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| published = | first_recording = }} The Requiem in D minor, WAB 39, by Anton Bruckner is a setting of the ''Missa pro defunctis'' for mixed choir, vocal soloists, three trombones, one horn, strings and organ with figured bass,〔(Anton Bruckner – Critical Complete Edition: Requiem, Masses & Te Deum )〕 written in memory of Franz Sailer, the notary of the St. Florian Monastery, who bequeathed Bruckner a Bösendorfer piano.〔Nowak〕 The Requiem was premiered on 15 September 1849 in the St. Florian Monastery, a year after Sailer's death. == Setting == # Introit: Requiem – Andante, D minor # Sequence: Dies irae – Allegro, D minor # Offertorium ## Domine – Andante, F major ## Hostias – Adagio, B-flat major: Chorale by divided man voices and trombones ## Quam olim – Con spirito, F minor: Double fugue, ending in F major # Sanctus – Andante, D minor # Benedictus – Andante, B-flat major - a solo horn replaces one of the trombones # Agnus Dei and Communion ## Agnus Dei – Adagio, D minor ## Requiem – Adagio, D minor: Chorale ''a capella'' ## Cum sanctis – Alla breve, D minor, ending in D major Total duration: about 37 minutes〔 The Requiem is most likely Bruckner's "first truly large-scale composition and probably his first significant work."〔Kinder, p. 8〕 "() is amazing what he achieved, especially if we look at the great double fugue of the ''Quam olim Abrahae'', written at least six years before he even commenced his thorough contrapuntal studies with Simon Sechter!"〔(''Four Pieces and Requiem'' – LP liner notes by Hans-Hubert Schönzeler, 1970 )〕 "The Requiem was Bruckner's first larger-scale composition and also his first work with orchestra. As a highly self-critical seventy-year-old, Bruckner passed judgement on the work as follows: 'It is not bad!'."〔 There is clear influence of Mozart throughout the work. () are many passages reminiscent of what was even then, in 1848/49, a past age (the very opening points irresistibly to Mozart's Requiem in the same key), and though the very inclusion of a figured bass for organ ''continuo'' strikes one as backward looking, there are already several flashes of the later, great Bruckner to come.〔 (it ) is by no means a perfect masterpiece... () can be said to be the first full demonstration that the young man was a composer of inestimable promise. ... () expressively reticent opening of the opening of the Requiem, with his softly shifting syncopations in the strings ... already faintly anticipates one or two of his own symphonic passages in the two earlier D minor symphonies, for instance Nos. '0' and 3... () cannot escape the solemn beauty of this music, which already has the authentic atmosphere of natural genius.〔Leaflet of Best's recording by Robert Simpson〕 During the years following the composition of the ''Requiem'', Bruckner wrote a number of small choral works as well as two works on a larger canvas: a ''Magnificat'' (1852) and the ''Missa solemnis'' in B-flat minor (1854). Strangely enough these do not quite measure up to the qualities inherent in the earlier ''Requiem''.〔 Unlike the later Masses, Bruckner never revised this setting. Still, there are three different editions in the ''Gesamtausgabe'': the first, by Robert Haas in 1930, added a lot of dynamics markings but ignored some of Bruckner's hairpins;〔 the second, by Leopold Nowak in 1966, corrected these oversights but retained antique clefs for the vocal parts,〔Bornhöft〕 (that is, different C-clefs for soprano, alto and tenor); the third edition, by Rüdiger Bornhöft in 1998, modernised the clefs (treble for all but bass) and corrected minor errors. 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「Requiem (Bruckner)」の詳細全文を読む スポンサード リンク
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