Sunday, November 12, 2017, at 3:00 pm Pre-concert lecture by Andrew Shenton at 1:45 pm in the Stanley H. Kaplan Penthouse Missa Solemnis Swedish Chamber Orchestra Thomas Dausgaard , Conductor Malin Christensson , Soprano Kristina Hammarström , Mezzo-Soprano Michael Weinius , Tenor Josef Wagner , Bass Swedish Radio Choir Peter Dijkstra , Choral Director BEETHOVEN Mass in D major, Op. 123 (“Missa solemnis”) (1819–23) Kyrie Gloria Credo Sanctus Agnus Dei This program is approximately 80 minutes long and will be performed without intermission. This performance is also part of Great Performers. This program is supported by the Leon Levy Fund for Symphonic Masters. Symphonic Masters is made possible in part by endowment support from UBS. This performance is made possible in part by the Josie Robertson Fund for Lincoln Center. David Geffen Hall Please make certain all your electronic devices are switched off. WhiteLightFestival.org Support for Great Performers is provided by Rita E. UPCOMING WHITE LIGHT FESTIVAL EVENTS: and Gustave M. Hauser, Audrey Love Charitable Foundation, Great Performers Circle, Chairman’s Tuesday, November 14 at 7:30 pm at Church of St. Council, and Friends of Lincoln Center. Mary the Virgin Swedish Radio Choir Public support is provided by the New York State Peter Dijkstra , conductor Council on the Arts with the support of Governor MAIJA EINFELDE: Lux aeterna Andrew M. Cuomo and the New York State SVEN-DAVID SANDSTRÖM: En ny himmel och en Legislature. ny jord Endowment support for Symphonic Masters is ANDERS HILLBORG: Mouyayoum provided by the Leon Levy Fund. SCHNITTKE: Concerto for Choir Endowment support is also provided by UBS. Wednesday, November 15 at 7:30 pm in the Rose American Airlines is the Official Airline of Lincoln Theater Center The Routes of Slavery Nespresso is the Official Coffee of Lincoln Center Jordi Savall , director John Douglas Thompson , narrator NewYork-Presbyterian is the Official Hospital of Hespèrion XXI Lincoln Center La Capella Reial de Catalunya Artist Catering provided by Zabar’s and Zabars.com The Fairfield Four Jordi Savall and international artists representing Europe, Africa, and the Americas explore the extra - ordinary resilience of the human spirit. Pre-concert talk with Jordi Savall and Ara Guzelimian at 6:15 pm in the Agnes Varis and Karl Leichtman Studio For tickets, call (212) 721-6500 or visit WhiteLightFestival.org. Call the Lincoln Center Info Request Line at (212) 875-5766 to learn about pro - gram cancellations or to request a White Light Festival brochure. Visit WhiteLightFestival.org for full festival list - ings. Join the conversation: #WhiteLightFestival We would like to remind you that the sound of coughing and rustling paper might distract the performers and your fellow audience members. In consideration of the performing artists and members of the audience, those who must leave before the end of the performance are asked to do so between pieces. The taking of photographs and the use of recording equipment are not allowed in the building. Snapshot By Christopher H. Gibbs In 1822 Beethoven stated that his Mass in D major (“Missa solemnis”) was the “greatest work I have composed so far.” Even allowing for the fact that he was pitching the piece to a publisher and that by this late point in his career he had not yet composed his Ninth Symphony and late string quartets, his declaration deserves to be taken seriously. The Missa solemnis is Beethoven’s largest and longest composition (not counting the opera Fidelio ), yet at the same time is one of his most intimate and personal. He inscribed the opening of the Kyrie movement with the words: “From the heart—may it again—go to the heart!” The work came at a crucial juncture in Beethoven’s life: As the aging and deaf composer increasingly withdrew from society, he created a musical testimony that is a supreme expression of personal belief. —Copyright © 2017 by Christopher H. Gibbs WhiteLightFestival.org Notes on the Program the concert hall was transformed into a church, and the Mass into a concert piece.” By Christopher H. Gibbs Perhaps Beethoven recognized some of the greatness of the Missa solemnis in his Mass in D major, Op. 123 (“Missa solem - hard-won ability to combine so much of nis”) (1819–23) music history, so much of the sacred and LUDWIG VAN BEETHOVEN the secular, all the while expressing his Born December 16, 1770, in Bonn, Germany spiritual beliefs: “My primary goal in com - Died March 26, 1827, in Vienna posing this grand Mass was to awaken and permanently instill religious feelings in both Approximate length: 80 minutes the singers and listeners.” The initial impetus for Beethoven to com - The composer’s own religious feelings are pose the Missa solemnis was personal. not easy to characterize. Although he was Archduke Rudolph, son of Emperor exposed to a considerable amount of Leopold II, was his student and foremost