The Latin Motet in the Musical Legacy of Anton Bruckner: Concerning the Question of Tradition and Innovation
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Abstract
The article provides characterization to the Latin Motets of Anton
Bruckner, which have not been researched before by Russian
musicologists. In addition to his publications in Russian, the author
of the article presents documentary materias published by British
musicologist A. Crawford Howie. The article demonstrates the
correlation in Bruckner’s Motets of typical stylistic features with
individual ones, which have expressed the composer’s worldview.
In the 19th century the motet, as a composition based on religious
subject matter, contains texts in Latin, as well as in German.
Bruckner’s Motets present the Latin trend and are based on
archaic stylistic categories, such as the medieval motet, the music
of Palestrina and the Dutch composers. The author of the article
traces the connection of Bruckner’s motets with his ecclesiastical
activities. The article examines the peculiarities of choral writing
in the Marian antiphons, “Ave Maria,” “Tota pulchra es, Maria”,
the offertorium “Inveni David”, the graduals “Locus iste,”
“Christus factus est,” “Os justi,” “Ecce sacerdos,” “Virga Jesse”
and “Vexilla regis.” Bruckner’s Motets are characterized by
small proportions, as well as the incorporation of instrumental
parts along with the chorus; his favorite stylistic devices include
bright dynamic contrasts, sequential development and complex
harmonic combinations. In Bruckner’s motets elements of archaic
stylistic features have been successfully combined with bright
features of an individual style.
Keywords: motet, Latin motet, Anton Bruckner, polyphonic
composition, Howie A. Crawford
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References
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