Missa solemnis (Bruckner)

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Missa solemnis
Mass by Anton Bruckner
AntonBruckner.jpeg
The young Bruckner
KeyB-flat minor
CatalogueWAB 29
DedicationInstallation of Friedrich Mayer
Performed1854 (1854): St. Florian Monastery
Published1930 (1930)
Recordedc. 1980 (c. 1980)
Movements6
VocalSATB choir and soloists
InstrumentalOrchestra and organ

The Missa solemnis, WAB 29, is a solemn mass composed by Anton Bruckner in 1854 for the installation of Friedrich Mayer as abbot of St. Florian Abbey on 14 September 1854.

History[]

Bruckner composed the Missa solemnis in 1854 for the installation of Friedrich Mayer as abbot of St. Florian Abbey. The Missa solemnis was performed during the installation of Friedrich Mayer on 14 September 1854.[1]

After Robert Führer saw the score, he suggested Bruckner study with Simon Sechter,[2] and after seeing the mass, Sechter accepted Bruckner as a pupil. With the possible exception of Psalm 146, the Missa solemnis was the last major work Bruckner wrote before concluding his studies with Sechter, who did not allow his students to compose freely while studying with him.[3]

A second performance of the Missa solemnis occurred two years after Bruckner's death, on 4 May 1898 (Floriani-Tag), in the St. Florian Abbey under the baton of Regens chori Berhard Deubler. On 29 March 1921, the Missa solemnis was performed again by August Göllerich during the seventh concert of the Linzer Bruckner-Stiftung.[4]

Setting[]

Bruckner composed the Missa solemnis, WAB 29, as a setting of the mass ordinary for vocal soloists (soprano, alto, tenor and bass), mixed choir, orchestra (2 oboes, 2 bassoons, 2 horns, 2 trumpets, alto, tenor and bass trombones, timpani, and strings) and organ.[5]

According to Catholic practice – as in Bruckner's previous Messe für den Gründonnerstag and his later Mass No. 1 and Mass No. 2 – the first verse of the Gloria and the Credo is intoned by the priest in Gregorian mode before the choir continues. Unlike Bruckner's earlier Choral-Messen, the Gloria and the Credo of the Missa solemnis contain the larger text usually associated with these sections of the Mass.

The setting is divided into six main parts:

  1. Kyrie – Andante, B♭ minor
  2. Gloria
    1. "Et in terra pax..." – Allegro, G minor veering to B♭ major
    2. "Qui tollis peccata mundi..." – Andante, G minor - bass soloist with solo oboe and choir
    3. "Quoniam tu solus sanctus..." – Allegro, B♭ major
  3. Credo
    1. "Patrem omnipotentem..." – Allegro moderato, B♭ major
    2. "Et incarnatus est..." – Adagio, F major
    3. "Et ressurrexit tertia die..." – Allegro, moderato, B♭ major
    4. "Et vitam venturi saeculi..." – Allegro moderato, B♭ major
  4. Sanctus – Moderato, B♭ major
  5. Benedictus – Moderato, E♭ major
  6. Agnus Dei
    1. "Agnus Dei..." – Adagio, B♭ major
    2. "Dona nobis pacem..." – Allegro, B♭ major

Total duration: about 31 minutes.[5]

"Bruckner's Missa Solemnis is a musical summa of the first thirty years of his life."[5] Stylistically the mass, in the line of Beethoven's orchestral masses, displays Bruckner's confrontation with tradition. In spite of many beautiful details, multiple influences afford the work some heterogeneity in which J. S. Bach's technique of the fugue is "amalgamated" with elements of the Viennese Classical and Preclassical periods, and of the early Romantic (Schubert).[6]

The "Quoniam" quotes from Joseph Haydn's Missa sancti Bernardi von Offida.[7] As in Bruckner's later great masses, the setting of the words "Et resurrexit" is preceded by the "old-fashioned rhetorical gesture" of a "rising chromatic figure in stile agitato representing the trembling of the earth."[7] This rising chromatic figure is repeated before the "Et expecto resurrectionem mortuorum". Several passages of the Missa solemnis, particularly the "Qui tollis" of the Gloria and the central part of the Credo, prefigure Bruckner's next Mass No. 1 in D minor. Both the Gloria and the Credo conclude with a fugue.

