BEETHOVEN missa solemnis

christoph eschenbach conductor anne schwanewilms soprano annette jahns mezzo soprano nikolai schukoff tenor DIETRICH HENSCHEL bass LONDON PHILHARMONIC ORCHESTRA and choir

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1 Kyrie Handel’s Messiah and had the Latin text of 2 Gloria the Mass translated into German to ensure 3 Credo that he did not misunderstand any of it. By 4 Sanctus the middle of 1819 the sketching of the Missa 5 Agnus Dei Solemnis was well underway. Anton Schindler reported that he had never seen the composer In the autumn of 1818 it came to Beethoven’s so oblivious to all earthly matters. Visiting his knowledge that the Archduke Rudolf of summer quarters near Vienna with a friend Austria, brother of the Emperor, was to be that August, he found that both servants had made Archbishop of Olmütz in Moravia. Rudolf fled after a quarrel and that Beethoven had had long been the composer’s friend, patron had nothing to eat for 24 hours. ‘In the living and pupil, and Beethoven resolved to compose room, which was locked, we heard the master a Mass for the enthronement ceremony. The singing parts of the fugue in the Credo – Archduke’s election was officially announced singing, howling, stamping.’ in June 1819, and Beethoven wrote to him: ‘The day on which a Mass composed by me Trouble with servants was the least of will be performed during the ceremonies Beethoven’s worries. Poor health limited solemnized for Your Imperial Highness will the time he could devote to composition, be the most glorious of my life, and God and everything was overshadowed by a will enlighten me so that my poor talents lawsuit concerning his nephew and ward, may contribute to the glorification of that Karl. Moreover, the Mass did not take shape solemn day.’ There was true affection and quite as Beethoven had expected. Each respect between the two men; the Archduke movement took on greater dimensions than had provided the composer with an annual originally planned. Consequently, the Mass pension since 1809, and Beethoven had was not finished in time for the Archbishop’s dedicated to him some of his best works. enthronement in March 1820. It took The Mass was intended as the glorious crown until December 1822 to complete. Having of their relationship. despatched a dedicated score to Rudolf, Beethoven offered copies for sale to various Before setting to work Beethoven studied past sovereigns and nobles. One subscriber, the church music, copied out some choruses from Russian Prince Nicholas Galitsin, organised the

0061 Beethoven Missa Solemnis booklet.indd 2 1/20/2012 4:20:51 PM first performance, which took place in In striving to give his ideas musical form St Petersburg on 26 March 1824. The Kyrie, Beethoven could not study the performers’ Credo and Agnus Dei were performed in Vienna convenience. Not only are the choral sopranos on 7 May in the concert that introduced the taken repeatedly up to A and even B, but all Ninth Symphony. Beethoven was present but four sections of the choir are put under strain too deaf to hear a note. The first complete at the bottom of their range. Singers are performance in Vienna did not take place required to phrase with the rhythmic precision until after his death. and attack of an orchestral instrument, to sustain long passages at uncomfortable Beethoven was born into a Catholic family pitches and to get tongues round many and never formally renounced the faith. He syllables at extremes of pitch. taught his nephew to pray, and he received the last rites on his deathbed. But he had little liking for organised religion, and churchmen responded by being suspicious of his Missa Solemnis, which was not really suited to liturgical use. He was, however, a religious man. He believed in God as an all-powerful, loving Father, a universal presence in nature and influence on human aspirations, real yet not to be truly comprehended by mankind. Instinctively he felt the immense majesty of a personal God and humanity’s dependence upon God’s love. These feelings, which may be sensed by the listener throughout the Mass, contribute to the awesome effect that the work makes. It is a sublime work expressing the personal faith of a confessed imperfect Christian. At the head of the first movement Beethoven wrote: ‘From the heart – may it in turn go to the heart!’

