[4] Redlich went so far as to cite the lack of hallmarks of Bruckner's symphonic compositional style in the Sixth Symphony for the somewhat bewildered reaction of supporters and critics alike.

[5] According to Robert Simpson, though not commonly performed and often thought of as the ugly duckling of Bruckner's symphonic body of work, the symphony nonetheless makes an immediate impression of rich and individual expressiveness: "Its themes are exceptionally beautiful, its harmony has moments of both boldness and subtlety, its instrumentation is the most imaginative he had yet achieved, and it possesses a mastery of classical form that might even have impressed Brahms.

The composer...was greeted with cheering and was consoled with lively applause at the close by a fraction of the audience that stayed to the end...the Finale, which exceeded all its predecessors in oddities, was only experienced to the last extreme by a little host of hardy adventurers.

[15] Other characteristics that are found in Bruckner's symphonies (especially the Sixth) include the extensive treatment of the dominant seventh chord as a German sixth chord in a new key, usage of cadences as a decisive factor in daring modulations, the treatment of organ points as pivotal to the harmony and structure, chains of harmonic sequences, and, most notably, extensive use of rhythmic motives, especially the characteristic Bruckner rhythm, a rhythm consisting of two fourths and three quarter notes, or vice versa.

[18] The Sixth Symphony is scored for two flutes, two oboes, two clarinets, two bassoons, four horns, three trumpets, three trombones, one bass tuba, timpani, and strings.

Bruckner commonly alternates between solo and tutti sections, as well as layering instruments to provide texture and show different subject groups.

The third theme group, beginning with a militaristic statement of the Bruckner rhythm, now appears, followed by modulations ending in the dominant (E major) and segueing into the development section:[23] The development is shorter and less complex than one usually finds in Bruckner's symphonic first movements; however, it plays a substantial role in the overall harmonic structure of the movement.

From the outset (bar 159), the violins play an inversion of the main theme, though the Bruckner rhythm that accompanied it in the exposition is absent.

[25] Harmonically, the development encompasses a myriad of modulations, abruptly traversing between E♭ and A major, seemingly signaling the beginning of the recapitulation.

[34] At bar 157 one hears the last statement of the primary theme with the movement ending in its tonic, F major, in a state of "perfect serenity.

[34] However, the most prominent feature is the lack of a striking Scherzo theme; instead one finds three contrasting rhythmical motives juxtaposed from the very beginning and united throughout the majority of the movement.

This elusive A minor root chord finally appears at the end of the recapitulation leading into the C major Trio section.

[42] A final massive statement of A major asserts itself (bar 397) seemingly out of nowhere, embodying Bruckner's amazing ability to establish the tonic without a doubt and without the kind of preparation one would normally expect.

The Fifth, Sixth and Seventh represent Bruckner's period of confidence as a composer and, along with the unfinished Ninth, are as a group the symphonies he did not extensively revise.

[46] In terms of interpretation, the Sixth Symphony has also been the unluckiest, with the vast majority of conductors ignoring Bruckner's specific tempo markings and throwing off the carefully planned balance of the movements.

[7] After hearing the 1883 performance of the middle movements of the Sixth Symphony, Hanslick wrote: It has become ever harder for me personally to achieve a proper relationship with these peculiar compositions in which clever, original, and even inspired moments alternate frequently without recognizable connection with barely understandable platitudes, empty and dull patches, stretched out over such unsparing length as to threaten to run players as well as listeners out of breath.

Here, Hanslick touched on the most common complaint about Bruckner's symphonic writing: the seemingly endless journey to a conclusion of musical thought.

Dyneley Hussey critiqued the Sixth Symphony in a 1957 review for The Musical Times and reached the same conclusions half a century later, writing: His most tiresome habit is his way of pulling up dead at frequent intervals, and then starting the argument all over again...One has the impression...that we are traversing a town with innumerable traffic lights, all of which turn red as we approach them.

One of his pupils, Franz Schalk, commented that it was the age of moral and spiritual liberalism...but also in which he [Bruckner] intruded...with his medieval, monasterial concept of humankind and life.

Donald Tovey wrote, "...if one clears their mind, not only of prejudice but of wrong points of view, and treats Bruckner's Sixth Symphony as a kind of music we have never heard before, there is no doubt that its high quality will strike us at every moment".

[50] Still others marvel over the rarity of performances of the Sixth Symphony, citing its bright character and key and its plethora of tender, memorable themes as grounds for more widespread acceptance.

"[51] In saying this, Bruckner both acknowledged his bad critiques and maintained hope that his own compositions might one day garner the same type of positive reaction that Beethoven's music received from his contemporaries.

6 was by the Vienna Philharmonic conducted by Wilhelm Jahn on 11 February 1883, making it the only performance of the piece that Bruckner heard in his lifetime.