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Bruckner Und Seine Schüler*Innen
MUTIGE IMPULSE BRUCKNER UND SEINE SCHÜLER*INNEN Bürgermeister Klaus Luger Aufsichtsratsvorsitzender Mag. Dietmar Kerschbaum Künstlerischer Vorstandsdirektor LIVA Intendant Brucknerhaus Linz Dr. Rainer Stadler Kaufmännischer Vorstandsdirektor LIVA VORWORT Anton Bruckners Die Neupositionierung des Inter- ein roter Faden durch das Pro- musikalisches Wissen nationalen Brucknerfestes Linz gramm, das ferner der Linzerin liegt mir sehr am Herzen. Ich Mathilde Kralik von Meyrswal- Der Weitergabe seines Wissens förderprogramm mit dem Titel wollte es wieder stärker auf An- den einen Schwerpunkt widmet, im musikalischen Bereich wid- an_TON_Linz ins Leben gerufen ton Bruckner fokussieren, ohne die ebenfalls bei Bruckner stu- mete Anton Bruckner ein beson- hat. Es zielt darauf ab, künstleri- bei der Vielfalt der Programme diert hat. Ich freue mich, dass deres Augenmerk. Den Schü- sche Auseinandersetzungen mit Abstriche machen zu müssen. In- viele renommierte Künstler*in- ler*innen, denen er seine Fähig- Anton Bruckner zu motivieren dem wir jede Ausgabe unter ein nen und Ensembles unserer keiten als Komponist vermittelt und seine Bedeutung in eine Motto stellen, von dem aus sich Einladung gefolgt sind. Neben hat, ist das heurige Internationa- Begeisterung umzuwandeln. bestimmte Aspekte in Bruckners Francesca Dego, Paul Lewis, le Brucknerfest Linz gewidmet. Vor allem gefördert werden Pro- Werk und Wirkung beleuchten Sir Antonio Pappano und den Brucknerfans werden von den jekte mit interdisziplinärem und lassen, ist uns dies – wie ich Bamberger Symphonikern unter Darbietungen der sinfonischen digitalem Schwerpunkt. glaube – eindrucksvoll gelungen. Jakub Hrůša sind etwa Gesangs- ebenso wie der kammermusika- Als Linzer*innen können wir zu Dadurch konnten wir auch die stars wie Waltraud Meier, Gün- lischen Kompositionen von Gus- Recht stolz auf Anton Bruckner Auslastung markant steigern, ther Groissböck und Thomas tav Mahler und Hans Rott sowie sein. -
Cantate Concert Program May-June 2014 "Choir + Brass"
About Cantate Founded in 1997, Cantate is a mixed chamber choir comprised of professional and avocational singers whose goal is to explore mainly a cappella music from all time periods, cultures, and lands. Previous appearances include services and concerts at various Chicago-area houses of worship, the Chicago Botanic Garden’s “Celebrations” series and at Evanston’s First Night. antate Cantate has also appeared at the Chicago History Museum and the Chicago Cultural Center. For more information, visit our website: cantatechicago.org Music for Cantate Choir + Br ass Peter Aarestad Dianne Fox Alan Miller Ed Bee Laura Fox Lillian Murphy Director Benjamin D. Rivera Daniella Binzak Jackie Gredell Tracy O’Dowd Saturday, May 31, 2014 7:00 pm Sunday, June 1, 2014 7:00 pm John Binzak Dr. Anne Heider Leslie Patt Terry Booth Dennis Kalup Candace Peters Saint Luke Lutheran Church First United Methodist Church Sarah Boruta Warren Kammerer Ellen Pullin 1500 W Belmont, Chicago 516 Church Street, Evanston Gregory Braid Volker Kleinschmidt Timothy Quistorff Katie Bush Rose Kory Amanda Holm Rosengren Progr am Kyle Bush Leona Krompart Jack Taipala Joan Daugherty Elena Kurth Dirk Walvoord Canzon septimi toni #2 (1597) ....................Giovanni Gabrieli (1554–1612) Joanna Flagler Elise LaBarge Piet Walvoord Surrexit Christus hodie (1650) .......................... Samuel Scheidt (1587–1654) Canzon per sonare #1 (1608) ..............................................................Gabrieli Thou Hast Loved Righteousness (1964) .........Daniel Pinkham (1923–2006) About Our Director Sonata pian’ e forte (1597) ...................................................................Gabrieli Benjamin Rivera has been artistic director of Cantate since 2000. He has prepared and conducted choruses at all levels, from elementary Psalm 114 [116] (1852) ................................. Anton Bruckner (1824–1896) school through adult in repertoire from gospel, pop, and folk to sacred polyphony, choral/orchestral masterworks, and contemporary pieces. -
