Missa sancta No. 1 E-flat major
Freischütz-Messe WeV A.2
Carl Maria von Weber wrote his Missa sancta no. 1 in E flat major in just two months, despite his heavy workload as Kapellmeister at the Dresden court. The work acquired the nickname "Freischütz Mass" because the composer interrupted work on his opera of the same name in January and February 1818 to compose the mass. And so Weber presented himself to his new employer King Friedrich August I of Saxony as a versatile composer, for as well as his main task of developing a German opera alongside the existing Italian opera at court, his duties also included writing church music.
In the Mass Weber responded to the local conditions in a particular way: he took into account liturgical practice at the Dresden court by adding an Offertorium to the sections of the mass ordinary, setting this as a bravura aria specially written for the Dresden star soprano Filippo Sassaroli. Because of the reverberant acoustics in the Hofkirche, he avoided rapid changes of harmony. Although the Mass was perceived as too "operatic" by critics, it was very well received by audiences and also pleased the King.
• Practically oriented edition based on the sources, performance material available on sale for the first time
• Easy to medium difficulty level
• Text of the Mass includes an Offertorium in accordance with liturgical practice at the Dresden court at the time
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text (without music) for download, html file, Introductory text, Germanhtml file, Introductory text, German (Sample)Gekürztes Vorwort der Ausgabe Carus 27.097Karin Wollschläger
Weber war bereits ein Jahr als Kapellmeister am Dresdner Hof tätig, als er im Januar 1818 begann, seine Messe No. 1 in Es-Dur zu komponieren. Er war mit dem ehrgeizigen Ziel engagiert worden, eine deutsche Oper, neben der bereits bestehenden italienischen, am Hof zu etablieren „... unter der Bedingung, dass er, wenn es von ihm verlangt wird, den Kirchendienst“ besorge (Anweisung König Friedrich August I. vom 14. Dezember 1816). Neben der beträchtlichen Probenarbeit und den zahlreichen Aufführungen am deutschen Opern-Departement hatte Weber also auch die Aufgaben eines „Kirchen- Compositeurs“ zu übernehmen. Diese bestanden vor allem darin, während des sonn- und feiertäglichen Hochamtes Figuralmusik in Form einer Messe, eines Offertoriums oder einer Motette sowie einer Kirchensinfonie aufzuführen. Trotz dieser großen Arbeitsbelastung, und obwohl er offiziell nicht dazu verpflichtet war, entschied sich Weber dazu, eine Messe für seinen Dienstherrn König Friedrich August I. von Sachsen zu komponieren. In nur zwei Monaten – vom 1. Januar bis 6. März 1818 – setzte Weber sein Vorhaben um und
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text (without music) for download, html file, Introductory text, Englishhtml file, Introductory text, English (Sample)Abridged foreword of the Edition Carus 27.097
Karin Wollschläger
Translation: Gudrun and David KosvineWeber had already spent a year as Kapellmeister at the Dresden court when he began composing his Mass no. 1 in E flat major in January 1818. He had been engaged with the ambitious objective of establishing a German opera at court alongside the already existing Italian opera “... on condition that, if required, he would provide music for church services” (Directive by King Friedrich August I dated 14 December 1816). Thus, in addition to the considerable rehearsal workload and numerous performances in the German opera department, Weber also had to fulfill the duties of a “church composer.” These consisted primarily of performing figural music in the form of a mass, an offertory or motet, as well as a church symphony during Sunday and festive high mass. Despite this heavy workload, and although he was not officially obliged to do so, Weber decided to compose a mass for his employer, King Frederick August I of Saxony. In only two months – from January 1 to March 6 1818 – Weber realized his plan and composed his first mass; it was later given the nickname “Freischütz-Mass” because he
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Composer
Carl Maria von Weber
| 1786-1826
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Editor
Karin Wollschläger
Reviews
Diese Neuausgabe hat daher auch die Aufführungspraxis im Blick, freilich ist sie gleichfalls sauber und ausführlich ediert und enthält natürlich auch ein Vorwort zur Werkgeschichte.
Das Orchester, 05/2022
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Is the Offertorium “Gloria et honore” which Weber composed for the “Freischütz Mass” also included in the edition?
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