I remember the first time I encountered the music of Anton Bruckner. It was in the middle of the night in an attic bedroom in Easton, Pennsylvania.

While growing up in Easton in the 1970s and ‘80s, I always regarded it as a small town. Technically, it’s classified as a city, the third largest in the Lehigh Valley, but the downtown is not all that large and most of the population was distributed across what was then several semi-rural townships. A drifting snow would be enough to close the schools for days.

Easton is about 70 miles outside Philadelphia. In the car, WFLN, Philadelphia’s 24-hour classical music station, when it still existed, would sometimes cut in and out, depending on where you were driving. But I always had the radio antennae in the house trained to pick up 95.7 FM. And as a teenager, my brain was absorbent enough that I internalized most of the standard repertoire.

Back in the day, WFLN used to broadcast its overnights ad-free. So other than the distinctive voice of Henry Varlack, it was non-stop music from midnight to 6 a.m. This made it easy to sleep with the radio on, and I did so out of habit in those days, my consciousness rising to the surface now and again to take note of the music.

On one of those occasions, I emerged right in the middle of an insinuating, sinister scherzo. It made such an impression that I hung around to hear the back-announcement: Bruckner’s Symphony No. 9.

The word “scherzo” literally means “joke.” In Bruckner, there are no jokes. The early symphonies may flirt with folksy ländler. But once Bruckner knows what he’s about, these are transmogrified into supernatural gallops across moonless skies, Odin leading his warrior band in the Wild Hunt. The symphonies are often compared to “cathedrals in sound.” Bruckner was an organist; once you know that, it’s easy to imagine his structures and textures elucidated on the King of Instruments. But there is nothing sacred about the scherzos.

From that first encounter, I’ve always been fond of them. So ferocious can these become, so terrible in their sublimity, that it’s hard to associate them with the man who, on the one hand, aspired to convey the ineffable in his heavenly adagios, and on the other, could be so malleable as to allow anyone to make changes to “improve” his music. He was almost perversely humble. Because of this, there are multiple Bruckner performance traditions, with some conductors and scholars divided between the Haas and Nowak editions and others groping toward elusive Brucker urtexts.

For the Bruckner faithful, no matter how it’s been processed, the music transcends human tampering. With its hypnotic repeating cells, its punctuating silences, its spiritual depth, and its breathtaking grandeur, Bruckner’s art communicates with an unwavering clarity. But as with his instrument of choice, there’s always a lot going on behind the scenes and beneath the surface.

Still, I’m aware not everyone is a convert. I think wryly back on Simon Roberts, who stocked and held court in the basement of Nathan Muchnick’s (a Philadelphia audio store with a superb classical music compact disc selection), and his withering dismissal of “deranged Bruckner fanatics,” which I recall now, even decades after he uttered it.

Gustav Mahler, who took lessons with Bruckner at the Vienna Conservatory and considered him his precursor and friend, described him as “half simpleton, half God.”

Those who love Mahler don’t necessarily feel the same way about Bruckner, and vice versa. So if Grandpa loves his cycle of Bernstein Mahler symphonies (Sony or DG), don’t expect him to turn handsprings for your generous gift of Eugen Jochum’s Bruckner set (EMI or DG). Unless Grandpa happens to be me. I love all these recordings!

I can’t believe that today marks the 200th anniversary of Bruckner’s birth. I remember when 200 years ago meant powdered wigs.

In any case, thank you, WFLN, God rest Henry Varlack, and happy bicentennial, Anton Bruckner!

Bruno Walter conducts Bruckner’s 9th (my first Bruckner recording). The scherzo begins about 24 minutes in.

PHOTO: Anton Bruckner, babe magnet