TRACK INFORMATION

ENGLISH

DEUTSCH

ACKNOWLEDGMENTS

Live recording of the concert performance in the Berlin Philharmonie on September 28, 2016

BEETHOVEN

MISSA SOLEMNIS Rundfunk-Sinfonieorchester Berlin MDR Rundfunkchor Leipzig Marek Janowski

Regine Hangler Elisabeth Kulman Christian Elsner Franz-Josef Selig

TRACK INFORMATION

ENGLISH

DEUTSCH

ACKNOWLEDGMENTS

Ludwig van Beethoven (1770 – 1827) MISSA SOLEMNIS in D Major Op. 123 Kyrie Gloria Credo Sanctus – Benedictus

9. 22 15. 41 16. 59 15. 26

5

Agnus Dei

15. 32

←

Total playing time:

73. 04

Regine Hangler, Soprano Elisabeth Kulman, Alto Christian Elsner, Tenor Franz-Josef Selig, Bass

←

1 2 3 4

MDR Rundfunkchor Leipzig Michael Gläser, Chorus Master Rundfunk-Sinfonieorchester Berlin Rainer Wolters, Concert Master Conducted by Marek Janowski

Ludwig van Beethoven (1770 – 1827)

With devotion

MISSA SOLEMNIS

Reflections on Beethoven’s

in D Major Op. 123

BEETHOVEN

MISSA SOLEMNIS

Missa solemnis

1 2

Kyrie Gloria

9. 22 15. 41

Beethoven’s Missa solemnis is a unique gem. A work of dramatic external

3 4

Credo Sanctus – Benedictus

16. 59 15. 26

power and well-nigh incredible inner strength. Full of conviction. Rich in

5

Agnus Dei Total playing time:

Rundfunk-Sinfonieorchester Berlin MDR Rundfunkchor Leipzig

15. 32

profoundly personal visions of the faith that has remained, carved in stone,

73. 04

Regine Hangler, Soprano

in the form of the Latin mass text for centuries. And yet also rich in moments of doubt about dogmatic religion and

Elisabeth Kulman, Alto

the formal institution of the church.

Christian Elsner, Tenor Franz-Josef Selig, Bass

In its monumentality and lengthy duration of just under 90 minutes, the Missa solemnis departs from all

MDR Rundfunkchor Leipzig

liturgical guidelines – despite the fact

Michael Gläser, Chorus Master

that the work was originally intended for a specific high mass; yet it was not actually performed there in the end.

Rundfunk-Sinfonieorchester Berlin

Marek Janowski

External event and internal task Creating a unique gem takes time: and in this case, Beethoven took plenty

– not Beethoven’s Missa solemnis, but a mass composed by Johann Nepomuk Hummel was performed. Not until three years later did Beethoven manage to complete the Missa solemnis, the

Stile antico and modern musical idiom According to Carl Dahlhaus, in his Missa solemnis Beethoven was mainly

Dahlhaus describes the motivic links

as follows about his first mass: “…

between the various structural sections

however, I believe that I have treated

as “submotivic connections.” Thus, very subtly, individual parameters from motifs constantly reappear in a precisely

the text in a manner in which it has seldom been treated.” And again with his Missa solemnis, Beethoven subjected

of time. In the summer of 1818 it was

reason being that he had quickly

concerned with finding a good mix

calculated manner – however, always in

the individual words of the Latin text to

announced in Vienna that his pupil and patron, the Archduke Rudolph, was to be enthroned as Archbishop of Olomouc

realized that he would have to take an extraordinary path. The première took place in St. Petersburg on April 7, 1824,

between the idiom of ancient church music and that of modern instrumental music. He appears to have managed

a different context as regards content. These submotivic references are very difficult to recognize at first hearing.

a precise examination, in order to give them an exact musical interpretation: both with regard to their pure

on March 9, 1820. Beethoven decided

as a concertante performance under

this due to the fact that “in the archaic

While working on his mass, Beethoven

significance, but above all, with regard

to compose a mass for this event. In June 1819, he wrote as follows to the Archduke: “The day on which a high

the auspices of Prince Gallitzin; and on May 7, 1824, the mass was given an incomplete performance in Vienna,

idiom, which was meant to vouch for the church, he simultaneously discovered a ferment of modernity,

delved into ancient church music in Archduke Rudolph’s library, studying works by Palestrina as well as Gregorian

to their connotations. Which feelings are resonating here? Which emotions are they releasing? And not only in the case

mass by my hand will be performed

not including the “Gloria” and the “Sanctus.” Obviously, Beethoven had no

thanks to which the work was able to

chant.

of the listener, but above all, with regard to the composer himself.

during the celebrations solemnized for Y.I.H. will be for me the most beautiful day of my life. And God will enlighten

problem in “extracting” his Missa from its original destination. Clearly, in the

hold its own with regard to the aesthetic maxim that music must be novel in order to be considered authentic.” And

me, so that my paltry creative powers may contribute to the glorification

meantime, he had begun to regard it as a deeply personal confrontation with

indeed, techniques such as motivicthematic passage work, or evolving

am Ölberge (= Christ on the mount of olives, 1803/1804/1811), Beethoven had

of this solemn day.” But work on the composition dragged out, and by the

his faith.

variation (characteristic for Beethoven’s middle period) are to be found only

already devoted a great deal of time to the texts, aiming to “unify music

In his Mass in C major, dating from 1807, and also in his oratorio Christus

Rainer Wolters, Concert Master

end of 1819 Beethoven had only just sketched the middle part of the Credo.

in rudimentary form. However, this does not signify that the structural

and word.” To help with the mass text, he brought in a translator, who was

Conducted by Marek Janowski

The day arrived of the High Mass, and

sections of the mass coexist in isolation.

himself a musician. Beethoven wrote

Creed

drowned by the calls of “credo” in the

Is this my faith? How do I believe?

other voices. On the other hand, great emphasis is placed on the belief in

And why? A religious and “expressively intensified subjectivism” (Ackermann)

eternal life by means of an extended double fugue lasting more than 170

containing these questions runs like a red thread through the Missa solemnis.

bars. The Missa is full of such highly contrasting interpretations of the text.

It is a deeply personal creed. Here, Beethoven is concerned with individual

As in the Mass in C major, in the Missa

emotions, not with universal questions of faith – as he makes clear to us in the

solemnis Beethoven also renounces the traditional numbering, i.e. the

following sentence “May it continue to flow from heart to heart,” written in the autograph score above the “Kyrie.”

classification of the distribution of arias and choral settings within the various sections of the mass. In part, the

How simple. How noble. How human.

formal structuring keeps to traditional

Perhaps this is precisely why Beethoven described the Missa as “the most successful of his intellectual products”:

guidelines, as in the tripartite division of the “Kyrie”; however, it also goes its own way, for example at the end of the

because it demonstrates his personal

“Gloria,” when the “Gloria in excelsis

view of faith, and also how he rated certain assertions in the mass text. Take, for instance, the casual “credo in

Deo” is repeated, but now in presto. The extremely short “Sanctus” is contrasted with a greatly elongated “Benedictus”;

is laid out in four sections. There is

The movements

an extremely pronounced principle of contrast at all levels. Peace and quiet is contrasted with movement, ecstatic rejoicing resonates alongside pacing dignity, polyphony is alternated with homophony. A recitative tone meets with widely resonating cantilenas and concise folk-song-like creations. The Missa solemnis is a work of extremes. Beethoven blends choir, soloists, and large orchestra into a single “body of sound,” which is meant to “touch, strike, shake” (Werner-Jensen) the listener with volume of its sound. And Beethoven succeeds at this, having set himself the goal “of awakening and perpetuating religious feelings both in the singer and the listener.”

the heavenly heights with the soaring

Beethoven designs the “Credo” with

The “Kyrie,” the song of invocation,

main theme of the “Gloria.” This theme recurs like a motto at key points in

equally rich contrast, both in its entirety and its individual sections. Here, too,

has a classical tripartite division, with a constant and humble interchange of

the movement. This is followed by the “terra pax hominibus,” almost like a

the music is deeply personal, all about the confession of faith and the miracle

singing between soloists and choir. The first D-major chord of the full orchestra

homophonic whisper from the choir, the hymnically worshipping “Laudamus te”

of Christ’s birth, suffering, death, resurrection and ascension. Analogous

already anticipates the impressive cry of “Kyrie” from the choir. In the middle

and the airy “Gratias agimus tibi.” The “Qui tollis” introduces the slow, second

to the “Gloria,” the powerful opening core motif of the “Credo” returns at

part (“Christe”), the soloists lead with the choir responding. Increasingly

part of the Gloria, in which clarinets and flutes present the lament theme. An

the end as if to close brackets. Can there be any doubt about Beethoven’s

dense, the voices become more and more contrapuntally interwoven. In the varied repetition of the “Kyrie,”

extended, contrite plea for compassion develops in the “Miserere nobis,” in which Beethoven draws out the emotion

faith here? The musical design cements an imperturbable attitude of mind. The next section of the movement

Beethoven emphasizes the agonizing

in the vowel “o.” In the third part –

(“Et incarnatus est” – “et homo factus

mood by means of chromaticism, and the movement fades away in the prayer in pianissimo.

“Quoniam tu solus sanctus” – the eulogy returns in the powerful choral setting, followed by a tremendous fugue, “in

est”) recreates the individual phases with deep feeling: at times profoundly absorbed in thought, at others painful

gloria dei patris, amen,” after which

and sorrowful, then again vividly

Beethoven begins the eulogy of the “Gloria,” which is divided into four parts in a hugely contrasting manner.

the recurrence of the motto from the beginning of the “Gloria” concludes the movement in presto.

majestic during the Last Judgment. Here too, the “Credo” is concluded with a massive fugue – a double fugue on the

unam sanctam catholicam,” recited

and the “Agnus Dei” – which in fact

After a stormy fortissimo upbeat in

only once in the tenors, which is almost

consists of three sections in the text –

the orchestra, the choir races up into

phrase “et vitam venturi saeculi, amen.”

The Sanctus “devoutly” assumes a

reverent mood. Right up to the end, the

profoundly meditative attitude, the

solo violin remains in charge; and at

prayers are whispered mezza voce, primed by trombones and low strings. A general pause is immediately followed

the conclusion, it soars back up to the heights after a glorification, once again set as a fugue.

by an energetically driving choral fugato to the phrase “Osanna in excelsis.” This is followed by a short prelude, almost lacking in motif, in which

The concluding “Agnus Dei” introduces an Adagio section that continually attempts to soar, but finally fades away

Beethoven portrays the miracle of the

in pp. Beethoven wrote the following

transformation of the host; by the way, this is the only exclusively instrumental “movement.”

words above the “Dona nobis pacem”: “Plea for internal and external peace.” Two instrumental interpolations with,

But then suddenly in the “Benedictus,”

so to speak, warlike timpani and trumpets, violently breaking into the

the solo violin swoops down from the highest heights of heaven in a coup de

music, demonstrate that this peace is truly under siege. “Fearfully,” the soloists

théâtre. Profane kitsch? Well, Arnold Werner-Jensen described this as “a

once again plea for mercy; and the choir virtually insists upon it, with its

legitimate artistic means of emotionally flustering the listener.” For after all,

sforzato cries of “pacem.”

it was about the “impact of the promise.” The muted sound-colours in the orchestra further emphasize the

Marek Janowski

Dortmund (1975-1979). Since the late

From 2002 until 2015, Marek

1970s, he has appeared regularly at all the major opera houses world-wide.

Janowski was Artistic Director and Chief Conductor of the Rundfunk-

Marek Janowski stepped back from the

Sinfonieorchester Berlin (RSB). Before embarking upon his Berlin period,

opera scene in the 1990s to concentrate on the great German and French

and also partly parallel to this, he was Musical Director of the Orchestre

symphonic repertoire. He enjoys an outstanding reputation amongst the

de la Suisse Romande (2005-2012), Chief Conductor of the Orchestre

premier orchestras of Europe, North America and Asia and is recognised

Philharmonique de Monte Carlo (2000-2005), Chief Conductor of the Dresdner Philharmonie (2001-2003),

for his ability to create orchestras of international standing.

and Musical Director of the Orchestre

His leave-taking of the opera, however,

Philharmonique de Radio France (19842000).

was merely an institutional matter, not a musical farewell. Thus he is now recognized as one of the greatest

Born in Warsaw and educated in

experts regarding the music of Richard

Germany, Marek Janowski’s artistic path led him from positions in Aachen, Cologne, Düsseldorf and Hamburg to his

Wagner, to which his concertante Wagner cycle with the RSB bears witness. In the sequel he accepted the

appointment as General Music Director

invitation to conduct Wagner’s “Ring” at

in Freiburg im Breisgau (1973-1975) and

the Bayreuth Festival in 2016 and 2017.

Liner notes

of the RSB. Vladimir Jurowski has

la Parra, Lahav Shani and Omer Meir

been named as his successor, starting in the 2017-2018 season. Previous chief conductors (including Sergiu Celibidache, Eugen Jochum, Hermann Abendroth, Rolf Kleinert, Heinz Rogner,

Wellber performing in recent years.

and Rafael Frühbeck de Burgos) have all helped to create the ensemble’s exceptional sound.

RSB belongs, has born rich fruit on recording. Starting in 2010, together with PENTATONE, great effort was put

Since its foundation, the RSB has invited major composers to conduct or to perform as soloists in their own works. These have included Paul Hindemith, Sergei Prokofiev, Richard Strauss, and Igor Stravinsky, as well as Krzysztof Penderecki, Peter Ruzicka, and Jörg Widmann. The RSB is particularly attractive for capable young conductors from the international music scene, with Andris

and won the 2nd prize in the Birgit

the “Ehrenpreis der deutschen

Nilson competition.

Schallplattenkritik” (= honorary prize of the German Critics’ Award) for his extensive life’s work.

Since 2013/14 Regine Hangler is an

Tokyo and the Scala in Milan.

success as a soprano. Since 2005

Thielemann, Marek Janowski or Franz

As a successful concert singer Regine Hangler is very successful in Austria,

Elisabeth Kulman has been singing the major parts of the mezzo and alto repertoire. As a member of the

close collaboration with Nikolaus Harnoncourt.

ensemble member of the Wiener

Germany, Albany, the Netherlands,

ensemble at the Vienna State Opera

Regine Hangler Soprano

Staatsoper and is performing the following roles, just to name a few: Rosalinde (Die Fledermaus), Santuzza

Slovenia, Hungary, Japan and Israel. Regine Hangler’s discography and videography continue to grow steadily.

she quickly became a favourite of the audience and established the basis for her vast repertoire. Her most

After having studied viola and technics, Regine Hangler studied canto as her major subject at the Kärntner

Ariadne (auf Naxos), Leonore (Fidelio) and Eva (Die Meistersinger von Nürnberg).

(Cavalleria Rusticana), Elsa (Lohengrin),

Landeskonservatorium and the Universität für Musik in Vienna, which she passed with distinction.

In May 2015 the soprano was highly acclaimed for her title role of “Daphne” in Berlin, which was conducted by

Elisabeth Kulman Alto

important roles include Fricka, Erda and Waltraute (The Ring of the Nibelung), Carmen, Mrs. Quickly (Falstaff), Brangäne (Tristan and Isolde), Begbick

Elisabeth Kulman is one of today’s

(Mahagonny), Orlofsky (The Bat), Orfeo

most sought-after singers and leading authorities in the international classical music scene. She impresses

(Gluck) and Marina (Boris Godunov). Since 2010 Elisabeth Kulman has been

At the same time she was working

Marek Janowski, in New York und

audiences and critics alike with her rich,

working as a freelance artist. She is

with KS Mara Zampieri in Padua and concluded her education with numerous Masterclasses.

