The manuscript is archived at the Österreichische Nationalbibliothek.[3] The Widmungsexemplar (dedicated copy) is stored in the archive of the new cathedral. The motet was edited, together with the Ave Maria WAB 6, by Emil Wetzler, Vienna in 1887.[1] It is put in Band XXI/27 of the Gesamtausgabe.[4]
Music
The 80-bars piece, scored for solo tenor, choir and organ, is primarily in the Phrygian mode, with some remote enharmonic modulation.[5][6]
In the first part (bars 1-16) the soloist and the choir are dialoguing a cappella. In the second part (bars 17-36), which begins fortissimo by the soloist with the organ on "Tu gloria Jerusalem", the choir becomes divided till 9 voices. In the third part (bars 37-52), which begins on "O, Maria", the soloist and the choir are dialoguing a cappella as in the first part. In the last part, which begins as in the second part by the soloist with the organ on "Ora pro nobis", the choir goes on diminuendo till the end in pianissimo.[7]
Selected discography
Bruckner's Tota pulchra es was first recorded in 1929 by Ludwig Berberich with the Münchner Domchor, 1929 (78 rpm: Polydor/Grammophon 27119)
A selection of the about 40 recordings:
Eugen Jochum, Bavarian Radio Symphony Orchestra & Choir, Bruckner: Symphony No.4, Motets – LP: DG 139134/5, 1966
Hans Zanotelli, Philharmonia vocal-ensemble Stuttgart, Anton Brucknr, Lateinische Motetten – CD: Calig CAL 50 477, 1979
Max Auer, Anton Bruckner als Kirchenmusiker, G. Bosse, Regensburg, 1927
Anton Bruckner - Sämtliche Werke, Band XXI: Kleine Kirchenmusikwerke, Musikwissenschaftlicher Verlag der Internationalen Bruckner-Gesellschaft, Hans Bauernfeind and Leopold Nowak (Editor), Vienna, 1984/2001