Christus factus est, WAB 10: Difference between revisions
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[[Category:Motets by Anton Bruckner]] |
[[Category:Motets by Anton Bruckner]] |
Revision as of 00:31, 15 November 2014
Christus factus est | |
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by Anton Bruckner | |
![]() Oración en el huerto de los Olivos, by José Claudio Antolinez | |
Key | D minor |
Catalogue | WAB 10 |
Form | Motet |
Text | Christus factus est |
Language | Latin |
Performed | 8 December 1873 Vienna : |
Scoring | SSAATBB choir |
Instrumental |
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Christus factus est (Christ became obedient) WAB 10, is a sacred motet by Anton Bruckner, his second setting of the Latin gradual Christus factus est, written in 1873. Several decades earlier, in 1844, he had composed another piece on the same text as gradual for the Messe für den Gründonnerstag (WAB 9). In 1884, Bruckner composed a third, better known setting (WAB 11) for choir a cappella.
History
Bruckner composed the motet in 1873. The piece was first performed on 8 December 1873 in the Wiener Hofmusikkapelle for the celebration of Mariä Empfängnis (feast of the Immaculate Conception).[1]
The work was published first by Ludwig Berberich in 1934 without string instruments (first violin being replaced by the alto voice during bars 1-14). On his manuscript Bruckner wrote Besser ohne Violinen (better without violins).[1] The new edition (Nowak-Bauernfeind) is in accordance with the original manuscript.[2]
Music
A 61-bar work, in D minor, this motet is for eight-voice mixed choir, three trombones, and double bass quintet (two violins, viola, cello, double bass) ad libitum.[1][2]
The first section (bars 1-14), a Dorian mode melody sung by the soprano and alto voices in unison, which is accompanied by a counterpoint of the first and second violins, ends on "autem crucis". The second section (bars 15-21), a fugato, modulates to B-flat major and ends in forte on "exaltavit illum". The third section, sustained by the strings and the trombones, ends in a climax in A-flat major on "dedit illi nomen". The fourth section begins in pianissimo and in successive entries – from the lowest till the highest vocal parts – establishing a "pyramid" of sound based on a A-flat pedal tone, which leads the a further climax in C major. It is followed by a second "pyramid", which follows the same procedure and ends in D major. The coda on "quod est super" begins with a third "pyramid", which is charged with a greater dramatic effect, and ends with a climax a cappella in D minor. The second part of the coda, sung a cappella, which is a clear quotation of the coda of the Kyrie of the Mass in E minor, ends in pianissimo in D major.[3]
"One has to value this composition as one of the most expressive and monumental works of Bruckner's sacred music …", was a comment by the musicologist Leopold Nowak on his impression of the work.[2]
Discography
There are only two recordings of this setting of Christus factus est:
- Jonathan Brown, Ealing Abbey Choir, Anton Bruckner: Sacred Motets - CD: Herald HAVPCD 213, 1997 (fully a cappella)
- Ricardo Luna, Hard-Chor Linz, Ensemble Wien-Linz, Bruckner unknown – CD: Preiser Records PR 91250, 2013 (following the original score)
References
Sources
- Christus factus est d-Moll, WAB 10 (1873) Critical discography by Hans Roelofs Template:Link language
- Anton Bruckner - Sämtliche Werke, Band 21: Kleine Kirchenmusikwerke, Musikwissenschaftlicher Verlag der Internationalen Bruckner-Gesellschaft, Hans Bauernfeind and Leopold Nowak (Editor), Vienna, 2001
- Cornelis van Zwol, Anton Bruckner 1824-1896 - Leven en werken, uitg. Thoth, Bussum, Netherlands, 2012. ISBN 978-90-6868-590-9