Cleveland by Franz Welser-Möst. In 2016 she had a big success at the Salzburger Festspiele for her interpretation of

colourful timbre, her charismatic stage personality and her musical versatility.

a much sought-after soloist in the metropolitan centres of the music world: Vienna, Paris, London, Munich,

Xanthe in “Die Liebe der Danae”.

She studied voice with Helena Lazarska

Berlin, Tokyo, Salzburg, Moscow, etc.

Further future engagements lead the soprano i.e. to the Bayreuther Festspiele,

at the Vienna Music University, made her debut as Pamina in 2001 at the Volksoper in Vienna and enjoyed early

She works regularly with world-class orchestras and conductors such as Zubin Mehta, Kirill Petrenko, Christian

Several times she was decorated with highly skilled scholarships, became finalist of the Italian Aslico competition

Welser-Möst. She enjoyed a particularly

Christian Elsner Tenor Born in Freiburg, Christian Elsner is one of the most versatile German tenors. He

On the opera stage Christian Elsner has

The versatile singer has written his own

established himself as a heroic tenor

children’s book, Lennie und der Ring des

in the roles of Siegmund and Parsifal at the Deutsches Nationaltheater in Weimar, the Staatstheater in Kassel, the

Nibelungen, and has been working as a professor for singing at the Hochschule für Musik in Wurzburg since 2006.

Franz-Josef Selig Bass

Nezét-Séguin, Antonio Pappano, Phillipe Jordan, Zubin Mehta and many others.

Franz-Josef Selig has established himself on the international scene as

Bass singer Franz-Josef Selig first studied church music at the Staatliche

Since 2015 Elisabeth Kulman has been

studied singing with Martin Gründler,

Dresden Semperoper, the Vienna State

focusing her artistic activities on recitals (together with her longtime accompanist Eduard Kutrowatz),

took lessons with Dietrich FischerDieskau and Neil Semer, and has won many international competitions.

Opera and at the Teatro Real in Madrid. Accompanied by Gerold Huber and Burkhard Kehring, the tenor has given recitals in Frankfurt, Hamburg, Bonn,

Real in Madrid under Semyon Bychkov,

Fiesco and Fasolt at all the world’s

ensemble in Essen. He has since been a

As an internationally sought-after concert singer, Christian Elsner is a popular guest at all the important

Dresden, Munich, Wurzburg and Brussels, and at the Schubertiade in Feldkirch.

in Vienna in Franz Schmidt’s The Book with Seven Seals under Manfred Honeck with the Vienna Symphony Orchestra,

major opera houses (such as the Vienna State Opera, Bavarian State Opera, Teatro alla Scala di Milano, Teatro Real

freelance singer.

in Beethoven’s Ninth Symphony in

Madrid, the Parisian opera houses or

Wien as well as “Hungaro Tune” with symphony orchestra and jazz soloists.

the Berlin Philharmonic, New York’s Carnegie Hall, La Scala, Milan and the Suntory Hall in Tokyo, and has worked

Christian Elsner can also be heard on CD, with recordings such as Schubert’s Winterreise and Schumann’s

Leipzig with the Gewandhausorchester under Herbert Blomstedt, and in Berlin, Vienna, New York, Taipei and Tokyo with

the Metropolitan Opera New York) and at prestigious festivals such as the Bayreuth and Salzburg Festival and

Her latest solo programme “La femme c’est moi” features pieces from Carmen

with many renowned conductors such as Herbert Blomstedt, Manfred Honeck,

Dichterliebe, along with studio productions of Mahler’s Lied von der

the Berlin Philharmonic under Sir Simon Rattle.

the Festival d’Aix-en-Provence. Opera productions as well as concerts bring

up to the Beatles.

Marek Janowski, Mariss Jansons, Kent Nagano, Yannick Nézet-Séguin, Semyon

Erde as well as complete recordings of Wagner’s Rheingold (Loge) and Parsifal

Bychkov and Sir Simon Rattle.

(title role).

concerts and operas in concert. She is especially devoted to unconventional projects: “Mussorgsky Dis-Covered” with an international jazz quartet, “Mahler Lieder” and “Wer wagt mich zu höhnen?” with the ensemble Amarcord

classical music centres, such as

Christian Elsner’s most recent performances have included the title role in Wagner’s Parsifal at the Teatro

one of the best-known serious bass

Hochschule für Musik in Cologne before

baritones. He regularly gives guest performances as Gurnemanz, King Marke, Sarastro, Rocco, Osmin, Daland,

taking voice classes under Claudio Nicolai. At the beginning of his career he was a member of the Aalto Theatre

him together frequently with renowned orchestras and conductors, such as James Levine, Christian Thielemann, Sir Simon Rattle, Marek Janowski,

MDR Rundfunkchor Leipzig

Mit Andacht Gedanken zu Beethovens Missa solemnis

into the live recording of the successful ten part Wagner cycle. Other activities of the RSB include special concerts for families and children, as well as guest performances in the major international concert halls, which have taken place over the past 50 years. Alongside regular tours of Asia the orchestra appears at German and European festivals. MDR Rundfunkchor Leipzig © Peter Adamik

Nelsons, Yannick Nézet-Séguin, Alain Altinoglu, Jakub Hrůša, Alondra de

nicht die Missa solemnis, sondern eine

Ein Solitär benötigt Zeit. Und die nahm sich Beethoven in diesem Fall reichlich. Im Sommer 1818 wurde in Wien bekannt, dass sein Schüler und Gönner, Erzherzog Rudolph, am 9. März 1820 zum Erzbischof von Olmütz inthronisiert

Überzeugungskraft. Reich an zutiefst persönlichen Blicken auf jenen Glauben, wie er in Gestalt des lateinischen Messtextes seit Jahrhunderten in

werden sollte. Aus diesem Anlass plante Beethoven eine Messvertonung. Im Juni 1819 schrieb er an den Erzherzog: „Der Tag, wo ein Hochamt von mir

Stein gemeißelt ist. Und doch auch reich an Momenten des Zweifelns an dogmatischer Religion und der formellen Institution Kirche. In ihrer

zu den Feierlichkeiten für I.K.H. soll aufgeführt werden, wird für mich der schönste meines Lebens sein. Und Gott wird mich erleuchten, dass meine

Monumentalität und zeitlichen Ausdehnung von knapp 90 Minuten sprengt die Missa solemnis jegliche liturgischen Vorgaben. Auch wenn das Werk ursprünglich für ein konkretes

schwachen Kräfte zur Verherrlichung dieses Feierlichen Tages beitragen.“ Doch die kompositorische Arbeit ging nur schleppend voran und Ende 1819

Hochamt gedacht war. Dort dann aber nicht erklang. Rundfunk-Sinfonieorchester Berlin © Molina Visuals

Äußerer Anlass und innere Aufgabe

Beethovens Missa solemnis ist ein Solitär. Ein Werk von äußerer dramatischer Wucht und schier unglaublicher innerer Stärke. Voller

hatte Beethoven gerade einmal den Mittelteil des Credos skizziert. Der Tag des Hochamtes kam. Und es erklang – Deutsch

Messe von Johann Nepomuk Hummel. Erst drei Jahre später konnte Beethoven die Missa solemnis vollenden. Weil ihm schnell klar wurde, dass er einen außergewöhnlichen Weg würde gehen müssen. Die Uraufführung fand am 7. April 1824 in St. Petersburg im Rahmen einer konzertanten Aufführung des Fürsten Galitzin statt und am 7. Mai 1824 erklang das Werk bruchstückhaft in Wien, ohne Gloria und Sanctus. Beethoven hatte ganz augenscheinlich kein schlechtes Gewissen, seine Missa aus ihrer ursprünglichen Bestimmung herauszulösen. Betrachtete er sie doch mittlerweile als zutiefst persönliche Auseinandersetzung mit seinem Glauben.

Stile antico und moderne Tonsprache

als „submotivische Beziehungen“.

dass ich den Text behandelt habe, wie

Glaubensfragen. Was nicht zuletzt der

Wie schon in der C-Dur-Messe

knappe volksliedhafte Bildungen. Die

Folgt man Carl Dahlhaus, so ging

Demnach kehren auf äußerst subtile Weise einzelne Parameter aus Motivgestalten genauestens kalkuliert

er noch wenig behandelt worden“. Auch bei der Missa solemnis untersuchte Beethoven die einzelnen Wörter des

es Beethoven in der Missa solemnis kompositorisch vor allem um eine Vermittlung zwischen altem Kirchenstil und moderner Instrumentalmusik. Gelungen sei ihm dies dadurch, „dass

wieder – aber in einem jeweils anderen inhaltlichen Zusammenhang. Diese submotivischen Bezüge sind beim erstmaligen Hören kaum zu erkennen. Während der Arbeit an der Messe

lateinischen Messtextes genau, um sie musikalisch exakt auszudeuten. Auf ihre reine Bedeutung hin, vor allem aber auch auf ihre Konnotationen. Welche Gefühle schwingen mit? Welche

im Autograph über dem Kyrie stehende Satz „Von Herzen – möge es wieder – zu Herzen gehen“ transportiert. Wie schlicht. Wie groß. Wie menschlich. Vielleicht hat Beethoven die Missa

verzichtet Beethoven auch in der Missa solemnis auf die traditionelle Nummerngliederung, also auf die Verteilung von Arien und Chorsätzen auf die Messabschnitte. Die formale

Missa solemnis ist ein Werk der Extreme. Beethoven lässt Chor, Solisten und das groß besetzte Orchester zu einem einzigen Klangkörper verschmelzen, der den Hörer mit seinem voluminösen

gerade deshalb als das „gelungenste seiner Geistesprodukte“ bezeichnet. Weil sie seinen persönlichen Blick

Gliederung folgt teils traditionellen Vorgaben, wie bei der Dreiteilung des Kyrie, geht aber auch eigene Wege,

Klangbild „rühren, treffen, erschüttern“ (Werner-Jensen) soll. Und das gelingt Beethoven, der sich zum Ziel gesetzt

er im Archaischen, das die Kirchlichkeit verbürgen sollte, zugleich ein Ferment von Modernität entdeckte, durch die das Werk vor der ästhetischen Maxime

vertiefte sich Beethoven in der Bibliothek Erzherzog Rudolphs in alte Kirchenmusik, studierte Palestrinas Werke und die Gregorianik.

Emotionen setzen sie frei? Und zwar nicht nur beim Hörer, sondern vor allem beim Komponisten.

etwa wenn Beethoven das „Gloria in excelsis Deo“ am Ende des Gloria im presto wiederholt. Dem extrem kurzen Sanctus steht ein extrem gedehntes Benedictus gegenüber und das textlich

hatte „sowohl bei Singenden als bei Zuhörern religiöse Gefühle (zu) erwecken und dauernd (zu) machen“.

bestehen konnte, dass Musik neu sein müsse, um authentisch zu sein.“ Und in der Tat finden sich Techniken wie motivisch-thematische Arbeit oder

auf den Glauben zeigt. Und wie er bestimmte Aussagen des Messtextes bewertet. Man denke etwa an das beiläufige, lediglich einmal im ChorTenor rezitierte „credo in unam sanctam

Schon in seiner C-Dur-Messe aus dem Jahr 1807 und auch in seinem Oratorium Christus am Ölberge (1803/1804/1811)

entwickelnde Variation (ihres Zeichens Merkmale des mittleren Beethovens) nur rudimentär. Was wiederum nicht bedeutet, dass die formalen Teile der

hatte sich Beethoven intensiv mit den Textvorlagen beschäftigt, mit dem Ziel „Musick und wort ein’s“ werden zu lassen. Beim Messtext bediente er sich

catholicam“, das in den „Credo“-Rufen der anderen Stimmen schier untergeht. Der Glaube an das ewige Leben erfährt dagegen auf über 170 Takten in einer

eigentlich dreiteilig angelegte Agnus Dei wird vierteilig umgesetzt. Auf allen Ebenen findet sich ein extrem ausgeprägtes Kontrastprinzip. Ruhe

homophon vom Chor fast geflüstert, das hymnisch anbetende „Laudamus te“ und das klanglich luftige „Gratias agimus tibi“. Mit dem „Qui tollis“ beginnt der langsame, zweite Teil des Gloria, in dem

der Hilfe eines Übersetzers, der selber Musiker war. Beethoven schrieb über seine erste Messe: „jedoch glaube ich,

wird Bewegung gegenübergestellt, ekstatischer Jubel erklingt neben schreitender Würde, polyphone und homophone Ausgestaltung wechseln

Das Kyrie, der Bittgesang, ist klassisch dreigeteilt, im steten, demutsvollen Wechselgesang zwischen Soli und Chor. Der machtvolle Kyrie-Anruf der Chorstimmen wird bereits im ersten

Messe isoliert nebeneinanderstehen. Die motivischen Bezüge zwischen den Formabschnitten beschreibt Dahlhaus

ausgeweiteten Doppelfuge eine starke Gewichtung. Derart kontrastreiche Interpretationen der textlichen Vorgabe prägen die Missa.

D-Dur-Akkord des vollen Orchesters vorweggenommen. Im mittleren Christe-Teil führen die Soli, der Chor antwortet. Immer dichter werden die

Klarinetten und Flöten das Klagethema präsentieren. Eine ausgedehnte, zerknirschte Bitte um Erbarmen entwickelt sich im von Beethoven um

Stimmen kontrapunktisch miteinander

den emotionalen Laut „O“ erweiterte

Bekenntniswerk Ist dies mein Glaube? Wie glaube ich? Und warum? Mit diesen Fragen zieht sich ein religiöser und „expressiv gesteigerter Subjektivismus“ (Ackermann) wie ein roter Faden durch die Missa solemnis. Sie ist ein zutiefst persönliches Bekenntniswerk. Es geht Beethoven um individuelle Emotionen, nicht um allgemeingültige

sich ab. Ein Rezitationston trifft auf weit ausschwingende Kantilenen und

Die Sätze

verwoben. In der variierten KyrieWiederholung betont Beethoven die schmerzvolle Haltung durch Chromatik, der Satz verklingt im Pianissimo-Gebet. In stärkstem Kontrast eröffnet Beethoven den Preisgesang des Gloria, das in vier Teile gegliedert ist. Nach stürmischem Fortissimo-Orchesterauftakt jagen die Chorstimmen mit dem aufsteigenden Gloria-Hauptthema in himmlische Höhen. Dieses Thema kehrt mottoartig an Schlüsselstellen des Satzes wieder. Es folgt das „et in terra pax hominibus“,

Acknowledgments

Bevor im Benedictus die Solo-

durchaus gefährdet ist, zeigen zwei

Violine in einem coup de théâtre von den höchsten Höhen des Himmels herabsteigt. Weltlicher Kitsch? Arnold Werner-Jensen sah darin „ein legitimes künstlerisches Mittel, den

instrumentale Einschübe mit gleichsam kriegerischen Pauken und Trompeten, die gewaltsam einbrechen. „Ängstlich“ bitten die Solisten erneut um Erbarmen. Der Chor fordert geradezu insistierend

einer gewaltigen Fuge abgeschlossen, einer Doppelfuge auf „et vitam venturi saeculi, amen“.

Hörer emotional aus der Fassung zu bringen“. Immerhin gehe es hier um die „Wucht der Verheißung“. Die

mit seinen Sforzato-Rufen „pacem“.

