Missa Solemnis (Beethoven)

The by Ludwig van Beethoven 1817-1823 Missa Solemnis composed in D major, Op 123 is one of the most important achievements of the composers of all time and one of the most famous fairs of Western art music. Formally, the work belongs to the type of the Missa Solemnis.

Classification

Beethoven himself described it in his last years as his most successful work, and although their popularity does not reach many of his symphonies and sonatas, it shows Beethoven at the height of his creative power. This is his second show after the less well-known Mass in C major, Op 86 by in 1807.

Formation

The composition of the Missa Solemnis goes back to Beethoven's friendship with the Archduke Rudolph of Austria ( 1788-1831 ). The Archduke was a very gifted student of the composer in piano playing and composition; and also a patron of Beethoven in material terms. Therefore Beethoven dedicated to my friend several of his most important works, including the opera Fidelio. When Beethoven the news of the appointment of Rudolph as Archbishop of Olmutz, Beethoven wrote: "The day where a High Mass of mine to the celebrations for HRH should be listed, will be for me the most beautiful of my life; and God will enlighten me, that my weak forces contribute to the glory of this solemn day. "

However, the episcopal ordination took place in Olomouc without the performance of the mass, because the planned exhibition also grew far beyond the usual frame in its dimensions and was a more than four-year search for his Beethoven understanding God. The musician operational intensive research in the areas of theology, liturgy and the history of church music, from Gregorian chant via Palestrina to Bach and Handel.

Premieres

1823, three years later than planned, Beethoven gave his friend the Cardinal Archbishop of Olomouc, the Missa Solemnis dedicated to him. The premiere did not take place in the sacred context, but at the Philharmonic Society in St. Petersburg on April 7, 1824 at May 7, 1824 at the Imperial Kärntnertortheater in Vienna with parts of the Mass ( Kyrie, Credo, Agnus Dei ).

The show in its entirety in 1830 in the church of St. Peter and Paul premiered in warning village in the liturgical context.

Occupation

• Classic symphonic orchestra with trombones (2, 2, 2, 2-4, 2, 3, 0, timp, str)
• Mixed choir to four voices
• Four vocal soloists (soprano, alto, tenor, bass)
• Organ ( with pedal )

Structure

Like most fairs, the Missa Solemnis divided into five sets:

• Kyrie: As probably the most traditional section includes the Kyrie to the classical ABA structure. Worn choral passages at the beginning of the Christe eleison go on to a more contrapuntal voice leading applied, in the same time the four vocal soloists are introduced.

• Gloria: Rapidly varying textures and themes stand out at the beginning of this sentence, which is set in nigh exemplary manner in odd time measure, every single line of the Gloria. The movement ends with the first of the two broad joints of the work on the lines of text in Gloria dei patris. Amen, which lead to an increased variation recapitulating the first part.

• Credo: This sentence, which is one of the most remarkable pieces of music from Beethoven's pen, begins with a chord sequence again appears later and is modulated. Melancholic modal harmonies for the Incarnatus soft in the Crucifixus always expressive increases to remarkable a cappella set et resurrexit, which then ends abruptly. The most extraordinary part of this sentence is the Et vitam venturi fugue on saeculi towards the end, which contains some of the most difficult to singing passages in the entire choral literature, particularly in the spectacular finale in double time.

• Sanctus: Until Benedictus of the Missa Solemnis Sanctus corresponds approximately classical conventions. Here, however, occurs after an orchestral " Preludio " the solo violin in the highest pitch added. It symbolizes the Holy Spirit descends in the incarnation of Christ to the earth, and initiates the most moving passages of the entire work.

• Agnus Dei: The Miserere nobis imploring the men's voices to the entrance leads to a radiant peace prayer Dona nobis pacem in D Major. After a fugal implementation it is interrupted by confusing, warlike sounds, while the final sounds of peaceful again. Beethoven cited herein, among other things also the theme from Handel's Messiah, " And he shall reign for ever and ever " ( Hallelujah Chorus ).

Duration

The performance lasts approximately one and a quarter hours (70-80 minutes).