Mass No. 2 in G, D. 167 (1815) Cover Image

Mass No. 2 in G, D. 167 (1815): Mass, Orchestra Accompaniment

$50.00 USD
$50.00 USD
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Mass No. 2 in G, D. 167 (1815) Cover Image
Mass No. 2 in G, D. 167 (1815): Mass, Orchestra Accompaniment

Mass No. 2 in G, D. 167 (1815): Mass, Orchestra Accompaniment

By Franz Schubert

Item: 36-A271601OS
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Description
This is the second of six Masses composed by Franz Schubert (1797-1828), also referred to frequently as the "Mass in G," and it remains the best known of the three shorter settings titled "Mass." Composed in 1815, it was originally scored for choir, string orchestra, organ, and the soloists and remained one of the composer's less-noted works, not even being printed until 1845. But the Mass's later popularity also led Franz' brother Ferdinand to add winds and timpani after Franz' death. And a 1980s discovery of a set of parts that include trumpets and brass, in addition to some minor changes, suggests that Schubert intended something grander than the original scoring. The current edition may be played with the original strings and organ only or with the addition of the oboe/clarinets, bassoons, trumpets, and timpani. Apart from some passages for the soprano, this Mass has only modest solo passages, and it is written in a devotional mood. Instrumentation: 0.2(opt.subCl).0.2(opt): 0.2(opt).0.0: Timp(opt): Org: Str (4-4-3-3-3 in set): Solo SATB: Mix Chor. Vocal score and choral score available separately. 11x14 Score.

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Additional Details
Series: Kalmus Oversized Score Library
Publisher: Keiser Productions, Inc.
ISBN10: 1-63-887543-X
ISBN13: 978-1-63-887543-7
UPC: 735816252359
SKU: 36-A271601OS
Instrumentation: Detailed Instrumentation: 0.2(opt.subCl).0.2(opt): 0.2(opt).0.0: Timp(opt): Org: Str (4-4-3-3-3 in set): Solo SATB: Mix Chor

More about this title

About the Composer: Franz Schubert

Franz Schubert (1797-1828) spent his career in Vienna producing an astonishing volume of music across every genre, yet died in poverty at thirty-one. His sacred works occupy a fascinating middle ground between Classical formality and Romantic lyricism, and his six Masses reveal his ability to balance liturgical function with genuine emotional depth.

Schubert approached the Mass as a composer-servant to the text rather than as a vehicle for virtuosic display. Even in his shorter Mass settings, he treats the congregation's prayer with quiet reverence, letting melodic gift and harmonic subtlety carry the spiritual weight. His choral writing is grateful and singable, never demanding superhuman effort while maintaining complete musical integrity.

Why we love this

This Mass rewards you with a piece that sounds substantial and liturgically respectful without requiring an army to perform. The optional wind and brass parts mean you can start lean with strings and organ, then expand the sound as your ensemble grows or as your program demands. The devotional character sits perfectly between accessible and genuinely moving, giving serious singers material that deepens their artistry without alienating your choir members who sing for joy rather than ambition.

What to expect

Schubert writes with a kind of humble grace here, eschewing the grandeur of later Romantic sacred music in favor of transparency and prayer. The harmonic language is warm without being sentimental, and the choral writing invites singers into genuine devotion rather than demanding they perform piety.

Who it's for

This Mass works for any choir with solid ensemble foundation and singers mature enough to commit to reverent, sustained singing. It's ideal for programs seeking a shorter sacred work that sounds complete and purposeful, whether you're building toward a full liturgical service or programming a concert of shorter sacred repertoire.

How to get the most out of it

  • Balance the organ continuo carefully; it should anchor the harmony without overwhelming the voices. A lighter registration serves the intimate character better than full swell.
  • The soprano solo passages benefit from a singer who can sustain a pure, unforced line. Schubert writes modestly but with precision, so intonation and clarity matter more than power.
  • If performing with both original strings/organ and added winds, rehearse the two versions separately first so players understand the piece's essential structure before adding color.
  • Shape the Kyrie and Gloria with long, connected phrases; Schubert's devotional mood collapses if you chop the line into small gestures.

How to use it

This works beautifully as the centerpiece of a concert devoted to shorter sacred works, or as a substantial offering within a broader choral program that might otherwise be lighter in tone. The optional orchestration gives you flexibility: perform it with strings and organ in a chamber setting, or add winds and brass to anchor a larger concert program where fuller sound makes sense.

Skills your students will build

  • Sustaining long vocal phrases with consistent support and intonation
  • Blending voices across a four-part choir while maintaining individual line integrity
  • Responding to organ accompaniment as an ensemble anchor rather than a crutch
  • Understanding the liturgical function and emotional restraint required in devotional sacred music
  • Coordinating with optional woodwind and brass parts when expanding the orchestration

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