Analysis and discussion of selectedvocal motets of Anton Bruckner
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ANALYSIS AND DISCUSSION OF SELECTED VOCAL MOTETSOF ANTON BRUCKNER
■byJeffrey Allan Low
A Thesis Submitted to the Faculty of theSCHOOL OF MUSIC
In Partial Fulfillment of the Requirements For the Degree of ;MASTER OF MUSIC
In the Graduate CollegeTHE UNIVERSITY OF ARIZONA
STATEMENT BY AUTHOR
This thesis has been submitted in partial fulfillment of requirements for an advanced degree at The University of Arizona and is deposited in the University Library to be made available to borrowers under rules of the Library.
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PREFACE
Numerous volumes.have been written on the life $ symphonies and large-scale sacred works of Anton Bruckner, but ■ very little of an in-depth nature has been written about his small-scale choral works, most of which were written for church services.
As the scope of this paper is not such that all of these works could be included, I have chosen some specific examples, mostly a cappella, which I believe to be some of Bruckner's greatest compositions in this genre. Speaking practically, it must also be remembered that some of these works are not available through publishing houses in this country. However, the ones I have chosen are, and it is my hope that this paper might help to inspire choral directors to take a new look at this great composer's works.
I would also.like to take this opportunity to thank 0. F. Peters Corporation and Arista Music Co. for their permission to use the enclosed scores, and Dr. Edward Murphy for his assistance and advice.
TABLE OF CONTENTS
ABSTRACT1. INTRODUCTION2 . BIOGRAPHICAL- INFORMATION 3= BRUCKNER8S CHORAL STYLE 4-. PERFORMANCE PROBLEMS .
o o o e o c e o e o . o o
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o o e o e o a e o o c o o o
APPENDIX A APPENDIX B APPENDIX C APPENDIX D APPENDIX E APPENDIX F APPENDIX G APPENDIX H APPENDIX I
FOUR TANTUM ERGOS e o e 6 e e o o o
AYE MARIA 0 0 0 6 0 0 6 0 6 6 6 6 0 6
RANGE LINGUA 6 0 0 0 6 6 0 0 6 6 0 0
LOCUS ISTE 0 0 6 0 0 0 0 0 0 0 0 0 0
TOTA PULCHRA ES 0 0 6 0 6 0 0 0 0 0 0
OS JUSTI 0 6 0 0 0 0 6 6 0 6 0 6 0 6
CHRISTUS FACTUS ESTVIRGA JESSE 0 0 0 0 6 6 0 0 0 6 0 0 0
VEXILLA REGIS 6 0 0 6 6 0 6 0 8 0 6 0
LIST OF REFERENCES 6 0 0 . 0 0 0 0 0 e 6
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ABSTRACT
Anton Bruckner, although widely known for his contribution to symphonic literature, is hardly know at all by performers and audiences for his contributions to choral repertoire of an abbreviated nature, and yet. herein lies some of his greatest work as a religious man and composer.It is a medium in which he was occupied all of his life from before the completion of a single symphony through the time during which he attempted to complete his Ninth Symphony.
His motet style, although different from his symphonic style, reveals the same compositional technique i n . many instances indicating that maybe the real difference is not in the composer but rather in the inherent differences between the two media - vocal and instrumental. Examples of some similarities of style are such things as % the sameness of sound? the organ influence (block scoring, men versus women registration, etc.); the use of typical brass dotted rhythm; the use of rests between sections; the use of third relations; the occasional use of sequence $ the mostly homo- phonic texture; the unchanging meter; the same key for beginning and end; a fairly slow harmonic rhythm; and finally, the use of rapid key shifts.
v
CHAPTER 1
INTRODUCTION
To understand the music of Anton Bruckner, one must understand the man, for this man was a religious fanatic in an age that concerned itself with much more earthly things. As Hans’Redlich (1955s P» 37) said, .Bruckner8s artistic personality seems to link him with the age of the Renaissance and the Baroque era rather than with the epoch of Liszt and Wagner." Wolfgang Streseman (19 +6, p. 18) said of hims
Even as a personality Bruckner was entirely different from his famous, often quite glamorous musical contemporaries. In contrast to them he was by no means a. fascinating figure. He never outgrew his lowly origin and remained humble and modest throughout his life. His language was awkward, his general education below the average; his life passed for the most part monotonously, scarcely colored by any extraordinary events.Nothing in the intellectual field could arouse his interest. Yet his naive, almost childlike simplicity left people deeply touched. Some of those who knew Bruckner intimately, may well have thought of the words of the Bible: "Exceptye be converted, and become as little children, ye shall not enter the kingdom of heaven."
' This heavenly kingdom - apart from his music -was Bruckner8s only concern. He was by nature a deeply religious man. Filled with the thought of God he looked to the Creator with a childlike faith. The most familiar book to him was the Bible, for his whole life was devoted to God and the Church.
1
2- It is curious to note that Bruckner’s religiosity
permeates most of his biographies. Max Graf (1953, P« *0 gives us firsthand information in his article in Musical Courier when he states:
When for the first time in Vienna I climbed up three flights to pay a call on Bruckner... the first thing which drew my attention was a large wooden crucifix before which the composer was accustomed to kneel and pray every day. The piety of Bruckner was not in any sense superficial; it was the center of his existence. Never have I seen a man pray as he did, never a more transfigured face than his, when during his lectures the vesper bells sounded from the church next door and he, forgetting his students, knelt to say the Ave Maria.
Robert Simpson (I96B, p . I9 8 ), in his book, The Essence of Bruckner, attempts to give a more psychological view of the man.
Bruckner’s devoutness in the Catholic faith was one of his few defences against a world he was mentally and psychologically ill-fated to face; as"he became less able to defend himself, so it developed more surely into religious mania. His natural timorousness and his upbringing in the almost feudal conditions of nineteenth century pastoral Austria, under the stern authoritarianism of the Church, made it almost impossible for him to be other than what he became. This means, of course, that his music often expresses the emotional condition of religious conviction, but that cannot be said to be its essence any more than were the sonata forms he sometimes must have thought he was creating.
Disagreements such as this are to be expected when talking about Anton Bruckner, as he was a very puzzling personality who seemed out of place. Still another interesting psychological study is put forth by Redlich (1955?p. 27).
In an attempt to assess his character one is struck at once by its paradoxical nature. . A sturdy peasant body with a healthy appetite for coun-
. try fare and good Pilsen beer, a naive joy in the simple pleasures of native dance and song? an iron constitution able to withstand years of poverty, ill-paid teaching jobs and even the grim austerities of Sechter's counterpoint - that is one side of him, A delicate, nervous sensibility (visible in his beautiful hands with their long tapering fingers) always threatening to disturb the balance of his mind; a firmly rooted piety and love of God; a sincere, almost fanatical attachment to the Roman Catholic creed and ritual; and lastly the indisputable fact of his innumerable affairs of the heart, continuing until well past his seventieth year - that is the other,
Redlich goes on with more specific observations concerning his "affairs of the heart",
Bruckner was far from being the deliberate celibatarian some of his more mawkish biographers have tried to make of him. If he had remained chaste throughout life, of which we have no proof whatever, then continence would have been forced on him by a certain insufficiency in his relations with women rather than by religious vows. My own conviction is that celibacy was the outcome of his disappointments with the fair sex, not of a moral principle. That he was throughout his life strongly attracted by women and harboured a deep desire for the sexual consummation of his love is proved not only by the Opinions and reports of his pupils and friends, but by the events of his life. He fell continuously in and out of love, the objects of his infatuation being invariably young girls under twenty...In his diary two antithetical forces in him can be seen in head-on clash. The same diaries in which he conscien-
■ tiously lists how many quadrilles he has danced with a certain young lady at the annual Goncordia- ball, contain strange abbreviations of repeated A * s and V cs, often heavily underscored, standing for the daily number of "Ave Marias" and "Pater Nosters" (Yater Unser) he had prayed. Undoubtedly there is a psychological link between his unsuccessful love affairs and the strangely fanatical side of his religious worship.
• 4One can see from these varied statements that
Bruckner was quite a puzzle, especially to his contemporaries, who for the most part, were quite worldly and glamorous . It can almost be said that Anton Bruckner was an anachronismo It is for this reason that I have chosen to include certain bits and pieces of biographical data in the next chapter to hopefully better explain the composer as a person.
CHAPTER 2
BIOGRAPHICAL INFORMATION
Joseph Anton Bruckner was born on September 4, 1824 in the village of Ansfelden near Linz in Upper Austria„His father Anton was the schoolmaster in the village, as had his grandfather been before him, Bruckner$ s mother was the daughter of a civil servant. Anton was the first-born of twelve children, most of whom died early.
Anton soon received his first musical instruction from his father, which was to be expected in the house of a schoolmaster. At the age of ten, he already was permitted on occasion to play the organ during a service. On ordinary Sundays $ the Mass was usually sung to a setting for solo voices, chorus $ two violins, double bass and organ; on festival days, two trumpets were added to the overall instrumentation. This, then, was the church music of his village, which was not very different from the general practice of most villages at that time. According to Erwin Doernberg(1 9 6 8 , p. 2 9 )$
The Graduals and Offertories which Michael Haydn had composed for the whole liturgical year, in response to the wish of Archbishop Hieronymus of Salzburg, and which were to be regarded by composers as a pattern, were set for choir in four parts with organ and two violins and occasional addition of trumpets, horns or (less frequently) trombones.
6To supplement the child's musical training, he was
sent to his godfather Johann Baptist Weiss, who was schoolmaster at Hdrsching. At the age of eleven, Bruckner Began writing his own compositions. However, this activity ceased in 1837 with the death of his father, and Bruckner was admitted into the choir school of St. Florian, where he would be trined for the teaching profession.
It was here that he received his first methodical instruction in figured bass, piano, organ and violin. The deepest impression made upon him, however, was not by the instruction and studies, as by the palatial establishment, the monastic atmosphere, and above all by the sound of the great organ. The pupils, unfortunately, were not allowed to play it, Doernberg (1 9 6 8 , p. 3I-3 2 ) tells us:
When Bruckner, as a boy of thirteen, first saw -St, Florian, the contrast between the modern school- houses of Ansfelden and Horsching and a place of such overwhelming slendor must have impressed him as a visible symbol of the glory and the power of the Church...it was here that the foundation was laid for his life-long and deep-rooted relation with the Church, in particular with St. Florian, Bruckner became attached to St. Florian with bonds more lasting than the span of his life.
