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| Composer : | Bruckner, Joseph Anton (1824 - 1896) | ||||
| Instrumentation : | Winds & String Orchestra1 other version | ||||
| Style : | Classical | ||||
| Key : | F major | ||||
| Arranger : Publisher : | MAGATAGAN, MICHAEL (1960 - ) | ||||
| Copyright : | Public Domain | ||||
| Added by magataganm, 22 May 2021 Josef Anton Bruckner (1824 – 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. Although Bruckner wrote a great deal of sacred choral music (including not only his grandly conceived Mass No. 3, but also his more intimate Mass No. 2 and his astringent motets, which fuse Renaissance and nineteenth century techniques), he is best known for his symphonies: two unnumbered apprentice works, eight completed mature symphonies, and the first three movements of a Ninth (The finale has been reconstructed by several hands, but most performances include just the movements Bruckner completed). The symphonies, influenced to some extent by Wagner and identified with his school by the Viennese public, are monumental: expansive in scale, rigorous (if sometimes gigantist) in formal design, and often elaborate in their contrapuntal writing. Their sonorities are stately and organ-like; the Viennese critic Graf wrote that Bruckner "pondered over chords and chord associations as a medieval architect contemplated the original forms of a Gothic cathedral." Despite occasional folk influences in the scherzos, his symphonies are uniformly high-minded, even religious, in spirit. Together, they form the weightiest body of symphonies between Schubert (whom he greatly admired) and Mahler. This is Bruckner's second, and most popular, of three settings of the Latin Ave Maria, each in the key of F major. It was written for a May 12, 1861, celebration to commemorate the founding of a local choral group, the Liedertafel Frohsinn, of which Bruckner was then director. One of a number of works he composed just after finishing counterpoint studies with Simon Sechter, it is generally regarded as the piece in which Bruckner first realized his mature style of vocal composition. Scored for a seven-part, a cappella chorus, the women's voices sing the first lines, never moving far from the F major triad. The men's voices take up the next lines in similar fashion, modulating until all join in A major block chords at the name of Jesus, repeating the name three times in a crescendo. The choir then breaks into imitative counterpoint to return to the home key and finish the prayer. The composition ends with a plagal cadence, the traditional chords of the "Amen" usually found in Protestant hymns. The whole work has a homophonic, yet rich and warm sound that reflects the coming together of Bruckner's understanding of older compositional forms and styles, his Romantic sensibility of expression, and his personal beliefs. Source: Allmusic (https://www.allmusic.com/composition/ave-maria-ii-mote t-for-chorus-in-f-major-wab-6-mc0002355796). Although originally written for Chorus (SAT) & Strings, I created this Interpretation of the Ave Maria in F Major (WAB 6) for Winds (Flute, Oboe & Bassoon) & Strings (2 Violins, Viola & Cello). Sheet central : | Ave Maria (5 sheet music) | | |||
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