572114bk Schubert EU

SCHUBERT
Mass No. 5 • Magnificat
Immortal Bach Ensemble
Leipziger Kammerorchester
Morten Schuldt-Jensen

Franz Schubert (1797–1828)
Mass No. 5 in A flat major • Magnificat in C major
Mass No. 5 in A flat major, D. 678 40:01
Kyrie
1 Kyrie eleison 5:47
Gloria
2 Gloria in excelsis Deo 2:20
3 Gratias agimus tibi 3:29
4 Domine Deus, Agnus Dei 2:27
5 Cum Sancto Spiritu 4:00
Credo
6 Credo in unum Deum 2:19
7 Et incarnatus est 3:50
8 Et resurrexit 1:54
9 Confiteor 1:40
Sanctus
0 Sanctus, sanctus, sanctus 2:12
! Osanna in excelsis 0:37
Benedictus
@ Benedictus qui venit 3:49
Agnus Dei
# Agnus Dei, qui tollis peccata mundi 3:16
$ Dona nobis pacem 2:19
Magnificat in C major, D. 486 8:50
% Magnificat anima mea Dominum 2:04 & Gloria Patri 3:43
^ Deposuit potentes de sede 3:03
Trine Wilsberg Lund, Soprano • Bettina Ranch, Alto • Min Woo Lim, Tenor (1-4, 9-$, ^)
Dominik Königer, Bass (1-4, 9-!, #, $, ^)
Immortal Bach Ensemble • Leipziger Kammerorchester
Morten Schuldt-Jensen
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Franz Schubert (1797–1828)
Mass No. 5 in A flat major • Magnificat in C major
Franz Schubert was born in Vienna in 1797, the son of
a schoolmaster, and spent the greater part of his short
life in the city. His parents had settled in Vienna, his
father moving there from Moravia in 1783 to join his
schoolmaster brother at a school in the suburb of
Leopoldstadt and marrying in 1785 a woman who had
her origins in Silesia and was to bear him fourteen
children. Franz Schubert was the twelfth of these and
the fourth to survive infancy. He began to learn the
piano at the age of five, with the help of his brother
Ignaz, twelve years his senior, and three years later
started to learn the violin, while serving as a chorister
at Liechtenthal church. From there he applied, on the
recommendation of Antonio Salieri, to join the
Imperial Chapel, into which he was accepted in
October 1808, as a chorister now allowed to study at
the Akademisches Gymnasium, boarding at the
Stadtkonvikt, his future education guaranteed.
During his schooldays Schubert formed friendships
that he was to maintain for the rest of his life. After his
voice broke in 1812, he was offered, as expected, a
scholarship to enable him to continue his general
education, but he chose, instead, to train as a primary
school teacher, while devoting more time to music and,
in particular, to composition, the art to which he was
already making a prolific contribution. In 1815 he was
able to join his father as an assistant teacher, but
showed no great aptitude or liking for the work. Instead
he was able to continue the earlier friendships he had
formed at school and make new acquaintances. His
meeting in 1816 with Franz von Schober allowed him
to accept an invitation to live in the latter’s apartment,
an arrangement that relieved him of the necessity of
earning his keep in the schoolroom. In August 1817 he
returned home again and resumed his place, for the
moment, in the classroom. The following summer he
spent in part at Zseliz in Hungary as music tutor to the
two daughters of Count Johann Karl Esterházy von
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Galánta, before returning to Vienna to lodge with a new
friend, the poet Johann Mayrhofer, an arrangement that
continued until near the end of 1820, after which
Schubert spent some months living alone, now able to
afford the necessary rent.
By this period of his life it seemed that Schubert
was on the verge of solid success as a composer and
musician. He lodged once again with the Schobers in
1822 and 1823 and it was at this time that his health
began to deteriorate, through a venereal infection that
was then incurable. This illness overshadowed the
remaining years of his life and was the cause of his
early death. The following years brought intermittent
returns to his father’s house, since 1818 in the suburb
of Rossau, and a continuation of social life that often
centred on his own musical accomplishments and of his
intense activity as a composer. In February 1828 the
first public concert of his music was given in Vienna,
an enterprise that proved financially successful, and he
was able to spend the summer with friends, including
Schober, before moving, in September, to the suburb of
Wieden to stay with his brother Ferdinand, in the hope
that his health might improve. At the end of October,
however, he was taken ill at dinner and in the following
days his condition became worse. He died on 19th
November.
