The bishop of Linz, Franz-Josef Rudigier, had already commissioned a Festive cantata from Bruckner in 1862 to celebrate the laying of the foundation stone of the new cathedral, the Maria-Empfängnis-Dom. In 1866, he asked Bruckner for a mass to celebrate the accomplishment of the construction of the Votive Chapel of the new cathedral. Because of a delay in completing the construction, the celebration of the dedication didn't take place until three years later, on 29 September 1869 on the Neuer Domplatz. The performers were the Liedertafel Frohsinn, the Sängerbund and Musikverein of Linz, and the wind band of the k.k. Infanterieregiment 'Ernst Ludwig, Großherzog von Hessen und bei Rhein Nr. 14'.[1] The manuscript and the Widmungspartitur are archived in the episcopate of Linz.[2]
Bruckner subjected the work to far-reaching revision in 1869, 1876, and 1882. The second version of 1882 was performed on 4 October 1885 in the Alter Dom, Linz by the Liedertafel Frohsinn, the Sängerbund and Musikverein of Linz under the baton of Adalbert Schreyer.[1]
First edition (Doblinger, 1896), revised by Franz Schalk
Haas edition (1940, 1949)
Nowak edition (1959)
The second version is slightly (26-bar) longer: 753 versus 727 bars. The differences among the two versions concern as well the phrasing as the accompaniment, mainly during the Credo and the Benedictus. As for the symphonies, the first version constitutes the raw material and sounds less polished, mainly during the orchestral transitions, than the later version.[3] The about 150 differences among the two versions are described in detail at the end of the score of the 1882 version.[4]
It is based strongly on old-church music tradition, and particularly old Gregorian style singing. The Kyrie is almost entirely made up of a cappella singing for eight voices. The Gloria ends with a fugue, as in Bruckner's other masses.[6] In the Sanctus, Bruckner uses a theme from Palestrina's Missa Brevis.
According to the Catholic practice – as also in Bruckner’s preceding Messe für den Gründonnerstag, Missa solemnis and Mass No. 1 – the first verse of the Gloria and the Credo is not composed and has to be intoned by the priest in Gregorian mode before the choir goes on.
Previously Bruckner had been criticized for "simply writing symphonies with liturgical text," and although the Cecilians were not entirely happy with the inclusion of wind instruments, "Franz Xaver Witt loved it, no doubt rationalizing the use of wind instruments as necessary under the circumstances of outdoor performance for which Bruckner wrote the piece."[7]
The Mass in E minor ... is a work without parallel in either 19th- or 20th-century church music. … Even as Bishop Rudigier was laying the foundation stone for a new cathedral, Bruckner too was beginning to raise a cathedral in music.[5]
There is only one recording of a music-school performance:[3]
Hans Hausreither, choir and instrumental ensemble of the BORG Wien 1[8] - CD: issue of the BORG, 1996. An out-of-print recording.
Hans-Christoph Rademann has performed the 1866 version of the Mass with the RIAS Kammerchor during a concert in the Lorenzkirche of Nürnberg on 23 June 2013.[9] Rademann performed the 1866 version of the Mass again on 13 August 2014 in the Kloster Eberbach during the Chornacht „Das Licht gegeben„ at the Rheingau Musik Festival.[10] Recordings of these live-performance are put in the Bruckner archive: CD - Charter Oak COR-1904 and COR-3437.[11]
Version 2 (1882)
About 100 recordings of Bruckner's Mass No. 2 have been issued.[3] The first recording of the mass was by Hermann Odermatt with the Gregorius-Chor and Orchester of Liebfrauenkirche, Zürich in 1930 (78 rpm Christschall 37-41).
Other excellent recordings, according to Hans Roelofs, are i.a. those by Roger Norrington, Hellmut Wormsbächer, Philippe Herreweghe, Simon Halsey, Frieder Bernius, Ingemar Månsson, Helmuth Rilling, Marcus Creed, Winfried Toll and Otto Kargl. Bernius particularly insists on the modernity of the score: the Mass is heard here in all its audacity. The highlight of the Mass is the poignant "Dona nobis pacem" in the Agnus Dei. The music lover, who wants to experience the "environment" of a church interior, experiences with Kargl an atmospherically dense, dark, murmuring, sonorous recording with convincingly captured church acoustics – a recording that is able to captivate the listener.[14]
Eugen Jochum, choir and members of the Sinfonieorchester des Bayerischen Rundfunks, LP: DG 2530 139, 1971 – CD: DG 423 127-2 (Box set of 4 CD)
Roger Norrington, Schütz Choir London, Philip Jones Wind Ensemble – CD: London/Decca 430365, 1973
Marcus Creed, SWR Vokalensemble Stuttgart, Mitglieder des Radio-Sinfonieorchesters Stuttgart des SWR, Anton Bruckner – Mass in E minor - Motets – CD: Hänssler Classic SACD 93.199, 2007
Anton Bruckner, Sämtliche Werke, Kritische Gesamtausgabe – Band 13: Messe e-Moll (Fassung 1882), Musikwissenschaftlicher Verlag, Robert Haas (Editor), Leipzig, 1940
Anton Bruckner: Sämtliche Werke: Band XVII: Messe e-Moll (1866-1882), Musikwissenschaftlicher Verlag der Internationalen Bruckner-Gesellschaft, Leopold Nowak (Editor), Vienna
XVII/1: 1. Fassung 1866, 1977
XVII/1: 2. Fassung 1882, 1959
Max Auer, Anton Bruckner als Kirchenmusiker, Gustav Bosse Verlag [de], Regensburg, 1927, p. 111,136
Paul Hawkshaw, "Bruckner's large sacred compositions" The Cambridge Companion to Bruckner edited by John Williamson, Cambridge University Press, Cambridge, 2004
Stephen Johnson, "Anton Bruckner, Masses Nos. 1–3" 1001 Classical Recordings You Must Hear Before You Die, Rye Matthew (editor), Universe, New York, 2008
Lee T Lovallo, "Mass no. 2 in e minor" - Anton Bruckner: a Discography, Rowman & Littlefield, New York, 1991
Nick Strimple, Choral music in the nineteenth century, Hal Leonard, New York, 2008
Cornelis van Zwol, Anton Bruckner - Leven en Werken, Thot, Bussum (Netherlands), 2012. ISBN90-686-8590-2
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