Missa sancta No. 1 E-flat major
Freischütz-Messe WeV A.2
Carl Maria von Weber wrote his Missa sancta no. 1 in E flat major in just two months, despite his heavy workload as Kapellmeister at the Dresden court. The work acquired the nickname “Freischütz Mass” because the composer interrupted work on his opera of the same name in January and February 1818 to compose the mass. And so Weber presented himself to his new employer King Friedrich August I of Saxony as a versatile composer, for as well as his main task of developing a German opera alongside the existing Italian opera at court, his duties also included writing church music.
In the Mass Weber responded to the local conditions in a particular way: he took into account liturgical practice at the Dresden court by adding an Offertorium to the sections of the mass ordinary, setting this as a bravura aria specially written for the Dresden star soprano Filippo Sassaroli. Because of the reverberant acoustics in the Hofkirche, he avoided rapid changes of harmony. Although the Mass was perceived as too “operatic” by critics, it was very well received by audiences and also pleased the King.
- Easy to medium difficulty level
- Text of the Mass includes an Offertorium in accordance with liturgical practice at the Dresden court at the time
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Digital text (without sheet music) incl. printing licence, html file, Introductory text, germanhtml file, Introductory text, german (Sample)Gekürztes Vorwort der Ausgabe Carus 27.097Karin Wollschläger
Weber war bereits ein Jahr als Kapellmeister am Dresdner Hof tätig, als er im Januar 1818 begann, seine Messe No. 1 in Es-Dur zu komponieren. Er war mit dem ehrgeizigen Ziel engagiert worden, eine deutsche Oper, neben der bereits bestehenden italienischen, am Hof zu etablieren „... unter der Bedingung, dass er, wenn es von ihm verlangt wird, den Kirchendienst“ besorge (Anweisung König Friedrich August I. vom 14. Dezember 1816). Neben der beträchtlichen Probenarbeit und den zahlreichen Aufführungen am deutschen Opern-Departement hatte Weber also auch die Aufgaben eines „Kirchen- Compositeurs“ zu übernehmen. Diese bestanden vor allem darin, während des sonn- und feiertäglichen Hochamtes Figuralmusik in Form einer Messe, eines Offertoriums oder einer Motette sowie einer Kirchensinfonie aufzuführen. Trotz dieser großen Arbeitsbelastung, und obwohl er offiziell nicht dazu verpflichtet war, entschied sich Weber dazu, eine Messe für seinen Dienstherrn König Friedrich August I. von Sachsen zu komponieren. In nur zwei Monaten – vom 1. Januar bis 6. März 1818 – setzte Weber sein Vorhaben um und
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Digital text (without sheet music) incl. printing licence, html file, Introductory text, englishhtml file, Introductory text, english (Sample)Abridged foreword of the Edition Carus 27.097
Karin Wollschläger
Translation: Gudrun and David KosvineWeber had already spent a year as Kapellmeister at the Dresden court when he began composing his Mass no. 1 in E flat major in January 1818. He had been engaged with the ambitious objective of establishing a German opera at court alongside the already existing Italian opera “... on condition that, if required, he would provide music for church services” (Directive by King Friedrich August I dated 14 December 1816). Thus, in addition to the considerable rehearsal workload and numerous performances in the German opera department, Weber also had to fulfill the duties of a “church composer.” These consisted primarily of performing figural music in the form of a mass, an offertory or motet, as well as a church symphony during Sunday and festive high mass. Despite this heavy workload, and although he was not officially obliged to do so, Weber decided to compose a mass for his employer, King Frederick August I of Saxony. In only two months – from January 1 to March 6 1818 – Weber realized his plan and composed his first mass; it was later given the nickname “Freischütz-Mass” because he
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Composer
Carl Maria von Weber
| 1786-1826Carl Maria von Weber was born in Eutin on November 18 or 19, 1786 and died in London on June 5, 1826. He is considered the founder of German Romantic opera.
As the son of the musician Franz Anton von Weber, he received musical training at an early age and had composition lessons with Michael Haydn and Abbé Vogler. His career took him through various stages. From 1804 to 1806 he was Kapellmeister at the Breslau Municipal Theater, from 1813 to 1816 Opera Director in Prague and from 1817 finally Königlicher Kapellmeister and Director of the newly founded Deutsche Oper at the Dresdner Hoftheater. It was there that Weber composed his most famous stage works. His opera Der Freischütz (The Marksman) is considered the epitome of German opera. He also composed instrumental works, including symphonies, concertos and piano pieces. During his time at the Dresden court, he also wrote sacred vocal works, such as the so-called “Jubel-Messe“ (Jubilation Mass).
Weber significantly influenced the German operatic style of the 19th century by introducing popular melodies and German texts to opera. He had a great influence on subsequent composers, especially Richard Wagner.
Personal details
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Editor
Karin Wollschläger
Reviews
Diese Neuausgabe hat daher auch die Aufführungspraxis im Blick, freilich ist sie gleichfalls sauber und ausführlich ediert und enthält natürlich auch ein Vorwort zur Werkgeschichte.
Das Orchester, 05/2022
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Is the Offertorium “Gloria et honore” which Weber composed for the “Freischütz Mass” also included in the edition?
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