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.

Trauungschor ("Wedding chorus"), WAB 49, is a wedding song composed by Anton Bruckner on 8 January 1865. He composed the setting for the wedding ceremony of his friend Karl Kerschbaum, chairman of the Liedertafel Frohsinn, with Maria Schimatschek, a concert singer and daughter of Franz Schimatschek. The sacred piece was performed by Frohsinn, with Bruckner at the organ, on 5 February 1865 during the celebration of the wedding in the Linzer Stadtpfarrkirche (Linz Parish Church). The original manuscript is stored in the Frohsinn-archive of the Linzer Singakademie. After this single performance the music fell into oblivion. It was first published in band III/2, pp. 219–224 of the Göllerich/Auer biography. It is put in Band XXIII/2, No. 18 of the Gesamtausgabe.

The in total 55-bar long work in F major is scored for TTBB choir, voice quartet, and organ. The setting of the first strophe (bars 1 to 17) is sung by the choir. The setting of the second strophe (bars 18 to 38) is sung by the vocal quartet. Thereafter the setting of the first strophe is repeated da capo. In the newspaper Linzer Zeitung of 8 February 1865 the work was praised as a unique product of a creative spirit (originelle Geistesschöpfung).

Source: Wikipedia (https://en.wikipedia.org/wiki/Trauungschor,_WAB_49).

Although originally created for Male Chorus (TTBB) & Organ, I created this Interpretation of "Trauungschor" ("Wedding Chorus" WAB 49) in F Major for Winds (Flute, Oboe, French Horn & Bassoon) & Strings (2 Violins, Viola & Cello).