Bruckner's symphonies in their original sound
Adore

Anton Bruckner's Symphony No. 5 in B flat major, composed between February 1875 and May 1876, which he himself called his "contrapuntal masterpiece" , is a truly powerful work, permeated by a dense network of motivic relationships, whose final movement was considered by conductor Wilhelm Furtwängler to be the "most monumental finale in the entire musical literature of the world" . The composer never heard his work in its original form, which was not premiered until 1935, and only added a bass tuba to the orchestra and changed a few minor details in the course of a revision between May 1877 and January 1878. The symphony therefore only exists in a single version.

Wolfgang Amadé Mozart's Requiem in D minor was considered a central work by Bruckner throughout his life and was an important point of reference for his own church music. He also repeatedly analyzed its score thoroughly, as evidenced by part-writing studies, the results of which he entered in his Krakow writing diary for 1877. What is less well known, however, is that it served him to a certain extent as a blueprint and 'motif source' for his 'Fifth'. In addition to a literal quotation of the phrase "Qua resurget ex favilla / Iudicandus homo reus" from the "Lacrymosa" in the second movement of the symphony, almost all of the themes in all four movements of the work refer to the Requiem.

Presumably for the first time ever, the world-famous Orchestra of the Age of Enlightenment and Ádám Fischer, one of the most important conductors of our time, supported in the Mozart Requiem by an excellent quartet of soloists and the outstanding Ad Libitum Choir, will allow listeners to experience this exciting connection by juxtaposing the two works in one concert.

Wolfgang Amadé Mozart (1756-1791)

Requiem in D minor, KV 626 (1791) [after the edition of the completion by Franz Xaver Süßmayr (1766-1803) published in 1877 and edited by Johannes Brahms (1833-1897)]

- Pause -

Anton Bruckner (1824-1896)

Symphony No. 5 in B flat major, WAB 105 (1875-76, rev. 1877-78)

Fenja Lukas | Soprano

Michaela Selinger | mezzo-soprano

João Terleira | Tenor

Alexandre Baldo | Bass

 Choir Ad Libitum

The Orchestra of the Age of Enlightenment

Ádám Fischer | Conductor