Analysis and discussion of selected vocal motets of Anton Bruckner

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Authors Low, Jeffrey Allan, 1950-

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Link to Item http://hdl.handle.net/10150/554667 ANALYSIS AND DISCUSSION OF SELECTED VOCAL MOTETS

OF ANTON BRUCKNER

■by Jeffrey Allan Low

A Thesis Submitted to the Faculty of the

SCHOOL OF MUSIC

In Partial Fulfillment of the Requirements For the Degree of ;

MASTER OF MUSIC

In the Graduate College

THE 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.

Brief quotations from this thesis are allowable with­ out special permission, provided that accurate acknowlegment of source is made. Requests for permission for extended quo­ tation from or reproduction of this manuscript in whole or in part may be granted by the head of the major department or the Dean of the Graduate College when in his judgment the proposed use of the material is in the interests of scholar­ ship. In all other instances, however, permission must be obtained from the author.

SIGNED:

APPROVAL BY THESIS DIRECTOR

This thesis has been approved on the date shown below: PREFACE

Numerous volumes.have been written on the life $ sym­

phonies 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 per­

mission to use the enclosed scores, and Dr. Edward Murphy

for his assistance and advice. TABLE OF CONTENTS

Page

ABSTRACT oooeoceo eo.oo v

1. INTRODUCTION 6606 0 66066000660000 1

2 . BIOGRAPHICAL- INFORMATION 600000066000 5

3= BRUCKNER8S CHORAL STYLE 0 00 6000006600 16

4-. PERFORMANCE PROBLEMS . ooeoeoaeoocooo 26

APPENDIX A FOUR TANTUM ERGOS e o e 6 e e o o o 31

APPENDIX B AYE MARIA 00060 0 60666606 36

APPENDIX C RANGE LINGUA 600066006600 40

APPENDIX D LOCUS ISTE 0060000000000 43

APPENDIX E TOTA PULCHRA ES 0060 6000000 4?

APPENDIX F OS JUSTI 06000 0 66060606 53 APPENDIX G CHRISTUS FACTUS EST 59

APPENDIX H VIRGA JESSE 0 000660006000 65

APPENDIX I VEXILLA REGIS 600660608060 73

LIST OF REFERENCES 6 0 0.0 0 0 0 0 e 6 79

iv ABSTRACT

Anton Bruckner, although widely known for his con­ tribution 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 sym­ phonic 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 be­ ginning 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 Renais­

sance 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: "Except ye 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 . I98 ), 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 men­ tally and psychologically ill-fated to face; as"he became less able to defend himself, so it developed more surely into religious mania. His natural tim­ orousness 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 inter­ esting 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 stur­ dy 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 austeri­ ties 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 seven­ tieth 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 anti­ thetical 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. Undoubted­ ly there is a psychological link between his un­ successful love affairs and the strangely fanatical side of his religious worship. • 4 One can see from these varied statements that

Bruckner was quite a puzzle, especially to his contempor­ aries, who for the most part, were quite worldly and glam­ orous . 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 fes­ tival days, two trumpets were added to the overall instru­ mentation. 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

(1968 , p. 2 9)$

The Graduals and Offertories which Michael Haydn had composed for the whole liturgical year, in re­ sponse to the wish of Archbishop Hieronymus of Salz­ burg, and which were to be regarded by composers as a pattern, were set for choir in four parts with or­ gan and two violins and occasional addition of trum­ pets, horns or (less frequently) trombones. 6 To supplement the child's musical training, he was sent to his godfather Johann Baptist Weiss, who was school­ master 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 (1968 , p. 3I-32) 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, Bruck­ ner 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 col­ lecting certificates, whether received for completing in­ struction, 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 idiosyn­ crasy 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 posi­ tion, 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 (1968 , p. 33) relates how things were:

...the duties included an excessive amount of agricultural work on the fields of his senior schoolmasterIn order to.supplement his hope­ lessly 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 pen­ alized by being transferred to Kronstorf, a vil­ lage 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 bless­ ing 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 rela­ tionship 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 examina­ tion for teachers in senior schools, and having accom­ plished this, returned to St. Florian, to his own former school, to be assistant teacher. This return was an impor­ tant 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 inade­ quate 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 ac­ cepted as a private pupil.

His studies with Sechter lasted over five years.

Doernberg (1968 , p. 39) relates: "Bruckner considered them of 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 al­ most 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 ap­ plicants 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 10 tremendous 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 appli­ cants 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, how­ ever, he did not merely want another certificate, but rath­ er a specific document stating that he was now capable of becoming a teacher at music academies. Doernberg (1968 , 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 impres­ sion which Bruckner made; "He should have exam­ ined 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. 11

In February I863 , 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 186o-rl86l, 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 rep­

utation 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 186? , 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 fin­

ished 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 oppo­ nent 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 Bruck­ ner’s First Symphony was too complicated (Doernberg, 1968 , 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 Philhar­ monic Orchestra, who called "The Symphony of Rests" (Doern­ berg, I968 , 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 decid­ ed 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 13 movements» and many people left during the Finale (Doern- berg, 1968 , p, 71 ).

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, 1968 , p. 79)» Bruckner therfore thorough­ ly 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 (Doern­ berg, I96 8 , p, 80).

Bruckner completed the Fifth Symphony in May of

I8 76 , 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 re­ vised, The Adagio and Scherzo were performed in I883 by the Vienna Philharmonic Orchestra, Hanslick and Brahms were both present, but despite Brahms' enthusiasm, Hanslick remained aloof (Doernberg, 1968 , .p. 86),

The Seventh Symphony was completed on September’ 5?

I8 83 ? 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 14 world; but Vienna and Hanslick were still hostile. Declin­ ing health delayed completion of the Eighth Symphony until

August of I8 8 7 . His music was not performed in Vienna for three seasons (I88 -I890 ); when his friends organized a special concert conducted by Richter, the press ignored it.

In I89 O, 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. Fortu­ nately, 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, I89 O, when he was finally satisfied,.