At this point, it might be well to mention that Bruckner had another fanatical quality about him besides religion. This was his somewhat curious penchant for collecting certificates, whether received for completing instruction, winning a competition, or earning a title. He always insisted on having a documented piece of evidence,
signed and sealed, to prove himself. It is a known fact that Bruckner was very humble, but this particular idiosyncrasy points more toward a genuine inferiority complex than mere humbleness. The feeling of inferiority will reveal itself more as we proceed through the composer's life.
It was at St, Florian that Bruckner received his first certificates, one for each course of instruction, and at the age of seventeen obtained his first teaching position, This position was assistant to the schoolmaster in a town called Windhaag, which only had about two hundred people and was very isolated. The job included a. good deal more than just teaching and was, in many ways, degrading. Doernberg (1 9 6 8 , p. 3 3 ) relates how things were:
...the duties included an excessive amount of agricultural work on the fields of his senior schoolmasterIn order to.supplement his hopelessly inadequate salary, he played the violin on Sundays for the dance music in the inn,..After two years of docile drudgery, Brudkner revolted one day and refused to cart dung. A complaint went off promptly to St, Florian and Bruckner was penalized by being transferred to Kronstorf, a village even smaller than Windhaag,
Amazingly enough, Bruckner managed to compose a Mass and a Pange Lingua while at Windhaag,
The so-called punishment turned out to be a blessing in disguise, Kronstorf was located near some.rather musically active places (Steyr and Enns), and this gave Bruckner a chance to hear more and play more. Actually, this was probably no accident, as the man who sent Bruckner
to Kronstorf» Propst Michael Arneth» actually was very fond of him, and knew of Bruckneres love for music.
Bruckner arrived in Kronstorf on January 2 3 , 1843; the living conditions were pleasant, and so was his relationship with the senior schoolmaster, allowing Bruckner the opportunity to travel to some of the neighhoring areas. It was in Steyr that Bruckner first became familiar with some of Schubert's music and he also had the opportunity of playing a fine organ. In Enns, he was lucky enough to make the acquaintance of the organist Leopold Elder von Zenetti, who gave Bruckner additional music theory instruction.
In 1843@ Bruckner passed the preliminary examination for teachers in senior schools, and having accomplished this, returned to St. Florian, to his own former school, to be assistant teacher. This return was an important milestone in his musical progress as it gave him more opportunity and inspiration to write church music.
In 1833; Bruckner journeyed to Vienna at which time he submitted himself to yet another musical examination, this one in organ playing and improvisation. Among the judges was Simon Sechter, possibly the most important teacher of the theory of harmony at that time, and with whom Bruckner was to eventually study.
In 1834, Bruckner arranged for still another organ examination under the Court Conductor Ignaz, Assmayr of .
Vienna. Naturally, he secured- certificates for all of these examinations 6
At this time, Bruckner Became very melancholy and depressed ahout his career as a musician, possibly the first time but certainly not the last time it would occur. He actually considered a career in law.' Fortunately, he was turned down, but the fact remained that he felt inadequate as to his musical studies.. It was then, on Assmayr's advice, in 1855» that Bruckner went to see Sechter in Vienna and showed him his Missa Solemnis; Bruckner was accepted as a private pupil.
His studies with Sechter lasted over five years. Doernberg (1 9 6 8 , p. 39) relates: "Bruckner considered themof supreme importance and he hardly composed at all during that time." Sechter himself said that Bruckner was his most conscientious pupil (Doernberg, p. 40). It was during this time, in I8 5 6 , at the age of thirty-two, that Bruckner became organist at Linz, He acquired this new position almost by accident. Bruckner was watching and listening to the candidates for the job to replace the former organist, Weinzel Pranghofer who had died, and after hearing the applicants and being dissatisfied with their abilities, a member of the commission asked the listening Bruckner to come forward and play (Bruckner was probably too shy to come forward on his own). As it turned out, he was a
10tremendous success, and went on to the final competition, where he amazed the judges by improvising a strict fugue on a theme prepared by the judges, and which the other applicants had refused to do as being too difficult.■
By 1861, Bruckner was fairly well convinced that he had not overlooked anything in his music studies, but he still desired the affirmation of others. This time, however, he did not merely want another certificate, but rather a specific document stating that he was now capable of becoming a teacher at music academies. Doernberg (1 9 6 8 , p. 40-41) informs us about the proceedings;
In November, the examination took place in the Piaristen Church at Vienna, his examiners being the following authorities; ' Joseph Hellmesberger (the Director of the Vienna Konservatorium), Johann Her- beck (the Director of the Gesellschaft der Musik- freunde), Otto Dessof (the conductor of the Court Opera), School Councillor Dr. Becker and Simon Sechter. It was Herbeck who summed up the impression which Bruckner made; "He should have examined us!" From that day, Herbeck was one of his active friends.
.■ It was then that Bruckner began studying with a younger man, opera conductor Otto Kitzler, the main topics of instruction being form and instrumentation. - Kitzler, at this time, introduced Bruckner to two composers who would have a profound effect on him in his mature compositions - Beethoven and Wagner. He orchestrated the first movement of Beethoven's Piano Sonata, op. 13» and studied the modern instrumentation employed by Wagner.
11In February I8 6 3 , Bruckner, for the first time,
heard a complete work by Wagner - Tannhauser. This was to be the inspirational turning point of Bruckner's life. It was immediately after this that he composed his first major work, the Mass in D minor.
In Linz, Bruckner not only had to do church duties, but was also conductor of the choral society Frohsinn, first in 1 8 6 o - r l8 6 l , and again in 1868. His compositions at this time were mostly secular pieces for his chorus, which sang at notable festivals in Krems and Nuremberg. . His reputation in Linz was excellent, and he was even mentioned in the Viennese press, but a severe nervous breakdown was to befall him just after he finished his First Symphony, In May 1 8 6 ?, Bruckner took advice and sought medical treatment at Bad Kreuzen where he stayed until August I8 6 7 • This illness was to be a nemesis throughout his life, a nervous tension that is certainly contrary to his photographs and definitely contrary to his music.
In September 186?? Simon Sechter died, and on Her- beck's suggestion, Bruckner applied for Sechter's position, and became a lecturer at the Konservatorium in Vienna.
The first version of the Second Symphony was finished on September 11, 1872. It was at this time that Eduard Hanslick entered Bruckner's life. Hanslick was the leading music critic of that time in Vienna, an arch opponent of Wagner’s music of the Future, and the leading
champion of the traditionalist Brahms. At this time, Hans- lick was on good terms with Bruckner, but he. thought Bruckner’s First Symphony was too complicated (Doernberg, 1 9 6 8 , p. 6l)o It was because of this and the advice of Hellmes- berger, who shared Hanslick’s opinion, that Bruckner added rests in the Second Symphony to separate the sections of the expanded sonata form. This action brought Bruckner much ridicule, such as from a member of the Vienna Philharmonic Orchestra, who called "The Symphony of Rests" (Doernberg, I9 6 8 , p. 61). In addition, on Herbeck's suggestion, Bruckner agreed to extensive cuts in all but the third movement, but this only resulted in a Hanslick review that criticized Bruckner for using poor musical form.
The Third Symphony was completed on December 31 1872. With the dedication of this symphony to Wagner, Bruckner was to be subjected to Hanslick’s hostility for the rest of his life. If that weren’t bad enough, the work was twice rejected by the Vienna Philharmonic Orchestra; it was then revised and, once again, rejected. Herbeck decided that he would be willing to conduct the work, but he suddenly died a few days before the performance. The Third Symphony was finally performed on December 16, 1877 under the composer’s baton; the result was a complete disaster - the musicians did not cooperate at rehearsals, and did not play well on the concert, the audience was divided in its opinion, with both hissing and clapping occurring between
13movements» and many people left during the Finale (Doern- berg, 1 9 6 8 , p, 7 1 ).
The Fourth Symphony was finished on November 22, 1874. In 1875$ the Vienna Philharmonic Orchestra tried the work and decided that only the first movement was perform- a'ble (Doernberg, 1 9 6 8 , p. 79)» Bruckner therfore thoroughly revised it in I8 7 8 ; it was not performed until 1881,Even though the public approved the work, Hanslick wrote that he still could not understand Bruckner's music (Doernberg, I9 6 8 , p, 80).
Bruckner completed the Fifth Symphony in May of I8 7 6 , and in 1877? he made the only revision. He never had the opportunity to hear this work performed.
Work on the Sixth Symphony culminated on September 3, 1881. This is the only work that Bruckner never revised, The Adagio and Scherzo were performed in I8 8 3 by the Vienna Philharmonic Orchestra, Hanslick and Brahms were both present, but despite Brahms' enthusiasm, Hanslick remained aloof (Doernberg, 1 9 6 8 , .p. 86),
The Seventh Symphony was completed on September’ 5? I8 8 3 ? and with it, Bruckner was finally to receive his due recognition. Letters from friends in Leipzig and Munich indicated that some even considered him to be Beethoven's successor. The first performance was on December 30? 1884 with applause lasting for fifteen minutes (Doernberg, I9 6 8 , p. 93)« Bruckner's works were now performed throughout the
14world; but Vienna and Hanslick were still hostile. Declining health delayed completion of the Eighth Symphony until August of I8 8 7 . His music was not performed in Vienna for three seasons (I8 8 -I8 9 0 ); when his friends organized a special concert conducted by Richter, the press ignored it.
In I8 9O, Bruckner had to ask for a year’s leave of absence from the Konservatorium, after which he retired from his duties, not feeling well enough to return. Fortunately, he had many loyal friends and devoted students who saw to it that 'his inadequate pension was supplemented.
