Christus factus est, WAB 10
| Christus factus est | |
|---|---|
| Motet by Anton Bruckner | |
Oración en el huerto de los Olivos, by José Claudio Antolinez
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| Key | D minor |
| Catalogue | WAB 10 |
| Form | Gradual |
| Text | Christus factus est |
| Language | Latin |
| Performed | 8 December 1873: Vienna |
| Published | 1934: Vienna |
| Scoring | SSAATBB choir |
| Instrumental |
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Christus factus est (Christ became obedient) WAB 10, is a sacred motet by Anton Bruckner, his second setting of the Latin gradual Christus factus est, written in 1873. Several decades earlier, in 1844, he had composed another piece on the same text as gradual for the Messe für den Gründonnerstag (WAB 9). In 1884, Bruckner composed a third, better known setting (WAB 11) for choir a cappella.
Bruckner composed the motet in 1873. The piece was first performed on 8 December 1873 in the Wiener Hofmusikkapelle for the celebration of Mariä Empfängnis (feast of the Immaculate Conception).
The manuscript, a copy of which is archived at the Österreichische Nationalbibliothek, has been destroyed in 1945. The work was published first by Ludwig Berberich in Vienna in 1934 without string instruments (the violins being replaced by the alto voice during bars 1-14). On his manuscript Bruckner wrote Besser ohne Violinen (better without violins). The new edition (Nowak-Bauernfeind) is in accordance with the original manuscript.
The 61-bar work in D minor is scored for eight-part mixed choir, three trombones, and double bass quintet (two violins, viola, cello, double bass) ad libitum.
The first section (bars 1-12), a Dorian mode melody sung by the soprano and alto voices in unison, which is accompanied by a counterpoint of the first and second violins, ends on "autem crucis". The second section (bars 13-21), a fugato, modulates to B-flat major and ends on bars 20-21 in forte on "exaltavit illum". The third section (bars 22-31), sustained by the strings and the trombones, ends in a climax in A-flat major on "dedit illi nomen". The fourth section (bars 31-61) begins in pianissimo and in successive entries of the eight voices – from the lowest till the highest vocal parts – establishing a "pyramid" of sound based on a A-flat pedal tone, which leads the a further climax in C major. It is followed on bar 38 by a second "pyramid", which follows the same procedure and ends in D major. The coda on "quod est super" begins on bar 45 with a third "pyramid", which is charged with a greater dramatic effect, and ends on bars 51-53 with an a cappella climax in D minor. The second part of the coda (bars 53-61), sung a cappella, which is a clear quotation of the coda of the Kyrie of the Mass in E minor, ends in pianissimo in D major.
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