Franz Schubert Mass in G major

Erstausgabe nach den Klosterneuburger Stimmen D 167

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Franz Schubert’s Mass in G major is one of the most popular settings of the mass ordinary: the charming song-like melodic writing, especially in the Kyrie and the Credo, forms a magical counterpoint to more concertante passages in the Gloria and the Sanctus. For a long time it was thought that Schubert’s final version was scored for purely string orchestra, whilst a version with wind, brass, and timpani was thought to be an expanded orchestration by his brother Ferdinand Schubert. However, since the mid-1990s it has been known that the parts for trumpets and timpani were additionally composed by Franz Schubert himself for use "ad libitum". The present edition offers this "Klosterneuburg Version”" – with trumpets and timpani ad libitum, but without Ferdinand’s wind parts – in an Urtext edition reflecting Schubert’s own intended orchestration.

Also available in a version for choir & organ (Carus 40.675/45).

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Listen (6)
  • Kyrie
  • Gloria
  • Credo
  • Sanctus
  • Benedictus
  • Agnus Dei
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Practise
  • carus music, the Choir Coach Üben mit carus music
    • Kyrie (Choir Coach)
    • Kyrie (Choir Coach, Slow mode)
    • Gloria (Choir Coach)
    • Gloria (Choir Coach, Slow mode)
    • Credo (Choir Coach)
    • Credo (Choir Coach, Slow mode)
    • Sanctus (Choir Coach)
    • Sanctus (Choir Coach, Slow mode)
    • Benedictus (Choir Coach)
    • Benedictus (Choir Coach, Slow mode)
    • Agnus Dei (Choir Coach)
    • Agnus Dei (Choir Coach, Slow mode)
    • Kyrie (Choir Coach)
    • Kyrie (Choir Coach, Slow mode)
    • Gloria (Choir Coach)
    • Gloria (Choir Coach, Slow mode)
    • Credo (Choir Coach)
    • Credo (Choir Coach, Slow mode)
    • Sanctus (Choir Coach)
    • Sanctus (Choir Coach, Slow mode)
    • Benedictus (Choir Coach)
    • Benedictus (Choir Coach, Slow mode)
    • Agnus Dei (Choir Coach)
    • Agnus Dei (Choir Coach, Slow mode)
    • Kyrie (Choir Coach)
    • Kyrie (Choir Coach, Slow mode)
    • Gloria (Choir Coach)
    • Gloria (Choir Coach, Slow mode)
    • Credo (Choir Coach)
    • Credo (Choir Coach, Slow mode)
    • Sanctus (Choir Coach)
    • Sanctus (Choir Coach, Slow mode)
    • Benedictus (Choir Coach)
    • Benedictus (Choir Coach, Slow mode)
    • Agnus Dei (Choir Coach)
    • Agnus Dei (Choir Coach, Slow mode)
    • Kyrie (Choir Coach)
    • Kyrie (Choir Coach, Slow mode)
    • Gloria (Choir Coach)
    • Gloria (Choir Coach, Slow mode)
    • Credo (Choir Coach)
    • Credo (Choir Coach, Slow mode)
    • Sanctus (Choir Coach)
    • Sanctus (Choir Coach, Slow mode)
    • Benedictus (Choir Coach)
    • Benedictus (Choir Coach, Slow mode)
    • Agnus Dei (Choir Coach)
    • Agnus Dei (Choir Coach, Slow mode)
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Additional material
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  • Kyrie

    Lord, have mercy on us.
    Christ, have mercy on us.
    Lord, have mercy on us.

    Gloria

    Glory be to God on high and on earth peace to men of good will.
    We praise Thee; we bless Thee; we adore Thee; we glorify Thee.
    We give Thee thanks for Thy great glory.
    Lord God, heavenly King, God the almighty Father.
    O Lord, the only-begotten Son, Jesus Christ,
    O Lord God, Lamb of God, Son of the Father.
    Thou who takest away the sins of the world, have mercy upon us.
    Thou who takest away the sins of the world, receive our prayer.
    For Thou alone art the Holy One,
    Thou alone art the Lord, Thou alone art the Most High.
    With the Holy Ghost in the glory of God the Father. Amen.

    Credo

    I believe in one God, the Father almighty,
    Maker of heaven and earth
    and of all things visible and invisible.

    ...
  • Kyrie

    Herr, erbarme dich unser.
    Christus, erbarme dich unser.
    Herr, erbarme dich unser.

