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Title	14 Motetten
Article no.	4118605
Category	Concert/wind/brass band
Subcategory	Church music
Instrumentation	Ha (concert/wind band)
Format	PrtStm (full score and parts)
Country of publication	Austria (at)
Publisher *	click here
Delivery publisher *	click here
Delivery publisher's art.no. *	click here
EAN (GTIN) *	click here
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Year of publication	2023
Price	click here
Composer	Bruckner, Anton
Arranger	Doss, Thomas
Difficulty level	3+
Duration	38:50
Additional info/contents	Anton Bruckner (* September 4, 1824, Ansfelden; † October 11, 1896, Vienna) didn't have it easy. The Austrian composer was plagued by self-doubt throughout his life. Anton Bruckner came from a simple, rural background. After his father's death, he was accepted as a singing boy in St. Florian Abbey in 1837. After several years as a school assistant and self-taught organ and piano studies, he first worked as an organist in Sankt Florian, then from 1855 as a cathedral organist in Linz. Introduced to music theory and instrumentation through Simon Sechter and Otto Kitzler, he discovered Richard Wagner as an artistic role model, whom he admired throughout his life and visited several times in Bayreuth. In 1868 Anton Bruckner became professor of continuo, counterpoint and organ at the Vienna Conservatory, ten years later court organist, and in 1891 he was awarded an honorary doctorate from the University of Vienna. He was considered an important organ virtuoso of an era, but had to wait a long time for recognition as a composer. It was only the “Symphony No. 7, E major”, written between 1881 and 1883, with the famous “Adagio”, which was written under the influence of Wagner's death, that brought the recognition he had hoped for, even if he did not want to accept it given his tendency towards skepticism and self-criticism. Anton Bruckner was a loner who did not want to join any school or doctrine. He composed numerous sacred vocal works such as his three masses, the “Missa Solemnis in B minor” (1854), the “Te Deum” (1881–84) and numerous motets. As a symphonist, he wrote a total of nine symphonies and many symphonic studies from 1863 onwards, tending to revise finished versions several times. For a long time, Bruckner's orchestral works were considered unplayable, but they were only unusually bold sound monuments for the musical language of their time, combining the traditions of Beethoven and Wagner to folk music, on the border between late romanticism and modernity. Anton Bruckner composed around 40 motets during his lifetime, the earliest, a setting of Pange lingua, around 1835, the last, Vexilla regis, 1892. Thomas Doss has summarized some of these motets in this volume for symphonic wind orchestra. These motets largely show strong characteristics of his personal expression, such as, in particular, his colorful harmony in the first works, which is sometimes oriented towards Franz Schubert (major/minor alternation, third affinities). His later works are characterized by many components, including, in addition to the expansion of the movements, instrumentation as a phenomenon that appears externally and harmony as a design feature that has a more internal effect. Some aspects of his work are based on his long period of study, which primarily familiarized him with tradition, but also gave him insights into the “modernity” of his time (Wagner, Liszt, Berlioz). This develops his special position, which always seeks the connection between old and new.
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	Format
	14 Motetten (concert/wind band), full score and parts
	14 Motetten (concert/wind band), full score

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