| Entsagen | |
| Key: | B-flat major |
| Catalogue: | WAB 14 |
| Form: | Cantata |
| Text: | Oskar van Retwitz |
| Language: | German |
| Dedication: | Michael Arneth |
| Vocal: | choir or quartet – soloist |
| Instrumental: | Organ or piano |
The cantata (Renunciation), WAB 14, is a cantata composed by Anton Bruckner in .
Bruckner composed the cantata for the name-day of Michael Arneth, the prior of the St. Florian Abbey. The piece was intended to be performed on Arneth's name-day. It is not known when it was performed.[1]
Why Bruckner has chosen this unsound text for the name-day of his Maecenas remains unexplained. Perhaps he has put so into music his resignation following his father's death or Aloisia Bogner's refusal of his proposal of marriage.[2] [3]
The manuscript is stored in the archive of the St. Florian Abbey. A facsimile of the cantata was first issued in band II/2, pp. 47–58 of the Göllerich/Auer biography. The cantata was thereafter issued by Ludwig Daxsperger in 1956.[1] It is put in Band XXII/1 No. 2 of the German: Gesamtausgabe.[4]
The work is based on the poem Amaranth by Oskar von Redwitz.
| Noble and clement virgin!Thou didst raise me, the motherless,To the glory of thy Son,Thou most faithful Mother | Teach me also to bear nowThe will of my Lord,Obedient in renunciation,Thou, star of obedience!Mirror of humility, Mary | O Mary! Thou source of holy love | Take my love from meAnd give it so faithfully to herwho already gave him the ring!Nothing else grant meThan that he be happy.Just leave me this tearAnd comfort me,Mother of love, Mary | O Mary! Strong shield of Heaven | O protect him for ever,On the noisy battlefield,In secret danger!I do not want to desire him,However I bless him for ever.With thy armies of angelsO surround his head,Powerful Lady, Mary |
|---|
The 126-bar long work in B major is scored for choir or quartet, soprano or tenor soloist, and organ (or piano).[1]
The cantata is a ‘spiritual song’ in three sections,[5] in ABA′ form:[3]
The outer sections are in the form of Protestant chorale,[5] with in bars 16–19 (Die treu'ste Mutter groß!) and 110–113 (In heimlicher Gefahr!) a direct quotation from "O Haupt voll Blut und Wunden".[3]
The expressive middle section, a solo for soprano or tenor in F major, is with large intervals and strong modulation. The contrapuntal accompaniment by the organ (or piano) has some reminiscences of the baroque opera.[3]