Pange lingua de anton bruckner biography

List of motets by Anton Bruckner

Anton Bruckner composed about 40 motets during his life, the primitive, a setting of Pange lingua, in c. 1835, the last, Vexilla regis in 1892.

Youth works

Before 1841 only a single outmoded, a motet, has indubitably back number composed by Bruckner.

The unusual other works of this term in Grasberger's catalogue[4] are either obviously not by Bruckner down in the mouth of doubtful authenticity. Domine, familiar adjuvandum me festina ("O Ruler, make haste to help me"; WAB 136) is a piece of Johann Baptist Weiß.[5] Magnanimity five preludes in E-flat higher ranking for organ (WAB 127 pivotal 128) and a few bottle up organ works found in Bruckner's Orgelbuch are presumably transcriptions methodical works of Johann Baptist Weiß or other composers.[6][7]

Windhaag and Kronstorf

During his stay as schoolteacher's aiding in Windhaag (3 October 1841 - 23 January 1843) talented Kronstorf (23 January 1843 - 23 September 1845), Bruckner equalized the three early masses Windhaager Messe, Kronstorfer Messe, and Messe für den Gründonnerstag. During fulfil stay in Kronstorf he unflappable also his first name-day oratorio Vergißmeinnicht and a few motets:[8]

  • Libera me (WAB 21): a leading setting in F major depart the Libera me for refrain and organ, which Bruckner untroubled in c. 1843.[9][10]
  • Litanei (WAB 132): that litany, a lost work assistance mixed choir and brass mechanism, was presumably composed around 1844.[11]
  • Salve Maria (WAB 134): this Mother hymn, possibly a Salve Regina, another lost work, was supposedly also composed around 1844.[12][13]
  • Asperges me (WAB 4): this first abound with of 32 bars in Tsar major of the Asperges me for choir a cappella was composed in 1843 or 1844.[9][14]
  • Two Asperges me (WAB 3): these two settings of the Asperges me for choir and member were composed in 1844 check on 1845.[9]
  • Tantum ergo (WAB 32): that first setting of 36 exerciser in D major of magnanimity Tantum ergo for choir a cappella was composed during dignity fall 1845.[17][18]
  • Tantum ergo (WAB 43): this second setting of 36 bars in A major designate the Tantum ergo for refrain and organ was composed close to the fall of 1845 (or perhaps in 1846 in Sankt Florian?)[9][19][20]
  • Dir, Herr, dir will fill mich ergeben ("To You, Master, to You I will cede myself"; WAB 12): the time of composition of this song of praise motet in A major propound choir a cappella is uncertain: 1844-1845 (Kronstorf) or 1845-1846 (Sankt Florian).[9][21]

Sankt Florian

Between 23 September 1845 and 24 December 1855, meanwhile his stay as organist envelop Sankt Florian monastery, Bruckner calm the Magnificat, the Requiem, blue blood the gentry Missa solemnis, Psalms 22 splendid 114, and four name-day cantatas Entsagen, the Arneth Cantata, leadership Mayer Cantata, and the Festgesang, as well as the later motets:

  • O Du liebes Jesu-Kind ("O, You dear Child Jesus"; WAB 145): this motet sustenance 16 bars in F larger for soloist and organ, legal action of uncertain authorship. If absolutely by Bruckner, presumably composed elaborate 1845/1846.[22][23]
  • Herz Jesu-Lied ("Song of picture Heart of Jesus"; WAB 144): this motet of 24 exerciser in B-flat major for vocalists burden and organ, is also stop uncertain authorship. If actually surpass Bruckner, presumably composed in 1845/1846.[24][25]
  • Four Tantum ergo (WAB 41):[26]
    • First version: these four Tantum ergo signify 24 bars (No. 1: 25 bars) plus a 2- moral 3-bar Amen: B-flat major, A-flat major, E-flat major and Proverb major, for choir and member ad libitum were composed find guilty 1846.[24]
    • Second version: in 1888 Organist made a slight revision countless the four Tantum ergo, which he then scored for consort a cappella.[3]
  • Tantum ergo D-Dur (WAB 42)[26]
    • First version: this fifth Tantum ergo of 36 bars select by ballot D major for 5-voice response (SSATB) and organ was welladjusted on 9 June 1846.[24]
    • Second version: in 1888 Bruckner made very a revision of it. Ethics composition was shortened (8 exerciser removed) and a 3-bar Amen was added.[3]
  • In jener letzten merit Nächte ("In this last night"; WAB 17): a Passionchorale guarantor Maundy Thursday of 22 exerciser in F minor, composed greet c. 1848. Two settings:[27][28]
    • First setting: promulgate soloist and organ,
    • Second setting: pursue choir a cappella.
  • Two Totenlieder: these two elegies for choir a cappella were composed in 1852 for the funeral of Josef Seiberl[27][29]
    • Totenlied (WAB 47): 10 exerciser, E-flat major
    • Totenlied (WAB 48): 19 bars, F major
  • Libera me (WAB 22): this Libera me not later than 94 bars in F insignificant for 5-voice choir (SSATB), member, 3 trombones and figured sonorous (organ, cello and contrabass) was composed on 28 March 1854 as absoute for the inhumation of prelate Michael Arneth[27][30]
  • Tantum ergo B-Dur (WAB 44): this 8th setting of 29 bars emit B-flat major of the Tantum ergo for choir, 2 trumpets, 2 violins and organ was composed in c. 1854.[27][31]

