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Track(s) taken from CDA66062

Os iusti meditabitur

1879; 4/8vv; Lydian mode; composed for Ignaz Traumihler, choirmaster at St Florian
author of text
Psalm 36 (37): 30-31

Corydon Singers, Matthew Best (conductor)
Recording details: May 1982
St Alban's Church, Holborn, London, United Kingdom
Produced by Mark Brown
Engineered by Antony Howell
Release date: April 1986
Total duration: 4 minutes 56 seconds

Other recordings available for download

Westminster Abbey Choir, James O'Donnell (conductor)
Polyphony, Stephen Layton (conductor)
Voces 8
Tenebrae, Nigel Short (conductor)


'A superb record. Exploring these pieces is a moving experience when the performances are as superlative as these. Very strongly recommended. Record of the Month' (The Monthly Guide to Recorded Music)
On one level this is the most ‘purist’ product of Bruckner’s engagement with the principles of Franz Xaver Witt. Set in the old Church Lydian Mode (the white-note scale based on F) throughout, it contains no sharps or flats, no ‘dominant’ sevenths, and no six–four (second inversion) chords—the last two anathematized according to the supposed ‘rules’ of Palestrina’s time. The miracle is that it all sounds so effortless and natural, without so much as a hint of ironic or sentimental archaism. The central section (‘et lingua eius’) comprises some of the most serenely beautiful counterpoint in all Bruckner. At its conclusion, Os iusti dovetails skilfully into a plainchant ‘Alleluia’ celebrating the ancient wisdom of the Church.

from notes by Stephen Johnson © 2007

Il s’agit du produit brucknérien le plus «puriste» au regard des principes de Franz Xaver Witt. Recourant au vieux mode ecclésiastique lydien (la gamme en touches blanches fondée sur fa), il ne contient ni dièses, ni bémols, ni septièmes de «dominante», ni accords de sixte et quarte (deuxième renversement)—ces deux derniers étant anathématisés selon les «règles» supposées du temps de Palestrina. Le miracle, ici, c’est que rien ne sent l’effort ou l’artifice; on ne décèle pas même un soupçon d’archaïsme ironique ou sentimental. La section centrale («et lingua eius») compte parmi les contrepoints les plus sereinement beaux de tout Bruckner. À sa conclusion, Os iusti s’ajuste habilement à un «Alléluia» en plain-chant célébrant l’antique sagesse de l’Église.

extrait des notes rédigées par Stephen Johnson © 2007
Français: Hyperion Records Ltd

Auf einer Ebene ist dies das „puristischste“ Produkt von Bruckners Beschäftigung mit den Prinzipien von Franz Xaver Witt. Es steht durchweg in der alten lydischen Kirchentonart (weiße Tasten, beginnend auf F), enthält keine Kreuze oder bs, keine „Dominantsept“-Akkorde und keine Quartsextakkorde (zweite Umkehrung)—die letzten beiden anhand der angenommenen „Regeln“ der Palestrinazeit verpönt. Es ist ein Wunder, dass alles so mühelos und natürlich klingt, ohne jeglichen Hauch von ironischem oder sentimentalem Archaismus. Der Mittelteil („et lingua eius“) enthält einige der friedlichsten und schönsten kontrapunktischen Passagen Bruckners. Zum Abschluss geht Os iusti geschickt in ein choraliter gesungenes „Alleluia“ über, das die alte Weisheit der Kirche zelebriert.

aus dem Begleittext von Stephen Johnson © 2007
Deutsch: Renate Wendel

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