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Ludwig Van Beethoven (1770-1827) – Missa Solemnis Op.123 .
Click to activate the English subtitles for the presentation (00:00-07:50)
KYRIE (00:00)
GLORIA
I.Gloria in excelsis Deo (10:35)
II.Qui tollis peccata mundi (15:50)
III.Quoniam tu solus sanctus (20:59)
CREDO
I.Credo in unum Deum (28:04)
II.Et incarnatus est (33:02)
III.Et resurrexit (39:04)
SACTUS (50:16)
BENEDICTUS (54:00)
Solo Violin : Thomas Brandis
AGNUS DEI
I.Agnus Dei (1:07:42)
II.Dona nobis pacem (1:14:46)
Sopran : Gundula Janowitz
Alt : Agnes Baltsa
Tenor : Peter Schreier
Bass : José Van Dam
Singverein der Gesellschaft der Musikfreunde Wien
Chorus Master : Helmuth Froschauer
Berliner Philharmoniker
Conductor: Herbert Von Karajan
Recorded in 1975
New Mastering in 2020 by AB for CMRR
Find CMRR’s recordings on Spotify: https://spoti.fi/3016eVr
There are two timeless versions of Beethoven’s Missa Solemnis: the one you are listening to (Karajan 1975) right now, and the one by Otto Klemperer (https://www.youtube.com/watch?v=aI0FhkCnLoc&list=PL3UZpQL9LIxOhkdci2M8WKMSVaf9WiF8x&index=3). You have to listen to Klemperer for the overall architecture, and to Karajan to hear the smallest details of the score.
Beethoven: Missa solemnis, Op. 123 / History. On June 4th 1819, the Archduke Rudolph of Austria was elected Archbishop of Olmütz in Moravia. His enthronement was due to take place in Cologne Cathedral on March 20th 1820. Beethoven at once determined to compose music for this solemn occasion. The Archduke Rudolph had been Beethoven’s pupil for pianoforte tuition since 1804, when the boy was fifteen. In 1808, when Beethoven was invited to become Kapellmeister to the Court of Cassel, Rudolph and two other friends guaranteed him a salary if he would remain in Vienna. Rudolph’s place in Beethoven’s affections is sufficiently attested by the quality and grandeur of the works that Beethoven dedicated to him: the fourth and fifth piano concertos, the piano sonatas Les Adieux, Hammerklavier and Opus 111 in C minor, the Grosse Fuge, the Archduke Trio, the last of the violin sonatas, and the vocal score of Fidelio, besides this Mass in D. Rudolph, it may be added, was an extremely able pianist, capable of performing the keyboard music dedicated to him; for the piano concertos Beethoven also supplied him with the cadenzas which we usually hear today.
Anton Schindler, Beethoven’s pupil declared that Beethoven started work on the Mass in D ‘in the late autumn of 1818’. For the celebration in a great cathedral he chose the key of D major which has strong associations of dignity, brilliance and joy; it was the key of Beethoven’s Ode to Joy, which had been on the stocks since 1817 and was to be completed soon after the Mass.
Beethoven made elaborate preparations for a task that he knew would summon his highest talents. He studied earlier settings of the text, particularly Palestrina’s, for modal polyphony and for textual emphases in their music, and he had an accurate translation made of the Latin text of the Mass, so that no implications should escape him.
The first sketches for the Mass in D were made in a book started early in 1819. Beethoven was definitely hard at work on the Mass in the summer of 1819, when Schindler and his friend Horsalka visited the composer in Mödling, found the house in terrible disarray, and heard Beethoven howling and stamping at the piano as he worked on the great fugue Et vitam venturi from the Credo. As the summer wore on Beethoven began to doubt whether the work would be completed in time for the ceremony. He complained to Schindler that ‘every movement as he carne to it took on much greater dimensions than had been originally planned’, and we can infer that the difficulties affected not only the length of each movement, but the control of internal texture and harmonic transition, and the actual realization of the great ideas in Beethoven’s head.
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Ludwig Van Beethoven PLAYLIST (reference recordings) : https://www.youtube.com/playlist?list=PL3UZpQL9LIxOhkdci2M8WKMSVaf9WiF8x