Doernberg (1968 , 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 re­ sult 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 disap­ pointment also led to a renewed manifestation of the nervous affliction...(which) even af­ fected 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 15 sort 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, I89 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, I89 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.move­ ments 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 unfin­ ished; he died on October 11, I896 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 sen­ sitive, Bruckner was a devout Catholic, and his' sacred music in particular seems to be imbued with the spiritual, and perhaps even somber, relation­ ships 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 Oc­ tober, 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 writ­ er might add to the above statement is that Bruckner com­ posed 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 com­ poser knew the basic rules and craft of composition, but their intrinsic value is not in any way out­ standing; they could equally well have been written by any other schoolmaster and organist of that per­ iod provided he had a reasonable technical ground­ ing and average talent. It is true that in certain works there Is already evidence of a type of har­ monic structure, a tendency toward dissonance and somewhat unusual modulations, which was later to become so typical of Bruckner.

16 17 Four 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 Bruck­ ner. It is outstanding for its purity of line and its mastery of contrapuntal interweaving, and de­ spite the fact that its Palestrinian ancestry is undeniable it is also filled with that glowing de­ votion which characterizes so much.of Bruckner's religious music...With this composition he proved that he had completely absorbed the art of contra­ puntal 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 18 followed by four- to five-part men's voices very reminis­ cent of manuals of the organ, with its ability to change timbre immediately. It was first performed during a reli­ gious service in Linz on May 15* 1861 under Bruckner's di­ rection, 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. 67 -68 ) 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 cor­ rected the offending ninth into a harmless oc­ tave! 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 I869 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 19 word-painting, as well as a middle section fashioned from a harmonic sequence, with descending chromatics in the mid­

dle voiceso Sudden extremes in dynamics are common in ad­

dition 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 li­ turgical 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 di­ minished 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 25th 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, with­ out 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. . 20 The piece features some of the most contrapuntal

writing.to be found in all the works of this genre, includ­

ing 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 Thurs­

day. It features a great many typical Bruckner stylistic

features, including dotted rhythms, so typical of his sym­

phonic brass writing, multitudinous suspensions, an abun­

dance of third relations, numerous key changes, usually

•through closely related keys, dominant pedals, and once,

again, a fully diminished seventh chord immediately pro­

ceeding the final chord for modulatory purposes.

The Yirga Jesse of I885 was written during the

years Bruckner spent on his Eighth Symphony. The text in­

dicates 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. 21

The last piece to he discussed is the Vexilla Re­ gis c written in I892 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 rath­ er 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 22

stylistic characteristics of his symphonies» it is surpris­

ing 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 sympho­ nies - not to speak of his Masses - are all monu­ mental 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 any­ thing 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 Bruck­ ner's brass writing appears in many of the motets.

The use of rests between sections of major impor­

tance 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, 23 such as the contrabasses are sometimes used in the' sympho­ nies . 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 predict­ ableness 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 24 in the same key. . Again, the motets follow suit, except possibly the Tota Pulchra Es.t but this is due to the ambi­ guity 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 sym­ phonies also project a slow harmonic rhythm.

The individual voicings in the symphonies are con­ trapuntal to fit the harmony. The same is true in the mo­ tets $ 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 stac­ cato. There is one instance, however, at the end of the

Virga Jesse, where the tenors are instructed to use falset­ to, most likely because of the extreme high range. Every­ where 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. 25 There 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 im­

portant 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„ 256) said: "Like all Bruckner's vocal com­ positions , 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 dif­ ficult 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 sing­ er. 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 27 in 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. Exam­ ples 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 diffi­ cult problems. An example of this can be seen in the Aye

Maria on the top of the second page, where the soprano sec­ tion 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 tex­ ture, the low basses are on the note F while the sopranos are on a-2, This same situation occurs later in the piece 28 as 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 f f . 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 de­ mand but not in great supply.

This brings up the problem of soft, high tessitura singing required by the sopranos and tenors, often on un­ prepared 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 29 exposed 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 m f , and finishing with a loud b-1 marked falsetto, and descend­ ing 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 con­ text, they are all chromatically oriented and difficult to hear. 30 Glancing 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 modu­ lation 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 chro­ matic 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 that these deeply felt choral works are so rarely heard," APPENDIX A

FOUR TANTUM ERGOS

31 32

I Ziomlich langsam. Anton Bruckner (1824-18% )

:f > ' Vp Tan-turn er . go Sa - era men - turn ve - ne - re - mur Ue - ni - to - ri, Ge . ni to - que laus et ju - bi -

T. izPzzzz-pz:- J - A D. N V f ^ 1 4- El I 34 L nV: 3 S T 3 X 5 1 k-r-ij

cer . nu - i: ' an . ti - quum do . cn me i - turn no la ti - o, ' x<>jia - lua, bo - nor, vir - tud qqd - Bit

^yn— p.—r- .—p: ] . fJ r ~ r ~f'— i a -h»- » y A • t> I ' f p 1 1 1 f f P f x x ^ .

prae.atet fi - des sup - pie - men-tum men-tum , be - ne - di - cti - pro - ce - den - ti ab u - tro - que

^ f - 1 & « £ } : ^ ^ VT[7.r _ x L_ P 9 i v6 iv6 3C 1 r Adagio. i— - jr_L^/Xg z^ztiPpsp--^ : t - Q — — T — r — um de fe - ct sit lau - da - ticom -par sit lau - da - ticom ti o. A men.

_ o _ o^- _Q _ □ac P J p " p I p — p- io: 3 -t / — - ' -r. Vx AE 7s3 ^ V 5 ©jMjpyri^ir'I^TO (Arista Music Co. ^noied in thr u*^*

. ■ ' y~~ NI

^ A\ m 7 V

11

Andante. y A )) err sc.

