Review

Anton Bruckner
Three Motets:

Arranged by Ralph Sauer

2 trumpets in C and 2 Flugelhorns in C (or 4 trumpets), and 4 trombones

Vancouver, BC, Canada
Publisher: Cherry Classics Music
Date of Publication: 2010
URL: http://www.cherryclassics.com

Score and parts

Primary Genre: Brass Ensemble - 6+ brass (choir)

Os Justi is a motet in four and eight parts, written in 1879, between Symphonies 5 & 6, when Bruckner was 55 years old. The arrangement is scored for 2 trumpets in C and 2 Flugelhorns in C (or 4 trumpets), and 4 trombones. It’s composed in the style of Palestrina, in the Lydian mode, ending with a plainchant ‘Alleluia’ played by trombones and tuba; the arranger has written ‘Alleluia’ into the score indicating the correct phrasing, which might not be obvious. The dynamic here is ppp. (5:00)
 
Ave Maria. This 7-part motet, the second of his three settings of this text, is one of Bruckner’s earliest pieces, written in 1861 at age 37. Its modal style connects the Renaissance almost directly to the Romantic era. The 8-part transcription for 4 horns in F and 4 trombones (or tubas) is in B-flat (original key F). The final V-I close, marked ppp is on ‘A-men.’ (4:00)  
 
Christus factus est. This 4-part motet comes from 1884 when Bruckner was writing his 8th Symphony and Te Deum. The transcription is made in 6-parts, scored for 2 trumpets in C and 4 trombones (or 2 horns & 2 trombones) and is in its original key of d minor. (5:30)
 
All were originally a capella settings; strong tonal and dynamic contrasts are preserved in these transcriptions. There is some redistribution of parts to achieve good balance, and judicious doubling of the bass line at the octave. Three other Bruckner motets use trombones; the style of writing is quite similar in these pieces and trombone players will feel ‘at home’ in them. Vocal lines are preserved as much as possible, providing a satisfying playing experience. Articulations and dynamics have been added where needed. Overall range for first trombone is B-flat–a1 and for fourth is AA–d1. These transcriptions are well within the capability of a college-level ensemble, and for some might even be the magic key to the secrets of Bruckner’s symphonic style.

-Keith Davies Jones
Winnipeg, Manitoba, Canada