Das Sanctus nimmt „mit Andacht“ eine tiefgründige Versenkungshaltung ein, mezza voce werden die Gebetsrufe geflüstert, grundiert von Posaunen

gedämpften Klangfarben im Orchester unterstreichen die andachtsvolle Haltung noch. Bis zum Ende hat die Solo-Violine stets die Führung inne und steigt nach einer erneut fugierten

und um das Wunder von Geburt, Leiden, Tod, Wiederauferstehung und Himmelfahrt Christi. Analog zum Gloria kehrt das eröffnende, wuchtige Credo-

und tiefen Streichern. Nach einer Generalpause beginnt ein energisch vorantreibendes Chorfugato über „Osanna in excelsis“. Es folgt ein kurzes,

Lobpreisung am Ende wieder in die Höhe hinauf.

Kernmotiv am Ende wie einer Klammer wieder. Kann man hier irgendwie an Beethovens Glauben zweifeln? Die musikalische Gestaltung zementiert

fast schon amotivisches Präludium, in dem Beethoven das Wunder der Hostienwandlung nachzeichnet; übrigens der einzige rein instrumentale

einen Adagio-Teil ein, der sich immer wieder aufzuschwingen versucht, dann im Pianissimo verklingt. Das „Dona nobis pacem“ ist von Beethoven mit

PENTATONE TEAM Vice President A&R Renaud Loranger | Director A&R Job Maarse | Managing

eine unerschütterliche Geisteshaltung. Der Binnensatz („Et incarnatus est“

„Satz“.

„Bitte um innern und äußern Frieden“ überschrieben. Dass dieser Frieden

Director Dirk Jan Vink | Director Product, Marketing & Distribution Simon M. Eder A&R Kate Rockett | Marketing & PR Silvia Pietrosanti | Distribution Veronica Neo

– „et homo factus est“) gestaltet die einzelnen Phasen tief empfunden nach. Mal abgründig versunken, mal schmerz- und leidvoll, dann wieder plastisch-majestätisch beim Jüngsten Gericht. Auch das Credo wird von

Beginns den Satz im Presto krönend abschließt.

PRODUCTION TEAM Executive producers Stefan Lang (Deutschlandradio Kultur), Job Maarse (Pentatone) | Recording producer Job Maarse | Balance engineer Jean-Marie Geijsen (Polyhymnia) | Recording engineer & editor Erdo Groot (Polyhymnia) Deutschlandradio recording team Wolfram Nehls, Henri Thaon, Jens Müller Liner notes Jörg Peter Urbach | English translation Fiona J. Stroker-Gale Design Joost de Boo | Product management Max Tiel This album was live recorded at the Berlin Philharmonie, September 2016.

Das abschließende Agnus Dei leitet

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Broadcasting Union, through touring or in guest performances worldwide,

years of musical history. Numerous world premieres attest to the 73 choir

the MDR LEIPZIG RADIO CHOIR, which was awarded the European Cultural

members’ reputation as a specialised ensemble for contemporary music.

Prize in 2013, acts as a supreme musical ambassador for central Germany.

work it is invariably the MDR LEIPZIG RADIO CHOIR that comes at the top

acclaimed world-class ensemble. From the season 2015/2016 he was succeeded

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Premium Sound and Outstanding Artists PENTATONE. Today’s music is evolving and forever changing, but classical music remains true in creating harmony among the instruments. Classical music is as time-honoured as it is timeless.

formats. In 2017 the choir was awarded the International Classical Music Award for its recording of Max Reger’s Motets op. 110. Whether via the European

works complete a repertoire that encompasses practically a thousand

In the fifteen years of his tenure

Corporation (ARD), the MDR LEIPZIG RADIO CHOIR is widely regarded among

Sit back and enjoy

70-year history. These recordings have been released on LPs, CDs and digital

demonstrates its expertise with highly acclaimed a cappella performances. Secular and sacred music, wide-ranging ensemble singing and choral symphonic

from 1998 Howard Arman lastingly consolidated the reputation of this

Semyon Bychkov, Riccardo Muti, Yannick

Gleichfalls kontrastreich im Gesamtrahmen wie in den einzelnen Teilen gestaltet Beethoven das Credo. Auch hier zutiefst persönlich, geht es doch um das Glaubensbekenntnis

„Miserere nobis“. Im dritten Teil – „Quoniam tu solus sanctus“ – kehrt der Preisgesang im mächtigen Chorsatz zurück, bevor sich eine gewaltige „in gloria dei patris, amen“-Fuge anschließt bevor erneut das Zitat des Gloria-

Not only an excellent partner for major orchestras, the ensemble regularly

When major orchestras in Germany or abroad plan to perform a choral

Artists

The collaboration with Deutschlandradio, the main shareholder of the ROC GmbH Berlin to which the

Marek Janowski © Jean-François Leclercq

In 2014 Marek Janowski was awarded

Nearly 200 recordings, many of them award-winning, have been recorded by the ensemble during its more than

RundfunkSinfonieorchester Berlin (RSB, Berlin Radio Symphony Orchestra) dates back to the beginnings of music broadcasting in 1923, and has since sustained its position amongst the leading orchestras in Berlin and other radio orchestras throughout Germany. From 2002 to 2015, Marek Janowski was artistic director and chief conductor

With devotion

External event and internal task

Reflections on Beethoven’s Missa solemnis

profoundly personal visions of the faith that has remained, carved in stone, in the form of the Latin mass text for centuries. And yet also rich in moments of doubt about dogmatic religion and the formal institution of the church. In its monumentality and lengthy duration of just under 90 minutes, the Missa solemnis departs from all liturgical guidelines – despite the fact that the work was originally intended

extraordinary path. The première took place in St. Petersburg on April 7, 1824, as a concertante performance under the auspices of Prince Gallitzin; and on May 7, 1824, the mass was given an incomplete performance in Vienna, not including the “Gloria” and the “Sanctus.” Obviously, Beethoven had no problem in “extracting” his Missa from its original destination. Clearly, in the meantime, he had begun to regard it

to compose a mass for this event. In June 1819, he wrote as follows to the Archduke: “The day on which a high mass by my hand will be performed during the celebrations solemnized for Y.I.H. will be for me the most beautiful day of my life. And God will enlighten me, so that my paltry creative powers may contribute to the glorification of this solemn day.” But work on the composition dragged out, and by the

for a specific high mass; yet it was not actually performed there in the end.

DEUTSCH

– not Beethoven’s Missa solemnis, but a mass composed by Johann Nepomuk Hummel was performed. Not until three years later did Beethoven manage to complete the Missa solemnis, the reason being that he had quickly realized that he would have to take an

Creating a unique gem takes time: and in this case, Beethoven took plenty of time. In the summer of 1818 it was announced in Vienna that his pupil and patron, the Archduke Rudolph, was to be enthroned as Archbishop of Olomouc on March 9, 1820. Beethoven decided

Beethoven’s Missa solemnis is a unique gem. A work of dramatic external power and well-nigh incredible inner strength. Full of conviction. Rich in

←

ENGLISH

as a deeply personal confrontation with his faith.

ACKNOWLEDGMENTS

Stile antico and modern musical idiom According to Carl Dahlhaus, in his Missa solemnis Beethoven was mainly concerned with finding a good mix between the idiom of ancient church music and that of modern instrumental music. He appears to have managed this due to the fact that “in the archaic idiom, which was meant to vouch for the church, he simultaneously discovered a ferment of modernity, thanks to which the work was able to hold its own with regard to the aesthetic maxim that music must be novel in order to be considered authentic.” And indeed, techniques such as motivicthematic passage work, or evolving variation (characteristic for Beethoven’s middle period) are to be found only

end of 1819 Beethoven had only just sketched the middle part of the Credo.

in rudimentary form. However, this does not signify that the structural

The day arrived of the High Mass, and

sections of the mass coexist in isolation.

←

TRACK INFORMATION

Liner notes

Ludwig van Beethoven (1770 – 1827)

With devotion

MISSA SOLEMNIS

Reflections on Beethoven’s

in D Major Op. 123

BEETHOVEN

MISSA SOLEMNIS

Missa solemnis

1 2

Kyrie Gloria

9. 22 15. 41

Beethoven’s Missa solemnis is a unique gem. A work of dramatic external

3 4

Credo Sanctus – Benedictus

16. 59 15. 26

power and well-nigh incredible inner strength. Full of conviction. Rich in

5

Agnus Dei Total playing time:

Rundfunk-Sinfonieorchester Berlin MDR Rundfunkchor Leipzig

15. 32

profoundly personal visions of the faith that has remained, carved in stone,

73. 04

Regine Hangler, Soprano

in the form of the Latin mass text for centuries. And yet also rich in moments of doubt about dogmatic religion and

Elisabeth Kulman, Alto

the formal institution of the church.

Christian Elsner, Tenor Franz-Josef Selig, Bass

In its monumentality and lengthy duration of just under 90 minutes, the Missa solemnis departs from all

MDR Rundfunkchor Leipzig

liturgical guidelines – despite the fact

Michael Gläser, Chorus Master

that the work was originally intended for a specific high mass; yet it was not actually performed there in the end.

Rundfunk-Sinfonieorchester Berlin

Marek Janowski

External event and internal task Creating a unique gem takes time: and in this case, Beethoven took plenty

– not Beethoven’s Missa solemnis, but a mass composed by Johann Nepomuk Hummel was performed. Not until three years later did Beethoven manage to complete the Missa solemnis, the

Stile antico and modern musical idiom According to Carl Dahlhaus, in his Missa solemnis Beethoven was mainly

Dahlhaus describes the motivic links

as follows about his first mass: “…

between the various structural sections

however, I believe that I have treated

as “submotivic connections.” Thus, very subtly, individual parameters from motifs constantly reappear in a precisely

the text in a manner in which it has seldom been treated.” And again with his Missa solemnis, Beethoven subjected

of time. In the summer of 1818 it was

reason being that he had quickly

concerned with finding a good mix

calculated manner – however, always in

the individual words of the Latin text to

announced in Vienna that his pupil and patron, the Archduke Rudolph, was to be enthroned as Archbishop of Olomouc

realized that he would have to take an extraordinary path. The première took place in St. Petersburg on April 7, 1824,

between the idiom of ancient church music and that of modern instrumental music. He appears to have managed

a different context as regards content. These submotivic references are very difficult to recognize at first hearing.

a precise examination, in order to give them an exact musical interpretation: both with regard to their pure

on March 9, 1820. Beethoven decided

as a concertante performance under

this due to the fact that “in the archaic

While working on his mass, Beethoven

significance, but above all, with regard

to compose a mass for this event. In June 1819, he wrote as follows to the Archduke: “The day on which a high

the auspices of Prince Gallitzin; and on May 7, 1824, the mass was given an incomplete performance in Vienna,

idiom, which was meant to vouch for the church, he simultaneously discovered a ferment of modernity,

delved into ancient church music in Archduke Rudolph’s library, studying works by Palestrina as well as Gregorian

to their connotations. Which feelings are resonating here? Which emotions are they releasing? And not only in the case

mass by my hand will be performed

not including the “Gloria” and the “Sanctus.” Obviously, Beethoven had no

thanks to which the work was able to

chant.

of the listener, but above all, with regard to the composer himself.

during the celebrations solemnized for Y.I.H. will be for me the most beautiful day of my life. And God will enlighten

problem in “extracting” his Missa from its original destination. Clearly, in the

hold its own with regard to the aesthetic maxim that music must be novel in order to be considered authentic.” And

me, so that my paltry creative powers may contribute to the glorification

meantime, he had begun to regard it as a deeply personal confrontation with

indeed, techniques such as motivicthematic passage work, or evolving

am Ölberge (= Christ on the mount of olives, 1803/1804/1811), Beethoven had

of this solemn day.” But work on the composition dragged out, and by the

his faith.

variation (characteristic for Beethoven’s middle period) are to be found only

already devoted a great deal of time to the texts, aiming to “unify music

In his Mass in C major, dating from 1807, and also in his oratorio Christus

Rainer Wolters, Concert Master

end of 1819 Beethoven had only just sketched the middle part of the Credo.

in rudimentary form. However, this does not signify that the structural

and word.” To help with the mass text, he brought in a translator, who was

Conducted by Marek Janowski

The day arrived of the High Mass, and

sections of the mass coexist in isolation.

himself a musician. Beethoven wrote

Creed

drowned by the calls of “credo” in the

Is this my faith? How do I believe?

other voices. On the other hand, great emphasis is placed on the belief in

And why? A religious and “expressively intensified subjectivism” (Ackermann)

eternal life by means of an extended double fugue lasting more than 170

containing these questions runs like a red thread through the Missa solemnis.

bars. The Missa is full of such highly contrasting interpretations of the text.

It is a deeply personal creed. Here, Beethoven is concerned with individual

As in the Mass in C major, in the Missa

emotions, not with universal questions of faith – as he makes clear to us in the

solemnis Beethoven also renounces the traditional numbering, i.e. the

following sentence “May it continue to flow from heart to heart,” written in the autograph score above the “Kyrie.”

classification of the distribution of arias and choral settings within the various sections of the mass. In part, the

How simple. How noble. How human.

formal structuring keeps to traditional

Perhaps this is precisely why Beethoven described the Missa as “the most successful of his intellectual products”:

guidelines, as in the tripartite division of the “Kyrie”; however, it also goes its own way, for example at the end of the

because it demonstrates his personal

“Gloria,” when the “Gloria in excelsis

view of faith, and also how he rated certain assertions in the mass text. Take, for instance, the casual “credo in

Deo” is repeated, but now in presto. The extremely short “Sanctus” is contrasted with a greatly elongated “Benedictus”;

is laid out in four sections. There is

The movements

an extremely pronounced principle of contrast at all levels. Peace and quiet is contrasted with movement, ecstatic rejoicing resonates alongside pacing dignity, polyphony is alternated with homophony. A recitative tone meets with widely resonating cantilenas and concise folk-song-like creations. The Missa solemnis is a work of extremes. Beethoven blends choir, soloists, and large orchestra into a single “body of sound,” which is meant to “touch, strike, shake” (Werner-Jensen) the listener with volume of its sound. And Beethoven succeeds at this, having set himself the goal “of awakening and perpetuating religious feelings both in the singer and the listener.”

the heavenly heights with the soaring

Beethoven designs the “Credo” with

The “Kyrie,” the song of invocation,

main theme of the “Gloria.” This theme recurs like a motto at key points in

equally rich contrast, both in its entirety and its individual sections. Here, too,

has a classical tripartite division, with a constant and humble interchange of

the movement. This is followed by the “terra pax hominibus,” almost like a

the music is deeply personal, all about the confession of faith and the miracle

singing between soloists and choir. The first D-major chord of the full orchestra

homophonic whisper from the choir, the hymnically worshipping “Laudamus te”

of Christ’s birth, suffering, death, resurrection and ascension. Analogous

already anticipates the impressive cry of “Kyrie” from the choir. In the middle

and the airy “Gratias agimus tibi.” The “Qui tollis” introduces the slow, second

to the “Gloria,” the powerful opening core motif of the “Credo” returns at

part (“Christe”), the soloists lead with the choir responding. Increasingly

part of the Gloria, in which clarinets and flutes present the lament theme. An

the end as if to close brackets. Can there be any doubt about Beethoven’s

dense, the voices become more and more contrapuntally interwoven. In the varied repetition of the “Kyrie,”

extended, contrite plea for compassion develops in the “Miserere nobis,” in which Beethoven draws out the emotion

faith here? The musical design cements an imperturbable attitude of mind. The next section of the movement

Beethoven emphasizes the agonizing

in the vowel “o.” In the third part –

(“Et incarnatus est” – “et homo factus

mood by means of chromaticism, and the movement fades away in the prayer in pianissimo.

