Demanding funeral motet (1854) in a heavily contrapuntal setting.
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- Libera me, Domine
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Digital text (without sheet music) incl. printing licence, html file, singing text, originalhtml file, singing text, original (Sample)Libera me, Domine, de morte aeterna
in die illa tremenda:
Quando Coeli movendi sunt et terra:
Dum veneris judicare saeculum per ignem.
Tremens factus sum ego, et timeo,
dum discussio venerit, atque ventura ira.
Dies illa, dies irae, calamitatis et miseriae,
dies magna et amara valde.
Requiem aeternam dona eis, Domine:
et lux perpetua luceat eis....
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Digital text (without sheet music) incl. printing licence, html file, singing text, english translationhtml file, singing text, english translation (Sample)
Save me, O thou gracious Lord, from death and destruction
the day of judgment, that day of terror
when the heavens and earth are moved and scattered,
when thou shalt come and shalt judge all men with fire and vengeance.
I am full of great trembling; I fear the day
when thy judgment shall come on us, and all thy mighty anger.
Day of terror, day of anger, day of misfortune and of misery,
day of vengeance and of bitter torment.
Rest and peace eternal grant to them, O gracious Lord,
and may eternal light shine now upon them....
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Digital text (without sheet music) incl. printing licence, html file, singing text, german translationhtml file, singing text, german translation (Sample)
Befreie mich, Herr, vom ewigen Tod
an jenem schrecklichen Tag,
wenn Himmel und Erde erschüttert werden,
wenn Du da sein wirst, die Welt zu richten durch das Feuer.
Zitternd vor Angst bin ich,
während gerichtet wird und Vergeltung droht.
Jener Tag, der Tag des Zornes, des Jammers und der Not,
dieser große und so bittere Tag!
Die ewige Ruhe gib ihnen, Herr,
und das ewige Licht leuchte ihnen....
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Digital text (without sheet music) incl. printing licence, html file, Introductory text, frenchhtml file, Introductory text, french (Sample)Texte du CD Carus 83.414
Thomas Bopp
Traduction (abrégée) : Josiane KleinAu 19e siècle, la musique sacrée est la plupart du temps une profession de foi. Cela ne concerne aucun autre compositeur autant qu’Anton Bruckner. En 1841 la carrière professionnelle de cet ancien choriste et élève du couvent de Saint-Florian prés de Linz, né en 1824 à Ansfelden (Haute-Autriche), intéressé par la musique, le mena d’abord dans le petit village de Windhaag pour être maître-auxiliaire. En plus de l’enseignement aux plus jeunes, il put de temps en temps jouer l’orgue de l’église du village. Muté à sa demande à un poste d’auxiliaire devenu vacant à Kronstorf en 1843, le couvent Saint-Florian rappela Bruckner en 1845, dans un premier temps toujours à un poste de maître-auxiliaire. Parallèlement à l’enseignement et à la pratique de l’orgue, cet autodidacte enrichit alors peu à peu ses compétences pédagogiques jusqu’à devenir instituteur en Hauptschule (établissement scolaire entre
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Digital text (without sheet music) incl. printing licence, html file, Introductory text, englishhtml file, Introductory text, english (Sample)Text from the CD Carus 83.414
Thomas Bopp
Translation (abridged): Peter PalmerIn the 19th century sacred music was largely a personal religious statement. Of scarcely any other composer is this more true than Anton Bruckner. Born in Ansfelden, Upper Austria, in 1824, he was a boy chorister and musically minded pupil at St. Florian Abbey in the Linz diocese. He began his career as an assistant teacher in the small village of Windhaag in 1841. Besides teaching the youngest children, he was occasionally allowed to play the organ in the village church. At his own request he was transferred to a similar post when it became vacant in Kronstorf in 1843. In 1845 he was recalled to St. Florian Abbey, initially still as an assistant teacher. Besides teaching and playing the organ, the autodidact now gradually extended his pedagogic skills and became a fully qualified teacher for an intermediate school. He was also held in esteem
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Digital text (without sheet music) incl. printing licence, html file, Introductory text, germanhtml file, Introductory text, german (Sample)Booklet-Text der CD Carus 83.414
Thomas Bopp
Geistliche Musik ist im 19. Jahrhundert zumeist religiöses Bekenntnis. Auf kaum einen anderen Komponisten trifft dies mehr zu als auf Anton Bruckner. Zu seinem kirchenmusikalischen Schaffen von unter anderem drei großen Messzyklen, einem Te Deum und zahlreichen Motetten möchte man mit einigem Recht auch seine Sinfonien zählen, erfasst der Ausdruck tiefer Gläubigkeit bei ihm doch auch die rein orchestralen Gattungen. Der „liebe Herrgott“ habe ihn zur Kunst bestimmt, seine kompositorische Begabung erachte er als von Gott gegeben, bekannte er einmal in einem Brief. Immer wieder flossen in die sinfonische Musik auch Passagen aus seinen früheren Orchestermessen ein, und nicht von ungefähr wollte Bruckner etwa seine letzte Sinfonie nach der Überlieferung explizit „dem lieben Gott“ gewidmet sehen. Er konnte „seine Neunte“ nicht mehr vollenden, im Oktober 1896 starb er über der bereits...
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Composer
Anton Bruckner
| 1824-1896Anton Bruckner was born in Ansfelden (Austria) in 1824 and did not have a particularly easy life. The Austrian composer came from a simple, rural background and was plagued by self-doubt throughout his life. After the death of his father, he was accepted as a choirboy at St Florian's Abbey at the age of 13. After several years as a school assistant and self-taught organ and piano studies, he initially worked as an organist in St Florian. In 1855 he was appointed cathedral organist in Linz. After an introduction to music theory and instrumentation by Simon Sechter and Otto Kitzler, Bruckner discovered Richard Wagner as an artistic role model, whom he admired throughout his life and also visited several times in Bayreuth.
In 1868 Anton Bruckner became professor of basso continuo, counterpoint and organ at the Vienna Conservatory, ten years later court organist. In 1891 he was awarded an honorary doctorate from the University of Vienna. He was regarded as an important organ virtuoso of his time, but his compositional recognition was a long time coming. It was not until the Symphony No. 7 in E major, composed between 1881 and 1883, with the famous Adagio, which was written under the impression of Wagner's death, that he received the recognition he had hoped for, even if he did not want to accept it in view of his tendency towards scepticism and self-criticism.
Anton Bruckner was a solitary composer who did not want to follow any school or doctrine. He wrote both sacred and secular works in all their facets. In addition to numerous motets, Bruckner composed three masses, the Missa Solemnis in B flat minor (1854) and the Te Deum (1881-84; CV 27.190/00), which is available from Carus-Verlag. As a symphonist, he wrote a total of nine symphonies and many symphonic studies from 1863 onwards, whereby he tended to revise finished versions several times. Bruckner's orchestral works were long considered unplayable, but for the tonal language of their time they were merely unusually bold sound monuments on the border between late Romanticism and Modernism, uniting traditions from Beethoven to Wagner and folk music.
Personal details
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Translator
Jean Lunn
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