- - -j , f T r ‘r* p Tan-turn er - go Sa - era - men - turn vo . ne - re - mur Ge - ni - to - ri, Ge - ni . to - quo laua • vt ju . bi i , T. ij-.- t z % z ^ T —r: J~::: „~-3 4 — i iti.mfJ — — 1 - — « . »' - —»■ — - LX ■ ■ - I i ■ -p ■ ~ | ” ~ ** *» — 4 - • •-» — — 1 B. p ctesc. ' 1 j, f, .. y. C- 1 Tt ^ Xi vi ■ ,..t Si x H vi^; X i C

2> crrno. V — - - .i — — X> - X i ii 1 — — » y — “■ “'■ “■ “■ ■ — ■■■■ — — t - ■— 1 — ■ — | d r rr r^J.TTr rt: ~—hxr| rrnzrzr.-vrzd vrtzszA — — »■ i" —- — • — ■ ■ — — —-— 'r •~ \ r — ’ ■ — — i i t — f—^^ - •^—1 P p L cer - no . i: |v | 1 h ct an . ti -1 quum do - cu . men - turn no - vo la . ti o, oa :- Iu3, ho - nor, vir - tas quo - que sit et u. — g — -- ri :fE - p~ -l:-|^-~|2 r d -p--- p f = F pcre&a. f T y i X t : X xi m Xi' i”;"!-, x efiv i't

4

^ •;- r r?~-|.f T-r ---1 ce - dot ri - tu - i: p prae-stet r a e -s te t fi - dee " supsup -- piepie - - men-turn men-tt be - ne - di - cti - o: pro - ce - - den den - - titi ab ab u n - - tro tro - -que q -1 J r J .

\ . . i v ’ V erf sc. PB

sen - 6U - cm com - par • sit da - ti men < t ~ J . A 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 XX •' NX ' ' dim. „ ~Z/J _— . fij - —f—-— (—f—{ t ~~'l

cer - nu - i: et an ti "- quum do - cu men - turn no - vo la - ti * o. ea - lua, ho * nor, vie - tua q u o. quo ait et

j q [ * J;'. ..: j ' j T d- f P r7 l

U M y X ' X CV /V VI,® . \ , E i ^ n :

dim.

co - dat ' ri prae-atet •dea sup ple - .men * 'bi .'no di pro - ce lti ab u - tro *-:! A ihj. A- A A

dim. praestet fi-dea V,f - r A A-3 pro-ce-den ti &: uf ^ jj^lT X c:X >t ^ i savi* T'. vn p ,-;; f f z M s h ~ u - 1

turn sen - au - um do fe . ctu i. que com-par ait lau da - ti o. A - men.

Z7\ 35

IV

Langsam. — -~ "'_z z^= a ~

-7 , , . , Tan-turn er - gt) Sa - cm - men - turn ve - ne - re - mur Ge *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

y* rfiwt, ____ /» . * -■«k. f — — i J- f t * w y JZ ^|— T — : W — — J^--— ij "E: ~t_ ::: “-— .yp: - - ■ • — * •■ yj ^ ■sr— —rf cer • nu - i: I ‘ I et an - ti - quum do - cu • men - turnturr no - vo la - ti - 0,^(|6jT 8a - lus, ho - nor, vir • t*. o.o - - queque sit et

Lc:fr— - 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

■p pra e - stetce - dat ri - tu - prae - stetce -dee sup - pie - be - ne di - c ti- * ti ab u -

j CL 1— r -B-xi • . 0 - 5 ,,-'.1 . ^^raestet pra< fi-des y*

/-fl J~X :rs: - * > - -5 men-tum sen-su - am de - - fe - -ctu - - i . tro - que com-par sit lau - -d a - - ti - - o. -men.

m 4 -3

^ itx i viti4x .x u w \ X APPENDIX B

AYE MARIA

36 37 Andante

Soprano A - ve Ma - ri gra-ti - a pie - na Do - mi-nus te - cum. te - cum

Alto

A - ve Ma - ri - a pie - na Do - mi-nus te - cum.gra-ti

Tenor

Bass

Be - ne - di - eta tu in mu- li - e ri - bus

mu-li - e - ri bus VP

et be-ne di - ctus fru-ctus ven-tris VP

et be-ne di - ctus fru-ctus ven-tris

m

BUS.

SUS,SUS.

SUS, SUS, SUS. o

SUS, SUS.

Copyright (f) 1961 by C. F. Peters Corporation 375 Park Avenue South, New York 16, N. Y. Edition Peters International Copyright Secured. All Rights Reserved. 38

ID m f JT p- I: i f t * M v / San-cta Ma - ri a, saii-cta Ma - ri - a, sancta Ma - ri - a, ma - ter ff_A

San-cta Ma - ri - a. sancta Ma - ri - a, sancta Ma - ri - a, ma - ter mf gZEE: j-— t » ■ - - «— Sancta Ma - ri sancta Ma - ri - a , ma - - ter Sancta Ma - ri sancta Ma - ri - a , ma - - ter i. 4 3 J J . J—l < i; , I r f; I r . —. -nrT * CTT w/*San-cta Ma - ri - a, JJ sancta Ma - ri - a, ma - ter vatlTl ulu T vi t (fz w GL

ra pro no

ra pro no pec - ca ra pro no-bis

raprono-bis pec - ca

i, o - ra, o - ra pro no bis pec - ca x tsTi ii7 i f 7 iiriL T i _____ tirjr o+ H S3L cf’ebAL -- — — " ' 39

ri - bus, nunc et m ho - ra mor - tis no - strae, mor- tis no - strae.P

nunc et in ho ra mor - tis no-strae, . mor - tis no-strae. i A

n - bus, nunc et in ho - ra mor-tis no-strae, mor no-strae

ri - bus nunc et in ho ra mor - tis no - str mor - tis no-strae. %. jS- x a

San-eta Ma - ri men.

