New Millennium Strings

Ludwig Van Beethoven (1770-1827)

Mass in C

Beethoven was born in Bonn. Both his grandfather and father were court singers. As a child, Beethoven favored his kind and loving grandfather. Unfortunately, his father was an alcoholic and he regularly abused his son both physically and verbally. Beethoven's earliest piano lessons were with his harsh and unforgiving father. Later, Beethoven would study with Franz Joseph Haydn, whom people regarded with affection. Much to his chagrin, Haydn declared his student "unteachable" and spoke negatively about Beethoven's "new musical style." Because Beethoven would not conform to the established Classical rules, he decided it would be judicious to discontinue his friendship with Haydn.

In 1807 Beethoven composed a traditional setting of the Catholic Mass. The Mass in C Major Op. 86 followed the completion of four symphonies and many string quartets. Beethoven conducted the first performance of the Mass in C in honor of Princess Maria von Liechtenstein Esterhazy at Eisenstadt. But the premier performance was not without ridicule. Maria's husband, Prince Nikolaus Esterhazy, asked Beethoven sarcastically, "But, my dear Beethoven, what is this that you have done again?" At last, in 1812, the work was published by Breitkopf and Hartel.

The first movement Kyrie is written in ABA form and the three sections represent the Trinity relationship. The Gloria is dereived from the missa brevis form where the outer allegro movements are written homophonically and the choir is given the text. However, when the liturgy becomes more personal, Beethoven gives the soloists the poignant musical lines and memorable text.

Some pictoral devices are used in the Credo and Sanctus movements. In the Credo, one example can be heard in the descending clarinet line: This illustrates in music the descent of the Holy Spirit. In the Sanctus, the use of the interval of a third reappears, which is the Holy Spirit idea. Also, the role of the timpani enhances the solemnity of the text by its coronation-like lines. Immediately following the Osanna is the Benedictus as heard by the a cappella solo quartet. In the last movement, Agnus Dei, the appoggiatura is used to emphasize the melodic lines and to emotionally charge the text, while the triplet ryhthm provides motion and continuity for the entire movement. It is used lyrically in the clarinet. Near the end of the movement, the music from the opening Kyrie is briefly restated.

-- program notes by Laurien Jones

June, 2002