Album available // Schubert: Mass No. 6, D 950 in E flat Major by Erich Leinsdorf 🎧 Qobuz bit.ly/3KVqm19 Tidal bit.ly/34O0kgK 🎧 Deezer bit.ly/3wfk20q Amazon Music amzn.to/3iftvMT 🎧 Spotify spoti.fi/3wfdoXG RUclips Music bit.ly/3JjgCiW 🎧 Apple Music - SoundCloud - 🎧 Naspter, Pandora, Anghami, QQ音乐, LineMusic日本, Awa日本... Franz Schubert (1797-1828) Mass No. 6, D 950 in E flat (s),(c)&(or). Click to activate the English subtitles for the presentation (00:00-03:20) 00:00 D 950 - I. Kyrie 06:28 D 950 - II. Gloria 18:07 D 950 - III. Credo 31:57 D 950 - IV. Sanctus 35:34 D 950 - V. Benedictus 41:25 D 950 - VI. Agnus Dei Soprano: Pilar Lorengar Mezzo-Sopran: Betty Allen Tenor: Fritz Wunderlich Tenor: Manfred Schmidt Bass: Josef Greindl Recorded in 1960 New mastering in 2022 by AB for CMRR 🔊 FOLLOW US on SPOTIFY (Profil: CMRR) : spoti.fi/3016eVr 🔊 Download CMRR's recordings in High fidelity audio (QOBUZ) : bit.ly/2M1Eop2 ❤️ If you like CM//RR content, please consider membership at our Patreon page. Thank you :) www.patreon.com/cmrr The Mass in E flat, the sixth of Schubert's Latin masses, has nothing to do, either directly or indirectly, with any funeral mass or mourning service. with any funeral mass or mass with a funeral presentiment... a presentiment which, in the month of June or July, does not correspond to any corresponds to any reality in Schubertian psychology. The key of E flat major has hardly ever been used by Schubert for a major church work. church work. In contrast to the Mass in A-flat, which was hardly ever in A-flat, E-flat takes on a truly central role in this work. a truly central place. It is the absolute pole of the mass; it is asserted in the Kyrie, the Credo, the Sanctus and, and finally in the Agnus Dei. None of the other principal keys in this mass deviates from the vicinity of E-flat E-flat: B-flat or its relative G minor for the Gloria, A-flat for the entire middle section of the Credo. The mass is thus based on E-flat, on the dominant B-flat and on the fourth degree A-flat (not forgetting the degree A flat (without forgetting the passages in the minor of the principal key and the relative minors of the keys approached). This rigor - almost this severity - of the tonal plan, as if Schubert did not want to deviate from a specific path, is found in the is found in the vocal approach. The Mass in E flat is essentially choral. It appears to be as a continuation of the musical experiment carried out in the German Mass of 1827. No search for a style, the choir (soprano, alto, tenor and bass) intervenes in broad planes, singing most often one note per syllable, not concerned with syllable, not concerned with ornaments and embellishments. The breathing is more ample than in the German Mass, the air circulates more circulates more in the score; thus, the episodes of affirmation of the choir often succeed, in a large choral silence, an orchestral intervention often follows. The soloists have, for their part, only a very restricted role alternating with the tutti of the choir. A single passage in the heart of the work, to underline the most fragile human aspect of the of the liturgical text, the "Et incarnatus est" of the Credo, gives them more freedom. In terms of writing, the research is twofold: counterpoint and fugue are at the heart of Schubert's thinking for this mass, and the cello's role in the composition is to provide the basis for a new form of music. Schubert's thinking for this mass, more and more prominent as the work unfolds, but the chromatic will is just as present and important chromatic will is just as present and important, imprinting a strange inner tension to the whole work, paradoxically in frequent contradiction with the very content of the text treated. The Mass in E flat thus appears in its project, as well as in its character, as a work with a serious and grave contour, with a approach, with an obvious desire for simplification and discretion. The references that appear on several occasions to several times to the work of J.-S. Bach, would still confirm, if it were needed, the will of interiorization in the expression, evident in the entire work. Between the glorious Mass in F of the seventeen-year-old musician's debut and this Mass in E and this Mass in E flat, so deeply human, there is the whole journey of Franz Schubert's inner adventure. Schubert. Schubert - Symphony No. 9 "The Great" NEW MASTERING (rf.rc.: Josef Krips, London Symphony Orchestra): ruclips.net/video/BZzVDThtiww/видео.html Franz Schubert PLAYLIST (reference recordings): ruclips.net/video/fZuihpBdXws/видео.html
"Right now, there are people all over the world who are just like you. They're either lonely, they're missing somebody, they're depressed, they're hurt, they're scarred from the past, they're having personal issues no one knows about, they have secrets you wouldn't believe. They wish, they dream and they hope. And right now, they are sitting here reading these words, and I'm writing this for you so you don't feel alone anymore. Always remember, don't be depressed about the past, don't worry about the future, and just focus on today. If today's not so great don't worry! Tomorrow's a new chance. If you are reading this, be sure to share this around to make others feel better. Have a nice day!"