From childhood Schubert had had a particularly
close association with church music. He had started at
the age of eight as a choirboy at the parish church in
Liechtenthal, where he was taught by the choirmaster
Michael Holzer, a pupil of Albrechtsberger. From 1808
he was a chorister in the Imperial and Royal Chapel and
remained in the choir until his voice broke in 1812,
bringing an end to seven years of regular practical
participation in the music of the church. His many
liturgical compositions seem to have started in 1812
and he continued to write music for the church until the
final weeks of his life.
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If his earlier church compositions had been largely
intended for the parish church at Liechtenthal, where
Schubert had his first great public success in 1814 with
his Mass in F major, by the end of the decade he seems
to have been giving serious consideration to his career,
as his friends one by one settled into regular
employment and marriage. One path to professional
employment lay in church music and evidence of
Schubert’s probable ambition may be seen in the care
he took over his Mass in A flat major, D. 678, which he
started in November 1819 but completed only in 1822,
revising it in 1826, presumably at the time of his
applicaton for the position of Court Vice-
Kapellmeister. In an optimistic letter of 1822 to his
friend Joseph von Spaun he writes of his satisfaction
with the work and of a possible dedication to the
Emperor or Empress. Preparations, in any case, were
made for performance, and various revisions were
made to facilitate this, but there is no record of any
such performance having taken place. In 1826 he
showed the work to the Kapellmeister of the Royal
Chapel, Josef Eybler, who told him that it was not in
the style favoured by the Emperor, whose tastes in this
respect were conservative.
The Mass in A flat major, a Missa Solemnis, the
fifth of Schubert’s six Mass settings, is scored for flute,
pairs of oboes, clarinets, bassoons, horns and trumpets,
three trombones, timpani, strings and organ, with four
solo voices and choir. The handling of the wind
instruments is now markedly different from that of the
earlier Masses, with a thoroughly idiomatic use made
of woodwind. In the Kyrie the two upper voices are
answered by the tenors and basses and the Christe
eleison is introduced by the solo soprano, followed by
the other soloists. The Kyrie is subtly altered, on its
return, and the Christe eleison is duly transposed. The
Gloria, marked Allegro maestoso e vivace is in a
forceful E major, modulating to A major for the
Andantino setting of Gratias agimus tibi, introduced by
first and second violins, before the entry of the soloists.
At Dominus Deus, Rex cælestis there is a shift to A
minor and other modulations before the key of A major
is re-established, leading to what seems about to
become a fugue in C sharp minor at the words Domine
Deus, Agnus Dei. It is with Cum Sancto Spiritu that
Schubert offers a full fugal treatment of the text,
following established tradition, a movement he rewrote
in 1826, with the present improved subject. The Credo
starts with a C major chord from horns and trombones,
answered by oboes, clarinets and trumpets. The chord
for horns and trombones returns, to be followed by the
A flat major Et incarnatus est and the two chords are
heard again, marking the C major Et resurrexit, and
returning once more to herald Confiteor in unum
baptisma. The F major Sanctus is a world away from
the Haydn Masses, with which Schubert would have
been familiar as a chorister. It is followed by a Hosanna
in excelsis that suggests the hunt in full cry. The
Benedictus, in A flat once more, is shared between the
soprano, alto and tenor soloists and the chorus, with a
running quaver accompaniment, at first from the
pizzicato cellos. The Hosanna returns, to complete the
movement. The Agnus Dei, in F minor, is presented by
the soloists, with the murmured miserere nobis of the
chorus introducing an almost Verdian element. The
final Dona nobis pacem restores the original key of
A flat major and is substantial enough, with its hushed
conclusion, to provide an ending to the whole Mass.
