Bruckner - Mass in E minor (1869): LAM 71
This page was last edited on 16/01/06
Topics To Research
- 19th century Choral Music
- The Cecilian Movement
- Bruckner - style, works
- False Relation
- The Mass
- Canon - Dux - Comes
Bibliography TOP
- Grout - pp.553-558
- CMG - pp.388-391
- New Grove Biographies - Late Romantic Masters
- Bruckner - Master Musician Series
- Music In The Romantic Era - Einstein
-
In the Sanctus identify precisely the location of one example of each of the following:-
- canonic imitation at the 5th below,
- a diminished triad in 2nd inversion,
- a dominant 7th of D in 3rd inversion,
- a C major chord but with the major 7th as the lowest note,
- a suspension.
- In the Benedictus identify precisely the location of one example of each of the following:-
- a perfect cadence in C major,
- an imperfect cadence in D minor,
- an augmented 6th chord in A minor,
- a chromatic passing note,
- a chromatic lower auxiliary note.
- In what ways does the Sanctus show the influence of 16th century polyphony? In what ways does it differ from 16th century polyphony? [Hint: find out about
Palestrina's style. A good way is to listen to and follow a Mass You can find examples in LAM and Sound Matters]
- Compare and contrast the styles of the Benedictus and the Sanctus. [Hint: There should be a few things you could say about the harmony alone, which might generate a question all by itself! In an examination you might get one aspect of this question.]
Rhythm
- Influence of Palestrina.
- Flowing.
- But not as free or flowing as Palestrina.
Melody
- Influence of Palestrina.
- Paraphrase of Palestrina Missa Brevis.
- Smooth.
- Scalic.
- Small leaps - counteracted.
- However Bruckner uses leap of major 6th - un-Palestrinian (far too exciting!).
- Built in long flowing phrases.
- Melismatic.
- Not everything follows Palestrinian "rules"/practice.
- The register is a little wider than 16th century polyphony.
Harmony and Tonality TOP
- In G.
- More modal G because of lack of 7-8 progressions.
- Some modal progressions.
- Many root position chords.
- However, not pastiche.
- Some more Romantic moments; especially
- 7th chords
- parallelisms
- use of diminished chord
- 9th chords.
- Suspension techniques.
- Not all dissonances are prepared and/or resolved according to 16th century practice.
Texture
- 8 parts.
- Palestrinian continuity by dovetailing over cadences. Seamless.
- Free and imitative counterpoint.
- Paired voices.
- Canon.
- Some doubling in 3rds and 6ths.
- Very smooth effect.
- Generally full in texture - more consistently so than in 16th century, when there was more variety of vocal scoring.
Timbre TOP
- A cappella.
Form
You can really only mention
- Continuity of style achieved by the reuse of material.
Other
- Importance of Cecilian influence.
- Mood of spiritual reflection.
- Deliberate archaic effect - for religious association.
This section makes a strong contrast with Sanctus
Rhythm
- Much more accented and metrical.
- Rhythmically broken up - units much more discernible.
- Answering rhythmic blocks.
- Syncopation of bass voice.
- More anacrustic style.
- Use of dotted rhythms.
Melody TOP
- Un-Palestrinian!
- Shorter phrases.
- Asymmetrical.
- Quasi sequence.
- Quasi imitative.
- Quasi inversion.
- Very chromatic.
- Importance of semitones.
- Wagnerian.
- Accented decorative notes, esp. chromatic auxiliary.
- Note parts move generally smoothly.
- More syllabic.
Harmony
- Much more Romantic and colouristic.
- Opening tonality less clear due to chromatic chords.
- Chromatic chords e.g. minor subdominant; German 6th.
- Unusual juxtapositions e.g. A maj. - F min.
- Dissonance.
- Use of 7th chords.
- Chromatic melodic decorations affect the harmony - harmony created out of linear conception.
- Varying rate of harmonic change.
- More variety of chord positions; note 2nd inversion chords.
- Importance of the semitone - in voice leading.
- Fluctuation in key.
- Tinged by modality.
Texture TOP
- More chordal in effect.
- Antiphony of voices.
- Forces employed more colouristically.
- Quasi imitation between horn and sop. 1.
- Still linear thought in evidence.
Timbre
- More variety of timbre.
- Use of wind - especially the horn.
- Use of low voice group.
- Some writing in 3rds - warmth.
Form / Effect / Other
- More broken up
- Completely different to Sanctus.
- Much more contemporary
- Influence of Wagner.
- Much more dramatic and immediate.
Cecilian movement (Named after St. Cecilia, Patron Saint of music)
A movement for the reform of (Roman) Catholic church music in the 19th century, centred on the German-speaking countries and France. It favoured the development of a sober style of unaccompanied choral singing (including Renaissance polyphony), the re-creation of an 'authentic' tradition of Gregorian chant and the integration of music into the service. The movement desired the reinstatement of Palestrina's 'a capella' style in preference to the excess (as they saw it) of church music (and instruments) which had grown up in the 18th century. Hayden and Mozart had, for example, written Masses which were too grand for the Cecilians. This was a reactionary and rather purist bunch of folk!
The obvious parallel is with the Council of Trent with which Palestrina is so often associated.
In no particular order, these are some of the features...
- carefully controlled treatment of dissonance
- modal harmony
- careful preparation and resolution of suspensions
- passing notes on weak beats
- careful setting of text: accented syllables on strong beats.
(accents are determined by the text) - no dramatic changes of rhythm; rhythmically smooth
- no unusual chromaticism for weird effects
- (beautiful) melodies with balanced phrases; there can be long melismas in his music
- Palestrina's polyphony varied from the use of strict canon at one extreme, to free imitation at the other.
- homophonic textures are used. Indeed, the use of contrasting textures and vocal groupings is an important aspect of his music.
- variation of register
- antiphonal textures
- being based on Gregorian Chant, Palestrina's melodic contours tend not be to startling! Leaps attract attention and, having done so, their effect is softened by a succession of steps. A leap is also likely to be followed by movement in the opposite direction.
- leaps of more than a 5th were used as little as possible (they do exist - see LAM 3 bar 27 in the alto) but octave leaps were used fairly readily as they simply place the voice in a new tessitura.
- a very serene, meditative style
- new points of imitation for each line of text
- in his post-Council of Trent music, Palestrina's style became simpler and the "Missa Papae Marcelli" is said to sum up his new thinking.
If you listen to Palestrina's "Missa Papae Marcelli" you will hear many of the features mentioned above.