Related works

Linz

Between 24 December 1855 and 1 Oct 1868 Bruckner staid in City. During Sechter's tuition (from incredulous 1855 till 26 March 1861) Bruckner finalised the Psalm 146, which he had drafted about his stay in Sankt Florian, and composed only a seizure small works, of which clean single motet:

  • Ave Maria (WAB 5): a 52-bar work, say publicly first of three Ave Tree in F major for ensemble, soprano and alto soloists, tool and cello was composed vista 24 July 1856 as concoct to Ignaz Traumihler, the musician of Sankt Florian.[36][37]

After the put to the test of Sechter's tuition Bruckner calm two motets:

Until 10 July 1863 Bruckner studied further moisten Otto Kitzler. During this term he composed the String Foursome in C minor, his head orchestral compositions (the Four Orchestral Pieces, the Overture in Flossy minor and the Study Work of art in F minor) and natty few other compositions as magnanimity Festive Cantata Preiset den Herrn, the Psalm 112 and Germanenzug. After the end of Kitzler's tuition, Bruckner composed successively righteousness masses Nos. 1, 2 boss 3 and his first opus.

After the end of Kitzler's tuition Bruckner composed also unadulterated few motets:

Related work

Am Grabe, WAB 2, a revised fastidious cappella version of Vor Arneths Grab, has been composed keep up the end of Sechter's tutelage to be performed on primacy funeral of Josephine Hafferl.[45][46]

Vienna

Between 1 October 1868 and 11 Oct 1896, during the "Vienna period" Bruckner devoted the most tiara time to his symphonies, matter, between Symphonies No. 5 scold 6, the String Quintet hoard F major, between Symphonies Clumsy. 6 and 7, the Te Deum, and, between Symphonies Rebuff. 8 and 9, Psalm Cardinal and the secular cantata Helgoland. In between Bruckner composed very the following motets:

  • Locus iste (WAB 23): a 48-bar indiscernible in C major for set a cappella composed on 11 August 1869 for the allegiance of the votive chapel battle the New Cathedral in Linz.[47][48]
  • Christus factus est ("Christus became obedient"; WAB 10): a 61-bar trench, the second of three graduals Christus factus est in Sequence minor for 8-voice choir, 3 trombones and string instruments ad libitum, composed in 1873.[49][50]Note: Significance first Christus factus est evaluation the gradual of the Messe für den Gründonnerstag.[9][51]
  • Tota pulchra es (WAB 46): an 80-bar antiphony in Phrygian mode for temper soloist, choir and organ, stabilize on 30 March 1878.[49][52]
  • Os justi ("The mouth of the honourable utters wisdom"; WAB 30): top-notch 71-bar gradual with final song Alleluja in Lydian mode fend for choir a cappella composed grant 18 July 1879.[53][54] As market demand by Ignaz Traumihler, Bruckner broaden to it on 28 July 1879 an unison Versus-Choral Inveni David with organ (WAB 20).[42]
  • Ave Maria (WAB 7): an 81-bar work, the third of iii Ave Maria in F senior for alto soloist and mechanism (harmonium or piano), which Composer composed 5 February 1882 use alto soloist Luisa Hochleitner.[55][56]
  • Christus factus est (WAB 11): a 79-bar work, the third of couple graduals Christus factus est select by ballot D minor, composed on 25 May 1884.[55][50]
  • Salvum fac populum tuum ("O Lord, save thy people"; WAB 40): a 57-bar motet in F major, based acclamation a few verses of glory Te Deum, for choir a cappella composed on 14 Nov 1884.[57][12]
  • Veni Creator Spiritus (WAB 50): harmonisation of the Gregorian Veni Creator Spiritus for unison voices with organ, composed in c. 1884.[58][59]
  • Ecce sacerdos magnus (WAB 13): swell 106-bar responsorium in A little for choir, 3 trombones attend to organ, composed on 28 Apr 1885 for the 100th go to of the founding of interpretation diocese of Linz.[58][60]
  • Virga Jesse (WAB 52): a 91-bar gradual enjoy E minor for choir a cappella composed on 3 Sept 1885.[58][61]
  • Ave Regina caelorum (WAB 8): harmonisation of the Gregorian Acute Regina caelorum for unison voices with organ, composed in c. 1886.[3][62]
  • Vexilla regis (WAB 51): a 36-bar motet in Phrygian mode transfer choir a cappella composed grip Good Friday on 9 Feb 1892.[63][64]

Related works

Discography

Some motets, as Locus iste and three other graduals, and the Ave Maria WAB 6, are very popular survive are often put on LPs / CDs together with devout works of several composers, wretched as extras of a foremost religious work (Mass No. 2). Frieder Bernius, Matthew Best, Uwe Gronostay, Simon Halsey, Philippe Herreweghe and Stephen Layton have true each 5 to 10 close the most popular motets, on occasion with the two Aequali.[66]

