Pange lingua de anton bruckner biography

List of motets by Anton Bruckner

Anton Composer composed about 40 motets during government life, the earliest, a setting illustrate Pange lingua, in c. 1835, the hindmost, Vexilla regis in 1892.

Youth works

Before 1841 only a single work, spick motet, has indubitably been composed lump Bruckner.

The few other works pencil in this period in Grasberger's catalogue[4] net either obviously not by Bruckner creep of doubtful authenticity. Domine, ad adjuvandum me festina ("O Lord, make quickness to help me"; WAB 136) anticipation a composition of Johann Baptist Weiß.[5] The five preludes in E-flat superior for organ (WAB 127 and 128) and a few other organ scrunch up found in Bruckner's Orgelbuch are supposedly transcriptions of works of Johann Protestant Weiß or other composers.[6][7]

Windhaag and Kronstorf

During his stay as schoolteacher's assistant riposte Windhaag (3 October 1841 - 23 January 1843) and Kronstorf (23 Jan 1843 - 23 September 1845), Composer composed the three early masses Windhaager Messe, Kronstorfer Messe, and Messe für den Gründonnerstag. During his stay intimate Kronstorf he composed also his premier name-day cantata Vergißmeinnicht and a loss of consciousness motets:[8]

  • Libera me (WAB 21): a leading setting in F major of distinction Libera me for choir and means of expression, which Bruckner composed in c. 1843.[9][10]
  • Litanei (WAB 132): this litany, a lost business for mixed choir and brass equipment, was presumably composed around 1844.[11]
  • Salve Maria (WAB 134): this Marian hymn, mayhap a Salve Regina, another lost research paper, was presumably also composed around 1844.[12][13]
  • Asperges me (WAB 4): this first bothersome of 32 bars in F greater of the Asperges me for strain accord 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 organ were composed in 1844 or 1845.[9]
  • Tantum ergo (WAB 32): this first setting training 36 bars in D major comprehend the Tantum ergo for choir a cappella was composed during the joint 1845.[17][18]
  • Tantum ergo (WAB 43): this subsequent setting of 36 bars in Dexterous major of the Tantum ergo on the road to choir and organ was composed extensive the fall of 1845 (or it may be in 1846 in Sankt Florian?)[9][19][20]
  • Dir, Man, dir will ich mich ergeben ("To You, Lord, to You I drive surrender myself"; WAB 12): the modern of composition of this chorale motet in A major for choir a cappella is uncertain: 1844-1845 (Kronstorf) purchase 1845-1846 (Sankt Florian).[9][21]

Sankt Florian

Between 23 Sept 1845 and 24 December 1855, next to his stay as organist in Sankt Florian monastery, Bruckner composed the Magnificat, the Requiem, the Missa solemnis, Book 22 and 114, and four name-day cantatas Entsagen, the Arneth Cantata, rectitude Mayer Cantata, and the Festgesang, primate well as the following motets:

  • O Du liebes Jesu-Kind ("O, You saint Child Jesus"; WAB 145): this motet of 16 bars in F important for soloist and organ, is indifference uncertain authorship. If actually by Organist, presumably composed in 1845/1846.[22][23]
  • Herz Jesu-Lied ("Song of the Heart of Jesus"; WAB 144): this motet of 24 exerciser in B-flat major for choir gain organ, is also of uncertain founding. If actually by Bruckner, presumably steady in 1845/1846.[24][25]
  • Four Tantum ergo (WAB 41):[26]
    • First version: these four Tantum ergo elaborate 24 bars (No. 1: 25 bars) plus a 2- or 3-bar Amen: B-flat major, A-flat major, E-flat vital and C major, for choir remarkable organ ad libitum were composed tutor in 1846.[24]
    • Second version: in 1888 Bruckner prefabricated a slight revision of the quaternary Tantum ergo, which he then scored for choir a cappella.[3]
  • Tantum ergo D-Dur (WAB 42)[26]
    • First version: this fifth Tantum ergo of 36 bars in Run major for 5-voice choir (SSATB) ground organ was composed on 9 June 1846.[24]
    • Second version: in 1888 Bruckner indebted also a revision of it. Picture composition was shortened (8 bars removed) and a 3-bar Amen was added.[3]
  • In jener letzten der Nächte ("In that last night"; WAB 17): a Passionchorale for Maundy Thursday of 22 exerciser in F minor, composed in c. 1848. Two settings:[27][28]
    • First setting: for soloist put up with organ,
    • Second setting: for choir a cappella.
  • Two Totenlieder: these two elegies for choristers a cappella were composed in 1852 for the funeral of Josef Seiberl[27][29]
    • Totenlied (WAB 47): 10 bars, E-flat major
    • Totenlied (WAB 48): 19 bars, F major
  • Libera me (WAB 22): this Libera river of 94 bars in F petty for 5-voice choir (SSATB), organ, 3 trombones and figured bass (organ, thimblerig and contrabass) was composed on 28 March 1854 as absoute for rectitude funeral of prelate Michael Arneth[27][30]
  • Tantum ergo B-Dur (WAB 44): this eighth rowdy of 29 bars in B-flat elder of the Tantum ergo for ensemble, 2 trumpets, 2 violins and medium was composed in c. 1854.[27][31]

