- published: 15 Jul 2016
- views: 650484
Missa solemnis
Missa solemnis is Latin for solemn mass, and is a genre of musical settings of the ordinary mass, which are festively scored and render the Latin text extensively, opposed to the more modest Missa brevis. In French, the genre is "Messe solennelle". The terms came into use in the classical period.
When "Missa solemnis" is used as a name, without referring to a composer, Beethoven's work is generally implied. Some of the greatest compositions in the genre have unique common names other than "Missa solemnis"—namely, Bach's Mass in B minor and Mozart's Great Mass in C minor. Some works are solemn settings in proportion and scoring, but are not called a "Missa solemnis", for example several late settings of both Haydn and Schubert, and three settings by Anton Bruckner.
Masses named "Missa solemnis" by well-known composers include:
This page contains text from Wikipedia, the Free Encyclopedia - https://wn.com/Missa_solemnis
Missa solemnis (Beethoven)
The Mass in D major, Op. 123 "Missa solemnis", was composed by Ludwig van Beethoven from 1819 to 1823. It was first performed on 7 April 1824 in St. Petersburg, Russia, under the auspices of Beethoven's patron Prince Nikolai Galitzin; an incomplete performance was given in Vienna on 7 May 1824, when the Kyrie, Credo, and Agnus Dei were conducted by the composer. It is generally considered one of the composer's supreme achievements and, along with Bach's Mass in B minor, one of the most significant Mass settings of the common practice period.
Despite critical recognition as one of Beethoven's great works from the height of his composing career, Missa solemnis has not achieved the same level of popular attention that many of his symphonies and sonatas have enjoyed. Written around the same time as his Ninth Symphony, it is Beethoven's second setting of the Mass, after his Mass in C, Op. 86.
The Mass is scored for 2 flutes; 2 oboes, 2 clarinets (in A, C, and B♭); 2 bassoons; contrabassoon; 4 horns (in D, E♭, B♭ basso, E, and G); 2 trumpets (D, B♭, and C); alto, tenor, and bass trombone; timpani; organ continuo; strings (violins I and II, violas, cellos, and basses); soprano, alto, tenor, and bass soloists; and mixed choir.
This page contains text from Wikipedia, the Free Encyclopedia - https://wn.com/Missa_solemnis_(Beethoven)
Great Mass in C minor, K. 427
Great Mass in C minor (German: Große Messe in c-Moll), K. 427/417a, is the common name of the last musical setting of the mass by Wolfgang Amadeus Mozart (not counting his Requiem Mass left unfinished at his death). He composed it in Vienna in 1782 and 1783, when he was no longer a church musician of the Salzburg Cathedral. The large-scale work, a missa solemnis, is scored for two soprano soloists, a tenor and a bass, double chorus and large orchestra. It remained unfinished, missing large portions of the Credo and the complete Agnus Dei.
Composition and first performance
The work was composed during 1782/83. In a letter to his father Leopold dated 4 January 1783, Mozart mentioned a vow he had made to write a mass when he would bring his then fiancée Constanze as his wife to Salzburg; Constanze then sang the "Et incarnatus est" at its premiere.
The first performance took place in Salzburg on 26 October 1783. Mozart had moved to Vienna in 1781, but was paying a visit to his home town in the company of Constanze, who had not yet met his father or his sister (Nannerl).
This page contains text from Wikipedia, the Free Encyclopedia - https://wn.com/Great_Mass_in_C_minor,_K._427
Podcasts:
Missa Solemnis
ALBUMS
- Misa solemnis released:
-
Beethoven: Missa solemnis ∙ hr-Sinfonieorchester ∙ Wiener Singverein ∙ Andrés Orozco-Estrada
Ludwig van Beethoven: Missa solemnis ∙ I. Kyrie – Assai sostenuto. Mit Andacht 0:0:00 ∙ II. Gloria – Allegro vivace 0:10:08 ∙ III. Credo – Allegro ma non troppo 0:28:36 ∙ IV. Sanctus – Adagio. Mit Andacht 0:47:46 ∙ V. Agnus Dei – Adagio 1:04:25 ∙ hr-Sinfonieorchester – Frankfurt Radio Symphony ∙ Regine Hangler, Sopran ∙ Katrin Wundsam, Alt ∙ Steve Davislim, Tenor ∙ Hanno Müller-Brachmann, Bass ∙ Wiener Singverein ∙ Einstudierung: Johannes Prinz ∙ Andrés Orozco-Estrada, Dirigent ∙ Rheingau Musik Festival 2016 ∙ Kloster Eberbach, 1. Juli 2016 ∙ Website: http://www.hr-sinfonieorchester.de Facebook: http://www.facebook.com/hrsinfonieorchester
published: 15 Jul 2016 -
Beethoven: Missa solemnis | Fabio Luisi, Staatskapelle Dresden, Chorus of the Sächsische Staatsoper
A solemn mass with a symbolic character: The Frauenkirche in Dresden hosted its first public concert to mark its reopening on November 4, 2005. The program included Beethoven’s Missa solemnis, performed by the Staatskapelle Dresden and the Chorus of the Sächsische Staatsoper Dresden, conducted by Fabio Luisi. The soloists were Camilla Nylund, Birgit Remmert, Christian Elsner and René Pape. (00:00) Intro (01:12) Kyrie (11:04) Gloria (29:00) Credo (49:10) Sanctus (1:05:34) Agnus Dei Participants: Camilla Nylund | SOPRANO Birgit Remmert | ALTO Christian Elsner |TENOR René Pape | BASS Chorus of the Saxon State Opera Dresden Matthias Brauer | CHORUS MASTER Dresden State Orchestra Fabio Luisi | CONDUCTOR The Frauenkirche (Church of Our Lady) with its high dome visible from afar is considered ...
published: 30 Oct 2022 -
Missa Solemnis - L. v. Beethoven (Complete) Full Concert
Missa Solemnis - L. v. Beethoven (Complete) "Full Concert" The Missa solemnis in D Major, Op. 123 was composed by Ludwig van Beethoven from 1819-1823. It was first performed on April 7, 1824 in St. Petersburg, under the auspices of Beethoven's patron Prince Nikolai Galitzin; an incomplete performance was given in Vienna on 7 May 1824, when the Kyrie, Credo, and Agnus Dei were conducted by the composer. It is generally considered to be one of the composer's supreme achievements. Together with Bach's Mass in B Minor, it is the most significant mass setting of the common practice period. Despite critical recognition as one of Beethoven's great works from the height of his composing career, Missa solemnis has not achieved the same level of popular attention that many of his symphonies and sona...
published: 26 Apr 2012 -
Beethoven - Missa Solemnis / New Mastering + P° (Century's recording: Herbert Von Karajan 1975)
❤️ If you like CM//RR content, please consider membership at our Patreon page. Thank you :) https://www.patreon.com/cmrr Ludwig Van Beethoven (1770-1827) - Missa Solemnis Op.123 . Click to activate the English subtitles for the presentation (00:00-07:50) KYRIE (00:00) GLORIA I.Gloria in excelsis Deo (10:35) II.Qui tollis peccata mundi (15:50) III.Quoniam tu solus sanctus (20:59) CREDO I.Credo in unum Deum (28:04) II.Et incarnatus est (33:02) III.Et resurrexit (39:04) SANCTUS (50:16) BENEDICTUS (54:00) Solo Violin : Thomas Brandis AGNUS DEI I.Agnus Dei (1:07:42) II.Dona nobis pacem (1:14:46) Sopran : Gundula Janowitz Alt : Agnes Baltsa Tenor : Peter Schreier Bass : José Van Dam Singverein der Gesellschaft der Musikfreunde Wien Chorus Master : Helmuth Froschauer Berliner Philharmoniker...
published: 19 Sep 2020 -
Beethoven: Missa Solemnis (Benedictus)
Royal Concertgebouw Orchestra, Conductor Nikolaus Harnoncourt
published: 06 Oct 2013 -
Beethoven - Missa Solemnis Op. 123 (Score)
🎵 Please consider subscribing for more score videos! Together with Bach’s colossal B minor Mass, Beethoven’s Missa Solemnis is generally considered one of the most influential and astounding Mass settings ever written. It’s also famous for being the piece Beethoven is writing in his famous Joseph Karl Stieler portrait. Taking around four years to finish in its entirety, the Missa Solemnis was first performed in St. Petersburg in 1824 – in the same concert as his 9th Symphony, famous for its Ode to Joy finale, was also performed. In fact, there are some noticeable similarities, in that both are of similar length, in the same key, and are written for a huge orchestra with choir and four solo singers. 0:00:00 1. Kyrie 0:09:34 2. Gloria 0:28:10 3. Credo 0:48:25 4. Sanctus 1:05:42 5. Agnus ...