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The Missa Solemnis is not divided into separate a synthesis of the first two. Beethoven’s numbers but composed as five essentially strenuous setting is full of sharp contrasts. symphonic movements. Soloists and choir It begins in D major with a great shout of alternate according to the needs of the text, praise to a theme driven irresistibly. The plea the former usually standing as individuals for peace is hushed, but the praise quickly making personal utterances while the resumes and glorificamus te becomes a fugato, chorus represents the mass of humanity. ending with a sustained burst of C major. The The text largely determines the shape of each key modulates to B flat for the lyrical Gratias movement. So the three-part text of the Kyrie agimus, which brings in the soloists. The initial dictates a ternary musical scheme. The first tempo and mood return at Domine Deus, and Kyrie, marked ‘With devotion’, is in D major the words Deus Pater omnipotens (‘God the and 4/4 time. A solitary voice three times Father almighty’) occasion a triple-forte climax echoes the choir as though to emphasise with the first use of trombones in the work. the personal significance of the general Domine Fili is marked by the return of the prayer. The time changes to 3/2 for Christe thirds from the middle section of the Kyrie. eleison in related B minor. Here the soloists precede the choir, pairing off after a while In the second section of the movement in companionable thirds symbolising Christ (beginning at Qui tollis), prayers to Christ walking with man as friend and helper. The are again set with the soloists’ harmony in second Kyrie is addressed to the Holy Spirit, thirds. Word setting in this Larghetto in F so the reprise of the initial music is varied, is especially expressive. A tempo change to the voices entering in a new key, G major. Allegro maestoso marks the start of the final section (Quoniam). This is another great hymn of praise, culminating in a four-part fugue on GLORIA a theme derived from the Kyrie. At the end the opening theme returns at presto tempo, and The first part of the Gloria glorifies God, the choir glorifies God with repeated shouts of the second is concerned with sinful mankind the first word. seeking Christ’s mercy, and the third makes

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The text of the Creed, setting forth the proclamation – in the old Mixolydian mode fundamental Christian beliefs, divides – of the resurrection. Mention of Christ into three sections and thereby suggests coming to ‘judge both the quick and the a ternary musical form, but Beethoven dead’ brings a reference by the trombones divides his three parts differently to provide to the Last Trump. two massive assertions of faith enclosing a more intimate account of Christ’s birth, The opening Credo theme is recapitulated crucifixion and resurrection. He makes to the movement’s concluding words. the Credo stand out musically between What especially seizes Beethoven here is the D major movements on either side by the expectation of ‘the life of the world to setting it in the key of B flat. A sturdy theme come’, and he makes these words – Et vitam proclaims belief in one God, the choral venturi – the basis of a mighty, technically sopranos rising to a sustained fortissimo ingenious double fugue. B flat at omnipotentem.

For Et incarnatus est, which opens the SANCTUS central section, the tempo changes to Adagio and the key to D minor with archaic For Beethoven the thought of God as Lord modal harmony. As all four soloists sing of God of Hosts is a moment for reverent the Virgin birth the strings are reduced and obeisance and awe. Soft trombones a flute flutters high above, representing the emphasise the solemnity, and the words are dove that was a symbol of the Holy Spirit in given to soloists rather than the choir. This religious paintings. The music moves into opening B minor passage is marked ‘Adagio D major at Et homo factus est, the solo tenor with devotion’. Joy breaks out in a D major and choir dwelling on the word homo, filled fugato at Pleni sunt coeli (‘Heaven and earth with wonder at the thought of Christ made are full of Thy glory’), and the following man. Without pause the music continues Osanna. Solemnity returns in an orchestral with a meditation on Christ’s crucifixion and prelude to Benedictus, which Beethoven burial and the choir’s unaccompanied incorporates in the movement instead of

0061 Beethoven Missa Solemnis booklet.indd 5 1/20/2012 4:20:51 PM setting separately. At this point in the peace meant for him freedom from war as church service believers hold that bread and well as achieving spiritual serenity. Dona wine have been transformed into the body nobis is resumed, but again the noise of war and blood of Christ. Beethoven’s musical interrupts in B minor, prompting an anguished illustration introduces a solo violin and two cry of Agnus Dei. Once more the prayer for flutes, which descend from high aloft. ‘Blessed peace is offered up. The trumpets have now is he that cometh in the name of the Lord’, fallen silent, but there is a reminder of distant the basses intone, and the violin symbolises drums before the close, making the end of the the Divine presence in a G major solo, which Mass truly though calmly prayerful. continues through the subsequent vocal entries. After a repeat of Osanna the violin solo Programme note © Eric Mason resumes and ascends to the regions whence it came.

