Josef Anton Bruckner (1824 – 1896) was an Austrian
composer and organist best known for his symphonies and
sacred music, which includes Masses, Te Deum and
motets. The symphonies are considered emblematic of the
final stage of Austro-German Romanticism because of
their rich harmonic language, strongly polyphonic
character, and considerable length. His compositions
helped to define contemporary musical radicalism, owing
to their dissonances, unprepared modulations, and
roving harmonies. (+)
Josef Anton Bruckner (1824 – 1896) was an Austrian
composer and organist best known for his symphonies and
sacred music, which includes Masses, Te Deum and
motets. The symphonies are considered emblematic of the
final stage of Austro-German Romanticism because of
their rich harmonic language, strongly polyphonic
character, and considerable length. His compositions
helped to define contemporary musical radicalism, owing
to their dissonances, unprepared modulations, and
roving harmonies.
Unlike other musical radicals such as Richard Wagner
and Hugo Wolf, Bruckner showed respect, even humility,
before other famous musicians, Wagner in particular.
This apparent dichotomy between Bruckner the man and
Bruckner the composer hampers efforts to describe his
life in a way that gives a straightforward context for
his music. Hans von Bülow described him as "half
genius, half simpleton". Bruckner was critical of his
own work and often reworked his compositions. There are
several versions of many of his works.
His works, the symphonies in particular, had
detractors, most notably the influential Austrian
critic Eduard Hanslick and other supporters of Johannes
Brahms, who pointed to their large size and use of
repetition, as well as to Bruckner's propensity for
revising many of his works, often with the assistance
of colleagues, and his apparent indecision about which
versions he preferred. On the other hand, Bruckner was
greatly admired by subsequent composers, including his
friend Gustav Mahler.
Des Dankes Wort sei mir vergönnt (Let grant me to say
a word of thanks), WAB 62, is a song composed by Anton
Bruckner during his stay in Sankt Florian. He composed
this song on a text of Ernst Marinelli between 1845 and
1855, during his stay in Sankt Florian. He dedicated
the work as thanks to Earl Charles O'Hegerty, the
occupant of Tillysburg Castle, near Sankt Florian. It
is not known when the song was performed at that time.
On 13 May 1996 the work was performed again on the
authentic location (Tillysburg Castle).
The original manuscript of the work is lost, but a copy
by Karl Aigner is stored in the archives of the
Österreichische Nationalbibliothek. The work is issued
in Band XXIII/2, No. 11 of the Gesamtausgabe.
Source: Wikipedia
(https://en.wikipedia.org/wiki/Des_Dankes_Wort_sei_mir_
verg%C3%B6nnt,_WAB_62).
Although originally created for Male Chorus (TTBB),
Tenor Soloist and Piano, I created this Interpretation
of "Des Dankes Wort sei mir vergönnt" (Let grant me to
say a word of thanks WAB 62) in F Major for Flute &
Strings (2 Violins, Viola & Cello).
PARTITION