{"id":7386,"date":"2016-05-24T00:00:00","date_gmt":"2016-05-23T23:00:00","guid":{"rendered":"https:\/\/www.musikzeitung.ch\/allgemein\/requiem-fuer-unbekannt\/"},"modified":"2024-09-09T15:49:31","modified_gmt":"2024-09-09T13:49:31","slug":"requiem-fuer-unbekannt","status":"publish","type":"post","link":"https:\/\/www.musikzeitung.ch\/en\/rezensionen\/noten-rezensionen\/2016\/05\/requiem-fuer-unbekannt","title":{"rendered":"Requiem for Unknown"},"content":{"rendered":"<figure style=\"width: 554px\" class=\"wp-caption alignnone\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/www.musikzeitung.ch\/wp-content\/uploads\/2023\/01\/Homann_Salzburg_Panorama.jpg\" alt=\"\" width=\"554\" height=\"187\" \/><figcaption class=\"wp-caption-text\">Salzburg around 1712. map by J.B. Homann, Bremen State and University Library\/wikimedia commons<\/figcaption><\/figure>\n<div class=\"text-section\">\n<p>The fact that Guido Adler decided in 1923 to edit the smaller of Heinrich Ignaz Biber's two Requiem settings, the <em>Requiem in f,<\/em> The reason why he decided on the \"Cave\" - both were available to him in the Salzburg Cathedral Archive - may be due to its outstanding musical quality.<\/p>\n<p>The work for five vocal parts (two sopranos, alto, tenor, bass), two violins, three violas, three trombones ad libitum and basso continuo was composed after 1692. The five-part choral writing is reinforced by a string section dominated by the violas and three colla parte trombones, which lends the work a dark timbre. In the ripieno sections, the first violin is not played colla parte. Biber allows it to shine as an independent voice above the vocal writing. In formal terms, Biber follows the usual genre traditions of southern German-Austrian church music. The composition could possibly have been intended for the funeral of a high-ranking personage from Salzburg, but no further details have been found.<\/p>\n<p>The <em>Introit <\/em>is designed in four parts, the <em>Offertory<\/em> has five sections. It begins darkly <em>Sanctus <\/em>with reduced intervals. With the <em>Pleni sunt<\/em> the timbre turns to A flat major and rises to a radiant C major. <em>Agnus Dei, Communio<\/em> and <em>Lux aeterna<\/em> are summarized and divided into several sections according to the structure of the text.<br \/>\nThis edition by Armin Kircher is the first to edit Biber's authentic musical text. Guido Adler also based his edition on the available source material, but, as his source-critical research showed, he made several changes to the original musical text.<\/p>\n<p>A transcript of Biber's <em>Requiem in f<\/em> may have been in Michaelbeuren Abbey. The music inventory of P(ater) Edmund Sengm\u00fcller (1661-1714), a renowned music connoisseur, refers to an extensive collection of the most modern music from Salzburg at the time, including a \"Requiem \u00e0 11\" among Biber's works.<\/p>\n<\/div>\n<div class=\"text-section\">\n<dl class=\"picture media photo\">\n<dt><img decoding=\"async\" class=\"media photo aligncenter\" src=\"https:\/\/www.musikzeitung.ch\/wp-content\/uploads\/2023\/01\/Biber_Requiem.jpg\" alt=\"Image \" \/><\/dt>\n<\/dl>\n<\/div>\n<div class=\"text-section\">\n<p><em>Heinrich Ignaz Franz Biber, Requiem in f for soli (SSATB), choir (SSATB), 2 violins, 3 violas, basso continuo, 3 trombones ad lib, edited by Armin Kircher, score, CV 27.318, \u20ac 52.50, Carus, Stuttgart 2015<\/em><\/p>\n<\/div>","protected":false},"excerpt":{"rendered":"<p><strong>It is not clear for whom Heinrich Ignaz Biber wrote his \"smaller\" Requiem setting. But its high quality is. <\/strong><\/p>","protected":false},"author":1,"featured_media":7387,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"_relevanssi_hide_post":"","_relevanssi_hide_content":"","_relevanssi_pin_for_all":"","_relevanssi_pin_keywords":"","_relevanssi_unpin_keywords":"","_relevanssi_related_keywords":"","_relevanssi_related_include_ids":"","_relevanssi_related_exclude_ids":"","_relevanssi_related_no_append":"","_relevanssi_related_not_related":"","_relevanssi_related_posts":"","_relevanssi_noindex_reason":"","pgc_sgb_lightbox_settings":"","footnotes":""},"categories":[1316,29],"tags":[],"class_list":["post-7386","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-noten-rezensionen","category-rezensionen"],"acf":[],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v27.6 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>Requiem f\u00fcr Unbekannt - Schweizer Musikzeitung<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.musikzeitung.ch\/en\/rezensionen\/noten-rezensionen\/2016\/05\/requiem-fuer-unbekannt\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Requiem f\u00fcr Unbekannt - Schweizer Musikzeitung\" \/>\n<meta property=\"og:description\" content=\"F\u00fcr wen Heinrich Ignaz Biber seine \u00abkleinere\u00bb Requiemvertonung schrieb, ist nicht ersichtlich. 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