published: 15 May 2020 -
Beethoven: Missa solemnis in D major, op. 123 | Christian Thielemann & Staatskapelle Dresden
__ 01:25 - Beethoven: Missa solemnis in D major, op. 123 Krassimira Stoyanova | Mezzo-soprano Elina Garanča | Mezzo-soprano Michael Schade | Tenor Franz-Josef Selig | Bass Staatskapelle Dresden Conducted by Christian Thielemann __ Classic Archive, 2020
published: 12 May 2020 -
Beethoven Missa Solemnis Gardiner/NDRSO&Choir/Monteverdi Choir
LÜBECK1994 Soloists: Luba Orgonasova soprano Carherine Robbin mezzo-soprano Anthony Rolfe Johnson tenor Alastair Miles bass
published: 15 Apr 2018 -
Missa solemnis Beethoven Op 123 Leonard Bernstein & Concertgebouworkest Amsterdam Español
Ludwig van Beethoven (1770-1827): Missa Solemnis in D major, op.123 Subtítulos en Español I. Kyrie II. Gloria III. Credo IV. Sanctus V. Agnus Dei Edda Moser, soprano Hanna Schwarz, mezzo-soprano René Kollo, tenor Kurt Moll, bass Grosser Rundfunkchor Hilversum N.O.S. Concertgebouworkest Amsterdam Leonard Bernstein
published: 10 Oct 2016 -
Beethoven: Missa solemnis | Kent Nagano and Concerto Köln
Beethoven's “Missa solemnis” under the baton of star conductor Kent Nagano was an extraordinary concert, performed on October 29, 2021 in the magnificent setting of Cologne Cathedral. Valentina Farcas - soprano Rachel Frenkel - mezzo-soprano Werner Güra - tenor Andreas Wolf - bass Cologne Cathedral Vocal Ensemble Eberhard Metternich - preparation Concerto Köln Kent Nagano - conductor Andrès Verdaguer - sound director Ludwig van Beethoven (1770 - 1827) Mass for four soloists, choir, full orchestra and organ in D major, Op. 123 (“Missa solemnis”), (1819 - 23) (00:00) Opening credits (01:03) Kyrie: Assai sostenuto: With devotion (10:03) Gloria: Allegro vivace (26:27) Credo: Allegro ma non troppo (43:43) Sanctus: Adagio. With devotion (57:42) Agnus Dei: Adagio Ludwig van Beethoven’s “M...
published: 05 Feb 2022
developed with YouTube
1:22:38
Beethoven: Missa solemnis ∙ hr-Sinfonieorchester ∙ Wiener Singverein ∙ Andrés Orozco-Estrada
- Order: Reorder
- Duration: 1:22:38
- Uploaded Date: 15 Jul 2016
- views: 650484
Ludwig van Beethoven:
Missa solemnis ∙
I. Kyrie – Assai sostenuto. Mit Andacht 0:0:00 ∙
II. Gloria – Allegro vivace 0:10:08 ∙
III. Credo – Allegro ma non t...
Ludwig van Beethoven:
Missa solemnis ∙
I. Kyrie – Assai sostenuto. Mit Andacht 0:0:00 ∙
II. Gloria – Allegro vivace 0:10:08 ∙
III. Credo – Allegro ma non troppo 0:28:36 ∙
IV. Sanctus – Adagio. Mit Andacht 0:47:46 ∙
V. Agnus Dei – Adagio 1:04:25 ∙
hr-Sinfonieorchester – Frankfurt Radio Symphony ∙
Regine Hangler, Sopran ∙
Katrin Wundsam, Alt ∙
Steve Davislim, Tenor ∙
Hanno Müller-Brachmann, Bass ∙
Wiener Singverein ∙
Einstudierung: Johannes Prinz ∙
Andrés Orozco-Estrada, Dirigent ∙
Rheingau Musik Festival 2016 ∙
Kloster Eberbach, 1. Juli 2016 ∙
Website: http://www.hr-sinfonieorchester.de
Facebook: http://www.facebook.com/hrsinfonieorchester
https://wn.com/Beethoven_Missa_Solemnis_∙_Hr_Sinfonieorchester_∙_Wiener_Singverein_∙_Andrés_Orozco_Estrada
Ludwig van Beethoven:
Missa solemnis ∙
I. Kyrie – Assai sostenuto. Mit Andacht 0:0:00 ∙
II. Gloria – Allegro vivace 0:10:08 ∙
III. Credo – Allegro ma non troppo 0:28:36 ∙
IV. Sanctus – Adagio. Mit Andacht 0:47:46 ∙
V. Agnus Dei – Adagio 1:04:25 ∙
hr-Sinfonieorchester – Frankfurt Radio Symphony ∙
Regine Hangler, Sopran ∙
Katrin Wundsam, Alt ∙
Steve Davislim, Tenor ∙
Hanno Müller-Brachmann, Bass ∙
Wiener Singverein ∙
Einstudierung: Johannes Prinz ∙
Andrés Orozco-Estrada, Dirigent ∙
Rheingau Musik Festival 2016 ∙
Kloster Eberbach, 1. Juli 2016 ∙
Website: http://www.hr-sinfonieorchester.de
Facebook: http://www.facebook.com/hrsinfonieorchester
1:22:32
Beethoven: Missa solemnis | Fabio Luisi, Staatskapelle Dresden, Chorus of the Sächsische Staatsoper
- Order: Reorder
- Duration: 1:22:32
- Uploaded Date: 30 Oct 2022
- views: 327226
A solemn mass with a symbolic character: The Frauenkirche in Dresden hosted its first public concert to mark its reopening on November 4, 2005. The program incl...
A solemn mass with a symbolic character: The Frauenkirche in Dresden hosted its first public concert to mark its reopening on November 4, 2005. The program included Beethoven’s Missa solemnis, performed by the Staatskapelle Dresden and the Chorus of the Sächsische Staatsoper Dresden, conducted by Fabio Luisi. The soloists were Camilla Nylund, Birgit Remmert, Christian Elsner and René Pape.
(00:00) Intro
(01:12) Kyrie
(11:04) Gloria
(29:00) Credo
(49:10) Sanctus
(1:05:34) Agnus Dei
Participants:
Camilla Nylund | SOPRANO
Birgit Remmert | ALTO
Christian Elsner |TENOR
René Pape | BASS
Chorus of the Saxon State Opera Dresden
Matthias Brauer | CHORUS MASTER
Dresden State Orchestra
Fabio Luisi | CONDUCTOR
The Frauenkirche (Church of Our Lady) with its high dome visible from afar is considered the landmark of the city of Dresden in Saxony. In the Second World War, this striking church was destroyed by bombs in February 1945 and existed for decades only as a ruin. From 1993 to 2005 it was rebuilt using the remaining rubble. Its reconstruction is a symbol of hope and reconciliation – and the magnificent church building with its unique blend of old and new bricks is intended to keep the memory of history alive.
A work as festive as it is grand was chosen for the reopening concert. The Missa solemnis by Ludwig van Beethoven (1770 - 1827). The ‘Solemn Mass’ is considered one of the composer’s most important works, and Beethoven himself even called it his greatest work on several occasions. The Mass for four soloists, choir, orchestra and orgue in D major, Op. 123 was composed between 1819 and 1823, after Beethoven had already studied in detail the Latin text of the Mass and its various settings by other composers. The Missa solemnis reflects Beethoven’s struggle with religion and has a clearly confessional character. The individual parts of the mass are divided into five major compositional sections, giving the ‘Great Mass’ an almost symphonic aspect. This famous piece of church music demands a great deal from the vocal soloists, the choir and the large orchestra.
Beethoven’s Missa solemnis at the official reopening concert of Dresden’s Frauenkirche in 2005: Experience a moving concert at a location with an eventful history.
A Production of ZDF
In Cooperation with EuroArts Music International & ARTE
© 2005 EuroArts
Watch more concerts in your personal concert hall: https://www.youtube.com/playlistlist=PL_SdnzPd3eBV5A14dyRWy1KSkwcG8LEey
and in our Beethoven playlist:
https://www.youtube.com/playlist?list=PL_SdnzPd3eBWcX1eOXH-w75x-_-7gRF-w
Subscribe to DW Classical Music:
https://www.youtube.com/dwclassicalmusic
#LudwigvanBeethoven #MissaSolemnis #churchmusic
https://wn.com/Beethoven_Missa_Solemnis_|_Fabio_Luisi,_Staatskapelle_Dresden,_Chorus_Of_The_Sächsische_Staatsoper
A solemn mass with a symbolic character: The Frauenkirche in Dresden hosted its first public concert to mark its reopening on November 4, 2005. The program included Beethoven’s Missa solemnis, performed by the Staatskapelle Dresden and the Chorus of the Sächsische Staatsoper Dresden, conducted by Fabio Luisi. The soloists were Camilla Nylund, Birgit Remmert, Christian Elsner and René Pape.
(00:00) Intro
(01:12) Kyrie
(11:04) Gloria
(29:00) Credo
(49:10) Sanctus
(1:05:34) Agnus Dei
Participants:
Camilla Nylund | SOPRANO
Birgit Remmert | ALTO
Christian Elsner |TENOR
René Pape | BASS
Chorus of the Saxon State Opera Dresden
Matthias Brauer | CHORUS MASTER
Dresden State Orchestra
Fabio Luisi | CONDUCTOR
The Frauenkirche (Church of Our Lady) with its high dome visible from afar is considered the landmark of the city of Dresden in Saxony. In the Second World War, this striking church was destroyed by bombs in February 1945 and existed for decades only as a ruin. From 1993 to 2005 it was rebuilt using the remaining rubble. Its reconstruction is a symbol of hope and reconciliation – and the magnificent church building with its unique blend of old and new bricks is intended to keep the memory of history alive.
A work as festive as it is grand was chosen for the reopening concert. The Missa solemnis by Ludwig van Beethoven (1770 - 1827). The ‘Solemn Mass’ is considered one of the composer’s most important works, and Beethoven himself even called it his greatest work on several occasions. The Mass for four soloists, choir, orchestra and orgue in D major, Op. 123 was composed between 1819 and 1823, after Beethoven had already studied in detail the Latin text of the Mass and its various settings by other composers. The Missa solemnis reflects Beethoven’s struggle with religion and has a clearly confessional character. The individual parts of the mass are divided into five major compositional sections, giving the ‘Great Mass’ an almost symphonic aspect. This famous piece of church music demands a great deal from the vocal soloists, the choir and the large orchestra.
