Schubert did not have it easy with the Mass in A flat major, a work which he revisited again and again over a long period. He responded to the obvious challenge of combining artistic aspirations with liturgical functionality by employing a concise interweaving of the choir and vocal soloists, and avoiding the usual formulae found in mass settings. Although in Schubert’s own revision many artistic details and tonal differentiations were sacrificed, the mass still presents a musical challenge for all performers, both singers and instrumentalists.
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Performers: Andrea Lauren Brown (Soprano), Ruth Sandhoff (Alto), Andreas Karasiak (Tenore), Tobias Berndt (Basso) – Stuttgarter Kantorei, Stiftsphilharmonie Stuttgart – Kay Johannsen
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- Kyrie (Coro SATB)
- Gloria (Coro SATB)
- Gratias agimus tibi (Soli e Coro SATB)
- Domine Deus (Soli e Coro SATB)
- Cum Sancto Spiritu (Coro SATB)
- Credo (Coro SATB)
- Et incarnatus est (Coro SSAATTBB)
- Et resurrexit (Soli e Coro SATB)
- Sanctus (Coro SATB)
- Osanna in excelsis (Coro SSAATTBB)
- Benedictus (Soli e Coro SATB)
- Osanna in excelsis (Coro SSAATTBB)
- Agnus Dei (Soli e Coro SATB)
- Dona nobis pacem (Soli e Coro SATB)
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text (without music) for download, html file, Singing text, originalhtml file, Singing text, original (Sample)KyrieKyrie eleison.
Gloria
Christe eleison.
Kyrie eleison.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,
Deus Pater omnipotens,
Domine Fili unigenite, Jesu Christe.Domine Deus, Agnus Dei, Filius Patris.
Qui tollis peccata mundi, miserere nobis.
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text (without music) for download, html file, Singing text, english translationhtml file, Singing text, english translation (Sample)Kyrie
Lord, have mercy on us.
Gloria
Christ, have mercy on us.
Lord, have mercy on us.Glory be to God on high
and on earth peace to men of good will.
We praise Thee; we bless Thee; we worship 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.
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text (without music) for download, 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.
Wir loben dich, wir preisen dich, wir beten dich an.
Wir verherrlichen dich.Wir sagen dir Dank ob deiner großen 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.
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text (without music) for download, html file, Introductory text, Frenchhtml file, Introductory text, French (Sample)Texte du livret du CD Carus 83.436
Christine Martin>
Traduction (abrégée) : Sylvie CoquillatLa Messe en la bémol majeur (D 678) de Schubert fut écrite entre 1819 et 1822. Auparavant, Schubert avait déjà écrit quatre messes. Mais la composition de la Messe en la bémol s’étend sur plusieurs années car elle devait satisfaire aux plus hautes exigences : il voulait la dédier à l’empereur ou à l’impératrice, écrit Schubert à Josef von Spaun après avoir achevé la première version en décembre 1822, parce qu’il la jugeait « réussie ». Il la remania cependant en 1824–1825 une fois encore dans une version définitive.
La Messe en la bémol majeur de Schubert s’inscrit clairement dans la lignée des Missae solemnes de Mozart, Joseph et Michael Haydn. Comme eux, Schubert allie le style d’église contrapuntique à la disposition harmonique et formelle d’une composition symphonique. Le Kyrie apparaît ainsi tout
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text (without music) for download, html file, Introductory text, Englishhtml file, Introductory text, English (Sample)Text from the CD Carus 83.436
Christine Martin
Translation (abridged) : Elizabeth RobinsonSchubert’s Mass in A flat major (D 678) was composed between 1819 and 1822. Schubert had already written four masses previously. However, the composition of the Mass in A flat stretched over several years, yet was intended to satisfy the highest demands: Schubert wanted to dedicate it to the emperor or empress, and after completing the first version, he wrote to Josef von Spaun in December 1822, for he regarded it as “successful.” Nevertheless, he revised it once again in 1824–25, producing a final version.
