Anton Bruckner: Ave Maria; Geistliche Chöre-Motets

Editorial Reviews

All Music Guide - James Leonard
Are you tough enough to get through an entire hour of the most spiritual motets ever composed by an over-educated peasant from nineteenth century Austria? Are you tough enough to listen and listen hard to every sublime note of every blessed piece? Will your attention start to wander during the plainchant interludes of the "Tota Pulchra Es Maria"? Will you decide to skip the "Ave Maria" from 1856 and the "Tantum Ergo" from 1846 because they're derivative early works? Will you finally decide that while Bruckner was man enough to hymn the glory of God on his knees for a whole hour, you're just not tough enough to kneel there with him? But if you're going to kneel there with ...
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Editorial Reviews

All Music Guide - James Leonard
Are you tough enough to get through an entire hour of the most spiritual motets ever composed by an over-educated peasant from nineteenth century Austria? Are you tough enough to listen and listen hard to every sublime note of every blessed piece? Will your attention start to wander during the plainchant interludes of the "Tota Pulchra Es Maria"? Will you decide to skip the "Ave Maria" from 1856 and the "Tantum Ergo" from 1846 because they're derivative early works? Will you finally decide that while Bruckner was man enough to hymn the glory of God on his knees for a whole hour, you're just not tough enough to kneel there with him? But if you're going to kneel there with Bruckner, then Martin Flamig and every man and boy in the Dresden Kreuzchor will kneel there with you, parsing God with great praise. Of all the recordings ever made of Bruckner's motets by German or Austrian choirs over the years, Flamig and the Kreuzchor's from 1985 is among the most devotional and the most fervent. It doesn't hurt that the Kreuzchor's tone is so ardent and pure and that Flamig's direction is so austere and exalted, and it only helps that Capriccio's early sound is warm and clear. And if there have been more compelling performances of Bruckner's motets, there have been few more zealous.
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Product Details

  • Release Date: 12/21/1995
  • Label: Capriccio
  • UPC: 845221000046
  • Catalog Number: 10081
  • Sales rank: 253,334

Tracks

Disc 1
  1. 1 Ave Maria (II), motet for chorus in F major, WAB 6 - Anton Bruckner & Adam Bachhausen (3:31)
  2. 2 Tota pulchra es, Maria, antiphon in Phrygian mode for tenor, chorus & organ, WAB 46 - Anton Bruckner & Adam Bachhausen (4:30)
  3. 3 Christus factus est (II), gradual for chorus, 3 violins & 2 trombones in D minor, WAB 10 - Anton Bruckner & Adam Bachhausen (4:59)
  4. 4 Os justi, gradual for chorus in Lydian mode, WAB 30 - Anton Bruckner & Adam Bachhausen (4:05)
  5. 5 Afferentur Regi, offertorium for chorus & 3 trombones in F major, WAB 1 - Anton Bruckner & Adam Bachhausen (1:47)
  6. 6 Pange lingua, hymn for chorus in D major, WAB 32 - Anton Bruckner & Adam Bachhausen (6:07)
  7. 7 Ecce sacerdos, antiphon for chorus, 3 trombones & organ in A Minor, WAB 13 - Anton Bruckner & Adam Bachhausen (5:59)
  8. 8 Locus iste, gradual for chorus in C major, WAB 23 - Anton Bruckner & Adam Bachhausen (2:24)
  9. 9 Tantum ergo (No. 5), motet for chorus and organ in D major, WAB 42 - Anton Bruckner & Adam Bachhausen (3:41)
  10. 10 Vexilla regis prodeunt, hymn in Phrygian mode for chorus, WAB 51 - Anton Bruckner & Adam Bachhausen (4:44)
  11. 11 Inveni David (I), offertory for male chorus & 4 trombones in F Minor, WAB 19 - Anton Bruckner & Adam Bachhausen (2:58)
  12. 12 Ave Maria (II), motet for chorus in F major, WAB 6 - Anton Bruckner & Adam Bachhausen (4:53)
  13. 13 Libera me, Domine (I), motet for chorus & organ in F major, WAB 21 - Anton Bruckner & Adam Bachhausen (5:31)
  14. 14 Virga Jesse, gradual for chorus in E Minor, WAB 52 - Anton Bruckner & Adam Bachhausen (4:58)
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Album Credits

Performance Credits
Martin Flämig Primary Artist
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