Various revisions were made on the Eighth Symphony until March 10, I8 9O, when he was finally satisfied,. Doernberg (1 9 6 8 , p. 1.04) recounts Bruckner’s plights
Bruckner had sent the first version of the Eighth Symphony to Hermann Levi in I8 8 7 , hoping for an early performance in Munich. But Levi failed to understand the work. He was anxious not to make the old composer too unhappy with a. rejection and asked Joseph Schalk to undertake • the ungrateful task of passing the information to him. The effect on Bruckner was, it is no exaggeration to say, disastrous. The first result was that he became unable to continue the Ninth Symphony which he had just begun; almost three years were to go by before he felt able to make a new start. The three years only yielded revisions of earlier works, some of them quite unnecessary. The dreadful disappointment also led to a renewed manifestation of the nervous affliction...(which) even affected the revisions to some extent.
This state of mind all but invited Bruckner’s well- meaning friends and students to "repair" some works? as a result, some things were so scrambled that it took years to
15sort out the composer's revised versions from the revised versions done by his friends and students.
A revised rendition of the Eighth Symphony was first performed in Vienna on December 18, I8 9 I, and met with great success, with the exception of Hans lick,.' who still did not like Bruckner's music.
Since 1882, Bruckner had been trying to acquire.a certificate that was very special to him - the doctor's degree. Finally, in July, I8 9 I , Bruckner was conferred the degree doctor honoris causae by the University of Vienna.
Depression was still very present. Even though Bruckner's works were being performed with greater and greater frequency, he was often too ill to travel. By the end of November in 1894, Bruckner had written three.movements of the Ninth Symphony. After this time, only various sketches for the Finale were written. His age and health were against him, however, and .the work remained unfinished; he died on October 11, I8 9 6 at three o'clock in the afternoon.
CHAPTER 3
BRUCKNER'S CHORAL STYLE
Bruckner0s contribution to church music is more important than he has generally been given credit for, not for its wide repertorial scope but for its churchly characteristics and deep musical feeling that permeate every page. Modest and extremely sensitive, Bruckner was a devout Catholic, and his' sacred music in particular seems to be imbued with the spiritual, and perhaps even somber, relationships of life. At the beginning of his career at least, it was through this medium that Bruckner most successfully expressed his thinking and talents.(p. 44),.
These statements were made by Leon Carson in the October, 1954 issue of Musical Courier, and to a great extent summarize the feelings of the present author about the vocal motets that will be discussed. The only addition this writer might add to the above statement is that Bruckner composed these short works throughout his life, and as with the symphonies, a great degree of musical growth can be traced. Schonzeler (1970, p. 138) said of his motet styles
...the vast majority of compositions written before 1864 can be ignored. For the most part they are workmanlike pieces which show that their composer knew the basic rules and craft of composition, but their intrinsic value is not in any way outstanding; they could equally well have been written by any other schoolmaster and organist of that period provided he had a reasonable technical grounding and average talent. It is true that in certain works there Is already evidence of a type of harmonic structure, a tendency toward dissonance and somewhat unusual modulations, which was later to become so typical of Bruckner.
16
17Four Tan turn Ergos have "been chosen - as examples of
this early style (copies of the motets discussed appear with harmonic analysis in.the Appendices). These works have much in common with the chorales of Bach, with their homophonic four-part texture, and modulations frequently appearing at the phrase. They were composed in 184-6 and revised in 1888, and as Schdnzeler mentioned, there are some indications of mature Brucknerian harmony, such as the use of consecutive chords in third relation, a major-minor seventh chord whose root is the leading-tone of the next chord which "becomes the new tonic, the crescendo to piano, and finally the use of the mediant triad as a supplement to dominant harmony.
The next composition was very likely the turning point in Bruckner's compositional life. Schonzeler (1970, p. 140) states:
...the seven-part Ave Maria of 1861 can perhaps "be described as the first work of the mature Bruckner. It is outstanding for its purity of line and its mastery of contrapuntal interweaving, and despite the fact that its Palestrinian ancestry is undeniable it is also filled with that glowing devotion which characterizes so much.of Bruckner's religious music...With this composition he proved that he had completely absorbed the art of contrapuntal writing, and even in retrospect it stands out as a work of truly Brucknerian mastery.
In this piece we see. a definite organ influence which is prevalent in his overall style. This can be seen in the opening that utilizes three-part women's voices
18followed by four- to five-part men's voices very reminiscent of manuals of the organ, with its ability to change timbre immediately. It was first performed during a religious service in Linz on May 15* 1861 under Bruckner's direction, along with a Mass by Antonio Lotti.
In 1868, Bruckner composed a Fange Lingua in the Phrygian mode, the reason being, to conform to the desires of the Cecilians. The Cecilian movement was an attempt to return to the Palestrina style of a cappella music, and to eliminate the rather worldly church music of the day that employed both instruments and chorus. It was founded by Franz X. Witt (1834-1888) in 186? and in essence was the nineteenth century's parallel to the Council of Trent.Dika Newlin (19^7» p. 6 7-6 8 ) relates a story about one of Bruckner's contacts with the Cecilianss
Bruckner, asked to contribute an original work to Witt's periodical Musica Divina, sent in an a cappella Tanturn Ergo in the Phrygian mode. The final cadence of this piece contained a striking suspension of the ninth, of which Bruckner was particularly fond. Therefore, his consternation can be imagined when, receiving his printed copy Of the work, he found that Witt had quietly corrected the offending ninth into a harmless octave! He was naturally indignant, and the copies of the piece in the possession of several of his pupils, and friends, wherein the composer's blue pencil definitively restored his original ninth, bear ample testimony to this indignation.
Locus Iste was written in I8 6 9 for the dedication of the votive chapel of the new Linz Cathedral. It is a Gradual text with a return form, featuring some degree of
19word-painting, as well as a middle section fashioned from a harmonic sequence, with descending chromatics in the middle voiceso Sudden extremes in dynamics are common in addition to'ambiguity of tonal center in the middle sections.
The motet Tota Pulchra Bs was written in I878 for tenor solo, mixed chorus and organ. Bruckner wrote it for Bishop Rudigier of Linz on the twenty-fifth anniversary of his ordination, and Schonzeler (1970, p. 74) considers it among "the half-dozen or so of his finest small-scale liturgical works." The piece is characterized by a cantor- congregation-type responsorial setting with the organ entering at the climax, and intermittently thereafter. The work tends to be somewhat modal and ambiguous tonally. In addition, a root movement of down a fourth and up a second appears with some frequency and is often coupled with 9-8 and 4-3 suspensions. Also, Bruckner doesn't modulate to the final tonality until the next-to-last chord - a fully diminished leading-tone seventh chord in the closing key.
With, the Os Justi, we again return to the Cecil- ians; Redlich (1955? P» 72-73) explains the circumstances;
In a letter to him (Trumhiler) of 2 5 th July 1879 Bruckner writes with surprising self-denials "...I should be very pleased if you found pleasure in this piece. It.is composed without sharp and flat, without the chord of the seventh, without a 6/4 chord and. without chordal combinations of four and five • simultaneous notes."
The result of all this austerity is a completely non-chromatic piece in the Lydian mode. .
20The piece features some of the most contrapuntal
writing.to be found in all the works of this genre, including some imitative statements in the middle section. The root progression of down a fourth and up a second is once again present, as well as numerous suspensions and the an- tiphonal men versus women organ manual influence.
The third, and possibly finest setting of the Christus Factus Est was composed in 188^ after a visit to Prague. .The text is that of the Gradual for Maundy Thursday. It features a great many typical Bruckner stylistic features, including dotted rhythms, so typical of his symphonic brass writing, multitudinous suspensions, an abundance of third relations, numerous key changes, usually •through closely related keys, dominant pedals, and once, again, a fully diminished seventh chord immediately proceeding the final chord for modulatory purposes.
The Yirga Jesse of I8 8 5 was written during the years Bruckner spent on his Eighth Symphony. The text indicates the piece to be basically for Christmas. Common stylistic features abound in this work; these include the typical trumpet-like dotted rhythms from the symphonies, third relations, sequencesrapid key shifts by use of chromatic alterations including enharmonically approached augmented sixth chords, the use of pedal tones in the bass, well-placed suspensions and severe gradations in dynamics.
21The last piece to he discussed is the Vexilla Re
gis c written in I8 9 2 and. based on a famous hymn text for Passiontide; it is also the last church composition written by Bruckner0 Vexilla Regis was first performed at St. 'FIorian on Good Friday in I8 9 2 , and it is mostly in the Phrygian mode. Being a hymn, it is composed in strophic form with only text alteration. The opening on a unison E and the ending on an open fifth (E&B) create a great deal of tonal ambiguity, as well as the middle section beginning on a unison A. The reason for this ambiguity is that rather than emphasizing the keys of E and A, he emphasizes C and Ff this makes the opening unisons on the third rather than the root of the eventual tonality. The use of the Phrygian mode also makes it difficult to project a tonic of E, as our ears, trained in the major-minor system, might consider A minor more logical. Typical features include the organ influence - all phrases begin and end together in four parts, third relations, rapid key shifts, augmented sixth chords and suspensions.
Schonzeler (1970, p. 141) said that the Bruckner of the symphony and the Bruckner of the motet diverge widely.1 would say rather that they differ insomuch as the two media, chorus and orchestra, must differ; this, and the . fact that the vocal pieces are shorter forms. In comparing the stylistic characteristics of the motets to the
22stylistic characteristics of his symphonies» it is surprising how many similarities are apparent.
There is a sameness of sound that pervades all of his works, Mosco Garner (19^4, p. 91) speaks of this in his book Of Men and Music;
This is the sameness of the idea that inspired almost the whole of Bruckner's output. With the exception of the Scherzo movements, his symphonies - not to speak of his Masses - are all monumental variations on one and the same theme: ;God and the Christian Faith, This was the be-all and end-all of his music. To give expression to anything else, he considered unworthy of his art.And it is curious how this "ideological" sameness has its technical counterpart in the almost ste-■ reotyped and identical formal treatment of the symphonies, down to their smallest constituent parts.
Although Garner does not specifically mention the short religious pieces, I am confident that his statement could apply equally to them.
Another similarity is the organ-manual-type block scoring by section in the symphonies, and the women-versus- men block vocal scoring in the motets. Scoring by the phrase is also common to both genres.
The typical dotted rhythm found so often in Bruckner's brass writing appears in many of the motets.
