String Quintet (Bruckner)
When Anton Bruckner 's musical thinking was based entirely on the laws of symphonic music, in contrast to its antipode Johannes Brahms, whose work is dedicated to chamber music. So it can be explained also that Bruckner, after he had recognized in the mid- 60s of the 19th century, his own form of expression almost exclusively composed symphonies and their influence can be clearly felt in his non- symphonic works. For composition for small ensembles he felt more attracted little and consequently wrote a few chamber music. They are:
- String Quartet in C minor, WAB 111 (1862)
- Rondo for String Quartet in C minor (1862 )
- Abendklänge for Violin and Piano, WAB 110 (1866)
- String Quintet in F major, WAB 112 (1878 /79)
- Intermezzo for String Quintet in D minor, WAB 113 (1879)
Early Chamber Music
Bruckner's first chamber music work, the String Quartet in C minor. It was created as a little later the more famous f - minor symphony, as a study work, while Bruckner, already nearly 38 years old, the Linz theater conductor Otto Kitzler took lessons in free composition, and was completed on 7 August 1862. The later symphonies of the composer is to provide quality not to the side which is only about 20-minute opus. However, it shows a record technically safe style. The strict instruction in counterpoint with Bruckner's previous teacher Simon Sechter can be identified in it. The first movement (Allegro moderato ) has with his elegiac main theme and the licentious conduct modulating a bit on the later Bruckner. The main theme of the second movement ( Andante) Bruckner takes the melody of the Miserere from his Mass in D minor anticipated. The brief Scherzo ( Presto) is colored rustic, a Landler serves as a trio. At the end of the work is a rondo (quick ) with sonata -like features, which is based on the finales of Viennese Classicism. Bruckner's String Quartet was lost for a long time and was found only in the 1950s. Since then enjoys the occasional piece of justice at the string quartet ensembles.
Originally built in the same year as the Quartet Rondo in C minor for the same occupation was apparently composed, because Bruckner believed to have not yet mastered with the finale of the String Quartet Rondo form. This created a second, slightly longer Rondo " in larger form" ( Bruckner ). It is completely identical to the first set Rondo in character, structure, sound, and time signature, so could easily be replaced with him for the last movement of the String Quartet.
The little character piece evening sounds for violin and piano was written in 1866 as occasional work at the time, as Bruckner worked on the first symphony.
String Quintet and Intermezzo
In 1877 Dr. Anton von Oelzelt - Nevin, a wealthy Viennese citizens and admirer of Bruckner's music, the composer cheaper to rent a comfortable apartment available in those lived until his THE RESIDENCE to the Belvedere Castle in 1895. Bruckner was Dr. Oelzelt for so thankful that he later dedicated his Sixth Symphony. Previously, he wrote, however, as the first work in the new apartment, the String Quintet in F major, which could be in its joyful mood quite influenced by the improved living conditions as the sixth symphony and with its formation is accordingly as follows: In an interview with the composer Josef expressed Hellmesberger senior, first violinist of the then most important string quartet Association of Vienna, as well as direct as director of the Conservatory Bruckner's superior, Bruckner could but once a chamber music composing ( the early attempts were him, of course, not known). The probably not entirely serious proposal interpreted Bruckner well as urgent request, certainly also saw a new challenge and immediately began the work that occupied him from December 1878 to July 1879. When he finally showed the finished work Hellmesberger, this was indeed pleasantly surprised, however, little satisfied with specific details. The Scherzo displeased him, so much so that he asked Bruckner, to write a new sentence. The request came after the composer with the composition of the intermezzo. The premiere of the first three movements took place through the ( amplified by the Bruckner pupil Franz Schalk ) Winkler Quartet on 17 November 1881. The Hellmesberger Quartet hesitated to 8 January 1883 before it completely the work publicly played for the first time - the way the Scherzo. The quintet was one of the most successful works of Bruckner 's lifetime. Even some of his enemies among the music critics paid him recognition. Together with the string quintets of Franz Schubert, Johannes Brahms, Felix Draeseke and Antonín Dvořák is the for 2 violins, 2 violas and cello piece written the climax of this chamber music genre in the Romantic era. The game takes about 45 minutes.
The String Quintet benefited noticeably in its formal design of the symphonies, however, is not a " symphony in disguise ", as is sometimes claimed, but a genuine chamber music invented work. Orchestral sounding points can be found here only a few; in the foreground is the subtly handled dialogue of five strings, which act completely equal. It has already emphasized the composer's lifetime the proximity of the piece to the last string quartets of Ludwig van Beethoven. It is questionable, however, whether Bruckner selbige already knew at the time of composition.
The difference between Bruckner's symphonies is already evident in the first movement ( Moderate, F major ): He is much more reserved in expression and reversed the usual straight to the ¾ time. He also begins immediately with the main theme, without preparatory introductory bars. The theme itself is reminiscent less at the symphonic main topics, but is more related to the themes of the song Symphonieecksätze. The second theme stands out for its striking head motif. This is increased prior to use of the third theme in a striking unison gesture. The third theme itself is the chant proper to the topic of the sentence. The implementation is primarily concerned with the main theme. Also a trill figure from the transition to the second theme is important for the further course. The recapitulation takes varying slightly the issues of exposure on again. The third theme is the transition to the coda, based on motives from the first and the third theme and solemnly fades.
As the head set is also the Scherzo (fast, D minor, ¾ time ) a restrained than in the symphonies. It is based on three themes that carried out in the middle part and then repeated. Striking here is the preference of syncopated melody. The theme of the three-piece trio ( Slow, E-flat, ¾ time ) is a variant of the scherzo main idea. After the trio of the scherzo da capo played
As the most important movement of the quintet is considered the Adagio ( G flat major, 4/4-time ). " Had Anton Bruckner [ ... ] wrote only the slow movement of his [ ... ] quintet, he would have already become immortal " was the verdict of the musicologist Wilhelm Altmann. The rate is based on two broad executed topics. The main theme, introduced by the first violin, is marked by the dotted subjects head and priority descending melody. As a second theme acts a viola melody, which is derived from the reversal of the main idea. The enforcement, like middle section begins with the main theme, which is increased more and more in intensity and eventually leads to the second issue on which gradually builds up to the climax of the movement, which is marked by falling figures in the violins. The following is a free recapitulation of two themes in the reverse order in which the voltage is gradually dissolved. Quiet and gentle sounds of the Adagio.
In the final ( Lively in action, f - Moll, 4/4-time ) comes to the style of his Bruckner symphonies next. His lifting over a throbbing Des first theme consists mainly of a quaver movement that takes more concise contours after a few cycles. The melody of the quiet singing theme is characterized by Sesto. The development begins with a variant of the main theme in large intervallic leaps, which represents the usual third theme, but does not undergo self-contained presentation topics, but is immediately processed fugatoartig. The mold section is widely influenced by this thought. Also occur in places added motives of the first and second subjects. The recapitulation expires mirror and begins with the song theme. The coda turns to F major and ends in a conclusion that is very similar to the first set.
The single standing quintet set Intermezzo in D minor ( Moderato, ¾ time ) of 1879 was originally intended as a substitute for the nachkomponierter criticized by Hellmesberger Scherzo of the string quintet. It is much shorter than this and has a close relationship to the thoughts of the quintet last movement in his thematic material. Here is a trio (slow ) in the middle, which contrasts but little to the framing Intermezzo parts. Occasionally, the intermezzo between Adagio and Finale inserted in performances of the String Quintet.
- Chamber music works
- Music for String Instruments