We had to delete and re-upload this video because the audio encoding from earlier was bad. You can now enjoy the recording with the best encoding available for youtube. We remind you that the sound quality is optimal on platforms like Qobuz or Tidal. Nice listening !
Wunderschöne und tiefempfundene Interpretation dieser romantischen und perfekt komponierten Messe mit gut harmonisierten Stimmen des ausgezeichenten Chors und herrlichen Stimmen aller genialen Solisten sowie gut vereinigten und perfekt entsprechenden Tönen aller Instrumente. Der intelligente und unvergleichliche Dirigent leitet das weltklassige Orchester in verschiedenen Tempi und mit möglichst effektiver Dynamik. Mehr als sechzig Jahren vor gab es eine Welt von wahren Künstler, zu der Erich Leinsdorf zweifellos gehörte. Alles ist wunderbar!
I have no words to describe the brilliance from this Mass, the extent of deepest form of faith but at the same time a knowledge about his(Schuberts) disease and the consequences for his life. Maybe a premonition of the last time from his life;a prayer, a desperated form of asking God to give him(Schubert),same more chance, some more time .Many questions ,a form of rage,but at the second moment , again and again-a returning question "why me ,why .....A continuously conversation with God ,maybe an attempt, his mercy to obtain.
The Mass in E flat, the sixth of Schubert's Latin masses, has nothing to do, either directly or indirectly, with any funeral mass or mourning service. with any funeral mass or mass with a funeral presentiment... a presentiment which, in the month of June or July, does not correspond to any corresponds to any reality in Schubertian psychology. The key of E flat major has hardly ever been used by Schubert for a major church work. church work. In contrast to the Mass in A-flat, which was hardly ever in A-flat, E-flat takes on a truly central role in this work. a truly central place. It is the absolute pole of the mass; it is asserted in the Kyrie, the Credo, the Sanctus and, and finally in the Agnus Dei. None of the other principal keys in this mass deviates from the vicinity of E-flat E-flat: B-flat or its relative G minor for the Gloria, A-flat for the entire middle section of the Credo. The mass is thus based on E-flat, on the dominant B-flat and on the fourth degree A-flat (not forgetting the degree A flat (without forgetting the passages in the minor of the principal key and the relative minors of the keys approached). This rigor - almost this severity - of the tonal plan, as if Schubert did not want to deviate from a specific path, is found in the is found in the vocal approach. The Mass in E flat is essentially choral. It appears to be as a continuation of the musical experiment carried out in the German Mass of 1827. No search for a style, the choir (soprano, alto, tenor and bass) intervenes in broad planes, singing most often one note per syllable, not concerned with syllable, not concerned with ornaments and embellishments. The breathing is more ample than in the German Mass, the air circulates more circulates more in the score; thus, the episodes of affirmation of the choir often succeed, in a large choral silence, an orchestral intervention often follows. The soloists have, for their part, only a very restricted role alternating with the tutti of the choir. A single passage in the heart of the work, to underline the most fragile human aspect of the of the liturgical text, the "Et incarnatus est" of the Credo, gives them more freedom. In terms of writing, the research is twofold: counterpoint and fugue are at the heart of Schubert's thinking for this mass, and the cello's role in the composition is to provide the basis for a new form of music. Schubert's