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Missa solemnis (Beethoven)

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Missa solemnis
by Ludwig van Beethoven
Autograph, beginning of the Kyrie, with the famous dedication "Von Herzen..." and the performance advice "Mit Andacht" ("with devotion")
KeyD major
Opus123
TextMass ordinary
LanguageLatin
DedicationRudolf of Austria
Performed7 April 1824 (1824-04-07): Saint Petersburg
Scoring
  • soloists
  • choir
  • orchestra

The Missa solemnis in D major, Op. 123, is a Solemn Mass composed by Ludwig van Beethoven from 1819 to 1823. It was first performed on 7 April 1824 in Saint Petersburg, Russia, under the auspices of Beethoven's patron Prince Nikolai Golitsyn; an incomplete performance was given in Vienna on 7 May 1824, when the Kyrie, Credo, and Agnus Dei were conducted by the composer.[1] It is generally considered one of the composer's supreme achievements and, along with Bach's Mass in B minor, one of the most significant Mass settings of the common practice period.[2]

Written around the same time as his Ninth Symphony, it is Beethoven's second setting of the Mass, after his Mass in C major, Op. 86. The work was dedicated to Archduke Rudolf of Austria, archbishop of Olmütz, Beethoven's foremost patron as well as pupil and friend. The copy presented to Rudolf was inscribed "Von Herzen—Möge es wieder—Zu Herzen gehn!"[3] ("From the heart – may it return to the heart!")[4]

History

[edit]

Composition history

[edit]

The Missa Solemnis is Beethoven's third choral composition on a sacred subject, after the oratorio Christus am Ölberge (1802), and his earlier mass setting, the Mass in C major (1807). The new composition was written to celebrate the investiture of Rudolph of Habsburg-Lorraine as Archbishop of Olmütz, which took place on 9 March 1820.

Performance history

[edit]

The first performance did not take place in a sacred setting, but at the Philharmonic Society in Saint Petersburg on the initiative of the Russian nobleman and patron Nikolai Golitsyn on 7 April 1824 (March 26 Old Style). The premiere, originally planned for Christmas 1823, was delayed by rehearsing the demanding choral parts, which proved to be more time-consuming than planned, and by incorrectly copied parts. Who conducted the premiere on 7 April 1824 is unknown.

Parts of the mass (Kyrie, Credo, Agnus Dei) were performed on 7 May 1824, under the direction of Kapellmeister Michael Umlauf at the Kärntnertor Theater in Vienna, together with the overture The Consecration of the House and the premiere of Symphony No. 9. The three movements of the mass performed were designated “hymns” because the Viennese censorship authorities objected to the performance of mass settings in a secular venue.

Another performance of the entire mass took place in a liturgical setting in 1830 in the Church of St. Peter and Paul in the Bohemian town of Varnsdorf.

Scoring and instrumentation

[edit]

The mass is scored for a quartet of vocal soloists, a substantial chorus, and the full orchestra. Each at times is used in virtuosic, textural, and melodic capacities. The full roster consists of 2 flutes; 2 oboes, 2 clarinets (in A, C, and B); 2 bassoons; contrabassoon; 4 horns (in D, E, B basso, E, and G); 2 trumpets (D, B, and C); alto, tenor, and bass trombone; timpani; organ continuo; strings (violins I and II, violas, cellos, and basses); soprano, alto, tenor, and bass soloists; and mixed choir.

Structure

[edit]

The Missa solemnis consists of five movements, corresponding to the first five sections of the Ordinary.

Note: Under "Scoring", the performers are indicated with the following abbreviations: "S" vocal soloists, "C" chorus, "O" orchestra. Additionally, "T" stands for the tenor soloist in 'Et homo factus est', and "V" the violinist in the Benedictus. Under "Note", the remarks in italics were written into the score by the composer.