<> San - eta Ma - ri o - ra pro no men. &

San - eta Ma - ri - a men. >

San -eta Ma - ri* * - tvy o - ru, pro no * o a ” -y-i'3 - his. men. Edition Peters 3-i X ii t T, x vii ^ iz: (g)i,x APPENDIX C

PANGE LINGUA

4 0 41

P f Soprano o ~ & $ —o ------o ------t - O - Pan - ge lin gua glo ri - o - si cor - po-ris my- Tan - turn er go sa - era - men - turn ve - ne - re-mur Ge - ni - to ri ge - ni - to - que laus et ju - bi - P z Alto — o ------•-e------o —-----'—et— Pan - ge lin - gua ri - o - si cor - po-ris my - Tan - turn er - go era - men - turn ve - ne-re-mur Ge - ni - to ri ni - to - que laus_ et ju - bi - P Tenor Pan - ge lin - gua ri - o - si cor ■ Tan - turn er - go era - men - turn ve - Ge - ni - to - ri ni - to - que laus. P Bass m & Pan - ge lin-gua glo - o si Tan - turn er - go men - turn Ge - ni - to - ri to - que A m 6i6.U0V5 IV C-.r Vi x ir x

san- gui ms-que pre - ti - o - si et an ti-quum do - cu - men-turn sa - lus ho - nor v ir-tu s quo - que ff

san - gui ms - que pre - ti - o - si et an ti-quum do - cu - men-tum sa - lus ho - nor v ir -tu s quo - que JT

po-ris my - ate san - gui ms-que pre - ti - o - si quern ne - re-mur cer ti-quum do - cu - men-tum no - et ju - bi - la sa - lus ho- nor v ir -tu s quo - que sit

cor - po-ris my - ste an- gui nis-que pre - ti - o - si, ve - ne - re-mur cer t an ti-quum do - cu - men-tum laus et ju - bi - la a - lus ho - nor 'i^ -tu s quo-que 4 — 3 x T-4, x i . Vk VD] Copyright (£) lyol by C. F. Petrri Corporation 37) Park Avenue South, New York 16, N. Y. Edition Peters International Copyright Secured. All Rights Reserved. C«\ foCNLjl 42

QU yz tifm. p p n\ p Z 7 S — i-- quern _ in raun-di pre - ti - um fru-ctus ven-tris ge - ne t o - si, rex ef - no - vo ce - dat ri - tu - i: prae-stet fi - des sup-pie men-tum sen - su - s i t _____ et be - ne di - cti - o, pro - ce - den - ti ab u tro-que com-par dim. zT\ P f f

quern in mun-di pre - ti - um fru-ctus ven-tris ge - ne ro - si, rex ef - vo ce - dat ri - tu - i: prae-stet fi - des sup-pie men-tum sen - su - et be - ne di - cti - o, pro - ce - den - ti ab u tro-que com-par

f f P -o— ZT\ P £ mun pre - ti - um fru-ctus ven-tris ge - ne ro - si, rex ef - ri - tu - i: prae-stet fi - des sup-pie men-tum sen - su - di - cti - o, pro - ce - den - ti ab u tro-que com-par

FT FF=io--- .— (9----- n--r ■ i f®- — i ----J 4— 1 o 4- quern in mun-di pre - ti um fru-ctus ven-tris ge - ne - ro - si, rex ef - no - vo ce - dat ri - tu i: prae-stet fi - des sup-ple - men-tum sen - su - sit et be - ne di - cti - o . pro - ce den - ti ab u - tro-que com - par o iVt. wi, i 4-3 d-.x i m i n SO&P* sn X llLWs!> 6: ii -U p p /T\ EE fu - dit gen - ti - um, rex ef fu - dit gen - ti - um. um de - fee - tu - i, sen - su um de - fee - tu - i. A - - men. sit lau -da - ti - o, com-par sit lau - da - ti - o.

XT i ? ' * \ f j XT fu - dit gen - ti - um, rex ef fu - dit gen - ti - um. um de - fee - tu - i, sen - su um de - fee - tu - i. A - - /^ - men. sit lau - da - ti - o, com- par sit lau - da - ti - o.

g . f c W / PP — :ex

fu - dit gen - ti - um, rex ef - fu - dit gen - ti um de - fee - tu - i, sen-su - um de - fee - tu sit lau - da - ti-o, com-par sit lau - da - ti

W. .

o fu - dit gen - ti - um, gen - ti - um. um de - fee - tu - i, de - fee - tu - i. - men. sit lau -da - ti-o, AM1M4U VT/ lau - da - ti - o. X vi‘.iuTL X U W t TRC v • .

LOGUS ISTE

43 44

Allegro moderate y /i p f Soprano Lo - cus i - ste a De-o fa-ctus est lo - cus i - ste a De-o P m f f Alto EE j=)^ = - - j = E p iF ■&— #- ~lt~' cf & Lo - cus i - ste a De-o fa-ctus est lo - CUS i - ste a De-o P mf s

Tenor d- ^ E j :4 ¥ Lo - cus i - ste a De-o fa-ctus est lo - cus i - ste a De- o P m f f Bass M e Lo - cus i - ste a De fa-ctus est lo - cus i - ste a De 4 — 3 (2: X vifcX. GD *U. /

e #r fa - ctus est, a D e-o, De-o fa - ctus est in - ae- sti P f

F ~cr —#— ^ 4 5 in - ae - sti fa-ctus est, a D e-o, De 0 fa-ctus est P f

y fa - ctus est, a D e-o, De-o fa - ctus est in - ae-sti- P, E^EgEEj

fa - ctus est, a De - o, De-o fa - ctus est in - ae - sti - ma - bi - le .

fieft-RT-.lfc X Ifieva^XST: X, i t ' - ^ 3 03£ - ^ C ^ c X^J/ r p h #:a s C 5eave

l z t z

ma - bi - l e sa - cra-men-tum, in - ae-sti - ma- bi - le sa - cra-men-tum f f i V tf^y ma - bi - le __ sa - cra-men-tum, in - ae-sti - ma- bi - le__ sa - cra-men-tum jr TCOh iF ma - bi - le sa - cra-men-tum, in - ae-sti - ma- bi - le sa - cra-men-tum

& „ » ^ x nxi= 5 E E E H 1 m j£lv* —- g I sa era - men turn, in-ae-sti - ma- bi-le sa era - men -.