AGNUS DEI

The final section of the Mass begins with a prayer to Christ for forgiveness. The key is dark B minor and the instrumental colours are sombre, with bassoons and horns prominent. The solo bass begins the threefold prayer, and gradually the other voices join him. This leads to Dona nobis pacem, which the composer names as a prayer for inward and outward peace. The key turns to D major and the tempo quickens for this double fugue, but ominously martial sounds break in and the singers reiterate their first prayer urgently. Beethoven knew the horrors of war at first hand, and

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KYRIE Kyrie eleison, Lord, have mercy, Christe eleison, Christ, have mercy, Kyrie eleison. Lord, have mercy.

GLORIA Gloria in excelsis Deo. Glory be to God on high. Et in terra pax hominibus bonae voluntatis. And on earth peace to men of good will. Laudamus te, benedicimus te, We praise Thee, we bless Thee, adoramus te, glorificamus te. We worship Thee, we glorify Thee. Gratias agimus tibi propter magnam gloriam We give thanks to Thee for Thy great glory. tuam. Domine Deus, Rex coelestis, Lord God, heavenly king, Deus Pater omnipotens. God the Father almighty. Domine Fili unigenite, Jesu Christe. Lord the only begotten Son, Jesus Christ, Domine Deus, Agnus Dei, Lord God, Lamb of God, Filius Patris. Son of the Father. Qui tollis peccata mundi, Thou that takest away the sins of the world, miserere nobis. have mercy upon us. Qui tollis peccata mundi, Thou that takest away the sins of the world, suscipe deprecationem nostram. receive our prayer. Qui sedes ad dexteram Patris, miserere nobis. Thou that sittest at the right hand of the Father, have mercy upon us. Quoniam tu solus sanctus, For Thou only art holy, Tu solus Dominus, Thou only art the Lord, Tu solus altissimus, Jesu Christe. Thou only art most high, Jesus Christ. Cum Sancto Spiritu With the Holy Ghost in gloria Dei Patris. Amen. in the glory of God the Father. Amen.

0061 Beethoven Missa Solemnis booklet.indd 7 1/20/2012 4:20:52 PM CREDO Credo in unum Deum, I believe in one God, Patrem omnipotentem, The Father almighty, Factorem coeli et terrae, Maker of heaven and earth, Visibilium et invisibilium. Of all things visible and invisible. Credo in unum Dominum Jesum Christum, I believe in one Lord Jesus Christ, Filium Dei unigenitum, the only begotten Son of God, et ex Patre natum ante omnia saecula. born of the Father before all worlds. Deum de Deo, lumen de lumine, God of God, light of light, Deum verum de Deo vero, true God of true God, genitum non factum begotten, not made, consubstantialem Patri, being of one substance with the Father, per quem omnia facta sunt; by whom all things were made; Qui propter nos homines, Who for us men, et propter nostram salutem and for our salvation descendit de coelis. came down from heaven. Et incarnatus est de Spiritu Sancto And was incarnate by the Holy Ghost ex Maria Virgine; et homo factus est. of the Virgin Mary; and was made man. Crucifixus etiam pro nobis sub Pontio Pilato. He was crucified for us under Pontius Pilate. Passus et sepultus est. He suffered and was buried. Et resurrexit tertia die And the third day he rose again secundum Scripturas; according to the Scriptures; et ascendit in coelum, and ascended into heaven, sedet ad dexteram Dei Patris, and sitteth at the right hand of God the Father et iterum venturus est cum gloria and He shall come again with glory judicare vivos et mortuos, to judge both the quick and the dead, cujus regni non erit finis. whose kingdom shall have no end. Credo in Spiritum Sanctum, I believe in the Holy Ghost, Dominum et vivificantem, the Lord and giver of life, qui ex Patre Filioque procedit, who proceedeth from the Father and the Son,