“Quoniam tu solus sanctus” – the eulogy returns in the powerful choral setting, followed by a tremendous fugue, “in

est”) recreates the individual phases with deep feeling: at times profoundly absorbed in thought, at others painful

gloria dei patris, amen,” after which

and sorrowful, then again vividly

Beethoven begins the eulogy of the “Gloria,” which is divided into four parts in a hugely contrasting manner.

the recurrence of the motto from the beginning of the “Gloria” concludes the movement in presto.

majestic during the Last Judgment. Here too, the “Credo” is concluded with a massive fugue – a double fugue on the

unam sanctam catholicam,” recited

and the “Agnus Dei” – which in fact

After a stormy fortissimo upbeat in

only once in the tenors, which is almost

consists of three sections in the text –

the orchestra, the choir races up into

phrase “et vitam venturi saeculi, amen.”

The Sanctus “devoutly” assumes a

reverent mood. Right up to the end, the

profoundly meditative attitude, the

solo violin remains in charge; and at

prayers are whispered mezza voce, primed by trombones and low strings. A general pause is immediately followed

the conclusion, it soars back up to the heights after a glorification, once again set as a fugue.

by an energetically driving choral fugato to the phrase “Osanna in excelsis.” This is followed by a short prelude, almost lacking in motif, in which

The concluding “Agnus Dei” introduces an Adagio section that continually attempts to soar, but finally fades away

Beethoven portrays the miracle of the

in pp. Beethoven wrote the following

transformation of the host; by the way, this is the only exclusively instrumental “movement.”

words above the “Dona nobis pacem”: “Plea for internal and external peace.” Two instrumental interpolations with,

But then suddenly in the “Benedictus,”

so to speak, warlike timpani and trumpets, violently breaking into the

the solo violin swoops down from the highest heights of heaven in a coup de

music, demonstrate that this peace is truly under siege. “Fearfully,” the soloists

théâtre. Profane kitsch? Well, Arnold Werner-Jensen described this as “a

once again plea for mercy; and the choir virtually insists upon it, with its

legitimate artistic means of emotionally flustering the listener.” For after all,

sforzato cries of “pacem.”

it was about the “impact of the promise.” The muted sound-colours in the orchestra further emphasize the

Marek Janowski

Dortmund (1975-1979). Since the late

From 2002 until 2015, Marek

1970s, he has appeared regularly at all the major opera houses world-wide.

Janowski was Artistic Director and Chief Conductor of the Rundfunk-

Marek Janowski stepped back from the

Sinfonieorchester Berlin (RSB). Before embarking upon his Berlin period,

opera scene in the 1990s to concentrate on the great German and French

and also partly parallel to this, he was Musical Director of the Orchestre

symphonic repertoire. He enjoys an outstanding reputation amongst the

de la Suisse Romande (2005-2012), Chief Conductor of the Orchestre

premier orchestras of Europe, North America and Asia and is recognised

Philharmonique de Monte Carlo (2000-2005), Chief Conductor of the Dresdner Philharmonie (2001-2003),

for his ability to create orchestras of international standing.

and Musical Director of the Orchestre

His leave-taking of the opera, however,

Philharmonique de Radio France (19842000).

was merely an institutional matter, not a musical farewell. Thus he is now recognized as one of the greatest

Born in Warsaw and educated in

experts regarding the music of Richard

Germany, Marek Janowski’s artistic path led him from positions in Aachen, Cologne, Düsseldorf and Hamburg to his

Wagner, to which his concertante Wagner cycle with the RSB bears witness. In the sequel he accepted the

appointment as General Music Director

invitation to conduct Wagner’s “Ring” at

in Freiburg im Breisgau (1973-1975) and

the Bayreuth Festival in 2016 and 2017.

Liner notes

of the RSB. Vladimir Jurowski has

la Parra, Lahav Shani and Omer Meir

been named as his successor, starting in the 2017-2018 season. Previous chief conductors (including Sergiu Celibidache, Eugen Jochum, Hermann Abendroth, Rolf Kleinert, Heinz Rogner,

Wellber performing in recent years.

and Rafael Frühbeck de Burgos) have all helped to create the ensemble’s exceptional sound.

RSB belongs, has born rich fruit on recording. Starting in 2010, together with PENTATONE, great effort was put

Since its foundation, the RSB has invited major composers to conduct or to perform as soloists in their own works. These have included Paul Hindemith, Sergei Prokofiev, Richard Strauss, and Igor Stravinsky, as well as Krzysztof Penderecki, Peter Ruzicka, and Jörg Widmann. The RSB is particularly attractive for capable young conductors from the international music scene, with Andris

and won the 2nd prize in the Birgit

the “Ehrenpreis der deutschen

Nilson competition.

Schallplattenkritik” (= honorary prize of the German Critics’ Award) for his extensive life’s work.

Since 2013/14 Regine Hangler is an

Tokyo and the Scala in Milan.

success as a soprano. Since 2005

Thielemann, Marek Janowski or Franz

As a successful concert singer Regine Hangler is very successful in Austria,

Elisabeth Kulman has been singing the major parts of the mezzo and alto repertoire. As a member of the

close collaboration with Nikolaus Harnoncourt.

ensemble member of the Wiener

Germany, Albany, the Netherlands,

ensemble at the Vienna State Opera

Regine Hangler Soprano

Staatsoper and is performing the following roles, just to name a few: Rosalinde (Die Fledermaus), Santuzza

Slovenia, Hungary, Japan and Israel. Regine Hangler’s discography and videography continue to grow steadily.

she quickly became a favourite of the audience and established the basis for her vast repertoire. Her most

After having studied viola and technics, Regine Hangler studied canto as her major subject at the Kärntner

Ariadne (auf Naxos), Leonore (Fidelio) and Eva (Die Meistersinger von Nürnberg).

(Cavalleria Rusticana), Elsa (Lohengrin),

Landeskonservatorium and the Universität für Musik in Vienna, which she passed with distinction.

In May 2015 the soprano was highly acclaimed for her title role of “Daphne” in Berlin, which was conducted by

Elisabeth Kulman Alto

important roles include Fricka, Erda and Waltraute (The Ring of the Nibelung), Carmen, Mrs. Quickly (Falstaff), Brangäne (Tristan and Isolde), Begbick

Elisabeth Kulman is one of today’s

(Mahagonny), Orlofsky (The Bat), Orfeo

most sought-after singers and leading authorities in the international classical music scene. She impresses

(Gluck) and Marina (Boris Godunov). Since 2010 Elisabeth Kulman has been

At the same time she was working

Marek Janowski, in New York und

audiences and critics alike with her rich,

working as a freelance artist. She is

with KS Mara Zampieri in Padua and concluded her education with numerous Masterclasses.

Cleveland by Franz Welser-Möst. In 2016 she had a big success at the Salzburger Festspiele for her interpretation of

colourful timbre, her charismatic stage personality and her musical versatility.

a much sought-after soloist in the metropolitan centres of the music world: Vienna, Paris, London, Munich,

Xanthe in “Die Liebe der Danae”.

She studied voice with Helena Lazarska

Berlin, Tokyo, Salzburg, Moscow, etc.

Further future engagements lead the soprano i.e. to the Bayreuther Festspiele,

at the Vienna Music University, made her debut as Pamina in 2001 at the Volksoper in Vienna and enjoyed early

She works regularly with world-class orchestras and conductors such as Zubin Mehta, Kirill Petrenko, Christian

Several times she was decorated with highly skilled scholarships, became finalist of the Italian Aslico competition

Welser-Möst. She enjoyed a particularly

Christian Elsner Tenor Born in Freiburg, Christian Elsner is one of the most versatile German tenors. He

On the opera stage Christian Elsner has

The versatile singer has written his own

established himself as a heroic tenor

children’s book, Lennie und der Ring des

in the roles of Siegmund and Parsifal at the Deutsches Nationaltheater in Weimar, the Staatstheater in Kassel, the

Nibelungen, and has been working as a professor for singing at the Hochschule für Musik in Wurzburg since 2006.

Franz-Josef Selig Bass

Nezét-Séguin, Antonio Pappano, Phillipe Jordan, Zubin Mehta and many others.

Franz-Josef Selig has established himself on the international scene as

Bass singer Franz-Josef Selig first studied church music at the Staatliche

Since 2015 Elisabeth Kulman has been

studied singing with Martin Gründler,

Dresden Semperoper, the Vienna State

focusing her artistic activities on recitals (together with her longtime accompanist Eduard Kutrowatz),

took lessons with Dietrich FischerDieskau and Neil Semer, and has won many international competitions.

Opera and at the Teatro Real in Madrid. Accompanied by Gerold Huber and Burkhard Kehring, the tenor has given recitals in Frankfurt, Hamburg, Bonn,

Real in Madrid under Semyon Bychkov,

Fiesco and Fasolt at all the world’s

ensemble in Essen. He has since been a

As an internationally sought-after concert singer, Christian Elsner is a popular guest at all the important

Dresden, Munich, Wurzburg and Brussels, and at the Schubertiade in Feldkirch.

in Vienna in Franz Schmidt’s The Book with Seven Seals under Manfred Honeck with the Vienna Symphony Orchestra,

major opera houses (such as the Vienna State Opera, Bavarian State Opera, Teatro alla Scala di Milano, Teatro Real

freelance singer.

in Beethoven’s Ninth Symphony in

Madrid, the Parisian opera houses or

Wien as well as “Hungaro Tune” with symphony orchestra and jazz soloists.

the Berlin Philharmonic, New York’s Carnegie Hall, La Scala, Milan and the Suntory Hall in Tokyo, and has worked

Christian Elsner can also be heard on CD, with recordings such as Schubert’s Winterreise and Schumann’s

Leipzig with the Gewandhausorchester under Herbert Blomstedt, and in Berlin, Vienna, New York, Taipei and Tokyo with

the Metropolitan Opera New York) and at prestigious festivals such as the Bayreuth and Salzburg Festival and

Her latest solo programme “La femme c’est moi” features pieces from Carmen

with many renowned conductors such as Herbert Blomstedt, Manfred Honeck,

Dichterliebe, along with studio productions of Mahler’s Lied von der

the Berlin Philharmonic under Sir Simon Rattle.

the Festival d’Aix-en-Provence. Opera productions as well as concerts bring

up to the Beatles.

Marek Janowski, Mariss Jansons, Kent Nagano, Yannick Nézet-Séguin, Semyon

Erde as well as complete recordings of Wagner’s Rheingold (Loge) and Parsifal

Bychkov and Sir Simon Rattle.

(title role).

concerts and operas in concert. She is especially devoted to unconventional projects: “Mussorgsky Dis-Covered” with an international jazz quartet, “Mahler Lieder” and “Wer wagt mich zu höhnen?” with the ensemble Amarcord

classical music centres, such as

Christian Elsner’s most recent performances have included the title role in Wagner’s Parsifal at the Teatro

one of the best-known serious bass

Hochschule für Musik in Cologne before

baritones. He regularly gives guest performances as Gurnemanz, King Marke, Sarastro, Rocco, Osmin, Daland,

taking voice classes under Claudio Nicolai. At the beginning of his career he was a member of the Aalto Theatre

him together frequently with renowned orchestras and conductors, such as James Levine, Christian Thielemann, Sir Simon Rattle, Marek Janowski,

MDR Rundfunkchor Leipzig

Mit Andacht Gedanken zu Beethovens Missa solemnis

into the live recording of the successful ten part Wagner cycle. Other activities of the RSB include special concerts for families and children, as well as guest performances in the major international concert halls, which have taken place over the past 50 years. Alongside regular tours of Asia the orchestra appears at German and European festivals. MDR Rundfunkchor Leipzig © Peter Adamik

Nelsons, Yannick Nézet-Séguin, Alain Altinoglu, Jakub Hrůša, Alondra de

nicht die Missa solemnis, sondern eine

Ein Solitär benötigt Zeit. Und die nahm sich Beethoven in diesem Fall reichlich. Im Sommer 1818 wurde in Wien bekannt, dass sein Schüler und Gönner, Erzherzog Rudolph, am 9. März 1820 zum Erzbischof von Olmütz inthronisiert

Überzeugungskraft. Reich an zutiefst persönlichen Blicken auf jenen Glauben, wie er in Gestalt des lateinischen Messtextes seit Jahrhunderten in

werden sollte. Aus diesem Anlass plante Beethoven eine Messvertonung. Im Juni 1819 schrieb er an den Erzherzog: „Der Tag, wo ein Hochamt von mir

Stein gemeißelt ist. Und doch auch reich an Momenten des Zweifelns an dogmatischer Religion und der formellen Institution Kirche. In ihrer

zu den Feierlichkeiten für I.K.H. soll aufgeführt werden, wird für mich der schönste meines Lebens sein. Und Gott wird mich erleuchten, dass meine

Monumentalität und zeitlichen Ausdehnung von knapp 90 Minuten sprengt die Missa solemnis jegliche liturgischen Vorgaben. Auch wenn das Werk ursprünglich für ein konkretes

schwachen Kräfte zur Verherrlichung dieses Feierlichen Tages beitragen.“ Doch die kompositorische Arbeit ging nur schleppend voran und Ende 1819

Hochamt gedacht war. Dort dann aber nicht erklang. Rundfunk-Sinfonieorchester Berlin © Molina Visuals

Äußerer Anlass und innere Aufgabe

Beethovens Missa solemnis ist ein Solitär. Ein Werk von äußerer dramatischer Wucht und schier unglaublicher innerer Stärke. Voller

hatte Beethoven gerade einmal den Mittelteil des Credos skizziert. Der Tag des Hochamtes kam. Und es erklang – Deutsch

Messe von Johann Nepomuk Hummel. Erst drei Jahre später konnte Beethoven die Missa solemnis vollenden. Weil ihm schnell klar wurde, dass er einen außergewöhnlichen Weg würde gehen müssen. Die Uraufführung fand am 7. April 1824 in St. Petersburg im Rahmen einer konzertanten Aufführung des Fürsten Galitzin statt und am 7. Mai 1824 erklang das Werk bruchstückhaft in Wien, ohne Gloria und Sanctus. Beethoven hatte ganz augenscheinlich kein schlechtes Gewissen, seine Missa aus ihrer ursprünglichen Bestimmung herauszulösen. Betrachtete er sie doch mittlerweile als zutiefst persönliche Auseinandersetzung mit seinem Glauben.