Schubert’s Magnificat in C major, D. 486, scored
for four soloists, choir and pairs of oboes, bassoons,
trumpets and drums, with strings and organ, survived in
a copy dated 25th September 1816, but it has been
suggested that it may have been written in the previous
year. The setting follows contemporary custom in
Vienna in taking only a few verses of the original
canticle, opening with a splendidly festive Magnificat
anima mea. The central section of the work, an F major
Andante, sets the words Deposuit potentes de sede, the
soloists preceded by a solo oboe. The mood of
celebration returns with the final C major doxology.
Keith Anderson
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Trine Wilsberg Lund
The Norwegian soprano Trine Wilsberg Lund enjoys a considerable reputation as
a concert soloist in Europe, with a repertoire extending from early Baroque music
to the present, including works by Monteverdi, Strozzi, Schütz, Bach, Handel,
Vivaldi, Mozart, Mendelssohn, Meyerbeer, Verdi, Grieg, Bernstein and Berio.
Since September 2007 she has been a member of the International Opera Studio of
the Hamburg Staatsoper, where her rôles have included Polisenna (Radamisto),
Papagena, The Dew Fairy (Hänsel und Gretel) and Giannetta (L’elisir d’amore).
Bettina Ranch
Bettina Ranch was born in Berlin and initially studied the violin, before she
changed to classical voice. After graduation, she joined renowned ensembles such
as Collegium Vocale Gent (Philippe Herreweghe), but quickly started to perform
as a solo singer with various distinguished conductors. She enjoys her collaboration
with well-known orchestras and began her operatic career in Monteverdi’s L’Orfeo
under René Jacobs, followed by further appearances at the Berlin Saatsoper and the
title rôle in Handel’s Ariodante at the Brussels Opera.

Min Woo Lim
The Korean tenor Min Woo Lim was born in Seoul, where he first studied theology
before training as a singer at the National Arts University. He went on to study at
the Freiburg Musikhochschule. His repertoire includes Lieder by Schumann, Wolf
and others and he has also established a reputation in oratorio. He has taught since
2010 at the Korean National Arts University in Seoul, where he made his début in
the same year as Ernesto in Don Pasquale.
Dominik Königer
Born in Heidelberg, the German baritone Dominik Köninger studied at the Opera
School in Karlsruhe, participating in numerous productions, among others as
Dandini in Rossini’s La Cenerentola, Teodoro in the first German performance of
Paisiello/Henze’s Il re Teodoro in Venezia at the Schwetzinger Festspiele and at
the Badisches Staatstheater, and as Guglielmo in Così fan tutte. He has been
awarded a number of scholarships and prizes, among them scholarships of the
Kunststiftung Baden-Württemberg and Studienstiftung des Deutschen Volkes, first
prize at the Mozart Festival Competition Würzburg 2006, prizes from the Wagner
Association and at the Anneliese-Rothenberger Competition. His wide opera and
concert repertoire, ranging from the baroque to the contemporary has brought
collaboration with leading conductors and performances in major concert halls and
festivals. At the beginning of the 2007/08 season he became a member of the
International Opernstudio at the Hamburg State Opera, and recent years have
brought engagements with the Stuttgart State Opera, Vienna Volksoper and
Hamburg State Opera, among others.
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Immortal Bach Ensemble
The Immortal Bach Ensemble has its roots in the Gewandhaus in Leipzig. In 2001 Morten Schuldt-Jensen, the
former director of the Gewandhaus choirs, formed the GewandhausKammerchor, its members having been recruited
from the top professional concert and choral singers of Germany, The Netherlands, Southern Scandinavia and
Switzerland. With this handpicked ensemble Schuldt-Jensen works on projects with a variety of different
programmes and a very wide-ranging repertoire, from oratorios to twentieth-century a cappella music, for which the
choir has been acclaimed by audiences and the press alike. In addition to frequent performances in Leipzig and
figuring in high profile venues such as Schleswig-Holstein and Rheingau, the choir has produced several highly
praised CDs, with an acclaimed recording of Mozart’s Requiem for Naxos (8.557728). Since May 2006 the
GewandhausKammerchor has been renamed the Immortal Bach Ensemble. The title ‘Immortal Bach’ is taken from
a work of the Norwegian composer Knut Nystedt, who arranged a Bach chorale in different tempi and sequences,
and with it demonstrates the artistic credo of the choir. The Immortal Bach Ensemble aims to combine old and new
and with top quality performances seeks to explore new ideas and perspectives captivating for both singers and
audience.

