For the choir the notes in Schubert's Mass in C are not difficult but nonetheless, when the choir and orchestra coincide, time and again this leads to surprises. The violins often proceed in sixteenth notes or, as in the Sanctus, are written in complementary rhythms, whereas the choir must count long note values. If the choir is not in perfect rhythm, then performing such passages together can be difficult. It's good when the choir can hear how the orchestra sounds here, as is also the case for the somewhat unusual modulations which occur in the Credo.
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Performers: Ildiko Raimondi (soprano), Elisabeth Lang (alto), Helmut Wildhaber (tenore), Klaus Mertens (basso) – Hugo-Distler-Chor, Wiener Akademie – Katrin Haselböck
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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 Jesu Christe, Fili unigenite.
Domine Deus, Agnus Dei,
qui tollis peccata mundi, miserere nobis,
Filius Patris, Agnus Dei,
qui tollis peccata mundi,
miserere. Quoniam tu solus Sanctus.
Tu solus Altissimus. Tu solus Dominus.
Cum Sancto Spiritu, in gloria Dei Patris.
Amen....
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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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Conductor
Martin Haselböck
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Soloist - bass
Klaus Mertens
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