thinking for this mass, more and more prominent as the work unfolds, but the chromatic will is just as present and important chromatic will is just as present and important, imprinting a strange inner tension to the whole work, paradoxically in frequent contradiction with the very content of the text treated. The Mass in E flat thus appears in its project, as well as in its character, as a work with a serious and grave contour, with a approach, with an obvious desire for simplification and discretion. The references that appear on several occasions to several times to the work of J.-S. Bach, would still confirm, if it were needed, the will of interiorization in the expression, evident in the entire work. Between the glorious Mass in F of the seventeen-year-old musician's debut and this Mass in E and this Mass in E flat, so deeply human, there is the whole journey of Franz Schubert's inner adventure. Schubert. 🔊 FOLLOW US on SPOTIFY (Profil: CMRR) : spoti.fi/3016eVr 🔊 Download CMRR's recordings in High fidelity audio (QOBUZ) : bit.ly/2M1Eop2 ❤️ If you like CM//RR content, please consider membership at our Patreon page. Thank you :) www.patreon.com/cmrr
You are absolutely right when you say that "...counterpoint and fugue are the heart of Schubert´s thinking". However, at the same time you don´t mention the fact, that bothe large fugues (in Gloria and Credo) are incomplete (!!!) in this recording, which I consider to be a blasphemy - esp. keeping on mind what you said before.
I love this very sharp explication of the musicology involved. Schubert did not style himself as a contrapuntal craftsman, though his counterpoint is surpassed only by generative melodic grace and harmonic courage. And of courage--wow! Not until Debussy, Gershwin and Ellington would music be served with so many non-sequitur major 7th chords, not poised as V of IV, but of nebulous resolution. And in the Kyrie, they float through on trombones, a conceit for Schubert as it was for Mozart, to sound the imminence of mortality.
Da ich selbst vor vielen, vielen Jahren in einem bekannten Kirchenchor/ Wien div. Messen im Sopran mitgesungen habe, freute ich mich sehr, die eine meiner Lieblings-Messen heute zu genießen. Eine eindrucksvolle, wunderbare Interpretation ist gelungen! Ein wenig ausschlaggebend war, ... ob vergine oder verjine gesungen wurde. Danke vielmals!!!
The kirie moves me. The trombones give it a solemn focus. I may have it in my funeral service. When I listen to it I feel I am leaving the earth and ascending into the heavens and the ether as on a balloon.
The most beautiful recordings of the most beautiful masses are coming fro the st.Hedwigs Kathedrale, Christa Ludwig, may she Rest In Peace can hear the voices from above......timeless in giving comfort during this disturbing crisis in the Ukraine 🇺🇦...thank you
Ever contemplated the bliss of being able to grasp the beauty of this? And the 🤔… tristesse? Of your close ones being indifferent to it? Just a thought 💭
The "Cum sancto spiritu" fugue (Gloria) is shortened, the "Et vitam venturi saeculi" of the Credo too. Were they felt like too long at the time of recording (1960)?
That ruined this recording for me when I was learning this work in the 80s. No idea what "the composer's advocate" was thinking. Opera is one thing -- I don't like it there either -- but this just feels wrong.
Album available // Schubert: Mass No. 6, D 950 in E flat Major by Erich Leinsdorf
🎧 Qobuz bit.ly/3KVqm19 Tidal bit.ly/34O0kgK
🎧 Deezer bit.ly/3wfk20q Amazon Music amzn.to/3iftvMT
🎧 Spotify spoti.fi/3wfdoXG RUclips Music bit.ly/3JjgCiW
🎧 Apple Music - SoundCloud -
🎧 Naspter, Pandora, Anghami, QQ音乐, LineMusic日本, Awa日本...
Franz Schubert (1797-1828) Mass No. 6, D 950 in E flat (s),(c)&(or).