The use of rests between sections of major importance is a common occurrence in Bruckner symphonies and may be found with regularity in his motets as well. When a rest is not employed, oftentimes an eliding voice is used,
23such as the contrabasses are sometimes used in the' symphonies . Some examples of this are the basses in the Ave Maria and Locus Iste, the tenor solo in the Tota Pulchra Es with the bass at the end, the bass and tenor in the Christ- us Factus Est and the bass and alto in the Pange Lingua.
As in the symphonies, and as has been mentioned, the use of third relation is a. very prevalent feature of Bruckner’s harmony. A special note has been made in the analyses where these occur.
The use of sequence, one of the most prevalent stylistic features in the. symphonies, is present in three of the motets - Virga Jesse, Tota Pulchra Es and Locus Iste.
One common characteristic of the symphonies is that a quiet tr.emelo or other similar subdued sound begins them all. In addition, almost all of the fast movements end loudly and the slow movements end softly. This predictableness carries, over to the motets, in that they all begin and end softly.
Still another predictable aspect is meter, which in the symphonies is unchanging within a. movement. Not only are the motets unchanging in meter, but they are also all in common time or Alle Breve, •
In the symphonies, a movement will begin and end in the same key. The entire symphony will also begin and end
24in the same key. . Again, the motets follow suit, except possibly the Tota Pulchra Es.t but this is due to the ambiguity of the opening tonality.
A fairly slow harmonic rhythm with an average of about two chords per measure or less is common in the motets. Again, a similarity should be noted, as the symphonies also project a slow harmonic rhythm.
The individual voicings in the symphonies are contrapuntal to fit the harmony. The same is true in the motets $ the individual line is rarely sacrificed for the sake of the chord progression. Instead, unusual spacings and doublings appear.
In Bruckner's orchestration, there are few special effects such as muted trumpets or wind fluttertonguing. Likewise, the voices are not called upon for any unusual vocal effects such as sforzando or fortepiano or even staccato. There is one instance, however, at the end of the Virga Jesse, where the tenors are instructed to use falsetto, most likely because of the extreme high range. Everywhere else there is straight-forward singing, utilizing a wealth of dynamics from a crescendo to piano, to rapid crescendos and diminuendos, and even extreme terracing, where one phrase will.end forte and the next will begin piano.
25There is an occasional use of a major-minor seventh
chord whose root acts as the leading-tone to the next chord (usually a major triad). which then becomes the tonic in the new keyo The analyses give special attention to these, which also occur in both media.
Rapid shifts of key are common, even in the middle of a symphonic theme. In the motets, the tonality often wanders far from that of the beginning, but usually through closely related keys. Augmented sixth chords play an important role in modulation in both the symphonies and motets.
CHAPTER 4
PERFORMANCE PROBLEMS
When speaking about the Mass in E minor, Werner Wolff (1942, p„ 2 5 6 ) said: "Like all Bruckner's vocal compositions , it requires a good deal of training to perform it0 His vocal compositions make the greatest demands on the human voice."
This may be one of the reasons these works are so rarely heard. The demands made by these compositions are not only on the voice, but on the entire vocal production mechanism, chiefly the control of the flow of air. As most choral conductors are very much aware, one of the most difficult aspects of choral singing is achieving a uniform crescendo and diminuendo. Bruckner's choral works present a plethora of problems of this type. All of the motets discussed in this thesis utilize the organ-like quality (also Renaissance-like) of rise and fall of the line, and this means a great deal of control on the part of each singer. One of the best examples of this is found in the Ave Maria with the phrase beginning in measure 37? the octave leap down in the upper three parts compounds the problem of making a continuous line. Another example is the passage beginning with measure 57 of the Christus Factus Est, where
26
27in the span of a single phrase, the choir must diminuendo from fff to pp Each of these examples requires the utmost in care on the part of the conductor especially.with, regard to pacing, since these changes must never sound abrupt as in the use of terracing.
Terracing of dynamics usually occurs in one of two ways: the first being the difference between two phrases;the second being an abrupt change within a phrase. Examples of the latter are found in the Pange Lingua at the bottom of the first page; the phrase begins mf and suddenly becomes ff■ In the Locus Iste at the end of the first score, the first part of the phrase begins mf; the basses are then suddenly f along with the remainder of the choir. The former use of terracing is much more common and can be seen in almost all of the motets.
Extremes of range are a common feature in these Bruckner compositions, and when coupled with the use of di- vis i and wide dynamic contrast, they make for some difficult problems. An example of this can be seen in the Aye Maria on the top of the second page, where the soprano section in the upper register is competing with a divided bass section in the low register. A similar problem occurs in the Os Justi in measure 11 where, with an eight-part texture, the low basses are on the note F while the sopranos are on a-2, This same situation occurs later in the piece
28as well. In the Virga Jesse, beginning in measure 21, the basses must leap down a major tenth from b-flat to G-flat while the sopranos leap up from b-flat-1 to g-flat-2, all at ff. The principal problem with these parts is that the choir must have mature enough basses that can give a full sound in the low register, and a conductor who can balance all parts dynamically.
What all of this amounts to is that the choir must have, at least eight well-balanced sections. To say the . least, not all college choirs, let alone high school choirs, can muster this much solidified talent, especially strong low basses and lyric tenors, which are in great demand but not in great supply.
This brings up the problem of soft, high tessitura singing required by the sopranos and tenors, often on unprepared entrances. It takes well-trained and disciplined voices to do this effectively. The first page of the Ave Maria is an example of this, as is the soprano entrance in measure 31. In measures 63 and 64 of the Tota Pulchra Es, the sopranos must enter softly on e-2 while the tenors must sweep an octave from f to f-1. For the opening of the Pange Lingua, the tenors must enter after the sopranos and altos, but on the same pitch (e-1) and softly. In the Virga. Jesse, the tenors must enter softly on e-1, and at the repeat of the opening statement on the second score, enter on g-1. In measures 52-5?? the soprano line is
29exposed for a soft entrance on e-flat-2 descending to g-1, which happens three times in succession. Finally, at the end of the piece, the tenors are hopefully shown off by three successive entrances alone on allelu.ja., the first starting on e-1 softly, the second starting on g#-l and mf, and finishing with a loud b-1 marked falsetto, and descending with diminishing volume. Werner Wolff seems to have spoken very true words.
Still another problem facing the singer is hearing some of the harmonic changes, which "become a problem for . the conductor as well. A look at the harmonic analyses provided will show that most of Bruckner's sonorities are nothing more than major or minor triads and major-minor seventh chords. However, the order in which he uses these chords can easily deceive the ear. One example is in the Vexilla Regis, where a third relation between measures 8 and 9 -enables Bruckner to modulate from C major to B major. Another example is the second half of measure 26 of the same motet; here, a single chord is used enharmonically as either.a dominant seventh chord in E minor (old key) or a German augmented sixth chord in E-flat major (new key). He also makes use of many secondary dominants for modulatory purposes - not difficult sonorities themselves, but in context, they are all chromatically oriented and difficult to hear.
30Glancing over one of these motets, one more than
likely notices the frequent use of accidentals? even though, as was mentioned before, each piece begins and ends in the same key. One example of an unusually abrupt modulation can be found in measures ^9-52 of Tota. Pulchra Es, where, by twice using the V-VI method of modulation where VI becomes I, Bruckner modulates in one phrase from D minor through B-flat major, G-flat major and ending in D-flat major. In measures 21-29 of the Locus Iste, Bruckner sets up a descending chromatic sequence throughout which the key is in doubt. These are but two examples of the many chromatic modulations that occur in the motets discussed in this thesis.
One of the best-loved aspects of these compositions for the author as a singer and theorist, is that within the overall chord structure and chromaticism, there is no such thing as a "throw away" line. Every one of the four parts has character and flow and is a delight to sing. As Schonzeler (1970, p. 141) said: "It is regrettable thatthese deeply felt choral works are so rarely heard,"
APPENDIX A
FOUR TANTUM ERGOS
31
32
I A nton Bruckner (1824-18% )Ziomlich langsam.
T.D.
Tan-turn er . go Sa - eraUe - ni - to - ri, Ge . ni
N V f ^ 1 4-E l I 3 4 L V:
:f > ' Vpmen - turn ve - ne - re - mur to - que laus e t ju - bi -
- J - AizPzzzz-pz:
n 3S T 3 X 51
k-r-ij
cer . nu - i : ' an . ti - quum do . cnla ti - o, ' x<>jia - lua, bo - nor, vir - tud qqd -
^ y n — p .—r - . — p: ] . fJ r ~ r ~f'— i a -h» - » y
A • t> I ' f p 1 1 1
me i - turn noBit
f f P f x x ^ .
prae.atet fi - des sup - pie - men-tumpro - ce - den - ti ab u - tro - que
men-tum, be - ne - di - cti - pro - ce - den - ti ab u
^ f - 1 & « £ } : ^ VT[7.r _ x L_ P 9
i— -jr_L^/Xg z^ztiPpsp-- : t - Q —
i v6 iv6 3C 1 rAdagio.
— T — r— um de fe - ct
sit lau - da - ticom -par sit lau - da - ti
PJp"p I p — p--t / — - ' -r. Vx
o.
_ o _
A
o^-□ac io:
men.
_Q_ 3A E 7 s3 ^ V 5 © jM jpyri^ir'I^T O (Arista M usic Co. ^noied in thr u*^*
. ■ ' y~~NI
^ A \ m 7 < L H o *U > V<xC V ns l L f \ 3) ) ^ C - X U K J C T O M G w K E Y ,
1133
Andante.y A )) err sc.
T .B.
- - - j , f T r ‘r * pTan-turn er - g o S a - era - men - turn vo . ne - re - murGe - ni - to - ri, Ge - ni . to - quo laua • vt ju . bi
i ,ij-.- t z % z ^ T — r: J~::: „~-3
4— i iti.mfJ — — 1 - — « . »' - —»■ — - LX ■ ■ - I i ■ -p ■ ~ | ” ~ ** *» — 4 - • •-» — — 1
' 1 j , f , .. y .p ctesc.
C- 1 T t ^ Xi vi ■ ,..t S i x H vi^; X i
Vi t
C2> crrno.
L cer - no . i: | v | 1 h la . ti o, u.