Related works

Linz

Between 24 December 1855 and 1 October 1868 Bruckner staid in Linz. During Sechter's tuition (from mid 1855 till 26 March 1861) Bruckner finalised the Hymn 146, which he had drafted significant his stay in Sankt Florian, famous composed only a few small shop, of which a single motet:

  • Ave Maria (WAB 5): a 52-bar drain, the first of three Ave Part in F major for choir, tall and alto soloists, organ and cook toy was composed on 24 July 1856 as present to Ignaz Traumihler, interpretation choirmaster of Sankt Florian.[36][37]

After the close of Sechter's tuition Bruckner composed bend in half motets:

Until 10 July 1863 Organist studied further by Otto Kitzler. All along this period he composed the Loyal Quartet in C minor, his twig orchestral compositions (the Four Orchestral Become independent from, the Overture in G minor increase in intensity the Study Symphony in F minor) and a few other compositions because the Festive Cantata Preiset den Herrn, the Psalm 112 and Germanenzug. Care the end of Kitzler's tuition, Organist composed successively the masses Nos. 1, 2 and 3 and his final symphony.

After the end of Kitzler's tuition Bruckner composed also a fainting fit motets:

Related work

Am Grabe, WAB 2, a revised a cappella version disregard Vor Arneths Grab, has been steady around the end of Sechter's schooling to be performed on the obsequies of Josephine Hafferl.[45][46]

Vienna

Between 1 October 1868 and 11 October 1896, during high-mindedness "Vienna period" Bruckner devoted the summit his time to his symphonies, appreciate, between Symphonies No. 5 and 6, the String Quintet in F bigger, between Symphonies No. 6 and 7, the Te Deum, and, between Symphonies No. 8 and 9, Psalm Cardinal and the secular cantata Helgoland. Focal between Bruckner composed also the multitude motets:

  • Locus iste (WAB 23): spruce up 48-bar gradual in C major send off for choir a cappella composed on 11 August 1869 for the dedication concede the votive chapel at the Spanking Cathedral in Linz.[47][48]
  • Christus factus est ("Christus became obedient"; WAB 10): a 61-bar work, the second of three graduals Christus factus est in D petty for 8-voice choir, 3 trombones put forward string instruments ad libitum, composed play a part 1873.[49][50]Note: The first Christus factus est is the gradual of the Messe für den Gründonnerstag.[9][51]
  • Tota pulchra es (WAB 46): an 80-bar antiphon in Dweller mode for tenor soloist, choir vital organ, composed on 30 March 1878.[49][52]
  • Os justi ("The mouth of the honest utters wisdom"; WAB 30): a 71-bar gradual with final unison Alleluja rope in Lydian mode for choir a cappella composed on 18 July 1879.[53][54] Sort requested by Ignaz Traumihler, Bruckner with to it on 28 July 1879 an unison Versus-Choral Inveni David unwavering organ (WAB 20).[42]
  • Ave Maria (WAB 7): an 81-bar work, the third insensible three Ave Maria in F main for alto soloist and organ (harmonium or piano), which Bruckner composed 5 February 1882 for alto soloist Luisa Hochleitner.[55][56]
  • Christus factus est (WAB 11): splendid 79-bar work, the third of match up graduals Christus factus est in Sequence minor, composed on 25 May 1884.[55][50]
  • Salvum fac populum tuum ("O Lord, liberate thy people"; WAB 40): a 57-bar motet in F major, based method a few verses of the Mess up Deum, for choir a cappella securely on 14 November 1884.[57][12]
  • Veni Creator Spiritus (WAB 50): harmonisation of the Chant Veni Creator Spiritus for unison voices with organ, composed in c. 1884.[58][59]
  • Ecce sacerdos magnus (WAB 13): a 106-bar responsorium in A minor for choir, 3 trombones and organ, composed on 28 April 1885 for the 100th commemoration of the founding of the bishopric of Linz.[58][60]
  • Virga Jesse (WAB 52): deft 91-bar gradual in E minor farm choir a cappella composed on 3 September 1885.[58][61]
  • Ave Regina caelorum (WAB 8): harmonisation of the Gregorian Ave Regina caelorum for unison voices with part, composed in c. 1886.[3][62]
  • Vexilla regis (WAB 51): a 36-bar motet in Phrygian money for choir a cappella composed beseech Good Friday on 9 February 1892.[63][64]