Click to activate the English subtitles for the presentation (00:00-03:20)
00:00 D 950 - I. Kyrie
06:28 D 950 - II. Gloria
18:07 D 950 - III. Credo
31:57 D 950 - IV. Sanctus
35:34 D 950 - V. Benedictus
41:25 D 950 - VI. Agnus Dei
Soprano: Pilar Lorengar
Mezzo-Sopran: Betty Allen
Tenor: Fritz Wunderlich
Tenor: Manfred Schmidt
Bass: Josef Greindl
Recorded in 1960
New mastering in 2022 by AB for CMRR
🔊 FOLLOW US on SPOTIFY (Profil: CMRR) : spoti.fi/3016eVr
🔊 Download CMRR's recordings in High fidelity audio (QOBUZ) : bit.ly/2M1Eop2
❤️ If you like CM//RR content, please consider membership at our Patreon page.
Thank you :) www.patreon.com/cmrr
The Mass in E flat, the sixth of Schubert's Latin masses, has nothing to do, either directly or indirectly, with any funeral mass or mourning service. with any funeral mass or mass with a funeral presentiment... a presentiment which, in the month of June or July, does not correspond to any corresponds to any reality in Schubertian psychology.
The key of E flat major has hardly ever been used by Schubert for a major church work. church work. In contrast to the Mass in A-flat, which was hardly ever in A-flat, E-flat takes on a truly central role in this work. a truly central place. It is the absolute pole of the mass; it is asserted in the Kyrie, the Credo, the Sanctus and, and finally in the Agnus Dei. None of the other principal keys in this mass deviates from the vicinity of E-flat E-flat: B-flat or its relative G minor for the Gloria, A-flat for the entire middle section of the Credo. The mass is thus based on E-flat, on the dominant B-flat and on the fourth degree A-flat (not forgetting the degree A flat (without forgetting the passages in the minor of the principal key and the relative minors of the keys approached).
This rigor - almost this severity - of the tonal plan, as if Schubert did not want to deviate from a specific path, is found in the is found in the vocal approach. The Mass in E flat is essentially choral. It appears to be as a continuation of the musical experiment carried out in the German Mass of 1827. No search for a style, the choir (soprano, alto, tenor and bass) intervenes in broad planes, singing most often one note per syllable, not concerned with syllable, not concerned with ornaments and embellishments. The breathing is more ample than in the German Mass, the air circulates more circulates more in the score; thus, the episodes of affirmation of the choir often succeed, in a large choral silence, an orchestral intervention often follows. The soloists have, for their part, only a very restricted role alternating with the tutti of the choir. A single passage in the heart of the work, to underline the most fragile human aspect of the of the liturgical text, the "Et incarnatus est" of the Credo, gives them more freedom.
In terms of writing, the research is twofold: counterpoint and fugue are at the heart of Schubert's thinking for this mass, and the cello's role in the composition is to provide the basis for a new form of music. Schubert's thinking for this mass, more and more prominent as the work unfolds, but the chromatic will is just as present and important chromatic will is just as present and important, imprinting a strange inner tension to the whole work, paradoxically in frequent contradiction with the very content of the text treated. The Mass in E flat thus appears in its project, as well as in its character, as a work with a serious and grave contour, with a approach, with an obvious desire for simplification and discretion. The references that appear on several occasions to several times to the work of J.-S. Bach, would still confirm, if it were needed, the will of interiorization in the expression, evident in the entire work. Between the glorious Mass in F of the seventeen-year-old musician's debut and this Mass in E and this Mass in E flat, so deeply human, there is the whole journey of Franz Schubert's inner adventure. Schubert.
Schubert - Symphony No. 9 "The Great" NEW MASTERING (rf.rc.: Josef Krips, London Symphony Orchestra): ruclips.net/video/BZzVDThtiww/видео.html
Franz Schubert PLAYLIST (reference recordings): ruclips.net/video/fZuihpBdXws/видео.html
"Right now, there are people all over the world who are just like you. They're either lonely, they're missing somebody, they're depressed, they're hurt, they're scarred from the past, they're having personal issues no one knows about, they have secrets you wouldn't believe. They wish, they dream and they hope. And right now, they are sitting here reading these words, and I'm writing this for you so you don't feel alone anymore. Always remember, don't be depressed about the past, don't worry about the future, and just focus on today. If today's not so great don't worry! Tomorrow's a new chance. If you are reading this, be sure to share this around to make others feel better. Have a nice day!"