Beethoven’s Missa solemnis at the official reopening concert of Dresden’s Frauenkirche in 2005: Experience a moving concert at a location with an eventful history.
A Production of ZDF
In Cooperation with EuroArts Music International & ARTE
© 2005 EuroArts
Watch more concerts in your personal concert hall: https://www.youtube.com/playlistlist=PL_SdnzPd3eBV5A14dyRWy1KSkwcG8LEey
and in our Beethoven playlist:
https://www.youtube.com/playlist?list=PL_SdnzPd3eBWcX1eOXH-w75x-_-7gRF-w
Subscribe to DW Classical Music:
https://www.youtube.com/dwclassicalmusic
#LudwigvanBeethoven #MissaSolemnis #churchmusic
- published: 30 Oct 2022
- views: 327226
1:16:52
Missa Solemnis - L. v. Beethoven (Complete) Full Concert
- Order: Reorder
- Duration: 1:16:52
- Uploaded Date: 26 Apr 2012
- views: 239591
Missa Solemnis - L. v. Beethoven (Complete) "Full Concert" The Missa solemnis in D Major, Op. 123 was composed by Ludwig van Beethoven from 1819-1823. It was fi...
Missa Solemnis - L. v. Beethoven (Complete) "Full Concert" The Missa solemnis in D Major, Op. 123 was composed by Ludwig van Beethoven from 1819-1823. It was first performed on April 7, 1824 in St. Petersburg, under the auspices of Beethoven's patron Prince Nikolai Galitzin; an incomplete performance was given in Vienna on 7 May 1824, when the Kyrie, Credo, and Agnus Dei were conducted by the composer. It is generally considered to be one of the composer's supreme achievements. Together with Bach's Mass in B Minor, it is the most significant mass setting of the common practice period.
Despite critical recognition as one of Beethoven's great works from the height of his composing career, Missa solemnis has not achieved the same level of popular attention that many of his symphonies and sonatas have enjoyed.[citation needed] Written around the same time as his ninth symphony, it is Beethoven's second setting of the mass, after his Mass in C, Op. 86.
The mass is scored for 2 flutes; 2 oboes, 2 clarinets (in A, C, and B♭); 2 bassoons; contrabassoon; 4 horns (in D, E♭, B♭ basso, E, and G); 2 trumpets (D, B♭, and C); alto, tenor, and bass trombone; timpani; organ continuo; strings (violins I and II, violas, cellos, and basses); soprano, alto, tenor, and bass soloists; and mixed choir.
Structure
Like most masses, Beethoven's Missa solemnis is in five movements:
Kyrie: Perhaps the most traditional of the mass movements, the Kyrie is in a traditional ABA' structure, with stately choral writing in the first movement section and more contrapuntal voice leading in the Christe, which also introduces the four vocal soloists.
Gloria: Quickly shifting textures and themes highlight each portion of the Gloria text, in a beginning to the movement that is almost encyclopedic in its exploration of 3/4 time. The movement ends with the first of the work's two massive fugues, on the text "In gloria Dei patris. Amen", leading into a recapitulation of the initial Gloria text and music.
Credo: One of the most remarkable movements to come from Beethoven's pen opens with a chord sequence that will be used again in the movement to effect modulations. The Credo, like the Gloria, is an often disorienting, mad rush through the text. The poignant modal harmonies for the "et incarnatus" yield to ever more expressive heights through the "crucifixus", and into a remarkable, a cappella setting of the "et resurrexit" that is over almost before it has begun. Most notable about the movement, though, is the closing fugue on "et vitam venturi" that includes one of the most difficult passages in the choral repertoire, when the subject returns at doubled tempo for a thrilling conclusion.
The form of the Credo is divided into four parts: (I) allegro ma non troppo through "descendit de coelis" in B-flat; (II) "Incarnatus est" through "Resurrexit" in D; (III) "Et ascendit" through the Credo recapitulation in F; (IV) Fugue and Coda "et vitam venturi saeculi, amen" in B-flat.
Sanctus: Up until the benedictus of the Sanctus, the Missa solemnis is of fairly normal classical proportions. But then, after an orchestral preludio, a solo violin enters in its highest range — representing the Holy Spirit descending to earth — and begins the Missa's most transcendently beautiful music, in a remarkably long extension of the text.
Agnus Dei: A setting of the plea "miserere nobis" ("have mercy on us") that begins with the men's voices alone yields, eventually, to a bright D-major prayer "dona nobis pacem" ("grant us peace") in a pastoral mode. After some fugal development, it is suddenly and dramatically interrupted by martial sounds (a convention in the 18th century, as in Haydn's Missa in tempore belli), but after repeated pleas of "miserere!", eventually recovers and brings itself to a stately conclusion.
https://wn.com/Missa_Solemnis_L._V._Beethoven_(Complete)_Full_Concert
Missa Solemnis - L. v. Beethoven (Complete) "Full Concert" The Missa solemnis in D Major, Op. 123 was composed by Ludwig van Beethoven from 1819-1823. It was first performed on April 7, 1824 in St. Petersburg, under the auspices of Beethoven's patron Prince Nikolai Galitzin; an incomplete performance was given in Vienna on 7 May 1824, when the Kyrie, Credo, and Agnus Dei were conducted by the composer. It is generally considered to be one of the composer's supreme achievements. Together with Bach's Mass in B Minor, it is the most significant mass setting of the common practice period.
Despite critical recognition as one of Beethoven's great works from the height of his composing career, Missa solemnis has not achieved the same level of popular attention that many of his symphonies and sonatas have enjoyed.[citation needed] Written around the same time as his ninth symphony, it is Beethoven's second setting of the mass, after his Mass in C, Op. 86.
The mass is scored for 2 flutes; 2 oboes, 2 clarinets (in A, C, and B♭); 2 bassoons; contrabassoon; 4 horns (in D, E♭, B♭ basso, E, and G); 2 trumpets (D, B♭, and C); alto, tenor, and bass trombone; timpani; organ continuo; strings (violins I and II, violas, cellos, and basses); soprano, alto, tenor, and bass soloists; and mixed choir.
Structure
Like most masses, Beethoven's Missa solemnis is in five movements:
Kyrie: Perhaps the most traditional of the mass movements, the Kyrie is in a traditional ABA' structure, with stately choral writing in the first movement section and more contrapuntal voice leading in the Christe, which also introduces the four vocal soloists.
Gloria: Quickly shifting textures and themes highlight each portion of the Gloria text, in a beginning to the movement that is almost encyclopedic in its exploration of 3/4 time. The movement ends with the first of the work's two massive fugues, on the text "In gloria Dei patris. Amen", leading into a recapitulation of the initial Gloria text and music.
Credo: One of the most remarkable movements to come from Beethoven's pen opens with a chord sequence that will be used again in the movement to effect modulations. The Credo, like the Gloria, is an often disorienting, mad rush through the text. The poignant modal harmonies for the "et incarnatus" yield to ever more expressive heights through the "crucifixus", and into a remarkable, a cappella setting of the "et resurrexit" that is over almost before it has begun. Most notable about the movement, though, is the closing fugue on "et vitam venturi" that includes one of the most difficult passages in the choral repertoire, when the subject returns at doubled tempo for a thrilling conclusion.
The form of the Credo is divided into four parts: (I) allegro ma non troppo through "descendit de coelis" in B-flat; (II) "Incarnatus est" through "Resurrexit" in D; (III) "Et ascendit" through the Credo recapitulation in F; (IV) Fugue and Coda "et vitam venturi saeculi, amen" in B-flat.
Sanctus: Up until the benedictus of the Sanctus, the Missa solemnis is of fairly normal classical proportions. But then, after an orchestral preludio, a solo violin enters in its highest range — representing the Holy Spirit descending to earth — and begins the Missa's most transcendently beautiful music, in a remarkably long extension of the text.
Agnus Dei: A setting of the plea "miserere nobis" ("have mercy on us") that begins with the men's voices alone yields, eventually, to a bright D-major prayer "dona nobis pacem" ("grant us peace") in a pastoral mode. After some fugal development, it is suddenly and dramatically interrupted by martial sounds (a convention in the 18th century, as in Haydn's Missa in tempore belli), but after repeated pleas of "miserere!", eventually recovers and brings itself to a stately conclusion.
- published: 26 Apr 2012
- views: 239591
1:24:01
Beethoven - Missa Solemnis / New Mastering + P° (Century's recording: Herbert Von Karajan 1975)
- Order: Reorder
- Duration: 1:24:01
- Uploaded Date: 19 Sep 2020
- views: 171429
❤️ If you like CM//RR content, please consider membership at our Patreon page.
Thank you :) https://www.patreon.com/cmrr
Ludwig Van Beethoven (1770-1827) - Mis...
❤️ If you like CM//RR content, please consider membership at our Patreon page.
Thank you :) https://www.patreon.com/cmrr
Ludwig Van Beethoven (1770-1827) - Missa Solemnis Op.123 .