Selected Male Part-Songs of Anton Bruckner by Justin Ryan Nelson
Songs in the Night: Selected Male Part-songs of Anton Bruckner by Justin Ryan Nelson, B.M., M.M. A Dissertation In Choral Conducting Submitted to the Graduate Faculty of Texas Tech University in Partial Fulfillment of the Requirements for the Degree of Doctor of Musical Arts Approved John S. Hollins Chair of Committee Alan Zabriskie Angela Mariani Smith Mark Sheridan Dean of the Graduate School May 2019 Copyright 2019, Justin Ryan Nelson Texas Tech University, Justin R. Nelson, May 2019 ACKNOWLEDGMENTS To begin, I would like to thank my doctoral dissertation committee: Dr. John Hollins, Dr. Alan Zabriskie, and Dr. Angela Mariani Smith, for their guidance and support in this project. Each has had a valuable impact upon my life, and for that, I am most grateful. I would also like to thank Professor Richard Bjella for his mentorship and for his uncanny ability to see potential in students who cannot often see it in themselves. In addition, I would like to acknowledge Dr. Alec Cattell, Assistant Professor of Practice, Humanities and Applied Linguistics at Texas Tech University, for his word-for-word translations of the German texts. I also wish to acknowledge the following instructors who have inspired me along my academic journey: Dr. Korre Foster, Dr. Carolyn Cruse, Dr. Eric Thorson, Mr. Harry Fritts, Ms. Jean Moore, Dr. Sue Swilley, Dr. Thomas Milligan, Dr. Sharon Mabry, Dr. Thomas Teague, Dr. Jeffrey Wood, and Dr. Ann Silverberg. Each instructor made an investment of time, energy, and expertise in my life and musical growth. Finally, I wish to acknowledge and thank my family and friends, especially my father and step-mother, George and Brenda Nelson, for their constant support during my graduate studies. -
Nineteenth Century Sacred Music: Bruckner and the Rise of the Cäcilien-Verein
Western Washington University Western CEDAR WWU Graduate School Collection WWU Graduate and Undergraduate Scholarship Spring 2020 Nineteenth Century Sacred Music: Bruckner and the rise of the Cäcilien-Verein Nicholas Bygate Western Washington University, [email protected] Follow this and additional works at: https://cedar.wwu.edu/wwuet Part of the Music Commons Recommended Citation Bygate, Nicholas, "Nineteenth Century Sacred Music: Bruckner and the rise of the Cäcilien-Verein" (2020). WWU Graduate School Collection. 955. https://cedar.wwu.edu/wwuet/955 This Masters Thesis is brought to you for free and open access by the WWU Graduate and Undergraduate Scholarship at Western CEDAR. It has been accepted for inclusion in WWU Graduate School Collection by an authorized administrator of Western CEDAR. For more information, please contact [email protected]. Nineteenth Century Sacred Music: Bruckner and the rise of the Cäcilien-Verein By Nicholas Bygate Accepted in Partial Completion of the Requirements for the Degree Master of Music ADVISORY COMMITTEE Chair, Dr. Bertil van Boer Dr. Timothy Fitzpatrick Dr. Ryan Dudenbostel GRADUATE SCHOOL David L. Patrick, Interim Dean Master’s Thesis In presenting this thesis in partial fulfillment