pescewT)^omATtcs »N A u t o -h -t e n j c r crfsc. tf ir re-pre-hen - si- bi-lis est, ir re-pre-hen - si - bi-lis est. A______WVP______cresc.______$«?• W ' r"5M < 5c.QUCNCv ir . re-pre-hen - si - bi-lis est, ir - re-pre-henpre-hen - - si si -- bi-lisbi-lilis est, est, VP cresc. i>»- ir - re-pre-hen - si - bi-lis est, ir - re-pre-hen - si-bi-lis est, ir - re-pre-hen-

x a, w. C '• fVz,

hen - si - bi-lisest._ Lo - cus i - ste a De- o P •0“ hen - si - hi - lis est._ Lo - cus i - ste a De - o LI KE BcfrlfJNi (<^(3 31- r j :? si-bi-lis est, ir - re-prehen - si - b i-lis Lo - cus i - ste a De - o Jh k ±

A Lo - cus i - ste a De i t J T I t n7 Vii-Tir it E =c VI, 4 4 6

y m f f p m m J = 3 = & t fa-ctus est, lo - cus i - ste a De-o fa-ctus est, a De-o, De - o, X

in ■a- fa-ctus est. lo cus i - ste a De- o fa- ctus est, a De-o, De - o, f P

far ctus est, lo - cus i - ste a De-o fa-ctus est, a De-o, t fa-ctus est, lo - cus L- ste a De - o fa-ctus est, a DeDe-o, - o, De-o, sa i t ' 3 & § * 3 yrt______cresc. o a De-o, De-o ctus est. cresc. IP

v y v -V a De- o, De-o ctus est. cresc. IP

a De- o, De-o ctus est cresc

-*>--- <5- ft De-o, De jw --vy o itv ctus est. d g if 5 ,iVVii 7 ^ U 3 r 7 \ 7 _U 3 Z I - - 3 E d itioin n Peterd —jj" of Vi V APPENDIX E

TOTA PULCHRA ES

47 "S

48

Chor P Soprano To - ta pul-chra cs Ma - ri

Alto m To - ta pul-chra es Ma - ri - a. Solo Solo P Pif i - Tenor p m $ To-ta pulchra es Ma - ri To - ta pul-chra es Ma - ri a. Et P - = r = Bass To - ta pul-chra es Ma - ri

Organ ( Piano)

C ' T H m , Vi v T l T n

Chor El dim. & ¥ Et ma-cu-la o - ri-gi-na-lis non est in te. m f. > > dim. tF Et 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

W CC. I tv 1 ,r ui s x V. in ^WfcX 5rr Pa

Chor 03 v. J) 3 A Tu lae - ti - ti - a, lae - ti - ti- a, lae - ti - JBBr\ — ■ ^ — K—u

Tu lae - ti - ti - a, lae - ti - ti - a, lae - t!' jgrt >i K ; , ^ k

Tu glo - ri- a Je - ru - sa - 1cm. Tu lae - ti - ti - a, lae - ti - ti - a> lae - ti - j , S- ii j j ; r r r r n r r r r Tu lae - ti - ti - a, lae - ti - ti - a, lae ti Pleno Org.

Pedal pxr 9-9 4-3

N o F £ e u u 6 o f Ke V S e d v E N C t. CF ?LfiG<\L dAD,

jDvSolO

ra-el.Tu ho-no-ri-fi - cen-ti - a po-pu-li no - stri

------— r - r ~ _ ...... --- Z.-- ■i ■ TP

- - - /z.

sar vft r C# n-9 4-3 4-S 4-3 4-% q-'S t : iV i P- H X e< i 3E G^T): r ;i a= I 3 C 50

T] Chor dim. p p ~r--' I I l=rA— Tu ad-vo - ca - ta pec - - rum. P — ____ , dim. PP

Tu ad-vo - ca - ta pec - ca rum. Solo P — ______dim. PP PP___

Tu ad - vo - ca - ta pec - ca rum. PP

Tu ad - vo - ca - ta pec - ca rum.

$ 4-S 4-3-Z-3 S «m 1 L A G- TO Bt5 & i NN i N 6

Chor PIP

ri Ma - ri

Solo

V ^ --- - ri - al Ma - ri Vir-go pru den - tis - si - p p p ri- Ma - ri

q- iii 5 1

Chor Chor

Ma - ter men-tis In - ter-ce- de pro

Ma-ter cle - men-tis-si In - ter-ce - de pro / dim. _ pp

Ma-ter cle - men-tis-si ma. 0 - ra pro no-bis. In-ter-ce-de pro / dim. ,PP jr

Ma - ter cle men - tis - si ma. In - ter-ce - de pro leno Org\ i

d: I X. -2L a h:x VT .., 15'“s iiifjIlIlRElJ® '

no - bis ad Do - nu-num Je stum,sum ad Do-mi-num Je - sum dim.

no - bis ad Do - mi-num Je - sum stum, ad Do-mi-num Je - sum dim. p i no - bis ad Do - mi-num Je - sum stum, ad Do-mi-num L

no - bis ad Do - mi-num Je - sum stum, SV£p

f- F:Z x ^ y m 3 Edition Peters tii (, tic ^ 11 52

stum, de pro bis ad cresc.

m -ter - ceChn - stum, m -ter - ceChn de pro no - bis, ter-ce-de pro

Je-sum Chn-stum, in - ter - ce - de pro no

ter - ce - de pro no

I - (? ll,. 331 3C T , ^ ,x dim.

