Mass in A major
Orchestral version op. 12, 1860
The use of strongly contrasting themes, the developmental technique, and the broad sweep of an abundance of melodic invention are unmistakable hallmarks of the symphonic style. Beautiful wind passages, rippling harp arpeggios, and the romantic sound of the solo cello are features of the instrumentation.
This edition contains both the orchestral version as well as a reduced (non-origina)l version with organ instead of wind instruments. The version for smaller forces made by Franck, with harp, cello, double bass, and organ instead of orchestra (organ version), is also available. All versions can be performed with the original three-part choral scoring (soprano, tenor, bass) as well as in a four-part version more suitable for modern use.
This edition contains both the orchestral version as well as a reduced (non-origina)l version with organ instead of wind instruments. The version for smaller forces made by Franck, with harp, cello, double bass, and organ instead of orchestra (organ version), is also available. All versions can be performed with the original three-part choral scoring (soprano, tenor, bass) as well as in a four-part version more suitable for modern use.
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Composer
César Franck
| 1822-1890Der Vater erkannte früh seine Begabung und gab ihn 1831 zur musikalischen Ausbildung an das Konservatorium Lüttich in Belgien. Vier Jahre später zog die Familie nach Paris, wo der fünfzehnjährige César ebenfalls am Konservatorium aufgenommen wurde und in die Klavierklasse Pierre-Joseph-Guillaume Zimmermanns kam. Auch besuchte er die Klassen in Kontrapunkt bei Aimé Ambroise Simon Leborne, Komposition bei Henri-Montan Berton und Orgel bei François Benoist. In dieser Zeit entstanden seine ersten kammermusikalischen Werke, wie die 3 trios concertants für Violine, Violoncello und Klavier. 1858 wurde er Titularorganist in der Ste. Clotilde-Kirche in Paris, für welche er ein eigenes Repertoire komponierte. Darunter befindet sich u.a. das Oratorium über Die Sieben Worte Jesu am Kreuz 1859, welches beim Carus-Verlag erhältlich ist.
Personal details
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Editor
Wolfgang Hochstein
| 1950
Reviews
Die hier vorgelegte Messe in A-Dur gehört zu den Kompositionen, die Franck für den liturgischen Gebrauch an St. Clothilde schrieb. Die originale reichhaltige Besetzung des Orchesters hat Franck aus aufführungspraktischen Rücksichtnahmen später drastisch auf eine Harfe, Violoncello und Kontrabass reduziert und alle anderen Orchesterstimmen der Orgel übertragen. Allerdings erschließt gerade die große Instrumentierung das Werk in seinem ganzen Reiz. Um die Messe den heutigen Chorverhältnissen anzupassen, hat der Herausgeber Wolfgang Hochstein eine alternativ zu gebrauchende vierstimmige Fassung erstellt, die Solistenpartien aber original für Sopran, Tenor und Bass belassen. Damit das Werk auch kleineren Besetzungen zugänglich werden kann, bietet der Herausgeber folgende Möglichkeiten an: 1. Originalfassung mit vollem Orchester, Orgel nur beim „Panis angelicus” obligat. 2. Mit Streichern, Harfe(n) und Orgel, bei chorischer Streicherbesetzung evtl. auch mit Pauken. 3. Die reduzierte Instrumentalfassung mit Harfe, Violoncello und Kontrabass.
Farbenreiche Harmonik, konzentrierte thematische Arbeit, rauschende Harfenarpeggien und die Vorliebe für schwärmerische Cantilenen des Solocellos kennzeichnen diese Messvertonung. Das Aufführungsmaterial ist sehr gut und für alle oben genannten Fassungen erhältlich.
Musica Sacra, 5/1991
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Frequent questions about this work
Franck’s Mass can be performed in various different scorings. What are these exactly?
There are two original scoring options: for soloists, choir, and orchestra (original version), and a reduction made by the composer for soloists, choir, and a small ensemble comprising harp, cello, double bass, and organ. As the organ plays in just one movement in the orchestral version, as an alternative it is possible to transfer all the wind parts to the organ, so that the Mass can be performed with just strings, harp, and organ.
In line with 19th century fashion, Franck scored the choir for just three vocal parts (STB). The options listed above can be be performed both with the original three-part choir and in a four-part version carefully adapted to match choral forces more typically found nowadays.
The scores of the organ versions (40.646/50 with three-part choir, and 40.646/60 with four-part choir) can be used for choir rehearsals for the orchestral version.
The full score requires two harps, but for the reduced version Franck calls for just one harp. Can the orchestral version also be performed with just one harp?
The doubling of the harps is mainly to reinforce the sound with octave doublings, but the second harp does not have an independent function, so if necessary it can be omitted (the harp part in the reduced version largely matches the 1st harp part in the orchestral version). However, the harpist will then have a struggle to be heard in the orchestral sound. In the version with organ instead of wind instruments, a reduction to one harp part is perfectly possible.
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