of the requirements for a master’s degree at Western Washington University, I grant to Western Washington University the non- exclusive royalty-free right to archive, reproduce, distribute, and display the thesis in any and all forms, including electronic format, via any digital library mechanisms maintained by WWU. I represent and warrant this is my original work and does not infringe or violate any rights of others. I warrant that I have obtained written permissions from the owner of any third party copyrighted material included in these files. -
3.18.20 Musica Sacra PRESS RELEASE DRAFT CK 2-13
RELEASE For further information please call Julie Robinson, Rubenstein Communications, Inc. (212) 843-9341 / [email protected] Isadora Wilkenfeld, Cathedral of St. John the Divine (212) 316-7468 / [email protected] THE CATHEDRAL OF ST. JOHN THE DIVINE’S GREAT MUSIC IN A GREAT SPACE 2019-20 SEASON PRESENTS MUSICA SACRA: UNDER THE ARCHES MUSIC OF BACH, BRAHMS, BRUCKNER & RHEINBERGER Kent Tritle, conductor *** Performance by Musica Sacra, longest continuously-performing professional chorus in New York City Young Performers from the Newark Boys Chorus to Present Pre-Concert Recital *** New York (xx) The Cathedral of St. John the Divine’s Great Music in a Great Space concert series continues on Wednesday, March 18th at 7:30pm, with Musica Sacra’s Under the Arches: Music of Bach, Brahms, Bruckner & Rheinberger, at 1047 Amsterdam Avenue (at 112th Street). Conducted by Kent Tritle, Director of Cathedral Music, Musica Sacra presents this intimate a cappella concert which will be held in the Cathedral’s Nave and will explore the German choral tradition. Josef Rheinberger’s Mass for Double Choir in E-Flat Major, ‘Cantus Missae,’ will flank Johannes Brahms’s motet Schaffe in mir, Gott and Anton Bruckner’s Os Justi. J. S. Bach’s Komm, Jesu, komm completes this evening of soaring and uplifting music. A pre-concert recital will be given by the Newark Boys Chorus at 7:00 pm. Tickets begin at $20 and are available directly from Musica Sacra’s website. Visit the Cathedral’s website for more information about the 2019-20 season of Great Music in a Great Space. -
Unfinished Bruckner Concert Reviews…………… 3 Some of the Most Powerful and Effective Symphonic CD Reviews…………………
VOLUME NINE, NUMBER TWO, JULY 2005 Editor: Ken Ward Managing Editor: Raymond Cox Associate Editors: Peter Palmer, Crawford Howie [email protected] Nicholas Attfield In this issue: The First Second…………. 2 Unfinished Bruckner Concert reviews…………… 3 Some of the most powerful and effective symphonic CD reviews…………………. 6 codas were composed by Anton Bruckner. In CD New Issues……………. 9 performing their dual function of summation and New Edition of 9th Finale closure, and in sheer exultation, they are Samale-Cohrs 2004……….. 11 Poem by Morton Marcus…. 26 unsurpassed, and their finality in musical terms is Bruckner Scores: Instrumental incontrovertible. Works, Cantatas & Large It is therefore ironic that they were rarely, if ever, Scale Choral Works………. 28 the last word. The ‘finished’ symphonies were Obits: Horst Haschek, revisited and revised by both Bruckner and his Marcello Viotti……………… 33 Gt Missenden Weekends… 34 editors, and to this day new and different Concert Diary……… 35 versions/editions of the works are appearing, continuing the practice begun by Bruckner himself. THE 4th BIENNIAL Our perception of what a particular Bruckner CONFERENCE, symphony is, is subject to continuous reappraisal, NOTTINGHAM, 25 JUNE and what might be called the ‘Brucknerian The 2005 Conference is now symphonic project’ remains open-ended. As long as fully booked. Anyone wishing existing sources and editions are reviewed and new to attend who has not already sources discovered, new scores will be produced and booked should contact performed. (e.g. 1872 2nd, ed. Carragan; and 1888 Raymond Cox, 01384 566 383, 8th Adagio, ed. Gault & Kawasaki) to check if a place has become So it is neither surprising nor inappropriate that a available. -
