Mass in F minor
Arrangement for chamber orchestra (Arr. Linckelmann) WAB 28
Bruckner’s mighty Mass in F minor is one of the composer’s most important works, and indeed one of the major pieces of 19th century choral music. In unique fashion, the composer manages to illuminate the religious text through his music. At the same time, he creates passages of extreme emotion, which in fact led to disagreements with the musicians in the run up to the originally planned premiere in November 1868. In subsequent years, however, the work gained in popularity. Today it is still a highly appealing challenge for well-trained choirs.
With this version by the experienced arranger and orchestral musician Joachim Linckelmann, the Mass can now be performed by smaller groups. Created for soloists, choir and chamber orchestra, he reduces the winds from the original 15 to just seven. The string parts are identical to the original but can now also be reduced in number. The vocal parts (solos and choir) are entirely unaltered, so that the singers can use the vocal scores and choral scores of the Carus Urtext edition.
- Large-scale work can also be performed by smaller choirs
- 15 winds in the original version now reduced to seven
- Singers can still use the original vocal/choral scores
- carus plus: The work (original version) is available in our app carus music, the Choir Coach
| Original version | Arrangement for chamber orchestra |
| Soli SATB, Coro SSAATTBB, 2 Fl, 2 Ob, 2 Clt, 2 Fg, 2 Cor, 2 Tr, 3 Trb, Timp, 2 Vl, Va, Vc, Cb | Soli SATB, Coro SSAATTBB, Fl, Ob, Clt, Fg, Cor, Tr, Trb, Timp, 2 Vl, Va, Vc, Cb |
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Composer
Anton Bruckner
| 1824-1896Anton Bruckner was born in Ansfelden (Austria) in 1824 and did not have a particularly easy life. The Austrian composer came from a simple, rural background and was plagued by self-doubt throughout his life. After the death of his father, he was accepted as a choirboy at St Florian's Abbey at the age of 13. After several years as a school assistant and self-taught organ and piano studies, he initially worked as an organist in St Florian. In 1855 he was appointed cathedral organist in Linz. After an introduction to music theory and instrumentation by Simon Sechter and Otto Kitzler, Bruckner discovered Richard Wagner as an artistic role model, whom he admired throughout his life and also visited several times in Bayreuth.
In 1868 Anton Bruckner became professor of basso continuo, counterpoint and organ at the Vienna Conservatory, ten years later court organist. In 1891 he was awarded an honorary doctorate from the University of Vienna. He was regarded as an important organ virtuoso of his time, but his compositional recognition was a long time coming. It was not until the Symphony No. 7 in E major, composed between 1881 and 1883, with the famous Adagio, which was written under the impression of Wagner's death, that he received the recognition he had hoped for, even if he did not want to accept it in view of his tendency towards scepticism and self-criticism.
Anton Bruckner was a solitary composer who did not want to follow any school or doctrine. He wrote both sacred and secular works in all their facets. In addition to numerous motets, Bruckner composed three masses, the Missa Solemnis in B flat minor (1854) and the Te Deum (1881-84; CV 27.190/00), which is available from Carus-Verlag. As a symphonist, he wrote a total of nine symphonies and many symphonic studies from 1863 onwards, whereby he tended to revise finished versions several times. Bruckner's orchestral works were long considered unplayable, but for the tonal language of their time they were merely unusually bold sound monuments on the border between late Romanticism and Modernism, uniting traditions from Beethoven to Wagner and folk music.
Personal details
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Arranger
Joachim Linckelmann
| 1964Joachim Linckelmann, born in Munich in 1964, studied flute at the Richard Strauss Conservatory in Munich and at the Würzburg University of Music. He has played the flute in various renowned orchestras in Germany and abroad and has also worked as a music designer and arranger since 1995. He has been arranging oratorios for smaller ensembles for Carus since 2009. Personal details
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Frequent questions about this work
Can I also use the “normal” vocal score /03 and the choral score /05 from the full-scale version to sing the version presented here?
Can the string parts of the original version (Carus 27.094/00) also be used for the arrangement?
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