| Mass No. 4 | |
|---|---|
| by Franz Schubert | |
 | |
| Key | C major |
| Catalogue | D 452 |
| Year | 1816 |
| Form | Missa solemnis |
| Movements | 6 |
| Vocal | SATB choir and soloists |
| Instrumental |
|
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]
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]
The mass consists of six movements. Performances require approximately 23 minutes. Commentary is for D 452, unless otherwise indicated.
Great Mass in C minor, K. 427/417a, is the common name of the musical setting of the mass by Wolfgang Amadeus Mozart, which is considered one of his greatest works. He composed it in Vienna in 1782 and 1783, after his marriage, when he moved to Vienna from Salzburg. The large-scale work, a missa solemnis, is scored for two soprano soloists, a tenor and a bass, double chorus and large orchestra. It remained unfinished, missing large portions of the Credo and the complete Agnus Dei.
Mass No. 2 in G major, D 167, by Franz Schubert was composed in less than a week in early March 1815 and remains the best known of his three short settings, or missae breves, dating between his more elaborate No. 1 and No. 5. Apart from some passages for soprano, its solistic interventions are modest; Schubert, characteristically, inclines toward a devotional mood. The First Mass had been successfully performed in the composer's parish the year before.
The Missa in angustiis, commonly known as the Nelson Mass, is a Mass setting by the Austrian composer Joseph Haydn. It is one of the six masses written near the end of his life that are seen as a culmination of Haydn's composition of liturgical music.
Missa in tempore belli is a setting of the mass by Joseph Haydn. It is catalogued Mass No. 10 in C major. Known also as the Paukenmesse due to the dramatic use of timpani, it is one of the most popular of his fourteen mass settings. The autograph manuscript contains the title "Missa in tempore belli" in Haydn's handwriting.
The Harmoniemesse in B-flat major by Joseph Haydn, Hob. XXII:14, Novello 6, was written in 1802. It was Haydn's last major work. It is because of the prominence of the winds in this mass and "the German terminology for a kind of wind ensemble, Harmonie," that this mass setting is called "Harmoniemesse" or "Wind Band Mass". Besides flute, 2 oboes, 2 clarinets, 2 bassoons, 2 horns in B-flat, 2 trumpets in B-flat, the mass also calls for choir, timpani, strings, and organ, the latter supplying figured bass for most of the duration.
The Missa Cellensis in honorem Beatissimae Virginis Mariae in C major by Joseph Haydn, Hob. XXII:5, Novello 3, was originally written in 1766, after Haydn was promoted to Kapellmeister at Eszterháza following the death of Gregor Joseph Werner. The original title as it appears on the only surviving fragment of Haydn's autograph score, that has been discovered around 1970 in Budapest, clearly assigns the mass to the pilgrimage cult of Mariazell, Styria. Until that discovery, the work was known as Missa Sanctae Caeciliae, or in German Cäcilienmesse, a title probably attributed to the mass in the 19th century. Whether the alternative title refers to a performance of the piece by the St. Cecilia's Congregation, a Viennese musician's fraternity, on some St. Cecilia's day, as has been suggested, remains speculation.
The Missa brevis No. 9 in B-flat major by Wolfgang Amadeus Mozart, K. 275/272b, was probably written before September 1777 for Salzburg. The mass is scored for SATB soloists, SATB choir, violin I, violin II, 3 trombones, string bass, and organ.
Austrian composer, Michael Haydn's Missa Hispanica or Missa a due cori, Klafsky I:17, MH 422, was presumably written for Spain, but there is no evidence of its ever having been performed there during Haydn's lifetime. The mass is scored for 2 oboes, 2 bassoons, 2 horns in low C, F and G, 2 trumpets in C, timpani, strings, basso continuo, SATB soloists, and two mixed choirs.
Michael Haydn completed the Missa in honorem Sanctae Ursulae, Klafsky 1:18, MH 546, on August 5, 1793, probably for use at the ceremony in which Ursula Oswald, the daughter of a friend, professed her religious vows at the Benedictine Abbey of Frauenwörth Chiemsee. Because of that fact, the Mass is sometimes known as the Chiemsee Mass.
The Missa brevis No. 8 in C major, K. 259, is a mass composed by Wolfgang Amadeus Mozart in 1776. It is scored for SATB soloists, SATB choir, violin I and II, 2 oboes, 2 clarini, 3 trombones colla parte, timpani and basso continuo.
The Credo Mass in C major, K. 257, is a mass composed by Wolfgang Amadeus Mozart in 1776. It is scored for SATB soloists, SATB choir, violin I and II, 2 oboes, 2 clarini, 3 trombones colla parte and basso continuo.
The Missa brevis in D minor, K. 65/61a, is a mass composed by Wolfgang Amadeus Mozart and completed on 14 January 1769. It is scored for SATB soloists and choir, violin I and II, 3 trombones colla parte, and basso continuo.
Mozart's Mass in G major, K. 49/47d), is his first full mass. It is a missa brevis scored for SATB soloists and choir, violin I and II, viola, and basso continuo.
Stabat Mater in F minor, D 383, is a musical setting of the Stabat Mater sequence, composed by Franz Schubert in 1816. It is scored for soprano, tenor and bass soloists, SATB choir, 2 flutes, 2 oboes, 2 bassoons, contrabassoon, 2 french horns, 3 trombones, violin I and II, viola, cello and double bass.
The Magnificat in C major, D 486, is a musical setting of the Magnificat hymn composed by Franz Schubert in 1816. It is scored for SATB soloists, mixed choir, 2 oboes, 2 bassoons, 2 trumpets, violin I and II, viola, timpani and basso continuo.
Mass No. 1 in F major, D 105, is a mass composed by Franz Schubert in 1814. It is scored for two soprano soloists, two tenor soloists, alto and bass soloists, SATB choir, oboe, clarinet, bassoon, 2 horns, violin I and II, viola, and basso continuo. It was the first of Schubert's masses to be performed, and is of the missa solemnis type.
The Mass No. 3 in B-flat major, D 324, is a mass composed by Franz Schubert in 1815. It is written for four soloists, a four-part choir and orchestra. While by length it could be a missa brevis, its large orchestral force with trumpets, timpani and woodwinds has also led to its classification as a missa solemnis.
Mass No. 5 in A-flat major, D 678, is a mass composed by Franz Schubert, completed in 1822. There is no record of a performance during Schubert's lifetime. It is scored for soprano, alto, tenor and bass soloists, SATB choir with divisi, violin I and II, viola, flute, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, 3 trombones colla parte, timpani and basso continuo. It is classified as a missa solemnis.
Mass No. 6 in E-flat major, D 950, is a mass composed by Franz Schubert, a few months before his death. It is scored for two tenor soloists, soprano, alto and bass soloists, SATB choir with divisi, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, 3 trombones, timpani, violin I and II, viola, cello, and double bass. It was Schubert's final setting of the order of Mass, and is classified as a missa solemnis.
Missa Sancti Nicolai, Mass No. 6 in G major, Hob. XXII/6, also known as the Nicolaimesse, is a mass by Joseph Haydn, composed around 1772 and revised in 1802.
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