P
— - - .i — — X> - X i ii 1 — — »y — “■ “'■ “■ “■ ■ — ■■■■ — — t - ■— 1 — ■ — |d r rr r^J.TTr rt: ~—hxr| rrnzrzr.-v rzd vrtzszA
— — »■ i" —- — • — ■ ■ — — — -— 'r •~ \ r — ’ ■ — — i— f— ^ ^ - •^—1pc t an . ti -1 quum do - cu . men - turn oa :- Iu3, ho - nor, v ir - tas quo - que
-- ri- p~-l:-| -~|2 r d -p--- p
no - vo sit et
— g—f = F :fE
T y i X t :pcre&a. fX x i m X i ' i” ; " ! - , x e f iv i ' t
4
^ •;- r r?~-|.f T-r ---1ce - dot ri - tu - i: p r a e -s te t f i - dee " sup - pie - men-ttbe - ne - di - cti - o: pro - ce - den - ti ab n - tro - q
p r a e -s te t f i - dee sup - pie - men-turnpro - ce - den - ti ab u - tro - que
\ . . i v ’ V erf sc.
-1 JrJ.
P B
sen - 6U - cm com - par • sit da - ti
<t~J. A
men
i
X ^ X K t ' ' t Ji X
Tun - turn er - go Sa-cra Go, . ni
’ t 2* .1 crese.
■ Tv x, v i % ' ^ ni T X X•' NX ' '
dim. „
~Z/J _— . fij - — f— - — (— f —{ t ~~'l
cer - nu - i:l a - ti * o.
et an ea - lua,
jq [ *
ti "- quum do - cu ho * nor, vie - tua
J;'.f
men - turn no - vo q u o . quo ait et
..: j ' j T d-P r 7 l
X ' X CV /V VI,® . \ , Ei^n: U My
dim.
co - dat ' ri 'b i . 'n o di
prae-atet pro - ce
A ihj. A- A A
•dea sup ple - .men * lti ab u - tro *-:!
V,f -r dim.A A-3 praestet fi-dea
pro-ce-den ti
&: uf ^ jj^lT X c:X >t ^ i savi*
ffzMshT'. vn
p ,-;;
turnque
sen - au - um com -par ait
dolau
fe . ctu da - ti
i.o. A -
~u -men.
Z7 \
1
35
IVLangsam.
— -~ "'_z z = a~-7 , , . ,
Tan-turn er - gt) Sa - cm - men - turn ve - ne - re - murGe * ni - to - ri, Ge - ni - to - que laus et ju - bi ■
I £2 A A
' ,V /• ■ - ' L „V-4 «*«•!:■A 1. I !( . 3 1 I T r - Vi T3. VII2, ^TT^iii
J -y* rfiwt, ____ /» .
JZ |— T — : W — — J--— ij "E: ~t_ ::: . p:■sr— — r
cer • nu - i: I ‘ I et an - ti - quum do - cu • men - turrla - ti - 0,^(|6jT 8a - lus, ho - nor, vir • t*. o - que
* -■«k. f — — i f t * w y“-— y - - ■ • — * •■ yj ^
fturn no - vo
.o - que sit et
L c : f r — -
lz= ^ = ^ — .-rT ~ - -— - . l-j7— r - - ti i p - - r — - p - rrr — i—-,dlw- 3 b r 7 T \Z . y. 4 V,/, x T x 4 x-^'-icV^^ \ 1 i't-i
prae - stetce - dat be - ne
■pri - tu - di - c t i-
• . 0 - 5 , , - ' .1 . pra<
-dee sup - pie - * ti ab u -
1— rj C L
^ ^raestet fi-des y*-B-xi
/-fl
men-tum sen-su - am de - - fe - -c tu - - i .tro - que com-par sit lau - -d a - - ti - - o.
J~X-5:rs:
- * > -
-men.
m4 -3
^ i tx i viti4x . x u w \ X
APPENDIX B
AYE MARIA
36
37Andante
Soprano
g ra -ti - a pie - na Do - mi-nus te - cum.te - cum
A - ve Ma - ri
Alto
A - ve Ma - ri Do - mi-nus te - cum.gra-ti - a pie - na
Tenor
Bass
Be - ne - di - eta tu in mu- li - e ri - bus
busVP
mu-li - e - ri
et be-ne di - ctus fru-ctus ven-tris
VP
et be-ne di - ctus fru-ctus ven-tris
m
BU S.
S U S , S U S .
S U S , S U S , S U S .
oS U S , S U S .
C o p y rig h t (f) 1961 by C . F . P eters C o rp o ra tio n 375 P ark A v enue S o u th , N ew Y ork 16, N . Y .
In te rn a tio n a l C o p y rig h t S ecu red . A ll R ights R eserved.Edition Peters
38
ID m f
I: i fJTt * M v / p-
San-cta Ma - ri a, saii-cta Ma - ri - a, sancta Ma - ri - a, ma - terff_A
a. sancta Ma - ri - a, sancta Ma - ri - a, ma - ter
gZEE: j-— t » ■ - - « —
San-cta Ma - ri - a.mf
Sancta Ma - ri Sancta Ma - ri i.
. —. -nrT * CTT w/*San-cta Ma - ri - a,vatlTl ul
sancta Ma - ri - a , ma - - tersancta Ma - ri - a , ma - - ter
4 3 J J . J— <li; , I r f; I r
JJ sancta Ma - ri - a, ma - teru T vi t (fz w GL
ra pro no
ra pro no pec - cara pro no-bis
raprono-bis pec - ca
i, o - ra, o - ra pro no
_____o+ H S3L c
bis pec - ca
x tsT i ii7 i f 7 i i r iL T itirjr
f’ebAL -- — — " '
39
Pnunc et m ho - ra mor - tis no - strae, mor- tis no - strae.ri - bus,
nunc et in ho ra mor - tis no-strae, . mor - tisi A
no-strae.
nunc et in ho - ra m or-tis no-strae, no-straen - bus, mor
nunc et in hori - bus ra mor - tis no - str mor - tis no-strae.%. jS- x aSan-eta Ma - ri men.
<>men.San - eta Ma - ri o - ra pro no
&
San - eta Ma - ri - a>
men.
a -y-i'3 - his. men.San -eta Ma - ri Edition Peters
3 - i X* * - tvy o - ru, pro no * o ”ii t T, x vii iz: (g)i,x
APPENDIX C
PANGE LINGUA
4 0
41
SopranoP f
$—o ------- o ----- - t - O -
Pan - ge linTan - turn erGe - ni - toP
o~ &guagori
glo ri - o - si cor - po-ris my-sa - era - men - turn ve - ne - re-murge - ni - to - que laus et ju - bi -z
Alto
glo -
— o -------•-e------ o —-----'—et—Pan - ge lin - guaTan - turn er - goGe - ni - to ri
ri - o - si cor - po-ris my -era - men - turn ve - ne-re-murni - to - que laus_ et ju - bi -
PTenor
mPan - ge lin - guaTan - turn er - goGe - ni - to - ri
P
ri - o - siera - men - turn ni - to - que
cor ■ ve - laus.
Bass&
o simen - turnto - que
A m 6 i6.U0V5
(? ) a:
Pan - ge Tan - turn Ge - ni -
lin-gua er - go to - ri
1 4C-.r V i x ir x <v- IV
ms-que pre - ti - o - siti-quum do - cu - men-turnho - nor v ir -tu s quo - que
ff
san- gui et an sa - lus
pre - ti - o - si do - cu - men-tum v ir -tu s quo - queJT
san - gui et an sa - lus
ms - que ti-quum ho - nor
po-ris my - ate ne - re-mur cer et ju - bi - la
ms-que pre - ti - o - siti-quum do - cu - men-tumho- nor v ir -tu s quo - que
san - gui quern no - sitsa - lus
an- gui t an a - lus
cor - po-ris my - ste ve - ne - re-mur cer
laus et ju - bi - la4 — 3
Vk VD]Edition Peters
C«\ fo C N L jl
nis-que pre - ti - o - si,ti-quum do - cu - men-tumho - nor 'i^ -tu s quo-que
x T-4, x i .C o p y rig h t (£) ly o l by C . F. P e t r r i C o rp o ra tio n 37) P ark A v en u e S o u th , N ew Y o rk 16, N . Y .
In te rn a tio n a l C o p y rig h t S ecu red . A ll R ights R eserved .
42
QUyz tifm. p p n\ p
— i--quern _ in raun-di no - vo ce - dats i t _____ et be - ne
dim.
Z 7 S
in mun-di vo ce - datet be - ne
quern
mun
pre - ti - um ri - tu - i: di - cti - o,
zT\
fru-ctus ven-tris ge - ne prae-stet fi - des sup-pie pro - ce - den - ti ab u
P f f
t o - si, rex ef - men-tum sen - su - tro-que com-par
pre - ti - um ri - tu - i: di - cti - o,
fru-ctus ven-tris ge - ne prae-stet fi - des sup-pie pro - ce - den - ti ab u
P f f-o—
ro - si, rex ef - men-tum sen - su - tro-que com-par
ZT\ P
£pre - ti - um ri - tu - i: di - cti - o,
fru-ctus ven-tris ge - ne prae-stet fi - des sup-pie pro - ce - den - ti ab u
ro - si, rex ef - men-tum sen - su - tro-que com-par
FT FF=io--- .— (9-----n--r ■ i f®-—i ----J
o4— 1 4-
quern in mun-di no - vo ce - dat sit et be - ne
iVt. wi, iSO&P*
llLWs!>
pre - ri -
titu
di - cti -4 -3sn
p p
umi:o .
prae-stet pro - ce
d-.x i m X
fru-ctus ven-tris ge - ne - ro - si, rex ef -fi - des sup-ple - men-tum sen - su -
den - ti ab u - tro-que com - paro in6: ii -U
/T\EE
fu - dit gen - ti - um, rex efum de - fee - tu - i, sen - sus it lau - d a - ti - o, com-par
fu - dit gen - ti - um. um de - fee - tu - i. sit lau - da - ti - o.
A - - men.
fu - dit gen - ti - um, um de - fee - tu - i, sit lau - da - ti - o,
rex ef sen - su com- par
PP— :ex
fu - dit gen - ti - um. um de - fee - tu - i. s it lau - da - ti - o.
