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About this release
Beethoven's Mass in C (1807) has always suffered adve
rsely when compared with its larger companion, the late Missa solemnis in D. While there is no doubting the superiority of the later Mass setting, it pays to consider the earlier work on its merits. When compared with the 'state of the art' Mass settings of the time, the listener will readily appreciate that Beethoven's C major Mass is a remarkable work, and a major composition of his middle period. Three aspects of the work distinguish it from the Mass settings of other composers. First, the sheer energy and verve of the music -- this is first-rate Beethoven -- secondly, the huge attention and care he made when setting the text, and
thirdly, the major role given to the choir rather than the soloists. This was a departure from the Masses of Haydn, Mozart, and indeed Beethoven's friend Hummel. One acknowledgement Beethoven made to his old mentor Haydn is the overtly symphonic nature of the music -- something Haydn had established with his Harmonie messe of four years earlier when he abandoned the operatic style of his earlier settings. It was ironically the influence of Haydn's Mass that lead to the Mass in C being misunderstood at its premiere. 'From the heart -- may it return to the heart', wrote Beethoven at the top of the score of his Missa solemnis. This inscription underlines the importance of the work to him, and he considered it among his greatest compositions. Conceived in 1819 after a fallow creative period of several years (during which Beethoven wrote to his old teacher Antonio Salieri asking for advice) for the installation of his friend and patron Archduke Rudolph as Archbishop of Olmutz, it wasn't finished until 1822. Conceived on a vast scale, Beethoven never intended it for church use. He hoped to instil religious feelings in those who heard the work. The violin concerto-like solo that introduces the Sanctus, and the violent, militaristic outbursts in the Agnus Dei leave a lasting impression on the listener. It was one of the first works of Beethoven's visionary late period that includes the last string quartets and piano sonatas, and the Ninth Symphony.
Further information
- Recording made by Philips in 1977
- 'I think this recording of the C major Mass very successful in every way... all the soloists are good.
Chorus and orchestra are in excellent form.' Gramophone
- Booklet notes and sung texts
Tracklisting
Beethoven: Missa Solemnis In D, Op. 123
1. Missa Solemnis In D, Op. 123: V. Agnus Dei: Agnus Dei 07:22
2. Missa Solemnis In D, Op. 123: V. Agnus Dei: Dona Nobis Pacem 02:39
3. Missa Solemnis In D, Op. 123: V. Agnus Dei: Agnus Dei 07:49
4. Mass In C, Op. 86: I. Kyrie 05:48
5. Mass In C, Op. 86: II. Gloria: Gloria In Excelsis 03:13
6. Mass In C, Op. 86: II. Gloria: Qui Tollis 03:29
7. Mass In C, Op. 86: II. Gloria: Quoniam Tu Solus Sanctus 03:50
8. Mass In C, Op. 86: III. Credo: Credo In Unum Deum 02:59
9. Mass In C, Op. 86: III. Credo: Er Incarnatus Est 09:19
10. Mass In C, Op. 86: IV. Sanctus: Sanctus 03:59
11. Mass In C, Op. 86: IV. Sanctus: Benedictus 07:33
12. Mass In C, Op. 86: V. Agnus Dei 08:03
Beethoven: Missa Solemnis In D, Op. 123
1. Missa Solemnis In D, Op. 123: I. Kyrie 11:00
2. Missa Solemnis In D, Op. 123: II. Gloria: Gloria In Excelsis 04:58
3. Missa Solemnis In D, Op. 123: II. Gloria: Qui Tollis 06:28
4. Missa Solemnis In D, Op. 123: II. Gloria: Quoniam Tu Solus Sanctus 07:24
5. Missa Solemnis In D, Op. 123: III. Credo: Credo In Unum Deum 05:01
6. Missa Solemnis In D, Op. 123: III. Credo: Et Incarnatus Est 07:45
7. Missa Solemnis In D, Op. 123: III. Credo: Et In Spiritum Sanctum 09:37
8. Missa Solemnis In D, Op. 123: IV. Sanctus: Sanctus 04:24
9. Missa Solemnis In D, Op. 123: IV. Sanctus: Benedictus 12:43
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