Click to activate the English subtitles for the presentation (00:00-07:50)
KYRIE (00:00)
GLORIA
I.Gloria in excelsis Deo (10:35)
II.Qui tollis peccata mundi (15:50)
III.Quoniam tu solus sanctus (20:59)
CREDO
I.Credo in unum Deum (28:04)
II.Et incarnatus est (33:02)
III.Et resurrexit (39:04)
SANCTUS (50:16)
BENEDICTUS (54:00)
Solo Violin : Thomas Brandis
AGNUS DEI
I.Agnus Dei (1:07:42)
II.Dona nobis pacem (1:14:46)
Sopran : Gundula Janowitz
Alt : Agnes Baltsa
Tenor : Peter Schreier
Bass : José Van Dam
Singverein der Gesellschaft der Musikfreunde Wien
Chorus Master : Helmuth Froschauer
Berliner Philharmoniker
Conductor: Herbert Von Karajan
Recorded in 1975
New Mastering in 2020 by AB for CMRR
🔊 FOLLOW US on SPOTIFY (Profil: CMRR) : https://spoti.fi/3016eVr
🔊 Download CMRR's recordings in High fidelity audio (QOBUZ) : https://bit.ly/2M1Eop2
There are two timeless versions of Beethoven's Missa Solemnis: the one you are listening to (Karajan 1975 & 1958: https://youtu.be/WUYeYsLMLus) right now, and the one by Otto Klemperer (https://youtu.be/aI0FhkCnLoc). You have to listen to Klemperer for the overall architecture, and to Karajan to hear the smallest details of the score (1975) and overall unity (1958).
Beethoven: Missa solemnis, Op. 123 / History. On June 4th 1819, the Archduke Rudolph of Austria was elected Archbishop of Olmütz in Moravia. His enthronement was due to take place in Cologne Cathedral on March 20th 1820. Beethoven at once determined to compose music for this solemn occasion. The Archduke Rudolph had been Beethoven's pupil for pianoforte tuition since 1804, when the boy was fifteen. In 1808, when Beethoven was invited to become Kapellmeister to the Court of Cassel, Rudolph and two other friends guaranteed him a salary if he would remain in Vienna. Rudolph's place in Beethoven's affections is sufficiently attested by the quality and grandeur of the works that Beethoven dedicated to him: the fourth and fifth piano concertos, the piano sonatas Les Adieux, Hammerklavier and Opus 111 in C minor, the Grosse Fuge, the Archduke Trio, the last of the violin sonatas, and the vocal score of Fidelio, besides this Mass in D. Rudolph, it may be added, was an extremely able pianist, capable of performing the keyboard music dedicated to him; for the piano concertos Beethoven also supplied him with the cadenzas which we usually hear today.
Anton Schindler, Beethoven's pupil declared that Beethoven started work on the Mass in D 'in the late autumn of 1818'. For the celebration in a great cathedral he chose the key of D major which has strong associations of dignity, brilliance and joy; it was the key of Beethoven's Ode to Joy, which had been on the stocks since 1817 and was to be completed soon after the Mass.
Beethoven made elaborate preparations for a task that he knew would summon his highest talents. He studied earlier settings of the text, particularly Palestrina's, for modal polyphony and for textual emphases in their music, and he had an accurate translation made of the Latin text of the Mass, so that no implications should escape him.
The first sketches for the Mass in D were made in a book started early in 1819. Beethoven was definitely hard at work on the Mass in the summer of 1819, when Schindler and his friend Horsalka visited the composer in Mödling, found the house in terrible disarray, and heard Beethoven howling and stamping at the piano as he worked on the great fugue Et vitam venturi from the Credo. As the summer wore on Beethoven began to doubt whether the work would be completed in time for the ceremony. He complained to Schindler that 'every movement as he carne to it took on much greater dimensions than had been originally planned', and we can infer that the difficulties affected not only the length of each movement, but the control of internal texture and harmonic transition, and the actual realization of the great ideas in Beethoven's head.
*** Full comment: see the first pinned comment. ***
Beethoven - Missa Solemnis / New Mastering (Century's recording: Herbert Von Karajan 1958): https://youtu.be/WUYeYsLMLus
Berlioz - Requiem, Grande Messe des Morts Op.5 / NEW MASTERING (Ct.rec.: Dimitri Mitropoulos 1956) : https://www.youtube.com/watch?v=9T131BY2Vxs&list=PL3UZpQL9LIxP2ROzEMmon3mmMmYIugvnU
Ludwig Van Beethoven PLAYLIST (reference recordings) : https://www.youtube.com/playlist?list=PL3UZpQL9LIxOhkdci2M8WKMSVaf9WiF8x
https://wn.com/Beethoven_Missa_Solemnis_New_Mastering_P°_(Century's_Recording_Herbert_Von_Karajan_1975)
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Thank you :) https://www.patreon.com/cmrr
Ludwig Van Beethoven (1770-1827) - Missa Solemnis Op.123 .
Click to activate the English subtitles for the presentation (00:00-07:50)
KYRIE (00:00)
GLORIA
I.Gloria in excelsis Deo (10:35)
II.Qui tollis peccata mundi (15:50)
III.Quoniam tu solus sanctus (20:59)
CREDO
I.Credo in unum Deum (28:04)
II.Et incarnatus est (33:02)
III.Et resurrexit (39:04)
SANCTUS (50:16)
BENEDICTUS (54:00)
Solo Violin : Thomas Brandis
AGNUS DEI
I.Agnus Dei (1:07:42)
II.Dona nobis pacem (1:14:46)
Sopran : Gundula Janowitz
Alt : Agnes Baltsa
Tenor : Peter Schreier
Bass : José Van Dam
Singverein der Gesellschaft der Musikfreunde Wien
Chorus Master : Helmuth Froschauer
Berliner Philharmoniker
Conductor: Herbert Von Karajan
Recorded in 1975
New Mastering in 2020 by AB for CMRR
🔊 FOLLOW US on SPOTIFY (Profil: CMRR) : https://spoti.fi/3016eVr
🔊 Download CMRR's recordings in High fidelity audio (QOBUZ) : https://bit.ly/2M1Eop2
There are two timeless versions of Beethoven's Missa Solemnis: the one you are listening to (Karajan 1975 & 1958: https://youtu.be/WUYeYsLMLus) right now, and the one by Otto Klemperer (https://youtu.be/aI0FhkCnLoc). You have to listen to Klemperer for the overall architecture, and to Karajan to hear the smallest details of the score (1975) and overall unity (1958).
Beethoven: Missa solemnis, Op. 123 / History. On June 4th 1819, the Archduke Rudolph of Austria was elected Archbishop of Olmütz in Moravia. His enthronement was due to take place in Cologne Cathedral on March 20th 1820. Beethoven at once determined to compose music for this solemn occasion. The Archduke Rudolph had been Beethoven's pupil for pianoforte tuition since 1804, when the boy was fifteen. In 1808, when Beethoven was invited to become Kapellmeister to the Court of Cassel, Rudolph and two other friends guaranteed him a salary if he would remain in Vienna. Rudolph's place in Beethoven's affections is sufficiently attested by the quality and grandeur of the works that Beethoven dedicated to him: the fourth and fifth piano concertos, the piano sonatas Les Adieux, Hammerklavier and Opus 111 in C minor, the Grosse Fuge, the Archduke Trio, the last of the violin sonatas, and the vocal score of Fidelio, besides this Mass in D. Rudolph, it may be added, was an extremely able pianist, capable of performing the keyboard music dedicated to him; for the piano concertos Beethoven also supplied him with the cadenzas which we usually hear today.
Anton Schindler, Beethoven's pupil declared that Beethoven started work on the Mass in D 'in the late autumn of 1818'. For the celebration in a great cathedral he chose the key of D major which has strong associations of dignity, brilliance and joy; it was the key of Beethoven's Ode to Joy, which had been on the stocks since 1817 and was to be completed soon after the Mass.
Beethoven made elaborate preparations for a task that he knew would summon his highest talents. He studied earlier settings of the text, particularly Palestrina's, for modal polyphony and for textual emphases in their music, and he had an accurate translation made of the Latin text of the Mass, so that no implications should escape him.
The first sketches for the Mass in D were made in a book started early in 1819. Beethoven was definitely hard at work on the Mass in the summer of 1819, when Schindler and his friend Horsalka visited the composer in Mödling, found the house in terrible disarray, and heard Beethoven howling and stamping at the piano as he worked on the great fugue Et vitam venturi from the Credo. As the summer wore on Beethoven began to doubt whether the work would be completed in time for the ceremony. He complained to Schindler that 'every movement as he carne to it took on much greater dimensions than had been originally planned', and we can infer that the difficulties affected not only the length of each movement, but the control of internal texture and harmonic transition, and the actual realization of the great ideas in Beethoven's head.
*** Full comment: see the first pinned comment. ***
Beethoven - Missa Solemnis / New Mastering (Century's recording: Herbert Von Karajan 1958): https://youtu.be/WUYeYsLMLus
Berlioz - Requiem, Grande Messe des Morts Op.5 / NEW MASTERING (Ct.rec.: Dimitri Mitropoulos 1956) : https://www.youtube.com/watch?v=9T131BY2Vxs&list=PL3UZpQL9LIxP2ROzEMmon3mmMmYIugvnU
Ludwig Van Beethoven PLAYLIST (reference recordings) : https://www.youtube.com/playlist?list=PL3UZpQL9LIxOhkdci2M8WKMSVaf9WiF8x
- published: 19 Sep 2020
- views: 171429
11:31
Beethoven: Missa Solemnis (Benedictus)
- Order: Reorder
- Duration: 11:31
- Uploaded Date: 06 Oct 2013
- views: 146949
Royal Concertgebouw Orchestra,
Conductor Nikolaus Harnoncourt
Royal Concertgebouw Orchestra,
Conductor Nikolaus Harnoncourt
https://wn.com/Beethoven_Missa_Solemnis_(Benedictus)
Royal Concertgebouw Orchestra,
Conductor Nikolaus Harnoncourt
- published: 06 Oct 2013
- views: 146949
1:22:42
Beethoven - Missa Solemnis Op. 123 (Score)
- Order: Reorder
- Duration: 1:22:42
- Uploaded Date: 15 May 2020
- views: 45827
🎵 Please consider subscribing for more score videos!
