bijou' variety. The Fantasie in G Major for example, with its light and airy momentum, and ebullient melody, or the Minuet and Trio in G Major from the Kitzler's Study Book which very much resembles Beethoven's famous Minuet in the same key. Or better yet, the beautiful Erinnerung (Memory) with its advanced harmonic layout and quasi Chopinesque style. Considered from a strictly music-for-piano perspective, these are definitely notable works in their own right, if not so much as an extra level of discovery into Bruckner's persona.

Pianist Ana-Marija Markovina, who counts Paul Badura-Skoda as one of her teachers, is to be commended for unearthing these neglected "nuggets" of historical importance, and giving them all the care and expressive touch they deserve, and exposing their hidden strands of gold. She is presently writing a book about the psychological, philosophical and neuropsychological foundations of piano playing (booklet notes) that I for one would love to read. And a tip of the hat also to Rudolf Meister, a strong solo-recitalist himself, for providing excellent assistance in recording the pieces for four hands. All of you Bruckner completists out there (I've known a few) who have scoured databases on the lookout for anything Bruckner related take note: this new recording is for you. Or for anyone else who would simply like to hear previously unheard piano pieces, this is definitely an option.