Louis Spohr’s only Mass is among the most important works of post-classical church music. In this a cappella Mass Spohr brought together harmoniously and with great skill the then current interest in baroque constructional techniques and the quest for an individual, contemporary style of composition. The result is a work which sometimes suggests Mendelssohn, and which offers an accomplished choir impressive music both for church services and for concerts.
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(7)
- Kyrie
- Gloria
- Credo
- Sanctus
- Benedictus
- Agnus Dei
- Dona nobis pacem
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Digital text (without sheet music) incl. printing licence, html file, singing text, english translationhtml file, singing text, english translation (Sample)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,
Lord God the almighty Father.
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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.
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,
Domine Deus Pater omnipotens.
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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 83.291
Hartmut Becker
Translation: David KosvinerLouis Spohr wrote his Mass op. 54 between the beginning of April and the end of June 1821, a few months before he began his appointment as court Kapellmeister of the Elector of Hesse and immediately after returning from a concert tour to Paris. In December 1820, Spohr had made the acquaintance of Anton Friedrich Justus Thibaut and his collection of old Italian church music in Heidelberg. This may have provided an external stimulus, but one should take care not to categorize Spohr’s work in a class with the soon to be burgeoning Cecilian Movement: it is quite impossible to reconcile the complicated chromaticism of Spohr’s style with the ideal of “purity” oriented towards Palestrina that Thibaut promulgated in 1825 in his publication “Über Reinheit der Tonkunst [Purity of Music]. The composer was not attempting to
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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 83.291
Hartmut Becker
Louis Spohr schrieb seine Messe op. 54 zwischen Anfang April und Ende Juni 1821, wenige Monate vor Antritt seines Engagements als Hofkapellmeister des Kurfürsten von Hessen und unmittelbar nach Rückkehr von einer Konzertreise nach Paris. Im Dezember 1820 hatte er in Heidelberg Anton Friedrich Justus Thibaut und dessen Sammlung altitalienischer Kirchenmusik kennengelernt. Dies mag äußerer Anstoß zur Komposition gewesen sein, doch muss man sich hüten, Spohrs Werk in eine Reihe mit dem bald aufkommenden Cäcilianismus stellen zu wollen: Mit dem an Palestrina orientierten Ideal von „Reinheit“, in der 1825 erschienenen Schrift Thibauts Über Reinheit der Tonkunst, ist die komplizierte Chromatik des Spohr’schen Stils keinesfalls in Einklang zu bringen. Es ging dem Komponisten nicht um den Versuch einer historistischen Stilkopie, vielmehr verschmelzen in seiner Messe Eigenarten der
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Contents
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Composer
Louis Spohr
| 1784-1859Louis Spohr, born 1784 in Braunschweig, died 1859 in Kassel. Considered one of the best violinists, conductors and composers of his time. He received violin lessons from the age of five. As early as 1799 violinist in the Brunswick court orchestra, then concertmaster in Gotha; 1812 - 1815 Kapellmeister in Vienna; from 1822 court Kapellmeister in Kassel, recommended by C. M. v. Weber. Extensive concert tours brought him together with N. Paganini, among others. He left behind over 200 works, including many a cappella choirs. His oratorio ‘Die letzten Dinge’ (1826) was highly regarded in the 19th century. Personal details
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Editor
Otto Biba
| 1946
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