We had to delete and re-upload this video because the audio encoding from earlier was bad. You can now enjoy the recording with the best encoding available for youtube. We remind you that the sound quality is optimal on platforms like Qobuz or Tidal. Nice listening !
Wunderschöne und tiefempfundene Interpretation dieser romantischen und perfekt komponierten Messe mit gut harmonisierten Stimmen des ausgezeichenten Chors und herrlichen Stimmen aller genialen Solisten sowie gut vereinigten und perfekt entsprechenden Tönen aller Instrumente. Der intelligente und unvergleichliche Dirigent leitet das weltklassige Orchester in verschiedenen Tempi und mit möglichst effektiver Dynamik. Mehr als sechzig Jahren vor gab es eine Welt von wahren Künstler, zu der Erich Leinsdorf zweifellos gehörte. Alles ist wunderbar!
I have no words to describe the brilliance from this Mass, the extent of deepest form of faith but at the same time a knowledge about his(Schuberts) disease and the consequences for his life. Maybe a premonition of the last time from his life;a prayer, a desperated form of asking God to give him(Schubert),same more chance, some more time .Many questions ,a form of rage,but at the second moment , again and again-a returning question "why me ,why .....A continuously conversation with God ,maybe an attempt, his mercy to obtain.
So touching, right from the very first nite!
The "Et incarnatus" begins at 21'30": for Wunderlich fans, a must-hear!
Thank you - this is sublime !
Thank you, thank you thank you until the
End of time
This Reinsdorf disc is probably a superb performance along with the Giulini disc.
The Mass in E flat, the sixth of Schubert's Latin masses, has nothing to do, either directly or indirectly, with any funeral mass or mourning service. with any funeral mass or mass with a funeral presentiment... a presentiment which, in the month of June or July, does not correspond to any corresponds to any reality in Schubertian psychology.
The key of E flat major has hardly ever been used by Schubert for a major church work. church work. In contrast to the Mass in A-flat, which was hardly ever in A-flat, E-flat takes on a truly central role in this work. a truly central place. It is the absolute pole of the mass; it is asserted in the Kyrie, the Credo, the Sanctus and, and finally in the Agnus Dei. None of the other principal keys in this mass deviates from the vicinity of E-flat E-flat: B-flat or its relative G minor for the Gloria, A-flat for the entire middle section of the Credo. The mass is thus based on E-flat, on the dominant B-flat and on the fourth degree A-flat (not forgetting the degree A flat (without forgetting the passages in the minor of the principal key and the relative minors of the keys approached).
This rigor - almost this severity - of the tonal plan, as if Schubert did not want to deviate from a specific path, is found in the is found in the vocal approach. The Mass in E flat is essentially choral. It appears to be as a continuation of the musical experiment carried out in the German Mass of 1827. No search for a style, the choir (soprano, alto, tenor and bass) intervenes in broad planes, singing most often one note per syllable, not concerned with syllable, not concerned with ornaments and embellishments. The breathing is more ample than in the German Mass, the air circulates more circulates more in the score; thus, the episodes of affirmation of the choir often succeed, in a large choral silence, an orchestral intervention often follows. The soloists have, for their part, only a very restricted role alternating with the tutti of the choir. A single passage in the heart of the work, to underline the most fragile human aspect of the of the liturgical text, the "Et incarnatus est" of the Credo, gives them more freedom.