Together with Bach’s colossal B minor Mass, Beethoven’s Missa Solemnis is generally considered one of the ...
🎵 Please consider subscribing for more score videos!
Together with Bach’s colossal B minor Mass, Beethoven’s Missa Solemnis is generally considered one of the most influential and astounding Mass settings ever written. It’s also famous for being the piece Beethoven is writing in his famous Joseph Karl Stieler portrait.
Taking around four years to finish in its entirety, the Missa Solemnis was first performed in St. Petersburg in 1824 – in the same concert as his 9th Symphony, famous for its Ode to Joy finale, was also performed. In fact, there are some noticeable similarities, in that both are of similar length, in the same key, and are written for a huge orchestra with choir and four solo singers.
0:00:00 1. Kyrie
0:09:34 2. Gloria
0:28:10 3. Credo
0:48:25 4. Sanctus
1:05:42 5. Agnus Dei
Performed by the Leipzig Radio Symphony Orchestra and Choir
Conductor: Herbert Kegel
Organ: Joachim Dalitz
Soprano: Enriqueta Tarrés
Alto: Violetta Madjarova
Tenor: Sergej Larin
Bass: Kurt Rydl
Hey, I’m a music student who designs these videos in my little free time to help my studies, and hopefully to help you too. If you have any recommendations I’d love to hear from you! Feel free to message me on twitter (https://twitter.com/altoclefchannel) or comment and email any suggestions you have - in most cases out of copyright I do my best to upload as soon as possible. Thank you :)
The score in this video is in the public domain, and was downloaded from imslp.org
The audio used is still protected by copyright, and while so far no claim has been made on this video through Youtube's system, advertisements may run on this video in the future, with any revenue automatically going directly to the copyright holder.
Thank you for watching! If you enjoyed this video, and are able to, I'd be very grateful if you can donate to my channel, at https://www.buymeacoffee.com/altoclef - Thank you! :)
https://wn.com/Beethoven_Missa_Solemnis_Op._123_(Score)
🎵 Please consider subscribing for more score videos!
Together with Bach’s colossal B minor Mass, Beethoven’s Missa Solemnis is generally considered one of the most influential and astounding Mass settings ever written. It’s also famous for being the piece Beethoven is writing in his famous Joseph Karl Stieler portrait.
Taking around four years to finish in its entirety, the Missa Solemnis was first performed in St. Petersburg in 1824 – in the same concert as his 9th Symphony, famous for its Ode to Joy finale, was also performed. In fact, there are some noticeable similarities, in that both are of similar length, in the same key, and are written for a huge orchestra with choir and four solo singers.
0:00:00 1. Kyrie
0:09:34 2. Gloria
0:28:10 3. Credo
0:48:25 4. Sanctus
1:05:42 5. Agnus Dei
Performed by the Leipzig Radio Symphony Orchestra and Choir
Conductor: Herbert Kegel
Organ: Joachim Dalitz
Soprano: Enriqueta Tarrés
Alto: Violetta Madjarova
Tenor: Sergej Larin
Bass: Kurt Rydl
Hey, I’m a music student who designs these videos in my little free time to help my studies, and hopefully to help you too. If you have any recommendations I’d love to hear from you! Feel free to message me on twitter (https://twitter.com/altoclefchannel) or comment and email any suggestions you have - in most cases out of copyright I do my best to upload as soon as possible. Thank you :)
The score in this video is in the public domain, and was downloaded from imslp.org
The audio used is still protected by copyright, and while so far no claim has been made on this video through Youtube's system, advertisements may run on this video in the future, with any revenue automatically going directly to the copyright holder.
Thank you for watching! If you enjoyed this video, and are able to, I'd be very grateful if you can donate to my channel, at https://www.buymeacoffee.com/altoclef - Thank you! :)
- published: 15 May 2020
- views: 45827
1:27:39
Beethoven: Missa solemnis in D major, op. 123 | Christian Thielemann & Staatskapelle Dresden
- Order: Reorder
- Duration: 1:27:39
- Uploaded Date: 12 May 2020
- views: 28873
__
01:25 - Beethoven: Missa solemnis in D major, op. 123
Krassimira Stoyanova | Mezzo-soprano
Elina Garanča | Mezzo-soprano
Michael Schade | Tenor
Franz-Josef...
__
01:25 - Beethoven: Missa solemnis in D major, op. 123
Krassimira Stoyanova | Mezzo-soprano
Elina Garanča | Mezzo-soprano
Michael Schade | Tenor
Franz-Josef Selig | Bass
Staatskapelle Dresden
Conducted by Christian Thielemann
__
Classic Archive, 2020
https://wn.com/Beethoven_Missa_Solemnis_In_D_Major,_Op._123_|_Christian_Thielemann_Staatskapelle_Dresden
__
01:25 - Beethoven: Missa solemnis in D major, op. 123
Krassimira Stoyanova | Mezzo-soprano
Elina Garanča | Mezzo-soprano
Michael Schade | Tenor
Franz-Josef Selig | Bass
Staatskapelle Dresden
Conducted by Christian Thielemann
__
Classic Archive, 2020
- published: 12 May 2020
- views: 28873
1:11:37
Beethoven Missa Solemnis Gardiner/NDRSO&Choir/Monteverdi Choir
- Order: Reorder
- Duration: 1:11:37
- Uploaded Date: 15 Apr 2018
- views: 122092
LÜBECK1994
Soloists:
Luba Orgonasova soprano
Carherine Robbin mezzo-soprano
Anthony Rolfe Johnson tenor
Alastair Miles bass
LÜBECK1994
Soloists:
Luba Orgonasova soprano
Carherine Robbin mezzo-soprano
Anthony Rolfe Johnson tenor
Alastair Miles bass
https://wn.com/Beethoven_Missa_Solemnis_Gardiner_Ndrso_Choir_Monteverdi_Choir
LÜBECK1994
Soloists:
Luba Orgonasova soprano
Carherine Robbin mezzo-soprano
Anthony Rolfe Johnson tenor
Alastair Miles bass
- published: 15 Apr 2018
- views: 122092
1:26:19
Missa solemnis Beethoven Op 123 Leonard Bernstein & Concertgebouworkest Amsterdam Español
- Order: Reorder
- Duration: 1:26:19
- Uploaded Date: 10 Oct 2016
- views: 47448
Ludwig van Beethoven (1770-1827):
Missa Solemnis in D major, op.123 Subtítulos en Español
I. Kyrie
II. Gloria
III. Credo
IV. Sanctus
V. Agnus Dei
Edda Moser, s...
Ludwig van Beethoven (1770-1827):
Missa Solemnis in D major, op.123 Subtítulos en Español
I. Kyrie
II. Gloria
III. Credo
IV. Sanctus
V. Agnus Dei
Edda Moser, soprano
Hanna Schwarz, mezzo-soprano
René Kollo, tenor
Kurt Moll, bass
Grosser Rundfunkchor Hilversum N.O.S.
Concertgebouworkest Amsterdam
Leonard Bernstein
https://wn.com/Missa_Solemnis_Beethoven_Op_123_Leonard_Bernstein_Concertgebouworkest_Amsterdam_Español
Ludwig van Beethoven (1770-1827):
Missa Solemnis in D major, op.123 Subtítulos en Español
I. Kyrie
II. Gloria
III. Credo
IV. Sanctus
V. Agnus Dei
Edda Moser, soprano
Hanna Schwarz, mezzo-soprano
René Kollo, tenor
Kurt Moll, bass
Grosser Rundfunkchor Hilversum N.O.S.
Concertgebouworkest Amsterdam
Leonard Bernstein
- published: 10 Oct 2016
- views: 47448
1:14:10
Beethoven: Missa solemnis | Kent Nagano and Concerto Köln
- Order: Reorder
- Duration: 1:14:10
- Uploaded Date: 05 Feb 2022
- views: 42947
Beethoven's “Missa solemnis” under the baton of star conductor Kent Nagano was an extraordinary concert, performed on October 29, 2021 in the magnificent settin...
Beethoven's “Missa solemnis” under the baton of star conductor Kent Nagano was an extraordinary concert, performed on October 29, 2021 in the magnificent setting of Cologne Cathedral.
Valentina Farcas - soprano
Rachel Frenkel - mezzo-soprano
Werner Güra - tenor
Andreas Wolf - bass
Cologne Cathedral Vocal Ensemble
Eberhard Metternich - preparation
Concerto Köln
Kent Nagano - conductor
Andrès Verdaguer - sound director
Ludwig van Beethoven (1770 - 1827)
Mass for four soloists, choir, full orchestra and organ in D major, Op. 123 (“Missa solemnis”), (1819 - 23)
(00:00) Opening credits
(01:03) Kyrie: Assai sostenuto: With devotion
(10:03) Gloria: Allegro vivace
(26:27) Credo: Allegro ma non troppo
(43:43) Sanctus: Adagio. With devotion
(57:42) Agnus Dei: Adagio
Ludwig van Beethoven’s “Missa solemnis” is considered one of the composer's most important works, Beethoven himself described it as one of his finest. The Solemn Mass Op. 123, written between 1819 and 1823, reflects Beethoven’s struggle with religion and has a confessional character. The composer had previously studied the text of the Latin Mass extensively. It demands a great deal from the vocal soloists, the choir and the large orchestra.
