앨범: 브루크너: Ave Maria 모테트 - Dresdner Kreuzchor (1987 Capriccio)

Ave Maria; Geistliche Chöre-Motets 앨범: 브루크너: 모테트 (1987 Capriccio) Anton Bruckner (1824 - 1896) 1. Ave Maria, WAB 6, Track 전곡 연주   Album Title: Anton Bruckner: Ave Maria; Geistliche Chöre-Motets Composer: Anton Bruckner (1824 - 1896) Lyricist: Anonymous, Thomas Aquinas, Bible - New Testament, Bible - Old Testament, Venantius Fortunatus, Mass Text Conductor: Martin Flämig Performer: Barbara Hoene (soprano)            Armin Ude (tenor)            Ute Walther (alto; Contralto)            Michael-Christfried Winkler (organ)            Gerhard Essbach (trombone)            Hans Hombsch (trombone)            Hannes Kästner (trombone)            Manfred Zeumer (trombone) Choir: Dresdner Kreuzchor Audio LP (Jan 01, 1987) Audio CD (December 21, 1992) Number of Discs: 1 Format: CD, Album Country: Europe Label: Capriccio Records Copyright: (c) 1987 Capriccio Records Total: 01:00:11 Genre: Classical Music, Choral - Sacred, Non-Music, Classical Period: Romantic Style: Baroque, Classical, Religious, Choral    Composer   Anton Bruckner (1824 - 1896)    Conductor   Martin Flämig    Choir   Dresdner Kreuzchor 1. Ave Maria (II), motet for chorus in F major, WAB 6   (3:29)    Common Name   Ave Maria, WAB 6    Lyricist   Bible - New Testament 2. Tota Pulchra Es, Maria, antiphon in Phrygian mode for tenor, chorus & organ, WAB 46   (4:29)    Common Name   Tota pulchra es, WAB 46    Lyricist   Anonymous    Performer   Armin Ude (tenor)                      Michael-Christfried Winkler (organ) 3. Christus factus est (II), gradual for chorus, 3 violins & 2 trombones in D minor, WAB 10   (4:57)    Common Name   Christus factus est, WAB 11    Lyricist   Bible - New Testament 4. Os justi (Meditabitur Sapientiam), gradual for chorus in Lydian mode, WAB 30   (4:03)    Common Name   Os justi, WAB 30    Lyricist   Bible - Old Testament 5. Afferentur Regi, offertorium for chorus & 3 trombones in F major, WAB 1   (1:45)    Common Name   Afferentur regi, WAB 1    Lyricist   Bible - Old Testament    Performer   Hans Hombsch (trombone)                      Hannes Kästner (trombone)                      Manfred Zeumer (trombone) 6. Pange lingua, hymn for chorus in D major, WAB 32   (6:05)    Common Name   Pange lingua, WAB 33    Lyricist   Thomas Aquinas 7. Ecce sacerdos, antiphon for chorus, 3 trombones & organ in A minor, WAB 13   (5:58)    Common Name   Ecce sacerdos magnus, WAB 13    Lyricist   Bible - Old Testament    Performer   Hans Hombsch (trombone)                      Hannes Kästner (trombone)                      Manfred Zeumer (trombone)                      Michael-Christfried Winkler (organ) 8. Locus iste, gradual for chorus in C major, WAB 23   (2:22)    Common Name   Locus iste, WAB 23    Lyricist   Anonymous 9. Tantum ergo (No. 5), motet for chorus and organ in D major, WAB 42   (3:39)    Common Name   Tantum ergo, WAB 42    Lyricist   Thomas Aquinas    Performer   Michael-Christfried Winkler (organ) 10. Vexilla regis prodeunt, hymn in Phrygian mode for chorus, WAB 51   (4:42)    Common Name   Vexilla regis, WAB 51    Lyricist   Venantius Fortunatus 11. Inveni David (I), offertory for male chorus & 4 trombones in F minor, WAB 19   (2:56)    Common Name   Inveni David, WAB 19    Lyricist   Bible - Old Testament    Performer   Hans Hombsch (trombone)                      Hannes Kästner (trombone)                      Manfred Zeumer (trombone)                      Gerhard Essbach (trombone) 12. Ave Maria (II), motet for chorus in F major, WAB 6   (4:51)    Common Name   Ave Maria, WAB 5    Lyricist   Bible - New Testament    Performer   Barbara Hoene (soprano)                      Ute Walther (alto; Contralto)                      Michael-Christfried Winkler (organ) 13. Libera me, Domine (I), motet for chorus & organ in F major, WAB 21   (5:29)    Common Name   Libera me Domine, WAB 21    Lyricist   Mass Text    Performer   Hans Hombsch (trombone)                      Hannes Kästner (trombone)                      Manfred Zeumer (trombone)                      Michael-Christfried Winkler (organ) 14. Virga Jesse Floruit, gradual for chorus in E minor, WAB 52   (4:58)    Common Name   Virga jesse floruit, WAB 52    Lyricist   Anonymous Review Are you tough enough to get through an entire hour of the most spiritual motets ever composed by an over-educated peasant from nineteenth century Austria? Are you tough enough to listen and listen hard to every sublime note of every blessed piece? Will your attention start to wander during the plainchant interludes of the Tota Pulchra Es Maria? Will you decide to skip the Ave Maria from 1856 and the Tantum Ergo from 1846 because they're derivative early works? Will you finally decide that while Bruckner was man enough to hymn the glory of God on his knees for a whole hour, you're just not tough enough to kneel there with him? But if you're going to kneel there with Bruckner, then Martin Flamig and every man and boy in the Dresden Kreuzchor will kneel there with you, parsing God with great praise. Of all the recordings ever made of Bruckner's motets by German or Austrian choirs over the years, Flamig and the Kreuzchor's from 1985 is among the most devotional and the most fervent. It doesn't hurt that the Kreuzchor's tone is so ardent and pure and that Flamig's direction is so austere and exalted, and it only helps that Capriccio's early sound is warm and clear. And if there have been more compelling performances of Bruckner's motets, there have been few more zealous. Introduction 브루크너/ 모테트 ('아베마리아', '탄툼 에르고', '팡제 링구아' 등) 문자 그대로 그의 음악적 재능을 하느님께 바쳐 온 부르크너는 가톨릭 신앙에 철저한 음악가였다. 미사곡과 모테트 등 많은 교회 음악을 작곡했는데, 당시 사람들로부터 정당한 인정을 받지 못하다가 현대에 이르러 '베에토벤 이후 최대의 교향곡 작곡가'라는 평을 받고 있다. 드레스덴 십자가 합창단의 실력이 유감없이 발휘되고 있으며, 하느님을 향한 순수한 영혼의 음악을 들려준다.   ANTON BRUCKNER (1824 - 1896) Bruckner, born near Linz in 1824, is known chiefly as a symphonist. He trained as a school-teacher and organist, and served in the second capacity in Linz until moving in 1868 to Vienna to teach harmony, counterpoint and organ at the Vienna Conservatory. His success as a composer was varied in his lifetime, his acceptance hampered by his own diffidence and his scores posing editorial problems because of his readiness to revise what he had written. He was nine years the senior of Brahms, who outlived him by six months. Bruckner continued Austro-German symphonic traditions on a massive scale, his techniques of composition influenced to some extent by his skill as an organist and consequently in formal improvisation. Orchestral Music Bruckner completed nine numbered symphonies (10 if the so-called Symphony ‘No. 0’, ‘Die Nullte’ is included). The best known is probably Symphony No. 7, first performed in Leipzig in 1884; the work includes in its scoring four Wagner tubas, instruments that were a newly developed cross between the French horn and tuba. Symphony No. 4 ‘Romantic’ has an added programme—a diffident afterthought. All the symphonies, however, form an important element in late-19th-century symphonic repertoire. Choral Music Bruckner wrote a number of works for church use, both large and small scale. Among the former are the Te Deum, completed in 1884, and various settings of the Mass, including the well-known Mass No. 2 in E minor. 잘생긴 꾀꼬리 꽃미남 리차드강 어리버리 돈키호테.