Movement Bars Incipit Tempo Bars Scoring Key Meter Note
1
224
Kyrie eleison Assai sostenuto
86
SCO
D major
cut time
"Mit Andacht"
Christe eleison Andante assai ben marcato
42
B minor
3
2
Kyrie eleison Tempo I
96
D major
cut time
2
569
Gloria in excelsis Deo Allegro vivace
130
CO D major
3
4
Gloria theme
Gratias agimus tibi Meno Allegro
43
SCO
B major
Domine Deus Tempo I
56
B major,
F major
Gloria theme
Qui tollis peccata mundi Larghetto
80
D minor,
D major,
B major,
D major
2
4
Quoniam tu solus Sanctus Allegro maestoso
50
CO
D major
3
4
In gloria Dei Patris. Amen Allegro, ma non troppo
e ben marcato
99
SCO
common time
Poco piu Allegro
66
cut time
Presto
45
CO 3
4
Reprise of
'Gloria in excelsis Deo'
3
473
Credo in unum Deum Allegro ma non troppo
124
CO B major
common time
Credo theme
Et incarnatus est Adagio
20
SCO
D Dorian
Et homo factus est Andante
12
TCO
D major
3
4
Tenor solo
Crucifixus etiam pro nobis Adagio espressivo
32
SCO
D minor
Et resurrexit tertia die Allegro
6
C
common time
A cappella chorus
Et ascendit in coelum Allegro molto
70
CO
F major
cut time
Credo in Spiritum Sanctum Allegro ma non troppo
42
common time Credo theme
Et vitam venturi... Amen Allegretto ma non troppo
67
B major
3
2
Double fugue
Allegro con moto
60
Grave
40
SCO
4
235
Sanctus, Sanctus, Sanctus Adagio
33
SO
D major
2
4
"Mit Andacht"
Pleni sunt coeli Allegro pesante
19
common time
Fugue
Osanna in excelsis Presto
27
3
4
-
Sostenuto ma non troppo
32
O G major
"Praeludium"
Benedictus qui venit Andante molto cantabile
e non troppo mosso
124
SCVO G major,
C major,
G major
12
8
Violin solo
5
434
Agnus Dei Adagio
95
SCO
B minor
common time
Dona nobis pacem Allegretto vivace
68
D major
6
8
"Bitte um innern
und äussern Frieden"
Allegro assai
26
B major common time
Martial episode 1
Tempo I
76
F major,
D major
6
8
Handel's Messiah citation:
"And he shall reign"
Presto
88
D major,
B major
cut time
Martial episode 2
Tempo I
81
B major,
D major
6
8

Duration: A performance of the complete work runs from 70 to 90 minutes.

Analysis

[edit]

The writing displays Beethoven's characteristic disregard for the performer, and is in several places both technically and physically exacting, with many sudden changes of dynamic, metre and tempo. This is consistent throughout, starting with the opening Kyrie where the syllables Ky-ri are delivered either forte or with sforzando, but the final e is piano. As noted below, the reprise of the Et vitam venturi fugue is particularly taxing, being both subtly different from the previous statements of the theme and counter-theme, and delivered at around twice the speed. The orchestral parts also include many demanding sections, including the violin solo in the Sanctus and some of the most demanding work in the repertoire for bassoon and contrabassoon. The difficulty of the piece combined with the requirements for a full orchestra, large chorus, and highly trained soloists, both vocal and instrumental, mean that it is not often performed by amateur or semi-professional ensembles.

Kyrie

[edit]

Perhaps the most traditional movement, the Kyrie is in a traditional ABA′ structure. The grand opening 3 D major chords motif, contrasts sharply with the 4th pianissimo response: (GOD/man) followed by humble stately choral writing in the first section and more contrapuntal vocal textures in the Christe section. The four (SATB) vocal soloists and chorus share the thematic material throughout, the former particularly in the Christe Eleison section.

Gloria

[edit]

Quickly shifting textures and themes highlight each portion of the Gloria text, in a beginning to the movement that is almost encyclopedic in its exploration of 3
4
time
. The movement ends with the first of the work's two fugues, on the text "In gloria Dei patris. Amen", leading into a recapitulation of the initial Gloria text and music.

Credo

[edit]

The form of the Credo may be divided into four parts:

  1. 'Credo in unum Deum' through 'descendit de coelis' in B
  2. 'Et incarnatus est' through 'Resurrexit' in D
  3. 'Et ascendit' through the Credo recapitulation in F
  4. Fugue and coda 'Et vitam venturi saeculi. Amen' in B.