' Do-mi-num Je - sum Chri-stum, ad Do - mi - num, _r—i Z dim.

no - bis ad_ Do - mi-num Je-sum Chri-stum, ad Do num, f

Je - sum Chri-stum, ad Domi-num mi - num, dim. VP

mi-num sum Chn - stum, ad Do mi - num, ad

ad Do - mi- num - sum Chri - PP

ad Do - mi - num - sum stum. w * VPP

ad Do - mi-num sum Chn - "■—' - stum VPP

Do-mi-num Je sum, Je - - 4 - 0 - sum stum---- 0.'. "sr I I T 1 - iv .i» x . APPENDIX F

OS JUSTI

5 3 5 4

Soprano ju - sti me-di - ta • bi-tur sa m f

A l t o

Os ju - sti me-di t a - bi-tur P Tenor Os ju - sti me-di - ta- bi-tm

Bass Os ju - sti me - di - ta - bi-tur sa - pi - ti - am, os F '• X . v l 3 C I-

ju - sti me-di - ta bi - tur cresc.

ju - sti me-di - ta - bi - tur

f 1---- fiI— F-f - r

rr- £ T ~ r ju - sti me-di - ta-bi-tur sa - - _ r - _ , - pi - 4-3 «l-? 1-3 vifc v i X x 3 i r 3 v," C'.Ig 3T v i n\ J3L (LcfJT0oMT tt^ucv> dim. P '4 -o- en ti - am. et e - jus lo - dim. 32: ¥ en ti - am, et lin - gua e - jus lo que - tur ju d i ci-um, ju - a dim. in^n'rtTW tf G-MTKrt/JCtS — ------en - ti - am, dim. P - - ■ ■ rm "f — ■ > --- —1 ------,------i - ^ 4------] : j t r d - - 3 — • ~ ■ en ti - am, et

Copyright 1961 by C. F. Prtrr* Corporation 4 3"'"3vi x 373 Park Avenue South, New York 16, N. Y. Edition Peters International Copyright Securer). All Rights Reserved. 55

cresc.

que - tur ju ci-um ci-uxn cresc

et hn mf- ci- rnn, poco a poco cresc g-ua e - jus lo que-tur,

a m # lin - gua e - jus lo - que - tur ju - di- ci-um, lo que-tur ju

dim. rt

- jus et 1m - gua e -jus

jus lo - tur ju - di- ci-um, et lin-gua e-jus lo - dim._____ Izt: rzrr. m ± 2 £ lin - - gua e jus lo que - tur ju - di - ci-um, et lin-gua e-jus lo- dim. P __ rtfzn— r di ci-urn. et lin - - gua jus, 5 6

que - tur ju - di ci - urn, gua e-jus, h dim. cresc. sem pr e m que - tur ju - di hn - gua e-jus lo tur ju d i m cresc.

tur ju - di - ci-um, et hn-gua e-jus lo - que-tur P cresc.

gua e -jus lo - que-tur

cresc.

jus lo que - - tur ju

di - ci-um, que - tur ju- nf

um,et^ hn-gua e m ' - jus lo tur ju MT - - 11 lit r— 1------,------—I------1— — : - 4 — i - _— a J .. i ------"s lin-gua e - jus lo - - que tur ju di - ci

Edition Peters 5 7

- jus m cor- de ip dim.

e - jus in cor - de ip - si - dim. urn. jus in cor - de ip - si dim.

jus in cor -d e ip - s i - - us, lex De - i, % ii'i J5L1Z:'<12F:X ^ poco a pocorfm.LlKe: l u y

De - e - jus in cor - de ip - si yoco a poco dim.

De- i, crcsc. e - jus in cor - de ip - si - us, in cor-de, poco a poco dim.

e - jus in cor-de ip-si - us, in cor-de, cresc poco a poco dim.

f T . e - jus in cor de ip - si - us, q-$ -4-3 q-s 7-t 4-3 4-fl 4-3 9-S 4 -3 X % vi O Jt % v i III 5 8

in cor-de, cor in cor-de, de ip - si P v cor-de de, cor-de, d i m

in cor-de d i m . V P

S;*- '^-3. - cor - de, in cor a *7—6 4 — 3 4- — -

[Choral]

us et non sup bun - tur_ gres-sus e A1 - le- lu - ja, al - le-lu-jal_ PPP

us et non sup bun - tur gres-sus e Al - le - lu - ja, al - le-lu-ja!_ PPP_,

us et non sup bun-tor gres-sus e Al - le - lu - ja, al - le-lu-ja! PPP

"e~ r ~ r T us et non sup bun-tur gres-sus e Al - le - lu - ja, al - le-lu-ja!_ x: Edition Peters APPENDIX G

CHRISTUS-FAGTUS EST

59 60

Moderate misterioso VA P E== Z Soprano ~V~i cf o~ Chri-stus fa-ctus est pro no bis o - be di-ens, o - P :____ Z_ Alto A ^ ^ Chri-stus fa-ctus est pro no bis o - be di-ens, o - be - di - ens, o P , . - C ~ -4 mf > Tenor dkg: t o¥zzif~ :rif±£± ^ ---r Chri-stus fa-ctus est pro no bis o - be - di - ens, o - be di-ens, P -to = P > »- Bass -O-—*•—O- “IT Chri-stus fa-ctus est pro no bis o - be di-ens. o - j , i x F-. X

m . s e m p r e 8 Si be-di-ens, o - be-di-ens o - be - - di - ens u-sque ad mor - p p .

-v-'xr' -& -0- -a be - - di - ens u-sque ad mor ydim.sempre I EE "jrj- 3 , 3 1- -3=P3 to&± o - be-di-ens. o -be-di-ens, be - - di - ens u-sque ad mor - dim. sempre §e e £ be - - di - ens u-sque ac^ mor -XT " E ■ P ,-r. T2-/ i!^ Ut, £ ‘ 6 ' % 3 K iv

mor-tern au - tern cru r rfm. #P

mor-tern au cru - - CIS. / * dim

•nor-tem tem_ cru -

tern au - tem_tem,mor- Lcru_to T\V , TT/” - 'i'i-- 3 - yli6)cisX m G d ° , Xs-1 ^ ^ X k • '/ 1 1 Copyright i 1961 byCTr. Pctrri Corporation Edition Peters }73 Park Avenue South, New York 16, N. Y. International Copyright Secured. All Rightt Reserved. 61

ppoco apoco cresc. m f poco a poco cresc.' S's 1------~t Pro-pter quod et De - us ex - al - ta - vit il -lum, propter quod et De - us Ppoco a poco cresc.______> > mfpoco a poco cresc. ±= 1 P F I ^ »- ^— or I’ro-pter quod et De us ex - al - ta-vit il-lum. propter quod et De ppoco apoco cresc. / rtfpGco^ a poco cresc.