XT i ? ' * \ f j XT
A - - /^ - men.
g . f c W /
fu - dit gen - ti - um, um de - fee - tu - i, sit lau - da - t i - o ,
rex ef - fu - dit gen - tisen-su - um de - fee - tucom-par s it lau - da - ti
W..
fu - dit gen - ti - um,um de - fee - tu - i,sit lau - d a - t i - o ,
X vi ‘.iuTL XEdition Peters
ogen - ti - um. de - fee - tu - i. lau - da - ti - o.AM1M4U VT/
U W t TRC v • .<!'. I Vy 1 X
- men.
IV ti x
APPENDIX D
LOGUS ISTE
43
44
Soprano
Alto
Tenor
Bass
Allegro moderate y /i p f
iLo - cus i - ste P
a De-o fa-ctus est
F ■&— #-
lo - cus m f
i - ste
Lo - cus i - ste P
a De-o~lt~' cf & fa-ctus est
EE j=) =--j=Epa De-of
¥ d- ^ E j :4
lo - CUSmf
i - ste a De-os
Lo - cus i - ste P
a De-o fa-ctus est lo - cus m f
i - stef
a De- o
Lo - cus i - ste a De
M e
(2: XGD *U.
vifcX.fa-ctus est4 — 3
lo - cus i - ste a De
/
fa - ctus est, a D e-o , P
D e - o fa - ctus este #rin - ae- stif
F0
^ 4 5fa -ctu s est
— #— in - ae - stifa-ctus est, a D e-o ,
P
~crDe
f
fa - ctus est,P,
a D e-o , D e - o fa - ctusy
est
E^EgEEjin - a e - s t i -
03
fa - ctus est, a De - o, £ - D e - o fa - ctus est in - ae - sti - ma - bi - le .
f i e f t - R T - . l f c X I f i e v a ^ X S T : X , i t ' - ^ 3^ C c X ^ J / r p h #:a sC 5eave<xjce
l z t z
ma - bi - l e sa - cra-men-tum,i in - ae-sti - ma- bi - le sa - cra-men-tumf f
V tf yma - bi - l e __ sa - cra-men-tum,i in - ae-sti - ma- bi - le__
jrsa - cra-men-tum
TCOhF ma - bi - le sa - cra-men-tum, in - ae-sti - ma- bi - le
m nxi= &5EEEH1j£lv* — - g
sa - cra-men-tum
„ » ^ x Isa era - men
Edition Peters
turn, in-ae-sti - ma- b i- le sai ( . A - .2L i i | ^ 3 a ; | -sT+ i i
s ' — 37J I ’j r k A v m u c S o u th , N ew Y ork 16, N . Y . In te rn a tio n a l C o p y rig h t S ecu red . A ll R ights R eserved .
era - men -. </ turn* z,eiizr u| j-3--y* C o p y rig h t (T) 1961 by C . E P eters C o rp o ra tio n
4 5
p e s c e w T ) ^ o m A T t c s »N A u t o -h -t e n j c r crfsc.tf
irVP
re-pre-hen - si- bi-lis est, ir re-pre-hen - si - bi-lis est. cresc.A_________________W ________________ cresc.___________
5c.Q U C N C v ir . re-pre-hen - si - bi-lis est, ir - re-pre-hen - si - bi-lis est,VP
$«?• W'r"5M <pre-hen - si - bi-li
cresc.lis est,
i>»-
ir - re-pre-hen - si - bi-lis est, ir - re-pre-hen - s i-b i- lis est, ir - re-pre-hen-
x a , w . C '• fVz,
hen - si - bi-lis a De- oLo - cus i - ste P
est._
•0“hen - si - hi - lis est._ LI KE BcfrlfJNi (<(3
si-bi-lis est, ir - re-prehen - si - b i-lis
Lo - cus i - ste31-
a De - or j :?Lo - cus i - steJh k a De - o
±A Lo - cus i - ste a De
it4
JT I t n7 Vii-Tir it E =c V I,
4 6
y mf f
fa-ctus est, lo -m m
pJ=3=&t
cus i - ste a De-o fa-ctus est, a De-o, De - o,X
in fa-ctus est. lo cus i - ste a De- o
ffa- ctus est, a De-o,
P
■a-De - o,
a De-o,far ctus est, lo - cus i - ste a De-o fa-ctus est,
tfa-ctus est, lo -
sa it'3 &yrt_______ cresc.
cus L- ste a De - o fa-ctus est, a D e - o , D e - o ,
§ * 3fa-ctus est, a De - o,
octus est.a De-o, D e - o
I Pcresc.
-Vctus est.
v y v
a De- o, D e - o IPcresc.
a De- o, D e - o ctus estcresc
E d itio nd g i f 5 , i VVi i 7 ^in Peterd — jj"
De - oU3r7 \ 7 _Uof Vi V
ft D e-o, jw - v y itv
3Z I - - 3-*>--- <5-
ctus est.
APPENDIX E
TOTA PULCHRA ES
47
"S
48
ChorP
Soprano
Alto
Tenor
Bass
To - ta pul-chra cs Ma - ri
mS o loP
p m
To - ta pul-chra es Ma - ri - a.S o loPif i -$
To-ta pulchra es Ma - ri To - ta pul-chra es Ma - riP - = r =
a. Et
To - ta pul-chra es Ma - ri
Organ ( P iano)
C ' T H m , Vi v T l T n
El Chor
&dim.
¥
tEt ma-cu-la o - ri-gi-na-lis non est in te.
mf. > > dim.
FEt ma-cu-la o - ri-gi-na-lis non est in te.
> . > , , dim. .
ma-cu-la o - ri-gi-na-lis non est in te. Et ma-cu-la o - ri-gi-na-lis non est in te.vf_ > > dim.
\ Et ma-cu-la o - ri-gi-na-lis non est in te.
[U
WCC. I tv 1
Edition Peters
,r ui s x V. in WfcX5rr Pa<x<,,nfJ CAD,
C o p y rig h t (C) 1 9 6 lb y C . F. P eters C o rp o ra tio n 373 P ark A venue S o u th , N ew Y ork 16, N . Y .
In te rn a tio n a l C o p y rig h t S ecu red . A ll R ights R eserved.
4 9
03A
Chor
3v. J)
Tu lae - ti - ti - a, lae - ti - t i- a, lae - ti -JBBr\ — ■ ^ — K—u
Tu lae - ti - ti - a, lae - ti - ti - a, lae - t!' jgrt >i K ; , kTu glo - r i- a Je - ru - sa - 1cm. Tu lae - ti - ti - a, lae - ti - ti - a> lae - ti -
j , S- iij j ;r r r r n r r r r
Tu lae - ti - ti - a, lae - ti - ti - a, lae tiPleno Org.
9-9 4-3Pedal pxr
N o F £ e u u 6 o f Ke VS e d v E N C t . CF ?LfiG<\L dAD,
jDvSolO
ra-el.Tu h o -n o-r i-fi - cen-ti - a po-pu-li no - stri
— r-r~ _ .... . . ------- ---Z.-- ■i ■TP
-- - /z.r rC# n-9 4-3 4-S 4-3t : iV i P- H X e< i
4-% 3Esa v ft q-'SG T): r ;i
a= I 3C
50
T] Chor dim. p p
~r--' I I l=rA—Tu ad-vo - ca - ta pec -P — ____ , dim.
- rum.PP
Tu ad-vo - ca - ta pec - P — _______________ dim.
SoloPP___
ca rum.PP
Tu ad - vo - ca - ta pec - ca rum.PP
Tu ad - vo - ca - ta pec - ca rum.
S «m 1 L A G- TOBt5 & i NN i N 6$ 4-S 4-3-Z-3
ChorPIP
Ma - riri
Solo
V ^ ----ri - al den - tis - si -Ma - ri Vir-go pru
p p p
ri-Ma - ri
q-iii
5 1
Chor Chor
Ma - ter men-tis In - ter-ce- de pro
M a-ter cle - m en -tis -s i / dim. _ pp
In - ter-ce - de pro
M a-ter cle - m en -tis-s i / dim. ,PP
ma. 0 - ra pro no-bis. In -ter-ce-de projr
Ma - ter cle men - tis - si In - ter-ce - de pro leno Org\
ma.
i
d: I X . -2L a h:x VT ..,15'“ s iiifjIlIlRElJ® '
no - bis ad Do - nu-num Je ad Do-mi-num Je - sum dim.
stum,sum
no - bis ad Do - mi-num Je - sum stum, ad Do-mi-num Je - sum dim.
pino - bis ad Do - mi-num Je - sum ad Do-mi-num
Lstum,
no - bis ad Do - mi-num Je - sum stum, S V£p
f- F:Z x ^ y m 3Edition Peters tii (, t ic ^ 11
52
stum, de pro bis adcresc.
m -ter - ceChn - stum, de pro no - bis, ter-ce-d e pro
Je-sum Chn-stum, in - ter - ce - de pro no
ter - ce - de pro no
I - (?
^ ,x'
Do-mi-num Je -_r—i Z
l l , . 3 3 1 3 C T ,dim.
sum Chri-stum, ad Dodim.
- mi - num,
no - bis ad_ Do - mi-num Je-sum Chri-stum, ad Dof
num,
Je - sum Chri-stum, ad Domi-num mi - num, dim. VP
Chn - stum, ad Do mi - num, admi-num sum
ad Do - mi- num PP
Chri -- sum
ad Do - mi - num
w *stum.
VPP- sum
ad Do - mi-num Chn - "■—' - stum VPP
sum
stum----sum, Je - - 4 - 0 - sum
I ITDo-mi-num Je
0.'. "sr 1 - iv .i» x.