The movement opens with a chord sequence that will be used again in the movement to effect modulations. The word "Credo" is repeatedly sung in a two-note motif, and the work thus joins the tradition of so-called "Credo Masses", including Wolfgang Amadeus Mozart's Missa brevis in F major, K. 192 and Mass in C major, K. 257 "Credo".[5] The Credo, like the Gloria, is an often disorienting, mad rush through the text. The poignant modal harmonies for the "Et incarnatus" yield to ever more expressive heights through the Crucifixus, and into a remarkable a cappella setting of the "Et resurrexit". Most notable about the movement, though, is the closing fugue on "Et vitam venturi saeculi" that includes one of the most difficult passages in the choral repertoire, when the subject returns at doubled tempo for a thrilling conclusion.

Sanctus

[edit]

Up until the Benedictus of the Sanctus, the Missa solemnis is of fairly normal classical proportions. But then, after an orchestral preludio, a solo violin enters in its highest range—representing the Holy Spirit descending to earth in a remarkably long extension of the text.

Agnus Dei

[edit]

A setting of the plea "miserere nobis" (have mercy on us) that begins with the men's voices alone in B minor yields, eventually, to a bright D major prayer "dona nobis pacem" ("grant us peace") in a pastoral mode. After some fugal development, it is suddenly and dramatically interrupted by martial sounds (a convention in the 18th century, as in Haydn's Missa in tempore belli), but after repeated pleas of "miserere", eventually recovers and brings itself to a close.

Critical reception

[edit]

Some critics have been troubled that, as Theodor W. Adorno put it, "there is something peculiar about the Missa solemnis."[6] In many ways, it is an atypical work, and lacks the sustained thematic development that is one of Beethoven's hallmarks. The fugues at the end of the Gloria and Credo align it with the work of his late period—but his simultaneous interest in the theme and variations form is absent.[7] Instead, the Missa presents a continuous musical narrative, almost without repetition, particularly in the Gloria and Credo, the two longest movements. The style, Adorno has noted, is close to treatment of themes in imitation that one finds in the Franco-Flemish masters such as Josquin des Prez and Johannes Ockeghem, but it is unclear whether Beethoven was consciously imitating their techniques to meet the demands of the Mass text.[8]

Donald Tovey has connected Beethoven to the earlier tradition in a different way:

Not even Bach or Handel can show a greater sense of space and of sonority. There is no earlier choral writing that comes so near to recovering some of the lost secrets of the style of Palestrina. There is no choral and no orchestral writing, earlier or later, that shows a more thrilling sense of the individual colour of every chord, every position, and every doubled third or discord.[9]

Michael Spitzer presents an alternative view of the historical context of Beethoven's mass composition:

Gregorian melodies, of course, continued to be used in the Mass throughout the eighteenth century; but by Beethoven's time they were relatively rare, especially in orchestral Masses. The one composer who still used them extensively is Michael Haydn, in his a cappella Masses for Advent and Lent. It is significant that in some of these he limits the borrowed melody to the Incarnatus and expressly labels it "Corale." In the Missa dolorum B. M. V. (1762) it is set in the style of a harmonized chorale, in the Missa tempore Qudragesima of 1794 note against note, with the Gregorian melody (Credo IV of the Liber Usualis) appearing in the soprano. I have little doubt that Beethoven knew such works of Michael Haydn, at that time the most popular composer of sacred music in Austria.[10]

Maynard Solomon has written about Beethoven's influences and compositional method:

Beethoven's musical archaisms and reminiscences—Dorian and Mixolydian modes, Gregorian "fossils", quotations from Handel's Messiah in the Gloria and Agnus Dei—and his employment of procedures and musical imagery derived from older liturgical styles are, in context, modernistic devices that also serve to stretch the expressiveness of his music beyond the boundaries set for liturgical music by his contemporaries.[11]

Recordings

[edit]

