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Salvum Fac Populum Tuum, WAB 40
' ("O Lord, save thy people"), WAB 40, is a motet composed by Anton Bruckner in 1884. History The motet, based on a few verses of the Te Deum, was composed on 14 November 1884, presumably on request of Franz Xaver Witt for the Cecilian society. The manuscript is archived at the ''Österreichische Nationalbibliothek''. The motet was first published in band IV/2, pp. 496–497 of the Göllerich/Auer biography.C. van Zwol, pp. 707-708 It is put in Band XXI/31 of the '. Music The 57-bar motet in F major for choir ''a cappella'', is based on the verses "''Salvum fac populum tuum''" till "''Quem ad modum speravimus in te.''" of the ''Te Deum''. This, for Bruckner a quite unique composition, which uses the same verses as part 4 of his ''Te Deum'', alternates passages in unison, in Falsobordone and in polyphony. Discography There are a few recordings of Bruckner's ''Salvum fac populum tuum'': * Robert Jones, Choir of St. Bride's Church, ''Bruckner: Motets'' – CD: N ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Anton Bruckner
Josef Anton Bruckner (; 4 September 182411 October 1896) was an Austrian composer, organist, and music theorist best known for his symphonies, masses, Te Deum and motets. The first are considered emblematic of the final stage of Austro-German Romanticism because of their rich harmonic language, strongly polyphonic character, and considerable length. Bruckner's compositions helped to define contemporary musical radicalism, owing to their dissonances, unprepared modulations, and roving harmonies. Unlike other musical radicals such as Richard Wagner and Hugo Wolf, Bruckner showed extreme humility before other musicians, Wagner in particular. This apparent dichotomy between Bruckner the man and Bruckner the composer hampers efforts to describe his life in a way that gives a straightforward context for his music. Hans von Bülow described him as "half genius, half simpleton". Bruckner was critical of his own work and often reworked his compositions. There are several version ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Bar (music)
In musical notation, a bar (or measure) is a segment of time corresponding to a specific number of beats in which each beat is represented by a particular note value and the boundaries of the bar are indicated by vertical bar lines. Dividing music into bars provides regular reference points to pinpoint locations within a musical composition. It also makes written music easier to follow, since each bar of staff symbols can be read and played as a batch. Typically, a piece consists of several bars of the same length, and in modern musical notation the number of beats in each bar is specified at the beginning of the score by the time signature. In simple time, (such as ), the top figure indicates the number of beats per bar, while the bottom number indicates the note value of the beat (the beat has a quarter note value in the example). The word ''bar'' is more common in British English, and the word ''measure'' is more common in American English, although musicians generally u ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Motets By Anton Bruckner
In Western classical music, a motet is mainly a vocal musical composition, of highly diverse form and style, from high medieval music to the present. The motet was one of the pre-eminent polyphonic forms of Renaissance music. According to Margaret Bent, "a piece of music in several parts with words" is as precise a definition of the motet as will serve from the 13th to the late 16th century and beyond.Margaret Bent,The Late-Medieval Motet in ''Companion to Medieval & Renaissance Music'', edited by Tess Knighton and David Fallows, 114–19 (Berkeley, California: University of California Press, 1992): 114. . The late 13th-century theorist Johannes de Grocheo believed that the motet was "not to be celebrated in the presence of common people, because they do not notice its subtlety, nor are they delighted in hearing it, but in the presence of the educated and of those who are seeking out subtleties in the arts". Etymology In the early 20th century, it was generally believed the na ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Uwe Harten
Uwe Harten (born 16 August 1944) is a German musicologist, who works in Austria. Life Born in , Harten grew up in Hamburg, where he was a boy soprano at the Staatsoper. He took over the roles of a child. In Hamburg he also began his studies of musicology and art history, which he continued in Vienna with Erich Schenk. He gained his doctorate with his study of the Viennese Schumann admirer Carl Debrois van Bruyck. He then worked as a dramaturgical assistant at the Vienna Chamber Opera. Furthermore, he assisted Anthony van Hoboken in the production of his Werkverzeichnis of Joseph Haydn. Since 1972 he has been a member of the at the Österreichische Akademie der Wissenschaften. Since 1974 he has been secretary and member of the board of directors of the Denkmäler der Tonkunst in Österreich. In addition Harten worked as an assistant at the since its foundation in 1978. From 1988 to 2000 he was also its deputy scientific director and participated between 1977 and 2000 in ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
August Göllerich
August Göllerich (2 July 185916 March 1923) was an Austrian pianist, conductor, music educator and music writer. He studied the piano with Franz Liszt, who made him also his secretary and companion on concert tours. Göllerich is known for studying the life and work of Anton Bruckner whose secretary and friend he was. He initiated and conducted concerts of Bruckner's music in Linz, and wrote an influential biography. Life Born in Linz, the son of the Wels town secretary and later member of the Reich Council and State Parliament and his wife Maria, née Nowotny, Göllerich grew up in middle-class circumstances. His father was a member of a liberal writers and literary association in Wels. Göllerich attended the Linz Realschule, which he completed with the Matura. He studied mathematics at the University of Vienna, as his father wished. In 1882, he attended the Bayreuth Festival. After his father's death in 1883, he devoted himself entirely to music, studying in Vienna the pia ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
NDR Chor
