With its tonal language of subjective avowal, the first of Beethoven’s two masses opens up new worlds of expression for the liturgical texts of the Mass which point towards the future. Not to be considered a preliminary work to the Missa solemnis, it is an entirely independent work which set standards for the further development Mass settings in the 19th century. Its newness, of which the composer himself was fully aware (“I do not speak gladly of my Mass, or of myself, but I do believe that I have treated the text in a manner in which only few have treated it.”), paves a way to an hitherto unknown, contemporary avenue to faith which today is still current.
Carus presents this important work of church music history in a new critical edition by the Beethoven expert Ernst Herttrich.
Thanks to an arrangement by K. F. Müller (Carus 40.688/50), it is possible to perform the work in smaller settings.
Contents
-
Composer
Ludwig van Beethoven
| 1770-1827Ludwig van Beethoven was without doubt one of the most influential composers in the history of music. His works formed the culmination of many genres – particularly instrumental – of Viennese classicism, and laid the foundation for the following decades. But Beethoven’s vocal works set standards too: the late Missa Solemnis is one of the most impressive choral works of its time; but his earlier Mass in C also opens up new worlds of expression for the liturgical text, and set the benchmark for the further development in the composition of the mass. And with the final chorus of the Ninth Symphony, the setting of Schiller’s Ode to Joy, Beethoven created one of the most frequently-performed and best known choral pieces of all, writing a timeless musical memorial to himself. Personal details