Stile antico und moderne Tonsprache

als „submotivische Beziehungen“.

dass ich den Text behandelt habe, wie

Glaubensfragen. Was nicht zuletzt der

Wie schon in der C-Dur-Messe

knappe volksliedhafte Bildungen. Die

Folgt man Carl Dahlhaus, so ging

Demnach kehren auf äußerst subtile Weise einzelne Parameter aus Motivgestalten genauestens kalkuliert

er noch wenig behandelt worden“. Auch bei der Missa solemnis untersuchte Beethoven die einzelnen Wörter des

es Beethoven in der Missa solemnis kompositorisch vor allem um eine Vermittlung zwischen altem Kirchenstil und moderner Instrumentalmusik. Gelungen sei ihm dies dadurch, „dass

wieder – aber in einem jeweils anderen inhaltlichen Zusammenhang. Diese submotivischen Bezüge sind beim erstmaligen Hören kaum zu erkennen. Während der Arbeit an der Messe

lateinischen Messtextes genau, um sie musikalisch exakt auszudeuten. Auf ihre reine Bedeutung hin, vor allem aber auch auf ihre Konnotationen. Welche Gefühle schwingen mit? Welche

im Autograph über dem Kyrie stehende Satz „Von Herzen – möge es wieder – zu Herzen gehen“ transportiert. Wie schlicht. Wie groß. Wie menschlich. Vielleicht hat Beethoven die Missa

verzichtet Beethoven auch in der Missa solemnis auf die traditionelle Nummerngliederung, also auf die Verteilung von Arien und Chorsätzen auf die Messabschnitte. Die formale

Missa solemnis ist ein Werk der Extreme. Beethoven lässt Chor, Solisten und das groß besetzte Orchester zu einem einzigen Klangkörper verschmelzen, der den Hörer mit seinem voluminösen

gerade deshalb als das „gelungenste seiner Geistesprodukte“ bezeichnet. Weil sie seinen persönlichen Blick

Gliederung folgt teils traditionellen Vorgaben, wie bei der Dreiteilung des Kyrie, geht aber auch eigene Wege,

Klangbild „rühren, treffen, erschüttern“ (Werner-Jensen) soll. Und das gelingt Beethoven, der sich zum Ziel gesetzt

er im Archaischen, das die Kirchlichkeit verbürgen sollte, zugleich ein Ferment von Modernität entdeckte, durch die das Werk vor der ästhetischen Maxime

vertiefte sich Beethoven in der Bibliothek Erzherzog Rudolphs in alte Kirchenmusik, studierte Palestrinas Werke und die Gregorianik.

Emotionen setzen sie frei? Und zwar nicht nur beim Hörer, sondern vor allem beim Komponisten.

etwa wenn Beethoven das „Gloria in excelsis Deo“ am Ende des Gloria im presto wiederholt. Dem extrem kurzen Sanctus steht ein extrem gedehntes Benedictus gegenüber und das textlich

hatte „sowohl bei Singenden als bei Zuhörern religiöse Gefühle (zu) erwecken und dauernd (zu) machen“.

bestehen konnte, dass Musik neu sein müsse, um authentisch zu sein.“ Und in der Tat finden sich Techniken wie motivisch-thematische Arbeit oder

auf den Glauben zeigt. Und wie er bestimmte Aussagen des Messtextes bewertet. Man denke etwa an das beiläufige, lediglich einmal im ChorTenor rezitierte „credo in unam sanctam

Schon in seiner C-Dur-Messe aus dem Jahr 1807 und auch in seinem Oratorium Christus am Ölberge (1803/1804/1811)

entwickelnde Variation (ihres Zeichens Merkmale des mittleren Beethovens) nur rudimentär. Was wiederum nicht bedeutet, dass die formalen Teile der

hatte sich Beethoven intensiv mit den Textvorlagen beschäftigt, mit dem Ziel „Musick und wort ein’s“ werden zu lassen. Beim Messtext bediente er sich

catholicam“, das in den „Credo“-Rufen der anderen Stimmen schier untergeht. Der Glaube an das ewige Leben erfährt dagegen auf über 170 Takten in einer

eigentlich dreiteilig angelegte Agnus Dei wird vierteilig umgesetzt. Auf allen Ebenen findet sich ein extrem ausgeprägtes Kontrastprinzip. Ruhe

homophon vom Chor fast geflüstert, das hymnisch anbetende „Laudamus te“ und das klanglich luftige „Gratias agimus tibi“. Mit dem „Qui tollis“ beginnt der langsame, zweite Teil des Gloria, in dem

der Hilfe eines Übersetzers, der selber Musiker war. Beethoven schrieb über seine erste Messe: „jedoch glaube ich,

wird Bewegung gegenübergestellt, ekstatischer Jubel erklingt neben schreitender Würde, polyphone und homophone Ausgestaltung wechseln

Das Kyrie, der Bittgesang, ist klassisch dreigeteilt, im steten, demutsvollen Wechselgesang zwischen Soli und Chor. Der machtvolle Kyrie-Anruf der Chorstimmen wird bereits im ersten

Messe isoliert nebeneinanderstehen. Die motivischen Bezüge zwischen den Formabschnitten beschreibt Dahlhaus

ausgeweiteten Doppelfuge eine starke Gewichtung. Derart kontrastreiche Interpretationen der textlichen Vorgabe prägen die Missa.

D-Dur-Akkord des vollen Orchesters vorweggenommen. Im mittleren Christe-Teil führen die Soli, der Chor antwortet. Immer dichter werden die

Klarinetten und Flöten das Klagethema präsentieren. Eine ausgedehnte, zerknirschte Bitte um Erbarmen entwickelt sich im von Beethoven um

Stimmen kontrapunktisch miteinander

den emotionalen Laut „O“ erweiterte

Bekenntniswerk Ist dies mein Glaube? Wie glaube ich? Und warum? Mit diesen Fragen zieht sich ein religiöser und „expressiv gesteigerter Subjektivismus“ (Ackermann) wie ein roter Faden durch die Missa solemnis. Sie ist ein zutiefst persönliches Bekenntniswerk. Es geht Beethoven um individuelle Emotionen, nicht um allgemeingültige

sich ab. Ein Rezitationston trifft auf weit ausschwingende Kantilenen und

Die Sätze

verwoben. In der variierten KyrieWiederholung betont Beethoven die schmerzvolle Haltung durch Chromatik, der Satz verklingt im Pianissimo-Gebet. In stärkstem Kontrast eröffnet Beethoven den Preisgesang des Gloria, das in vier Teile gegliedert ist. Nach stürmischem Fortissimo-Orchesterauftakt jagen die Chorstimmen mit dem aufsteigenden Gloria-Hauptthema in himmlische Höhen. Dieses Thema kehrt mottoartig an Schlüsselstellen des Satzes wieder. Es folgt das „et in terra pax hominibus“,

Acknowledgments

Bevor im Benedictus die Solo-

durchaus gefährdet ist, zeigen zwei

Violine in einem coup de théâtre von den höchsten Höhen des Himmels herabsteigt. Weltlicher Kitsch? Arnold Werner-Jensen sah darin „ein legitimes künstlerisches Mittel, den

instrumentale Einschübe mit gleichsam kriegerischen Pauken und Trompeten, die gewaltsam einbrechen. „Ängstlich“ bitten die Solisten erneut um Erbarmen. Der Chor fordert geradezu insistierend

einer gewaltigen Fuge abgeschlossen, einer Doppelfuge auf „et vitam venturi saeculi, amen“.

Hörer emotional aus der Fassung zu bringen“. Immerhin gehe es hier um die „Wucht der Verheißung“. Die

mit seinen Sforzato-Rufen „pacem“.

Das Sanctus nimmt „mit Andacht“ eine tiefgründige Versenkungshaltung ein, mezza voce werden die Gebetsrufe geflüstert, grundiert von Posaunen

gedämpften Klangfarben im Orchester unterstreichen die andachtsvolle Haltung noch. Bis zum Ende hat die Solo-Violine stets die Führung inne und steigt nach einer erneut fugierten

und um das Wunder von Geburt, Leiden, Tod, Wiederauferstehung und Himmelfahrt Christi. Analog zum Gloria kehrt das eröffnende, wuchtige Credo-

und tiefen Streichern. Nach einer Generalpause beginnt ein energisch vorantreibendes Chorfugato über „Osanna in excelsis“. Es folgt ein kurzes,

Lobpreisung am Ende wieder in die Höhe hinauf.

Kernmotiv am Ende wie einer Klammer wieder. Kann man hier irgendwie an Beethovens Glauben zweifeln? Die musikalische Gestaltung zementiert

fast schon amotivisches Präludium, in dem Beethoven das Wunder der Hostienwandlung nachzeichnet; übrigens der einzige rein instrumentale

einen Adagio-Teil ein, der sich immer wieder aufzuschwingen versucht, dann im Pianissimo verklingt. Das „Dona nobis pacem“ ist von Beethoven mit

PENTATONE TEAM Vice President A&R Renaud Loranger | Director A&R Job Maarse | Managing

eine unerschütterliche Geisteshaltung. Der Binnensatz („Et incarnatus est“

„Satz“.

„Bitte um innern und äußern Frieden“ überschrieben. Dass dieser Frieden

Director Dirk Jan Vink | Director Product, Marketing & Distribution Simon M. Eder A&R Kate Rockett | Marketing & PR Silvia Pietrosanti | Distribution Veronica Neo

– „et homo factus est“) gestaltet die einzelnen Phasen tief empfunden nach. Mal abgründig versunken, mal schmerz- und leidvoll, dann wieder plastisch-majestätisch beim Jüngsten Gericht. Auch das Credo wird von

Beginns den Satz im Presto krönend abschließt.

PRODUCTION TEAM Executive producers Stefan Lang (Deutschlandradio Kultur), Job Maarse (Pentatone) | Recording producer Job Maarse | Balance engineer Jean-Marie Geijsen (Polyhymnia) | Recording engineer & editor Erdo Groot (Polyhymnia) Deutschlandradio recording team Wolfram Nehls, Henri Thaon, Jens Müller Liner notes Jörg Peter Urbach | English translation Fiona J. Stroker-Gale Design Joost de Boo | Product management Max Tiel This album was live recorded at the Berlin Philharmonie, September 2016.

Das abschließende Agnus Dei leitet

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demonstrates its expertise with highly acclaimed a cappella performances. Secular and sacred music, wide-ranging ensemble singing and choral symphonic

from 1998 Howard Arman lastingly consolidated the reputation of this

Semyon Bychkov, Riccardo Muti, Yannick

Gleichfalls kontrastreich im Gesamtrahmen wie in den einzelnen Teilen gestaltet Beethoven das Credo. Auch hier zutiefst persönlich, geht es doch um das Glaubensbekenntnis

„Miserere nobis“. Im dritten Teil – „Quoniam tu solus sanctus“ – kehrt der Preisgesang im mächtigen Chorsatz zurück, bevor sich eine gewaltige „in gloria dei patris, amen“-Fuge anschließt bevor erneut das Zitat des Gloria-

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In 2014 Marek Janowski was awarded

Nearly 200 recordings, many of them award-winning, have been recorded by the ensemble during its more than

RundfunkSinfonieorchester Berlin (RSB, Berlin Radio Symphony Orchestra) dates back to the beginnings of music broadcasting in 1923, and has since sustained its position amongst the leading orchestras in Berlin and other radio orchestras throughout Germany. From 2002 to 2015, Marek Janowski was artistic director and chief conductor

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ENGLISH

Dahlhaus describes the motivic links between the various structural sections as “submotivic connections.” Thus, very subtly, individual parameters from motifs constantly reappear in a precisely calculated manner – however, always in a different context as regards content.

as follows about his first mass: “… however, I believe that I have treated the text in a manner in which it has seldom been treated.” And again with his Missa solemnis, Beethoven subjected the individual words of the Latin text to a precise examination, in order to give

These submotivic references are very difficult to recognize at first hearing. While working on his mass, Beethoven delved into ancient church music in Archduke Rudolph’s library, studying works by Palestrina as well as Gregorian chant.

them an exact musical interpretation: both with regard to their pure significance, but above all, with regard to their connotations. Which feelings are resonating here? Which emotions are they releasing? And not only in the case of the listener, but above all, with regard to the composer himself.

Creed

olives, 1803/1804/1811), Beethoven had already devoted a great deal of time to the texts, aiming to “unify music and word.” To help with the mass text, he brought in a translator, who was himself a musician. Beethoven wrote

Ludwig van Beethoven (1770 – 1827)

With devotion

MISSA SOLEMNIS

Reflections on Beethoven’s

BEETHOVEN

MISSA SOLEMNIS

Missa solemnis

1 2

Kyrie Gloria

9. 22 15. 41

Beethoven’s Missa solemnis is a unique gem. A work of dramatic external

3 4

Credo Sanctus – Benedictus

16. 59 15. 26

power and well-nigh incredible inner strength. Full of conviction. Rich in

5

Agnus Dei Total playing time:

Rundfunk-Sinfonieorchester Berlin MDR Rundfunkchor Leipzig

15. 32

profoundly personal visions of the faith that has remained, carved in stone,

73. 04

Regine Hangler, Soprano

in the form of the Latin mass text for centuries. And yet also rich in moments of doubt about dogmatic religion and

Elisabeth Kulman, Alto

the formal institution of the church.

Christian Elsner, Tenor Franz-Josef Selig, Bass

In its monumentality and lengthy duration of just under 90 minutes, the Missa solemnis departs from all

MDR Rundfunkchor Leipzig

liturgical guidelines – despite the fact

Michael Gläser, Chorus Master

that the work was originally intended for a specific high mass; yet it was not actually performed there in the end.

Rundfunk-Sinfonieorchester Berlin

Marek Janowski

External event and internal task Creating a unique gem takes time: and in this case, Beethoven took plenty

– not Beethoven’s Missa solemnis, but a mass composed by Johann Nepomuk Hummel was performed. Not until three years later did Beethoven manage to complete the Missa solemnis, the

Stile antico and modern musical idiom According to Carl Dahlhaus, in his Missa solemnis Beethoven was mainly

Dahlhaus describes the motivic links

as follows about his first mass: “…

between the various structural sections

however, I believe that I have treated

as “submotivic connections.” Thus, very subtly, individual parameters from motifs constantly reappear in a precisely

the text in a manner in which it has seldom been treated.” And again with his Missa solemnis, Beethoven subjected

of time. In the summer of 1818 it was

reason being that he had quickly

concerned with finding a good mix

calculated manner – however, always in

the individual words of the Latin text to

announced in Vienna that his pupil and patron, the Archduke Rudolph, was to be enthroned as Archbishop of Olomouc

realized that he would have to take an extraordinary path. The première took place in St. Petersburg on April 7, 1824,

between the idiom of ancient church music and that of modern instrumental music. He appears to have managed

a different context as regards content. These submotivic references are very difficult to recognize at first hearing.

a precise examination, in order to give them an exact musical interpretation: both with regard to their pure

on March 9, 1820. Beethoven decided

as a concertante performance under

this due to the fact that “in the archaic

While working on his mass, Beethoven

significance, but above all, with regard

to compose a mass for this event. In June 1819, he wrote as follows to the Archduke: “The day on which a high

the auspices of Prince Gallitzin; and on May 7, 1824, the mass was given an incomplete performance in Vienna,

idiom, which was meant to vouch for the church, he simultaneously discovered a ferment of modernity,

delved into ancient church music in Archduke Rudolph’s library, studying works by Palestrina as well as Gregorian

to their connotations. Which feelings are resonating here? Which emotions are they releasing? And not only in the case

mass by my hand will be performed

not including the “Gloria” and the “Sanctus.” Obviously, Beethoven had no

thanks to which the work was able to

chant.

of the listener, but above all, with regard to the composer himself.

during the celebrations solemnized for Y.I.H. will be for me the most beautiful day of my life. And God will enlighten

problem in “extracting” his Missa from its original destination. Clearly, in the

hold its own with regard to the aesthetic maxim that music must be novel in order to be considered authentic.” And

me, so that my paltry creative powers may contribute to the glorification

meantime, he had begun to regard it as a deeply personal confrontation with

indeed, techniques such as motivicthematic passage work, or evolving

am Ölberge (= Christ on the mount of olives, 1803/1804/1811), Beethoven had

of this solemn day.” But work on the composition dragged out, and by the

his faith.

variation (characteristic for Beethoven’s middle period) are to be found only

already devoted a great deal of time to the texts, aiming to “unify music

In his Mass in C major, dating from 1807, and also in his oratorio Christus

Rainer Wolters, Concert Master

end of 1819 Beethoven had only just sketched the middle part of the Credo.

in rudimentary form. However, this does not signify that the structural

and word.” To help with the mass text, he brought in a translator, who was

Conducted by Marek Janowski

The day arrived of the High Mass, and

sections of the mass coexist in isolation.

himself a musician. Beethoven wrote

Creed

drowned by the calls of “credo” in the

Is this my faith? How do I believe?

other voices. On the other hand, great emphasis is placed on the belief in

And why? A religious and “expressively intensified subjectivism” (Ackermann)

eternal life by means of an extended double fugue lasting more than 170

containing these questions runs like a red thread through the Missa solemnis.

bars. The Missa is full of such highly contrasting interpretations of the text.

