Anton Bruckner’s Psalm 112: on the road to creative maturity

Abstract

Relevance of the study. Psalm 112, written in 1863, is an example of a fully formed authorial style. The constant attitude of the composer to certain biblical images and, accordingly, their intonational embodiment enabled to return to the compositional model of Psalm 150. It is evident that the spiritual works of the early period of the composer’s creative work did not lead to a prejudiced thought them. Therefore, the study of the works that preceded the First Mass, their detailed analysis and scientific understanding, including Psalm 112, becomes relevant.Main objectives of the article are to consider Psalm 112 in the context of the theme and imagery of other psalms addressed by the composer, to analyze the methods of working with biblical primary source, to identify the features of intonational dramaturgy and stylistic features of the work in terms of the ratio of author and borrowed, to reveal the meaning of leiton for the further evolution of style.Findings and conclusions. The affinity of biblical images in the Psalms, addressed by A. Bruckner in the early period of his work, contributed to the formation and crystallization of the means of musical embodiment of the sacred text. The image of praise, summed up in one word “hallelujah”, is perhaps the most important from the beginning of the composer’s creative career. This led to the choice of intonation formulas, such as strong-willed rising quarto, repetition ofthe tone (usually steady) in combination with the dashed rhythm, melodic movement within the tetrachord, reliance on the sounds of tonic three-tone. Skillful motive work, striking harmonyc technique bring A. Bruckner’s style of the late eighteenth century. In quarto-quintile tonal ratios, A. Bruckner inherits the classical principles, in the Tetriary, as well as the second shifts, the romantic ones. Although the work is considered instructive, Psalm 112 has clearly defined features of the author’s style, especially since it was created on the eve of Mass in d minor.The movement in two directions can be noted in the works of A. Bruckner: with respect to form and composition, the composer continues the classical principles, but in the interpretation of biblical images and the rethinking of the baroque semantics of numbers in the intonational embodiment, the author's individuality is clearly expressed. In the musical language of Psalm 112, a path to the future is outlined — to Psalm 150, the beginning of which is genetically related to the beginning of Psalm 112. Reflection, autobiography is manifested in a return to the past, to a model that was realized in perfect form in Psalm 112.