Name: Alles Bruckner Messe Nr. 1 in d-Moll Te Deum Ave Maria
Start: 2019-11-02T00:00:00.000Z
End: 2019-11-05T00:00:00.000Z
Location: Nikolaisaal

Organization

Conductor

Thomas Hannig

Singer

Soprano

Laura Zaman

Mezzo-soprano

Gundula Hintz

Tenor

Hans-Georg Priese

Bass

Haakon Schaub

Orchestra

Brandenburg State Orchestra Frankfurt

Others

Sinfonischer Chor der Singakademie

Mitglieder des Nikolaichores Potsdam

Berliner Oratorien-Chor

Singakademie Potsdam e.V.

Alles Bruckner Messe Nr. 1 in d-Moll Te Deum Ave Maria

Berlin

Germany

Berliner Philharmonie

Potsdam

Nikolaisaal

Alles Bruckner Messe Nr. 1 in d-Moll Te Deum Ave Maria: Concert Various

Public

Concert

Approved

Accordionist

Instrumentalist

Archlutenist

Baroque Flutist

Baroque Oboist

Baroque Trumpetist

Bassist

Bassoonist

Cellist

Clarinetist

Contrabassist

Cornettist

Flutist

Guitarist

Harper

Harpsichordist

Hornist

Lutenist

Mandoline Player

Musette de cour Player

Oboist

Organist

Percussionist

Pianist

Recorder Player

Saxophonist

Tenor Violinist

Timpani

Trombonist

Trumpeter

Tuba Player

Vibraphonist

Viola Pomposa Player

Viola da gamba

Viola d’amore Player

Violinist

Violino Piccolo Player

Violist

Actor

Broadcasting

Choir

Choreographer

Chorus Director

Chorus master

Composer

Costume designer

Dancer

Dramaturge

Executive producer

Extra

Hairstylist

Illustrator

Librettist

Lighting designer

Makeup artist

Orchestra Operations

Other

Photographer

Poet

Repetiteur

Set designer

Sound designer

Stage Manager

Stage director

Teacher

Translator

Video designer

Vocal coach

Wig & Makeup Designer

Writer

Writing and performance

Contralto

Countertenor

Bass-baritone

Baritone

Alto

Child vocalist

Continuo

Silent

Spoken

he motto of our concert is also its program. The focus is on church music works by the Austrian composer, organist and choir director Anton Bruckner (1824-1896).

Anton Bruckner's masses - all composed during his tenure as Linz cathedral organist - mark the high point of his work in the field of sacred choral music. The first mass was created in 1864 under the impression of a performance of Wagner's "Tannhäuser". It shows a composer who turns to the field of symphony and anticipates this genre of work, which is particularly significant for the reception of Bruckner today. It was not until 1868 that Bruckner changed his place of residence and began to work on and perform his symphonies in Vienna.

At the end of his work, the ring closes. In 1884, in the Te Deum , Bruckner resorted to setting early church texts to music. He combines his characteristic symphonic language with his special diction of choral music that wants and is able to create something new from traditional forms.


Anton Bruckner, detail of a painting by Ferry Bératon, 1890

Bruckner describes his Te Deum as the "pride of my life": "When the good Lord calls me and asks: 'Where do you have your talents that I gave you?' I hold the music roll with my Te Deum for him and he will be a gracious judge to me."

The key of D minor apparently played a special role for Bruckner. This thought is obvious, because his Mass in D minor opens the round dance of his great mass compositions . The circle is later closed with the Te Deum in D minor. Bruckner's last symphony is also in D minor. Since he did not complete this, it is often performed in combination with the Te Deum .

In our concert, Bruckner's two major choral works will be accompanied by his three settings of the Ave Maria from very different creative periods. In these works, too, it becomes very clear the mastery with which Bruckner succeeds in translating a theme musically in very different ways.

English

Anton Bruckners Messen – alle während der Amtsperiode als Linzer Domorganist entstanden – markieren den Höhepunkt seines Schaffens auf dem Gebiet der geistlichen Chormusik. Die erste Messe entstand 1864 unter dem Eindruck einer Aufführung von Wagners „Tannhäuser“. Sie zeigt einen Komponisten, der sich dem Gebiet der Sinfonik zuwendet und diese, für die heutige Bruckner-Rezeption besonders bezeichnenden Werkgattung, vorgreift. Erst 1868 wechselte Bruckner seinen Wohnsitz und begann in Wien mit der Erarbeitung und Aufführung seiner Sinfonien.

Am Ende seines Schaffens schließt sich der Ring. Bruckner greift 1884 im Te Deum auf die Vertonung früher kirchlicher Texte zurück. Er verbindet die für ihn charakteristische sinfonische Sprache mit seiner besonderen Eigenart der Diktion einer Chormusik, die aus traditionellen Formen Neues schöpfen will und vermag.


Anton Bruckner, Ausschnitt eines Gemäldes von Ferry Bératon, 1890

Bruckner bezeichnet sein Te Deum als „Stolz meines Lebens“: „Wenn mich der liebe Gott einst zu sich ruft und fragt: ‚Wo hast du deine Talente, die ich dir gegeben habe?‘, dann halte ich ihm die Notenrolle mit meinem Te Deum hin und er wird mir ein gnädiger Richter sein.“

Die Tonart d-Moll hat für Bruckner offenbar eine besondere Rolle gespielt. Dieser Gedanke liegt nahe, denn den Reigen seiner großen Messkompositionen eröffnet seine Messe in d-Moll. Der Kreis wird später mit dem Te Deum in d-Moll geschlossen. Bruckners letzte Sinfonie steht ebenfalls in d-Moll. Da er diese nicht vollendet hat, wird sie oft in Kombination mit dem Te Deum aufgeführt.

In unserem Konzert werde die beiden großen Chorwerke Bruckners begleitet von seinen drei Vertonungen des Ave Maria aus ganz verschiedenen Schaffensperioden. Auch in diesen Werken wird sehr deutlich, mit welcher Meisterschaft es Bruckner gelingt, ein Thema in ganz unterschiedlicher Weise musikalisch umzusetzen

Deutsch

Alles Bruckner Messe Nr. 1 in d-Moll Te Deum Ave Maria by Various, Frá (2019/2019), Hljómsveitarstjóri Thomas Hannig, Nikolaisaal, Potsdam, Germany

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