Although largely unrecognised during his brief lifetime, Schubert is now considered to be one of the greatest of the early Romantic composers. Alongside eight symphonies (the last unfinished), Schubert is perhaps best known for his Lieder – over six hundred in total. This setting of the Salve Regina was composed in April 1824 – the year after his first song cycle, Die schöner Müllerin.
The last of seven settings of this Marian antiphon, and one of only a few sacred works from the final years of his life, this is also Schubert’s most straightforward setting of this text. Earlier examples had been for much larger forces (including several for solo voice and orchestra), but for this setting Schubert chose just male voices – a quartet of pairs of tenors and basses, one of only two sacred pieces he set for that combination of voices.
The setting, diatonic in a warm major key, is predominantly straightforward homophony, with little word-painting. Schubert presents the text twice, with the whole section from b. 51 basically a varied repetition of the preceding bars, followed by a short coda from b. 109.
- Trombone 1
- Trombone 2
- Trombone 3
- Trombone 4 (Bass)