0061 Beethoven Missa Solemnis booklet.indd 8 1/20/2012 4:20:52 PM qui cum Patre et Filio simul who with the Father and the Son together adoratur et conglorificatur, is worshipped and glorified, qui locutus est per Prophetas. who spake by the Prophets. Credo in unam sanctam Catholicam I believe in one holy Catholic et Apostolicam Ecclesiam. and Apostolic Church. Confiteor una baptisma in remissionem I acknowledge one baptism for the remission peccatorum. of sins. Et expecto resurrectionem mortuorum, And I look for the resurrection of the dead, et vitam venturi saeculi. Amen. and the life of the world to come. Amen.

SANCTUS Sanctus, Sanctus, Sanctus, Holy, holy, holy, Dominus Deus Sabaoth, Lord God of Hosts, Pleni sunt coeli et terra gloria tua. Heaven and earth are full of Thy glory. Osanna in excelsis. Hosanna in the highest. Benedictus qui venit in nomine Domini. Blessed is he that cometh in the name of the Lord. Osanna in excelsis. Hosanna in the highest.

AGNUS DEI Agnus Dei, qui tollis peccata mundi, Lamb of God, that takest away the sins of the miserere nobis. world, have mercy upon us. Dona nobis pacem. Grant us peace.

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Music Director open-air concert in St Peter’s Square in the of the National presence of the Pope in October 2008. Symphony Orchestra in Washington, DC, A prolific recording artist over five decades, as well as the John Christoph Eschenbach has recorded as both F. Kennedy Center a conductor and a pianist on labels including for the Performing Deutsche Grammophon, Sony/BMG, Decca, Arts, Christoph Ondine, Warner and Koch. His Ondine recording © Eric Brissaud Eschenbach is in of the music of Kaija Saariaho with the demand as a guest conductor with the finest Orchestre de Paris and soprano Karita Mattila orchestras and opera houses throughout won the 2009 MIDEM Classical Award for the world. Artistic Director of the Schleswig- Contemporary Music. Holstein Festival from 1999–2002, he has continued a close relationship with the Festival, Mentored by George Szell and Herbert von regularly conducting the orchestra at home and Karajan, Eschenbach’s other past posts include on tour as well as playing piano concertos and Chief Conductor and Artistic Director of the recitals. Tonhalle Orchestra Zurich from 1982–86; and Music Director of the Houston Symphony Highlights of past seasons include numerous Orchestra from 1988–99, the Ravinia Festival appearances with the Orchestre de Paris, where from 1994–2003, and The Philadelphia he was Music Director until August 2010; Orchestra from 2003–08. His many honours performances of Verdi’s Requiem with the include the Légion d’honneur, Commandeur National Symphony Orchestra; concerts and dans l’Ordre des Arts et des Lettres, Officer’s tours with the London Philharmonic Orchestra, Cross with Star and Ribbon of the German Staatskapelle Dresden and Vienna Philharmonic Order of Merit, and Commander’s Cross of the Orchestra; and engagements with the New German Order of Merit. He also received the York Philharmonic, San Francisco Symphony, Leonard Bernstein Award from the Pacific Music Munich Philharmonic and NDR Symphony Festival, where he was Co-Artistic Director from orchestras, the Filarmonica della Scala and the 1992–98. Orchestra Sinfonica dell’Accademia Nazionale di Santa Cecilia, which he conducted in a special

