Day 269: Mass in C

BeethovenCD74Today’s CD is a Mass.

In the key of C.

Frankly, I don’t think it would matter to me f it was in D or B Flat or F Sharp.

It’s a mass.

With a huge choir.

And lots of soloists.

And a theme that may have been novel back then, but wears thin now.

I mean, really. How many of these religion-themed compositions can one hear before they all sound the same?

Apparently, this particular mass did not go over well when it was first performed. According to its entry on Wikipedia,

Ludwig van Beethoven wrote his Mass in C major, Op. 86, to a commission from Prince Nikolaus Esterházy II in 1807. In fulfilling this commission, Beethoven was extending a tradition established by Joseph Haydn, who following his return from England in 1795 had composed one mass per year for the Esterházy family, to celebrate the name day of the Prince’s wife. Haydn had ceased this tradition with the failure of his health in 1802.

Prince Nikolaus did not appreciate the mass, causing Beethoven to leave his house in a rage. Charles Rosen, in The Classical Style, has called the episode Beethoven’s “most humiliating public failure”. The mass is appreciated by critics (such as Rosen), but is probably one of the least often performed of Beethoven’s larger works.

Of the work, Michael Moore writes “While [it] is often overshadowed by the immense Missa Solemnis, written some fifteen years later, it has a directness and an emotional content that the latter work sometimes lacks.” The Penguin Guide to Compact Discs (2004 edition) forthrightly calls the work a “long-underrated masterpiece.”

To my ears, this like every other mass to which I’ve listened. No better. No worse. So I don’t know why Prince Esterhazy did not appreciate it. It sounds fine to me.

Beethoven was 37 when he composed this mass.

Here are the performers on today’s CD:

Elly Emeling soprano
Janet Baker mezzo-soprano
Theo Altmeyer tenor
Marius Rintzler bass
New Philharmonic Chorus
New Philharmonic Orchestra
Carlo Maria Giulini conductor

Day 203: Beethoven Piano Concerto No. 4 & Piano Concerto in D

BeethovenCD8Yesterday, I thought I was done with Beethoven’s piano concertos.

Apparently not.

There are a few more to go, thankfully.

Today’s CD features two different pianists and two different orchestras.

From its entry on Wikipedia, Piano Concerto No. 4 in G Op. 58:

…was premiered in March 1807 at a private concert of the home of Prince Franz Joseph von Lobkowitz. The Coriolan Overture and the Fourth Symphony were premiered in that same concert. However, the public premiere was not until 22 December 1808 in Vienna at the Theater an der Wien. Beethoven again took the stage as soloist. This was part of a marathon concert which saw Beethoven’s last appearance as a soloist with orchestra, as well as the premieres of the Choral Fantasy and the Fifth and Sixth symphonies. Beethoven dedicated the concerto to his friend, student, and patron, the Archduke Rudolph.

A review in the May 1809 edition of the Allgemeine musikalische Zeitung states that “[this concerto] is the most admirable, singular, artistic and complex Beethoven concerto ever”. However, after its first performance, the piece was neglected until 1836, when it was revived by Felix Mendelssohn. Today, the work is widely performed and recorded, and is considered to be one of the central works of the piano concerto literature.

Beethoven was 37.

Piano Concerto No. 4 in G Op. 58 features: Continue reading

Day 197: Beethoven Symphonies 2 & 4

BeethovenCD2Like yesterday’s CD, today’s offering of Beethoven symphonies (No. 2 and No. 4 this time) are mature, melodic, dynamic, remarkably listenable, and enjoyable from start to finish.

And, like yesterday, I have to admit I had no idea Beethoven was this good.

I’m sure Schroeder (from Peanuts fame) would cluck his tongue at my ignorance regarding his favorite composer.

Schroeder
But I can’t know everything about everything. I mean, come on.

I’m only human.

Beethoven’s symphonies are both dynamic and delicate, with boisterous passages as well as gentle ones. Plus, the choice of instruments and what they play is masterful. I find myself leaning forward to hear every note.

I didn’t do that with Haydn. (Well, maybe once or twice.)

I did it with Mozart. A lot. But rarely with Haydn.

And, so far, I’m doing it with every composition from Beethoven.

According to Wikipedia, “Symphony No. 2 in D major (Op. 36) is a symphony in four movements written by Ludwig van Beethoven between 1801 and 1802. The work is dedicated to Karl Alois, Prince Lichnowsky.” Which means Beethoven was 32 when he finished Symphony No. 2. (And 33 when it premiered.)

From its entry on Wiki:

Beethoven’s Second Symphony was mostly written during Beethoven’s stay at Heiligenstadt in 1802, at which time his deafness was becoming more apparent and he began to realize that it might be incurable. The work was premiered in the Theater an der Wien in Vienna on 5 April 1803, and was conducted by the composer. During that same concert, the Third Piano Concerto and the oratorio Christ on the Mount of Olives were also debuted. It is one of the last works of Beethoven’s so-called “early period”.

For example, Movement III (“Scherzo & Trio: Allegro”) from Symphony No. 2 in D. Op. 36 is particularly captivating. Lots of clever little Continue reading