The NDR Chor (North German Radio Choir) is the choir of the German broadcaster Norddeutscher Rundfunk (NDR), based in Hamburg. It was founded in 1946, with Max Thurn as the first director of then 55 singers. The group has participated in premieres of contemporary music, such as the posthumous concert premiere of Schoenberg's opera ''Moses und Aron''. It is also known for a capella music, introduced by Helmut Franz such as a recording of all such works by Johannes Brahms. The current artistic director is Philipp Ahmann, who has held the position from 2008. NDR Chor, now a group of 28 singers, is one of the leading professional chamber choirs in Germany. History The NDR Chor was founded in Hamburg on 1 May 1946, then as choir of the Nordwestdeutscher Rundfunk (NWDR) and took its present name in 1956 when the broadcaster was split in NDR and WDR. Its first director was Max Thurn who accepted 55 singers from more than 2,000 applications by professional singers. During the first years ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Hans-Christoph Rademann
Hans-Christoph Rademann (born 5 August 1965 in Dresden) is a German choral conductor, currently the director of the Dresdner Kammerchor and the Internationale Bachakademie Stuttgart. Career Born in Dresden, Rademann grew up in Schwarzenberg and received his first musical experiences in his father's church choir. As a teenager he was taught the violin and piano. From 1975 to 1983, he was a member of the Dresdner Kreuzchor. After completing school, he studied choral and orchestral conducting at the Musikhochschule Dresden until 1990. He acquired further experience in several classes with Helmuth Rilling and Philippe Herreweghe. Rademann has conducted the chamber choir Dresdner Kammerchor since its founding in 1985. During 1991–1999 he was artistic director of the Academy of Music in Dresden. From 1999 to 2004, Rademann served as choir director of the NDR Chor. With the start of the 2007/2008 season Rademann took over as chief conductor for RIAS Kammerchor; he had already condu ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Balduin Sulzer
Balduin Sulzer (Cistercians) (as ''Josef Sulzer'' (15 March 1932 – 10 April 2019) was an Austrian Roman Catholic priest. He became known as a music educator and composer. Life Sulzer was born in Großraming. At the age of ten Sulzer came to Linz, where he attended grammar school. He sang as an altar boy in the New Cathedral, Linz in the "Domschola" under the direction of Josef Kronsteiner. After the Matura, he joined the religious order of the Cistercians in Wilhering Abbey in 1949 and received the religious name "Balduin". He began his philosophical-theological studies in Linz and Rome, as well as studying history at the University of Vienna. He completed his musical education at the Bruckner Conservatory in Linz, at the Pontifical Institute of Sacred Music in Rome and at the University of Music and Performing Arts Vienna, among others with Hans Gillesberger. In 1955, Balduin Sulzer received the priesthood ordination. From 1959 to 1977, he was a music teacher at the Wil ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
St Bride's Church
St Bride's Church is a church in the City of London, England. The building's most recent incarnation was designed by Sir Christopher Wren in 1672 in Fleet Street in the City of London, though Wren's original building was largely gutted by fire during the London Blitz in 1940. Due to its location in Fleet Street, it has a long association with journalists and newspapers. The church is a distinctive sight on London's skyline and is clearly visible from a number of locations. Standing 226 feet (69m) high, it is the second tallest of all Wren's churches, with only St Paul's itself having a higher pinnacle. Background Origins St Bride's may be one of the most ancient churches in London, with worship perhaps dating back to the conversion of the Middle Saxons in the 7th century. It has been conjectured that, as the patron saint is Bridget of Ireland, it may have been founded by Celtic monks, missionaries proselytising the English. The present St Bride's is at least the seventh chu ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Polyphony
Polyphony ( ) is a type of musical texture consisting of two or more simultaneous lines of independent melody, as opposed to a musical texture with just one voice, monophony, or a texture with one dominant melodic voice accompanied by chords, homophony. Within the context of the Western musical tradition, the term ''polyphony'' is usually used to refer to music of the late Middle Ages and Renaissance. Baroque forms such as fugue, which might be called polyphonic, are usually described instead as contrapuntal. Also, as opposed to the ''species'' terminology of counterpoint, polyphony was generally either "pitch-against-pitch" / "point-against-point" or "sustained-pitch" in one part with melismas of varying lengths in another. In all cases the conception was probably what Margaret Bent (1999) calls "dyadic counterpoint", with each part being written generally against one other part, with all parts modified if needed in the end. This point-against-point conception is opposed to " ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Falsobordone
Falsobordone is a style of recitation found in music from the 15th to the 18th centuries. Most often associated with the harmonization of Gregorian psalm tones, it is based on root position triads and is first known to have appeared in southern Europe in the 1480s. Structure of Falsobordone Falsobordoni are made up of two sections, each containing a recitation on one chord, followed by a cadence. Their usage was mostly intended for the singing of vespers psalms, but falsobordone can also be found in Passions, Lamentations, reproaches, litanies, psalms, responses, and settings of the Magnificat. Construction and Relationship to Fauxbourdon There is no consensus on the exact relationship between falsobordone and the etymologically related fauxbourdon Fauxbourdon (also fauxbordon, and also commonly two words: faux bourdon or faulx bourdon, and in Italian falso bordone) – French for ''false drone'' – is a technique of musical harmonisation used in the late Middle Ages a ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Unison
In music, unison is two or more musical parts that sound either the same pitch or pitches separated by intervals of one or more octaves, usually at the same time. ''Rhythmic unison'' is another term for homorhythm. Definition Unison or perfect unison (also called a prime, or perfect prime)Benward & Saker (2003), p. 53. may refer to the (pseudo-) interval formed by a tone and its duplication (in German, ''Unisono'', ''Einklang'', or ''Prime''), for example C–C, as differentiated from the second, C–D, etc. In the unison the two pitches have the ratio of 1:1 or 0 half steps and zero cents. Although two tones in unison are considered to be the same pitch, they are still perceivable as coming from separate sources, whether played on instruments of a different type: ; or of the same type: . This is because a pair of tones in unison come from different locations or can have different "colors" (timbres), i.e. come from different musical instruments or human voices. Voices wit ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