Leipzig Chamber Orchestra
The Leipzig Chamber Orchestra was founded in 1971 by members of the Leipzig Gewandhaus Orchestra who were,
in addition to playing larger-scale symphonic and operatic repertory, striving for the experience of performance
practice on a more individual level. Morten Schuldt-Jensen, artistic director since 2000, has formed a very flexible
ensemble with a very personal style that suits the present time. With him the orchestra has toured Denmark, Spain,
Korea, and Japan, appeared at the Rheingau and Schleswig-Holstein Music Festivals, and made a number of
recordings. Orchestra and conductor seek to perform compositions on modern instruments with extra care to
articulation, phrasing, and tone-colours, combining the technical possibilities of modern instruments with the latest
insights of performance practice from baroque music to the present.
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Morten Schuldt-Jensen
A graduate of the Royal Danish Academy of Music, Morten
Schuldt-Jensen holds a Master’s degree in musicology from the
University of Copenhagen. Post-graduate courses include study
with, among others, Sergiù Celibidache and Eric Ericson. He
forged an early career in successful performances with
internationally acclaimed Danish choirs and orchestras and is a
regular guest conductor for various distinguished German and
Scandinavian choirs and orchestras. He has also worked
frequently with the Danish National Radio Choir and the
Philharmonic Orchestra of Copenhagen. From 1999 to 2006 he
was director of choirs at the Gewandhaus in Leipzig, where he
founded the Gewandhaus Chamber Choir in 2001, an ensemble
known now as the Immortal Bach Ensemble. In 2000 he was
appointed principal conductor and artistic director of the Leipzig
Chamber Orchestra. In 1992 he was associate professor at the
Royal Danish Academy of Music in Copenhagen, from 2001 to
2006 he lectured at the Felix Mendelssohn-Bartholdy Hochschule
für Musik und Theater in Leipzig and in 2006 he was appointed to
the professorship of choral and orchestral conducting at the
Staatliche Musikhochschule in Freiburg/Breisgau. Morten
Schuldt-Jensen has conducted at some of the best known
European music venues and festivals, and also in Korea and Japan.

Franz Schubert (1797–1828)
Messe Nr. 5 in As-dur • Magnificat C-dur
Franz Schubert wurde 1797 als Sohn eines Lehrers in
Wien geboren, und hier verbrachte er auch den größten
Teil seines kurzen Lebens. Der Vater war 1783 aus
Mähren gekommen, um, wie sein Bruder, an einer
Schule in der Leopoldstadt zu unterrichten; zwei Jahre
später heiratete er eine Schlesierin, die ihm insgesamt
vierzehn Kinder gebar. Von diesen war Franz das
zwölfte – und das vierte, das die frühen Jahre überlebte.
Seinen ersten Klavierunterricht erhielt der fünfjährige
Knabe bei seinem zwölf Jahre älteren Bruder Ignaz. Drei
Jahre später begann sich Franz auch mit der Geige zu
beschäftigen, indessen er als Chorist an der
Liechtenthaler Kirche sang. Eine Empfehlung von
Antonio Salieri half ihm dabei, dass er im Oktober 1808
als Chorist der Kaiserlichen Kapelle angenommen
wurde. Damit wurde er zugleich Schüler des
Akademischen Gymnasiums. Er wurde im Internat des
„Stadtkonvikts“ untergebracht und konnte sich seiner
weiteren Ausbildung sicher sein.