The Concerto Köln ensemble is world-renowned for its historically authentic performances. Its members are known for using original instruments from Beethoven’s time – and this performance is no exception. While the group does not have a permanent conductor, they named Kent Nagano their “honorary conductor”, due to his deep appreciation and respect for historical performance.
Archduke Rudolf of Austria, a great patron and student of Beethoven’s, commissioned the master musician to compose a festive mass in honor of his appointment as archbishop. However, because he took over four years to compose it, Beethoven finished the piece much too late for the occasion. The mass was also far too long to be a standard liturgical mass. To this day, it is mainly performed in concert halls.
Despite the fact that it is usually performed in concert, Beethoven’s “Missa solemnis” is ultimately a sacred work. Cologne Cathedral with its majestic stained-glass windows and mighty gothic columns veiled in violet lighting served as the perfect backdrop for this concert.
Watch more concerts in your personal concert hall:
https://www.youtube.com/playlist?list=PL_SdnzPd3eBV5A14dyRWy1KSkwcG8LEey
Subscribe to DW Classical Music:
https://www.youtube.com/dwclassicalmusic
#Beethovenfest #Beethoven #MissaSolemnis
https://wn.com/Beethoven_Missa_Solemnis_|_Kent_Nagano_And_Concerto_Köln
Beethoven's “Missa solemnis” under the baton of star conductor Kent Nagano was an extraordinary concert, performed on October 29, 2021 in the magnificent setting of Cologne Cathedral.
Valentina Farcas - soprano
Rachel Frenkel - mezzo-soprano
Werner Güra - tenor
Andreas Wolf - bass
Cologne Cathedral Vocal Ensemble
Eberhard Metternich - preparation
Concerto Köln
Kent Nagano - conductor
Andrès Verdaguer - sound director
Ludwig van Beethoven (1770 - 1827)
Mass for four soloists, choir, full orchestra and organ in D major, Op. 123 (“Missa solemnis”), (1819 - 23)
(00:00) Opening credits
(01:03) Kyrie: Assai sostenuto: With devotion
(10:03) Gloria: Allegro vivace
(26:27) Credo: Allegro ma non troppo
(43:43) Sanctus: Adagio. With devotion
(57:42) Agnus Dei: Adagio
Ludwig van Beethoven’s “Missa solemnis” is considered one of the composer's most important works, Beethoven himself described it as one of his finest. The Solemn Mass Op. 123, written between 1819 and 1823, reflects Beethoven’s struggle with religion and has a confessional character. The composer had previously studied the text of the Latin Mass extensively. It demands a great deal from the vocal soloists, the choir and the large orchestra.
The Concerto Köln ensemble is world-renowned for its historically authentic performances. Its members are known for using original instruments from Beethoven’s time – and this performance is no exception. While the group does not have a permanent conductor, they named Kent Nagano their “honorary conductor”, due to his deep appreciation and respect for historical performance.
Archduke Rudolf of Austria, a great patron and student of Beethoven’s, commissioned the master musician to compose a festive mass in honor of his appointment as archbishop. However, because he took over four years to compose it, Beethoven finished the piece much too late for the occasion. The mass was also far too long to be a standard liturgical mass. To this day, it is mainly performed in concert halls.
Despite the fact that it is usually performed in concert, Beethoven’s “Missa solemnis” is ultimately a sacred work. Cologne Cathedral with its majestic stained-glass windows and mighty gothic columns veiled in violet lighting served as the perfect backdrop for this concert.
Watch more concerts in your personal concert hall:
https://www.youtube.com/playlist?list=PL_SdnzPd3eBV5A14dyRWy1KSkwcG8LEey
Subscribe to DW Classical Music:
https://www.youtube.com/dwclassicalmusic
#Beethovenfest #Beethoven #MissaSolemnis
- published: 05 Feb 2022
- views: 42947
1:22:38
Beethoven: Missa solemnis ∙ hr-Sinfonieorchester ∙ Wiener Singverein ∙ Andrés Orozco-Estrada
Ludwig van Beethoven:
Missa solemnis ∙
I. Kyrie – Assai sostenuto. Mit Andacht 0:0:00 ...
published: 15 Jul 2016
Beethoven: Missa solemnis ∙ hr-Sinfonieorchester ∙ Wiener Singverein ∙ Andrés Orozco-Estrada
Beethoven: Missa solemnis ∙ hr-Sinfonieorchester ∙ Wiener Singverein ∙ Andrés Orozco-Estrada
- Report rights infringement
- published: 15 Jul 2016
- views: 650484
Ludwig van Beethoven:
Missa solemnis ∙
I. Kyrie – Assai sostenuto. Mit Andacht 0:0:00 ∙
II. Gloria – Allegro vivace 0:10:08 ∙
III. Credo – Allegro ma non troppo 0:28:36 ∙
IV. Sanctus – Adagio. Mit Andacht 0:47:46 ∙
V. Agnus Dei – Adagio 1:04:25 ∙
hr-Sinfonieorchester – Frankfurt Radio Symphony ∙
Regine Hangler, Sopran ∙
Katrin Wundsam, Alt ∙
Steve Davislim, Tenor ∙
Hanno Müller-Brachmann, Bass ∙
Wiener Singverein ∙
Einstudierung: Johannes Prinz ∙
Andrés Orozco-Estrada, Dirigent ∙
Rheingau Musik Festival 2016 ∙
Kloster Eberbach, 1. Juli 2016 ∙
Website: http://www.hr-sinfonieorchester.de
Facebook: http://www.facebook.com/hrsinfonieorchester
1:22:32
Beethoven: Missa solemnis | Fabio Luisi, Staatskapelle Dresden, Chorus of the Sächsische Staatsoper
A solemn mass with a symbolic character: The Frauenkirche in Dresden hosted its first publ...
published: 30 Oct 2022
Beethoven: Missa solemnis | Fabio Luisi, Staatskapelle Dresden, Chorus of the Sächsische Staatsoper
Beethoven: Missa solemnis | Fabio Luisi, Staatskapelle Dresden, Chorus of the Sächsische Staatsoper
- Report rights infringement
- published: 30 Oct 2022
- views: 327226
A solemn mass with a symbolic character: The Frauenkirche in Dresden hosted its first public concert to mark its reopening on November 4, 2005. The program included Beethoven’s Missa solemnis, performed by the Staatskapelle Dresden and the Chorus of the Sächsische Staatsoper Dresden, conducted by Fabio Luisi. The soloists were Camilla Nylund, Birgit Remmert, Christian Elsner and René Pape.
(00:00) Intro
(01:12) Kyrie
(11:04) Gloria
(29:00) Credo
(49:10) Sanctus
(1:05:34) Agnus Dei
Participants:
Camilla Nylund | SOPRANO
Birgit Remmert | ALTO
Christian Elsner |TENOR
René Pape | BASS
Chorus of the Saxon State Opera Dresden
Matthias Brauer | CHORUS MASTER
Dresden State Orchestra
Fabio Luisi | CONDUCTOR
The Frauenkirche (Church of Our Lady) with its high dome visible from afar is considered the landmark of the city of Dresden in Saxony. In the Second World War, this striking church was destroyed by bombs in February 1945 and existed for decades only as a ruin. From 1993 to 2005 it was rebuilt using the remaining rubble. Its reconstruction is a symbol of hope and reconciliation – and the magnificent church building with its unique blend of old and new bricks is intended to keep the memory of history alive.
A work as festive as it is grand was chosen for the reopening concert. The Missa solemnis by Ludwig van Beethoven (1770 - 1827). The ‘Solemn Mass’ is considered one of the composer’s most important works, and Beethoven himself even called it his greatest work on several occasions. The Mass for four soloists, choir, orchestra and orgue in D major, Op. 123 was composed between 1819 and 1823, after Beethoven had already studied in detail the Latin text of the Mass and its various settings by other composers. The Missa solemnis reflects Beethoven’s struggle with religion and has a clearly confessional character. The individual parts of the mass are divided into five major compositional sections, giving the ‘Great Mass’ an almost symphonic aspect. This famous piece of church music demands a great deal from the vocal soloists, the choir and the large orchestra.
Beethoven’s Missa solemnis at the official reopening concert of Dresden’s Frauenkirche in 2005: Experience a moving concert at a location with an eventful history.