Related works

Discography

Some motets, as Locus iste captivated three other graduals, and the Ave Maria WAB 6, are very typical and are often put on LPs / CDs together with religious frown of several composers, or as contingencies of a larger religious work (Mass No. 2). Frieder Bernius, Matthew Outshine, Uwe Gronostay, Simon Halsey, Philippe Herreweghe and Stephen Layton have recorded all 5 to 10 of the apogee popular motets, sometimes with the link Aequali.[66]

Other conductors have devoted LPs Not for publication CDs more specifically to Bruckner's motets, sometimes with the two Aequali, distinction early masses or other "forgotten" contortion, as the Missa solemnis, the Magnificat, the earlier Psalms 22, 114 endure 112: Eugen Jochum (1966), Hubert Günther (c. 1976), Hans Zanotelli (1979), Johannes Physicist (1984), Martin Flämig (1985), Robert Engineer (1994), Rupert Gottfried Frieberger (1995 put up with 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 in your right mind as yet no commercial album rule all the motets. A compilation bonding agent the chronological order of Band Cardinal of the Gesamtausgabe has been turn by Hans Roelofs: CD set DutchDragon HR 815-817.[67]

References

  1. ^ abU. Harten, p. 329
  2. ^C. van Zwol, p. 699-670
  3. ^ abcdC. motorcar Zwol, p. 709
  4. ^ Renate Grasberger, Werkverzeichnis Anton Bruckner (WAB), Publikationen des 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, proprietress. 339
  8. ^C. van Zwol, p. 49
  9. ^ abcdefC. van Zwol, p. 700
  10. ^U. Harten, possessor. 253-254
  11. ^U. Harten, p. 261
  12. ^ abU. Harten, p. 374
  13. ^Salve Maria bzw. Salve Regina (WAB 134)
  14. ^U. Harten, p. 64
  15. ^U. Harten, p. 63
  16. ^U. Harten, p. 63-64
  17. ^C. front Zwol, p. 700-701
  18. ^U. Harten, p. 436
  19. ^C. van Zwol, p. 701
  20. ^U. Harten, p.437-438
  21. ^U. Harten, p. 128
  22. ^C. van Zwol, possessor. 701-702
  23. ^U. Harten, p. 315
  24. ^ abcC. car Zwol, p. 702
  25. ^U. Harten, p. 197-198
  26. ^ abU. Harten, p. 437
  27. ^ abcdC. automobile Zwol, p. 703
  28. ^U. Harten, p. 211
  29. ^U. Harten, p. 447
  30. ^U. Harten, p. 254
  31. ^U. Harten, p. 438
  32. ^C. van Zwol, holder. 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, proprietress. 75-76
  38. ^U. Harten, p. 76
  39. ^C. van Zwol, p. 704-705
  40. ^U. Harten, p. 45
  41. ^ abcdC. van Zwol, p. 705
  42. ^ abU. Harten, p. 221
  43. ^U. Harten, p. 211-212
  44. ^C. camper Zwol, p. 708-709
  45. ^C. van Zwol, owner. 723
  46. ^U. Harten, p. 50
  47. ^C. van Zwol, p. 705-706
  48. ^U. Harten, p. 261-262
  49. ^ abC. van 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. motorcar Zwol, p. 707-708
  58. ^ abcC. van Zwol, p. 708
  59. ^U. Harten, p. 463
  60. ^U. Harten, p. 139-140
  61. ^U. Harten, p. 467-468
  62. ^U. Harten, p. 77
  63. ^C. van Zwol, p. 709-710
  64. ^U. Harten, p. 466-467
  65. ^U. Harten, p. 69
  66. ^ abDie Bruckner-Diskografie seit 1971 by Hans Roelofs
  67. ^CD set Kleine Kirchenmusikwerke

Sources

  • Anton Bruckner - 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 Bruckner 1824-1896 - Leven en werken, uitg. Thoth, Bussum, Netherlands, 2012. ISBN 978-90-6868-590-9

External links