FRANZ SCHUBERT
Born January 31, 1797, in Vienna, Austria
Died November 19, 1828, in Vienna
Mass No. 2 in G Major, D. 167 (about 22 minutes)
- Kyrie
- Gloria
- Credo
- Sanctus
- Benedictus
- Agnus Dei
This is the first known performance by the Wichita Symphony and Chorus of Schubert’s Mass No. 2 in G Major.
Of the many remarkable lives of classical music composers, Schubert is among the most notable. Born in an outlying district of Vienna, Schubert’s brief life of thirty-one years achieved one of the most prolific catalogs of music by any composer. Known during his lifetime to a small circle of close friends and overshadowed by the dominant presence of Beethoven and Rossini in Vienna, most of Schubert’s acclaim would come posthumously.
Schubert’s musical studies began under the tutelage of his father, a schoolteacher and violinist. A brief period of piano studies with his older brother Ferdinand quickly led to more advanced work with Michael Holzer, the organist and choirmaster at the local parish church in Lichtenthal, an independent municipality of Vienna. In the musically rich environment of Vienna, the composer Antonio Salieri noted Franz’s vocal and musical talents, and in November 1808, Schubert enrolled in the Imperial Seminary on a choir scholarship. Here, his studies introduced him to the music of Haydn, Mozart, and Beethoven.
After his voice changed, Schubert returned to the family home and began teaching the youngest students in their general studies at his father’s school in Lichtenthal. He continued his music studies on the side with Salieri until about 1817.
In 1815, cited by scholars as Schubert’s annus mirabilis (miraculous year), the flood of music from Schubert’s pen that continued the rest of his life began. In one year, he composed nine church works, a symphony and part of another, a string quartet, several Singspiele, works for the piano, and over 140 Lieder, the last grouping included his famous Erlkönig (The Elf King) on a poem by Wolfgang von Goethe. Remarkably, Schubert wrote all of this music – about 22,000 measures in all – as a sideline to his principal occupation as a schoolteacher.
The Mass in G Major dates from 1815. The D. 167 number affixed to the title refers to the comprehensive catalog of Schubert’s music established by Otto Deutsch (1883 – 1967) in the 20th century.
Schubert composed the Mass rapidly during six days in March, probably for his parish church in Lichtenthal, and conducted it later that spring. Considering that he wrote four Masses and several other short liturgical works during 1815, he may have been fishing for employment as a church music director, but the effort was unsuccessful. Still, as we listen to the Mass, it is worth noting that the work was not intended for the concert hall.
Schubert’s modeled his Mass on the style of Missa brevis (short Mass) in common use during the 18th century by Mozart and others. The six movements refer to the fixed “ordinary” sections of the Mass using texts established by the 12th century or earlier. These sung moments are heard in the context of the Mass “proper,” consisting of variable spoken prayers, Gospel readings, sung chants, and other moments adopted for the occasion or time of year. Adding instruments and vocal soloists, sometimes referred to as the symphonic Mass tradition, emerged during the 18th century, especially in Austria.
Schubert’s Mass in G Major is modestly conceived, gentle, and serene. Its brevity may, in part, be a practical solution for everyday use and a solution to a Viennese church edict in effect during Schubert’s time to “keep it short.” The vocal writing is mainly in the homophonic style. (Your typical church hymn composed in four parts is an example of homophonic writing.) There is little contrapuntal writing, leading one to conclude that either Schubert hadn’t mastered the craft or the Lichtenthal choir was not up to the task. One notable exception in the Mass is the imitative counterpoint of the Hosanna in excelsis.
Schubert wrote for three soloists instead of the usual four, and the soprano gains most of the solo work. Schubert likely wrote these solos for Therese Groh, a young, local woman whom Schubert may have harbored unrequited marital interest.
For many years, musicians believed Schubert composed the Mass in G Major for strings and organ accompaniment. The violins and the violas mainly embellish the vocal line, provide simple harmonic accompaniment, and fill in between the vocal phrases. The cellos and basses reinforce the bass line, and the organ part is written only as a bass line with figured bass to indicate how the organist should complete the harmony. You can find performances of the Mass with this orchestration on YouTube.
