Schubert 's E-flat major Mass was composed in 1828, his final year. Even though Schubert had distanced himself from his father's bigoted piety after moving out of his parents' house, religion was to remain a private matter of existential importance to him. He documented his own faith now and then...more
"Anyone who doesn’t have a version of this work in his or her collection could do far worse than invest in this recording." (www.musicweb.uk.net)
Schubert 's E-flat major Mass was composed in 1828, his final year. Even though Schubert had distanced himself from his father's bigoted piety after moving out of his parents' house, religion was to remain a private matter of existential importance to him. He documented his own faith now and then in his works: "People were also quite surprised by my piety, which I expressed in a hymn to the Holy Virgin; it apparently takes hold of people of all dispositions, putting them in a devotional mood."
With its performance duration of approximately one hour, the Mass extends beyond the temporal boundaries of the Catholic liturgy, exceeding the given formal limits in a sovereign manner. The Kyrie, which opens the Mass with a striding rhythm in the low strings and soft trombone chords, immediately develops the large-breathed, extended, symphonic dimensions in form and expansion of the Mass attained by Schubert. The solo parts are not richly ornamented, but at times have the effect of being embedded in the overall choral texture. The operatic exposition of soloists and their virtuosity was not Schubert's principal concern, but rather the sonic alternation between soloist and vocal ensemble in the choir of the faithful. Schubert's overriding interest was to achieve a balance between the classical Viennese sacred music tradition, the requirements of the clergy and his own musical aims. The two extended fugues at the end of the Gloria and the Credo are doubtless among the concessions made to the sacred music tradition. Schubert seems to be searching for a new interpretation of old forms in the Mass, a different approach to that of his late symphonies.
This live recording of 22 March 1968 in the Herkules-Saal of the Munich residence with Rafael Kubelik and the Bavarian Radio Symphony Orchestra is issued in SACD format. It is the continuation of our series "LISTEN & COMPARE", which offers the SACD listener the possibility of directly comparing the revised, updated version to the completely unadulterated original archive recording.
Schubert penned this last, and some would say the greatest, of his sacredMehr lesen
Schubert terminó su maravillosa misa en Mi bemol D950 entre junio y julioMehr lesen
Wolfgang Sawallisch recorded all of Schubert’s Masses for EMI with the Bavarian Radio Symphony Orchestra and Chorus, and with a starry cast ofMehr lesen
Schubert's sixth and final mass (seventh if you count his German Mass) is his masterpiece in the genre and part of the incredible gush of musicalMehr lesen
Schubert et la musique sacrée. Voilà un sujet intéressant qui est,Mehr lesen
The Audite label continues to put collectors in their debt by issuing live performances conducted by Rafael Kubelik. This issue is particularlyMehr lesen
Schubert drafted his E-flat Mass on a commission from Michael LeitermayerMehr lesen
Licht und Schatten – das könnte das Motto sein, unter dem die letztenMehr lesen
Rafael Kubelik a de la Messe en mi bémol une vision dramatique (cf. lesMehr lesen
Un enregistrement de concert de 1968 en SACD, et sélectionné pour leMehr lesen
Kubelik, dans ce concert munichois du 22 mars 1968, prend à bras le corpsMehr lesen
La Messe en la bémol (1828), chef-d'œuvre de synthèse spirituelle et musicale, jouit d'une discographie luxueuse, presque idéale ; à elle seule,Mehr lesen
Msze nr 6 Schubert skomponowal tuz przed smiercia. Jest to utwór bardzoMehr lesen
La misa D. 950 de Schubert es su canto del cisne de su muy abundanteMehr lesen
Hervorragend: Schubert, Es-Dur-Messe D. 950; Gundula Janowitz, GraceMehr lesen
Schuberts Es-Dur Messe entstand in seinem letzten Lebensjahr 1828. AuchMehr lesen