Pro-pter quod et De - us ex - a l-ta -v it il - lum,propter quod De - us Ppoco a poco cresc. cresc.

Pro-pter quod et De - us ex - al - ta-vit il-lu m / iRS) \ pro-pter quod et De-us j f 3 G: u\ V,i X St SI * * yi ——— ex - al - ta - vit il-lum et de-dit i l - l i no-men. et de-dit il - li no-men. jQL > > P 3L.

ex - al-ta-vit. il-lum de-dit il-li no-menn O _TY' on •£»tet de-dit A Ck rl i ♦ 1 il1 - li n/%no-men, wtA d2— |> > 2* ______™JmJ L ______■’---1—l—t— /—I--1—H --1— ex - al - ta - vit il-lum de-dit il - li no-men, et de-dit il - li no-men, > > i p kS.f! . .K , k . 5S= -Jt s r » ex - al - ta - vit il-lum et de-dit i l - l i no-men, et de3-dit il - li no-men, quodest vi is: t ’ e-.s: > z > w SE i 6V> XZT«.:r4i XC'.3u '------^ 3 3 3.^ sVmPHOMVC7.) 62

ppoco a poco cresc. .Jf ±Ez quodest su - -per, su- -per, su-per om- ne no-men, quod eat ppoco a poco cresc. / a _ _ « — > > jr

quod est s u - - p e r , su-per om - ne no-men, quod est > > jfra- a

quod est su - -per, su-per om-ne no-men, quod est poco a poco cresc

su - 0 - per, su-' « - ^"^per, l -^per, JK . V su-persu-pe om-ne no-men,quod est 0 i ii^.vrL E v i T ^ ( ^ 3 c t . E3 %I ' i'f-' i «i "fei'I %&- 9:-ail su - per om - ne— no-men, su - per, su-per, quod est \ A P _ _ _ _ _ #P_ ■ z; i su - per om - ne,. om - ne no-men, quod est su - -per, z h j & . : _ mf zr-£: eCzzlz.Q zczz rrrr: per t no-men. ^ quod — e s t -per, r I iiiviu'iiNttSIXy ii it liim u.: 3L 4 - 3 Edition Peters 1 y f ' «l,i ’-pom.'DotvuivAMT Pe(>t(\c. V 6 3

crcsc p poco a poco crrsc.

- per uni - no no-men rresr. / > >

quod estsu-per ne_. no-men, v o p poco a poco crescquod est cresc.

su - per om - - r.e no-men, su- - - per,_ r/rsr. > ppoco a poco cresc. ~o~ m su - - o Tier, 7-6

quod est su-per omne no-men quod est su-per omne ne no - men, om- A Kdin. , ®

no-men quod est su-per om - ne no - men dim. ' ' * *

su - per_ om - ne_ no-men quod est su-per om - - ne no - men, . dim. M A t,A Jf^ r ■art bl u * a^- A _ zr=tz =#5 su - per om - ne no-men. quod est su-per om - ne no men.

C ' A * / |VtiVc3Z> VH / X 6 i /v6H U *L viit it vu^ i ^ yz fv iv X X s ‘k 64

dim. y— men, quodest su - -per om-ne no-men, dim. . — #— <*— —»— — _i--L—V **—i— .— s : - v»s>--- —<* fo?—o ■ d --- L_i-- — ,--- i---- ne no men quod est su - - per om-ne _ no-men, dim.

om-ne no men, quodest su per om-ne_ dim.

1 r om-ne no men, quod est -per om-ne no - men, VepAU J" W ii H i i II v VH, Jty i jypppoco a poco cresc.

quod est su - per om om - ne no -men. •ppppoco a poco cresc. dim.

quod est su - per, su-per om - ne no - - men. p p p poco a poco cresc.

-4 & no-men, quod est su per,su-per om n e , om ^-434 — L_i-'4 ""itu— :—i--- ______dim. | ____ -or — — ------0b-1 l~ — |- r_Z—i— 1 — cj - i ------*—^lo ------L^>------1- —-4-— zzii om - ne no - men, om / \ 2 ne, om - ne no -• - men. Edition Peters3T it* 3:1 \ r APPENDIX H

VIRGA JESSE

65 6 6

Alla breve Anton Bruckner (1824-isse)

------.1------y r--] Soprano . ./^±rZr-..v5>>. > . '■ r — 'F" ...... r ~ — Vir - ga Jes - se, vir - ga Jes - se, vir - ga Jes - se cresc. sennpre ( i J J — f — |------1-----1— Alto —J—*— J— J— ~ d »— J— ¥ j ’ " 1 Ls1----- d---- ^ ^ Vir - ga Jes - se,__ vir - ga Jes - se, vir - ga Jes - se cresc. sen Tenor f F — = 5 = 1 L ( , - A _ U _ | ------j------—O '------—

flo - ru-it, vir - ga Jes * se, vir - ga £T V cresc. sempre _ * p -i— h flo - - ru-it, vir - ga Jes vir - ga cresc. sempre -fX:P - » --i?»- =C=3= = t = ' ^ F flo ru - it, vir. ga Jes - se, vir - ga p ^ r - smpr*r I F'' i r r - ru- it ga

C ' . z i 4 - 3

ga Jes - se ru - it

vir - ga Jes - se ru- it

vir - ga Jes - se ru - it s a

Jes - se, F X 5 . ru-ft: Copyright •© 1961 by C. I'. Petcri Corporal ion TZ X c 373 Park Avenue South, New York 16, N. Y. Edition Peters International Copyright Secured. All Rights Reserved. 6 7

y / t u . ( f s e v i p r e iA: }>k. $ F Vir - - go De - um et ho - mi-nem ge f f sempre A t- A