Other conductors have devoted LPs / CDs more specifically to Bruckner's motets, sometimes with the two Aequali, the early masses or mess up "forgotten" works, as the Missa solemnis, the Magnificat, the formerly Psalms 22, 114 and 112: Eugen Jochum (1966), Hubert Günther (c. 1976), Hans Zanotelli (1979), Johannes Fuchs (1984), Martin Flämig (1985), Robert Jones (1994), Rupert Gottfried Frieberger (1995 and 2007), Jonathan Brown (1997), Petr Fiala (2006), Erwin Ortner (2008), Thomas Kerbl (2009 and 2011), Duncan Ferguson (2010) and Philipp von Steinäcker (2014).[66]

There is as yet ham-fisted commercial album with all description motets. A compilation in dignity chronological order of Band Cardinal of the Gesamtausgabe has antiquated issued by Hans Roelofs: Recite set DutchDragon HR 815-817.[67]

References

  1. ^ abU. Harten, p. 329
  2. ^C. van Zwol, p. 699-670
  3. ^ abcdC. van Zwol, p. 709
  4. ^ Renate Grasberger, Werkverzeichnis Anton Bruckner (WAB), Publikationen nonsteroidal Instituts für österreichische Musikdokumentation, Hans Schneider, Tutzing, 1977 - ISBN 3-7952-0232-9
  5. ^U. Harten, p. 132
  6. ^C. van Zwol, p. 680-681
  7. ^U. Harten, p. 339
  8. ^C. van Zwol, p. 49
  9. ^ abcdefC. van Zwol, p. 700
  10. ^U. Harten, p. 253-254
  11. ^U. Harten, p. 261
  12. ^ abU. Harten, p. 374
  13. ^Salve Mare bzw. Salve Regina (WAB 134)
  14. ^U. Harten, p. 64
  15. ^U. Harten, proprietress. 63
  16. ^U. Harten, p. 63-64
  17. ^C. vehivle Zwol, p. 700-701
  18. ^U. Harten, owner. 436
  19. ^C. van Zwol, p. 701
  20. ^U. Harten, p.437-438
  21. ^U. Harten, p. 128
  22. ^C. van Zwol, p. 701-702
  23. ^U. Harten, p. 315
  24. ^ abcC. van Zwol, p. 702
  25. ^U. Harten, p. 197-198
  26. ^ abU. Harten, p. 437
  27. ^ abcdC. van Zwol, p. 703
  28. ^U. Harten, p. 211
  29. ^U. Harten, p. 447
  30. ^U. Harten, p. 254
  31. ^U. Harten, holder. 438
  32. ^C. van Zwol, p. 702-703
  33. ^U. Harten, p. 44-45
  34. ^C. van Zwol, p. 722
  35. ^U. Harten, p. 471
  36. ^ abC. van Zwol, p. 704
  37. ^U. Harten, p. 75-76
  38. ^U. Harten, holder. 76
  39. ^C. van Zwol, p. 704-705
  40. ^U. Harten, p. 45
  41. ^ abcdC. camper Zwol, p. 705
  42. ^ abU. Harten, p. 221
  43. ^U. Harten, p. 211-212
  44. ^C. van Zwol, p. 708-709
  45. ^C. camper Zwol, p. 723
  46. ^U. Harten, proprietress. 50
  47. ^C. van Zwol, p. 705-706
  48. ^U. Harten, p. 261-262
  49. ^ abC. car Zwol, p. 706
  50. ^ abU. Harten, p. 120
  51. ^U. Harten, p. 281-282
  52. ^U. Harten, p. 446-447
  53. ^C. van Zwol, p. 706-707
  54. ^U. Harten, p. 326-327
  55. ^ abC. van Zwol, p. 707
  56. ^U. Harten, p. 76-77
  57. ^C. van Zwol, p. 707-708
  58. ^ abcC. van Zwol, p. 708
  59. ^U. Harten, p. 463
  60. ^U. Harten, p. 139-140
  61. ^U. Harten, proprietress. 467-468
  62. ^U. Harten, p. 77
  63. ^C. precursor Zwol, p. 709-710
  64. ^U. Harten, holder. 466-467
  65. ^U. Harten, p. 69
  66. ^ abDie Bruckner-Diskografie seit 1971 by Hans Roelofs
  67. ^CD set Kleine Kirchenmusikwerke

Sources

  • Anton Composer - Sämtliche Werke, Band XXI: Kleine Kirchenmusikwerke (1835-1892), Musikwissenschaftlicher Verlag der Internationalen Bruckner-Gesellschaft, Hans Bauernfeind and Leopold Nowak (Editor), Vienna, 1984/2001
  • Uwe Harten, Anton Bruckner. Ein Handbuch. Residenz Verlag [de], Salzburg, 1996. ISBN 3-7017-1030-9.
  • Cornelis van Zwol, Anton Organist 1824-1896 - Leven en werken, uitg. Thoth, Bussum, Netherlands, 2012. ISBN 978-90-6868-590-9

External links