Audio

[edit]
Year Conductor Orchestra and choir Soloists Label
1928 Bruno Kittel Berliner Philharmoniker,
Bruno-Kittel-Chor
Lotte Leonard/Emmy Land,
Elenor Schlosshauer-Reynolds,
Anton Maria Topitz/Eugen Transky,
Wilhelm Guttmann/Hermann Schey
Polydor
1935 Arturo Toscanini New York Philharmonic,
New York Schola Cantorum
Elisabeth Rethberg, Marion Telva,
Giovanni Martinelli, Ezio Pinza
Archipel
1937 Thomas Beecham London Philharmonic Orchestra,
Leeds Festival Chorus
Isobel Baillie, Mary Jarred,
Heddle Nash, Keith Falkner
EMI
1938 Sergey Koussevitzky Boston Symphony,
Radcliffe Choral Society, Harvard Glee Club
Jeanette Vreeland, Anna Kaskas,
John Priebe, Norman Cordon
RCA
1939 Arturo Toscanini BBC Symphony Orchestra
BBC Choral Society
Zinka Milanov, Kerstin Thorborg,
Koloman von Pataky, Nicola Moscona
Archipel
1940 Clemens Krauss Chor und Orchester der Wiener Staatsoper Trude Eipperle, Luise Willer,
Julius Patzak, Georg Hann
Archipel
1940 Arturo Toscanini NBC Symphony Orchestra,
Westminster Choir
Zinka Milanov, Bruna Castagna
Jussi Björling, Alexander Kipnis
Music and Arts
1946 Erich Kleiber Teatro Colon Orchestra and Chorus Nilda Hoffmann, Mafalda Rinaldi,
Lydia Kindermann, Kolomon von Pataky
Archipel
1948 Bruno Walter New York Philharmonic Orchestra,
Westminster Choir
Eleanor Steber, Nan Merriman,
Walter Hain, Lorenzo Alvary
Music and Arts
1948 Erich Kleiber Stockholm Philharmonic Orchestra and Chorus Birgit Nilsson, Lisa Tunnel,
Gosta Backlein, Sigurd Bjorling
Music and Arts
1950 Otto Klemperer Wiener Symphoniker,
Akademiechor Wien
Ilona Steingruber, Elsa Schürhoff,
Ernst Maykut, Otto Wiener
Vox
1953 Arturo Toscanini NBC Symphony Orchestra,
Robert Shaw Chorale
Lois Marshall, Nan Merriman,
Eugene Conley, Jerome Hines
RCA
1955 Otto Klemperer Kölner Rundfunk-Sinfonie-Orchester,
Kölner Rundfunkchor,
Chor des Norddeutschen Rundfunks
Annelies Kupper, Sieglinde Wagner,
Rudolf Schock, Josef Greindl
Archiphon
1955 Karl Böhm Berliner Philharmoniker,
Chor der St. Hedwigs-Kathedrale
Maria Stader, Marianna Radev,
Anton Dermota, Josef Greindl
Deutsche Grammophon
1955 Volkmar Andrae Wiener Symphoniker,
Wiener Singverein
Teresa Stich-Randall, Hilde Rössel-Majdan,
Julius Patzak, Gottlob Frick
Archipel
1957 Carl Schuricht Nordwestdeutsche Philharmonie,
Chor der St. Hedwigs-Kathedrale
Maria Stader, Elsa Cavelti,
Ernst Haefliger, Heinz Rehfuss
Archiphon
1957 Otto Klemperer Concertgebouworkest,
Toonkunstkoor Amsterdam,
Collegium Musicum Amstelodamense
Elisabeth Schwarzkopf, Nan Merriman,
József Simándy, Heinz Rehfuß
Archipel
1958 Jascha Horenstein Philharmonia Orchestra,
Leeds Festival Chorus
Teresa Stich-Randall, Norma Procter,
Peter Pears, Kim Borg
Pristine Audio
1959 Herbert von Karajan Wiener Philharmoniker,
Wiener Singverein
