Schubert - Masses in C and G major

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Schubert - Masses in C and G major



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Release date:

26th Oct 2009




60 minutes


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Schubert - Masses in C and G major


Mass No. 4 in C Major, D452

Mass No. 2 in G major, D167

Deutsche Messe, D872

Immortal Bach Ensemble & Leipziger Kammerorchester, Morten Schuldt-Jensen



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A chorister from the age of eight until his voice broke seven years later, Franz Schubert was well placed to compose sacred music, including several splendid settings of the Mass.

His second, completed in 1815, and fourth, written during the following year, follow Mozart’s examples but with strikingly Schubertian touches such as his dramatic use of key relationships and contrasting vocal textures to express the prayerful, meditative and glorious nature of the liturgical text.

For the so-called German Mass, Schubert wrote unassuming yet heartfelt settings of congregational hymns for performance during the service.

Franz Schubert: Mass No. 4 in C major, Op. 48, D. 452



Credo: Credo in unum Deum

Credo: Et incarnatus est

Credo: Et resurrexit

Sanctus: Sanctus, sanctus, sanctus

Sanctus: Osanna in excelsis


Agnus Dei: Agnus Dei

Agnus Dei: Dona nobis pacem

Franz Schubert: Mass No. 2 in G major, D. 167


Gloria: Gloria in excelsis Deo

Gloria: Domine Deus

Credo: Credo in unum Deum

Sanctus: Sanctus, sanctus, sanctus

Sanctus: Osanna in excelsis

Benedictus: Benedictus qui venit

Benedictus: Osanna in excelsis

Agnus Dei

Franz Schubert: Deutsche Messe, D. 872

Zum Eingang: Massig

Zum Gloria: Mit Majestat

Zum Evangelium und Credo: Nicht zu langsam

Zum Offertorium: Sehr langsam

Zum Sanctus: Sehr langsam

Nach der Wandlung: Sehr langsam

Zum Agnus Dei: Massig

Schlussgesang: Nicht zu langsam

Das Gebet des Herrn: Massig

Gramophone Magazine

February 2010

“…Schuldt-Jensen's buoyant tempi and the freshness of the choral response do much to vindicate the rococo auto-bustle of parts of the C major Mass. The second soloists… all have light "early music" voices. If the bass sounds strained in the high-lying "Benedictus" of D167, the singers blend well in ensemble, not least in the poignant "Et incarnatus" of the C major Mass.”

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