There are Mahler-fans and Bruckner-fans. Both composers are in the first place known for their large symphonies, of which Mahler wrote 10 (11 with Das Lied von der Erde) and Bruckner including his unnumbered first trials also 11. I happen to belong to the first category of Mahler fans - I don't like Wagner and Bruckner smacks to much of Wagnerism; he is also squarely a 19th c. artist, while Mahler is more modern and is really a 20th century composer. Bruckner strikes me as somewhat provincial, while Mahler definitely is a sophisticated city dweller. But I also believe one should continue to broaden one's horizon and I therefore have included Bruckner's most famous choral work, the Mass in F minor, which became one of the most popular choral works of the romantic period.
Anton Bruckner was a devoutly religious man, and composed numerous sacred works, among these seven Masses and two requiems. The last mass he wrote, in F minor, is the most symphonic, with a large role for the orchestra, and seems more at home in the concert hall than a liturgical performance (it was refused by the Imperial Chapel for which it had originally been composed). It is monumental, life-affirming music, with a deeply ingrained religious mysticism. The Mass calls for soprano, contralto, tenor and bass soloists, mixed chorus, (optional) organ and a large orchestra.
The setting is divided into six movements.
1. "Kyrie eleison..." Moderato, common time, F minor
2. "Gloria in excelsis Deo..." Allegro, common time, C major
"Qui tollis peccata mundi..." Andante, mehr Adagio (Sehr langsam), 3/4, D minor
"Quoniam tu solus sanctus..." Tempo I, common time, C major
"Amen, in gloria Dei patris..." Ziemlich langsam, cut time (alla breve)
3. "Credo in unum Deum..." Allegro, cut time, C major
"Et incarnatus est..." Moderato misterioso, common time, E major
"Crucifixus e tiam pro nobis..." Langsam, E-flat major - Largo
"Et ressurrexit tertia die..." Allegro, common time, C major
"Et in Spiritum sanctum..." Tempo I, cut time
"Qui cum Patre et Filio..." Moderato, 3/4, G major
"Et exspecto ressurrectionem..." Allegro, common time, C major
"Et vitam venturi saeculi..." Etwas langsamer als anfangs (weil 4/4 Takt ist)
4. "Sanctus Dominus Deus Sabbaoth..." Moderato, common time, F major
"Pleni sunt coeli et terra..." Allegro, 3/4
5. "Benedictus qui venit in nomine Domini..." Allegro moderato, common time, A-flat major
"Hosanna in excelsis..." Allegro, 3/4, F major
6. "Agnus Dei..." Andante, common time, F minor
"Dona nobis pacem..." Moderato, F major
Right from the start of the “Kyrie”, we find grave beauty in the phrasing of
the descending four-note figure in fourths passed from the strings to
the choir to the bass and finally the soprano soloists. The setting is more symphonic than that of the Mass No. 1, with a larger contribution of the soloists. This is glorious, large-scale music.
The ‘Christe eleison’ which follows employs two main ideas: a falling
octave and a more lyrical phrase entrusted to the soprano soloist.
The opening lines of the “Gloria” and “Credo” are set to music sung by
the whole choir rather than being intoned in Gregorian mode by a
soloist, as in Bruckner's previous masses. The Gloria and Credo form the central core of the Mass. Both expansive movements are conceived in
the general terms of sonata form, with contrasting material, development
and reprise; and both finish with massive fugues - a classical feature. Both also encompass humanely reflective passages, notably the “Qui tollis” in the Gloria and the “Et incarnatus” in the Credo.
The shortest movement is the Sanctus, similar in mood to the ‘Christe
eleison’ of the Kyrie and making use of the falling octave. The “Benedictus” is among the most beautiful, romantic and indeed Mahlerian of Bruckner’s conceits. Its second melody, introduced by the bass soloist, is quoted in the Adagio of the Bruckner's second symphony and may well have influenced Mahler when he was working on his fourth.
The Agnus Dei draws freely on earlier material, recalling the main ideas in the Kyrie and the fugue subject from the Gloria which now carries the words ‘dona nobis pacem’. In the last two bars a single oboe, accompanied by pianissimo strings, plays a major-key version of the motif with which the whole work began.
As was his wont, after its first completion in 1868, Bruckner continued to polish the work - only the vocal parts were largely left as they were.
It is often remarked that the Mass in F minor may have been influenced by Schubert's late Mass No. 5 in A flat major and Mass No. 6 in E flat major.
Listen to: Herbert Blomstedt, conductor; Angela Maria Blasi, soprano; Cornelia Kallisch, alto; Herbert Lippert, tenor; Franz-Josef Selig, bass; Dänischer Rundfunkchor;
NDR Chor; NDR Elbphilharmonie Orchestra in a registration by the German TV.
Choral Masterworks