Psalm 112 (Bruckner)

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Psalm 112
by Anton Bruckner
Bruckner circa 1860.jpg
The composer, c. 1860
Key B-flat major
Catalogue WAB 35
Form Psalm setting
Composed 1863 (1863) – Linz
Performed Presumably 14 March 1926 (1926-03-14) – Vöcklabruck
Published 1926 (1926)
Recorded 1987 (1987) – Matthew Best, Corydon Singers
Movements 4
Vocal SSAATTBB choir
Instrumental Orchestra

Bruckner's Psalm 112 in B-flat major, WAB 35, is a composition for eight-part double mixed choir and full orchestra (2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, 3 trombones, timpani and strings),[1] It is a setting of a German version of Psalm 113, which is psalm 112 in the Vulgata.


Bruckner composed it in 1863, after he had ended his studies under Sechter and Kitzler. In the same year he also composed his Study Symphony in F minor. "His next large choral work after this Psalm was to be the powerful Mass in D minor of the following year, the first of the three great masses."[2]

It is unknown whether the work was performed during Bruckner's life. It has been first edited by Josef Venantius Woess in 1926. Presumably it was performed at first on 14 March 1926 in Vöcklabruck by Max Auer.[3] The work has been critically re-edited by Paul Hawkshaw in 1996.[4]


  1. Alleluja! Lobet den Herrn, ihr Diener, lobet den Namen des Herrn!
  2. Der Name des Herrn sey gebenedeit, von nun an bis in Ewigkeit!
  3. Vom Aufgang der Sonne bis zum Untergange sey gelobet der Name des Herrn!
  4. Hoch über alle Völker ist der Herr, und über die Himmel seine Herrlichkeit.
  5. Wer ist wie der Herr, unser Gott? der in der Höhe wohnet,
  6. der auf das Niedrige schauet im Himmel und auf Erden,
  7. der den Geringen aufrichtet aus dem Staube, und aus dem Kothe erhöhet den Armen:
  8. daß er ihn setze neben die Fürsten, neben die Fürsten seines Volkes:
  9. der die Unfruchtbare wohnen läßt im Hause, als fröhliche Mutter von Kindern.[5]


The setting of the work is in four parts:

  1. "Alleluja! Lobet den Herrn"
  2. "Wer ist wie der Herr, unser Gott?"
  3. Partial recapitulation (first two verses) followed by a fugue on "Alleluja"
  4. Full-scale recapitulation of the first part

"Psalm 112 with its … clear repeat structure is a product of [Kitzler’s] tutelage."[6] "There is some rich and sonorous writing, and … the whole thing has an enthusiastic punch and an already mature skill in execution."[2] However, "the full-scale recapitulation [of the first part] creates some stiffness rather than satisfying symmetry."[2]

Bruckner also set Psalms 22, 114, 146 and 150 to music.


The first recording (c. 1950) was by Henry Swoboda with the Wiener Akademie-Kammerchor and the Wiener Symphoniker, LP: Westminster WAL 201 (with Symphony No. 6 and Psalm 150)

  • Matthew Best, Bruckner - Requiem, Psalms 112 & 114, Corydon Singers, English Chamber Orchestra, Hyperion CDA66245, 1987
  • Karl Anton Rickenbacher, Bruckner - Missa Solemnis, Psalm 112 & Psalm 150, Chor und Orchester der Bamberger Symphoniker, Virgin Classics VC 7 91481, 1990


  1. ^ Anton Bruckner Critical Complete Edition - Psalms and Magnificat
  2. ^ a b c Leaflet by Robert Simpson, Hyperion CDA66245
  3. ^ C. van Zwol, Anton Bruckner - Leven en Werken, p.698
  4. ^ Anton Bruckner - Critical complete edition
  5. ^ Die Heilige Schrift des alten und neuen Testamentes, Dritter Band (mit Approbation des apostolischen Stuhles), 4. Auflage, p. 243, Landshut, 1839
  6. ^ John Williamson, The Cambridge Companion to Bruckner, p. 48


  • Max Auer, Anton Bruckner als Kirchenmusiker, Gustav Bosse Verlag, Regensburg, 1927 - pp. 201-214
  • Cornelis van Zwol, Anton Bruckner - Leven en Werken, Thot, Bussum (Netherlands), 2012 - ISBN 90-686-8590-2
  • John Williamson, The Cambridge Companion to Bruckner, Cambridge University Press, 2004 - ISBN 0-521-80404-3

External links[edit]