Catholic sacred music during his youth in patron. Early in 1819, Pope Pius VII made his native Bonn and often participated as the archduke a Cardinal and then an organist in services, there is no indica - announced that he would become tion that he later supported any organized Archbishop of Olmütz (now in the Czech religion. He sought rather to create his Republic). In a letter of congratulations, own combination of sacred systems, spiri - Beethoven promised to compose a Mass tuality, and morality—what biographer “so that my poor talents may contribute to Maynard Solomon has called his “quest for the glorification of that solemn day.” But faith.” We find frequent entreaties, the composer had set himself an impossi - prayers, and expressions of thanks to God ble deadline, especially as the scope of the scattered in his sketches, manuscripts, let - work grew and other commitments, ters, and diaries. We even know some of together with health problems, distracted the relevant materials he read, which him. The Mass ultimately took some four included books on Eastern religious years to complete and the first perfor - thought. Classical antiquity also attracted mance occurred in distant St. Petersburg. him; he noted that “Socrates and Jesus Beethoven himself only heard (to the very have been my models.” Beethoven did not limited extent he could hear anything at all compose a large quantity of religious at this late point in his life) three move - music—principally some songs, an orato - ments that were performed in May 1824, rio, and an earlier Mass. And yet many of the occasion on which his Ninth Symphony his compositions strike listeners as “spiri - premiered. tual,” such as the exquisite slow move - ment of his late String Quartet in A minor, In the Missa solemnis, Beethoven Op. 132, which he labelled “Song of attempted to reconcile conventional Thanksgiving to the Deity on Recovery Christian views and Enlightenment rational - from Illness.” ism with more personal spiritual impulses. Even though he initially conceived it for The Missa solemnis unfolds in the five Archduke Rudolph’s installation ceremony, movements of the Mass Ordinary, those in he merged features associated with the which the words are the same at every traditional church Mass and music for the service. The opening Kyrie has the short - concert hall. The length of the work alone est text and is the only part in Greek rather virtually precludes its liturgical use. As than Latin. Beethoven’s music for this sim - music historian Carl Dahlhaus remarked, ple threefold plea for mercy is restrained “With the composition of a concert Mass, and reverent, presented by the full orches - tra, four vocal soloists, and chorus. ends with a monumental double fugue “Et Beethoven sought ways to unify the entire vitam venturi.” Mass through various musical ideas first presented in the Kyrie that reappear later. The initial celebratory words of the Sanctus derive from ancient Jewish rites The next two movements (Gloria and (Isaiah 6:3) and are followed by the serene Credo) have many more words and there - Benedictus (Matthew 21:9). These parts fore call for greater proportions and more invite contrasting musical treatment. The rapid declamation. Each one, subdivided tempo increases for the sections within into smaller sections, lasts more than 15 the Sanctus, from adagio , to allegro minutes. The Gloria, a long hymn of praise, pesante , to presto . In many Masses, this is is particularly joyous. After a lyrical middle the point in the service when the section (“Gratias agimus tibi”), the fervor Consecration and Elevation of the Host mounts to the end. Beethoven includes an occurs, often accompanied by organ expected fugue (“in gloria Dei Patris. improvisation. Beethoven adapts this tradi - Amen”), and then surprisingly returns to tion by inserting an instrumental the opening word, “Gloria.” The Credo— “Praeludium” with an ethereal violin solo. the Nicene Creed from the fourth cen - The final Agnus Dei alternates between tury—offers a recital of belief. Beethoven’s themes of peace and war. Beethoven mighty opening testifies to an emphatic conviction. He uses an imposing four-note headed the movement with the inscrip - motif, first intoned by the basses at the tion: “Prayer for inner and outer peace” opening, which returns at critical junctures and his music shows the struggle to and serves to support the larger architec - achieve this state. The drumrolls and mili - tural scaffolding. This allows for a variety of tary fanfares that evoke battle initially con - moods that reflect the meaning of the fused and upset some critics, who found words, which can be quite graphic. A solo the section inappropriately operatic, flute suggests the sounds of a dove, repre - although eventually peace triumphs. senting the Holy Ghost, in the “Et incarna - tus est.” The “Et resurrexit” is one of the Christopher H.