Leontyne Price, Christa Ludwig,
Nicolai Gedda, Nicola Zaccaria
EMI
1960 Leonard Bernstein New York Philharmonic Orchestra,
Westminster Choir
Eileen Farrell, Carol Smith,
Richard Lewis, Kim Borg
Columbia
1960 Herbert von Karajan Philharmonia Orchestra
Wiener Singverein
Elisabeth Schwarzkopf, Christa Ludwig,
Nicolai Gedda, Nicola Zaccaria
Testament
1961 Jascha Horenstein BBC Symphony Orchestra,
BBC Chorus
Teresa Stich-Randall, Norma Procter,
Richard Lewis, Kim Borg
BBC Legends
1963 Günter Wand Gürzenich-Orchester Köln,
Gürzenich-Chor
Leonore Kirchstein, Jeanne Deroubaix,
Peter Schreier, Günther Morbach
Nonesuch. Testament
1965 Otto Klemperer New Philharmonia Orchestra & Chorus Elisabeth Söderström, Marga Höffgen,
Waldemar Kmentt, Martti Talvela
EMI
1966 Herbert von Karajan Berliner Philharmoniker,
Wiener Singverein
Gundula Janowitz, Christa Ludwig,
Fritz Wunderlich, Walter Berry
Deutsche Grammophon
1967 Eugene Ormandy Philadelphia Orchestra,
Singing City Choirs
Martina Arroyo, Maureen Forrester,
Richard Lewis, Cesare Siepi
Columbia
1967 George Szell Cleveland Orchestra & Chorus Sara Mae Endich, Florence Kopleff,
Ernst Haefliger, Ezio Flagello
Urania
1970 Eugen Jochum Concertgebouw Orchestra,
Netherlands Radio Chorus
Agnes Giebel, Marga Höffgen,
Ernst Haefliger, Karl Ridderbusch
Philips
1973 William Steinberg Kölner Rundfunk-Sinfonie-Orchester,
Kölner Rundfunkchor
Heather Harper, Julia Hamari,
Sven Olof Eliasson, Peter Meven
ica classics
1974 Karl Böhm Wiener Philharmoniker,
Konzertvereinigung Wiener Staatsopernchor
Margaret Price, Christa Ludwig,
Wiesław Ochman, Martti Talvela
Deutsche Grammophon
1975 Herbert von Karajan Berliner Philharmoniker,
Wiener Singverein
Gundula Janowitz, Agnes Baltsa,
Peter Schreier, Jose Van Dam
EMI
1975 Carlo Maria Giulini London Philharmonic Orchestra
New Philharmonia Chorus
Heather Harper, Janet Baker,
Robert Tear, Hans Sotin
EMI
1977 Rafael Kubelík Chor und Symphonieorchester
des Bayrischen Rundfunks
Helen Donath, Brigitte Fassbänder,
Peter Schreier, John Shirley-Quirk
Orfeo
1977 Colin Davis London Symphony Orchestra & Chorus Anna Tomova-Sintow, Patricia Payne,
Robert Tear, Robert Lloyd
Philips
1978 Georg Solti Chicago Symphony Orchestra & Chorus Lucia Popp, Yvonne Minton,
Mallory Walker, Gwynne Howell
Decca
1978 Leonard Bernstein Concertgebouw Orchestra,
Radio Chorus of the NOS, Hilversum
Edda Moser, Anna Schwarz,
René Kollo, Kurt Moll
Deutsche Grammophon
1982 Georg Solti London Philharmonic Orchestra,
Edinburgh Festival Chorus
Helen Donath, Doris Soffel,
Siegfried Jerusalem, Hans Sotin
LPO
1985 Herbert von Karajan Berliner Philharmoniker,
Wiener Singverein
Lella Cuberli, Trudeliese Schmidt,
Vinson Cole, José van Dam
Deutsche Grammophon
1985
Michael Gielen ORF Radio-Symphonieorchester Wien,
