In the fall of 1871, after having become established in Vienna, Anton Bruckner embarked on a new symphonic project, his fourth, which in less than a year would result in a completed and copied score of nearly 2000 bars.

Although Bruckner had been composing sonata-form movements with three distinct themes since he began writing symphonies in 1862, in 1872 he greatly expanded the scope of their presentation and development, and established the framework, which he would use consistently in all of his subsequent symphonic work.

[3] Moreover, the Adagio of this symphony is in ABA′B′A″ Lied form followed by a coda – the framework which Bruckner would use in his subsequent symphonic work, with exception of the Sixth.

The score calls for two flutes, two oboes, two clarinets, two bassoons, four horns, two trumpets, three trombones, timpani, and strings.

Shortly after this, an "enigmatic" trumpet call appears: This rhythm is an important device and will recur throughout the movement.

The recapitulation opens just as the exposition did; with tremolo strings giving way to the main theme and the reappearance of the trumpet call.

Georg Tintner: "Bruckner's mania for revision sometimes bore positive fruits ... [but with] the Second and the Third [symphonies] his first versions seem to me the best.

He also made additional cuts in the first movement and the Finale, and dropped the "Neuer Satz" and substituted it for an 18-bar long, new material.

This, the first published edition of the symphony, was prepared by Cyrill Hynais and was until recently thought to be inauthentic, but Carragan has shown that it corresponds closely to the 1877 version.

The first recording of any part of the symphony was made by Fritz Zaun with the Berlin State Opera Orchestra in 1934: a cut version of the Scherzo in the 1892 first published edition.

The oldest surviving complete performance is by Georg-Ludwig Jochum with the Bruckner Orchestra of Linz, dating from 1944 and using the Haas edition.