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Vollständiger Teile
Titel nach Uploader: Messe No.2 in G-dur, D.167
Instrumentierung |
Orgel, Geige, Bratsche, Sopran, Alt, Tenor, Bass, Gemischter Chor, Stimme, Violone |
Partitur für |
Solisten, Chor, Kammerorchester |
Art der Partitur |
Partitur |
Tonart |
G-Dur |
Verleger |
Breitkopf und Härtel |
Sprache |
Latein |
Schwierigkeitsgrad |
Mittel |
Klavierauszug mit Singstimmen
Titel nach Uploader: Messe No.2 in G-dur (Bearbeitung für Stimmen und Klavier), D.167
Instrumentierung |
Klavier, Sopran, Alt, Tenor, Bass, Gemischter Chor, Stimme |
Partitur für |
Solisten, Klavierbegleitung, Chor |
Art der Partitur |
Klavierauszug mit Singstimmen |
Tonart |
G-Dur |
Satz, Nr. |
1 bis 6 von 6 |
Verleger |
Breitkopf und Härtel |
Sprache |
Latein |
Schwierigkeitsgrad |
Fortgeschritten |
For SATB choir and organ (with organ part)
Titel nach Uploader: Schubert - Missa in G. Arr. for SATB Choir and Organ (With Organ Part), D.167
Instrumentierung |
Orgel, Gemischter Chor |
Art der Partitur |
Partitur |
Arrangeur |
Renato Tagliabue |
Verleger |
Renato Tagliabue |
Sprache |
Latein |
Genre |
Geistliche Musik/Christliche |
Violinstimme I
Titel nach Uploader: Messe Nr.2 in G-Dur – Violinstimme I, D.167
Instrumentierung |
Geige |
Partitur für |
Solisten, Chor, Kammerorchester |
Art der Partitur |
Stimmen |
Tonart |
G-Dur |
Satz, Nr. |
1 bis 6 von 6 |
Schwierigkeitsgrad |
Fortgeschritten |
Violinstimme II
Titel nach Uploader: Messe Nr.2 in G-Dur – Violinstimme II, D.167
Instrumentierung |
Geige |
Partitur für |
Solisten, Chor, Kammerorchester |
Art der Partitur |
Stimmen |
Tonart |
G-Dur |
Satz, Nr. |
1 bis 6 von 6 |
Schwierigkeitsgrad |
Fortgeschritten |
Bratschenstimme
Titel nach Uploader: Messe Nr.2 in G-Dur – Bratschenstimme, D.167
Instrumentierung |
Bratsche |
Partitur für |
Solisten, Chor, Kammerorchester |
Art der Partitur |
Stimmen |
Tonart |
G-Dur |
Satz, Nr. |
1 bis 6 von 6 |
Schwierigkeitsgrad |
Fortgeschritten |
Cello- und Kontrabassstimme
Titel nach Uploader: Messe Nr.2 in G-Dur – Cello- und Kontrabassstimme, D.167
Instrumentierung |
Cello, Kontrabass |
Partitur für |
Solisten, Chor, Kammerorchester |
Art der Partitur |
Stimmen |
Tonart |
G-Dur |
Satz, Nr. |
1 bis 6 von 6 |
Schwierigkeitsgrad |
Fortgeschritten |
Kyrie
Titel nach Uploader: Messe No.2 in G-dur. Kyrie, D.167
Instrumentierung |
Orgel, Geige, Bratsche, Sopran, Alt, Tenor, Bass, Gemischter Chor, Violone |
Partitur für |
Solisten, Chor, Kammerorchester |
Art der Partitur |
Partitur |
Tonart |
G-Dur |
Verleger |
Breitkopf und Härtel |
Sprache |
Latein |
Schwierigkeitsgrad |
Mittel |
Instrumentierung |
Frauenchor: Sopran, Alt |
Arrangeur |
John Leavitt |
Genre |
Pop |
Gloria
Titel nach Uploader: Messe No.2 in G-dur. Gloria, D.167
Instrumentierung |
Orgel, Geige, Bratsche, Gemischter Chor |
Partitur für |
Solisten, Chor, Kammerorchester |
Art der Partitur |
Partitur |
Tonart |
D-Dur |
Verleger |
Breitkopf und Härtel |
Sprache |
Latein |
Schwierigkeitsgrad |
Mittel |
Credo
Titel nach Uploader: Messe No.2 in G-dur. Credo, D.167
Instrumentierung |
Orgel, Geige, Bratsche, Sopran, Alt, Tenor, Bass, Gemischter Chor, Stimme, Violone |
Partitur für |
Solisten, Chor, Kammerorchester |
