In 1855, Bruckner, aspiring to become a student of the famous Vienna music theorist Simon Sechter, showed the master his Missa solemnis ( WAB 29 ), written a year earlier, and was accepted.

Simon Sechter ( 11 October 1788 – 10 September 1867 ) was an Austrian music theorist, teacher, organist, conductor and composer.

In 1851 Sechter was appointed professor of composition at the Vienna Conservatory.

In his last years, Sechter was generous to a fault, and died in poverty.

Sechter was an advocate of just intonation over well-tempered tuning.

Sechter was also a composer, and in that capacity he is mostly remembered for writing about 5, 000 fugues ( he tried to write at least one fugue every day ), but he also wrote masses and oratorios.

His composition teacher was Simon Sechter, subsequently the teacher of Anton Bruckner, who also gave Schubert one lesson in counterpoint a few weeks before his untimely death.

Others whom Sechter taught include the composer Henri Vieuxtemps, the conductor Franz Lachner, the teacher Eduard Marxsen ( who taught Johannes Brahms piano and counterpoint ), the composer and teacher Johann Nepomuk Fuchs, Gustav Nottebohm, Karl Umlauf, the conductor and composer Kéler Béla and the pianist-composers Sigismond Thalberg, Adolf von Henselt, and Theodor Döhler, to list a few.

On obtaining financial help from King Ludwig I of Bavaria he went to study under Johann Nepomuk Hummel in Weimar for some months, and thence in 1832 to Vienna, where, besides studying composition under Simon Sechter ( the later teacher of Anton Bruckner ), he made a great success as a concert pianist.

* Steblin, Rita ; Stocken, Frederick ( 2007 ), " Studying with Sechter: newly recovered reminiscences about Schubert by his forgotten friend, the composer Joseph Lanz " Music & letters: a quarterly publication.

* 1788 – Simon Sechter, Austrian music teacher ( d. 1867 )

* October 11 – Simon Sechter, Austrian music teacher ( d. 1867 )

* September 10 – Simon Sechter, Austrian music teacher ( b. 1788 )

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.

But he had aspirations of becoming a composer as well and, having already taken lessons with the respected Simon Sechter in Vienna, spent the winter of 1835 – 1836 studying composition with Anton Reicha in Paris.

In Vienna, after studying with Ignaz von Seyfried and Simon Sechter, he conducted in the theater, without pay at first, but with the opportunity to present his own operas there.

He attended the Institute for the Blind in Vienna and the Konservatorium der Gesellschaft der Musikfreunde ( Conservatory of the Society of Friends of Music ) where he studied composition with Bruckner ’ s teacher, Simon Sechter, and piano with Eduard Pickhert.

Hatton's excellent piano playing attracted much attention in Vienna ; he took the opportunity of studying counterpoint under Sechter, and wrote a number of songs, obviously modelled on the style of German classics.

* September 10-Simon Sechter, organist, conductor and composer ( b. 1788 )

Soon after Bruckner had ended his studies under Sechter and Kitzler, he wrote his first mature work, the Mass in D Minor.

Some of his other notable students include Enrique Fernández Arbós, Eduard Caudella, Alfred De Sève, Sam Franko, Émile Sauret, Simon Sechter, and César Thomson.

Simon Sechter.

Sechter had strict teaching methods.

The scholar Robert Simpson believes that " Sechter unknowingly brought about Bruckner's originality by insisting that it be suppressed until it could no longer be contained.

" Sechter taught Bruckner by mail from 1855 to 1861 and considered Bruckner his most dedicated pupil.

Upon Bruckner's graduation, Sechter wrote a fugue dedicated to his student.

In the three-volume treatise on the principles of composition, Die Grundsätze der musikalischen Komposition, Sechter wrote a seminal work that influenced many later theorists.

Sechter's ideas are derived from Jean-Philippe Rameau's theories of the fundamental bass, always diatonic even when the surface is highly chromatic ; music theory historians strongly associate Sechter with the Viennese conception of fundamental bass theory.

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