Английская Википедия:Afferentur regi

Материал из Онлайн справочника
Перейти к навигацииПерейти к поиску

Шаблон:Italic title Шаблон:Infobox musical composition Шаблон:Lang (Led to the king), WAB 1, is a motet, which Anton Bruckner composed on 7 November 1861 on the text of the Offertorium of the Шаблон:Lang.[1]

History

Шаблон:Lang is the second of the two "great motets" during a "fruitful though brief" period of Bruckner's compositional career following Sechter's tuition, the other motet being the Ave Maria WAB 6.[2] Шаблон:Lang was premiered in St. Florian Abbey on the feast day of Saint Lucy, 13 December 1861.[3]

An early draft for choir alone was found in a monastic archive at Kremsmünster Abbey. The original manuscript is not extant, but several transcriptions were found in the archive of St. Florian Abbey.[1] Many years later, in 1885, Bruckner dedicated the work as an Offertorium als Graduale (offertory as gradual) to Johann Baptist Burgstaller, choir director of the New Cathedral in Linz.[1]

The work was edited in 1922 as an addendum to band 11–12 of Musica Divina, Vienna.[1] It is put in Band XXI/21 of the Шаблон:Lang.[4]

Text

The text is derived from Шаблон:Sourcetext, which is Psalm 44 in the Vulgata.

<poem>Шаблон:Lang</poem> <poem>She is led to the king,

with the young women, her friends. With joy and laughter shall they be brought to you! a grand entrance to the king's palace![5]</poem>

Setting

Файл:Afferentur (Skizze) p.2.jpg
Шаблон:Center

The 38-bars piece scored in F major for mixed choir and three trombones ad libitum is a polyphonic offertory. The piece is in ternary form, with an opening motive drawn from a pre-existing Latin plainchant.[3] In the first part (bars 1–7), "Шаблон:Lang" is sung in canon by the alto and tenor voices, and with inverted motif by the bass and soprano voices. A similar pattern is repeated in bars 8–15 on "proximae ejus". The middle section (bars 15–24), which begins with "et exultatione" by the bass, similarly as "usque in aeternum" in bars 299-309 of Bruckner's later Te Deum,[6] is stylistically similar to faux bourdon, a technique employed primarily in medieval and Renaissance music.[3] It is followed by a general pause. The third part (bars 25–38) on "adducentur in templum" begins as the first part and ends on a pedal point on the tonic.[6]

Keith W. Kinder suggests that its use of counterpoint may be a reflection of Bruckner's sense of liberation from the "prohibition on free composition" imposed by his former composition teacher, Simon Sechter.[3] Dermot Gault notes that in this work Bruckner "wears his learning lightly" in the contrapuntal writing.[7]

Bruckner quoted from the Шаблон:Lang in the movement Qui cum Patre et Filio, part of the Credo of the Mass in D minor.

Selected discography

Bruckner's Шаблон:Lang was recorded at first in 1965 by Giulio Bertola with the Coro Polifonico Italiano a cappella (LP: Angelicum LPA 5989)

A selection of the about 30 recordings:

References

Шаблон:Reflist

Sources

  • Max Auer, Anton Bruckner als Kirchenmusiker, G. Bosse, Regensburg, 1927
  • Anton Bruckner – Sämtliche Werke, Band XXI: Kleine Kirchenmusikwerke, Musikwissenschaftlicher Verlag der Internationalen Bruckner-Gesellschaft, Hans Bauernfeind and Leopold Nowak (Editor), Vienna, 1984/2001
  • Cornelis van Zwol, Anton Bruckner 1824–1896 – Leven en werken, uitg. Thoth, Bussum, Netherlands, 2012. Шаблон:ISBN

External links

Шаблон:Anton Bruckner Шаблон:Authority control

Партнерские ресурсы
Криптовалюты
Магазины
Хостинг
Разное

  1. ↑ 1,0 1,1 1,2 1,3 Шаблон:Cite book
  2. ↑ Шаблон:Cite book
  3. ↑ 3,0 3,1 3,2 3,3 Шаблон:Cite book
  4. ↑ Gesamtausgabe – Kleine Kirchenmusikwerke
  5. ↑ Afferentur regi on ChoralWiki
  6. ↑ 6,0 6,1 M. Auer, pp. 64-65
  7. ↑ Шаблон:Cite book
  8. ↑ Шаблон:Cite AV media
Источник — http://wikihandbk.com/ruwiki/index.php?title=Английская_Википедия:Afferentur_regi&oldid=12965654