Bruckner Mass in E Minor Motets
The Choir of King’s College, Cambridge Final Logo Brand Extension Logo 06.27.12 BRUCKNER MASS IN E MINOR MOTETS Academy of St Martin in the Fields Sir Stephen Cleobury THE CHOIR OF KING’S COLLEGE, CAMBRIDGE For more than half a millennium, King’s College Chapel has been the home to one of the world’s most loved and renowned choirs. Since its foundation in 1441 by the 19-year-old King Henry VI, choral services in the Chapel, sung by this choir, have been a fundamental part of life in the College. Through the centuries, people from across Cambridge, the UK and, more recently, the world have listened to the Choir at these services. Today, even people who aren’t able to attend services in the Chapel have heard King’s Choir, thanks to its many recordings and broadcasts, and the tours that have taken it to leading international concert venues around the world. Despite its deep roots in musical history, the Choir has always been at the forefront of technological innovation, and records exclusively on its ‘impeccable’ own label. 2 BRUCKNER MASS IN E MINOR MOTETS The Choir of King’s College, Cambridge Academy of St Martin in the Fields Henry Websdale & Dónal McCann Organ Scholars Sir Stephen Cleobury conductor 3 CD 57:06 ANTON BRUCKNER (1824–1896) 1 ECCE SACERDOS MAGNUS | WAB 13 (1885) 6:04 MASS NO. 2 IN E MINOR | WAB 27 (1882) 2 I Kyrie 5:43 3 II Gloria 6:50 4 III Credo 7:58 5 IV Sanctus 2:42 6 V Benedictus 4:48 7 VI Agnus Dei 3:55 8 TOTA PULCHRA ES | WAB 46 (1878) 4:48 9 VIRGA JESSE | WAB 52 (1885) 3:17 10 LOCUS ISTE | WAB 23 (1869) 2:38 11 AVE MARIA | WAB 6 (1861) 3:05 12 CHRISTUS FACTUS EST | WAB 11 (1884) 5:18 4 SHADES OF THE PAST IN played out against a revival of interest in early music. -
Vienna « Singakademie » – Concerts Including Choral Works of Anton Bruckner (1888-2015)
Vienna « Singakademie » – Concerts including choral works of Anton Bruckner (1888-2015) Source : https://www.wienersingakademie.at/de/konzertarchiv/?archiv=composer&id=93 10 December 1888 « Großer-Musikvereins-Saal » , Vienna : Max von Weinzierl conducts the Vienna « Singakademie » Mixed-Choir. Soloists : Caroline Wogrincz (Soprano) , Josef Lamberg (Piano) . Johannes Brahms : « Fragen. Sehr lebhaft und rasch » (Asking) , Song in C major for women's choir, Opus 44, No. 4 (1859-1860) . Johannes Brahms : « Minnelied » (Song of Love) , Song in E major for women's choir, Opus 44, No. 1 (1859-1860) . Wilhelm Friedemann Bach : Chorus « Lasset uns ablegen die Werke der Finsternis » (F. 80) . Anton Bruckner : « Ave Maria » No. 2 ; Marian hymn in F major for 7-voice mixed unaccompanied choir (SAATTBB) (WAB 6) (1861) . Laurentius Lemlin : « Der Gutzgauch auf dem Zaune saß » , Folk-song for unaccompanied voices (1540) . Giovanni Pierluigi da Palestrina : « Missa Tu es Petrus » , Parody Mass for 6 mixed-voices (SSATBB) (IGP 110) . Carl Wilhelm Schauseil : « Mir ist ein schön’s braun’s Mägdelein » , folk-song. Franz Schubert : « Mirjams Siegesgesang » , Opus 136 (D. 942) . 13 May 1891 « Minoriten-Kirche » , Vienna. Max von Weinzierl conducts the Vienna « Singakademie » Mixed-Choir. Soloists : Sofie Chotek (Soprano) , Carl Führich (Organ) . Johann Sebastian Bach : « Welt, ade ! ich bin dein müde » (World, farewell ! I am weary of thee) , Chorale in B-flat major for 5-part mixed-choir (SSATB) and orchestra (BWV 27/6) (1726) . Anton Bruckner : « Ave Maria » No. 2 ; Marian hymn in F major for 7-voice mixed unaccompanied choir (SAATTBB) (WAB 6) (1861) . Hermannus Contractus (Herman the Cripple or Herman of Reichenau) : « Salve Regina » harmonized by Professor Franz Krenn. -
