Kinder, p. Anton Bruckner. Symphonies — Symphony in F minor No. Psalm settings — Psalm Magnificat Psalm 22 c. Motets c. Organ works — Two Aequali Lieder — Der Mondabend c. Plate 1. Plate 4. Requiem d-moll, pp. Editor's preface removed for copyright reasons. The revision corrects some mistakes in Nowak's edition, but is not a new edition.

Copyist Franz Xaver Bayer Redirected from Missa Solemnis Bruckner. Hawkshaw, Kinder, p. Simpson, p. Harten, p. Hawkshaw, p. Anderson, p. Anton Bruckner. He never lost his simplicity of character, his rural accent and dress, his social naivete, or his unquestioning deference to authority. Although his intellectual powers cannot be doubted in the light of his achievement, he remained inwardly insecure and constantly sought testimonials and certificates as to his ability.

His private life took on an unhappy pattern of passionate but unrequited attachments to younger, usually teenage, girls. In Bruckner concluded his arduous studies with Sechter with magnificent testimonials, and he also astonished his judges at an organ examination in Vienna.

His style in works such as the seven-part Ave Maria displays new freedom, depth, and assurance. He now embarked on a study of form and orchestration with Otto Kitzler, and during this time he discovered the music of Franz Liszt , Hector Berlioz , and above all Richard Wagner. The first of his three choral-orchestral masses , the Mass in D Minor , crowns this period of rigorous, self-imposed training and slow growth to maturity. After two earlier essays in the orchestral form, Bruckner completed his Symphony No.

That same year he finished the Mass in E Minor , which, along with the Mass in F Minor , completed his triptych of great festive masses. Throughout his creative maturity Bruckner also composed a beautiful series of motets that punctuate the colossal steps of his symphonic progress, among them Locus iste, Christus factus est, and Ecce sacerdos magnus.

They rank among the highest achievements of Roman Catholic church music. Late in Bruckner suffered a severe nervous collapse, from which he recovered after three months in a sanatorium, though intense depressions would later trouble him.

In he succeeded his late teacher Sechter in a professorship at the Vienna Conservatory. There he taught harmony and counterpoint and endeared himself to pupils for his memorable and engaging academic style. The boldness and originality of his music met with incomprehension and was mocked by the powerful Viennese critic Eduard Hanslick , who was a champion of the German composer Johannes Brahms and was antipathetic toward Wagner. Bruckner was a fervent admirer of Wagner, and he was erroneously branded as a disciple of that composer; his career suffered from his unwitting involvement in the fierce battle then raging between the adherents of Wagner and Brahms.

In he was elected a member of the Hofkapelle, where he had been an unpaid organist for years. Against the subtly floating rhythms of the strings, the choral writing is direct and plain; the effect is gripping enough to make one wonder why the work has been so neglected.

The orchestra consists only of strings and trombones, a horn replacing one of the trombones in the Benedictus, so an austere sound is maintained throughout the work. There are boldnesses in the use of tonality; the polyphonic Quam olim Abrahae is put strikingly in the key of F minor; simple textures are used with clear imagination, as in the juxtaposition of naive solos and plain choral responses with sensitively expressive string figuration in the Agnus Dei.

This music needs no close analysis, which would defeat its guileless intent, and it does not unfailingly uphold its best levels.