Franz Schubert
(1797-1828; Austria)
Mass no.2 in G major, D. 167 (1815)

Wolfgang Amadeus Mozar
(1756-1791; Austria)
Symphony no. 35 in D major, K. 385, "Haffner" (1782)

About The Music:

Franz Schubert (1797-1828)
Mass no. 2 in G major, D. 167
The year 1815 was the best of times and the worst of times for Franz Schubert. His boy soprano voice had changed, forcing him to leave choir school. His father, a school master, insisted that he train as a teacher and teach at his school, which he hated. Schubert was in love but could not support a family. The woman eventually married someone else. Yet Schubert was a genius. In that troubled year, he composed profusely - two symphonies, many art songs (including Der Erlkönig), piano sonatas and two masses. Although raised as a Roman Catholic, it appears Schubert had doubts about some church doctrines. His six Masses are not verbatim settings of the traditional text. He leaves out words and shortens sections. As in all Schubert's music, the Mass settings are filled with song; lyricism melded to devotion.

Written between March 2 and 7, 1815, the G Major Mass was first performed at the church of Liechtenthal. In contrast to the grandeur of Schubert's first Mass, the G Major setting has a chamber music like quality - only three vocal soloists, chorus, strings and organ. There is no orchestral introduction to the Kyrie, the movement unusually intimate in nature.  The Gloria begins with impassioned joy, followed by a soprano and bass duet in the contrasting central section. The Credo begins quietly with a series of vocal duets adding variety. The choral Sanctus is followed by a setting of the Benedictus for the vocal soloists alone. The Osanna conclusions to both sections are the only time Schubert employs fugal techniques in this Mass (in contrast to Beethoven's profuse fugal settings in the Misa Solemnis) - another example's of this moving score's economy of means.  A tender Agnus Dei offsets the soloists and choral pleas for mercy. Schubert concludes the work softly in lyrical contemplation.  The Mass in G Major reveals the work of a mature composer who has overcome personal adversity to speak in his own musical voice. In many ways vocal music is the basis of all of Schubert's works. The Mass in G Major affirms that song-based ethos in very direct terms.         
(notes © Lawrence Budmen)

Wolfgang Amadeus Mozart (1756-1791) -  Symphony no. 35 in D major, K. 385, "Haffner"
The "Haffner" symphony was written in the summer of 1782. It stands as one of his finest symphonic creations, but was written under extreme duress. He was finishing his opera, The Abduction from the Seraglio, was trying to patch up his relationship with his fiancé Constanze, and was in the middle of relocating his residence.

The request for this particular symphony came from Wolfgang's father, in order to enhance the ennoblement of  Sigmund Haffner, the son of the highest office-holder in Salzburg. We are not sure if this ceremony ever took place. However, Mozart’s father totally disapproved of his relationship with Costanze, and there is speculation that the request for a symphony was made in order to distract Mozart from his fiancé. During the next year, Mozart wanted his “Haffner” symphony returned to him in order that it be performed in Vienna. His father returned the score. The performance was a huge success. However, Mozart wrote to his father that he was delighted when he received the score and saw what a great composition it truly was. Mozart said that he did not remember one note of it!

This stately composition is in four movements, and is scored for double winds, brass, timpani and strings. –notes © William Noll