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SCHOCK RUDOLF ANTON BRUCKNER SINGS


" Cathedrals of Sound! "

RUDOLF SCHOCK
sings
ANTON BRUCKNER
(see also: 'Rudolf Schock sings Ludwig van Beethoven, Part 2)

Anton Bruckner lives on especially as a composer of a respectable number of monumental symphonies and four as monumental religious works. In two of them occurred on Rudolf Schock . He was a soloist on 6 October 1946 Bruckner 'Great Mass No. 3' and 11 October 1946 at the 'Te Deum' . These comments are fragments (or are there more?) from the 'Great Exhibition' preserved. They document the 31-year-old Rudolf Schock in one of his earliest recordings.

ANTON BRUCKNER (1824-1896)
life has suffered seriously in the wrong Imago. Bruckner came from the (Austrian) land, dressed accordingly, and said strong dialect. Although he became cathedral organist in Linz and Vienna later was appointed and composed sublime symphonies, accepted the elite authoritative Viennese critic him as an artist. In the biographies written on Bruckner, to set him constantly present as an unworldly man who had had a lack of confidence. And I wonder what came first: his uncertainty or the prejudices to which he was suspended. On top of that Bruckner "bad luck" had to admire Richard Wagner and that his Third Symphony (1873) devoted. This led to an artistic clash with Johannes Brahms, in turn, by Wagner was degraded.


now - and it is not the first time that something like this happening - got the musical world a very different picture of the composer Anton Bruckner. His imposing symphonies are now hailed as a theatrical - and I quote, including a readable article by James McCullough - "Cathedrals of Sound", as "Creations of sacred space." In Bach's music is the expression of Protestantism. In Bruckner's music is a profound Catholicism. Bruckner's melodic leads him to the vicinity of Franz Schubert, but the üverwältigende instrumentation inspired by Richard Wagner. The musical themes are mainly supplied from the church music out, but the Austrian folk music has left its mark.

GROSSE MESSE No. 3 in F minor (1868)

Anton Bruckner felt all that he before the 40th Years have written are just "attempts . Therefore, he was a symphony in 1863 with the number '00 '. A symphony of 1869 but could find no mercy and later went as a symphony with a single zero ("The Zeroth" ) in history. Fortunately, Bruckner wrote in 1865 still dedicated to the loving God " other nine symphonies, the last of which was , however, remained unfinished. Shocking are the written word he, with which he prays to God for recovery from his illness, so that it can complete the Ninth Symphony:





Photo: Andrew Stringer







Of the religious works Bruckner said a 'Requiem' from 1849 and the 'Missa Solemnis' from 1854 is insignificant. Only the 'Mass in D' (1864), the "Mass in E '(1866), the ' Great Mass in f '(1868) and the' Te Deum '(1883) were his criticism withstand.

Bruckner: 70 years old


James McCullough - I called it - has, in his essay 'Spirituality in the Concert Hall: Reflection on the Music of Anton Bruckner' out , Mariendevotion plays a very important role in Bruckner 'Great Mass in f' . McCullough: "The lyrical highlight of the entire Mass is the 'Et incarnatus est' from the Credo " . Bruckner "the holy maid does the court," when the tenor, accompanied by the solo violin, sings about the Holy Spirit that the mother God descends. McCullough calls this Tenor Solo: "a poignant moment of tenderness within the otherwise very powerful implementation of the creed."



THE BERLIN RECORD OF 6 October 1946, which was (still) never released officially, is not complete. A circulating in small groups, technically striking good CD includes parts: 'Kyrie (Lord, have mercy),' Gloria ',' Credo 'and ' Agnus Dei '. What is missing are the 'Sanctus' and the 'Benedictus' .


well the CD label relief published in 2005, the tenor solo 'Et incarnatus est' on an already from me often mentioned and acclaimed CD-cassette to Rudolf shocks 90th Birthday.


