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

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

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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 Full Orchestra Conductor Score

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

By Franz Schubert

Item: 36-A271692
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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. The full score, orchestra accompaniment, and vocal score with piano reduction are available separately.

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Additional Details
Series: Kalmus Choral Library
Publisher: Keiser Productions, Inc.
ISBN10: 1-63-887395-X
ISBN13: 978-1-63-887395-2
UPC: 735816169039
SKU: 36-A271692
Instrumentation: Mass, Orchestra Accompaniment

More about this title

About the Composer: Franz Schubert

Franz Schubert (1797-1828) composed six Masses across his career, treating the form with a directness and lyricism that set his sacred music apart from the grand ceremonial traditions of his predecessors. His Mass No. 2 in G emerged in 1815 during a particularly productive phase, yet remained largely unknown until well after his death, overshadowed by his symphonic and chamber works. The piece reflects Schubert's gift for melody and harmonic color applied to liturgical text, creating something intimate rather than bombastic.

Schubert's Mass settings demonstrate his ability to balance choral writing with orchestral accompaniment in ways that feel natural and singable rather than merely accompanied. His approach to the Mass influenced later composers and remains central to understanding how early 19th-century composers engaged with Catholic sacred music in Vienna and beyond.

Why we love this

This score offers conductors genuine interpretive flexibility. You can perform it with just strings and organ (honoring Schubert's original conception) or add the optional winds and brass to create a fuller, richer sound supported by later evidence of his intentions. The modest solo writing and devotional character make it accessible for choirs without advanced soloists, while the orchestration allows you to showcase instrumental players across multiple rehearsal scenarios.

What to expect

The Mass unfolds with quiet devotion and gentle nobility. Schubert's G major tonality brings clarity and warmth to the text, while the string writing provides a transparent, lyrical accompaniment that never overwhelms the sung lines. There is an intimate quality here, far from the grandeur of later Romantic Mass settings; instead, the music draws you into quiet prayer.

Who it's for

This conductor score serves directors leading church choirs, concert choral ensembles, or academic programs seeking substantial yet manageable sacred repertoire. It works equally well for conductors new to Schubert's Mass literature and those building programs around early 19th-century Catholic liturgical music.

How to get the most out of it

  • Balance the organ carefully against the strings; it provides harmonic foundation but should not dominate the texture, especially in passages where the choir carries the primary line.
  • The solo soprano passages, though not extensive, require attention to intonation and line. Shape these moments with the same care you would give to a full soloist aria.
  • If performing with optional winds and brass, decide early in rehearsal whether you are adding them throughout or reserving them for specific movements; consistency in your orchestration choice will affect both rehearsal efficiency and the overall character.
  • The devotional mood demands restraint in tempo. Avoid rushing; allow the harmonic progressions and choral entries room to breathe.

How to use it

Program this work on liturgical services, sacred music festivals, or choral concerts focused on early Romantic choral literature. Its modest orchestration and devotional character make it suitable for Advent, Easter, or special feast days. Consider pairing it with smaller-scale Schubert works (vocal solos, part-songs) to create a thematic program around the composer's vocal writing.

Skills your students will build

  • Reading and conducting 19th-century choral orchestration with optional instrumental parts
  • Balancing choir, soloists, and orchestra in sacred music contexts
  • Interpreting dynamic and textural restraint in devotional music
  • Managing flexible instrumentation in performance (original vs. expanded orchestration)

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