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Suitable for SATB (with divisions) unaccompanied, this work is a
setting of the Gradual for Maundy Thursday, dating from 1884, the
period of the Seventh Symphony and the Te Deum.
Composed originally in 1869, this Bruckner mass is unique in its
wind ensemble accompaniment. The composer made revisions in 1882
and the new version was premiered in 1885 at the same venue of the
original premiere 16 years before - the Cathedral of the Immaculate
Conception in Linz, Austria. The vocal score here is reprinted from
the authoritative score by Kurt Soldan and issued by C.F. Peters in
the early 20th century.
Composed in 1849 in memory of Bruckner's friend Franz Sailer, the
Requiem in D minor was the composer's first large scale work. The
premiere was given at the St. Florian Abbey in Linz on September
15, 1849 under Bruckner's direction. The vocal score reissued here
was originally prepared by Ludwig Berberich in the decades after
the first world war. Not a mere reprint, it has been digitally
enhanced with measure numbers, contents, instrumentation and is
compatible with the widely available public domain orchestral from
Kalmus, Luck's and elsewhere.
Unlike so many of his symphonies, Bruckner's "Te Deum" was an
unqualified success from the very first. The compser even referred
to the piece as "the pride of my life." The vocal score prepared by
Bruckner's friend Josef Schalk and first published by C.F. Peters
is offered here in a digitally enhanced reprint featuring measure
numbers, contents, instrumentation. Compatible with the widely
available public domain orchestral from Kalmus, Luck's and
elsewhere.
Composed in 1849 in memory of Bruckner's friend Franz Sailer, the
Requiem in D minor was the composer's first large scale work. The
premiere was given at the St. Florian Abbey in Linz on September
15, 1849 under Bruckner's direction. This easy-to-read study score
is a digitally-enhanced reprint of the full score edited by Robert
Haas which first appeared in the years prior to the Second World
War.
Composed in 1892 as he he was working on his Ninth Symphony, Psalm
150 is Bruckner's final sacred work. The composer had set various
psalms over the course of his career before finally turning to the
very last of the Book of Psalms, No. 150. It is one of the most
musical of all, invoking a veritable orchestra of percussion, wind,
and string instruments to join the people's voices in praise of God
with music and dance.
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