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Schubert - Mass No. 6 in E flat major (D. 950)

In 1827, only a year away from his death and at a time when he was very ill, suffering from vomiting, headaches, pain and swollen painful joints, Schubert wrote the Fantasy in C major for violin and piano (D. 934, first published as op. post. 159); the Impromptus for piano; two piano trios (the first in B-flat major (D. 898), and the second in E-flat major, (D. 929). 

In 1828, the year he died, he wrote the cantata Mirjams Siegesgesang (Victory Song of Miriam, D 942) on a text by Franz Grillparzer; the Mass in E-flat major (D. 950); the Tantum Ergo (D. 962) in the same key, the String Quintet in C major (D. 956), the second "Benedictus" to the Mass in C major (D. 452), and the three final piano sonatas (D. 958, D. 959, and D. 960).

As with most of Schubert's sacred works, the Mass in E flat major (D. 950) is undoubtedly a reflection of his inner beliefs rather than any external imperative. In sweeping brushes of the composer’s pen it uses seemingly limitless melodic and harmonic invention. Yet again, Schubert uses the complex melodies and motif material as if he intended to put his own tortuous thoughts into music, and find a solution by displaying them.  It is pure emotion captured in music, a glorious tribute his genius.

“The vehemence he employs to put his thoughts, and, inevitably, also his feelings to music forces the listeners to at least adopt an emotional stance.  They are asked to follow Schubert's thoughts, and to continue along the lines of their thinking and feeling.
When Schubert opens himself up emotionally like in this mass, then the listeners have no chance to keep a cool distance, they must get involved in this Apocalypse.”

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