Trumpet and timpani parts appear in the manuscript written in his brother Ferdinand’s hand. Curiously, the Mass with the trumpet and timpani parts included was first published in 1846 by a publisher in Prague, but by a composer named Robert Führer, the choir director of St. Vitus Cathedral. Ferdinand Schubert spotted the plagiarism and called out the publisher and composer’s fraudulent attribution in 1849. By then, Ferdinand had done a little doctoring of his own to Schubert’s score, adding parts for oboes (or clarinets) and bassoons in 1847. Decades later, the parts for trumpet and timpani turned up in Franz Schubert’s hand at an Austrian abbey, leading scholars to conclude that Schubert intended them all along. Ferdinand may have copied from his brother’s parts into the manuscript score. For this weekend’s performance, Maestro Hege chose to use clarinets for the mellow sound they add to the music, along with the pair of bassoons.
The chorus begins the Mass gently in four-part G major harmony without instrumental introduction for the opening Kyrie, the one movement of the Mass based on a Greek text. Typically, the text repeats several times. The soprano soloist enters with the penitential plea of Christe eleison (Christ, have mercy) accompanied by a repetitive pattern of eight-note harmonies in the strings. The chorus continues the petition with syncopated bass accompaniment, reaching a modest climax. The music returns to the gentle opening, creating a three-part ABA structure to the movement.
The upward-rushing scale that opens the Gloria and recurs throughout was a standard cliché leftover from the Baroque period and used by composers to illustrate the jubilant text of “glory to God in the highest.” This movement employs the full orchestration, and the change of keys to D major contributes to the bright sound. Repetitive sixteenth notes in the strings generate most of the music’s energetic propulsion. This technique is another standard from the Baroque period. The soprano and bass soloists enter with a duet for the Domine Deus (Lord God) text, while the chorus murmurs beneath them miserere nobis (have mercy upon us). The opening music of the Gloria returns upon the text Quoniam tu solus sanctus (For Thou alone art holy) and concludes with an affirmative amen. Interestingly, in this movement, Schubert deletes the traditional text referencing “O Thou, who sits at the right hand of the Father.” Some music historians speculate that this might be a touch of Schubert’s agnosticism sneaking into his setting of the text.
The Credo (I believe) movement has the most text to cover in the Mass, and Schubert moves things along briskly with a steady “walking bass” pattern in the cellos and basses. Listen for the word-painting Schubert utilizes for “Crucifixus etiam pro nobis” (He was crucified for us). The music turns to B minor and becomes more chromatic for the reference to Pontius Pilate. Again, Schubert deletes a standard Credo line referencing belief in “one holy Catholic and Apostolic Church.”
The last three sections of the Mass, noted for the brevity of the text, allow Schubert (and other composers) more creative freedom. Text repetition occurs throughout these sections.
The Sanctus begins majestically with bold ascending chords outlined and characterized by dotted rhythms reminiscent of the Baroque French Overture style in the orchestra. Three times, the chorus proclaims “Sanctus” (Holy, Holy, Holy), a symbolic reference to the Trinity. The section concludes with the previously mentioned imitative writing in a canon style on the “Hosanna in excelsis” (Hosanna in the highest).
Typically in a Mass, the Benedictus provides a musical contrast to the Sanctus. Here, the three soloists enter, the tenor being heard for the first time. The music has a graceful lilt, and all three soloists engage in some of the most florid music heard in the entire Mass. The movement concludes with a reprise of the Hosanna for the chorus.
The Agnus Dei (Lamb of God) brings the Mass to its peaceful conclusion. The soprano and bass soloists alternate with a chorus that pleads for mercy (miserere nobis). The music dies away on almost a whisper with “dona nobis pacem” (grant us peace), a fitting ending for our troubled times.
Schubert’s Mass in G Major is the shortest of his seven Masses, lasting approximately twenty-two minutes. It is also the most frequently heard, probably because it’s an ideal introduction to symphonic choral music for amateur choruses. It bears noting that this evening’s concert marks the first time that the Wichita Symphony Chorus appears with the Symphony since the November 2019 performances of Carmina Burana. This season has been a rebuilding year for the Symphony Chorus, which eagerly seeks new members, especially tenors and basses! No audition required!
©Don Reinhold, 2020, rev. 2022
