The Missa Sancta no. 2 ( in G major) was written between 1818 and 1819, shortly after Weber had completed his Freischützmesse. Composed so close together, the two Masses share a common style and approach. Similarly, it is comprised of the Kyrie, Gloria, Credo, Sanctus with Benedictus, and Agnus Dei. Like the first Missa Sancta, the second follows some of the conventions of eighteenth-century Masses; at the same time, Weber's stamp is present in his more colorful orchestration and his use of florid solo passages. The latter is clearly evident in the almost operatic Benedictus, which Weber designated as a separate movement in this work.

The cognomen of "Jubelmesse" suggests a more purposeful and overt rejoicing, and this mood is present from the start. When compared to the earlier Mass, this one is more exuberant, especially in the choral passages. As much as Weber is praised for his ingenious orchestrations, his scoring for chorus is equally notable for its mixing of various timbres and textures. In fact, the chorus is more prominent in this Mass than in the first one, and suggests a rethinking of his use of that element in this kind of music. As such, the choral forces are particularly effective in the Credo, which relies on the chorus for much of the movement. At the same time, Weber uses a varied palette of orchestral sounds in the Credo and other movements. Unlike the Second Symphony, which sometimes suffers in comparison to the First, the Missa Sancta no. 2 reflects an increased mastery of forces and is as strong a composition as the previous Mass.

With Weber's music, the word "Jubel" (to rejoice) occurs in several contexts. These include the "Jubelkantate," which is a celebration of the harvest, the "Jubel" Overture, which had been derived from the overture to Weber's unfinished opera, "Rübezahl," and the "Jubelmesse." Except for the word itself, no other connection exists between these three works.

© James Zychowicz, All Music Guide