3 in F minor, WAB 28, is a setting of the mass ordinary for vocal soloists, chorus and orchestra, and organ ad libitum, that Anton Bruckner composed in 1867–1868.

[4] The first rehearsals, conducted by Johann Herbeck at the court church, the Augustinerkirche, took place in 1868 or 1869, but "were badly attended by orchestral players" and were "generally unsuccessful".

[7] In a letter to Siegfried Ochs of 14 April 1895, the composer wrote: Der Bruckner wird alt und möchte doch so gern noch die F-Moll '[Messe]' hören!

Nicht Register sparen!Translation: Bruckner is growing old and would very much like to live to hear the F minor [Mass]!

[18] At a November 1893 performance of this mass, Johannes Brahms "applauded ... so enthusiastically ... that Bruckner personally thanked him".

[12] The first edition of 1894 contained "numerous spurious performance directions and articulations as well as massive reorchestration, particularly of the winds".

Hans Ferdinand Redlich, on the other hand, did not for his Eulenburg edition, and complained of being denied access by Nowak.

[1] The work is set for SATB choir and soloists, and orchestra (2 flutes, 2 oboes, 2 clarinets in B-flat, 2 bassoons, 2 horns in F, 2 horns in B-flat, 2 trumpets in C, alto, tenor and bass trombones, timpani, and strings), and organ ad libitum.

"[22] The work is divided into six parts: Total duration: about 62 minutes[1] The "Gloria" starts out with the words "Gloria in excelsis Deo" and the "Credo" with the words "Credo in unum Deum" sung by the whole choir, rather than intoned in Gregorian mode by a soloist, as in Bruckner's previous masses.

The "Dona nobis" resumes the theme of the "Kyrie" in major mode, and recalls the fugue subject of the "Gloria" and the last phrase of the "Credo".

The first complete recording of the mass was by Maurice Kessler with the Oberlin Musical Union and the Conservatory Orchestra of Cleveland in 1949.

[29] Matthew Best's more recent recording with the Corydon Singers has been critically acclaimed, particularly for Best's not toning down "the Wagnerian element in the gorgeous Benedictus".

Karl Richter (Schalk first edition), Lovro von Matačić, Colin Davis, Heinz Rögner and Franz Welser-Möst, and the more recent recordings by Ricardo Luna, Robin Ticciati and Gerd Schaller.The recording under Davis (1988) is one of the best of the Third Mass.