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German soprano Anne Schwanewilms is Annette Jahns started her career as a member considered one of today’s finest interpreters of the ensemble of Semperoper Dresden. Since of music by Strauss and Wagner. Her unique then she has performed at numerous opera stage presence and multifaceted voice make houses and festivals including La Fenice, Venice; her one of the most sought-after singers on La Scala, Milan; and the Salzburg and Bayreuth the international opera scene, and her artistic festivals. She has worked with conductors versatility is reflected in a wide-ranging including Giuseppe Sinopoli, Sir Colin Davis, repertoire, from Italian opera to oratorios and Ingo Metzmacher, Jeffrey Tate, Semyon Bychkov, Lieder. Marc Albrecht, Fabio Luisi and Christoph Eschenbach. Renowned conductors and orchestras have accompanied her on opera and concert stages As an opera singer Annette Jahns has worldwide: she has worked with Sir Colin Davis, sung Flosshilde in Das Rheingold and Sir Andrew Davis, Sir Simon Rattle, Daniel Götterdämmerung, and Schwertleite in Die Barenboim, Riccardo Chailly, Christoph von Walküre, in a new production of the Ring Cycle Dohnányi, Sir Mark Elder, Kent Nagano, Kurt under Christoph Eschenbach at the Théâtre du Masur and James Levine. Châtelet in Paris. At Semperoper Dresden she has sung Grimgerde, First Norn and Flosshilde. An eminent Lieder singer, Anne Schwanewilms Other opera appearances include Third Lady in works closely with leading accompanists The Magic Flute in Parma and Naples; Annina including Charles Spencer, Roger Vignoles in Der Rosenkavalier under Fabio Luisi in Genoa; and Malcolm Martineau, all of whom she has and Bradamante in Vivaldi’s Orlando Furioso in appeared alongside in concert halls worldwide. Magdeburg. With Roger Vignoles she recorded a selection of songs by Richard Strauss, which was nominated On the concert platform Annette Jahns has by BBC Music Magazine as Vocal Recording of sung Mahler’s Symphony No. 8 in Paris and the Year in 2008. JS Bach’s Magnificat in Dresden, as well as Beethoven’s Missa Solemnis with both the Anne Schwanewilms was honoured with a Orchestre de Paris and London Philharmonic Singer of the Year Award by the magazine Orchestra, all under Christoph Eschenbach. Opernwelt in 2002.

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Considered one of the most promising voices Dietrich Henschel started his international on the international opera and concert circuit, career with the title roles in two opera the Austrian tenor Nikolai Schukoff studied productions: Henze’s The Prinz of Homburg at at the Mozarteum in Salzburg before making the Deutsche Oper Berlin and Busoni’s Turandot his début in 1996 as Alfredo in La traviata in at the Opéra National de Lyon, which was Gelsenkirchen, Germany. He started his career later awarded a 2000 Grammy. He regularly as a lyric voice, but has since developed towards appears at the opera houses of Paris, Berlin, heavier roles. In particular he has sung his Munich, Leipzig, Amsterdam, Brussels, Lisbon, signature role of Parsifal in Munich, Dresden, Madrid, Geneva, Zurich, and at international Budapest, Hamburg, Lyon and Santiago de festivals including Salzburg, Aix-en-Provence Compostela. and Florence.

Other highlights of his career include Siegfried As well as opera, Dietrich Henschel is equally in Götterdämmerung in Paris under Christoph at home in concert and recital. He regularly Eschenbach; Erik in Der fliegende Holländer in appears with internationally renowned Munich and at the Edinburgh International orchestras including the Orchestre de Festival; Steva in Jenůfa in Madrid; Pollione Paris and the London Symphony, Berlin in Norma in Paris; Don José in Carmen at the Philharmonic, Vienna Philharmonic and Baden-Baden Festival, Zurich Opera and as new Royal Concertgebouw orchestras. Conductors productions at the Paris Bastille Opera and in with whom he has worked include Nikolaus Hamburg; Pylades in Iphigénie en Tauride in Harnoncourt, Sir John Eliot Gardiner, Marek Barcelona; Mahler’s Symphony No. 8 and Das Janowski, Christoph Eschenbach, Kent Nagano Lied von der Erde under Christoph Eschenbach and Zubin Mehta. He also gives Lieder recitals in Paris; Jimmy Mahoney in Mahagonny with partners including Fritz Schwinghammer, in Toulouse, Grigori in Boris Godunov and Helmut Deutsch, Michael Schaefer and Steven Bacchus in Ariadne auf Naxos in Valencia; as Osborne. well as Mahler’s Symphony No. 8 in Rome and Frankfurt and Beethoven’s Symphony No. 9 in His wide discography includes Lieder by Vienna and Rome. Schubert, Wolf, and Mahler; Schoenberg’s Die Jakobsleiter; Haydn’s The Creation and Busoni’s Doktor Faust.