Bruckner Latin Motets
BRUCKNER LATIN MOTETS LATVIAN RADIO CHOIR SIGVARDS KL‚ AVA ANTON BRUCKNER 2 ANTON BRUCKNER (1824–1896) 1 Os Justi (WAB 30) 4:10 2 Christus factus est (WAB 11) 5:28 3 Locus iste (WAB 23) 3:13 4 Ave Maria (WAB 6) 4:05 5 Libera me (F minor) (WAB 21) 2:18 Kronstorfer Messe (Messe in D, ohne Gloria & Credo) (WAB 146) 6 I. Kyrie 1:39 7 II. Sanctus 1:35 8 III. Benedictus 1:06 9 IV. Agnus Dei 2:22 10 Tantum Ergo (WAB 32) 3:07 11 Tantum Ergo (WAB 41) 2:19 12 Tantum Ergo (WAB 42) 2:42 13 Tantum Ergo (WAB 43) 1:35 14 Virga Jesse (WAB 52) 3:51 15 Pange lingua et Tantum ergo (WAB 33) 5:30 16 Salvum fac populum tuum (WAB 40) 3:23 17 Tota pulchra es Maria (WAB 46) 5:20 (Tenor: Jānis Kurševs) 18 Vexilla Regis (WAB 51) 4:55 KRISTĪNE ADAMAITE, organ (5, 12, 13 & 17) LATVIAN RADIO CHOIR SIGVARDS KĻAVA, conductor 3 horal music formed an important part of the output of Anton Bruckner (1824–1896) C throughout his career, yet it was in a way doubly disadvantaged. Firstly, Bruckner’s status as a composer in Vienna in his lifetime was eclipsed by the near-worshipful adulation afforded to Johannes Brahms (1833–1897). Secondly, choral music as a genre was underappreciated. In a stark contrast to the golden age of Renaissance choral polyphony, the 19th century preferred symphonic music (genres such as the suite, overture, fantasy, solo concerto and of course the symphony itself), chamber music was thriving in music-making in bourgeois homes, salons of the nobility and concert halls, and opera and ballet were hugely popular. -
ANTON BRUCKNER Born 4 September 1824 in Ansfelden, Upper Austria; Died 11 October 1896 in Vienna
ANTON BRUCKNER Born 4 September 1824 in Ansfelden, Upper Austria; died 11 October 1896 in Vienna Two Motets for Chorus In 1856, just before he started taking counterpoint lessons from Simon Sechter (to whom Schubert had applied for instruction just before his premature death in 1828), Bruckner composed a setting of the Ave Maria, the supplication to the Virgin derived from the annunciation, for solo voices, four-part chorus and organ. He then refrained almost completely from creative work during the five-year course of tuition with Sechter, which he carried on by mail and occasional visits to Vienna from his post as organist in Linz. Bruckner marked the end of his study in 1861 with another version of the Ave Maria text, this one for unaccompanied seven-part chorus. (His third Ave Maria, for contralto and organ, dates from 1882.) The 1861 Ave Maria is generally regarded as the first masterwork among his motets, and its premiere at Linz on May 15, 1861, in which he debuted in the joint roles of conductor and composer, marked the beginning of his artistic maturity. Ave Maria gratia plena Dominus tecum. Hail, Mary, full of grace; the Lord is with thee. Benedicta tu in mulieribus Blessed art thou amongst women, et benedictus fructus ventris tui, Jesus. and blessed is the fruit of thy womb, Jesus. Sancta Maria, mater Dei, Holy Mary, Mother of God, ora pro nobis peccatoribus, pray for us sinners, nunc et in hora mortis nostrae. Amen. now and at the hour of our death. Amen. Bruckner composed Locus iste for the dedication of the votive chapel in the new Linz Cathedral in 1869, and premiered it at the Cathedral on September 25th as a pendant to a performance of the E minor Mass. -
