Beethoven Mass in C (1807) Ludwig Van Beethoven (1770–1827) Masses from 1804 to 1806
Total Page：16
File Type：pdf, Size：1020Kb
LSO Live LSO Live LSO Live captures exceptional performances from the finest musicians using the latest high-density recording technology. The result? Sensational sound quality and definitive interpretations combined with the energy and emotion that you can only experience live in the concert hall. LSO Live lets everyone, everywhere, feel the excitement in the world’s greatest music. For more information visit lso.co.uk Beethoven LSO Live témoigne de concerts d’exception, donnés par les musiciens les plus remarquables et restitués grâce aux techniques les plus modernes de Mass in C l’enregistrement haute-définition. La qualité sonore impressionnante entourant Sir Colin Davis ces interprétations d’anthologie se double de l’énergie et de l’émotion que seuls les concerts en direct peuvent offrit. LSO Live permet à chacun, en toute Sally Matthews circonstance, de vivre cette passion intense au travers des plus grandes oeuvres Sara Mingardo du répertoire. Pour plus d’informations, rendez-vous sur le site lso.co.uk John Mark Ainsley LSO Live fängt unter Einsatz der neuesten High-Density Aufnahmetechnik Alastair Miles außerordentliche Darbietungen der besten Musiker ein. Das Ergebnis? London Symphony Chorus Sensationelle Klangqualität und maßgebliche Interpretationen, gepaart mit der Energie und Gefühlstiefe, die man nur live im Konzertsaal erleben kann. London Symphony Orchestra LSO Live lässt jedermann an der aufregendsten, herrlichsten Musik dieser Welt teilhaben. Wenn Sie mehr erfahren möchten, schauen Sie bei uns herein: lso.co.uk LSO0594 Beethoven Mass in C (1807) Ludwig van Beethoven (1770–1827) masses from 1804 to 1806. Why Beethoven was asked Mass in C major, Op 86 (1807) in 1807 is unclear, but we may surmise that, as Vienna’s Sir Colin Davis London Symphony Orchestra most famous and exciting composer (recently unveiled Sally Matthews soprano Sara Mingardo alto John Mark Ainsley tenor Compared to Haydn, Mozart and Schubert, Beethoven works included the Fourth Symphony, Fourth Piano Alastair Miles bass London Symphony Chorus wrote little music for the church, his output running to Concerto and Violin Concerto), he was perhaps the precisely two masses for chorus and orchestra: the target of an ’only-the-best-will-do’ policy. Mass in C, composed when he was in his late thirties; and the great Missa solemnis, completed some 16 years Keen as Beethoven must have been to try his hand later. Partly this was a result of a general decline in at sacred music, it was with some trepidation that he Mass in C * interest in church music in Vienna during the first years accepted the commission, since, as he told the Prince, 1 Kyrie 5’40’’ of the nineteenth century – the legacy of Emperor ’you are accustomed to have the inimitable masterpieces Joseph II’s streamlining reforms of the 1780s – but of the great Haydn performed for you.’ Alas, his doubts 2 Gloria 10’13’’ another major factor was undoubtedly Beethoven’s were justified, for when the Mass was performed on 3 Credo 11’20’’ own attitude to religion. Brought up in an atmosphere 13 September it did not go down well. If the Prince’s 4 Sanctus 3’34’’ of enlightenment-tinged, tolerant Catholicism, he was post-performance comment – ’But my dear Beethoven, a firm believer, but one with little time for organised what is this you have done now?’ – is in the least 5 Benedictus 7’39’’ religious observance. For Beethoven, the Creator was ambiguous, the same cannot be said for the remarks 6 Agnus Dei 7’46’’ the omnipotent but benevolent figure described in he made in a letter to a friend: ’Beethoven’s music is Schiller’s words in the finale of the Ninth Symphony – unbearably ridiculous and detestable’. The experiment ’above the canopy of the stars there must dwell a dear was not repeated. Beethoven returned to Vienna in high 7 Prisoners’ Chorus (‘O welche Lust!’) from Fidelio ** 8’05’’ Father’ – and when he prayed to this God it was on a dudgeon, and the following year the job of writing the one-to-one basis, with no need for the intermediary Princess’s name-day Mass was restored to Hummel. of the church. Total time 54’20’’ What is it that can have so upset the Prince? To modern Beethoven, then, had little contact with the liturgy, either ears – especially those familiar with the Missa solemnis – as a worshipper or (with the exception of his early years it does not seem so very provocative. Yet writing some deputising at the organ in services at the Bonn court) time later to a potential publisher, Beethoven claimed Recorded live on *26 February 2006, and **23 and 25 May 2006, at the Barbican, London. as a musician. But in 1807 came a commission from that in the Mass in C he had ’treated the text in a manner one