Category Archives: Rundfunkchor Leipzig

Day 270: Missa Solemnis in D

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BeethovenCD75Today’s CD is Missa Solemnis in D Op. 123.

If “Solemnis” means solemn then this is aptly named.

It has a weightiness about it.

And a bigness.

This choir sounds massive.

Believe it or not, even though this is a vocal composition – a mass, no less – I like it.

Choirs this big, with those soaring soprano voices, often give me the chills.

This one definitely did. (And, yes, Missa Solemnis means Solemn Mass.)

According to its entry on Wikipedia, this one of Beethoven’s biggies.

The Missa solemnis in D major, Op. 123, 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.

This certainly sounds significant. It’s beautiful.

There are five parts to this composition:

1. Kyrie
2. Gloria
3. Credo
4. Sanctus
5. Agnus Dei

Gloria is stunning – powerful and beautiful.

Of Credo, the Wiki entry tells us it is,

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.

I gotta tell you, this movement is so massive, so overwhelming, that it nearly made me cry. I was that moved.

Performers are:

Anna Tomowa-Sintow soprano
Anelies Burmeister alto
Peter Schreier tenor
Hermann Christian Polster bass

Gerhard Bosse solo violin
Hannes Kastner organ

Rundfunkchor Leipzig

Horst Neumann chorus master

Gewandhausorchester Leipzig
Kurt Masur conductor

According to Wiki, this took Beethoven four years to compose. He started when he was 49 and finished when he was Continue reading →

Day 258: Leonore, Conclusion

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BeethovenCD63For an opera, this is really quite good.

And I say that as an unabashed opera basher.

It’s a rare opera that I can truly say I enjoy.

Beethoven’s Leonore is a rare opera.

Composed in 1805 (Beethoven was 35), Leonore (also known as Fidelio) is his only opera.

Leonore features compelling, dynamic music, a believable story, and – on this edition by Brilliant Classics – superb performances from some of the world’s most famous opera stars.

Part of what I like about Leonore is the music. Usually, operas focus less on the music than they do on the performers’ voices. Not this one. The music is genuinely compelling on its own.

Plus, Leonore is not as talky as some opera. The balance between dialogue and music and singing is just about right. And the voices are superb.

Superb, I tell’s ya!

This is one of my favorite operas. Everything about it is top-notch.

Day 257: Leonore, Beginning

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BeethovenCD62I am now listening to Beethoven’s opera.

I’m up to CD 62 and this is the first time voices enter the scene.

There’s a reason for that.

Beethoven only wrote one opera.

Here’s the poop on Fidelio, according to its entry on Wiikipedia:

Fidelio (Leonore, oder Der Triumph der ehelichen Liebe: Leonore, or The Triumph of Married Love) (Op. 72) is a German opera with spoken dialogue in two acts by Ludwig van Beethoven. It is his only opera. The German libretto was prepared by Joseph Sonnleithner from the French of Jean-Nicolas Bouilly, which had been used for the 1798 opera Léonore, ou L’amour conjugal by Pierre Gaveaux, and the 1804 opera Leonora by Ferdinando Paer (a score of which was owned by Beethoven).

The opera tells how Leonore, disguised as a prison guard named “Fidelio”, rescues her husband Florestan from death in a political prison.

Frankly, I’ve never been a fan of opera. Much (most? all?) of it is dreck.

So, I’m usually wincing by the time one of my musical explorations enters the realm of opera.

Today’s foray into the world of opera is different for several reasons:

1. It’s Beethoven. So the music leading up to the singing is very good. It’s holding my attention.

2. This is Beethoven’s only opera, which gives it the weight of importance (at least in my mind).

3. It’s in German, which is a language that never fails to make me chuckle.

NPR posted a good review/commentary of Beethoven’s Leonore. Here’s an excerpt:

For ages, Leonore was viewed as little more than a flawed first draft of Fidelio. But over the last decade or two, interest in Beethoven’s earlier version has increased, even resulting in several recordings.

Some conductors who have taken interest in Leonore, like Nicholas McGegan (who conducts this concert), feel that the emotional content of Beethoven’s earlier version is more pure, intense and immediate.

The opera is imbued with Beethoven’s vision of freedom from political oppression, sparked by the ideals of the French Revolution. One writer described it as the story of “a woman, disguised as a prison worker, who liberates her husband, and strikes a blow for freedom, feminism, and prison reform.”

This recording is remarkably clear and clean. Every nuance is captured. The performers are superb. And that’s a biggie for me. There’s a certain range of voice that Continue reading →

Day 200: Beethoven Symphony 9

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BeethovenCD5Beethoven’s 9th Symphony is an unparalleled piece of work.

According to its entry on Wikipedia:

The Symphony No. 9 in D minor, Op. 125 (sometimes known simply as “the Choral”), is the final complete symphony of Ludwig van Beethoven (1770–1827). Completed in 1824, the symphony is one of the best-known works of the repertoire of classical music. Among critics, it is almost universally considered to be among Beethoven’s greatest works, and is considered by some to be the greatest piece of music ever written.

The symphony was the first example of a major composer using voices in a symphony (thus making it a choral symphony). The words are sung during the final movement by four vocal soloists and a chorus. They were taken from the “Ode to Joy”, a poem written by Friedrich Schiller in 1785 and revised in 1803, with additions made by the composer. Today, it stands as one of the most played symphonies in the world.

Although his major works had primarily been premiered in Vienna, Beethoven was eager to have his latest composition performed in Berlin as soon as possible after finishing it, since he thought that musical taste in Vienna had become dominated by Italian composers such as Rossini.[8] When his friends and financiers heard this, they urged him to premiere the symphony in Vienna in the form of a petition signed by a number of prominent Viennese music patrons and performers.

Beethoven was flattered by the adoration of Vienna, so the Ninth Symphony was premiered on 7 May 1824 in the Theater am Kärntnertor in Vienna, along with the overture The Consecration of the House (Die Weihe des Hauses) and three parts of the Missa solemnis (the Kyrie, Credo, and the Agnus Dei).

This was the composer’s first on-stage appearance in 12 years; the hall was packed with an eager audience and a number of musicians.

The symphony is scored for the following orchestra. [Wiki lists the instruments in the article.] These are by far the largest forces needed for any Beethoven symphony; at the premiere, Beethoven augmented them further by assigning two players to each wind part.

The symphony is scored for the following orchestra. These are by far the largest forces needed for any Beethoven symphony; at the premiere, Beethoven augmented them further by assigning two players to each wind part.

Very, very Continue reading →