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Bruckner and the Liedertafel Tradition: His Secular Music for Male Voices

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Bruckner and the Liedertafel Tradition: His Secular Music for Male Voices Bruckner and the Liedertafel Tradition: His Secular Music for Male Voices by Andrea Harrandt Anton Bruckner Editor's note: This article is based on a paper presented in February men's choirs during his Linz period (1855 to 1868). After his 1994 at the first Bruckner conference held in the U. S. ("Perspectives appointment as town and cathedral organist in Linz, he be­ on Anton Bruckner"), Connecticut College, New London. came a member of the Liedertafel Frohsinn in March 1856. This society was the most important singing club in Linz. The beginning of the nineteenth century saw a gradual shift Bruckner sang second tenor, though in the archives of the from aristocratic to middle-class dominated social structure. Liedertafel he is listed as a first bass. l At the society's meeting of One outgrowth of that shift was the establishment of male October 31, 1856, he was elected assistant librarian for the choral societies-Liedertafel-Gedanke-that permitted social season. 2 In that position he was able to acquire first-hand contact and companionship regardless of class strictures. The knowledge of the standard Liedertafel repertory. development began in Germany where Carl Friedrich Zelter founded the Berliner Liedertafel in 1809. The Berlin model Repertory was followed in Leipzig (1815), Breslau and Magdeburg (1819), The most popular pieces performed by mid-nineteenth­ and Stuttgart (1824). In 1827 the first German festival of songs century Liedertafels are contained in a collection published took place in Plochingen (Wiirttemberg); the next big event by the Regensburger Liederkranz, a male choral society was a festival in Wiirzburg (1845). founded in 1837 in the Bavarian city of Regensburg.3 The Male choral societies were initially banned in Austria by songbook, first published in 1863, could be found in most Prince von Metternich, Chancellor of State from 1809 to choral society libraries, including that of the Liedertafel 1848, because of his political fear of such popular move­ Frohsinn. The types of pieces contained in this collection are ments. Nevertheless the Vienna male choral society (Wiener listed in Figure 1 along with representative examples in each Mannergesang-Verein) was founded in 1843. Other societies category.4 According to Bruckner biographers August followed in Waidhofen an der Ybbs (1843), Linz (1845), G6llerich and Max Auer, the composer knew this book. After Graz (1846) and Salzburg (1847). the First Upper Austrian and Salzburg song festival, Bruckner Anton Bruckner came into contact with music for men's and his friend Engelbert Lanz spent a few days in June 1865 voices in Kronstorf, where he founded a men's quartet in 1841. at the castle of Tax berg near Linz, where they sang songs of Later he founded a similar ensemble in St. Florian, where he the Regensburger Liederkranz.5 was encouraged by Hans Schlager, a teacher and composer of Bruckner also was interested in expanding his knowledge men's choral music. Bruckner had much closer contacts with of the Liedertafel repertory. On March 23, 1861, he wrote to the Wiener Mannergesang-Verein requesting copies of the Andrea Harrandt is a collaborator at the Anton Bruckner Institute following scores: Lim, Vienna, Austria. She is preparing a new edition of Bruckner's letters for the International Bruckner Society in Vienna. • Champagnerlied, August Schaffer • Warnung vor dem Rheine, Niels Wilhelm Gade DECEMBER 1996 PAGE 15 • Steuermannslied (tenor solo with • Heimweh, Conradin Kreutzer Bruckner received the works he re­ chorus from the Flying Dutch­ • Reiterlied, Ott6 quested but never performed them with man), Richard Wagner • Wanderers-Nachtlied, Karl Gottlieb the Liedertafel Frohsinn. He probably • Jagdlied, Franz Abt ReUSiger I used these scores for study purposes. • Landpartie, Hans Schlager • Morgenwandenmg, Heinrich Essei • Minnesiingel; Robert Schumann • In einem kith/en Grunde, folk song Bruckner as • Am See, Franz Mair • Schwiibisches Tanzlied, folk song Liedertafel Conductor • Gesang del· Geister iiber dem Wassel; • Stiindchen, Wiirts7 Gn September 2, 1858, Bruckner re­ Franz Schubert signed from the Liedertafel as a singing member reportedly because he had prob­ .1 lems with his voice.8 Only a few months Nature i . Marching Songs I Franz Abt, Aufden Bergen i . Karl Ludwig Fischer, wanderlied after leaving the Liedertafel Frohsinn, Conradin Kreutzer, Friiblings,nahen Felne Mendelssohn, Der fiohe wandersmann however, Bruclmer and his friend Lanz FriedrichWllhelm Kucken, 1m walde Julhis Otto, Siingermarsch petitioned the government of Linz to Felix Mendelssohn; Sommer/fed '.' Kari Friedrich Zollner, wanderschaft found a new singing club called "Gesangs­ Akademie." A month later they aban­ Night Soldier's Songs doned their plan.9 Franz Abt, Maiennacht Julius .Stern, Soldatenabschied Franz XaverChwatal, Nachtgesang In April 1860, Anton M. Storch resigned .Felix Mendelssohn, Abendstiindchen Patriotic Songs as director of the Liedertafel Frohsinn; in Franz Schubert, Die Nacht ' Karl Gottlieb Bellmann, wanke nicht mein August he moved to Vienna to become a Vaterland conductor at the theater in the Josefstadt. lo Love Joseph Hanisch, Thtterlandslied In October 1860, Bruclmer conducted one J. Rupprecht Durrner, .Time Liebe; Heimliche Johann Wenzel Kalliwoda, Das deutsche Lied piece on a Liedertafel concert, II and one Liebe ' Co~adin Kreutzer, An das Thtterland I Karl Friedrich Girschner, Ti·eue Liebe Julius Otto, Das treue deutsche Herz I month later, he was officially elected as con­ Johann F. Reichardt, Des deutschen Thtterland ductor. 