Schubert’s Mass in A flat clearly follows in the tradition of the solemn masses of Mozart, Joseph and Michael Haydn. Like them, Schubert combined the contrapuntal “church style” with the harmonic and formal plan of a symphonic movement. Thus, the Kyrie first appears as a motet-like movement in
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text (without music) for download, html file, Introductory text, Germanhtml file, Introductory text, German (Sample)Booklet-Text der CD Carus 83.249
Christine Martin
Schuberts Messe in As-Dur (D 678) entstand zwischen 1819 und 1822, einer Zeit, in der sich der Komponist neben dem ihm vertrauten Lied zunehmend den repräsentativen Gattungen der Vokalmusik wie der Oper, dem Oratorium und der Kirchenmusik zuwandte und nach neuen, individuellen Ausdrucksformen suchte. Schubert hatte zuvor bereits vier Missae breves geschrieben, von denen zwei in Wien-Lichtenthal, der Pfarrgemeinde seiner Familie, mit Erfolg aufgeführt worden waren. Die Entstehung der Messe in As zog sich jedoch von den ersten Skizzen im November 1819 über mehrere Jahre hin. Sie war Schuberts erste große Messe und sollte – möglicherweise im Wissen um Beethovens zeitgleiche Beschäftigung mit einer solchen Missa solemnis – höchsten Ansprüchen genügen: Er wolle sie dem Kaiser oder der Kaiserin widmen, schrieb Schubert nach Abschluss
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Contents
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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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Ensemble
Stuttgarter Kantorei
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Ensemble
Stiftsphilharmonie Stuttgart
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Conductor
Kay Johannsen
| 1961
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Soloist - soprano
Andrea Lauren Brown
Whether Baroque or contemporary music, Lieder or opera, the soprano Andrea Lauren Brown is equally convincing through the brilliant lightness of her interpretations. She made her operatic debut at the age of seventeen in Libby Larsen’s A Wrinkle in Time. This was followed by studies at West Chester University, Pennsylvania, Westminster Choir College in Princeton, New Jersey and at the Mozarteum in Salzburg. Winner of numerous prizes, in Europe she has given guest performances at the Theater an der Wien, the Festspielhaus Baden-Baden, at the Schwetzingen and Ludwigsburg Festivals, Spoleto Festival and Schumann Festival in Düsseldorf. Personal details
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Soloist - alto
Ruth Sandhoff
The repertoire of mezzo-soprano Ruth Sandhoff ranges from early Baroque works to contemporary compositions. Lied singing is her especial passion, also in collaboration with the choreographer Sasha Waltz. Ruth Sandhoff has given concert tours in the USA, in Australia and in Europe. She has participated in numerous CD productions both in Germany and abroad. The recording of J. C. Bach’s “Missa da Requiem” with the RIAS Chamber Choir was awarded the German Record Critics’ Award. Personal details
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Soloist - tenor
Andreas Karasiak
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Soloist - bass
Tobias Berndt
Tobias Berndt began his musical education in the Dresden Kreuzchor. He studied with Christian Polster in Leipzig and continued his training with Rudolf Piernay in Mannheim. He also studied with Dietrich Fischer-Dieskau and Thomas Quasthoff. He was a laureate in numerous renowned singing competitions, winning – among others – the International Das Lied Competition in Berlin, the International Brahms Competition and the Cantilena Singing Competition. Tobias Berndt has also established himself abroad as an opera and concert singer. He has collaborated with conductors such as Philippe Herreweghe, Helmuth Rilling, Frieder Bernius, Teodor Currentzis, Marcus Creed, Hans-Christoph Rademann, Andrea Marcon, Marek Janowski and Sir Roger Norrington and has performed at the Berliner Philharmonie, the Tonhalle in Zurich, the Concertgebouw Amsterdam, the Leipzig Gewandhaus, the Tchaikovsky Concert Hall in Moscow, the Teatro Colon in Buenos Aires and at Lincoln Center in New York. He has also performed at important festivals such as the Prague Spring, the Rheingau Musik Festival, the Händel Festivals in Göttingen und Halle, the Bachfest Leipzig, the Oregon Bach Festival and the International Music Festival in Peking. An extensive discography attests to his versatile artistic activities. Personal details
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