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| published = }} Bruckner composed the ''Windhaager Messe'' (WAB 25) in 1842, while he was a schoolteacher's assistant in Windhaag. It was first believed that it was composed for Maria Jobst, the alto soloist in the Windhaag church choir.〔K. W. Kinder, pp. 2-5〕〔U. Harten, p. 282〕 It is now stated that it was composed for her younger sister, Anna.〔C. van Zwol, p. 700〕〔C. Howie, Chapter I, pp. 24-25〕 The work, the manuscript of which is stored in the archive of Wels, was first published in band I, pp. 173–189 of the Göllerich/Auer biography. It is edited in Band XXI/2 of the ''ドイツ語:Gesamtausgabe''.〔(Gesamtausgabe - Kleine Kirchenmusikwerke )〕 == Setting == The ''Windhaager Messe'' is a Missa brevis in C major for alto solo, two horns and organ. The work is divided into six parts: # Kyrie, C major # Gloria, C major # Credo, C major # Sanctus, C major # Benedictus, E-flat major # Agnus Dei, C major Total duration: 8 to 10 minutes. The work employs a text compressed to the absolute minimum and is predominantly homophonic in texture – often close to plainchant as, ''e.g.'', the initial phrase of the ''Kyrie'' and the ''Credo''〔 – with occasional contrapuntal interruptions. The organ part consists of the alto solo line and a mostly unfigured bass.〔J. Williamson, p. 43〕〔R. Haas, pp. 40–41〕 The use of horns "adds a warm, familiar timbre to music, and helps to clarify the harmony".〔 As in the ''Landmesse'' tradition the ''Gloria'' and the ''Credo'' employ only a portion of the extensive text usually associated with these sections of the Mass.〔 Such short masses (Missa brevis) were frequently performed in Austrian country churches, especially during Advent and Lent.〔〔 The short ''Sanctus'' presents the most extensive horn parts in the work. The ''Benedictus'', in E-flat major, is more melodic and uses a much less syllabic text setting than the rest of the work. The final notes of the ''Agnus Dei'' recall the closing of the ''Credo'' – a small, but effective touch of musical integration.〔〔H. Schäfer, pp. 188-189〕 Bruckner’s designation of this composition as a ''Choral-Messe'' referred to its simple, hymn-like style.〔 Tonally the work follows conventional harmonic patterns, but, as Bruckner was to do throughout his life, it also contains frequent modulations, often to rather distant keys, without the uses of pivot chords.〔M. Auer, p. 48〕〔 The frequent appearances of unison passages throughout this work are an additional hallmark of Bruckner’s later style.〔 Kinder concludes his analysis as: ()he attention lavished to this modest work is justified, not merely because it was Bruckner's first extended composition, but also because of its interesting and prophetic musical ideas.〔 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「Windhaager Messe」の詳細全文を読む スポンサード リンク
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