| Fest-Kantate | |
| Composer: | Anton Bruckner |
| Dedication: | Laying of the foundation stone of the new Mariä-Empfängnis-Dom |
| Key: | D major |
| Catalogue: | WAB 16 |
| Form: | Festive cantata |
| Movements: | 8 |
| Vocal: | choir and soloists |
| Instrumental: | Wind band |
The German: Fest-Kantate ''Preiset den Herrn''|italic=unset, WAB 16, is a festive cantata composed by Anton Bruckner in 1862 for the celebration of the laying of the foundation stone of the new Mariä-Empfängnis-Dom of Linz.
To celebrate the laying of the foundation stone of the new German: Mariä-Empfängnis-Dom (Cathedral of the Immaculate Conception) of Linz, bishop Franz-Josef Rudigier asked Bruckner for a cantata. Bruckner responded enthusiastly with the composition of the Festive Cantata Preiset den Herrn (Praise the Lord) on a text of the theologian Maximilian Pammesberger.
On 1 May 1862 the foundation stone was laid. To celebrate the event the cantata was performed by the choir Frohsinn, invited guest singers and the brass band of the Infantry Regiment Freiherr von Bamberg No. 13 under the baton of Engelbert Lanz.[1] [2] [3] [4]
The Festive Cantata, WAB 16, is the first notable religious work that Bruckner composed after his strenuous study period by Sechter. It will be followed one year later by Psalm 112 (1863), and again one year later by the secular cantata Germanenzug and the first great mass, Mass No. 1 in D minor (1864).
The Festive Cantata was performed by Theodor Guschlbauer on 6 September 1980 during the Brucknerfest. A recording of this performance is available in the Bruckner Archive.[5] The Cantata was also performed on 10 June 2022 during a concert to celebrate Neeme Järvi’s 85th anniversary.[6]
The manuscript of the cantata is stored in the archive of the Episcopacy of Linz. A facsimile was first published in volume III/2, pp. 197–216 of the Göllerich/Auer biography.[3] A choir and piano score has been issued by Doblinger in 1955.[4] It is published in volume XXII/2 no. 6 of the German: Gesamtausgabe.[7]
The cantata uses a text of the theologian Maximilian Pammesberger.
| My Lord, Thou art the fundament and cornerstoneOf Thy great and noble church. Thaw Thy power and forceOn foundation and stone,Which we sink devoutly Into the holy work! Praise the Lord, praise Mary,Conceived immaculate | From the bowels of the earthThe building is growingStriking greatlyInto the blue of the sky. This is the house of the Immaculate,In which the source of graceArises and streams rich and pureInto the country. The tribes from all the districts of the countryGo on a devout pilgrimage to the cathedralOf our blessed Lady;They greet her times without numberAnd find salvation in the room of graceBy faith and trust. Praise the Lord,Sing the praises of His holy name,Praise Mary,The mighty helper. Amen. |
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The 241-bar long work in D major for men's chorus, male solo quartet, bass soloist, and wind band (2 flutes, 2 oboes, 4 clarinets, 2 bassoons, 4 horns, 3 trumpets, 3 trombones, 1 bass tuba and timpani),[9] is composed of eight short parts:[4]
Total duration: 10 to 13 minutes.
The opening choir with its starting octave leap in unison, as in the Overture in G minor, and its reminiscence to the Arneth Cantata[10] is majestic and solemn.[3] It thereafter evolves in a fugato on "Grund und Eckstein bist du, o Herr". To bind the work together the solemn opening choir is repeated twice, in the third and eight parts.
Preiset den Herrn … demonstrates Bruckner’s primary concerns at the time of composition—form and orchestration. His interest in form is reflected in the closely related melodies, repetition of motives among the movements, and especially in the finale, which sums up the entire composition, by making reference to much of what has preceded it. … The contrast of full ensemble with a variety of smaller groups is convincing, and Bruckner has made effective use of the timbral resources available to him. … Bruckner’s chord and key choices are often surprising and indicate that he was developing much more confidence in his unorthodox harmonic ideas.[11]
A commercial recording in full accordance with the original score edited by the critical Gesamtausgabe is still awaited.
Out of the seven commercial recordings, Fiala's live performance - with trombones colla parte during the choir repeat of part 2 (mm. 70 - 82) - is the most in accordance with the original score. Kerbl's live recording - without basstuba and with organ colla parte for a cappella parts 2, 5 and 7 - is, according to Hans Roelofs, also a convincing performance.[12]
The Festive Cantata has undergone several adaptations: for choir, only with organ accompaniment, for mixed choir with a different text ...
The two recordings by Track follow his own adaptations, one for male-voice choir (1990), the other as Festkantate zur Weihnacht (festive Christmas cantata) for mixed choir with Herbert Vogg’s text "Ehre sei Gott in der Höhe" (1996).[3] [4]
In the version for male-voice choir the Arioso (part 4) is skipped. Parts 2 and 5 are accompanied by organ, part 7 is sung a cappella.
In the version for mixed choir (Festkantate zur Weihnacht) part 4 is sung by the male voices with the original instruments, parts 2, 5 – converted to C major – and 7 are sung by the whole choir with organ. Because of the female voices and the organ accompaniment this version sounds smoother than the original version.[12]