 | Bruckner, Joseph Anton - "Trösterin Musik" for Bassoon Quartet Bassoon |
Vidéo :
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| Composer : | Bruckner, Joseph Anton (1824 - 1896) | ||||
| Instrumentation : | Bassoon | ||||
| Style : | Baroque | ||||
| Arranger : | MAGATAGAN, MICHAEL (1960 - ) | ||||
| Publisher : | MAGATAGAN, MICHAEL | ||||
| Copyright : | Public Domain | ||||
| Added by magataganm, 03 Feb 2013 Josef Anton Bruckner was born on September 4, 1824 in the upper Austrian town of Ansfelden. His father was a schoolteacher and church organist, and Bruckner's initial studies followed similar lines. When Bruckner was 13, his father died, and he enrolled in the church school at St. Florian (some ten miles from Linz) as a chorister. There, he studied organ, piano, and music theory. To the extent that audiences are familiar with the works of Anton Bruckner, they know him primarily as a composer of symphonies. A few sacred works occasionally come up on the concert radar, but mostly there are those very long symphonies, characterized by a singular breadth of discourse, not to be mistaken for the work of any other composer. Thus Bruckner the Anomaly has earned a niche in concert life, his very peculiar personality adding to his strange and pious aura. Yet there is more to this music than its uniqueness. One of the composer's most successful Men's choral pieces, Trösterin Musik (1877, rev. 1886) with organ accompaniment, and the dramatic Helgoland for chorus and orchestra (composed in 1893, Bruckner's last completed work). Music for male voices was a very important genre both in professional and amateur music-making, and one well represented in Bruckner's ouevre. These two works were both written for famous Viennese Choral Societies, and feature a range of male-voice timbre to which concert audiences these days are perhaps unaccustomed — some very high yet sweet first tenor parts, for example, performed in falsetto. Together the two works revealed quite a bit about Bruckner the composer. Many are the melodies in the symphonies with the unmistakable cadence of hymnody; it would stand to reason that Bruckner also wrote fine hymns. The brief Trösterin Musik (Music the Comforter) is such a hymn, in this case to the power of Music itself. As with many hymn-tunes, it served him for more than one text: the piece was first composed to another poem entirely, whose length and meter were identical to the later text. Nonetheless the text-setting is quite apt, and rhythmically vital enough to rescue the poem from its perilously monotonous scansion (for an English equivalent, think Robert Service in an uncharacteristically pious mood). Although originally created for Male Chorus (TTBB), I adapted this work for a Bassoon quartet. Sheet central : | Trösterin Musik (3 sheet music) | | |||
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