Robert Simpson finds "nothing mediocre or tentative about this strong and clear work ... the music is often of excellent quality ... the work, though not perfect, is admirable."[8]

Editions[]

The edition by Robert Haas for the Gesamtausgabe was based on the copy given to Mayer.[9] During the 1930s Ferdinand Habel changed the text of bars 28–38 of the Kyrie and bars 57–58 of the Gloria to make the work more usable for Eucharist celebration.[10]

Leopold Nowak rejected these changes in his edition, which also introduced phrasing marks in some violin parts that had not been available to Haas.[9][11]

On 25 June 2017 a new edition of the score by Cohrs, prepared for the Anton Bruckner Urtext Gesamtausgabe,[12] was premiered by Łukasz Borowicz with the RIAS Kammerchor and the Akademie für Alte Musik Berlin.[13]

Discography[]

There are five commercial recordings of the work. The three earlier recordings follow the Haas edition with Habel's text adaptations. Rickenbacker follows the Nowak edition. According to Hans Roelofs, Jürgens' and Rickenbacker's performances are better achieved than the two earlier recordings. Jürgens performs it with religiosity, as a mass, Rickenbacker more strenuously as a concert work.[10]

  • Hubert Gunther, Bruckner - Missa Solemnis in B, Rheinische Singgemeinschaft and BRT-Radio Symfonieorkest – LP: Garnet G 40 170, c. 1980
  • Elmar Hausmann, Anton Bruckner – Missa solemnis in B, Motetten, Chorgemeinschaft and Orchester an der Basilika St. Aposteln Köln – CD: Aulos AUL 66122, 1983
  • Jürgen Jürgens, Anton Bruckner – Music of the St. Florian Period, Monteverdi-Chor and Israel Chamber Orchestra – LP: Jerusalem Records ATD 8503, 1984 (Bruckner Archive Production). Transferred to CD BSVD-0109, 2011
  • Karl Anton Rickenbacher, Bruckner - Missa Solemnis, Psalm 112 & Psalm 150, Chor der Bamberger Symphoniker and Bamberger Symphoniker – CD: Virgin Classics VC 7 91481, 1990
  • Łukasz Borowicz, RIAS Kammerchor, Akademie für Alte Musik Berlin, Raphael Alpermann (Organ), Anton Bruckner – Missa solemnis – CD: Accentus ACC 30429, 2017

References[]

  1. ^ Mayer was appointed abbot following the death of Michael Arneth. A.C. Howie. 55. On Friedrich Mayer see Österreichisches Biographisches Lexikon – Mayer, Friedrich (Theophil) (1793–1858); P. Hawkshaw, 45.
  2. ^ K.W. Kinder, p. 35
  3. ^ R. Simpson, p. 15
  4. ^ C. van Zwol, p. 686
  5. ^ Jump up to: a b c Anton Bruckner Critical Complete Edition – Requiem, masses and Te Deum
  6. ^ U. Harten, p. 287
  7. ^ Jump up to: a b P. Hawkshaw, p. 45
  8. ^ R. Simpson, p. 14
  9. ^ Jump up to: a b L. Nowak
  10. ^ Jump up to: a b Roelofs' critical discography of Bruckner's Missa solemnis
  11. ^ R. Anderson, p. 668
  12. ^ The Anton Bruckner Urtext Gesamtausgabe
  13. ^ 27.05.2017: Neue Bruckner Urtext Ausgabe in Berlin

Sources[]

  • Anton Bruckner, Sämtliche Werke, Kritische Gesamtausgabe – Band 15: Requiem d-Moll – Missa solemnis b-Moll, Dr. Benno Filsen Verlag GmbH, Robert Haas (Editor), Augsburg-Vienna, 1930
  • Anton Bruckner: Sämtliche Werke: Band XV: Missa Solemnis in B (1854), Musikwissenschaftlicher Verlag der Internationalen Bruckner-Gesellschaft, Leopold Nowak (Editor), Vienna, 1975
  • Robert Anderson, "Romantic Mass", The Musical Times 117, No. 1602, 1976
  • Uwe Harten, Anton Bruckner. Ein Handbuch.  [de], Salzburg, 1996. ISBN 3-7017-1030-9.
  • Paul Hawkshaw, "Bruckner's large sacred compositions", The Cambridge Companion to Bruckner, John Williamson (Editor), Cambridge University Press, Cambridge, 2004
  • A. Crawford Howie, "Bruckner and the motet", The Cambridge Companion to Bruckner edited by John Williamson, Cambridge University Press, Cambridge, 2004
  • Keith William Kinder, The Wind and Wind-Chorus Music of Anton Bruckner, Greenwood Press, Westport, Connecticut, 2000
  • Hans-Hubert Schönzeler, Bruckner, Marion Boyars, London, 1978
  • Robert Simpson, The Essence of Bruckner: An essay towards the understanding of his music, Victor Gollancz Ltd, London, 1967
  • Cornelis van Zwol, Anton Bruckner – Leven en Werken, Thot, Bussum (Netherlands), 2012. ISBN 90-686-8590-2

External links[]

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