Die Freundschaften, die Schubert während seiner
Schulzeit schloss, hielten ein Leben lang. Nach seinem
Stimmbruch im Jahre 1812 erhielt er ein nicht
unerwartetes Stipendium, das ihn in die Lage versetzt
hätte, seine allgemeine schulische Ausbildung
fortzusetzen. Er aber entschied sich für den beruflichen
Weg eines Volksschullehrers, der ihm mehr Zeit für die
Musik und vor allem für die Komposition ließ, in der er
schon tüchtiges geleistet hatte. 1815 wurde er
Hilfslehrer seines Vaters, doch zeigte er für die Arbeit
weder große Neigung noch Zuneigung. Statt dessen
widmete er sich vor allem dem Kontakt mit den
ehemaligen Schulfreunden und der Suche nach neuen
Bekannten. 1816 lernte er Franz von Schober kennen,
und dieser lud ihn ein, in seiner eigenen Wohnung zu
leben. Dieses Arrangement erlöste Schubert von der
Notwendigkeit, sein Auskommen im Klassenzimmer zu
finden. Im August 1817 kehrte er allerdings nach Hause
zurück, da Schober das Zimmer für seinen im Sterben
liegenden Bruder brauchte. So stand Franz Schubert
wieder am väterlichen Katheder, bevor er einen Teil der
nächsten Sommermonate im ungarischen Zseliz
verbrachte, wo er die beiden Töchter des Grafen Johann
Karl Esterházy von Galánta musikalisch unterrichtete.
Anschließend kehrte er nach Wien zurück, um bei einem
neuen Freund, dem Dichter Johann Mayrhofer, zu
wohnen. Ende 1820 war Schubert dann einige Monate in
der Lage, sich aufgrund seines damaligen Einkommens
eine eigene Wohnung zu mieten.
Zu dieser Zeit war Franz Schubert nicht mehr weit
von gründlichen Erfolgen als Komponist und Musiker
entfernt. Seine Freunde wie Leopold von Sonnleithner,
ein Schulfreund des Mozart-Schülers Franz Xaver
Süßmayr, oder ganz besonders der ältere Sänger Johann
Michael Vogl verhalfen seiner Musik zu einem immer
größeren Publikum. 1822 und 1823 lebte er wieder bei
den Schobers, und damals verschlechterte sich seine
Gesundheit zusehends, da er sich eine unheilbare
venerische Infektion zugezogen hatte. Diese Krankheit
überschattete seine letzten Lebensjahre und war der
Grund für seinen frühen Tod. Man hat darin die
unmittelbare Folge des liederlichen Lebenswandels
gesehen, zu dem ihn Schober verführt und aufgrund
dessen er sich zeitweilig einigen seiner langjährigen
Freunde entfremdet hatte. Während der nächsten Jahre
kehrte er mehrfach ins Haus des Vaters zurück, der seit
1818 im Wiener Vorort Rossau wohnte. Derweil pflegte
Franz Schubert weiterhin seine gesellschaftlichen
Kontakte, wobei seine eigenen musikalischen
Leistungen und intensiven kompositorischen
Aktivitäten oft die Hauptrolle spielten. Im Februar 1828
fand in Wien das erste öffentliche Konzert mit seinen
Werken statt. Dem Unternehmen war ein finanzieller
Erfolg beschieden, und Schubert konnte den Sommer
mit Freunden verbringen - unter anderem mit Schober.
Im September übersiedelte er in die Vorstadt Wieden zu
seinem Bruder Ferdinand, da er hoffte, dass sich sein
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gesundheitlicher Zustand hier wieder bessern würde.
Ende Oktober erkrankte er während eines Abendessens
akut, und in den nächsten Tagen verschlechterte sich
sein Befinden rapide. Er starb am 19. November 1828.
Schon in seiner Kindheit hatte Franz Schubert eine
besonders enge Beziehung zur Kirchenmusik
entwickelt. Mit acht Jahren hatte er als Chorknabe unter
der Anleitung des Albrechtsberger-Schülers Michael
Holzer an der Pfarrkirche von Liechtenthal begonnen.
Seit 1808 sang er im Chor der kaiserlich-königlichen
Kapelle, deren Mitglied er bis zu seinem Stimmbruch im
Jahre 1812 blieb. So endete nach rund sieben Jahren die
kontinuierliche, aktive Beschäftigung mit der
Kirchenmusik, indessen die liturgische Produktion
offenbar genau zu diesem Zeitpunkt einsetzte. Das letzte
seiner zahlreichen geistlichen Werke schrieb Franz
Schubert wenige Wochen vor seinem Tode.
