Англ.аннотация Te Deum

Anastasiya Drobysh.
Embodiment of canonical text in the Te Deum of Anton Bruckner

Anton Bruckner went down in the history of musical art foremost as one of the greatest symphonists, and also as a composer, differing from others in his naivety, simplicity and child-like faith in God. It is generally known that his symphonies and also majestic Te Deum brought him recognition and glory as a composer.
To this day discussions over Bruckner's Te Deum are conducted in relation to the execution of his finale of the Ninth symphony which, as is generally known, the composer did not finish. In Ukrainian musicology Bruckner's symphonies have also become the subject of research, and foreign authors have devoted work to Te Deum. In this way, P. Griesbacher and M. Auer investigated the features of the thematic, and intonation material of Te Deum, but L. Nowak examined Te Deum and other works of the composer from the view point of style – "symphonic" or "church". However, no less significant is the question of the composer's attitude toward the text of the hymn, the biblical sources of this text, with which A. Bruckner was, undoubtedly, acquainted, and also his interpretation of these texts in music. Therefore, consideration of the verbal text of the hymn as the foundation of Bruckner's composition and embodiment of this text in music appears relavent.
The entire text of Te Deum can be divided into two semantic phases of development – glorification and petition. We will consider each of them.
A foundational part of the first section of Te Deum is the dogmatically saturated half of the verbal text of the hymn. The glorification of God is expressed by Bruckner in three spheres. They are the glorification of God the Father, worship, and the glorification of Son of God.
Glorification of God the Father is shown in the laconic theme of Te Deum laudamus ("We praise Thee, o God"). Bruckner represented praise of the Universal church via majestic choral and orchestral unison on the background of organ point. Absence of thirds tone in chords creates a feeling of asceticism, and the choir party appeals to the Gregorian chorale. In addition, the composer incorporated in the theme two important components – sharp rhythmic figures (fourth with two points and sixteenth) and fourth, fifth and octave leaps piercing the choral and orchestral parties. In summary these facilities of expressiveness create an extraordinarily solemn character and in a remarkable way bring together Te Deum as Bruckner's last spiritual work – Psalm 150.
Worship, awe before holy God, (third strophe of Sanctus and from the words of Patrem immensae majestatis - "The Father of an infinite Majesty") is expressed by means of the minor sphere, lower tessitura of the vocal party, and quiet sonority.
Glorification of the Son of Man (not the Son of God as King, but namely as incarnated God) is shown in the words of the seventh strophe of Tu ad liberandum suscepturus hominem ("When Thou tookest upon Thee to deliver man"). Fundamental Christian dogmas about Jesus Christ are touched on here. Bruckner, using words about the incarnation of Christ, distinguished the descending rhetorical figure catabasis, this same approach was used by the composer in Masses. And the words aperuisti credentibus regna caelorum ("Thou didst open the Kingdom of Heaven to all believers") are underlined in textured, rhythmic, melodical and harmonical contrast.
The second half of the Te Deum text is a plea of the Church for forgiveness and salvation. The second part of the composition Te ergo ("We therefore pray Thee, help Thy servants") is a personal petition, a prayer for all people on behalf of responsible parties. The execution is incumbent to the quartet of soloists, and the theme is conducted by a tenor. Comparing the verbal text of this section with biblical characters, it is possible to recall, for example, Moses' prayer of petition for the doubtful people of Israel. Regarding the range of melodious breathing, six leaps and intonations of "sigh" Te ergo reminds one of the opera aria lamento. This same theme opens the fourth section Salvum fac ("O Lord, save Thy people").
The use of the quartet of soloists is called out, firstly, by tradition of that time (in Masses, Requiems, Stabat Mater), and secondly, by the interpretation of text. For Bruckner, perhaps, the quartet steps forward as a mediator between God and man, similar to prophets and leaders for the people of Israel who were in such roles; people were confident the prayers of mediators to God would be heard exactly.
Collective petition is shown in the text of the third section Aeterna fac ("Make them to be numbered with Thy Saints") and fourth, starting with the words Dignare, Domine ("Vouchsafe, o Lord: to keep us this day without sin").
Aeterna fac, regarding scale and sounding of assertiveness, is close to the first theme of Te Deum. However, based on the text, one could suppose that Bruckner wanted to show the petition of celestial forces, that is angels, for the Church. Dense voice, with large ranges of vocal parties, measured pronunciation of text and melodious flights all create a feeling of grandiosity. By this it is revealed, what Leopold Nowak said, was the "magnitude" of Bruckner's composition.
Based on all that has been said above one could make the following conclusions. With the help of select means of musical expressiveness Bruckner precisely expressed the deep sense of canonical and biblical texts. According to the words of Boris Mukosey, "religiousness for Bruckner was not only a way of life, it was the basis of his concepts, his art". These words apply to all the spiritual compositions of the composer and in particular to the majestic Te Deum, music which inspires one to great exploits for a great God.

Literature
Мукосей Б. Антон Брукнер – «полугенийполудурачок»? // http://www.bruckner.ru
Новак Л. Понятие «обширности» в музыке Антона Брукнера: Фрагменты // Муз. академия. – 1997. – № 2. – С. 167–169.
Новак Л. Стиль симфонический и стиль церковный // Муз. академия. – 1997. – № 2. – С. 159–166.
Auer M. Anton Bruckner als Kirchenmusiker. Regensburg, 1927.
Griesbacher P. Bruckners Te Deum: Studie. Regensburg, 1919.