DAILY DOSE OF BEETHOVEN (December 1, 2020)
Each era of Classical music has its monumental creations. The Renaissance produced Monteverdi's "Vespers", the Baroque era crowns its glory with Bach's "Mass in B Minor". Our century in its proliferation exhibits the brilliance of Benjamin Britten's "War Requiem". In most conductor's score study, these three compositions appear somewhat unchallenged.
Beethoven's monumental "Missa Solemnis" should be so considered during (what I call), the Period of Enlightenment. It is an awesome composition, and a thrill to conduct. However, it is not performed with any regularity (in spite of its creative score) by choral/symphonic organizations in proportion to its brilliance.
An example of this irregularity is exhibited in Germany today among its legions of fine choirs and orchestras. Each year, the Bach "B Minor Mass" is heard by hundreds of listeners scores of times (in Stuttgart for example, in the days before and during Holy Week, one could choose by perhaps 10 performances). However, the Beethoven masterpiece is seldom (if ever) heard; but is usually programmed as part of the regular season repertoire. The "Missa" does not attain an equal status among the Lutheran congregations. Further examination reveals that the same ratio occurs in the United Kingdom, and indeed in North America. Hence, an enigma exists.
Many Conductors wrestle with Beethoven's rationale for writing the piece, as they consider whether the genius created the work solely for liturgical purposes; or was there an organized campaign on Ludwig's mind to write the score for political and patronage reasons.
We know that Bach was immersed daily in writing scores for the Church. Whereas Beethoven was a more generalist creator (writing for a more knowledgeable public). Perhaps that shows in his score as not being somehow "heavenly blessed"!!!
The truth is, that Beethoven spent over four years brooding and toiling over the composition. At the same time, he was trying to find a patron and a publisher. He finally succeeding in Schott as the publisher, and after succeeding in securing funding, uttered: "My chief aim was to instill religious feelings not only in the singers, but also in the listeners". Perhaps then, some Conductors feel that there was a somewhat saccharine approach to his writing the piece.
Some musicologists feel that the huge orchestra is needed along with a similarly size choir--making the score an extravaganza instead of a religious experience. As well, we know that Beethoven wrote the piece in the most chaotic period of his life--deafness and encroaching old age forced him to write furiously. In the same time span as he wrote the Missa, his creative mind produced one of the most significant Piano Sonatas (the Hammerklavier), the last five string quartets, and the Ninth Symphony!!! The Missa (for some) shows Beethoven's extreme outbursts of dynamic contrasts, and erratic turns in compositional concepts.
On the positive side of the discussion, the work shows that in the long gestation of the work, Beethoven studied the balanced restraints of Palestrina counterpoint and the fugal restrictions of the Baroque period. He deeply believed that the work would be published for public recognition of his religious "open-minded" enlightened public.
In studying the opening KYRIE, we do hear fervent and sincere attempts at religious conviction in his writing.
The dramatic opening statement, with the contrasting bombastic chorus and orchestra, against the restrained initial statements of the soloists, strongly suggest a personification of the "people" (chorus and orchestra), and the consoling "priests". There is a strong suggestion here that the TRINITY is represented right at the beginning.
In the second section of the KYRIE, Beethoven scores leaps of third intervals constantly, again suggesting the Trinity. Does this indicate that he was cunningly revealing his inner thoughts without blatantly revealing his mind to the audience?
Lastly, the whole KYRIE opening movement is in three sections--totally balanced with in formal analysis of the triune mentality.
In the 21st century, the Missa is not performed as often as the other masterpieces of choral literature simply because of the costs involved. The orchestration necessitates tribes of instruments, and the exhaustive choral singing requirements need an army of trained singers with stamina. The soloists are never given arias but have moments of extreme ranges in their short spurts of energy.
On a personal note, I conducted Messiah over 100 times and the "B Minor Mass" perhaps five. I attempted the "Missa" twice in 60 years of performing.
Even that is an enigma.
Here is a performance of this great masterpiece with score, Performed by the Leipzig Radio Symphony Orchestra and Choir Conducted by Herbert Kegel:
https://www.youtube.com/watch?v=UCa0Fquy93A
post courtesy of Maestro Fagan