Requiem in D minor
WAB 39
Still under the spell of Viennese Classicism, Anton Bruckner composed his d minor Requiem at the age of twenty-four. He dedicated it to a fatherly friend and patron. Bruckner revised the work at the age of 70 in 1894 and held it in high regard throughout his career, even though his setting never enjoyed the popularity of similar works by Mozart or Verdi in the concert repertoire.
The edition represents the revised version, which can be regarded as a very personal, and at the same time impressive compositional testimony to Bruckner's artistic development on his journey towards becoming the great church musician and symphonist.
Bruckner set the text of the Requiem Mass in a relatively compact form in terms of extent and scoring. The range of compositional colors stretches from Alpine-influenced writing for male voice choir (Hostias), to a five-part choral movement (Sanctus) and an unaccompanied movement (Requiem), to movements with choir and soloists.
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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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Editor
Anselm Eber
| 1969
Reviews
Die Ausgabe bei Carus erleichtert nun die Möglichkeit einer Aufführung, denn, wie gesagt: "Es ist nicht schlecht!"
Gottesdienst und Kirchenmusik, Mai/Juni 2022
... Bruckners Kommentar, als er sich sein Frühwerk am Ende seines Lebens anschaute: „Es is net schlecht.“
Kirchenmusikalische Mitteilungen der Erzdiözese Freiburg, Mai 2019
... Die Aufgaben für den Chor sind sehr dankbar, die technischen Schwierigkeiten halten sich in Grenzen, manche Spiel?guren in den Geigen weisen schon auf den späteren Meister hin.
Württembergische Blätter für Kirchenmusik, 4/2019
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