    Gloria

    Ehre sei Gott in der Höhe und Friede auf Erden den Menschen, die guten Willens sind.
    Wir loben Dich, wir preisen Dich, wir beten Dich an, wir rühmen Dich.
    Wir danken Dir, denn groß ist Deine Herrlichkeit.
    Herr und Gott, König des Himmels, Gott, allmächtiger Vater.
    Herr Jesus Christus, eingeborener Sohn, Herr und Gott, Lamm Gottes, Sohn des Vaters.
    Du nimmst hinweg die Sünden der Welt, erbarme Dich unser;
    Du nimmst hinweg die Sünden der Welt, nimm an unser Gebet;
    Denn Du allein bist der Heilige,
    Du allein der Herr,
    Du allein der Höchste.
    Mit dem Heiligen Geist, zur Ehre Gottes, des Vaters. Amen.

    Credo

    Ich glaube an einen Gott, den allmächtigen Vater,
    der alles geschaffen hat, Himmel und Erde,
    die sichtbare und die unsichtbare Welt.

    ...
  • Kyrie

    Kyrie eleison.
    Christe eleison.
    Kyrie eleison.

    Gloria

    Gloria in excelsis Deo.
    Et in terra pax hominibus bonae voluntatis.
    Laudamus te, benedicimus te, adoramus te, glorificamus te.
    Gratias agimus tibi propter magnam gloriam tuam.
    Domine Deus, Rex coelestis, Deus Pater omnipotens.
    Domine Fili unigenite, Jesu Christe.
    Domine Deus, Agnus Dei, Filius Patris.
    Qui tollis peccata mundi, miserere nobis.
    Qui tollis peccata mundi, suscipe deprecationem nostram.
    Quoniam tu solus Sanctus, tu solus Dominus, tu solus Altissimus.
    Cum Sancto Spiritu, in gloria Dei Patris. Amen.

    Credo

    Credo in unum Deum, Patrem omnipotentem,
    factorem coeli et terrae,
    visibilium omnium, et invisibilium.

    ...
  • Text from the CD Carus 83.317

    Manuela Jahrmärker
    Translation (abridged): John Coombs

    <

    Franz Schubert’s church music bears witness to contrasting tendencies of its time. On the one hand there are works such as the two great A/lasses of his last years, in which artistic inspiration carries the music beyond the bounds of its liturgical origins, into the concert hall. On the other hand there are works whose dimensions, scoring and degree of difficulty are of a more modest order, which were when they were composed, and which still are today, well suited to performance in the context of church services.

    In both the larger, solemn sacred works (the great masses) as well as in the sacred “brevis” works of smaller dimensions, Schubert adopted elements of the so-called stile antico, through which the composers of his time aspired to create a new, “true church music” modeled, in particular, after the example

    ...
  • Booklet-Text der CD Carus 83.317

    Manuela Jahrmärker

    Franz Schuberts (1797–1828) kirchenmusikalisches Schaffen, das 1812 einsetzt und in seinem Todesjahr endet, lässt die im beginnenden 19. Jahrhundert für die Kirchenmusik wesentlichen Tendenzen erkennen: Auf der einen Seite stehen jene Werke wie vor allem die großen späten Messen in As- und Es-Dur, in denen die kompositorische Interpretation die liturgische Funktion sprengt und diese Musik – wenn nicht von der Intention, so doch vom Anspruch her – in den Konzertsaal verdrängt. Den genannten Werken stehen solche gegenüber, die in Umfang, Besetzung und in den von den Ausführenden verlangten Ansprüchen bescheidener gehalten sind, darum einem weiteren Kreis zur Aufführung zugänglich waren und in der liturgischen Aufführungspraxis auch heute im Vordergrund stehen. Soweit bei ihnen ein Auftraggeber nicht ohnehin bekannt ist, kann man doch vermuten, dass sie als

