Maria Stader; Sieglinde Wagner; Ernst Haefliger; P. Lagger; "TE DEUM"; Anton Bruckner

Maria Stader---soprano
Sieglinde Wagner---contralto
Ernst Haefliger---tenor
Peter Lagger---bass
Wolfgang Meyer ---organ
Berliner Philharmoniker
Chor der Deutschen Oper Berlin
Eugen Jochum---conductor
1965
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The work is set for SATB choir and soloists, orchestra (2 flutes, 2 oboes, 2 clarinets in A, 2 bassoons, 4 horns in F, 3 trumpets in F, alto, tenor and bass trombones, contrabass tuba, timpani in C and G, and strings), and organ ad libitum .

The setting in "arch form"[11] is in five sections:

"Te Deum laudamus" – Allegro, Feierlich, mit Kraft, C major
"Te ergo quaesumus" – Moderato, F minor
"Aeterna fac" – Allegro, Feierlich, mit Kraft, D minor
"Salvum fac populum tuum" – Moderato, F minor
"In Te, Domine speravi" – Mäßig bewegt, C major
Total duration: about 24 minutes.[9]

The first section opens in blazing C major by the choir in unison, propelled by a powerful open-fifth pedal point by the organ and open-fifths motive in the strings. Thereafter, the soloists and the choir enter as the music moves through distinctly Brucknerian processes and modulations. The second section in F minor ("Te ergo quaesumus") is serene and imploring in nature, featuring an expressive tenor solo and a solo violin. The third section ("Aeterna fac"), in Bruckner's favoured key of D minor, is almost apocalyptic in its fury. Propelled by a rhythmic device, it draws on the full resources of the choir and orchestra before coming to an abrupt unresolved cadence. The fourth section ("Salvum fac populum tuum"), which begins as a repeat of the second section, this time with women's voices accompanying the tenor, evolves, after a bass solo and a pedal point by the choir on "et rege eos, et extólle illos usque in aeternum", to the "Per singulos dies" sub-section, which recalls the fervour and energy of the opening. The final section in C major, which begins with the solo quartet, culminates in a joyous fugue, followed by an impassioned chorale on the words "non confundar in aeternum", which is same to the main theme of the Adagio of Symphony No. 7.[12] The opening string figure returns, as the full ensemble carries the work to a powerful conclusion.[1][13]

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