“Complete” Cycles
ISSN 1759-1201 www.brucknerjournal.com Issued three times per year and sold by subscription Editor: Michael Cucka Retired Editor: Ken Ward (2004-2016) Founding Editor: Peter Palmer (1997-2004) Associate Editors: Dr. Crawford Howie, Dr. Dermot Gault, & Raymond Cox VOLUME TWENTY-THREE, NUMBER THREE, NOVEMBER 2019 “Complete” Cycles In this issue: During the recent BrucknerTage at St. Florian, I was engaged in an Wagner and the Early History Page 3 interesting conversation with other attendees about just what was of the Seventh Symphony necessary for a set of recordings to be considered a “complete” Paul Hawkshaw cycle. Rémy Ballot has skillfully conducted and recorded many of Beethoven, Bruckner and his Page 14 the symphonies at this annual event, including the Second this year, “Finale” Problem the Fourth next year, and 3 & 5-9 in previous years. Released on Malcom Hatfield Gramola, interest in completing the cycle for an entire cycle “box set” generated anticipation. Bruckner, The Teacher Page 24 David Singerman However, as is often the case with Bruckner, a disagreement arose Conduct Like Celibidache? Page 28 about just how complete the recordings needed to be to be Thng Yi Ren considered “complete”. Bruckner Thoughts Page 36 Tom Empson Certainly, there was general agreement that all the numbered symphonies must be included (and to the best of my knowledge, 2019 BrucknerTage: Reports Page 37 that is the intention of the Gramola team with Ballot and St. Ken Ward & Michael Cucka Florian). But, must the cycle also include the D Minor “Die Nullte” Concert Reviews Page 43 No. 0 – the F Minor “Study” No. -
Matthew J. Carey
Curriculum Vitae Matthew J. Carey Education Texas Tech University – Lubbock, Texas 2010 - present D.M.A Choral Conducting (expected May 2016) Conducting Professors: Richard Bjella and Dr. John Hollins University of Oregon – Eugene, Oregon 2008 - 2010 M.M. Choral Conducting Conducting Professor: Dr. Sharon Paul Teacher’s Certification January 2004 K-12 Music Certification – Western Washington University, Woodring College of Education Western Washington University – Bellingham, Washington 1997 - 2002 B.A. Music, with an emphasis in vocal performance and choral conducting Conducting Professor: Dr. Leslie Guelker-Cone Conducting and Teaching experience Interim Director of Choral Activities The University of Alabama in Huntsville – Huntsville, AL August 2015 – present • Chamber Choir and Concert Choir • Choral Methods • Conducting • Introduction to Music Literature Instructor of Vocal Music and Director of University Choirs Oklahoma Panhandle State University – Goodwell, OK August 2014 – May 2015 • Studio Voice and Vocal Pedagogy • Chamber Choir and Concert/Community Choir • Music History • Introduction to Music Education • Lyric Diction for Singers • Adviser for student chapter of NAfME • Organizer and Host for Large-Group Choral Contest, Solo & Ensemble, and Choral-Orchestral Masterworks Concert at OPSU Guest Conductor, Fall Choral Concert University of Nebraska, Omaha – Omaha, NE October 2014 • Selected repertoire for the concert • 3-day residency rehearsing/conducting all three UNO choirs Instructor of Choral Music University of Oregon – Eugene, OR January 2014 - June 2014 • Served as sabbatical replacement for Director of Choral Activities • Conducted the award-winning University of Oregon Chamber Choir • Supervised graduate students in Choral Conducting • Prepared Chamber Choir for concerts with the Oregon Bach Festival under the direction of Helmuth Rilling and Matthew Halls.