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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
Kyrie
Gloria
Credo: Credo in unum Deum
Credo: Et incarnatus est
Credo: Et resurrexit
Sanctus: Sanctus, sanctus, sanctus
Sanctus: Osanna in excelsis
Benedictus
Agnus Dei: Agnus Dei
Agnus Dei: Dona nobis pacem
Franz Schubert: Mass No. 2 in G major, D. 167
Kyrie
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
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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