Wiener Singverein
Alison Hargan, Marjana Lipovšek,
Thomas Moser, Matthias Hölle
Orfeo
1987 Michael Gielen SWF-Sinfonieorchester Baden-Baden,
Prague Philharmonic Choir
Phyllis Bryn-Julson, Marjana Lipovšek,
Josef Protschka, Kurt Rydl
Intercord/Aurophon
1987 Terje Kvam The Hanover Band,
Oslo Cathedral Choir
Marianne Hirsti, Carolyn Watkinson,
Andrew Murgatroyd, Michael George
Nimbus
1988 Antal Doráti European Symphony Orchestra,
University of Maryland Chorus
Tina Kiberg, Rosemarie Lang,
William Cochran, Mikhail Krutikov
BIS
1988 Antal Doráti European Symphony Orchestra,
University of Maryland Chorus
Barbara Martig-Tüller, Rosemarie Lang,
William Cochran, Thomas Brandis
Melodiya
1988 Robert Shaw Atlanta Symphony Orchestra & Chorus Sylvia McNair, Janice Taylor
John Aler, Tom Krause
Telarc
1989 John Eliot Gardiner Orchestre Révolutionnaire et Romantique
Monteverdi Choir
Charlotte Margiono, Catherine Robbin,
William Kendall, Alastair Miles
Archiv Produktion
1989 Helmuth Rilling Bach-Collegium Stuttgart, Gächinger Kantorei Stuttgart Pamela Coburn, Florence Quivar,
Aldo Baldin, Andreas Schmidt
Hänssler
1990 Jeffrey Tate English Chamber Orchestra,
Tallis Chamber Choir
Carol Vaness, Waltraud Meier,
Hans Peter Blochwitz, Hans Tschammer
EMI
1991 Daniel Barenboim Chicago Symphony Orchestra & Chorus Tina Kiberg, Waltraud Meier
John Aler, Robert Holl
Erato
1991 James Levine Wiener Philharmoniker,
Leipziger Rundfunkchor,
Swedish Radio Choir,
Eric Ericson Chamber Choir
Cheryl Studer, Jessye Norman,
PlácidoDomingo, Kurt Moll
Deutsche Grammophon
1992 Nikolaus Harnoncourt Chamber Orchestra of Europe,
Arnold Schoenberg Chor
Eva Mei, Marjana Lipovsek,
Anthony Rolfe Johnson, Robert Holl
Teldec
1993 Rudolf Barshai Russian National Orchestra,
Sveshnikov Male Choir,
Moscow Radio Children's Choir
Ursula Fiedler, Barbara Hölzl,
Werner Hollweg, Jakob Stämpfli
Capriole
1994 Georg Solti Berliner Philharmoniker
Rundfunkchor Berlin
Julia Varady, Iris Vermillion,
Vinson Cole, René Pape
Decca
1996 Kurt Masur Gewandhausorchester Leipzig,
Rundfunkchor Leipzig
Anna Tomowa-Sintow, Annalies Burmeister,
Peter Schreier, Hermann Christian Polster
Berlin Classics
2001 David Zinman Tonhalle Orchester Zürich,
Schweizer Kammerchor
Luba Orgonasova, Anna Larsson,
Rainer Trost, Franz-Josef Selig
Arte Nova
2001 Roger Norrington Radio-Sinfonieorchester Stuttgart des SWR,
NDR-Chor, SWR Vokalensemble
Amanda Halgrimson, Cornelia Kallisch,
John Aler, Alastair Miles
Hänssler
2002 Philippe Herreweghe Orchestre des Champs-Elysées,
Collegium Vocale Gent
La Chapelle Royale
Rosa Mannion, Birgit Remmert,
James Taylor, Cornelius Hauptmann
Harmonia Mundi
2003 Kenneth Schermerhorn Nashville Symphony Orchestra and Chorus Lori Phillips, Robynne Redmon,
James Taylor, Jay Baylon
