| Vexilla regis | |
|---|---|
| Motet by Anton Bruckner | |
 | |
| Key | Phrygian mode |
| Catalogue | WAB 51 |
| Text | Vexilla regis |
| Language | Latin |
| Performed | 15 April 1892: Vienna |
| Published | 1892: Vienna |
| Vocal | SATB choir |
Vexilla regis (The royal banner), WAB 51, is the final motet written by the Austrian composer Anton Bruckner.
Bruckner composed it on 9 February 1892. [1] The work, the manuscrit of which is archived at the Österreichische Nationalbibliothek , [2] is based on the Latin hymn Vexilla Regis by Venantius Fortunatus. In his letter of 7 March 1892 to Bernhard Deubler, Bruckner wrote that he had composed this work "according to a pure impulse of the heart". [3] The work was first performed on Good Friday, 15 April 1892, and was published in the same year by Josef Weinberger, ViennaIn the Album der Wiener Meister. A Reminder of the International Exhibition of Music and Theatre. [1]
For his 1939 edition of Bruckner's motets published by Peters, Ludwig Berberich was inspired by the edition that Wöss had published in 1914 with Universal Edition. Wöss had been inspired by the first edition, which contained only the first verse of the motet, and had not consulted the manuscripts. In his edition, Wöss has, in accordance with the choral reforms under Pius X, used the old text of the Vexilla Regis and took into account the accompaniment of the penultimate and last strophes. He used the appropriate prosody and included the concluding Amen, which Bruckner had not set to music. From then on, the work was considered to be only tri-strophic. [4]
In the Nowak-Bauernfeind new edition (Band XXI/29 of the Gesamtausgabe) the motet was re-issued with the seven strophes of Bruckner's original manuscript, with a final four-bar Amen. [5]
Bruckner put the seven strophes of the text in a motet for mixed choir a cappella.
On the left side of the manuscript, Bruckner notated the work a first time, underscoring the text of strophes 1-3, and wrote down the text of strophes 4-5 without music. On the right side, Bruckner wrote out the score again, underscored by the text of strophes 6-7. Bruckner set the liturgical version of his composition, which was customary at the time. The Nowak edition reflects this correctly. [4]
Alike he did in Christus factus est WAB 11 and Virga Jesse WAB 52, Bruckner used the Dresdner Amen on the words prodeunt (bars 5–8), unica (bars 41–44), and Trinitas (bars 77–80). [1]
Although it is in Phrygian mode the motet is characterized by Bruckner's typical modulations, often to rather distant keys [6] and the integration of diverse musical styles: Bruckner biographer Howie remarks that "the remarkable mixture of the old and the new in this strophic piece could perhaps be interpreted as an attempt to sum up [Bruckner's] life's work". [7] Its "bleaker and uncompromising" close is suited to the Good Friday story. [8]
Most performances and recordings of the motet contain only three strophes with Venantius Fortunatus’ ancient text, according to Berberich's edition. Only a few recordings reproduce the score that Bruckner had actually set to music. [4]
The first recording of Bruckner's Vexilla regis occurred in 1931:
A selection among the about 40 recordings:
Only a few recent recordings are using the score of the current edition of the Gesamtausgabe:
Virga Jesse, WAB 52, is a motet by the Austrian composer Anton Bruckner. It sets the gradual Virga Jesse floruit for unaccompanied mixed choir.
Afferentur regi, WAB 1, is a motet, which Anton Bruckner composed on 7 November 1861 on the text of the Offertorium of the Missa pro Virgine et Martyre.
Tota pulchra es, WAB 46, is a sacred motet by the Austrian composer Anton Bruckner.
Ave Maria, WAB 6, is a sacred motet by Anton Bruckner, a setting of the Latin prayer Ave Maria. He composed it in Linz in 1861 and scored the short work in F major for seven unaccompanied voices. The piece, sometimes named an Offertorium, was published in Vienna in 1867. Before, Bruckner composed the same prayer in 1856 for soprano, alto, a four-part mixed choir, organ and cello, WAB 5. Later, he set the text in 1882 for a solo voice (alto) and keyboard, WAB 7.
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.
Christus factus est, 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. In 1884, Bruckner composed a third, better known setting for choir a cappella.
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.
Libera me, WAB 21, is the first of two settings of the absoute Libera me, composed by Anton Bruckner in c. 1843.
Libera me, WAB 22, is the second of two settings of the absoute Libera me, composed by Anton Bruckner in 1854.
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.
Herz Jesu-Lied, WAB 144, is the second of two motets of Anton Bruckner's St. Florian period, which is of uncertain authorship. If Bruckner was the composer, it was composed presumably in 1845-1846.
Ave Regina caelorum, WAB 8, is a motet composed by Anton Bruckner in c. 1886.
Veni Creator Spiritus, WAB 50, is a motet composed by Anton Bruckner in c. 1884.
Pange lingua, WAB 33, is a sacred motet composed by Anton Bruckner in 1868. It is a setting of the Latin hymn Pange lingua for the celebration of Corpus Christi.
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.
Vaterlandslied, WAB 92, is a patriotic song composed by Anton Bruckner during his stay in Linz.
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