Art der Partitur |
Partitur |
Tonart |
G-Dur |
Verleger |
Breitkopf und Härtel |
Sprache |
Latein |
Schwierigkeitsgrad |
Mittel |
Sanctus
Titel nach Uploader: Messe No.2 in G-dur. Sanctus, D.167
Instrumentierung |
Orgel, Geige, Bratsche, Sopran, Alt, Tenor, Bass, Gemischter Chor, Stimme, Violone |
Partitur für |
Chor, Kammerorchester |
Art der Partitur |
Partitur |
Tonart |
D-Dur |
Verleger |
Breitkopf und Härtel |
Sprache |
Latein |
Schwierigkeitsgrad |
Mittel |
Benedictus
Titel nach Uploader: Messe No.2 in G-dur. Benedictus, D.167
Instrumentierung |
Orgel, Geige, Bratsche, Sopran, Alt, Tenor, Bass, Gemischter Chor, Stimme, Violone |
Partitur für |
Solisten, Chor, Kammerorchester |
Art der Partitur |
Partitur |
Tonart |
G-Dur |
Verleger |
Breitkopf und Härtel |
Sprache |
Latein |
Schwierigkeitsgrad |
Mittel |
Agnus Dei
Titel nach Uploader: Messe No.2 in G-dur. Agnus Dei, D.167
Instrumentierung |
Orgel, Geige, Bratsche, Sopran, Alt, Tenor, Bass, Gemischter Chor, Stimme, Violone |
Partitur für |
Solisten, Chor, Kammerorchester |
Art der Partitur |
Partitur |
Tonart |
G-Dur |
Verleger |
Breitkopf und Härtel |
Sprache |
Latein |
Schwierigkeitsgrad |
Mittel |
Instrumentierung |
Klavier |
Genre |
Klassische Musik |
Instrumentierung |
Klavier |
Genre |
Geistliche Musik |
Version for SSAA choir, SSA soli, strings and organ – Full Score
Titel nach Uploader: Schubert: Mass in G Major (Version for SSAA choir, SSA soli, strings and organ) – Full Score, D.167
Instrumentierung |
Orgel, Geige, Bratsche, Cello, Kontrabass, Sopran, Mezzosopran, Alt, Frauenchor: Sopran, Alt |
Partitur für |
Solisten, Chor, Streichorchester |
Art der Partitur |
Partitur |
Tonart |
G-Dur |
Satz, Nr. |
1 bis 6 von 6 |
Arrangeur |
Roar Kvam |
Texter |
old sacred text |
Verleger |
KVAMusic Edition |
Sprache |
Latein |
Schwierigkeitsgrad |
Mittel |
Länge |
25'0 |
The Mass no. 2 in G major by Franz Schubert, D 167, was composed in 1815. This is the best known of the three "shorter" mass compositions which Schubert composed between the more elaborate first and fifth masses. In addition, the later Deutsche Messe or German Mass, D 872,and the ultimate sixth mass would be longer. The mass no. 2, commonly referred to as "Schubert's Mass in G," was composed in less than a week (March 2 to 7, 1815), the year after his first mass had been successfully performed in Schubert's home parish.The second mass was originally more modestly scored than the first, requiring only a string orchestra and organ in addition to the soloists and choir. However, in the 1980s a set of parts for the mass were discovered at Klosterneuburg which are dated later than Schubert's full score.They not only include minor changes throughout the work, which would apparently represent Schubert's "final" intentions,they also include trumpet and timpani parts. Apart from some passages for the soprano soloist, the solistic interventions are very modest. Characteristically for Schubert, he is more interested in an overall devotional mood of a religious composition than in individualistic romantic text-expression. In this edition for women's voices, I use Schubert's first version for strings and organ which fits excellently to the sound of the women's choir.