It is a deeply personal creed. Here, Beethoven is concerned with individual

As in the Mass in C major, in the Missa

emotions, not with universal questions of faith – as he makes clear to us in the

solemnis Beethoven also renounces the traditional numbering, i.e. the

following sentence “May it continue to flow from heart to heart,” written in the autograph score above the “Kyrie.”

classification of the distribution of arias and choral settings within the various sections of the mass. In part, the

How simple. How noble. How human.

formal structuring keeps to traditional

Perhaps this is precisely why Beethoven described the Missa as “the most successful of his intellectual products”:

guidelines, as in the tripartite division of the “Kyrie”; however, it also goes its own way, for example at the end of the

because it demonstrates his personal

“Gloria,” when the “Gloria in excelsis

view of faith, and also how he rated certain assertions in the mass text. Take, for instance, the casual “credo in

Deo” is repeated, but now in presto. The extremely short “Sanctus” is contrasted with a greatly elongated “Benedictus”;

is laid out in four sections. There is

The movements

an extremely pronounced principle of contrast at all levels. Peace and quiet is contrasted with movement, ecstatic rejoicing resonates alongside pacing dignity, polyphony is alternated with homophony. A recitative tone meets with widely resonating cantilenas and concise folk-song-like creations. The Missa solemnis is a work of extremes. Beethoven blends choir, soloists, and large orchestra into a single “body of sound,” which is meant to “touch, strike, shake” (Werner-Jensen) the listener with volume of its sound. And Beethoven succeeds at this, having set himself the goal “of awakening and perpetuating religious feelings both in the singer and the listener.”

the heavenly heights with the soaring

Beethoven designs the “Credo” with

The “Kyrie,” the song of invocation,

main theme of the “Gloria.” This theme recurs like a motto at key points in

equally rich contrast, both in its entirety and its individual sections. Here, too,

has a classical tripartite division, with a constant and humble interchange of

the movement. This is followed by the “terra pax hominibus,” almost like a

the music is deeply personal, all about the confession of faith and the miracle

singing between soloists and choir. The first D-major chord of the full orchestra

homophonic whisper from the choir, the hymnically worshipping “Laudamus te”

of Christ’s birth, suffering, death, resurrection and ascension. Analogous

already anticipates the impressive cry of “Kyrie” from the choir. In the middle

and the airy “Gratias agimus tibi.” The “Qui tollis” introduces the slow, second

to the “Gloria,” the powerful opening core motif of the “Credo” returns at

part (“Christe”), the soloists lead with the choir responding. Increasingly

part of the Gloria, in which clarinets and flutes present the lament theme. An

the end as if to close brackets. Can there be any doubt about Beethoven’s

dense, the voices become more and more contrapuntally interwoven. In the varied repetition of the “Kyrie,”

extended, contrite plea for compassion develops in the “Miserere nobis,” in which Beethoven draws out the emotion

faith here? The musical design cements an imperturbable attitude of mind. The next section of the movement

Beethoven emphasizes the agonizing

in the vowel “o.” In the third part –

(“Et incarnatus est” – “et homo factus

mood by means of chromaticism, and the movement fades away in the prayer in pianissimo.

“Quoniam tu solus sanctus” – the eulogy returns in the powerful choral setting, followed by a tremendous fugue, “in

est”) recreates the individual phases with deep feeling: at times profoundly absorbed in thought, at others painful

gloria dei patris, amen,” after which

and sorrowful, then again vividly

Beethoven begins the eulogy of the “Gloria,” which is divided into four parts in a hugely contrasting manner.

the recurrence of the motto from the beginning of the “Gloria” concludes the movement in presto.

majestic during the Last Judgment. Here too, the “Credo” is concluded with a massive fugue – a double fugue on the

unam sanctam catholicam,” recited

and the “Agnus Dei” – which in fact

After a stormy fortissimo upbeat in

only once in the tenors, which is almost

consists of three sections in the text –

the orchestra, the choir races up into

phrase “et vitam venturi saeculi, amen.”

of the RSB. Vladimir Jurowski has

la Parra, Lahav Shani and Omer Meir Wellber performing in recent years.

and Rafael Frühbeck de Burgos) have all helped to create the ensemble’s exceptional sound.

RSB belongs, has born rich fruit on recording. Starting in 2010, together with PENTATONE, great effort was put

Since its foundation, the RSB has invited major composers to conduct or to perform as soloists in their own works. These have included Paul Hindemith, Sergei Prokofiev, Richard Strauss, and Igor Stravinsky, as well as Krzysztof Penderecki, Peter Ruzicka, and Jörg Widmann. The RSB is particularly attractive for capable young conductors from the international music scene, with Andris

solemnis Beethoven also renounces the traditional numbering, i.e. the classification of the distribution of arias and choral settings within the various sections of the mass. In part, the formal structuring keeps to traditional guidelines, as in the tripartite division of the “Kyrie”; however, it also goes its own way, for example at the end of the “Gloria,” when the “Gloria in excelsis Deo” is repeated, but now in presto. The

certain assertions in the mass text. Take, for instance, the casual “credo in

extremely short “Sanctus” is contrasted with a greatly elongated “Benedictus”;

unam sanctam catholicam,” recited only once in the tenors, which is almost

and the “Agnus Dei” – which in fact consists of three sections in the text –

The Sanctus “devoutly” assumes a

reverent mood. Right up to the end, the

profoundly meditative attitude, the

solo violin remains in charge; and at

prayers are whispered mezza voce, primed by trombones and low strings. A general pause is immediately followed

the conclusion, it soars back up to the heights after a glorification, once again set as a fugue.

by an energetically driving choral fugato to the phrase “Osanna in excelsis.” This is followed by a short prelude, almost lacking in motif, in which

The concluding “Agnus Dei” introduces an Adagio section that continually attempts to soar, but finally fades away

Beethoven portrays the miracle of the

in pp. Beethoven wrote the following

transformation of the host; by the way, this is the only exclusively instrumental “movement.”

words above the “Dona nobis pacem”: “Plea for internal and external peace.” Two instrumental interpolations with,

But then suddenly in the “Benedictus,”

so to speak, warlike timpani and trumpets, violently breaking into the

the solo violin swoops down from the highest heights of heaven in a coup de

music, demonstrate that this peace is truly under siege. “Fearfully,” the soloists

théâtre. Profane kitsch? Well, Arnold Werner-Jensen described this as “a

once again plea for mercy; and the choir virtually insists upon it, with its

legitimate artistic means of emotionally flustering the listener.” For after all,

sforzato cries of “pacem.”

it was about the “impact of the promise.” The muted sound-colours in the orchestra further emphasize the

Marek Janowski

Dortmund (1975-1979). Since the late

From 2002 until 2015, Marek

1970s, he has appeared regularly at all the major opera houses world-wide.

Janowski was Artistic Director and Chief Conductor of the Rundfunk-

Marek Janowski stepped back from the

Sinfonieorchester Berlin (RSB). Before embarking upon his Berlin period,

opera scene in the 1990s to concentrate on the great German and French

and also partly parallel to this, he was Musical Director of the Orchestre

symphonic repertoire. He enjoys an outstanding reputation amongst the

de la Suisse Romande (2005-2012), Chief Conductor of the Orchestre

premier orchestras of Europe, North America and Asia and is recognised

Philharmonique de Monte Carlo (2000-2005), Chief Conductor of the Dresdner Philharmonie (2001-2003),

for his ability to create orchestras of international standing.

and Musical Director of the Orchestre

His leave-taking of the opera, however,

Philharmonique de Radio France (19842000).

was merely an institutional matter, not a musical farewell. Thus he is now recognized as one of the greatest

Born in Warsaw and educated in

experts regarding the music of Richard

Germany, Marek Janowski’s artistic path led him from positions in Aachen, Cologne, Düsseldorf and Hamburg to his

Wagner, to which his concertante Wagner cycle with the RSB bears witness. In the sequel he accepted the

appointment as General Music Director

invitation to conduct Wagner’s “Ring” at

in Freiburg im Breisgau (1973-1975) and

the Bayreuth Festival in 2016 and 2017.

In 2014 Marek Janowski was awarded

and won the 2nd prize in the Birgit

the “Ehrenpreis der deutschen

Nilson competition.

Schallplattenkritik” (= honorary prize of the German Critics’ Award) for his extensive life’s work.

Since 2013/14 Regine Hangler is an

Tokyo and the Scala in Milan.

success as a soprano. Since 2005

Thielemann, Marek Janowski or Franz

As a successful concert singer Regine Hangler is very successful in Austria,

Elisabeth Kulman has been singing the major parts of the mezzo and alto repertoire. As a member of the

close collaboration with Nikolaus Harnoncourt.

ensemble member of the Wiener

Germany, Albany, the Netherlands,

ensemble at the Vienna State Opera

Regine Hangler Soprano

Staatsoper and is performing the following roles, just to name a few: Rosalinde (Die Fledermaus), Santuzza

Slovenia, Hungary, Japan and Israel. Regine Hangler’s discography and videography continue to grow steadily.

she quickly became a favourite of the audience and established the basis for her vast repertoire. Her most

After having studied viola and technics, Regine Hangler studied canto as her major subject at the Kärntner

Ariadne (auf Naxos), Leonore (Fidelio) and Eva (Die Meistersinger von Nürnberg).

(Cavalleria Rusticana), Elsa (Lohengrin),

Landeskonservatorium and the Universität für Musik in Vienna, which she passed with distinction.

In May 2015 the soprano was highly acclaimed for her title role of “Daphne” in Berlin, which was conducted by

Elisabeth Kulman Alto

important roles include Fricka, Erda and Waltraute (The Ring of the Nibelung), Carmen, Mrs. Quickly (Falstaff), Brangäne (Tristan and Isolde), Begbick

Elisabeth Kulman is one of today’s

(Mahagonny), Orlofsky (The Bat), Orfeo

most sought-after singers and leading authorities in the international classical music scene. She impresses

(Gluck) and Marina (Boris Godunov). Since 2010 Elisabeth Kulman has been

At the same time she was working

Marek Janowski, in New York und

audiences and critics alike with her rich,

working as a freelance artist. She is

with KS Mara Zampieri in Padua and concluded her education with numerous Masterclasses.

Cleveland by Franz Welser-Möst. In 2016 she had a big success at the Salzburger Festspiele for her interpretation of

colourful timbre, her charismatic stage personality and her musical versatility.

a much sought-after soloist in the metropolitan centres of the music world: Vienna, Paris, London, Munich,

Xanthe in “Die Liebe der Danae”.

She studied voice with Helena Lazarska

Berlin, Tokyo, Salzburg, Moscow, etc.

Further future engagements lead the soprano i.e. to the Bayreuther Festspiele,

at the Vienna Music University, made her debut as Pamina in 2001 at the Volksoper in Vienna and enjoyed early

She works regularly with world-class orchestras and conductors such as Zubin Mehta, Kirill Petrenko, Christian

Several times she was decorated with highly skilled scholarships, became finalist of the Italian Aslico competition

Welser-Möst. She enjoyed a particularly

Christian Elsner Tenor Born in Freiburg, Christian Elsner is one of the most versatile German tenors. He

On the opera stage Christian Elsner has

The versatile singer has written his own

established himself as a heroic tenor

children’s book, Lennie und der Ring des

in the roles of Siegmund and Parsifal at the Deutsches Nationaltheater in Weimar, the Staatstheater in Kassel, the

Nibelungen, and has been working as a professor for singing at the Hochschule für Musik in Wurzburg since 2006.

Franz-Josef Selig Bass

Nezét-Séguin, Antonio Pappano, Phillipe Jordan, Zubin Mehta and many others.

Franz-Josef Selig has established himself on the international scene as

Bass singer Franz-Josef Selig first studied church music at the Staatliche

Since 2015 Elisabeth Kulman has been

studied singing with Martin Gründler,

Dresden Semperoper, the Vienna State

focusing her artistic activities on recitals (together with her longtime accompanist Eduard Kutrowatz),

took lessons with Dietrich FischerDieskau and Neil Semer, and has won many international competitions.

Opera and at the Teatro Real in Madrid. Accompanied by Gerold Huber and Burkhard Kehring, the tenor has given recitals in Frankfurt, Hamburg, Bonn,

Real in Madrid under Semyon Bychkov,

Fiesco and Fasolt at all the world’s

ensemble in Essen. He has since been a

As an internationally sought-after concert singer, Christian Elsner is a popular guest at all the important

Dresden, Munich, Wurzburg and Brussels, and at the Schubertiade in Feldkirch.

in Vienna in Franz Schmidt’s The Book with Seven Seals under Manfred Honeck with the Vienna Symphony Orchestra,

major opera houses (such as the Vienna State Opera, Bavarian State Opera, Teatro alla Scala di Milano, Teatro Real

freelance singer.

in Beethoven’s Ninth Symphony in

Madrid, the Parisian opera houses or

Wien as well as “Hungaro Tune” with symphony orchestra and jazz soloists.

the Berlin Philharmonic, New York’s Carnegie Hall, La Scala, Milan and the Suntory Hall in Tokyo, and has worked

Christian Elsner can also be heard on CD, with recordings such as Schubert’s Winterreise and Schumann’s

Leipzig with the Gewandhausorchester under Herbert Blomstedt, and in Berlin, Vienna, New York, Taipei and Tokyo with

the Metropolitan Opera New York) and at prestigious festivals such as the Bayreuth and Salzburg Festival and

Her latest solo programme “La femme c’est moi” features pieces from Carmen

with many renowned conductors such as Herbert Blomstedt, Manfred Honeck,

Dichterliebe, along with studio productions of Mahler’s Lied von der

the Berlin Philharmonic under Sir Simon Rattle.

the Festival d’Aix-en-Provence. Opera productions as well as concerts bring

up to the Beatles.

Marek Janowski, Mariss Jansons, Kent Nagano, Yannick Nézet-Séguin, Semyon

Erde as well as complete recordings of Wagner’s Rheingold (Loge) and Parsifal

Bychkov and Sir Simon Rattle.

