Album insights
Bruckner's music is renowned for its religious mysticism, evident not only in his sacred choral works but also in his symphonies, which form the bulk of his oeuvre. Growing up with a devout Roman Catholic upbringing, his faith was sincere and unwavering. His heartfelt dedication inscribed on the Mass in D minor ('Omnia ad majorem Dei gloriam') reflects his profound reverence for the Almighty.
Studying under Otto Kitzler, a German cellist and conductor, Bruckner delved into counterpoint techniques and encountered works by Liszt and Wagner. Influenced by a blend of composers such as Haydn, Mozart, Schubert, and Bach, he amalgamated their styles into his own. Wagner's music inspired him to embrace his artistic individuality.
After a period of struggle with mental health issues in the late 1860s, Bruckner found solace in composing his Mass No. 3 in F minor, a labor of dedication taking one year to complete. The F minor Mass, marked by classical form yet infused with newfound vitality and deep religious mysticism, embodies his profound devotion.
This grandest of Bruckner's masses unfolds with a gentle, descending four-note figure in the Kyrie, recurring throughout the piece. The Gloria and Credo sections, reminiscent of Te Deum and Psalm 150, resonate triumphantly in C major, interspersed with modulations and thematic variations. The Sanctus and Agnus Dei draw upon earlier motifs, weaving a rich tapestry of melodies and harmonies.
The completion of the Mass in 1868 required extensive revisions, culminating in its final 'true' form by 1881, with further tweaks overseen by Joseph Schalk in the early 1890s. Bruckner's Psalm 150, his swansong of sacred choral works before his death in 1892, shares the exuberant spirit of his Te Deum from 1884. Rich in choral elements, daring chromatic passages, and a climactic fugal conclusion, this composition exemplifies his enduring mastery.