it] is by no means a perfect masterpiece... [it] can be said to be the first full demonstration that the young man was a composer of inestimable promise. ... [The] 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... [We] cannot escape the solemn beauty of this music, which already has the authentic atmosphere of natural genius. 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. Versions and editions Bruckner made a slight revision of the score in 1892. He gave Franz Bayer the revised score. Bayer performed the revised work on 4 December 1895 in Steyr for the funerals of the parish priest Johann Evangelist Aichinger. The Österreichische Nationalbibliothek has acquired the revised score from Bayer's widow in 1923. There are three different editions in the Gesamtausgabe: Haas edition (1930/31), together with the Missa solemnis. Haas added a lot of dynamics markings, but ignored some of Bruckner's hairpins Nowak edition (1966). Nowak corrected Haas' oversights but retained antique clefs for the vocal parts (different C-clefs for soprano, alto and tenor) Rüdiger Bornhöft edition (1998). Bornhöft modernised the clefs (treble for all but bass) and corrected minor errors. Selected discography The Requiem remains still somewhat in the background of other Bruckner's works. Most of the about 20 recordings of it are live performances, which were not brought to the commercial market. According to Hans Roelofs, Schönzeler's 1970 LP recording, which was a true pioneer work, has, in spite of subsequent recordings, hold his status. Matthew Best's CD recording is currently still the reference. Farnberger's recording (1997) with the St. Florianer Sängerknaben, which was recorded in the St. Florian Abbey, provides the listener with a whiff of authenticity. Out of the more recent recordings, Roelofs picks out Janssens' recording of 2006 with the Laudantes Consort, and Susana Acra-Brache's recording of 2010 with the Grupo Vocal Matisses. Hans-Hubert Schönzeler, Requiem & 4 Orchestral Pieces, Alexandra Choir, London Philharmonic Orchestra, Robert Munns (Organ) – LP: Unicorn