Mass No. 4
by Franz Schubert
Lichtental Church
KeyC major
CatalogueD 452
Year1816 (1816)
FormMissa solemnis
Movements6
VocalSATB choir and soloists
Instrumental
Portrait of Franz Schubert by Franz Eybl (1827)

Mass No. 4 in C major, D 452, is a mass composed by Franz Schubert in 1816. It was originally scored for soprano, alto, tenor and bass soloists, SATB choir, violin I and II, and basso continuo (cello, double bass and organ). It is classified as a missa solemnis.[1]

Background

The setting was composed in June–July 1816, and possibly received its first performance in late summer or early fall of the same year at the Lichtental Church.[2] As in his previous masses, the soprano solos were written with Therese Grob's voice in mind.[3]

The mass shows the influence of Mozart in Schubert's work, particularly in the original reduced orchestration (the Salzburger Kirchentrio, Salzburg church trio)[4] and the perceived "lightness of touch".[5] Schubert's contemporary diary entries confirm his interest in Mozart's missae breves, along with the music of Michael Haydn, another Salzburg composer.[3]

Schubert made considerable revisions to the mass for subsequent performances. He added parts for 2 oboes or clarinets, 2 trumpets and timpani, all ad libitum, for an 1825 performance in St. Ulrich, Vienna.[2] He revisited the mass in 1828, seven weeks before his death, with a purely choral setting of the Benedictus (formerly D. 961) to replace the earlier soprano solo.[6][7] It is likely that this was in anticipation of a performance where a soloist of Grob's calibre was unavailable.

Schubert sold the score of Mass No. 4 and some shorter church works to Anton Diabelli for publishing in 1825.[8] It was the only mass published during the composer's lifetime.[9] Schubert dedicated the publication to Michael Holzer, the organist and choirmaster at the Lichtental church, and his teacher in organ, singing, figured bass and counterpoint.[10]

Structure

The mass consists of six movements. Performances require approximately 23 minutes. Commentary is for D 452, unless otherwise indicated.

  1. Kyrie, Andante con moto, C major, common time
  2. Gloria, Allegro vivace, C major, common time
  3. Credo, Allegro, C major, 3/4
    Et incarnatus est, Adagio molto, D minor, cut common time
    While Schubert habitually omitted certain passages of the Creed, in this mass he makes the unusual exclusion of the words "ex Maria Virgine" (of the Virgin Mary).[3]
    Et resurrexit, Allegro, C major, 3/4
  4. Sanctus, Adagio, C major, common time
    Osanna in excelsis, Allegro vivace, C major, common time
  5. Benedictus, Andante, F major, 2/4; soprano solo
    Osanna in excelsis, Allegro vivace, C major, common time
    Benedictus, (D 961) Moderato, A minor, cut common time; choir
    Osanna in excelsis, Allegro vivace, C major, common time
  6. Agnus Dei, Adagio, C major, common time
    Dona nobis pacem, Allegro vivace, C major, 3/4

Notes

  1. ↑ Shrock 2009, p. 383.
  2. 1 2 Howie 2008, p. 70.
  3. 1 2 3 Black 2003, p. 41.
  4. ↑ Gibbs 1997, p. 210.
  5. ↑ Newbould 1999, p. 137.
  6. ↑ Black 2003, p. 183.
  7. ↑ Newbould 1999, p. 138.
  8. ↑ Hall 2003, p. 81.
  9. ↑ Newbould 1999, p. 452.
  10. ↑ Newbould 1999, p. 20.

References

  • Black, Leo (2003). Franz Schubert: Music and Belief. ISBN 9781843831358.
  • Gibbs, Christopher H. (1997). The Cambridge Companion to Schubert. Cambridge Companions to Music. ISBN 9780521484244.
  • Hall, Michael (2003). Schubert's Song Sets. ISBN 9780754607984.
  • Howie, Crawford (2008). "Small is beautiful: Schubert's smaller sacred works". In Reul, Barbara M.; Bodley, Lorraine Byrne (eds.). The Unknown Schubert. ISBN 9780754661924.
  • Newbould, Brian (1999). Schubert: The Music and the Man. ISBN 9780520219571.
  • Shrock, Dennis (2009). Choral Repertoire. ISBN 9780199716623.
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