(CD: No Relief CR 3001)

What not relates to official CD: The unknown to me Helma Prechter and Ursula Froehlich have beautiful, clear voices and show great commitment. Hanns-Heinz Nissen (1905-1969) , a versatile baritone who sang since 1934 more than thirty years at the 'Deutsche Oper Berlin House' impressed by a strong and pleasant-sounding voice. Rudolf shocks vocal solo with violin accompaniment is actually the "moment poignant tenderness, the James McCullough describes: a beautifully dreamy moment amid emotional intensity (it is rationally understandable, but nevertheless a pity that on the Relief-CD large turn out of the intended effect of Bruckner opposition has almost. The considerable length of the whole creed fits not just the character of an aria and scene compilation).

Karl Forster conducts the 'Radio-Sinfonie-Orchester Berlin' , which was founded in 1923 and it still is. And he is conducting his own 'Choir of St. Hedwig's Cathedral Berlin' , the vocal claims the lion's share for itself. Choir, orchestra, soloists and conductor of music with a passion that touches me deeply.

K ARL FORSTER (1904-1963) ,

had a priest / Domkapellmeister particular attention to the Gregorian choir singing, the music of the old Dutch church composer, but also to the spiritual works Anton Bruckner specialized. From 1934 until his death in 1963 led the Forster 'Choir of St. Hedwig's Cathedral' . 'His' church, who was in East Berlin, was destroyed in 1943, which Forster and the choir were forced to give concerts all over Berlin, but not in the headquarters itself. After the construction of the Wall (1961) remained Forster and most Chormitglie in West Berlin, and it should last until the year 1975 that in the rebuilt cathedral a second St. Hedwi gs- Cathedral Choir was founded.

Both choirs gave the 2003/2004 Community Concert Karl Forster 100. Birthday. In the following years, finally took place in the real reunification. Headquarters of the now ten choirs, each with its own specialties, is now again - as before - the
'St. Hedwig's Cathedral Berlin '


Krijn de Lay, 17 September 2009 (Next time: 'Rudolf Schock sings Peter Cornelius' )

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RUDOLF SCHOCK RUDOLF SCHOCK zingt ANTON BRUCKNER


"Cathedrals of Sound!"



RUDOLF SHOCKING
sings
ANTON BRUCKNER
(see also Rudolf Schock sings Beethoven, Part 2 ")


Anton Bruckner lives emerged mainly as a composer of respectable number of four monumental symphonies and sacred works equally monumental. In two of those four came Rudolf Schock on. He was soloist on October 6, 1946 in "Grosse Messe Nr. 3 'and on October 11, 1946 in "Te Deum". Of these performances, which were broadcast by Radio Berlin, are fragments (or is there more?) From the 'Grosse Messe' preserved. They document the 31-year-old Rudolf Schock in one of his earliest recordings.

Anto n Bruckner (1824-1896)
during his life seriously suffered a wrong image. Bruckner came from the (Austrian) countryside, dressed accordingly and talking in dialect. Even though he 'Domorganist' appointed in Linz and Vienna and wrote his great symphonies, he was the influential elite of Viennese critics as an artist is not accepted. In the biographies, which he g eschreven are Bruckner is repeatedly portrayed as a 'weltfremde man with little confidence. And I wonder what came first: his uncertainty or prejudices, which he had suffered. That must be added that Bruckner "unlucky", that he admired Richard Wagner and his third symphony (1873) dedicated to this. This led to an artistic clash with Johannes Brahms, who in turn was belittled by Wagner as a composer.

now - and this is not the first time that this happened - the musical world has an entirely different view of the composer Anton Bruckner received. His impressive symphonies are now hailed as theatrically - and I quote from a Yahoo article worth reading by James McCullough - " cathedrals of sound" as "creations of sacred space" . What Bach's music gives expression to Protestantism, Bruckner's music is a deeply felt that Roman Catholicism. Bruckner's melodic lines take him near Franz Schubert, but the overwhelming instrumentation based on that of Richard Wagner. His musical themes are mainly from church music, but also Austrian folk music has influenced.