In terms of writing, the research is twofold: counterpoint and fugue are at the heart of Schubert's thinking for this mass, and the cello's role in the composition is to provide the basis for a new form of music. Schubert's thinking for this mass, more and more prominent as the work unfolds, but the chromatic will is just as present and important chromatic will is just as present and important, imprinting a strange inner tension to the whole work, paradoxically in frequent contradiction with the very content of the text treated. The Mass in E flat thus appears in its project, as well as in its character, as a work with a serious and grave contour, with a approach, with an obvious desire for simplification and discretion. The references that appear on several occasions to several times to the work of J.-S. Bach, would still confirm, if it were needed, the will of interiorization in the expression, evident in the entire work. Between the glorious Mass in F of the seventeen-year-old musician's debut and this Mass in E and this Mass in E flat, so deeply human, there is the whole journey of Franz Schubert's inner adventure. Schubert.
🔊 FOLLOW US on SPOTIFY (Profil: CMRR) : spoti.fi/3016eVr
🔊 Download CMRR's recordings in High fidelity audio (QOBUZ) : bit.ly/2M1Eop2
❤️ If you like CM//RR content, please consider membership at our Patreon page.
Thank you :) www.patreon.com/cmrr
You are absolutely right when you say that "...counterpoint and fugue are the heart of Schubert´s thinking". However, at the same time you don´t mention the fact, that bothe large fugues
(in Gloria and Credo) are incomplete (!!!) in this recording, which I consider to be a blasphemy
- esp. keeping on mind what you said before.
I love this very sharp explication of the musicology involved. Schubert did not style himself as a contrapuntal craftsman, though his counterpoint is surpassed only by generative melodic grace and harmonic courage. And of courage--wow! Not until Debussy, Gershwin and Ellington would music be served with so many non-sequitur major 7th chords, not poised as V of IV, but of nebulous resolution. And in the Kyrie, they float through on trombones, a conceit for Schubert as it was for Mozart, to sound the imminence of mortality.
Schubert is amazing!
Great performance. Thanks.
Vielen herzlichen Dank für diese wunderschöne Musik. Besitze den CD.
Ein gemütliches Wochenende an Sie alle und LG aus Montreal, Qc, Canada
Da ich selbst vor vielen, vielen Jahren in einem bekannten Kirchenchor/ Wien div. Messen im Sopran mitgesungen habe, freute ich mich sehr, die eine meiner Lieblings-Messen heute zu genießen. Eine eindrucksvolle, wunderbare Interpretation ist gelungen! Ein wenig ausschlaggebend war, ... ob vergine oder verjine gesungen wurde.
Danke vielmals!!!
Wow, such beautiful devotion and subtlety in this music. Thanks for uploading!
🕊🌟🕊
ABSOLUTELY BEAUTIFUL🙏💜🙏
💜🎵💜
The kirie moves me. The trombones give it a solemn focus. I may have it in my funeral service. When I listen to it I feel I am leaving the earth and ascending into the heavens and the ether as on a balloon.
The most beautiful recordings of the most beautiful masses are coming fro the st.Hedwigs Kathedrale, Christa Ludwig, may she Rest In Peace can hear the voices from above......timeless in giving comfort during this disturbing crisis in the Ukraine 🇺🇦...thank you
Superb rendition!! Thanks so much!!
Thanks for the great music!!!
Ever contemplated the bliss of being able to grasp the beauty of this? And the 🤔… tristesse? Of your close ones being indifferent to it? Just a thought 💭
Credo from this Mass is my favorite piece of Schubert. Ok, maybe tie with D929...
Thank you for uploading. Whose painting is on the cover, please?
It's called St Cecilia and the Angel.
The "Cum sancto spiritu" fugue (Gloria) is shortened, the "Et vitam venturi saeculi" of the Credo too. Were they felt like too long at the time of recording (1960)?
I just wrote the same thing. I can´t understand it.
That ruined this recording for me when I was learning this work in the 80s. No idea what "the composer's advocate" was thinking. Opera is one thing -- I don't like it there either -- but this just feels wrong.
🌹❤🌹
It's Beautiful , but not for hours make s me 😢 Don't worry l Appreciate the music you choose ⭐👏🎶🙏🎶@Classical Music/Reference,8:30am
Hey thanks for sharing. You wrote Philarminiker.
The paragraphs in the description were not copied properly - many words are repeated. Can you please fix this?
You can suggest a correction and we will mention your name if we publish it as a replacement.