APPENDIX F
OS JUSTI
5 3
5 4
Soprano
Alto
Tenor
Bass
ju - sti me-di - ta • bi-tur sa m f
Os ju - sti P
me-di t a - bi-tur
Os ju - sti me-di - ta - bi-tm
Os ju - sti me - di - ta - bi-tur sa - pi
F '• X . v l
- ti - am, os
I-3C
ju - sti cresc.
me-di - ta bi - tur
m e-di - taju - sti - bi - tur
f 1---- fiI— F-f - r<l— j-: i-r '--— }-
ju - sti me-di - ta - bi-tur sa pi
rr- £ T ~ r
'4
ju - sti
dim.
me-di - ta -b i- tu r sa - - _ r - _ , -
vifc v i X x 3 i r 3 v," C '.Ig0oMT tt ucv>4-3 «l-? 1-33T v i n\ J3L
pi -
(LcfJTP
e - jus lo -
-o-endim.
ti - am. et
¥en ti
32:- am, et lin - gua e - jus lo que - tur ju di ci-um, ju -
a dim. in^n'rtTW tf G-MTKrt/JCtS
en - ti - dim.
------- --------
— -----------am,
P- - ■ ■ rm "f — ■ > --- —1
: j t r d - en ti -
- 3 — • ~ ■am,
------------ ,--------------- i - ^ 4 -------]
et
4 3"'"3vi xEdition Peters
C o p y rig h t 1961 by C . F. P r trr* C o rp o ra tio n 373 P ark A v enue S o u th , N ew Y ork 16, N . Y .
In te rn a tio n a l C o p y rig h t S ecurer). A ll R ights R eserved.
5 5
cresc.
que - tur ju cresc
ci-um ci-uxn
et hn- ci- rnn, mf
g-ua e - jus lo que-tur,poco a poco cresc
a m #lin - gua e - jus lo - que - tur ju - di- ci-um, lo
dim. rt
que-tur ju
- jus et 1m - gua e -jus
jus lo - tur ju - di- ci-um, dim._____
rzrr. m ± 2 £ Izt:lin - - gua e jus
di
lo
rtfzn— rque - dim.
et lin-gua e-jus lo -
ci-urn. et lin -
tur ju - di - ci-um,P __
et lin-gua e-jus lo-
- gua jus,
5 6
que - tur ju - di h dim.
m
ci - urn, gua e-jus,cresc. sempre
que - tur ju - didim
hn - gua e-jus lo cresc.
tur ju
tur ju - di - ci-um, et hn-gua e-jus P
lo - que-turcresc.
lo - que-turgua e -jus
cresc.
jus lo - tur juque -
di - ci-um, nf
- tur ju- que
um,et hn-gua em ' - jus lo tur ju
"s- - 1 r— 1- - - - - - - - - - - - - - - - - - - - - - - - - - - - ,- - - - - - —I---------- 1— —: - 4 — i -_ —a
lit1MT J . . i ------
lin-gua e - jus lo - - que tur ju di - ci
Edition Peters
5 7
cor- de ip dim.
- jus m
cor - de ip - si -dim.
e - jus in
cor - de ip - si dim.
urn. jus in
cor -d e ip - s i - - us, lex De - i,
% ii'i J 5 L 1 Z : ' < 1 2 F : X ^rfm.LlKe: l u y
jus in
poco a poco
De - e - jus in cor - de ip - siyoco a poco dim.
De- i,e - jus in cor - de ip - si - us, in cor-de,
poco a poco dim.crcsc.
e - jus in cor-de ip-si - us, poco a poco dim.
in cor-de,cresc
q-$ -4-3 q-s 7-t X % vi O J t
e - jus in cor 4-3 4-fl 4-3 % v i III
f T .de ip - si - us,9-S 4 - 3
5 8
in cor-de, corP
in cor-de, de ip - si
vcor-de de, cor-de,
dim
in cor-de dim. V P
S;*- ' -3. - cor - de, in cora *7—6 4 — 3 4- — -
[Choral]
us et non sup P P P
bun - tur_ gres-sus e A1 - le- lu - ja, al - le-lu-jal_
us et non sup PPP_,
bun - tur gres-sus e Al - le - lu - ja , al - le-lu-ja!_
us et non sup P P P
bun-tor gres-sus e Al - le - lu - ja , al - le-lu-ja!
bun-tur gres-sus e"e~ r ~ r Tus et non supx :
Edition Peters
Al - le - lu - ja , al - le-lu-ja!_
APPENDIX G
CHRISTUS-FAGTUS EST
5 9
60
Soprano
Alto
Tenor
Bass
Moderate misterioso VA P
~V~i cf o~
E== Z
AChri-stus fa-ctus est pro no
Pbis
-4^ ^
Chri-stus fa-ctus est pro noP , . - C ~
o - be
bis o - be
di-ens, o -:____ Z_
dkg: t o¥zzif~:rif±£±
di-ens, o - be - di - ens, omf >
Chri-stus fa-ctus est pro no P -to =^ ---rbis o - be - di - ens, o - be
P >di-ens,
» --O-—*•—O-bis o - be
8
Chri-stus fa-ctus est pro no
j, i x
“ITdi-ens. o -
m. sempre
Si
F-. X
- di - ens u-sque ad mor - p p .
be-di-ens, o - be-di-ens o - be -
be -
Iydim.sempre
1-o -be-di-ens,
EE "jrj--3=P3
-v-'xr' -& -0- -a- di - ens u-sque ad mor
3,3to&±o - be-di-ens. be - - di - ens u-sque ad mor -
§ee£ dim. sempre
be -
- X T " E T2-/ i! Ut, £ ‘ 6 ' %- di - ens u-sque ac mor
■P ,-r.3 K iv
mor-tern au - tern cru r rfm. #P
mor-tern au/ * d im
cru - - CIS.
•nor-tem tem_ cru -
tern au - tem_tem,mor-m
Edition Peters
Lcru_to T\V , TT/” - 'i'i-- 3 - yli6)cisX1 ^ k • ' / 1 1 C opy rig h t i 1961 b y C T r . P c tr r i C o rp o ra tio n
}73 P ark A venue S o u th , New Y ork 16, N . Y . In te rn a tio n a l C o p y rig h t S ecu red . A ll R igh tt R eserved.
Gd°, Xs- X
6 1
ppoco apoco cresc. m f poco a poco cresc.'
S'sPro-pter quod et De - us ex - al - ta - vitPpoco a poco cresc.__________1 P F I
il -lum, > >
1----------- ~tpropter quod et De - us
mfpoco a poco cresc.±=I’ro-pter quod et De ppoco apoco cresc.
us ex - al - ta-vit /
il-lum.^ »- — or
propter quod et De rtfpGco^ a poco cresc.
Pro-pter quod et De - us ex - a l- ta -v it il - lum,propter quod De - us cresc.Ppoco a poco cresc.
Pro-pter quod et De - us ex - al - ta-vit
* *— — —
il- lu m / iRS) \ pro-pter quod et De-usj f 3 G: u\ V,i X S t S I
ex - al - ta - vitjQL
yiil-lum > >
etP
de-dit i l - l i no-men. et de-dit il - li3L.
no-men.
ex - a l - ta -v i t .d2—
il-lum de-dit i l - l i no-menn O _TY' on •£»t A Ck rl i ♦ 1 1 l i n/% wtAet de-dit il - li no-men,mJ L
ex - al - ta - vit
|> > 2* ______ ™J ______■’---1— l—t— /—I--1— H--1—
5S=il-lum > >
de-dit il - li no-men,
-JtkS.f! . .K , k .
et de-dit il - li no-men,
s r »ex - al - ta - vit
vi is:
i p
3-dit il - li no-men, quodestil-lum et de-dit i l - l i no-men, et de
t ’ e -.s: > z > w SE i 6 V > X Z T « .:r 4 i XC'.3u'------------------- ^ 3 3
3.^ sVmPHOMVC7.)
62
ppoco a poco cresc. .Jf±Ez
quodest su - -per,ppoco a poco cresc.
su- -per, su-per om- ne no-men,/ a _ _ « — > >
quod eatjr
quod est s u - quod estjfra- a
- p e r , su-per om - ne no-men,> >
quod est su - quod est-per, su-per om-ne no-men,poco a poco cresc
E3 %su - 0 - per, su-' « - l - per, . V su-pe
I' i'f-' i «i "fei'I" per, JK su-per om-ne no-men,quod est
0 i ii^.vrLEviT^(^3 c t .
9:-ail%&-
su - per om - ne—\ A P _ _ _ _ _
no-men, #P_
su - per, su-per, quod est
■<kFsu - per om - ne.A A J)-O O-
om - ne.p p
no-men., >
z; isu - per om - ne,.
zhj&. :om - ne no-men,
_ mfquod est su - -per,
zr-£: eCzzlz.Qper no-men.t quod —
r I i i iviu ' iiNttSIXy ii it l i i m u . : 3LEdition P e te rs 1 y f ' « l , i ’- p o m .
zczze s t
rrrr:
'D o t v u iv A M T P e ( > t ( \c .
-per,4 - 3V
6 3
p poco a poco crrsc.crcsc
- per uni - norresr.
no-men / > >
v oquod estquod estsu-per ne_. no-men,
p poco a poco cresccresc.
per om -su -
m
- r.e no-men, r/rsr. >
su- - - per,_ppoco a poco cresc.
~o~su - - o Tier, 7-6
quod est su-per omne no-men A
ne no - men, om- Kdin. , ®
quod est su-per om -
' ' * *no-men ne no - men
dim.
Msu - per_ om - ne_ no-men
A t,A Jf^ r
quod est su-per om -■art bl u * a^-
- ne no - men,. dim.A _
zr=tz=#5su - per om - ne no-men.
|VtiVc3Z> VH / X 6 yz fv iv X X
quod est su-per om -
i /v6H U *L
ne no men.C ' A * /viit it vu i ^s ‘k
64
y—men,
dim.
quodest su -
. — #— <*——»— —fo?— ■ _i--L— V **—i— .— s : - v»s>--- —<*
o d --- L_i--— ,--- i----
-per om-ne no-men, dim.
- per om-ne _ no-men, dim.
quod est su -ne no men
quodest suom-ne no men, per om-ne_ dim.
men, quod estVepAU J" jypppoco a poco cresc.
quod est su - per om•ppppoco a poco cresc.
om-ne no 1 r-per om-ne no - men,
W ii H i i II v V H , J t y i
om - ne no -men.dim.