GROSSE MESSE Nr. 3, F-Moll (1868)
Anton Bruckner found that everything he had written his 40th birthday, but " tryouts" were . Hence, he is a symphony in 1863, the number '00 'gave. A symphony in 1869 but later could not find favor and went down in history as a Symphony of zero ( 'Die Nullte' ). Fortunately Bruckner wrote from 1865 still nine other symphonies, the last, 'Dem Lieben Gott gewidmet ", remained unfinished. Touching the words written by him, which he God prays for healing from his illness so he can still ninth symphony finish.



Photo: Andrew Stringer


What Bruckner's religious works: A Requiem "in 1849 and a" Missa Solemnis "in 1854 were rejected him.
Only the 'Mass in d' (1864), the "Mass in E" (1866), the "Great Mass in F" (1868) and the "Te Deum" of 1883 came through its strict selection.

Bruckner: 70 years old

James McCullough - I called him - points out in his article 'Anton Bruckner: Spirituality in the Concert Hall , that in Bruckner's ' Great Mass in F " the Marian devotion an important role plays. McCullough: " The lyrical highlight of the entire Mass is 'Et incarnatus est" from the Credo . Bruckner " makes the Virgin's court" , when the tenor, accompanied by solo violin, singing about the Holy Spirit, who descends on the Mother of God. McCullough calls this tenor solo, " a moment of poignant tenderness within the otherwise very strong introduction to the Creed ".


RECORD OF THE BERLIN 6 OCTOBER 1946 ,
(yet?) Was never officially published, is not complete.
On a smaller circle in circulating technically remarkably good CD focuses on parts "Kyrie (Lord have mercy)" , 'Gloria' , 'Credo' and "Agnus Dei" . But 'Sanctus' and 'Benedict' sadly lacking.

CD label Relief otherwise be spent in 2005 tenor solo 'Et incarnatus est' on an often mentioned by me and praised CD cassette due Rudolf Schock's 90th birthday.

(CD: Relief Nr.CR 3001)

regards not official Bruckner CD are: The
unknown to me Helma Prechter Ursula and Fröhlich have on beautiful, clear voices and demonstrate great commitment. Hanns-Heinz Nissen (1905-1969) , a versatile baritone that since 1934 more than thirty years was linked to the "Berlin Deutsche Opera House ', impresses with a stout and pleasant sounding voice. Rudolf Schock's vocal solo with violin accompaniment is indeed the "moment of poignant tenderness' that James McCullough describes. It's a wonderful moment of stillness amid the emotional intensity of the complete Credo (understandable, but unfortunate, that the Relief-CD the effect of which Bruckner referred contrast to die: the considerable length of the entire Credo fit just not in the creation of a vocal recital).

Karl Forster directs the "Rundfunk-Sinfonie-Orchester Berlin ' , founded in 1923 and still exists. He conducts his own 'Choir of St. Hedwig's Cathedral Berlin' that the vocal majority of Bruckner's 'Grosse Messe' accounts for. Choir, orchestra, soloists and conductor music with a passion that makes a lasting impression on me.

K ARL FORSTER (1904-1963) had as
"Priest / Domkapellmeister ' mainly specialized in the Gregorian choirs in music from the old Dutch composers and church in the spiritual works of Anton Bruckner . V an 1934 until his death in 1963 led the Forster 'Choir of St. Hedwig's Cathedral Berlin. 'His' church, which stood in East Berlin, was destroyed in 1943, which Forster and the choir were all forced to give concerts in Berlin, except the "home church" itself. After construction of the wall (1961) and Forster were most singers in West Berlin and it would take until 1975, that in the meantime rebuilt cathedral a second Domchor St. Hedwig's was founded.

In 2003 / 4 gave two choirs gave a joint concert to celebrate Karl Forster's 100th birthday. In the years after 2004 was finally the actual reunification. "Home Church" of a dozen different specialty corn is now as ever the 'St. Hedwig's Cathedral Berlin ' .

Krijn de Blank, September 17, 2009 (Next time: 'Rudolf Schock sings Peter Cornelius' )