Naxos
2006 Colin Davis Symphonieorchester und Chor
des Bayrischen Rundfunks
Luba Orgonasova, Jadwiga Rappé,
Uwe Hellmann, Jan-Hendrik Rootering
RCA
2007 Gustav Kuhn Bolzano-Trento Haydn Orchestra,
Chorus Academy of the Tyrolean Festival
Ingrid Kaiserfeld, Hermine Haselbock,
Wolfram Wittekind, Liang Li
Col Legno
2008 Valentin Radu Ama Deus Ensemble Sarah Davis, Jody Kidwell,
Timothy Bentch, Ed Bara
Lyrichord
2010 Alan Gilbert New York Philharmonic Orchestra,
New York Choral Artists
Christine Brewer, Jane Henschel,
Anthony Dean Griffey, Eric Owens
NY Philharmonic
2010 Enoch zu Guttenberg Orchester und Kammerchor
der KlangVerwaltung
Susanne Bernhard, Anke Vondung,
Pavol Breslik, Yorck Felix Speer
Farao Classics
2011 Charles Mackerras Sydney Symphony Orchestra,
Sydney Philharmonia Choir
Rosamund Illing, Elizabeth Campbell,
Christopher Doig, Rodney Macann
ABC Classics
2012 Herbert Blomstedt Gewandhausorchester,
MDR Rundfunkchor
Simone Schneider, Gerhild Romberger,
Richard Croft, Jochen Kupfer
Querstand
2012 Christoph Eschenbach London Philharmonic Orchestra and Choir Anne Schwanewilms, Annette Jahns,
Nikolai Schukoff, Dietrich Henschel
LPO
2012 Philippe Herreweghe Orchestre des Champs-Elysées,
Collegium Vocale Gent
Marlis Petersen, Gerhild Romberger,
Benjamin Hulett, David Wilson-Johnson
PHI
2012 John Eliot Gardiner Orchestre Révolutionnaire et Romantique,
Monteverdi Choir
Lucy Crowe, Jennifer Johnston,
James Gilchrist, Matthew Rose
SDG
2013 Marc Soustrot Orchester der Beethovenhalle Bonn,
Czech Philharmonic Choir Brno
Hillevi Martinpelto, Elena Zaremba,
Herbert Lippert, Ronnie Johansen
MDG
2014 Bernard Haitink Symphonieorchester und Chor
des Bayerischen Rundfunks
Genia Kühlmeier, Elisabeth Kulman,
Mark Padmore, Hanno Müller-Brachmann
BR Klassik
2015 Nikolaus Harnoncourt Concentus Musicus Wien,
Arnold Schoenberg Chor
Laura Aikin, Bernarda Fink,
Johannes Chum, Ruben Drole
Sony
2016 Daniel Reuss Orchestra of the Eighteenth Century,
Cappella Amsterdam
Carolyn Sampson, Marianne Beate Kielland,
Thomas Walker, David Wilson-Johnson
Glossa
2017 Marek Janowski Rundfunk-Sinfonieorchester Berlin,
MDR Rundfunkchor Leipzig
Regine Hangler, Elisabeth Kulman,
Christian Elsner, Franz-Josef Selig
Pentatone
2018
Masaaki Suzuki Bach Collegium Japan Ann-Helen Moen, Roxana Constantinescu,
James Gilchrist, Benjamin Bevan
BIS
2019
Frieder Bernius Hofkapelle Stuttgart,
Kammerchor Stuttgart
Johanna Winkel, Sophie Harmsen,
Sebastian Kohlhepp, Arttu Kataja
Carus
2021
René Jacobs Freiburger Barockorchester,
RIAS Kammerchor
Polina Pastirchak, Sophie Harmsen,
Steve Davislim, Johannes Weisser
Harmonia Mundi
2023
Jordi Savall Le Concert des Nations,
La Capella Nacional de Catalunya
Lina Johnson, Olivia Vermeulen,
Martin Platz, Manuel Walser
AliaVox

