I disagree with the idea of Bruckner´s music being "bland". Moments like the demoniac scherzo of the 9th symphony, the devastating climax of the 1st movement of the 8th symphony or the towering fugue in the last movement of the 5th symphony tell me of a universe completely removed from being "bland". Besides that, the word "talented" (only that?) perhaps is there if you don´t have a look at the harmonic progression of Bruckner´s symphonies. In the Adagio (last completed movement) of the 9th symphony, there is for the first time in music a dissonat chrord in fortissimo that is as close to a cluster as it could ever be in the XIX century (Mahler wrote a complete one in the Adagio of his 10th symphony, but many years later). Another great harmonic resource in Bruckner´s music is to be found in the most original modulations acceptable within the realms of tonality (a progression that started with the Mozart of the "Great Mass", followed with Schubert and matured with Bruckner). On the formal developments of Bruckner, the idea of expanding the sonata form with more than two themes is also a great and original one, taken later on by Sibelius and Nielsen, among other XXth century composers.