Nachdem Schubert seine ersten Kirchenmusiken vor
allem für die Liechtenthaler Pfarrkirche geschrieben
hatte, wo er 1814 mit seiner Messe F-dur D. 105 einen
ersten großen Öffentlichkeitserfolg hatte erringen
können, scheint er gegen Ende desselben Jahrzehnts
ernsthaft über seine weitere Karriere nachgedacht zu
haben – als er nämlich miterlebte, wie seine Freunde
sich der Reihe nach in dem einen oder andern Beruf
etablierten und sich vermählten. Für Franz Schubert
wäre womöglich eine Betätigung auf dem Gebiete der
Kirchenmusik in Frage gekommen, und die Sorgfalt, die
er bei der Komposition seiner Messe As-dur D. 678
walten ließ, könnte als Indiz für diese Bestrebung
dienen. Die Arbeit begann im November 1819, war aber
erst 1822 abgeschlossen und wurde dann 1826 noch
einmal revidiert – vermutlich im Zusammenhang mit der
Bewerbung um das Amt des Stellvertretenden
Hofkapellmeisters. Schon 1822 beschrieb er seinem
Freund Joseph von Spaun in einem optimistischen Brief
die Zufriedenheit mit dem Werk, das er dem Kaiser oder
der Kaiserin hoffte widmen zu können. Ungeachtet der
Aufführungsvorbereitungen, in deren Verlauf
mancherlei Vereinfachungen des ursprünglichen
Notentextes vorgenommen wurden, ist eine tatsächliche
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Wiedergabe der Messe nicht belegt. Joseph Eybler, der
seinerzeitige Leiter der Königlichen Kapelle, erhielt das
Werk 1826 zur Begutachtung und erklärte Schubert,
dass der Allerhöchste Geschmack wohl zu konservativ
für diesen Stil sei.
Die Messe As-dur ist eine Missa Solemnis und die
fünfte der insgesamt sechs Kompositionen, in denen
Franz Schubert das Ordinarium vertont hat. Die
Besetzung besteht aus einer Flöte, je zwei Oboen,
Klarinetten, Fagotten, Hörnern und Trompeten, drei
Posaunen, Pauken, Streichern und Orgel sowie vier
Vokalsolisten und Chor. Der Umgang mit den
Blasinstrumenten unterscheidet sich deutlich von den
früheren Werken, und das vor allem bei dem völlig
idiomatischen Einsatz der Holzbläser. Im Kyrie
beantworten die Tenöre und Bässe die beiden
Oberstimmen. Das Christe eleison wird vom Solosopran
eröffnet, dem die andern Solisten folgen. Das zweite
Kyrie ist subtil verändert, und das Christe eleison ist
gebührend transponiert. Das Gloria mit der
Vortragsanweisung Allegro maestoso e vivace steht in
einem kraftvollen E-dur und moduliert nach A-dur, um
das Andantino des Gratias agimus tibi vorzubereiten,
das die ersten und zweiten Violinen noch vor den
Solisten intonieren. Beim Dominus Deus, Rex cælestis
moduliert die Musik nach a-moll und in weitere
Tonarten, bevor sie wieder nach A-dur gelangt. Die
anschließende Passage entwickelt sich bei den Worten
Domine Deus, Agnus Dei zu einer Fuge in cis-moll, und
der Text des Cum Sancto Spiritu wird entsprechend der
Tradition vollständig fugiert (diesem Satz hat Schubert
1826 unter Verwendung eines verbesserten Themas die
hier vorliegende Gestalt gegeben). Das Credo beginnt
mit einem C-dur-Akkord der Hörner und Posaunen, der
von Oboen, Klarinetten und Trompeten beantwortet
wird. Auf die Wiederholung des nämlichen Akkords
folgt das Et incarnatus est in As-dur. Erneut erklingen
die beiden Akkorde, wenn sie das Et resurrexit in C-dur
markieren sollen, und noch einmal treten sie vor dem
Confiteor in unum baptisma in Erscheinung. Das
Sanctus F-dur ist Welten von Joseph Haydns Messen
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entfernt, die Schubert als Chorsänger kennengelernt
haben dürfte. Darauf folgt ein Hosanna in excelsis, das
nach einer turbulenten Jagd klingt. In das nun wieder in
As-dur stehende Benedictus teilen sich Sopran, Alt,
Tenor und Chor, die von einer eilenden Achtelbewegung
(zunächst in den gezupften Celli) begleitet werden. Am
Ende des Satzes wird das Hosanna wiederholt. Die
Solisten eröffnen das Agnus Dei in F-dur, worauf der
Chor mit seinem gemurmelten miserere nobis ein
beinahe Verdisches Element präsentiert. Das Dona
nobis pacem kehrt zur Ausgangstonart As-dur zurück
und bringt die Messe zu einem gehaltvollen Abschluss.
