|
Worthington Presbyterian Church
Celebration of
Sound Concert Series presents
Mass #2 in G Major
Franz Schubert (1797-1828)
I.
Kyrie
|
Lord
have mercy, Christ have mercy, Lord have mercy.
|
|
Soloist: Sharon Tipton,
soprano
|
II.
Gloria
|
Glory be to God
on high, and on earth, peace to men of good will. We praise thee, we bless thee, we
adore thee, we glorify thee, we give thanks to thee for thy great
glory. Lord God, heavenly king,
Father almighty, Lord the only-begotten son, Jesus Christ, Lord God,
Lamb of God, Son of the Father, Who takest away the sins of the world,
have mercy upon us, receive our prayer, who sitteth at the right hand
of the Father, have mercy on us, for thou only art holy, thou only art
the Lord, thou only are the the most high, Jesus Christ, with the Holy
Ghost in the glory of God the Father.
Amen.
|
|
Soloist: Sharon Tipton,
soprano
|
III.
Credo
|
I believe in one
God, Father Almighty, maker of heaven and earth and of all things
visible and invisible, and in one Lord, Jesus Christ, the only-begotten
Son of God, born of the Father before all ages, God of God, light of
light, Very God of Very God, begotten, not made, of one substance with
the Father, by whom all things were made, who for us men and for our
salvation came down from heaven and became incarnate by the Holy Ghost
of the Virgin Mary and was made man.
And was crucified also for us under Pontius Pilate, suffered and
was buried, and the third day he rose again, according to the
scriptures, and ascended into heaven, and sitteth on the right hand of
the Father, and he shall come again with glory to judge the living and
the dead, whose kingdom shall have no end. And in the Holy Ghost, the lord and
life-giver, who proceedeth from the Father and the Son, who with the
Father and the Son together is adored and glorified, who spake by the
prophets. And in one holy
catholic and apostolic Church, I acknowledge one baptism for the
remission of sins, and I expect the resurrection of the dead and the
life of the world to come. Amen.
|
IV.
Sanctus
|
Holy, holy, holy,
Lord God of hosts, heaven and earth are full of Thy glory. Hosanna in the highest.
|
et Benedictus
|
Blessed is he who
cometh in the name of the Lord.
Hosanna in the highest.
|
|
Soloists: Ann Ickes,
soprano; Jody Patrick, tenor (9:00 a.m.); Jeff Johnson, tenor (11:15
a.m.), Rob Fischer, baritone
|
V.
Agnus Dei
|
Lamb of God, who
takest away the sins of the world, have mercy upon us, give us peace.
|
|
Soloists: Ann Ickes,
soprano; Rob Fischer, baritone
|
Worthington
Presbyterian Church Chancel Choir
Dr. David Rives, Director
Brett Greene, Organist/Accompanist
Sopranos
Susan
Boisvert, Elaine Bowers, Charlotte Conaway, Carol Hamilton, Sue
Henderson, Sally Hough, Ann Ickes, Carol Mead, Lora Mitchell, Donna
Preissle, Marcia Smith, Pat Stenner, Sharon Tipton, Janet Wise.
Altos
Joyce
Blackmore, Eleanor Buford, Sandy Byers, Edna Hill, Sandy Hindall, Sue
Lair, Beth Murphy, Deanna Olson, Thelma Patrick, Laura Schlader, Carolyn
Taylor, Sue Wilson.
Tenors
Chuck
Evans, Bob Hamilton, Scot Hindall, Jeff Johnson, John Laughman, Steve
Moore, Jody Patrick, Chuck Stenner, Taylor Surface, Bill Yost.
Basses
Don
Anderson, Dave Arthur, Bill Ausich, John Beck, Randy Bell, Bob Bowers,
Duane Cable, Gene Davis, Rob Fischer, Steve Hindall, Fred Hofer, Bob
Murphy, John Puleo, Dick Surface, Kevin Wadsworth.
Orchestra
1st Violin: Fred
Ripley, Sarah Case, Paula Korak, Elaine Swinney.
2nd Violin: Nora
Calvert, Gail Stadelman, William Manley.
Viola: Vanessa Ripley,
Ann Schnapp.
Cello: Terri Boselli
Bass: Jean-Etienne Lederer
Franz Peter Schubert, one of the earliest of the Romantics, had a
brief but prolific career. He composed masterpieces in every genre, all
marked by expanded classical forms, rich harmonic textures, and an
inexhaustible gift for melody. While being trained as a singer, Schubert
began composing in his adolescent years and wrote a song which came to
the attention of Antonio Salieri, who hailed him as a genius. After
Schubert’s youthful treble voice broke, he begrudgingly followed in his
father’s footsteps to accept a teaching position. Working miserably in
this post by day and composing at night, Schubert had written more than
100 songs as well as several symphonic, operatic, and chamber music works
before reaching the age of 20.
Schubert finally left his teaching post to
devote himself completely to composition. He lived a quasi-bohemian
lifestyle, composing and fraternizing with a group of friends who became
the core of both his support system and his audience. In his lifetime, he
never experienced the wide acclaim and financial rewards enjoyed by his
contemporary, Beethoven. Schubert never secured a contract with a
publisher, because none wanted to risk their capital on an unknown and
harmonically non-traditional composer. His efforts at self-publication
were financially unrewarding, and his work received little attention until
1828, when his music was featured in a concert at Vienna’s Musikverein. This one-time
success so buoyed his optimism that he continued composing at an
incredible rate despite terminal illness.
Most of Schubert’s symphonies, operas,
masses, chamber works, piano sonatas, and, especially, his 600 songs are
now revered as standard classical repertoire. Mass No. 2 in G Major, the
most popular of Schubert’s six masses, was composed in less than a
week (March 2 - 7, 1815) one year
following the successful performance of his first mass in his home
parish. Today’s presentation features the original version of the second
mass, calling for string orchestra and organ along with soprano, tenor,
and baritone soloists and choir. (In the 1980s a set of additional parts,
including trumpet and timpani were discovered at Closterneuberg and are
dated later than Schubert’s full score.) The original score was not
published until decades after Schubert’s death, and until then had been
one of Schubert’s less noticed works- so much so that the first edition
of the mass had been plagiarized by another composer who ended up in
prison for embezzlement. Since its publication, however, Mass No. 2 in
G Major has become one of Schubert’s most beloved and enduring
compositions.
|