||Rob Peters (b. 1969)
||This score adds a new composed bass trombone part to the two existing parts. Of course this is only one of the many possible "reconstructions", since the two existing voices allow a lot of different harmonic and contrapuntal solutions.|
One wonders what bass part Bruckner himself had added to that strange progression in bar 3-4, where one expects the tenor d-flat to resolve into c, not g. My completion gives the bass an equally peculiar upwards diminished octave jump, which somehow sounds "right" and Brucknerian.
I have not consulted the Hans Bauernfeind completion, so any possible similarities between my version and his are purely coincidental. - R.P.
EDIT 2-3-2019: I finally had a look at the Bauernfeind version, and I was surprised to see how much it differs from mine. Bauernfeind chose to make the piece playable with the absolute minimum of editorial interference, keeping the bass voice very simple and providing just a basic harmonic fundament. Which is of course a perfectly legit choice. My completion has a more melodic and free-flowing bass voice, which adds more color to the bare harmonies. So while I'm aware that my additions are more speculative and intrusive, I'm convinced they will make the piece more interesting for the players and listeners. (I'm particularly unimpressed with Bauernfiend's solution for the enigmatic progression in bar 3-4 - see above - where he chooses rather ugly-sounding parallel 7th's between tenor and bass...) - R.P.
||Holograph manuscript, n.d..|
(Composer's manuscript with autograph and additional markings)
||ca.300dpi color images. Source: Stift St. Florian (CRSA), Bruckner-Archiv, A-SF20-26. See here: Bruckner-online. The Bass trombone part manuscript has been originally missing forever.
|Opus/Catalogue NumberOp./Cat. No.
|I-Catalogue NumberI-Cat. No.
|Year/Date of CompositionY/D of Comp.
||1847-01 at St. Florian Abbey
||1847-01-28 at St. Florian Abbey
||The Bass Trombone reconstruction by Hans Bauernfeind (1908-1985) cannot be uploaded here until|
January 1st, 2036 because its considered a significant contribution
for copyright purposes (since the original manuscript with the bass trombone is lost currently)
by the editor and it meets the Threshold of Originality rule under Canadian law.
||Funeral of Rosalia Mayrhofer
|Composer Time PeriodComp. Period
||3 trombones (alto, tenor, bass)
||Aequale, WAB 114
||Wikipedia article (WAB 149)
- In the edition of the Gesamtausgabe the missing score for the bass trombone has been completed by Hans Bauernfeind.
|Motets by Anton Bruckner
- Pange lingua, WAB 31 (1835 ca./1891)
- Libera me, WAB 21 (1843 ca.)
- Asperges me, WAB 4 (1843-44 ca.)
- 2 Asperges me, WAB 3 (1845 ca.)
- Tantum ergo, WAB 32, (1845 ca.)
- Tantum ergo, WAB 43 (1845 ca.)
- Dir, Herr, dir will ich mich ergeben, WAB 12 (1845)
- O du liebes Jesu Kind, WAB 145 (1845-46 ca.)
- Herz-Jesu-Lied, WAB 144 (1845-46 ca.)
- 4 Tantum ergo, WAB 41 (1846/1888)
- Tantum ergo, WAB 42 (1846/1888)
- Aequale, WAB 114 (1847) for 3 trombones
- Aequale, WAB 149 (1847) for 3 trombones
- In jener letzten der Nächte, WAB 17 (1848 ca.)
- Totenlied No.1, WAB 47 (1852)
- Totenlied No.2, WAB 48 (1852)
- Libera me, WAB 22 (1854)
- Tantum ergo, WAB 44 (1854 ca.)
- Ave Maria, WAB 5 (1856)
- Ave Maria, WAB 6 (1861)
- Afferentur regi, WAB 1 (1861)
- Pange lingua, WAB 33 (1868)
- Inveni David, WAB 19 (1868)
- Iam lucis orto sidere, WAB 18 (1868/1886)
- Locus iste, WAB 23 (1869)
- Christus factus est, WAB 10 (1873)
- Tota pulchra es, WAB 46 (1878)
- Os justi, WAB 30 (1879)
- Ave Maria, WAB 7 (1882)
- Christus factus est, WAB 11 (1884)
- Salvum fac populum, WAB 40 (1884)
- Veni creator spiritus, WAB 50 (1884 ca.)
- Ecce sacerdos magnus, WAB 13 (1885)
- Virga Jesse, WAB 52 (1885)
- Ave regina caelorum, WAB 8 (1885 ca.)
- Vexilla regis, WAB 51 (1892)