Version for SSAA choir, SSA soli, strings and organ – Vocal Score
Titel nach Uploader: Schubert: Mass in G Major (Version for SSAA choir, SSA soli, strings and organ) – Vocal Score, D.167
Instrumentierung |
Sopran, Mezzosopran, Frauenchor |
Partitur für |
Solisten, Klavierbegleitung, Chor |
Art der Partitur |
Singpartitur |
Tonart |
G-Dur |
Satz, Nr. |
1 bis 6 von 6 |
Arrangeur |
Roar Kvam |
Texter |
old sacred text |
Verleger |
KVAMusic Edition |
Sprache |
Latein |
Schwierigkeitsgrad |
Mittel |
Länge |
25'0 |
The Mass no. 2 in G major by Franz Schubert, D 167, was composed in 1815. This is the best known of the three "shorter" mass compositions which Schubert composed between the more elaborate first and fifth masses. In addition, the later Deutsche Messe or German Mass, D 872,and the ultimate sixth mass would be longer. The mass no. 2, commonly referred to as "Schubert's Mass in G," was composed in less than a week (March 2 to 7, 1815), the year after his first mass had been successfully performed in Schubert's home parish.The second mass was originally more modestly scored than the first, requiring only a string orchestra and organ in addition to the soloists and choir. However, in the 1980s a set of parts for the mass were discovered at Klosterneuburg which are dated later than Schubert's full score.They not only include minor changes throughout the work, which would apparently represent Schubert's "final" intentions,they also include trumpet and timpani parts. Apart from some passages for the soprano soloist, the solistic interventions are very modest. Characteristically for Schubert, he is more interested in an overall devotional mood of a religious composition than in individualistic romantic text-expression. In this edition for women's voices, I use Schubert's first version for strings and organ which fits excellently to the sound of the women's choir.
Version for SSAA choir, SSA soli, strings and organ – Orchestra parts
Titel nach Uploader: Schubert: Mass in G Major (Version for SSAA choir, SSA soli, strings and organ) – Orchestra parts, D.167
Instrumentierung |
Orgel, Geige, Bratsche, Cello, Kontrabass |
Art der Partitur |
Stimmen |
Tonart |
G-Dur |
Satz, Nr. |
1 bis 6 von 6 |
Arrangeur |
Roar Kvam |
Verleger |
KVAMusic Edition |
Schwierigkeitsgrad |
Mittel |
Länge |
25'0 |
The Mass no. 2 in G major by Franz Schubert, D 167, was composed in 1815. This is the best known of the three "shorter" mass compositions which Schubert composed between the more elaborate first and fifth masses. In addition, the later Deutsche Messe or German Mass, D 872,and the ultimate sixth mass would be longer. The mass no. 2, commonly referred to as "Schubert's Mass in G," was composed in less than a week (March 2 to 7, 1815), the year after his first mass had been successfully performed in Schubert's home parish.The second mass was originally more modestly scored than the first, requiring only a string orchestra and organ in addition to the soloists and choir. However, in the 1980s a set of parts for the mass were discovered at Klosterneuburg which are dated later than Schubert's full score.They not only include minor changes throughout the work, which would apparently represent Schubert's "final" intentions,they also include trumpet and timpani parts. Apart from some passages for the soprano soloist, the solistic interventions are very modest. Characteristically for Schubert, he is more interested in an overall devotional mood of a religious composition than in individualistic romantic text-expression. In this edition for women's voices, I use Schubert's first version for strings and organ which fits excellently to the sound of the women's choir.
Ryan Burton 02 Dez 2011 06:33
A composition by the great Austrian composer Franz Peter Schubert, who was one of the exponents of the early Romantic era. Mass No.2 like all other masses aspires to grandeur, tragedy, immensity and power. However, Schubert introduces lyrical chamber images into the typical traditional texture. The music, consequently, acquires some light, even a song resembling sounding.
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