F £ -t— — Fcy™~4> n Vir - - -go - um et ho - mi-nem tffsempre ^ o::. — _U|g=z±r

Vir - um et ho - nn-nem 77, sempre bo '7~~--Q

Vir - De - - um et ho - mi-nem H 3ZT Ui (Jet.) 4 M 3 k = & m nu - it, vir - go De - um et ho - mi - nem ge - > > > nt: M — {-i>; 3E I

> > > = = = — i ------Ir * = ] ^ -- — 1------— --- a-- J - nu - et ho mi - nem ge h -jxv1

- nu - - it, vir - go De - um et ho mi - nem ge nr Mt, X 3 e b: IVj. r I 68

G .P VP cresc. BE nu - it:pa - cem De di- dit, pa - cem VP cresc

nu - it: pa - cem, pa - cem, cem red - di - dit VP cresc. m f

nu- it: 1 pa - cem De di - dit, pa - cem, pa cem u eMC

nu- it: cem De - us red - di - dit, VI/, VI i1-V.r cresc.

red - di - dit, cem,----- cresc. z cresc.

pa - ccmy< pa cem red - di - dit, pa - cem, JZnOETZEEEEEEZH i--— „

red - di - dit, cem, cem f-

cem red - di - dit, Vlfc j 5 £ : vi t vi Edition Peters 69

cresc. __ —a----

pa - - cem De u s___ red

■9*— pa. - - cem De u s___ red cresc. o

pa - -cem De us___ red cresc.

pa - - cem De u s___ red - di

< > -o in se. inse, in re - con -se PP

1 9 - dit. in se: in se re - con - dit.se. in se in se re - con - dit in se, in se. in se re-con-

P' t ' - Y X 4 70

mJ cresc

a us ma sum - mis. A1 - le mfcresc. dim.

ci - sum - - mis A I - le - r7lJ'cresc.

ci - ans sum - mis cresc.

ci- ma sum - - mis. H3 ^-4 Xl -Xl '-VKfiitS'j I i

- ja, al - le

-ja, al - le

A l - l e - l u - - ja, al - le al - le

Edition Peters iii v i 71

al - le

al-le - lu - A l-le

al - le

a l-le - lu - g_T' - ^ -zX—^ - ja. Al-le-lu Irf„; J3t r 3:(%3Z4 X

Al - le - lu -ja, al - le > > >

al - le lu - - - - ja, al - le m m m A l-le - lu- ja, al-le - lu ja, al - le 72

r p P al - le - lu ja, al - fle - lu ja, W- -P-

1 . 1a ja, al - le - lu - ja, al - le - lu - ja, mf A zai

ja, al - le - lu - ja, al - le - lu - ja, al - le lu - ja, al - le -V -- fJe A

al le lu- -ja. mf p dim.sempre ppp f e = ± = & xy_ W al - le - - lu - ja. .F a ls e t t o dim. p dim.sempre mppp lu - ja, al - le lu - .1ja, al - le - lu - ja, a l - le lu - -ja. cresc. p dim.sempre ppp ^IXHEEEEE i . • -o. f> -»• al -le -llTr- -ja. 5^ 4 i u Edition Peters x X APPENDIX I

VEXILLA REGIS

7 3 7 4

Molto sostenuto cresc. sempre P Soprano

x il - la - gis_ pro - - de- unt cresc. sempre

xil - la - de - unt cresc. sempre Tenor

xil - la de - unt cresc. sempre o—o—i

xil - la re -z>gis pro - U VU(, VI

dim. sempre

ful - get cru - cis, - get cm-cis my - ste - ri - um quo car dim. sempre

ful - get cru - cis, ful - - get cru-cis my - ste - ri - um quo car-ne / dim. sempre § F j I.:.--: ful - get cru - cis, ful - get cru - cis my - ste - r i - um quo car / dim. sempre

ful - 6^v_get_ vi cruu. - v10,- cis, * wi ful - - - 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»*fr J w > — —— —

su - spen

- spen

car - spen - Bus— eMUARf>101u<6. O i l E $ » H L ' : a s

car - con su - spensus, su /- spen - ^ en r. e '- t L i t M , Vi Vi,, X I T v 'l m x 37) Part Avenue South, New York 16, N. Y. Edition Peters International Copyright Secured. All Rights Reserved. 7 5

crux

crux a

crux_ a

C-iv(. « lo. 0 ,• j : y : > xi.3ss.v ", OT^eK TWO VI I V- JJ_7 11 / cresc. sempre «Mfc I f WfyRmoMCm llV tDCNTLCj&u

spes u hoc pas - si - o - ms, pas - cresc. sempre

hoc pas - sispes u hoc pas - sispes o - ms, pas cresc. sempre

spes u hoc p a s-si cresc. sempre

spes u - hoc pas-si o - ms, pas - 76

dim. sempre - o

si o - ms tem - po - re au sti dim, sempre

po - re au is sti

o - ms tem1 - po - re au sti dim. sempre --o

si o - nis_ tem - po au sti

57

o- -o— am re sque na - na do - nado

am re sque na na

o am re i - sque do na na ve

am re i - sque do na ve

Edition Peters 77

eresc. semvrp

am. Te sum r\i> cresc. sempre

am. sum O'esc. sempre

sum am. cresc. sempre

sum

dim. sempre ni - tas col - lau det om. ms spi - ri dim. semj/re

ft . m - tas col - lau ora - ms spi - ri - tus dim. sempre

lau-det, det om-nis ri - tus

- 0 — 4— □ ' J-J- r ■ — - r t r - : -J - - er-2- ni - tas col - lau det ora - nis spi - ri - tus 78

[86 —o-

quos per cru ste ri run sal

cruquos per cruquos ste n um sal

quos. per cru ste n run sal

quo: per cru ste ri run sal

[96

o <> < > -1—o — vas re ge per sae-cu-la A-men. * men TW* o -o- XJ vas re ge per sae cu A - men - men VPT\ — o ---- vas re ge per_ sae~ cu A - men - men VPr\ W Ki„; o vas re ge per sae cu A - men men 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, 1968 .

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 and Boyars 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,

79