Nice Things To Say In A Wedding Album

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' )