Mass in G major
First edition after the parts from Chorherrenstift Klosterneuburg D 167
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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(6)
- Kyrie
- Gloria
- Credo
- Sanctus
- Benedictus
- Agnus Dei
Practise
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Practice aids
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Practice aids voice part soprano
- 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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Practice aids voice part alto
- 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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Practice aids voice part tenore
- 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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Practice aids voice part basso
- 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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Digital text (without sheet music) incl. printing licence, html file, singing text, english translationhtml file, singing text, english translation (Sample)KyrieLord, have mercy on us.
Gloria Glory be to God on high and on earth peace to men of good will.
Christ, have mercy on us.
Lord, have mercy on us.
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. CredoI believe in one God, the Father almighty,
Maker of heaven and earth
and of all things visible and invisible....
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Digital text (without sheet music) incl. printing licence, html file, singing text, german translationhtml file, singing text, german translation (Sample)Kyrie
Herr, erbarme dich unser.
Gloria
Christus, erbarme dich unser.
Herr, erbarme dich unser.Ehre sei Gott in der Höhe und Friede auf Erden den Menschen, die guten Willens sind.
Credo
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.Ich glaube an einen Gott, den allmächtigen Vater,
der alles geschaffen hat, Himmel und Erde,
die sichtbare und die unsichtbare Welt....
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Digital text (without sheet music) incl. printing licence, html file, singing text, originalhtml file, singing text, original (Sample)Kyrie
Kyrie eleison.
Gloria
Christe eleison.
Kyrie eleison.Gloria in excelsis Deo.
Credo
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 in unum Deum, Patrem omnipotentem,
factorem coeli et terrae,
visibilium omnium, et invisibilium....
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Digital text (without sheet music) incl. printing licence, html file, Introductory text, englishhtml file, Introductory text, english (Sample)Text from the CD Carus 83.317
Manuela Jahrmärker
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Translation (abridged): John CoombsFranz 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
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Digital text (without sheet music) incl. printing licence, html file, Introductory text, germanhtml file, Introductory text, german (Sample)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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Additional product information
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Composer
Franz Schubert
| 1797-1828Throughout 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
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