| Psalm 114 | |
|---|---|
| by Anton Bruckner | |
 The young Bruckner | |
| Key | G major |
| Catalogue | WAB 36 |
| Form | Psalm setting |
| Composed | 1852: St. Florian |
| Dedication | Hofkapelmeister Ignaz Assmayr |
| Performed | 1 April 1906 by August Göllerich |
| Published | 1997 |
| Recorded | 1987 by Matthew Best |
| Vocal | SAATB choir |
| Instrumental | 3 trombones |
Bruckner's Psalm 114, WAB 36, is a psalm setting of verses 1 to 9 of a German version of Psalm 116, which is Psalm 114 in the Vulgata.
The work was composed in 1852 in St. Florian. Bruckner dedicated it to Hofkapelmeister Ignaz Assmayr for the celebration of his name-day. The work was rehearsed at that time, but it was not followed by a public performance. The original manuscript, which is somewhat incomplete in detail, [1] is stored in the archive of the St. Florian Abbey. [2]
The work was premiered by August Göllerich on 1 April 1906, using a copy of the manuscript. The work was first recorded by Matthew Best in 1987 [2] and edited by Paul Hawkshaw in 1997 [3] in Band XX/1 of the Gesamtausgabe, based on the dedicated Reinschrift, which had been retrieved in 1957 in a private collection in Vienna. [2]
During a concert on 25 June 2017 with the Missa solemnis, Łukasz Borowicz with the RIAS Kammerchor and the Akademie für Alte Musik Berlin performed also Bruckner's Psalm 114. The later issued Accentus CD ACC 30429 of this concert did however not include this performance of Psalm 114.
Dank für Rettung aus großen Gefahren (Thanks for salvation from great perils)
The 209-bar long work in G major is written for five-part mixed choir (SAATB) and three trombones. [5]
"The music is at first of an impressive archaic austerity, bare in harmony, and strikingly simple in texture. E minor is the opening key, but G major ultimately dominates." [1] The structure of the psalm, which is quite simple in concept, is grounded on liturgical practice. [6] The composition begins with a four-phrase, homophonically constructed Alleluja, which serves as an antiphon to the psalm setting. The individual verses, with the exception of verses seven and eight, are clearly separated by strong cadences or a few beats of silence. [7] "[Bruckner] relied to the trombones to reinforce contrasts delineated by the silences that would become so poignant in his later music." [8] The trombones are so reinforcing the contrasts between "Es umgaben mich die Schmerzen des Todes" (shift to minor) and "Kehre zurück meine Seele" (return to major). The truly inspired work, which projects a profound understanding of the text, captivates the ear with interesting harmonies and varied timbres and textures. The final words of verse eight ("meinen Füße vom Falle."), which are set in a two-voice canon over a dominant pedal, provide an effective bridge to the large-scale, five-voice double fugue, [7] which ends with a powerful unison on "im Lande der lebendigen." [6]
Bruckner's Psalm 114 is an aurally pleasing and expressive composition that does not deserve the near oblivion to which it has been relegated. It represents another important step in his slow process toward a purely musical career. [7]
There are three recordings of Bruckner's Psalm 114:
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 Monastery on 14 September 1854.
Psalm 146 in A major by Anton Bruckner is a psalm setting for double mixed choir, soloists and orchestra. It is a setting of verses 1 to 11 of a German version of Psalm 147, which is Psalm 146 in the Vulgata.
Bruckner's Psalm 22, WAB 34, is a setting of a German version of Psalm 23, which was psalm 22 in the Vulgata.
Bruckner's Psalm 112, WAB 35, is a psalm setting for eight-part double mixed choir and full orchestra. It is a setting of a German version of Psalm 113, which is Psalm 112 in the Vulgata.
The Messe für den Gründonnerstag, WAB 9, is a missa brevis composed by Anton Bruckner in 1844.
Matthew Best is an English bass singer and conductor, especially of vocal music. He founded the ensemble Corydon Singers in 1973 and won the Kathleen Ferrier Award in 1981. From 1985, he was also a guest conductor of the English Chamber Orchestra. His recordings with Corydon Singers were made on the Hyperion Records label and focus on choral music by the likes of Anton Bruckner, Johannes Brahms and Felix Mendelssohn. He is currently engaged as Music Director of the Academy Choir Wimbledon and as a Principal Study singing teacher at the Royal Northern College of Music.
In jener letzten der Nächte, WAB 17, is a motet composed by Anton Bruckner.
Os justi, 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, and as introit I and gradual II of the Commune Confessoris non Pontificis.
Dir, Herr, dir will ich mich ergeben, WAB 12, is a sacred motet composed by Anton Bruckner in c. 1845.
Tantum ergo, WAB 43, is the second of eight settings of the hymn Tantum ergo composed by Anton Bruckner in c. 1845.
The Two Aequali, WAB 114 & WAB 149, were composed by Anton Bruckner in 1847.
Inveni David, WAB 19, is a sacred motet composed by Anton Bruckner in 1868.
The Mayer Cantata, WAB 60, is a cantata composed by Anton Bruckner in 1855. It is the second of three larger-scale occasional compositions, and the composer's first extended composition for large wind ensemble and choir.
Der deutsche Gesang, WAB 63, is a patriotic song composed by Anton Bruckner in 1892, one year before Helgoland.
Träumen und Wachen, WAB 87, is a song, which Anton Bruckner composed in 1890 to celebrate the 100th anniversary of Franz Grillparzer's birth.
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