Beitrag zur fünfzigjährigen Jubelfeier des Herrn von Salieri, D.407 (Schubert, Franz)

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Ivdruiz (2010/8/2)

Editor Eusebius Mandyczewski (1857-1929)
Publisher. Info. Franz Schubert's Werke, Serie XVI: Für Männerchor, No.44
Leipzig: Breitkopf & Härtel, 1891. Plate F.S. 238.
Copyright
Misc. Notes with 1st setting of No.1 "Gütigster, Bester! Weisester, Größter!"
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Selections

Gütigster, Bester! Weisester Grösster! (No.1)

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quicus (2012/12/23)

Publisher. Info. Holograph manuscript, 1816.
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PDF scanned by Aldona Jones
Aldona Jones (2008/3/31)

Editor Josef Gänsbacher (1829-1911)
Eusebius Mandyczewski (1857–1929)
Publisher. Info. Franz Schubert's Werke, Serie 19, No.5
Leipzig: Breitkopf & Härtel, 1884-97. Plate F.S. ??.
Reprinted New York: Kalmus, n.d.(after 1933). Study Score No.1067
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General Information

Work Title Beitrag zur fünfzigjährigen Jubelfeier des Herrn von Salieri
Alternative. Title Contribution to the Fiftieth Anniversary of Mister von Salieri
Composer Schubert, Franz
Opus/Catalogue NumberOp./Cat. No. D.407 (2nd setting of No.1 "Gütigster, Bester! Weisester Grösster!" was formerly D.441)
I-Catalogue NumberI-Cat. No. IFS 122
Movements/SectionsMov'ts/Sec's 1 cantata (3 sections):
1. "Gütigster, Bester! Weisester, Größter!" (Adagio molto) (B major) (1st setting)
2. "So Güt' als Weisheit strömen mild" (Andantino) (G major)
3. "Unser aller Großpapa, bleibe noch recht lange da!" (Moderato) (G major)

1. "Gütigster, Bester! Weisester, Größter!" (Sostenuto) (B major) (2nd setting) [formerly D.441]
Year/Date of CompositionY/D of Comp. 1816 June 16
First Publication. 1891
Librettist Composer
Language German
Dedication Antonio Salieri
Average DurationAvg. Duration 6 minutes (complete cantata with 1st setting of No.1 "Gütigster, Bester! Weisester Grösster!")

3 minutes (2nd setting of No.1 "Gütigster, Bester! Weisester Grösster!")

Composer Time PeriodComp. Period Romantic
Piece Style Romantic
Instrumentation 2 tenors, 2 basses, piano

Misc. Comments

The cantata is unusual in the sense that all of its sections call for different combinations of vocal forces. The first section ("Gütigster, Bester! Weisester, Größter!") has two settings. The first setting is scored for two tenors and two basses a capella, while the second setting is scored for two tenors, bass and piano. The second section ("So Güt' als Weisheit strömen mild") is an aria scored for tenor accompanied by piano. The third section ("Unser aller Großpapa, bleibe noch recht lange da!") is a canon (with coda) for three voices.