Anton Bruckner: Messe Nr.1 d-moll on CD
Messe Nr.1 d-moll
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Die wohl charakteristische Eigenschaft von Bruckners Musik ist der religiöse Mystizismus. Nicht nur die sakralen Choräle, sondern auch die Sinfonien, die den Großteil seines Werks darstellen, spiegeln eine Religiosität wider, die nicht aufgesetzt, sondern tief empfunden ist. Der Sohn und Enkel eines kleinen Dorfschulmeisters wurde im traditionellen katholischen Glauben erzogen, und sein tiefer und unerschütterlicher Glaube wurde auch durch die der Messe in d-Moll vorangestellte Inschrift („Omnia ad majorem Dei gloriam“—„Zur größeren Glorie des Herrn“) verdeutlicht, die von Herzen kommender Ausdruck seiner Hinwendung zu Gott war. Er bemerkte einmal: „Wenn mich Gott schließlich zu sich ruft und fragt ,Was hast du aus dem Talent gemacht, das ich dir gab, Bursche?‘, so werde ich ihm die Partitur meines Te Deums überreichen und hoffen, dass er gnädig mit mir ist.“ Doch sein Selbstzweifel, vor allem in den frühen Jahren, ist legendär. Er wandte gewöhnlich unendliche Zeit und Energie dafür auf, eine ganze Sinfonie zu schreiben und überarbeitete diese dann manchmal grundlegend nach ein paar kritische Worten oder einem wohlgemeinten Vorschlag von einem Freund oder Schüler. Die dritte Sinfonie durchlief zum Beispiel drei Versionen, von welchen die beiden letzten zu seinen Lebzeiten veröffentlicht und in den fünfziger Jahren in musikwissenschaftlichen Ausgaben rekonstruiert wurden. Sogar die sakrale Musik, die er, wie manche Kommentatoren behaupteten, weniger streng überarbeitete, war keinesfalls immun. Die große Messe in f-Moll von 1867–68 wurde mindestens viermal überarbeitet und die Version von 1881 wurde schließlich von Haas (1944) und Nowak (1960) vorbereitet und herausgegeben.
The quality which most powerfully characterizes Bruckner’s music is its religious mysticism. Not only the sacred choral works, but also the symphonies which form the bulk of his output, display a religiosity which is not grafted on but deeply ingrained. The son and grandson of humble village schoolmasters, brought up in the Roman Catholic tradition, his faith was sincere and unquestioning, and the inscription he placed at the head of the Mass in D minor (‘Omnia ad majorem Dei gloriam’—‘All to the greater glory of God’) was a heartfelt expression of his dedication to the Almighty. He once remarked: ‘When God finally calls me and asks “What have you done with the talent I gave you, my lad?”, I will present to him the score of my Te Deum and I hope He will judge me mercifully.’ Yet his self-doubt, especially in his earlier years, is legendary. He would spend endless time and energy in writing a full-scale symphony, and a few words of criticism, or a well-intentioned suggestion from a friend or pupil, would cause him to revise it, sometimes substantially. The Third Symphony, for example, went through three versions, the last two of which were published in his lifetime and reconstructed in scholarly editions in the 1950s. Even the sacred music, which some commentators claim he revised less, was by no means immune. The great F minor Mass of 1867–8 was revamped at least four times, and it was the 1881 version that was later prepared and edited by Haas (1944) and Nowak (1960).
'A glowing culmination to another outstanding Hyperion project' (The Independent)
'New standards of excellence ... stunning' (Gramophone)
'Highest honours must go to the outstanding 140-voice chorus who sing with earth-shattering conviction, utmost clarity of diction and enviable precision of ensemble and intonation ... the combined strengths of this Hyperion version guarantee prime recommendation' (BBC Music Magazine Top 1000 CDs Guide)
'This splendid recording shows both of these monumental scores to best advantage. I wouldn’t hesitate to acquire this excellent disc … first-rate' (International Record Review)
Product-Information:
The quality which most powerfully characterizes Bruckner’s music is its religious mysticism. Not only the sacred choral works, but also the symphonies which form the bulk of his output, display a religiosity which is not grafted on but deeply ingrained. The son and grandson of humble village schoolmasters, brought up in the Roman Catholic tradition, his faith was sincere and unquestioning, and the inscription he placed at the head of the Mass in D minor (‘Omnia ad majorem Dei gloriam’—‘All to the greater glory of God’) was a heartfelt expression of his dedication to the Almighty. He once remarked: ‘When God finally calls me and asks “What have you done with the talent I gave you, my lad?”, I will present to him the score of my Te Deum and I hope He will judge me mercifully.’ Yet his self-doubt, especially in his earlier years, is legendary. He would spend endless time and energy in writing a full-scale symphony, and a few words of criticism, or a well-intentioned suggestion from a friend or pupil, would cause him to revise it, sometimes substantially. The Third Symphony, for example, went through three versions, the last two of which were published in his lifetime and reconstructed in scholarly editions in the 1950s. Even the sacred music, which some commentators claim he revised less, was by no means immune. The great F minor Mass of 1867–8 was revamped at least four times, and it was the 1881 version that was later prepared and edited by Haas (1944) and Nowak (1960).
Rezensionen
'A glowing culmination to another outstanding Hyperion project' (The Independent)
'New standards of excellence ... stunning' (Gramophone)
'Highest honours must go to the outstanding 140-voice chorus who sing with earth-shattering conviction, utmost clarity of diction and enviable precision of ensemble and intonation ... the combined strengths of this Hyperion version guarantee prime recommendation' (BBC Music Magazine Top 1000 CDs Guide)
'This splendid recording shows both of these monumental scores to best advantage. I wouldn’t hesitate to acquire this excellent disc … first-rate' (International Record Review)
Reviews
D. Weiss in FonoForum 2/94: "..eine auf- rüttelnde Interpretation!"-
Tracklisting
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details
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Contributors
Disk 1 von 1 (CD)
Te Deum C-dur ABWV 45 (1884)
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1 1. Satz: Te Deum laudamus
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2 2. Satz: Te ergo quaesumus
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3 3. Satz: Aeterna fac, cum sanctis tuis
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4 4. Satz: Salvum fac populum tuum
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5 5. Satz: In te, Dominue, speravi
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6 Nr. 1 Te deum laudamus
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7 Nr. 2 Te ergo quaesumus
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8 Nr. 3 Aeterna fac cum sanctis tuis
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9 Nr. 4 Salvum fac populum tuum
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10 Nr. 5 In te, Domine, speravi
Messen Nr. 0-3 Nr. 1 (d-moll)
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11 Nr. 1 Kyrie
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12 Nr. 2 Gloria
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13 Nr. 3 Credo
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14 Nr. 4 Sanctus
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15 Nr. 5 Benedictus
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16 Nr. 6 Agnus Dei
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