A Production of ZDF
In Cooperation with EuroArts Music International & ARTE
© 2005 EuroArts
Watch more concerts in your personal concert hall: https://www.youtube.com/playlistlist=PL_SdnzPd3eBV5A14dyRWy1KSkwcG8LEey
and in our Beethoven playlist:
https://www.youtube.com/playlist?list=PL_SdnzPd3eBWcX1eOXH-w75x-_-7gRF-w
Subscribe to DW Classical Music:
https://www.youtube.com/dwclassicalmusic
#LudwigvanBeethoven #MissaSolemnis #churchmusic
1:16:52
Missa Solemnis - L. v. Beethoven (Complete) Full Concert
Missa Solemnis - L. v. Beethoven (Complete) "Full Concert" The Missa solemnis in D Major, ...
published: 26 Apr 2012
Missa Solemnis - L. v. Beethoven (Complete) Full Concert
Missa Solemnis - L. v. Beethoven (Complete) Full Concert
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Missa Solemnis - L. v. Beethoven (Complete) "Full Concert" The Missa solemnis in D Major, Op. 123 was composed by Ludwig van Beethoven from 1819-1823. It was first performed on April 7, 1824 in St. Petersburg, under the auspices of Beethoven's patron Prince Nikolai Galitzin; an incomplete performance was given in Vienna on 7 May 1824, when the Kyrie, Credo, and Agnus Dei were conducted by the composer. It is generally considered to be one of the composer's supreme achievements. Together with Bach's Mass in B Minor, it is the most significant mass setting of the common practice period.
Despite critical recognition as one of Beethoven's great works from the height of his composing career, Missa solemnis has not achieved the same level of popular attention that many of his symphonies and sonatas have enjoyed.[citation needed] Written around the same time as his ninth symphony, it is Beethoven's second setting of the mass, after his Mass in C, Op. 86.
The mass is scored for 2 flutes; 2 oboes, 2 clarinets (in A, C, and B♭); 2 bassoons; contrabassoon; 4 horns (in D, E♭, B♭ basso, E, and G); 2 trumpets (D, B♭, and C); alto, tenor, and bass trombone; timpani; organ continuo; strings (violins I and II, violas, cellos, and basses); soprano, alto, tenor, and bass soloists; and mixed choir.
Structure
Like most masses, Beethoven's Missa solemnis is in five movements:
Kyrie: Perhaps the most traditional of the mass movements, the Kyrie is in a traditional ABA' structure, with stately choral writing in the first movement section and more contrapuntal voice leading in the Christe, which also introduces the four vocal soloists.
Gloria: Quickly shifting textures and themes highlight each portion of the Gloria text, in a beginning to the movement that is almost encyclopedic in its exploration of 3/4 time. The movement ends with the first of the work's two massive fugues, on the text "In gloria Dei patris. Amen", leading into a recapitulation of the initial Gloria text and music.
Credo: One of the most remarkable movements to come from Beethoven's pen opens with a chord sequence that will be used again in the movement to effect modulations. The Credo, like the Gloria, is an often disorienting, mad rush through the text. The poignant modal harmonies for the "et incarnatus" yield to ever more expressive heights through the "crucifixus", and into a remarkable, a cappella setting of the "et resurrexit" that is over almost before it has begun. Most notable about the movement, though, is the closing fugue on "et vitam venturi" that includes one of the most difficult passages in the choral repertoire, when the subject returns at doubled tempo for a thrilling conclusion.
The form of the Credo is divided into four parts: (I) allegro ma non troppo through "descendit de coelis" in B-flat; (II) "Incarnatus est" through "Resurrexit" in D; (III) "Et ascendit" through the Credo recapitulation in F; (IV) Fugue and Coda "et vitam venturi saeculi, amen" in B-flat.
Sanctus: Up until the benedictus of the Sanctus, the Missa solemnis is of fairly normal classical proportions. But then, after an orchestral preludio, a solo violin enters in its highest range — representing the Holy Spirit descending to earth — and begins the Missa's most transcendently beautiful music, in a remarkably long extension of the text.
Agnus Dei: A setting of the plea "miserere nobis" ("have mercy on us") that begins with the men's voices alone yields, eventually, to a bright D-major prayer "dona nobis pacem" ("grant us peace") in a pastoral mode. After some fugal development, it is suddenly and dramatically interrupted by martial sounds (a convention in the 18th century, as in Haydn's Missa in tempore belli), but after repeated pleas of "miserere!", eventually recovers and brings itself to a stately conclusion.
1:24:01
Beethoven - Missa Solemnis / New Mastering + P° (Century's recording: Herbert Von Karajan 1975)
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published: 19 Sep 2020
Beethoven - Missa Solemnis / New Mastering + P° (Century's recording: Herbert Von Karajan 1975)
Beethoven - Missa Solemnis / New Mastering + P° (Century's recording: Herbert Von Karajan 1975)
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Ludwig Van Beethoven (1770-1827) - Missa Solemnis Op.123 .
Click to activate the English subtitles for the presentation (00:00-07:50)
KYRIE (00:00)
GLORIA
I.Gloria in excelsis Deo (10:35)
II.Qui tollis peccata mundi (15:50)
III.Quoniam tu solus sanctus (20:59)
CREDO
I.Credo in unum Deum (28:04)
II.Et incarnatus est (33:02)
III.Et resurrexit (39:04)
SANCTUS (50:16)
BENEDICTUS (54:00)
Solo Violin : Thomas Brandis
AGNUS DEI
I.Agnus Dei (1:07:42)
II.Dona nobis pacem (1:14:46)
Sopran : Gundula Janowitz
Alt : Agnes Baltsa
Tenor : Peter Schreier
Bass : José Van Dam
Singverein der Gesellschaft der Musikfreunde Wien
Chorus Master : Helmuth Froschauer
Berliner Philharmoniker
Conductor: Herbert Von Karajan
Recorded in 1975
New Mastering in 2020 by AB for CMRR
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There are two timeless versions of Beethoven's Missa Solemnis: the one you are listening to (Karajan 1975 & 1958: https://youtu.be/WUYeYsLMLus) right now, and the one by Otto Klemperer (https://youtu.be/aI0FhkCnLoc). You have to listen to Klemperer for the overall architecture, and to Karajan to hear the smallest details of the score (1975) and overall unity (1958).
Beethoven: Missa solemnis, Op. 123 / History. On June 4th 1819, the Archduke Rudolph of Austria was elected Archbishop of Olmütz in Moravia. His enthronement was due to take place in Cologne Cathedral on March 20th 1820. Beethoven at once determined to compose music for this solemn occasion. The Archduke Rudolph had been Beethoven's pupil for pianoforte tuition since 1804, when the boy was fifteen. In 1808, when Beethoven was invited to become Kapellmeister to the Court of Cassel, Rudolph and two other friends guaranteed him a salary if he would remain in Vienna. Rudolph's place in Beethoven's affections is sufficiently attested by the quality and grandeur of the works that Beethoven dedicated to him: the fourth and fifth piano concertos, the piano sonatas Les Adieux, Hammerklavier and Opus 111 in C minor, the Grosse Fuge, the Archduke Trio, the last of the violin sonatas, and the vocal score of Fidelio, besides this Mass in D. Rudolph, it may be added, was an extremely able pianist, capable of performing the keyboard music dedicated to him; for the piano concertos Beethoven also supplied him with the cadenzas which we usually hear today.
Anton Schindler, Beethoven's pupil declared that Beethoven started work on the Mass in D 'in the late autumn of 1818'. For the celebration in a great cathedral he chose the key of D major which has strong associations of dignity, brilliance and joy; it was the key of Beethoven's Ode to Joy, which had been on the stocks since 1817 and was to be completed soon after the Mass.
Beethoven made elaborate preparations for a task that he knew would summon his highest talents. He studied earlier settings of the text, particularly Palestrina's, for modal polyphony and for textual emphases in their music, and he had an accurate translation made of the Latin text of the Mass, so that no implications should escape him.
The first sketches for the Mass in D were made in a book started early in 1819. Beethoven was definitely hard at work on the Mass in the summer of 1819, when Schindler and his friend Horsalka visited the composer in Mödling, found the house in terrible disarray, and heard Beethoven howling and stamping at the piano as he worked on the great fugue Et vitam venturi from the Credo. As the summer wore on Beethoven began to doubt whether the work would be completed in time for the ceremony. He complained to Schindler that 'every movement as he carne to it took on much greater dimensions than had been originally planned', and we can infer that the difficulties affected not only the length of each movement, but the control of internal texture and harmonic transition, and the actual realization of the great ideas in Beethoven's head.
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Beethoven - Missa Solemnis / New Mastering (Century's recording: Herbert Von Karajan 1958): https://youtu.be/WUYeYsLMLus
Berlioz - Requiem, Grande Messe des Morts Op.5 / NEW MASTERING (Ct.rec.: Dimitri Mitropoulos 1956) : https://www.youtube.com/watch?v=9T131BY2Vxs&list=PL3UZpQL9LIxP2ROzEMmon3mmMmYIugvnU
Ludwig Van Beethoven PLAYLIST (reference recordings) : https://www.youtube.com/playlist?list=PL3UZpQL9LIxOhkdci2M8WKMSVaf9WiF8x
11:31
Beethoven: Missa Solemnis (Benedictus)
Royal Concertgebouw Orchestra,
Conductor Nikolaus Harnoncourt
published: 06 Oct 2013
Beethoven: Missa Solemnis (Benedictus)
Beethoven: Missa Solemnis (Benedictus)
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Royal Concertgebouw Orchestra,
Conductor Nikolaus Harnoncourt
1:22:42
Beethoven - Missa Solemnis Op. 123 (Score)
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Together with Bach’s colossal B mino...
published: 15 May 2020
Beethoven - Missa Solemnis Op. 123 (Score)
Beethoven - Missa Solemnis Op. 123 (Score)
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Together with Bach’s colossal B minor Mass, Beethoven’s Missa Solemnis is generally considered one of the most influential and astounding Mass settings ever written. It’s also famous for being the piece Beethoven is writing in his famous Joseph Karl Stieler portrait.
