Bruckner worshipped two main deities,
the Roman Catholic Church and his older
contemporary Richard Wagner. In Bruckner’s
writing the spirit of Roman Catholicism
finds exceptional musical expression
rich both in intensity and sincerity.
It manages to transcend its historical
context finding relevance in an expressive,
inspiring and edifying manner. The incredible
impact of attending Wagner’s operas
led Bruckner to compose orchestral and
choral works with marked Wagnerian accents
in harmonic language and orchestration
generally on a colossal scale. Bruckner
held no ambition for composing stage
works, he preferred to contain the essence
of the majesty and epic proportions
of the Wagnerian music-drama in his
symphonic writing. In the three Masses,
the Psalm 150 and the Te Deum contained
on this release we can hear the stylistic
mannerisms influenced by Wagner.
Next to the symphony
the Mass was the medium through which
Bruckner communicated his love of God
both with absolute integrity and pronounced
directness. Bruckner composed the Mass
No.1 in D minor, for soloists, choir
and orchestra in 1864, two years before
his first mature symphony in C major.
Bruckner was rarely satisfied with his
compositions and was always looking
for improvement. He obsessively strove
for perfection and consequently made
revisions to the work in 1876 and 1882.
The D minor Mass has never been as popular
as the two that were to follow although
it is a marvellous work. Evident everywhere
is Bruckner’s contrapuntal skill revealing
both a real uniqueness of harmonic thought
and inventiveness and arguably his predisposition
towards ambiguous tonalities. The D
minor Mass has that intense seriousness
of purpose that is so characteristic
of the greatest Bruckner.
Brilliant Classics
typically use previously released material,
licensed from other labels, in their
sets but appear to have produced this
2003 recording of the first Mass for
themselves. The vocal and orchestral
forces are in excellent form and seem
particularly appropriate choices. Austrian
Nicol Matt is in control of the proceedings
conveying a powerful and expressive
reading. The four soloists and the Chamber
Choir of Europe, who were founded in
1998 as the Nordic Chamber Choir provide
an inspiring blend of voices producing
a fine quality of tone. The digital
recorded sound is warm and clear.
Bruckner composed the
Mass No. 2 in E minor, for choir
and wind orchestra in 1866 making subsequent
revisions in 1876, 1882, 1885 and 1896.
The E minor Mass is certainly one of
most original works which looks back
in part to the devotional traditions
of Italian Renaissance composer Palestrina
and uses an unusual combination of eight-part
chorus, two oboes, two clarinets, two
bassoons, four horns, two trumpets and
three trombones, all without the inclusion
of strings. German-born conductor Helmuth
Rilling directs the choral forces of
the Gächinger Kantorei and the
instrumental ensemble Bach-Collegium
with distinction. The reading gives
a real sense of the composer’s religious
devotion combined with Italian Renaissance
polyphony and Brucknerian Romanticism.
Rilling is not afraid to place elevated
demands on his chorus who stimulate
and impress in the considerable technical
and artistic challenges. Recorded in
1996, the Hänssler engineers have
provided a balanced and warm digital
sound.
Bruckner was frequently
discontented with his Mass No. 3
in F minor, for soloists, choir
and orchestra that he composed in 1868,
typically making revisions in 1876,
1877, 1881, 1893. The considerable structure
and substance of the F minor Mass is
the reason it become known as the ‘Grand
Mass’. Acknowledged as Bruckner’s most
complex and successful setting of the
text of the traditional Latin Mass.
Under the direction of Helmuth Rilling
the four soloists, the Gächinger
Kantorei choir and the Stuttgart Radio-Sinfonieorchester
give an inspired and dazzling account
of this major work. Rilling’s forces
show an innate understanding of the
epic dimensions and rapid mood changes
throughout the F minor Mass, with vibrant
and dramatic performances of superior
quality. The recording released on Hänssler
digital in 1992 sounds vivid and well-balanced.
The Te Deum in C
major, for soloists, choir and orchestra
composed by Bruckner in 1884 is a significant
work lasting some twenty-five minutes
and is divided into five sections. Bruckner
expressed a wish on his deathbed that
the Te Deum should be used as a replacement
last movement finale to the ninth symphony
in D minor that he knew he would never
complete. The combination has never
really caught on. Conductor Michael
Tilson Thomas in 2003 resurrected Bruckner’s
wish in his performances with the London
Symphony Orchestra, segueing the end
of the Adagio into the Te Deum.
In this 1996 Hänssler recording
the Gächinger Kantorei choir and
the Bach Collegium orchestra under Helmuth
Rilling bring out the real intensity
of drama in the score assisted by fine
recorded sound. The Psalm 150, for
choir, soprano and orchestra that Bruckner
composed in 1892 utilises the same forces
as in the above Te Deum and the performance
is equally as fine.
Brilliant Classics
offer superb value in this well presented
triple Bruckner box-set. Their ever
expanding catalogue is a treasure trove
of discoveries. The performances are
very fine and at super-bargain price
there is every reason to explore these
dramatic and rewarding choral works.
Recommended without reservation.
Michael Cookson
see also review
by Robert Hugill
Verena Schweizer (soprano) 