of Austria’s few remaining regular outlets for new in which it has rarely been treated’, and it is true that, Complete recording of Beethoven Fidelio available on LSO0593 (2SACD) large-scale church music. Prince Nikolaus Esterházy II, while he undoubtedly looked to Haydn’s masses as head of one of Europe’s wealthiest aristocratic families, models, there is in Beethoven’s example an air of Daniele Quilleri casting consultant had for the last decade been in the habit of having a restraint which Nikolaus might have found perplexing. brand new mass performed every year at his palace at Indeed, after the radiant celebratory optimism and James Mallinson producer Eisenstadt, 25 miles south-east of Vienna, on the occasion colour of Haydn’s masses, the relative plainness of the Classic Sound Ltd recording, editing and mastering facilities of the name-day of his wife, Princess Marie Hermenegild. Beethoven may have seemed downright perverse. Jonathan Stokes and Neil Hutchinson At first they were supplied by the Esterházys’ long- for Classic Sound Ltd balance engineers standing Kapellmeister (and one-time teacher of The prevailing mood of the Mass is set by the Kyrie, for Ian Watson and Jenni Whiteside Beethoven) Joseph Haydn, who produced six of his Beethoven an expression of ’inner submission, the true for Classic Sound Ltd audio editors greatest mass settings between 1796 and 1802. After inwardness of religious feeling’. The clear-cut A-B-A the septuagenarian Haydn gave up composing, the task structure of the text is mirrored in the music, which Hybrid–SACD Compatible with all CD players. Includes high Includes multi-channel 5.1 and stereo mixes density stereo and surround tracks that can be read by SACD fell to his deputies Johann Nepomuk Fuchs and Johann swells gradually from the opening intonation by Cover photography © John Ross players. SACD, DSD and their logos are trademarks of Sony. Nepomuk Hummel, who between them provided the unaccompanied choral basses until it reaches ’Christe 3 Beethoven Mass in C (1807) Ludwig van Beethoven (1770–1827) masses from 1804 to 1806. Why Beethoven was asked Mass in C major, Op 86 (1807) in 1807 is unclear, but we may surmise that, as Vienna’s Sir Colin Davis London Symphony Orchestra most famous and exciting composer (recently unveiled Sally Matthews soprano Sara Mingardo alto John Mark Ainsley tenor Compared to Haydn, Mozart and Schubert, Beethoven works included the Fourth Symphony, Fourth Piano Alastair Miles bass London Symphony Chorus wrote little music for the church, his output running to Concerto and Violin Concerto), he was perhaps the precisely two masses for chorus and orchestra: the target of an ’only-the-best-will-do’ policy. Mass in C, composed when he was in his late thirties; and the great Missa solemnis, completed some 16 years Keen as Beethoven must have been to try his hand later. Partly this was a result of a general decline in at sacred music, it was with some trepidation that he Mass in C * interest in church music in Vienna during the first years accepted the commission, since, as he told the Prince, 1 Kyrie 5’40’’ of the nineteenth century – the legacy of Emperor ’you are accustomed to have the inimitable masterpieces Joseph II’s streamlining reforms of the 1780s – but of the great Haydn performed for you.’ Alas, his doubts 2 Gloria 10’13’’ another major factor was undoubtedly Beethoven’s were justified, for when the Mass was performed on 3 Credo 11’20’’ own attitude to religion. Brought up in an atmosphere 13 September it did not go down well. If the Prince’s 4 Sanctus 3’34’’ of enlightenment-tinged, tolerant Catholicism, he was post-performance comment – ’But my dear Beethoven, a firm believer, but one with little time for organised what is this you have done now?’ – is in the least 5 Benedictus 7’39’’ religious observance. For Beethoven, the Creator was ambiguous, the same cannot be said for the remarks 6 Agnus Dei 7’46’’ the omnipotent but benevolent figure described in he made in a letter to a friend: ’Beethoven’s music is Schiller’s words in the finale of the Ninth Symphony – unbearably ridiculous and detestable’. The experiment ’above the canopy of the stars there must dwell a dear was not repeated. Beethoven returned to Vienna in high 7 Prisoners’ Chorus (‘O welche Lust!’) from Fidelio ** 8’05’’ Father’ – and when he prayed to this God it was on a dudgeon, and the following year the job of writing the one-to-one basis, with no need for the intermediary Princess’s name-day Mass was restored to Hummel. of the church. Total time 54’20’’ What is it that can have so upset the Prince? To modern Beethoven, then, had little contact with the liturgy, either ears – especially those familiar with the Missa solemnis – as a worshipper or (with the exception of his early years it does not seem so very provocative.