Taking around four years to finish in its entirety, the Missa Solemnis was first performed in St. Petersburg in 1824 – in the same concert as his 9th Symphony, famous for its Ode to Joy finale, was also performed. In fact, there are some noticeable similarities, in that both are of similar length, in the same key, and are written for a huge orchestra with choir and four solo singers.
0:00:00 1. Kyrie
0:09:34 2. Gloria
0:28:10 3. Credo
0:48:25 4. Sanctus
1:05:42 5. Agnus Dei
Performed by the Leipzig Radio Symphony Orchestra and Choir
Conductor: Herbert Kegel
Organ: Joachim Dalitz
Soprano: Enriqueta Tarrés
Alto: Violetta Madjarova
Tenor: Sergej Larin
Bass: Kurt Rydl
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1:27:39
Beethoven: Missa solemnis in D major, op. 123 | Christian Thielemann & Staatskapelle Dresden
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01:25 - Beethoven: Missa solemnis in D major, op. 123
Krassimira Stoyanova | Mezzo-so...
published: 12 May 2020
Beethoven: Missa solemnis in D major, op. 123 | Christian Thielemann & Staatskapelle Dresden
Beethoven: Missa solemnis in D major, op. 123 | Christian Thielemann & Staatskapelle Dresden
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01:25 - Beethoven: Missa solemnis in D major, op. 123
Krassimira Stoyanova | Mezzo-soprano
Elina Garanča | Mezzo-soprano
Michael Schade | Tenor
Franz-Josef Selig | Bass
Staatskapelle Dresden
Conducted by Christian Thielemann
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Classic Archive, 2020
1:11:37
Beethoven Missa Solemnis Gardiner/NDRSO&Choir/Monteverdi Choir
LÜBECK1994
Soloists:
Luba Orgonasova soprano
Carherine Robbin mezzo-soprano
Anthony Rolf...
published: 15 Apr 2018
Beethoven Missa Solemnis Gardiner/NDRSO&Choir/Monteverdi Choir
Beethoven Missa Solemnis Gardiner/NDRSO&Choir/Monteverdi Choir
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- published: 15 Apr 2018
- views: 122092
LÜBECK1994
Soloists:
Luba Orgonasova soprano
Carherine Robbin mezzo-soprano
Anthony Rolfe Johnson tenor
Alastair Miles bass
1:26:19
Missa solemnis Beethoven Op 123 Leonard Bernstein & Concertgebouworkest Amsterdam Español
Ludwig van Beethoven (1770-1827):
Missa Solemnis in D major, op.123 Subtítulos en Español
...
published: 10 Oct 2016
Missa solemnis Beethoven Op 123 Leonard Bernstein & Concertgebouworkest Amsterdam Español
Missa solemnis Beethoven Op 123 Leonard Bernstein & Concertgebouworkest Amsterdam Español
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Ludwig van Beethoven (1770-1827):
Missa Solemnis in D major, op.123 Subtítulos en Español
I. Kyrie
II. Gloria
III. Credo
IV. Sanctus
V. Agnus Dei
Edda Moser, soprano
Hanna Schwarz, mezzo-soprano
René Kollo, tenor
Kurt Moll, bass
Grosser Rundfunkchor Hilversum N.O.S.
Concertgebouworkest Amsterdam
Leonard Bernstein
1:14:10
Beethoven: Missa solemnis | Kent Nagano and Concerto Köln
Beethoven's “Missa solemnis” under the baton of star conductor Kent Nagano was an extraord...
published: 05 Feb 2022
Beethoven: Missa solemnis | Kent Nagano and Concerto Köln
Beethoven: Missa solemnis | Kent Nagano and Concerto Köln
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Beethoven's “Missa solemnis” under the baton of star conductor Kent Nagano was an extraordinary concert, performed on October 29, 2021 in the magnificent setting of Cologne Cathedral.
Valentina Farcas - soprano
Rachel Frenkel - mezzo-soprano
Werner Güra - tenor
Andreas Wolf - bass
Cologne Cathedral Vocal Ensemble
Eberhard Metternich - preparation
Concerto Köln
Kent Nagano - conductor
Andrès Verdaguer - sound director
Ludwig van Beethoven (1770 - 1827)
Mass for four soloists, choir, full orchestra and organ in D major, Op. 123 (“Missa solemnis”), (1819 - 23)
(00:00) Opening credits
(01:03) Kyrie: Assai sostenuto: With devotion
(10:03) Gloria: Allegro vivace
(26:27) Credo: Allegro ma non troppo
(43:43) Sanctus: Adagio. With devotion
(57:42) Agnus Dei: Adagio
Ludwig van Beethoven’s “Missa solemnis” is considered one of the composer's most important works, Beethoven himself described it as one of his finest. The Solemn Mass Op. 123, written between 1819 and 1823, reflects Beethoven’s struggle with religion and has a confessional character. The composer had previously studied the text of the Latin Mass extensively. It demands a great deal from the vocal soloists, the choir and the large orchestra.
The Concerto Köln ensemble is world-renowned for its historically authentic performances. Its members are known for using original instruments from Beethoven’s time – and this performance is no exception. While the group does not have a permanent conductor, they named Kent Nagano their “honorary conductor”, due to his deep appreciation and respect for historical performance.
Archduke Rudolf of Austria, a great patron and student of Beethoven’s, commissioned the master musician to compose a festive mass in honor of his appointment as archbishop. However, because he took over four years to compose it, Beethoven finished the piece much too late for the occasion. The mass was also far too long to be a standard liturgical mass. To this day, it is mainly performed in concert halls.
Despite the fact that it is usually performed in concert, Beethoven’s “Missa solemnis” is ultimately a sacred work. Cologne Cathedral with its majestic stained-glass windows and mighty gothic columns veiled in violet lighting served as the perfect backdrop for this concert.
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Missa solemnis
Missa solemnis is Latin for solemn mass, and is a genre of musical settings of the ordinary mass, which are festively scored and render the Latin text extensively, opposed to the more modest Missa brevis. In French, the genre is "Messe solennelle". The terms came into use in the classical period.
When "Missa solemnis" is used as a name, without referring to a composer, Beethoven's work is generally implied. Some of the greatest compositions in the genre have unique common names other than "Missa solemnis"—namely, Bach's Mass in B minor and Mozart's Great Mass in C minor. Some works are solemn settings in proportion and scoring, but are not called a "Missa solemnis", for example several late settings of both Haydn and Schubert, and three settings by Anton Bruckner.
Masses named "Missa solemnis" by well-known composers include:
This page contains text from Wikipedia, the Free Encyclopedia - https://wn.com/Missa_solemnis
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by Lux Occulta
Missa Solemnis
by: Lux OccultaIt's immoral to have one eye
In the kingdom of the blind
Yet I believe that all in this world
Is the manifestation of God
I grow rusty nails in my wounds
I bathe them with my urine
They will blossom with blood
But they will never fructify
I breed this noble wine
On black soil Ge-Hinnom
What a lovely place to die
Home sweet home
I bake my bitter bread
In this crematory oven
I use human ashes as flour
And so big the dough grows
I know where I belong
And I know where to go
I've seen that episode on TV
I've seen it twice
I put the barrel in my mouth
That brings back peace of mind
It's so much fun to play Russian roulette
With a fully loaded gun
This is the point when it starts
This is the point when it ends
I own all maps of human weakness
I have all keys to depravation
Call me by my countless names
Emptiness, confusion, despair
Satan tempting himself
The serpent swallowing its tail
Call me perfect, call me nine
Sins don't leave scars
Call me hell
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Rutland Herald
16 Nov 2023
Celebrating Ludwig van Beethoven: Burlington Choral Society to perform Mass in C, ‘Choral Fantasy’
Rutland Herald
16 Nov 2023
It was in Vienna on Dec. 22, 1808. It started at 6.30 p.m. and lasted four hours ... Four of the pieces — Symphonies Nos ... Saturday, Nov ... The Mass runs about 45 minutes, certainly shorter that the composer’s better-known 90-minute Missa Solemnis, Op. 123 ... ....
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Celebrated conductor to lead Lubbock Symphony, Lubbock Chorale in Haydn's 'The Creation'
Palmer frequently appears with Chamber Music Amarillo, of which Palmer's son David is artistic director, and conducted an acclaimed 2022 performance in Amarillo of Beethoven's Missa Solemnis — a ...
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A euphoric meat-and-two-veg programme: Tonhalle-Orchester Zürich/Paavo Jarvi, at the Proms, reviewed
In fairness, it’s not every day that you get to hear Beethoven’s overture The Consecration of the House, though its late opus number (Op.124, so contemporary-ish with the Missa Solemnis) is a signal to expect something interesting ... The violins fizzed.
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On AMFS’ final weekend, ‘The Creation’ was fine, but Friday’s lineup was unforgettable
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Winston-Salem Journal
02 Jul 2023
Preeminent conductor Muti puts down his baton
Winston-Salem Journal
02 Jul 2023
RONALD BLUM. Associated Press. CHICAGO — Riccardo Muti was in total control to the very end ... His back to the audience, the 81-year-old conductor snapped out his right arm and baton, demanding silence to frame Beethoven's "Missa Solemnis." ... U.S ... Sheriff ... .
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Dispatch Argus
30 Jun 2023
Chicago Symphony celebrates Muti's tenure
Dispatch Argus
30 Jun 2023
... in Beethoven's "Missa Solemnis" in D Major, Op.
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