&
quod est su - per,p p p poco a poco cresc.
no-men,
-4
quod est su
su-per om - ne no - - men.
per,su-per om n e , om
-434 —L_i-'4 ""itu— :—i----or —____________________ _________ dim. | ____— ------0b-1 l~ —|- r_Z—i— 1 — cj -
i ------ *— lo ---------- L >------1- —-4-— zzii
Edition Peters3T
om - ne
it*ne no - men, om / \ 2 ne, om - ne no -• - men.
3:1 \ r
APPENDIX H
VIRGA JESSE
65
6 6
Alla breve Anton Bruckner (1824-isse)
Soprano .
Alto
Tenor
%a
./^±rZr-..v5>>. > . --------------- .1------y r --]
Vir - ga'■ r — '
Jes - se,
i J J — f
F " ........ r ~vir - ga
cresc. sen— |------- 1-----1—
Jes - se, npre (
vir - ga—Jes - se
¥ j ’ " 1Vir - ga
—J— *— J — J—
Jes - se ,__
~ d »— J—
vir - ga cresc. sen
f F — = 5 = 1
Ls1----- d---- ^Jes - se, vir - ga
^Jes - se
L ( , - A _ U _ | - - - - - - - - - j- - - - - -
Vir - ga^T — —Jes - se,
—O '---------- -----vir - ga p cresc. sei
—<?-----o -----Jes - se,
- o ' — -----»—vir - ga
= ------------H
Jes - se
■\ 2 — @
e*. iVir - ga Jes - se, vir
or.
ga Jes - se
f V . T I e : x ^ i ^ TO: %G. P. p
oS-KLor esc. sempre
pf lo£T
- ru -it, vir - ga Jes * se, V *
vir - ga cresc. sempre _
-i— h vir - ga Jes P-fX:-»
flo - - ru-it, vir - ga cresc. sempre
=C=3=f lo
=t='^F --i?»-ru - it, v i r . ga Jes - se, vir - ga
p^r- smpr*rI F'' irr
C ' . z i 4 - 3
- ru- it ga
ga Jes - se ru - it
vir - ga Jes - se ru- it
vir - ga Jes - se ru - it
s a
Jes - se,TZ X cEdition Peters
F X 5 . ru-ft:C o p y rig h t •© 1961 by C . I'. P e tc ri C o rp o ra l ion 373 P ark A v en u e S o u th , N ew Y ork 16, N . Y .
In te rn a tio n a l C o p y rig h t S ecu red . A ll R ights R eserved.
6 7
y / t u .(fsevipre
Vir - f f sempre
F - go
iA:DeA
$- um et
t-ho - mi-nem
}>k.
geA
F £ -t—Vir - - - g o
tffsem pre
— Fcy™~4> n- um et
^o::. — _U|g=z±rho - mi-nem
Vir - ho - nn-nemum et77, sempre bo '7~~--Q
H 3ZT4 M 3 k =
Vir - De - - um etUi
ho - mi-nem
(Jet.)&
m
Mnu -
— {-i>;it, vir - go
>De - um > >
etnt:
ho - mi - nem ge -
3E I---------- Ir * = ]
>
^ --> > ===— i
— 1------ — --- a-- J- nu -h
et ho mi - nem ge
-jxv1- nu - - it, vir - go De - um et
nr Mt, eb: IVj. r
hoXI
mi - nem ge
3
68
G .P VP cresc.
BEnu - it: De
crescdi- dit,pa - cem
VPpa - cem
nu - it: red - di - dit m f
pa - cem, pa - cem, VP cresc.
cem
nu- it: 1 pa - cem Deu eMC<r di - dit, pa - cem, pa cem
nu- i t : cem De - us red - di - dit,i1-V.rV I / , V Icresc.
red - di - dit,z cem,-----cresc.cresc.
pa - ccmy< pa red - di - dit, JZ i--— „nOETZEEEEEEZHcem pa - cem,
red - di - dit,f-
cem, cem
cemVlfcEdition Peters
red - di - dit,
j 5 £ : vi t vi
69
cresc. _ _—a ----
De redpa - - cem u s___
■9*—De redpa. - - cem u s___
cresc. oDe redpa - -cem us___
cresc.
De red - dipa - - cem u s___
<> -ose,in se. in in re - con -se
PP
19-indit. se: in se re - con -
se.dit. se se re - con -in in
dit in in se re-con-
t'-YX 4in se,
P '
se.
70
mJ cresc
mis. A1 - lea us ma sum - dim.mfcresc.
AI - le -ci - r7lJ'cresc.
sum - - mis
ci -cresc.
ans sum - mis
ci-H3 ^-4 Xl -Xl '-VKfiitS'j I i
ma sum - - mis.
- ja, al - le
- ja, al - le
A l - l e - l u - - ja, al - le
Edition Peters
al - le
iii v i
71
al - le
a l- le - lu - A l-le
al - le
g_T' - ^ - zX—^ - ja. A l-le-luI r f „ ; J 3 t r 3 : ( % 3 Z 4 X
a l- le - lu -
Al - le - lu -ja, al - le > > >
lu - - - - ja, al - lem
m m
al - le
A l- le - lu- ja, a l - l e - lu ja, al - le
72
P r p
al - le - luW-
ja, fal - le - lu-P-
ja,
ja,A
al - le - lu - ja, 1 . 1aal - le - lu - ja,
zaija, al - le - lu - ja, al - le - lu - ja, al - le
mf
fJeAIE -j&;
vii t
<val
lu - ja,-V -- al - le
- lu -
-o~
— ^------ le - c
v i ( , Xpdim .sem pre PPP
f e =
almf
le lu- -ja.p dim.sempre ppp
± = &al
lu - ja, al - le lu - .1
.F a ls e t t o- le -
dim.
xy_- lu - Wp dim.sempre
^IXHEEEEEja,
cresc.al - le - lu - ja, a l - le
Edition Peters 5^ 4 i u
-o.al
i . •
lu -p dim.sempre
ja.pppm
x-le f>-llTr- -»•
-ja.
X
-ja.ppp
APPENDIX I
VEXILLA REGIS
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7 4
Molto sostenuto P
Soprano
cresc. sempre
Tenor
x i l - la - de- untcresc. sempre
- g is_ pro -
xil - la - de - unt cresc. sempre
xil - la de - unt cresc. sempre
o—o—i
xil - la re -z>gis pro -
U VU(, V I
dim. sempre
ful - get cru - cis, - get cm -cis my - ste - ri - um
dim. semprequo car
ful - get cru - cis, ful -
/§ F j I.:.--:
- get cru-cis my - ste - ri - um dim. sempre
ful - get cru - cis, ful
/
quo car-ne
- get cru - cis my - ste - r i - um dim. sempre
quo car
ful - get_ cru - cis, ful -- 6^v_ vi u. - v10, * wi - - get cru - cis my - ste - ri - um quo car - ne
J : 1 X t i v S iv1 Z l E i ^ U {V T. A « 6 . t ^ s F:v»*f rJ w > — — — —
su - spen
- spen
car - spen - Bus—eMUARf>101u<6. O il
E$»HL':ascar - con
Vi Vi,, X ITEdition Peters
v 'l m xsu - s p e n s u s , su /- spen - ^enr.
e'- tL itM,37) P a r t A venue S o u th , N ew Y ork 16, N . Y .
In te rn a tio n a l C o p y rig h t S e cu red . A ll R ights R eserved.
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crux
crux a
crux_ a
C-iv(. «,• j : y : > xi.3ss.v ",VI I V- JJ_7 11 / cresc. sempre «Mfc I
lo. 0OT^eK TWO
f WfyRmoMCm llV tDCNTLCj&u
hoc pas - si - o - ms, pas -spes ucresc. sempre
hoc pas - sispes u o - ms, pascresc. sempre
hoc p a s -s ispes ucresc. sempre
spes u - hoc pas-si o - ms, pas -
76
dim. sempre- o
tem - po - re stisi o - ms dim, sempre
au
stipo - re au is
tem - po - re stio - ms 1 dim. sempre
au
--o
o - n is_ tem - po stiausi57
o- -o— do - nado - naam re sque na
am re sque na na
oam re i - sque do
i - sque
na vena
am re na vedo
Edition Peters
77
eresc. semvrp
am. Ter\i> sumcresc. sempre
am. sum O'esc. sempre
am. sum cresc. sempre
sum
dim. sempre
col - lau det om. ms spi - ridim. semj/re
ni - tas
ft .ora - ms spi - ri - tusdim. sempre
col - laum - tas
lau-det, det om-nis ri - tus
ni - tas col - lau
- 0 — 4— □ ' J-J-r ■ — - r t r - : - J - - e r - 2 -
det ora - nis spi - ri - tus
78
[86—o-
salsteper cruquos ri run
ste salcruquos per umn
salstequos. per cru runn
salstequo: per cru ri run
[96
o <> <> -1—o — * men TW*
ge per sae-cu-la A-men.vas re
o -o- XJ- men
VPT\A - menvas re ge per sae cu
ge per_ sae~— o ----
A - menvas re cu - men VPr\
W Ki„;A - men
omenvas re ge per sae cu
Edition Peters
LIST OF REFERENCES
Garner, Mosco. Of Men and Music* London: J. Williams,Limited, 1944.
Carson, Leon. "Anton Bruckner and the Church," Musical Courier. Vol. 150 (Oct., 195^)» P* ^4.
Doernberg, Erwin. The Life and Symphonies of Anton Bruckner. New York: Dover Publications, 1 9 6 8 .
Graf, Max. "Bruckner and Mahler in America," Musical Courier. Vol. 14? (Feb. 1 5 , 1953)» p. 4.
Newlin, Dika. Bruckner, Mahler, Schoenberg. New York:King's Crown Press, 194?•
Redlich, Hans Ferdinand. Bruckner and Mahler. London: J.M. Dent; New York: Farrar, Straus and Cudahy, 1955•
Schonzeler, Hans-Hubert. Bruckner. London: Calder andBoyars Limited, 1970.
Simpson, Robert. The Essence of Bruckner. Philadelphia: Chilton Book Co., 19^8.
Streseman, Wolfgang. "The Music of Anton Bruckner," Chord and Discord. Vol. 2, no. 4 (1946), p. 17-22.
Wolff, Werner. Anton Bruckner, Rustic Genius. New York:E. P. Dutton & Co., Inc., 1942,
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