Sein Magnificat C-dur D. 486 schrieb Franz
Schubert für vier Solisten, Chor, je zwei Oboen, Fagotte
und Trompeten, Pauken, Streicher und Orgel. Eine
Abschrift des Werkes trägt das Datum „25. September
1816“, doch wird vermutet, dass die Komposition schon
ein Jahr früher entstand. Bei seiner Vertonung benutzte
Schubert, der damaligen Wiener Gepflogenheit
entsprechend, nur einige Verse des originalen Gesangs.
Den Auftakt bildet das festlich glänzende Magnificat
anima mea. Der Mittelteil, ein Andante in F-dur,
verwendet die Worte Deposuit potentes de sede, wobei
eine Oboe den Sologesang vorbereitet. Die festliche
Stimmung kehrt in der abschließenden C-dur-Doxologie
wieder.
Keith Anderson
Deutsche Fassung: Cris Posslac
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NAXOS
SCHUBERT: Mass No. 5 • Magnificat
8.572114
Composed and revised over a seven-year period (1819-26) Schubert’s fifth Mass setting is
arguably his most songful and inventive. His integration of the soloists and chorus, mastery
of fluid harmonies, and idiomatic treatment of the orchestra’s woodwind section give the
Mass in A flat major a symphonic quality which would later inspire Bruckner. Schubert
regarded it as the finest of his six Latin Mass settings. Schubert’s C major setting of selected
versicles from the Magnificat is a more Haydnesque piece, recalling the joyfully expressive
music of the earlier composer’s famous oratorio The Seasons (available on 8.557600-01).
Franz
SCHUBERT
(1797–1828)
Mass No. 5 in A flat major, D. 678 40:01
1 Kyrie: Kyrie eleison 5:47
2 Gloria: Gloria in excelsis Deo 2:20
3 Gloria: Gratias agimus tibi 3:29
4 Gloria: Domine Deus, Agnus Dei 2:27
5 Gloria: Cum Sancto Spiritu 4:00
6 Credo: Credo in unum Deum 2:19
7 Credo: Et incarnatus est 3:50
8 Credo: Et resurrexit 1:54
9 Credo: Confiteor 1:40
0 Sanctus: Sanctus, sanctus, sanctus 2:12
! Sanctus: Osanna in excelsis 0:37
@ Benedictus: Benedictus qui venit 3:49
# Agnus Dei: Agnus Dei, qui 3:16
tollis peccata mundi
$ Agnus Dei: Dona nobis pacem 2:19
Magnificat in C major, D. 486 8:50
% Magnificat anima mea Dominum 2:04
^ Deposuit potentes de sede 3:03
& Gloria Patri 3:43
Trine Wilsberg Lund, Soprano • Bettina Ranch, Alto
Min Woo Lim, Tenor • Dominik Königer, Bass
Immortal Bach Ensemble • Leipziger Kammerorchester
Morten Schuldt-Jensen
Recorded in Paul-Gerhardtkirche, Leipzig, Germany from 12th to 13th August, 2009
Producer, Engineer and Editor: Thomas Wieber (Beoton, Leipzig) • Assistant Engineer: Martin Linde
Booklet Notes: Keith Anderson • Sung texts are available at: www.naxos.com/libretti/572114.htm
Cover Picture: Erlösung II, 2006 by Milena Rehborn
DDD
8.572114
Playing Time
48:51
Booklet notes in English • Kommentar auf Deutsch
Made in Germany
www.naxos.com
& 2011 Naxos Rights International Ltd.
NAXOS
SCHUBERT: Mass No. 5 • Magnificat
8.572114