12 According to reports of members, i Drinking Songs Bru€kner carried out his duties energetically FranzAbt, Trinklehre FolkSongs and ~et a high value on distinct articulation, Felix Mendelssohn, Liebe und Wein;Ti·inklied LOI·eley breathing, and correct pitch.13 He chose Heinrich Marschner, Ti·inklied music of good quality even for informal Albert Schroter, Zechers Wunsch Farewells performances.14 ,. Krrl Friedri~h Zollner, RheinuJeinlied; Trinklied Fe~ Mendelssohn, Abschiedstafel He led the choir in successful festival performances in Krems (Lower Austria) Figure 1. Regensbm-gel· Liedel·krallz, song types and representative works and'Nurnberg (Germany) in the sum­ mer: of 1861. In September of that year, he left the Liedertafel for some mysteri­ Doblinger ous, unnamed "offences" mentioned in a letter to his friend RudolfWeinwurm.15 He nevertheless maintained cordial rela­ ANTON BRUCKNER (1824 - 1896) I tions with the Liedertafel, often playing Editions for Male Chorus from the Complete Critical Edition: the piano in concerts as he had done in pre~ious years. In January 1868, FESTNE CANTATA (1862) Bruckner was again appointed conduc­ & for Bar Solo, TTBB, organ or wind orchestra organ, edited by Karl Etti 16 55 001 Large Score $21.00/Vocal Score $8.40/ Organ $4.90/ Parts $ 67.0(j) tor of the Liedertafel. In a review of his first! performance one month later, the HELGOLAND (1890)*) I press noticed the hallmarks of his choral TTBB with Soli and large orchestra, edited by Cyrill Hynais, revised by Rudolf N. interpretation, "extraordinary precision Fuhrer (MWV - Musikwissenschaftlicher Verlag, Vielma/Austria) and singular tender shade." 17 BR 94 Vocal Score $12.50/BR 94A Choral Score $7.25 Orchestral material rental only ') R'Cclusive distributors/or U.S.A. and Canada: C. F. Peters C01P., 373 Pad, Avenue Soutb, New York, ! Bruckner's Music for NY 10016, FAX: (212) 689-9412. I New complete Ml1117 Bruckner catalog available./i·om tbem all demand/ree 0/ cbarge. Male Voices Bruckner's output for men's voices is lAM LUCIS ORTO SIDERE (1886) varied and extensive (Figure 2). Most TTBB a cappella, edited by Hans Bauernfeind and Leopold Nowak pieces are for four unaccompanied voices; 54 101 Choral Score $1.40 eight add soloists; six are accompanied by All prices (according to conversion rate inAugust '96) arc approximate and subject to change without notk:c. wind instruments; four use piano accom­ For further information and/or orders, please contact your local music store Or the publisher ("diSlribIfIOl~'1 paniment; and two employ organ. I DOBLINGER MUSIC PUBLISHERS, Vienna -Austria Fax: (43) (1) 515 013-51 Bruckner composed many of them in the PAGE 16 CHORAL JOURNAL Year Work Number Voicing/Instrumentation Kronstoif 1843 AndemFeste WAB59 Four-part men's chorus 1843 Festlied WAB67 Four-part men's chorus 1843 Taftllied WAB86 Four-part men's chorus St. Florian 1845 Das Lied yom deutschen Vaterland WAB78 Four-part men's chorus 1846 5tiindchen WAB84 Men's quartet, men's chorus (humming), tenor soli 1847 Der Lehl'erstand WAB77 Four-part men's chorus 1848 Stemschnuppen WAB85 Men's quartet 1851 Das edle Herz WAB65 Four-part men's chorus 1851 Die Gebul't WAB61 Four-part men's chorus 1851 Zwei Siingersprnche WAB83 Four-part men's chorus 1854 LaftJubeltone laut el'klingen WAB76 Four-part men's chorus, wind instruments 1855 Des Dankes W'0rt sei mil' vergonnt WAB62 Five-part men's chorus, tenor and bass soli Linz 1861162 Del'Abendhimmel ·WAB55 Men's quartet 1863 Germanenzug, WAB70 Four-part men's chorus, French horns 1866 Del' Abendhimmel WAB56 Four-part men's chorus 1866 Vatediindisches Weinlied WAB91 . Four-part men's chorus . 1866 Vatedandslied WAB94 Four-part men's chorus, tenor and bass soli Vienna 1870 Mittemacht WAB80 Four-part men's chortls, tenor~olo, piano 1876 Das hohe Lied WAB74 Four-to eight-part men's~horus (humming), tenor and baritone soli 1877 Nachruf WAB81 '. Four-part mell'schorus, organ 1877 • Trostenn Musik, WAB88 Four:-part men's chorus,organ , 1882 5iingel'bund WAB82 Four-part men's chorus '1882 Volkslied· . WAf? 94 , Four-partmen's chorus' ,1886 UmMittemacht WAB90 FOUr-part'men's chor,us; tenor solo 1890 Ti"iiumen und W'achen WAB87 Four':'partmen'sc;horus, tenor. solo' 1892 Dai deutsche Lied (Del' deutsche Gesan'g) WAB63 Four-partJIlen's chorus, brass ,.', 1893 ','. Helgoland WAB71 FOllf-part men's c;horus, wind instruments, bass drum; qmbal,strings Figure 2.
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