(title role).

concerts and operas in concert. She is especially devoted to unconventional projects: “Mussorgsky Dis-Covered” with an international jazz quartet, “Mahler Lieder” and “Wer wagt mich zu höhnen?” with the ensemble Amarcord

classical music centres, such as

Christian Elsner’s most recent performances have included the title role in Wagner’s Parsifal at the Teatro

one of the best-known serious bass

Hochschule für Musik in Cologne before

baritones. He regularly gives guest performances as Gurnemanz, King Marke, Sarastro, Rocco, Osmin, Daland,

taking voice classes under Claudio Nicolai. At the beginning of his career he was a member of the Aalto Theatre

him together frequently with renowned orchestras and conductors, such as James Levine, Christian Thielemann, Sir Simon Rattle, Marek Janowski,

MDR Rundfunkchor Leipzig

Mit Andacht Gedanken zu Beethovens Missa solemnis

into the live recording of the successful ten part Wagner cycle. Other activities of the RSB include special concerts for families and children, as well as guest performances in the major international concert halls, which have taken place over the past 50 years. Alongside regular tours of Asia the orchestra appears at German and European festivals. MDR Rundfunkchor Leipzig © Peter Adamik

Nelsons, Yannick Nézet-Séguin, Alain Altinoglu, Jakub Hrůša, Alondra de

nicht die Missa solemnis, sondern eine

Ein Solitär benötigt Zeit. Und die nahm sich Beethoven in diesem Fall reichlich. Im Sommer 1818 wurde in Wien bekannt, dass sein Schüler und Gönner, Erzherzog Rudolph, am 9. März 1820 zum Erzbischof von Olmütz inthronisiert

Überzeugungskraft. Reich an zutiefst persönlichen Blicken auf jenen Glauben, wie er in Gestalt des lateinischen Messtextes seit Jahrhunderten in

werden sollte. Aus diesem Anlass plante Beethoven eine Messvertonung. Im Juni 1819 schrieb er an den Erzherzog: „Der Tag, wo ein Hochamt von mir

Stein gemeißelt ist. Und doch auch reich an Momenten des Zweifelns an dogmatischer Religion und der formellen Institution Kirche. In ihrer

zu den Feierlichkeiten für I.K.H. soll aufgeführt werden, wird für mich der schönste meines Lebens sein. Und Gott wird mich erleuchten, dass meine

Monumentalität und zeitlichen Ausdehnung von knapp 90 Minuten sprengt die Missa solemnis jegliche liturgischen Vorgaben. Auch wenn das Werk ursprünglich für ein konkretes

schwachen Kräfte zur Verherrlichung dieses Feierlichen Tages beitragen.“ Doch die kompositorische Arbeit ging nur schleppend voran und Ende 1819

Hochamt gedacht war. Dort dann aber nicht erklang. Rundfunk-Sinfonieorchester Berlin © Molina Visuals

Äußerer Anlass und innere Aufgabe

Beethovens Missa solemnis ist ein Solitär. Ein Werk von äußerer dramatischer Wucht und schier unglaublicher innerer Stärke. Voller

hatte Beethoven gerade einmal den Mittelteil des Credos skizziert. Der Tag des Hochamtes kam. Und es erklang – Deutsch

Messe von Johann Nepomuk Hummel. Erst drei Jahre später konnte Beethoven die Missa solemnis vollenden. Weil ihm schnell klar wurde, dass er einen außergewöhnlichen Weg würde gehen müssen. Die Uraufführung fand am 7. April 1824 in St. Petersburg im Rahmen einer konzertanten Aufführung des Fürsten Galitzin statt und am 7. Mai 1824 erklang das Werk bruchstückhaft in Wien, ohne Gloria und Sanctus. Beethoven hatte ganz augenscheinlich kein schlechtes Gewissen, seine Missa aus ihrer ursprünglichen Bestimmung herauszulösen. Betrachtete er sie doch mittlerweile als zutiefst persönliche Auseinandersetzung mit seinem Glauben.

Stile antico und moderne Tonsprache

als „submotivische Beziehungen“.

dass ich den Text behandelt habe, wie

Glaubensfragen. Was nicht zuletzt der

Wie schon in der C-Dur-Messe

knappe volksliedhafte Bildungen. Die

Folgt man Carl Dahlhaus, so ging

Demnach kehren auf äußerst subtile Weise einzelne Parameter aus Motivgestalten genauestens kalkuliert

er noch wenig behandelt worden“. Auch bei der Missa solemnis untersuchte Beethoven die einzelnen Wörter des

es Beethoven in der Missa solemnis kompositorisch vor allem um eine Vermittlung zwischen altem Kirchenstil und moderner Instrumentalmusik. Gelungen sei ihm dies dadurch, „dass

wieder – aber in einem jeweils anderen inhaltlichen Zusammenhang. Diese submotivischen Bezüge sind beim erstmaligen Hören kaum zu erkennen. Während der Arbeit an der Messe

lateinischen Messtextes genau, um sie musikalisch exakt auszudeuten. Auf ihre reine Bedeutung hin, vor allem aber auch auf ihre Konnotationen. Welche Gefühle schwingen mit? Welche

im Autograph über dem Kyrie stehende Satz „Von Herzen – möge es wieder – zu Herzen gehen“ transportiert. Wie schlicht. Wie groß. Wie menschlich. Vielleicht hat Beethoven die Missa

verzichtet Beethoven auch in der Missa solemnis auf die traditionelle Nummerngliederung, also auf die Verteilung von Arien und Chorsätzen auf die Messabschnitte. Die formale

Missa solemnis ist ein Werk der Extreme. Beethoven lässt Chor, Solisten und das groß besetzte Orchester zu einem einzigen Klangkörper verschmelzen, der den Hörer mit seinem voluminösen

gerade deshalb als das „gelungenste seiner Geistesprodukte“ bezeichnet. Weil sie seinen persönlichen Blick

Gliederung folgt teils traditionellen Vorgaben, wie bei der Dreiteilung des Kyrie, geht aber auch eigene Wege,

Klangbild „rühren, treffen, erschüttern“ (Werner-Jensen) soll. Und das gelingt Beethoven, der sich zum Ziel gesetzt

er im Archaischen, das die Kirchlichkeit verbürgen sollte, zugleich ein Ferment von Modernität entdeckte, durch die das Werk vor der ästhetischen Maxime

vertiefte sich Beethoven in der Bibliothek Erzherzog Rudolphs in alte Kirchenmusik, studierte Palestrinas Werke und die Gregorianik.

Emotionen setzen sie frei? Und zwar nicht nur beim Hörer, sondern vor allem beim Komponisten.

etwa wenn Beethoven das „Gloria in excelsis Deo“ am Ende des Gloria im presto wiederholt. Dem extrem kurzen Sanctus steht ein extrem gedehntes Benedictus gegenüber und das textlich

hatte „sowohl bei Singenden als bei Zuhörern religiöse Gefühle (zu) erwecken und dauernd (zu) machen“.

bestehen konnte, dass Musik neu sein müsse, um authentisch zu sein.“ Und in der Tat finden sich Techniken wie motivisch-thematische Arbeit oder

auf den Glauben zeigt. Und wie er bestimmte Aussagen des Messtextes bewertet. Man denke etwa an das beiläufige, lediglich einmal im ChorTenor rezitierte „credo in unam sanctam

Schon in seiner C-Dur-Messe aus dem Jahr 1807 und auch in seinem Oratorium Christus am Ölberge (1803/1804/1811)

entwickelnde Variation (ihres Zeichens Merkmale des mittleren Beethovens) nur rudimentär. Was wiederum nicht bedeutet, dass die formalen Teile der

hatte sich Beethoven intensiv mit den Textvorlagen beschäftigt, mit dem Ziel „Musick und wort ein’s“ werden zu lassen. Beim Messtext bediente er sich

catholicam“, das in den „Credo“-Rufen der anderen Stimmen schier untergeht. Der Glaube an das ewige Leben erfährt dagegen auf über 170 Takten in einer

eigentlich dreiteilig angelegte Agnus Dei wird vierteilig umgesetzt. Auf allen Ebenen findet sich ein extrem ausgeprägtes Kontrastprinzip. Ruhe

homophon vom Chor fast geflüstert, das hymnisch anbetende „Laudamus te“ und das klanglich luftige „Gratias agimus tibi“. Mit dem „Qui tollis“ beginnt der langsame, zweite Teil des Gloria, in dem

der Hilfe eines Übersetzers, der selber Musiker war. Beethoven schrieb über seine erste Messe: „jedoch glaube ich,

wird Bewegung gegenübergestellt, ekstatischer Jubel erklingt neben schreitender Würde, polyphone und homophone Ausgestaltung wechseln

Das Kyrie, der Bittgesang, ist klassisch dreigeteilt, im steten, demutsvollen Wechselgesang zwischen Soli und Chor. Der machtvolle Kyrie-Anruf der Chorstimmen wird bereits im ersten

Messe isoliert nebeneinanderstehen. Die motivischen Bezüge zwischen den Formabschnitten beschreibt Dahlhaus

ausgeweiteten Doppelfuge eine starke Gewichtung. Derart kontrastreiche Interpretationen der textlichen Vorgabe prägen die Missa.

D-Dur-Akkord des vollen Orchesters vorweggenommen. Im mittleren Christe-Teil führen die Soli, der Chor antwortet. Immer dichter werden die

Klarinetten und Flöten das Klagethema präsentieren. Eine ausgedehnte, zerknirschte Bitte um Erbarmen entwickelt sich im von Beethoven um

Stimmen kontrapunktisch miteinander

den emotionalen Laut „O“ erweiterte

Bekenntniswerk Ist dies mein Glaube? Wie glaube ich? Und warum? Mit diesen Fragen zieht sich ein religiöser und „expressiv gesteigerter Subjektivismus“ (Ackermann) wie ein roter Faden durch die Missa solemnis. Sie ist ein zutiefst persönliches Bekenntniswerk. Es geht Beethoven um individuelle Emotionen, nicht um allgemeingültige

sich ab. Ein Rezitationston trifft auf weit ausschwingende Kantilenen und

Die Sätze

verwoben. In der variierten KyrieWiederholung betont Beethoven die schmerzvolle Haltung durch Chromatik, der Satz verklingt im Pianissimo-Gebet. In stärkstem Kontrast eröffnet Beethoven den Preisgesang des Gloria, das in vier Teile gegliedert ist. Nach stürmischem Fortissimo-Orchesterauftakt jagen die Chorstimmen mit dem aufsteigenden Gloria-Hauptthema in himmlische Höhen. Dieses Thema kehrt mottoartig an Schlüsselstellen des Satzes wieder. Es folgt das „et in terra pax hominibus“,

Acknowledgments

Bevor im Benedictus die Solo-

durchaus gefährdet ist, zeigen zwei

Violine in einem coup de théâtre von den höchsten Höhen des Himmels herabsteigt. Weltlicher Kitsch? Arnold Werner-Jensen sah darin „ein legitimes künstlerisches Mittel, den

instrumentale Einschübe mit gleichsam kriegerischen Pauken und Trompeten, die gewaltsam einbrechen. „Ängstlich“ bitten die Solisten erneut um Erbarmen. Der Chor fordert geradezu insistierend

einer gewaltigen Fuge abgeschlossen, einer Doppelfuge auf „et vitam venturi saeculi, amen“.

Hörer emotional aus der Fassung zu bringen“. Immerhin gehe es hier um die „Wucht der Verheißung“. Die

mit seinen Sforzato-Rufen „pacem“.

Das Sanctus nimmt „mit Andacht“ eine tiefgründige Versenkungshaltung ein, mezza voce werden die Gebetsrufe geflüstert, grundiert von Posaunen

gedämpften Klangfarben im Orchester unterstreichen die andachtsvolle Haltung noch. Bis zum Ende hat die Solo-Violine stets die Führung inne und steigt nach einer erneut fugierten

und um das Wunder von Geburt, Leiden, Tod, Wiederauferstehung und Himmelfahrt Christi. Analog zum Gloria kehrt das eröffnende, wuchtige Credo-

und tiefen Streichern. Nach einer Generalpause beginnt ein energisch vorantreibendes Chorfugato über „Osanna in excelsis“. Es folgt ein kurzes,

Lobpreisung am Ende wieder in die Höhe hinauf.

Kernmotiv am Ende wie einer Klammer wieder. Kann man hier irgendwie an Beethovens Glauben zweifeln? Die musikalische Gestaltung zementiert

fast schon amotivisches Präludium, in dem Beethoven das Wunder der Hostienwandlung nachzeichnet; übrigens der einzige rein instrumentale

einen Adagio-Teil ein, der sich immer wieder aufzuschwingen versucht, dann im Pianissimo verklingt. Das „Dona nobis pacem“ ist von Beethoven mit

PENTATONE TEAM Vice President A&R Renaud Loranger | Director A&R Job Maarse | Managing

eine unerschütterliche Geisteshaltung. Der Binnensatz („Et incarnatus est“

„Satz“.

„Bitte um innern und äußern Frieden“ überschrieben. Dass dieser Frieden

Director Dirk Jan Vink | Director Product, Marketing & Distribution Simon M. Eder A&R Kate Rockett | Marketing & PR Silvia Pietrosanti | Distribution Veronica Neo

– „et homo factus est“) gestaltet die einzelnen Phasen tief empfunden nach. Mal abgründig versunken, mal schmerz- und leidvoll, dann wieder plastisch-majestätisch beim Jüngsten Gericht. Auch das Credo wird von

Beginns den Satz im Presto krönend abschließt.

PRODUCTION TEAM Executive producers Stefan Lang (Deutschlandradio Kultur), Job Maarse (Pentatone) | Recording producer Job Maarse | Balance engineer Jean-Marie Geijsen (Polyhymnia) | Recording engineer & editor Erdo Groot (Polyhymnia) Deutschlandradio recording team Wolfram Nehls, Henri Thaon, Jens Müller Liner notes Jörg Peter Urbach | English translation Fiona J. Stroker-Gale Design Joost de Boo | Product management Max Tiel This album was live recorded at the Berlin Philharmonie, September 2016.

Das abschließende Agnus Dei leitet

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Find out more: www.pentatonemusic.com

Broadcasting Union, through touring or in guest performances worldwide,

years of musical history. Numerous world premieres attest to the 73 choir

the MDR LEIPZIG RADIO CHOIR, which was awarded the European Cultural

members’ reputation as a specialised ensemble for contemporary music.

Prize in 2013, acts as a supreme musical ambassador for central Germany.

work it is invariably the MDR LEIPZIG RADIO CHOIR that comes at the top

acclaimed world-class ensemble. From the season 2015/2016 he was succeeded

of their wish list. As the largest concert choir within the German Broadcasting

by Risto Joost as artistic director of the MDR LEIPZIG RADIO CHOIR.

experts as one of the best.

Premium Sound and Outstanding Artists PENTATONE. Today’s music is evolving and forever changing, but classical music remains true in creating harmony among the instruments. Classical music is as time-honoured as it is timeless.

formats. In 2017 the choir was awarded the International Classical Music Award for its recording of Max Reger’s Motets op. 110. Whether via the European

works complete a repertoire that encompasses practically a thousand

In the fifteen years of his tenure

Corporation (ARD), the MDR LEIPZIG RADIO CHOIR is widely regarded among

Sit back and enjoy

70-year history. These recordings have been released on LPs, CDs and digital

demonstrates its expertise with highly acclaimed a cappella performances. Secular and sacred music, wide-ranging ensemble singing and choral symphonic

from 1998 Howard Arman lastingly consolidated the reputation of this

Semyon Bychkov, Riccardo Muti, Yannick

Gleichfalls kontrastreich im Gesamtrahmen wie in den einzelnen Teilen gestaltet Beethoven das Credo. Auch hier zutiefst persönlich, geht es doch um das Glaubensbekenntnis

„Miserere nobis“. Im dritten Teil – „Quoniam tu solus sanctus“ – kehrt der Preisgesang im mächtigen Chorsatz zurück, bevor sich eine gewaltige „in gloria dei patris, amen“-Fuge anschließt bevor erneut das Zitat des Gloria-

Not only an excellent partner for major orchestras, the ensemble regularly

When major orchestras in Germany or abroad plan to perform a choral

Artists

The collaboration with Deutschlandradio, the main shareholder of the ROC GmbH Berlin to which the

Marek Janowski © Jean-François Leclercq

As in the Mass in C major, in the Missa

emotions, not with universal questions of faith – as he makes clear to us in the following sentence “May it continue to flow from heart to heart,” written in the autograph score above the “Kyrie.” How simple. How noble. How human. Perhaps this is precisely why Beethoven described the Missa as “the most successful of his intellectual products”: because it demonstrates his personal view of faith, and also how he rated

Liner notes

been named as his successor, starting in the 2017-2018 season. Previous chief conductors (including Sergiu Celibidache, Eugen Jochum, Hermann Abendroth, Rolf Kleinert, Heinz Rogner,

ACKNOWLEDGMENTS

drowned by the calls of “credo” in the other voices. On the other hand, great emphasis is placed on the belief in eternal life by means of an extended double fugue lasting more than 170 bars. The Missa is full of such highly contrasting interpretations of the text.

