Vergißmeinnicht, WAB 93

Vergißmeinnicht
by Anton Bruckner

Bartholomäus and Katharina church, Kronstorf
Key D major
Catalogue WAB 93
Form Cantata
Language German
Composed 1845 – Kronstorf
Dedication Alois Knaufer
Vocal SSAATTBB choir – SATB soloists
Instrumental Piano

Vergißmeinnicht (Do not forget me), WAB 93, is a cantata composed by Anton Bruckner in 1845.

History

When he staid in Kronstorf, Bruckner composed in 1845 the first version of this cantata as Musikalischer Versuch nach dem Kammer-Styl (Musical essay in chamber style), which he signed as Candidatus (candidate) for his Lehrbefähingsprüfung (teacher aggregation).[1] Bruckner's examination, which was held in Linz on 27 and 28 May 1845, was successful.[2]

A slightly modified,[3] second version was dedicated to Alois Knauer, the parish priest of Kronstorf.[1] The performance occurred on 21 June 1845 (Knauer's name day) or the evening before.[2]

The third version, entitled Vergißmeinnicht (Do not forget me), was sent to Friedrich Mayer, who was at that time prebendary and choirmaster of the St. Florian Abbey,[1] to remind him of the promise to provide Bruckner with an employment in the Abbey after his successful teacher examination. It is not known when it was performed.[2]

The manuscripts of the first and second versions are stored at the Österreichische Nationalbibliothek. The manuscript of the third version is stored in the archive of the St. Florian Abbey. A facsimile of the third version was first issued in band I, pp. 286–300 of the Göllerich/Auer biography.[2] The three versions of the cantata are put in Band XXII/1 No. 1 of the Gesamtausgabe.[4]

Text and music

The work is based on the eleven-strophe poem "Es blühten wunderschön auf der Au" (The meadow was in lovely bloom) by an unknown author.

The cantata in D major is scored for SSAATTBB choir, SATB soloists and piano.[2] The 149-bar long work is in seven movements:

  1. Introduction: four-part mixed choir,
  2. Recitative: soprano,
  3. Aria: soprano and alto,
  4. Duet: soprano and alto,
  5. Quartet: soprano, alto, tenor and bass
  6. Duet: tenor and bass,
  7. Finale: eight-part mixed choir a cappella.[2]

The third version is somewhat shorter (142 bars) and the first duet: soprano and alto is replaced by a duet: soprano and tenor.[2][5]

Discography

There is no recording of the three settings of the cantata as yet.

References

  1. ↑ 1.0 1.1 1.2 C. Howie, Chapter I, p. 31
  2. ↑ 2.0 2.1 2.2 2.3 2.4 2.5 2.6 C. van Zwol, p. 711
  3. ↑ C. van Zwol, pp. 58-59
  4. ↑ Gesamtausgabe – Kantaten und Chorwerke mit Orchester
  5. ↑ U. Harten, p. 464

Sources

External links