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The London Philharmonic Orchestra is May each year. In summer, the Orchestra one of the world’s great orchestras with a moves to Sussex where it has been Resident at reputation secured by its performances in Glyndebourne Festival Opera for over 40 years. the concert hall and opera house, its many The Orchestra also performs at venues around award-winning recordings, its trail-blazing the UK and has made numerous tours to international tours and its pioneering America, Europe and Japan, and visited India, education work. Distinguished conductors Hong Kong, China, South Korea, Australia, who have held positions with the Orchestra South Africa, Oman and Abu Dhabi. since its foundation in 1932 by Sir Thomas Beecham include Sir Adrian Boult, Sir John The London Philharmonic Orchestra made its Pritchard, Bernard Haitink, Sir Georg Solti, first recordings on 10 October 1932, just three Klaus Tennstedt, Franz Welser-Möst and Kurt days after its first public performance. It has Masur. Vladimir Jurowski was appointed the recorded and broadcast regularly ever since, Orchestra’s Principal Guest Conductor in and in 2005 established its own record label. March 2003 and became Principal Conductor These recordings are taken mainly from live in September 2007. The London Philharmonic concerts given by conductors including LPO Orchestra has been resident symphony Principal Conductors from Beecham and Boult, orchestra at Southbank Centre’s Royal Festival through Haitink, Solti and Tennstedt, to Masur Hall since 1992 and there it presents its main and Jurowski. series of concerts between September and lpo.org.uk © Patrick Harrison © Patrick

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The London Philharmonic Choir was founded Boulez, Sir Mark Elder, Sir John Eliot Gardiner, in 1947 as the chorus for the London Bernard Haitink, Vladimir Jurowski, Kurt Masur, Philharmonic Orchestra. It is widely regarded Sir Roger Norrington, Sir Simon Rattle, Klaus as one of Britain’s finest choirs and consistently Tennstedt and Sir Georg Solti. meets with critical acclaim. Performing regularly with the London Philharmonic The London Philharmonic Choir has made Orchestra, the London Philharmonic Choir numerous recordings for CD, radio and also works with many other orchestras television. The Choir often travels overseas and throughout the United Kingdom and makes in recent years it has given concerts in many annual appearances at the BBC Proms. It has European countries, Hong Kong, Malaysia and performed under some of the world’s most Australia. eminent conductors – among them Pierre © Patrick Harrison © Patrick

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For more information or to purchase CDs telephone +44 (0)20 7840 4242 or visit lpo.org.uk/shop LPO-0049 LPO-0045 LPO-0026 ‘The playing from the London ‘A German Requiem that doesn’t ‘Tennstedt draws a fire from the Philharmonic is superb. Highly rush and achieves a remarkable strings that is both inexorable recommended.’ inwardness ... I found so many and euphoric.’ The Scotsman Musicweb International things to enjoy.’ Gramophone LPO-0051 LPO-0010 LPO-0058 ‘This meld of orchestra, chorus ‘Masur balances the pace of the ‘The Fourth Symphony is full of and soloists is moving and work masterfully and inspires charm and tactile invention, magnificent.’ The Independent fabulous playing from the vividly realised in this live orchestra.’ The Independent recording.’ The Sunday Times

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LUDWIG van beethoven (1770–1827)

80:22 Missa Solemnis

01 10:01 Kyrie 02 17:08 Gloria 03 19:46 Credo 04 16:56 Sanctus 05 16:30 Agnus Dei

christoph eschenbach conductor anne schwanewilms soprano annette jahns mezzo soprano Nikolai schukoff tenor DIETRICH HENSCHEL bass london philharmonic orchestra and CHOIR pieter Schoeman leader Neville Creed chorus master

Recorded live at Southbank Centre’s ROYAL FESTIVAL HALL, London

LPO – 0061

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