This feature was hibernating through December, what with the Daily Dose of Christmas, but we’re back now! We’ll start with observing the bicentennial of German composer Anton Bruckner, who was born in 1824.
So yeah, we missed it. Oops.
I like Bruckner, but I’ve never fully entered his sound world beyond listening to his symphonies here and there. Bruckner wrote massive symphonies, some of which exceed an hour of length, and his sound is such that it often sounds as if he really intended to write for the organ rather than the orchestra. In fact, his writing for organ (he was a professional organist himself for a time) influenced his approach to orchestration, to the point that each of his symphonies is written for almost an identical complement of orchestra musicians, and none call for vocal input in any way.
Bruckner was a deeply spiritual man who wrote a good deal of sacred music in addition to the symphonies that make up the most famous part of his output. His general sound has been described as “Cathedral-like”, and though he was a deep admirer of Richard Wagner, there really isn’t much direct influence to be found. However, hearing Wagner provided Bruckner the inspiration he needed to work much more seriously at his own composing, after which his own work flowered. Bruckner enjoyed little success as a composer during his life, but his stature climbed greatly after his passing.
Today, Bruckner can be a “take him or leave him” kind of composer. For some, his works are simply too long-winded, with too little inspiration to sustain them, for enjoyable listening. I personally find his symphonies highly enjoyable, but it takes a special mood. Anton Bruckner, alas, is not for me in terms of every day listening.
Hardly all of his work is towering organ-like symphonies, though. He wrote a great deal of sacred vocal music, and that’s what I’m featuring today. This is a motet called “Locus Iste”, which Bruckner wrote for the dedication of a new cathedral in Linz, Austria. Listening to this, it’s not hard at all to hear the line connecting Bruckner to earlier sacred music masters like Bach, and even farther beyond. The motet is, after all, one of the oldest forms in Western music.