    ...
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full score, First edition Carus 40.675/00, ISMN 979-0-007-08560-5 88 pages, paperback
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vocal score Carus 40.675/03, ISMN 979-0-007-08937-5 40 pages, paperback
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vocal score, XL in large print Carus 40.675/04, ISMN 979-0-007-18735-4 40 pages, DIN A4, paperback
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choral score Carus 40.675/05, ISMN 979-0-007-08562-9 16 pages, DIN A4, without cover Minimum order quantity: 20 copies
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study score Carus 40.675/07, ISMN 979-0-007-08563-6 88 pages, DIN A5, paperback
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set of parts, complete orchestral parts Carus 40.675/19, ISMN 979-0-007-13250-7 23 x 32 cm, without cover
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  • 1 x set of parts, harmony parts, trumpet 1, trumpet 2, timpani (40.675/09)
    each: 12,50 €
    5 x individual part, violin 1 (40.675/11)
    each: 4,00 €
    5 x individual part, violin 2 (40.675/12)
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    4 x individual part, viola (40.675/13)
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    4 x individual part, violoncello/double bass (40.675/14)
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    1 x individual part, organ (40.675/49)
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individual part, organ Carus 40.675/49, ISMN 979-0-007-08569-8 12 pages, 23 x 32 cm, without cover
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individual part, violin 1, annoted instrumental part Carus 40.675/61, ISMN 979-0-007-22004-4 8 pages, 23 x 32 cm, without cover
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individual part, violin 2, annoted instrumental part Carus 40.675/62, ISMN 979-0-007-22005-1 8 pages, 23 x 32 cm, without cover
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individual part, viola, annoted instrumental part Carus 40.675/63, ISMN 979-0-007-22006-8 8 pages, 23 x 32 cm, without cover
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individual part, violoncello/double bass, annoted instrumental part Carus 40.675/64, ISMN 979-0-007-22007-5 8 pages, 23 x 32 cm, without cover
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full score digital (download), pdf file Carus 40.675/00-010-000, ISMN 979-0-007-26090-3 88 pages
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  • Throughout most of his life Franz Schubert was concerned with church music. When he was eleven he was chosen as treble soloist at his local church in the Vienna suburb of Lichtenthal and soon afterwards he was admitted to the choir of the Imperial Court Chapel, directed by Antonio Salieri. Soon he also began to compose; his earliest surviving sacred pieces date from 1812. During his lifetime his church music achieved a comparatively wide degree of acceptance but after his death, most notably, his smaller works were unjustly forgotten. The Carus programme encompasses Schubert’s complete sacred compositions and it is intended to emphasize the wide range of his works in this area. Many of the smaller liturgical compositions are published here for the first time in separate editions. What is to be discovered is a fascinating œuvre, rooted in the ‘stile antico’ of Antonio Salieri and in the compositions of the Viennese classical masters, but whose exquisite lyricism and harmonic subtlety reveal a typically Schubertian world of expression: works with great power of conviction and exceptional musical beauty. Personal details

Reviews

Franz Schubert Missa in G D 167

Franz Schubert Missa in G D 167

Im Chorherrenstift Klosterneuburg hat der Herausgeber der bekannten G-Dur Messe, Bernhard Paul, die von Franz Schuberts Hand stammenden Stimmen für zusätzliche Trompeten und Pauken gefunden. So hat man nun das Original vor sich, in einer Ausgabe, aus der es sich wegen des schönen und übersichtlichen Druckbildes vortrefflich musizieren lässt. Die verkleinerte Partitur im Taschenbuchformat ist bei Carus [ ] erhältlich.

Roland Büchner
Quelle: Musica Sacra 4/1997, S. 418

 

Schubert, Franz (1797-1828): Missa in G

Wer hätte das für möglich gehalten? Die bekannte, als reine „Streicher-Messe” geltende kleine Ordinariumsvertonung in G-Dur von Schubert ist wegen der im Chorherrenstift Klosterneuburg gefundenen autographen Trompeten- und Paukenstimmen neu zu entdecken. Die bisher erschienenen Editionen orientieren sich nur an der autographen Partitur, in der die Trompeten- und Paukenstimmen die Handschrift des Bruders Ferdinand zeigen und demzufolge in den bis dato erschienenen Editionen weggelassen wurden. Dieser hatte jedoch nur Franz Schuberts eigenhändig geschriebene, aber jetzt erst wiederentdeckte Stimmen in die Partitur übertragen.
Neben diesem Stimmenzuwachs sind auch gewichtige Änderungen hinsichtlich des Tempos, der Phrasierung, der Dynamik und der Melodie zu beobachten, die in den autographen Stimmen zu finden sind, aber offenbar aus Zeitmangel von Schubert nicht in die Partitur übertragen wurden. Alle diese - von Franz Schubert selbst autorisierten - Eingriffe in die Kleine G-Dur- beinhalten zwangsläufig eine Korrektur des bisherigen Bildes dieser Komposition. Zum ersten mal liegt auch eine vollständige autographe Bezifferung des Generalbasses vor. Vorbildliche Ausgabe mit umfangreichem Vorwort und kritischem Bericht.

Bernhard Schüth
Quelle: Musik im Bistum Essen I/1996, S. 55f.

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Frequent questions about this work

What does “First edition based on the Klosterneuburg parts” mean?

The autograph parts in the ownership of Klosterneuburg Monastery received little attention when the old Complete Edition was created, and were then thought to be lost for a long time until they were found again in 1960. There are a number of differences between the autograph score and the autograph parts, which resulted from an ad hoc revision by Schubert. The parts for trumpets and timpani, not envisaged in the autograph score, were made in the course of this revision and were not by Ferdinand Schubert, as previously assumed. The Carus edition is the first to be based on this revised version.
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