Video

[edit]
Year Conductor Orchestra and choir Soloists Label
1977 Rafael Kubelík Chor und Symphonieorchester
des Bayrischen Rundfunks
Helen Donath, Brigitte Fassbänder,
Peter Schreier, John Shirley-Quirk
1978 Leonard Bernstein Concertgebouw Orchestra,
Radio Chorus of the NOS Hilversum
Edda Moser, Anna Schwarz,
René Kollo, Kurt Moll
1979 Herbert von Karajan Berliner Philharmoniker,
Wiener Singverein
Anna Tomowa-Sintow, Ruža Baldani,
Eric Tappy, José van Dam
Deutsche Grammophon
1994 John Eliot Gardiner Sinfonieorchester und Chor
des Norddeutschen Rundfunks,
Monteverdi Choir
Luba Orgonasova, Catherine Robbin,
Anthony Rolfe Johnson, Alastair Miles
ZDF
2005 Fabio Luisi Staatskapelle Dresden,
Sächsischer Staatsopernchor Dresden
Camilla Nylund, Birgit Remmert,
Christian Elsner, René Pape
EuroArts
2005 Gilbert Levine Royal Philharmonic Orchestra,
London Philharmonic Choir
Bozena Harasimowicz, Monica Groop,
Jerry Hadley, Franz-Josef Selig
Arthaus Musik
2009
Jiří Bělohlávek Prague Philharmonia,
Brno Philharmonic Choir
Katarina Štúrová, Eva Garajova,
Tomáš Černý, Gustav Belacek
2009
Colin Davis London Symphony Orchestra and Chorus,
London Philharmonic Choir
Helena Juntunen, Sarah Connolly,
Paul Groves, Matthew Rose
BBC
2014
John Eliot Gardiner Orchestre Révolutionnaire et Romantique
Monteverdi Choir
Lucy Crowe, Jennifer Johnston,
Michael Spyres, Mathew Rose
BBC
2014
Bernard Haitink Symphonieorchester und Chor
des Bayerischen Rundfunks
Genia Kühmeier, Elisabeth Kulman,
Mark Padmore, Hanno Müller-Brachmann
BR Klassik
2016 Nikolaus Harnoncourt Concertgebouw Orchestra,
Netherlands Radio Choir
Marlis Petersen, Elisabeth Kulman,
Werner Güra, Gerald Finley
C Major
2016 Andrés Orozco-Estrada Sinfonie-Orchester des Hessischen Rundfunks,
Wiener Singverein
Regine Hangler, Katrin Wundsam,
Steve Davislim, Hanno Müller-Brachmann
2016 Daniel Reuss Orchestra of the Eighteenth Century,
Cappella Amsterdam
Carolyn Sampson, Marianne Beate Kielland,
Thomas Walker, David Wilson-Johnson
Avrotros/NPO
2019
Frieder Bernius Hofkapelle Stuttgart,
Kammerchor Stuttgart
Johanna Winkel, Sophie Harmsen,
Sebastian Kohlhepp, Arttu Kataja
Naxos
2020 Christian Thielemann Staatskapelle Dresden,
Sächsischer Staatsopernchor Dresden
Krassimira Stoyanova, Elina Garanča,
Michael Schade, Franz-Josef Selig
C Major
2021 John Eliot Gardiner Symphonieorchester und Chor
des Bayerischen Rundfunks
Lucy Crowe, Gerhild Romberger,
Julian Prégardien, Tareq Nazmi
2021 Riccardo Muti Wiener Philharmoniker,
Konzertvereinigung Wiener Staatsopernchor
Rosa Feola, Alisa Kolosova,
Dmitry Korchak, Ildar Abdrazakov
Unitel
2021
René Jacobs Freiburger Barockorchester,
RIAS Kammerchor
Polina Pastirchak, Sophie Harmsen,
Steve Davislim, Johannes Weisser
Mezzo
2022 Philippe Herreweghe Orchestre des Champs-Elysées,
Collegium Vocale Gent
Eleanor Lyons, Eva Zaïcik,
Ilker Arcayürek, Hanno Müller-Brachmann

References

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  1. ^ Elliot Forbes (ed.), Thayer's Life of Beethoven, Princeton, 1970, vol. II, p. 908, p. 925
  2. ^ Beethoven: Missa Solemnis, preface by Willy Hess (editor). Edition Eulenburg No. 951.
  3. ^ See Beethoven: Missa solemnis, Op. 123, Kyrie; Tutzing: Schneider, 1965; facsimile ed.
  4. ^ Gutmann, Peter. "Ludwig van Beethoven: Missa Solemnis". Classical Notes. Retrieved 8 September 2011.
  5. ^ Stauffer, George B. (2003). Bach - The Mass in B Minor: The Great Catholic Mass. Yale University Press. p. 103. ISBN 0300099665.
  6. ^ Adorno, Theodor W. Alienated Masterpiece: The Missa Solemnis. Essays On Music. University of California Press. 2002. p. 570.
  7. ^ Adorno, Theodor W. Alienated Masterpiece: The Missa Solemnis. Essays On Music. University of California Press. 2002. p. 570
  8. ^ Adorno, Theodor W. Alienated Masterpiece: The Missa Solemnis. Essays On Music. University of California Press. 2002. p. 570
  9. ^ Tovey, Donald Francis (1937). Essays in Musical Analysis, Volume V. London: Oxford University Press. p. 165.
  10. ^ Spitzer, Michael. Beethoven. p. 123~124.
  11. ^ Solomon, Maynard. Beethoven. p. 402~403.

Further reading

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