Os Justi | |
---|---|
Motet by Anton Bruckner | |
Key | F Lydian mode |
Catalogue | WAB 30 |
Form | Gradual |
Language | Latin |
Composed | 18 July 1879 : Vienna |
Dedication | Ignaz Traumihler |
Published | 1886 Vienna : |
Vocal | SATB choir |
Instrumental | Organ (verse Inveni David) |
Os justi ('The mouth of the righteous'), WAB 30, is a sacred motet composed by Anton Bruckner in 1879. Os Justi is a Gregorian chant used as gradual of the Commune Doctorum, [1] and as introit I [2] and gradual II [3] of the Commune Confessoris non Pontificis.
Bruckner composed this gradual on 18 July 1879 and dedicated it to Ignaz Traumihler, choirmaster of St. Florian Abbey. [4]
When Traumihler saw the manuscript, he asked: "Ist's der ganze Text?" (Is this the whole text?) Therefore, Bruckner added on 28 July 1879 a verse Inveni David in a Gregorian mode followed by a repeat of the Alleluja. [4] [5]
While the first performance was expected on Traumihler's name-day (31 July 1879), it finally occurred four weeks later on 28 August 1879 on the feast of Saint Augustinus. Traumihler conducted while Bruckner played the organ. [4] [5]
The work was first edited by Theodor Rättig, Vienna in 1886, together with three other graduals: Locus iste , Christus factus est and Virga Jesse . In this first edition, something went wrong: the motet and the first Alleluja were issued, but not the extra verse (Inveni David) and the repeat of the Alleluja. The extra verse and the repeat of the Alleluja were — wrongly — classified by Grasberger as a separate work (Inveni David, WAB 20). [4]
The full original setting, the manuscripts of which are archived at the Österreichische Nationalbibliothek , [6] is put in Band XXI/28 of the Gesamtausgabe. [7]
The text of the motet is two verses of Psalm 37, which is Psalm 36 in the Vulgata (Psalms37:30–31). The text of the added verse is taken from Psalm 89 (Psalms89:20).
Os justi meditabitur sapientiam: |
The original work of 18 July 1879, a 69-bar gradual, is scored in Lydian mode for choir a cappella. On two occasions (bars 9–13 and 51–56) the choir is divided into eight voices. The second part on "Et lingua ejus" (bars 16–42) is a fugato without any alteration. [10] The last sentence, on "et non supplantabuntur" (bars 65-69), is sung pianissimo by the soprano, on a sustained tonic chord by the five other voices (ATTBB). [10] It is followed by a two-bar unison Alleluja in Ionian mode.
On 28 July 1879, Bruckner added an extra verse Inveni David scored for unison male voices with organ accompaniment, and a repeat of the 2-bar Alleluja. [4] According to Elisabeth Maier the melody of the Alleluja is a quote of the Alleluja of the introit In medio ecclesiae of the Missa de Doctoribus. [11] The extra verse is apparently Bruckner's own composition. [4]
Traumihler was a fervent supporter of the Cecilian Movement; the reason why Bruckner composed this motet in Lydian mode, without any alteration in the key and in the whole score, and with large use of unaltered chords. [5]
The first recording of Os justi occurred in 1931:
The large majority of the recordings follows the first edition, sometimes without Alleluja. A selection among the about 120 recordings:
There are only a few recordings with the full motet, i.e., with the verse Inveni David:
The Magnificat, WAB 24 is a setting of the Magnificat for SATB choir and soloists, orchestra and organ composed by Anton Bruckner in 1852.
The Messe für den Gründonnerstag, WAB 9, is a missa brevis composed by Anton Bruckner in 1844.
Ecce sacerdos magnus, WAB 13, is an 1885 sacred motet by the Austrian composer Anton Bruckner. It is a musical setting of the antiphon of the same title.
Virga Jesse, WAB 52, is a motet by the Austrian composer Anton Bruckner. It sets the gradual Virga Jesse floruit for unaccompanied mixed choir.
Vexilla regis, WAB 51, is the final motet written by the Austrian composer Anton Bruckner.
Tota pulchra es, WAB 46, is a sacred motet by the Austrian composer Anton Bruckner.
Locus iste, WAB 23, is a sacred motet composed by Anton Bruckner in 1869. The text is the Latin gradual Locus iste for the annual celebration of a church's dedication. The incipit, Locus iste a Deo factus est, translates to "This place was made by God". Bruckner set it for four unaccompanied voices, intended for the dedication of the Votivkapelle at the New Cathedral in Linz, Austria, where Bruckner had been a cathedral organist. It was the first motet that Bruckner composed in Vienna. It was published in 1886, together with three other gradual motets.
Ave Maria, WAB 5, is a setting of the Latin prayer Ave Maria by Anton Bruckner.
Christus factus est, WAB 11, is a sacred motet by Anton Bruckner, his third setting of the Latin gradual Christus factus est, composed in 1884. Before, Bruckner composed in 1844 a first piece on the same text as gradual of the Messe für den Gründonnerstag, and in 1873 a motet for eight-part mixed choir, three trombones, and string instruments ad libitum. The motet is an expressive setting of the gradual, influenced by Wagner's music.
Pange lingua, WAB 31, is a sacred motet composed by Anton Bruckner in c. 1835. It is a setting of the first strophe of the Latin hymn Pange lingua for the celebration of Corpus Christi.
Dir, Herr, dir will ich mich ergeben, WAB 12, is a sacred motet composed by Anton Bruckner in c. 1845.
Libera me, WAB 21, is the first of two settings of the absoute Libera me, composed by Anton Bruckner in c. 1843.
Tantum ergo, WAB 32, is the first of eight settings of the hymn Tantum ergo composed by Anton Bruckner in 1845.
The four Tantum ergo, WAB 41, are settings of the hymn Tantum ergo composed by Anton Bruckner in 1846.
Tantum ergo, WAB 42, is a setting of the hymn Tantum ergo composed by Anton Bruckner in 1846.
Salvum fac populum tuum, WAB 40, is a motet composed by Anton Bruckner in 1884.
Ave Regina caelorum, WAB 8, is a motet composed by Anton Bruckner in c. 1886.
Inveni David, WAB 19, is a sacred motet composed by Anton Bruckner in 1868.
Iam lucis orto sidere, WAB 18, is a motet composed by Anton Bruckner in 1868. The work is also known as In S. Angelum custodem. Bruckner revised the composition in 1886.