Is this my faith? How do I believe? And why? A religious and “expressively intensified subjectivism” (Ackermann) containing these questions runs like a red thread through the Missa solemnis. It is a deeply personal creed. Here, Beethoven is concerned with individual

In his Mass in C major, dating from 1807, and also in his oratorio Christus am Ölberge (= Christ on the mount of

in D Major Op. 123

DEUTSCH

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TRACK INFORMATION

Nearly 200 recordings, many of them award-winning, have been recorded by the ensemble during its more than

RundfunkSinfonieorchester Berlin (RSB, Berlin Radio Symphony Orchestra) dates back to the beginnings of music broadcasting in 1923, and has since sustained its position amongst the leading orchestras in Berlin and other radio orchestras throughout Germany. From 2002 to 2015, Marek Janowski was artistic director and chief conductor

The movements

is laid out in four sections. There is an extremely pronounced principle of contrast at all levels. Peace and quiet is contrasted with movement, ecstatic rejoicing resonates alongside pacing dignity, polyphony is alternated with homophony. A recitative tone meets

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ENGLISH

Beethoven designs the “Credo” with equally rich contrast, both in its entirety and its individual sections. Here, too, the music is deeply personal, all about the confession of faith and the miracle of Christ’s birth, suffering, death, resurrection and ascension. Analogous to the “Gloria,” the powerful opening core motif of the “Credo” returns at

Beethoven begins the eulogy of the

part of the Gloria, in which clarinets and flutes present the lament theme. An extended, contrite plea for compassion develops in the “Miserere nobis,” in which Beethoven draws out the emotion in the vowel “o.” In the third part – “Quoniam tu solus sanctus” – the eulogy returns in the powerful choral setting, followed by a tremendous fugue, “in gloria dei patris, amen,” after which the recurrence of the motto from the

the end as if to close brackets. Can there be any doubt about Beethoven’s faith here? The musical design cements an imperturbable attitude of mind. The next section of the movement (“Et incarnatus est” – “et homo factus est”) recreates the individual phases with deep feeling: at times profoundly absorbed in thought, at others painful and sorrowful, then again vividly majestic during the Last Judgment.

“Gloria,” which is divided into four parts in a hugely contrasting manner.

beginning of the “Gloria” concludes the movement in presto.

Here too, the “Credo” is concluded with a massive fugue – a double fugue on the

part (“Christe”), the soloists lead with the choir responding. Increasingly dense, the voices become more and more contrapuntally interwoven. In the varied repetition of the “Kyrie,” Beethoven emphasizes the agonizing mood by means of chromaticism, and the movement fades away in the prayer in pianissimo.

the singer and the listener.”

After a stormy fortissimo upbeat in the orchestra, the choir races up into

Ludwig van Beethoven (1770 – 1827)

With devotion

MISSA SOLEMNIS

Reflections on Beethoven’s

in D Major Op. 123

BEETHOVEN

MISSA SOLEMNIS

Missa solemnis

1 2

Kyrie Gloria

9. 22 15. 41

Beethoven’s Missa solemnis is a unique gem. A work of dramatic external

3 4

Credo Sanctus – Benedictus

16. 59 15. 26

power and well-nigh incredible inner strength. Full of conviction. Rich in

5

Agnus Dei Total playing time:

Rundfunk-Sinfonieorchester Berlin MDR Rundfunkchor Leipzig

15. 32

profoundly personal visions of the faith that has remained, carved in stone,

73. 04

Regine Hangler, Soprano

in the form of the Latin mass text for centuries. And yet also rich in moments of doubt about dogmatic religion and

Elisabeth Kulman, Alto

the formal institution of the church.

Christian Elsner, Tenor Franz-Josef Selig, Bass

In its monumentality and lengthy duration of just under 90 minutes, the Missa solemnis departs from all

MDR Rundfunkchor Leipzig

liturgical guidelines – despite the fact

Michael Gläser, Chorus Master

that the work was originally intended for a specific high mass; yet it was not actually performed there in the end.

Rundfunk-Sinfonieorchester Berlin

Marek Janowski

External event and internal task Creating a unique gem takes time: and in this case, Beethoven took plenty

– not Beethoven’s Missa solemnis, but a mass composed by Johann Nepomuk Hummel was performed. Not until three years later did Beethoven manage to complete the Missa solemnis, the

Stile antico and modern musical idiom According to Carl Dahlhaus, in his Missa solemnis Beethoven was mainly

Dahlhaus describes the motivic links

as follows about his first mass: “…

between the various structural sections

however, I believe that I have treated

as “submotivic connections.” Thus, very subtly, individual parameters from motifs constantly reappear in a precisely

the text in a manner in which it has seldom been treated.” And again with his Missa solemnis, Beethoven subjected

of time. In the summer of 1818 it was

reason being that he had quickly

concerned with finding a good mix

calculated manner – however, always in

the individual words of the Latin text to

announced in Vienna that his pupil and patron, the Archduke Rudolph, was to be enthroned as Archbishop of Olomouc

realized that he would have to take an extraordinary path. The première took place in St. Petersburg on April 7, 1824,

between the idiom of ancient church music and that of modern instrumental music. He appears to have managed

a different context as regards content. These submotivic references are very difficult to recognize at first hearing.

a precise examination, in order to give them an exact musical interpretation: both with regard to their pure

on March 9, 1820. Beethoven decided

as a concertante performance under

this due to the fact that “in the archaic

While working on his mass, Beethoven

significance, but above all, with regard

to compose a mass for this event. In June 1819, he wrote as follows to the Archduke: “The day on which a high

the auspices of Prince Gallitzin; and on May 7, 1824, the mass was given an incomplete performance in Vienna,

idiom, which was meant to vouch for the church, he simultaneously discovered a ferment of modernity,

delved into ancient church music in Archduke Rudolph’s library, studying works by Palestrina as well as Gregorian

to their connotations. Which feelings are resonating here? Which emotions are they releasing? And not only in the case

mass by my hand will be performed

not including the “Gloria” and the “Sanctus.” Obviously, Beethoven had no

thanks to which the work was able to

chant.

of the listener, but above all, with regard to the composer himself.

during the celebrations solemnized for Y.I.H. will be for me the most beautiful day of my life. And God will enlighten

problem in “extracting” his Missa from its original destination. Clearly, in the

hold its own with regard to the aesthetic maxim that music must be novel in order to be considered authentic.” And

me, so that my paltry creative powers may contribute to the glorification

meantime, he had begun to regard it as a deeply personal confrontation with

indeed, techniques such as motivicthematic passage work, or evolving

am Ölberge (= Christ on the mount of olives, 1803/1804/1811), Beethoven had

of this solemn day.” But work on the composition dragged out, and by the

his faith.

variation (characteristic for Beethoven’s middle period) are to be found only

already devoted a great deal of time to the texts, aiming to “unify music

In his Mass in C major, dating from 1807, and also in his oratorio Christus

Rainer Wolters, Concert Master

end of 1819 Beethoven had only just sketched the middle part of the Credo.

in rudimentary form. However, this does not signify that the structural

and word.” To help with the mass text, he brought in a translator, who was

Conducted by Marek Janowski

The day arrived of the High Mass, and

sections of the mass coexist in isolation.

himself a musician. Beethoven wrote

Creed

drowned by the calls of “credo” in the

Is this my faith? How do I believe?

other voices. On the other hand, great emphasis is placed on the belief in

And why? A religious and “expressively intensified subjectivism” (Ackermann)

eternal life by means of an extended double fugue lasting more than 170

containing these questions runs like a red thread through the Missa solemnis.

bars. The Missa is full of such highly contrasting interpretations of the text.

It is a deeply personal creed. Here, Beethoven is concerned with individual

As in the Mass in C major, in the Missa

emotions, not with universal questions of faith – as he makes clear to us in the

solemnis Beethoven also renounces the traditional numbering, i.e. the

following sentence “May it continue to flow from heart to heart,” written in the autograph score above the “Kyrie.”

classification of the distribution of arias and choral settings within the various sections of the mass. In part, the

How simple. How noble. How human.

formal structuring keeps to traditional

Perhaps this is precisely why Beethoven described the Missa as “the most successful of his intellectual products”:

guidelines, as in the tripartite division of the “Kyrie”; however, it also goes its own way, for example at the end of the

because it demonstrates his personal

“Gloria,” when the “Gloria in excelsis

view of faith, and also how he rated certain assertions in the mass text. Take, for instance, the casual “credo in

Deo” is repeated, but now in presto. The extremely short “Sanctus” is contrasted with a greatly elongated “Benedictus”;

is laid out in four sections. There is

The movements

an extremely pronounced principle of contrast at all levels. Peace and quiet is contrasted with movement, ecstatic rejoicing resonates alongside pacing dignity, polyphony is alternated with homophony. A recitative tone meets with widely resonating cantilenas and concise folk-song-like creations. The Missa solemnis is a work of extremes. Beethoven blends choir, soloists, and large orchestra into a single “body of sound,” which is meant to “touch, strike, shake” (Werner-Jensen) the listener with volume of its sound. And Beethoven succeeds at this, having set himself the goal “of awakening and perpetuating religious feelings both in the singer and the listener.”

phrase “et vitam venturi saeculi, amen.”

the heavenly heights with the soaring

Beethoven designs the “Credo” with

The “Kyrie,” the song of invocation,

main theme of the “Gloria.” This theme recurs like a motto at key points in

equally rich contrast, both in its entirety and its individual sections. Here, too,

has a classical tripartite division, with a constant and humble interchange of

the movement. This is followed by the “terra pax hominibus,” almost like a

the music is deeply personal, all about the confession of faith and the miracle

singing between soloists and choir. The first D-major chord of the full orchestra

homophonic whisper from the choir, the hymnically worshipping “Laudamus te”

of Christ’s birth, suffering, death, resurrection and ascension. Analogous

already anticipates the impressive cry of “Kyrie” from the choir. In the middle

and the airy “Gratias agimus tibi.” The “Qui tollis” introduces the slow, second

to the “Gloria,” the powerful opening core motif of the “Credo” returns at

part (“Christe”), the soloists lead with the choir responding. Increasingly

part of the Gloria, in which clarinets and flutes present the lament theme. An

the end as if to close brackets. Can there be any doubt about Beethoven’s

dense, the voices become more and more contrapuntally interwoven. In the varied repetition of the “Kyrie,”

extended, contrite plea for compassion develops in the “Miserere nobis,” in which Beethoven draws out the emotion

faith here? The musical design cements an imperturbable attitude of mind. The next section of the movement

Beethoven emphasizes the agonizing

in the vowel “o.” In the third part –

(“Et incarnatus est” – “et homo factus

mood by means of chromaticism, and the movement fades away in the prayer in pianissimo.

“Quoniam tu solus sanctus” – the eulogy returns in the powerful choral setting, followed by a tremendous fugue, “in

est”) recreates the individual phases with deep feeling: at times profoundly absorbed in thought, at others painful

gloria dei patris, amen,” after which

and sorrowful, then again vividly

Beethoven begins the eulogy of the “Gloria,” which is divided into four parts in a hugely contrasting manner.

the recurrence of the motto from the beginning of the “Gloria” concludes the movement in presto.

majestic during the Last Judgment. Here too, the “Credo” is concluded with a massive fugue – a double fugue on the

unam sanctam catholicam,” recited

and the “Agnus Dei” – which in fact

After a stormy fortissimo upbeat in

only once in the tenors, which is almost

consists of three sections in the text –

the orchestra, the choir races up into

phrase “et vitam venturi saeculi, amen.”

The Sanctus “devoutly” assumes a

reverent mood. Right up to the end, the

profoundly meditative attitude, the

solo violin remains in charge; and at

prayers are whispered mezza voce, primed by trombones and low strings. A general pause is immediately followed

the conclusion, it soars back up to the heights after a glorification, once again set as a fugue.

by an energetically driving choral fugato to the phrase “Osanna in excelsis.” This is followed by a short prelude, almost lacking in motif, in which

The concluding “Agnus Dei” introduces an Adagio section that continually attempts to soar, but finally fades away

Beethoven portrays the miracle of the

in pp. Beethoven wrote the following

transformation of the host; by the way, this is the only exclusively instrumental “movement.”

words above the “Dona nobis pacem”: “Plea for internal and external peace.” Two instrumental interpolations with,

But then suddenly in the “Benedictus,”

so to speak, warlike timpani and trumpets, violently breaking into the

the solo violin swoops down from the highest heights of heaven in a coup de

music, demonstrate that this peace is truly under siege. “Fearfully,” the soloists

théâtre. Profane kitsch? Well, Arnold Werner-Jensen described this as “a

once again plea for mercy; and the choir virtually insists upon it, with its

legitimate artistic means of emotionally flustering the listener.” For after all,

sforzato cries of “pacem.”

it was about the “impact of the promise.” The muted sound-colours in the orchestra further emphasize the

Marek Janowski

Dortmund (1975-1979). Since the late

From 2002 until 2015, Marek

1970s, he has appeared regularly at all the major opera houses world-wide.

Janowski was Artistic Director and Chief Conductor of the Rundfunk-

Marek Janowski stepped back from the

Sinfonieorchester Berlin (RSB). Before embarking upon his Berlin period,

opera scene in the 1990s to concentrate on the great German and French

and also partly parallel to this, he was Musical Director of the Orchestre

symphonic repertoire. He enjoys an outstanding reputation amongst the

de la Suisse Romande (2005-2012), Chief Conductor of the Orchestre

premier orchestras of Europe, North America and Asia and is recognised

Philharmonique de Monte Carlo (2000-2005), Chief Conductor of the Dresdner Philharmonie (2001-2003),

for his ability to create orchestras of international standing.

and Musical Director of the Orchestre

His leave-taking of the opera, however,

Philharmonique de Radio France (19842000).

was merely an institutional matter, not a musical farewell. Thus he is now recognized as one of the greatest

Born in Warsaw and educated in

experts regarding the music of Richard

Germany, Marek Janowski’s artistic path led him from positions in Aachen, Cologne, Düsseldorf and Hamburg to his

Wagner, to which his concertante Wagner cycle with the RSB bears witness. In the sequel he accepted the

appointment as General Music Director

invitation to conduct Wagner’s “Ring” at

in Freiburg im Breisgau (1973-1975) and

the Bayreuth Festival in 2016 and 2017.

Liner notes

of the RSB. Vladimir Jurowski has

la Parra, Lahav Shani and Omer Meir

been named as his successor, starting in the 2017-2018 season. Previous chief conductors (including Sergiu Celibidache, Eugen Jochum, Hermann Abendroth, Rolf Kleinert, Heinz Rogner,

Wellber performing in recent years.

and Rafael Frühbeck de Burgos) have all helped to create the ensemble’s exceptional sound.

RSB belongs, has born rich fruit on recording. Starting in 2010, together with PENTATONE, great effort was put

Since its foundation, the RSB has invited major composers to conduct or to perform as soloists in their own works. These have included Paul Hindemith, Sergei Prokofiev, Richard Strauss, and Igor Stravinsky, as well as Krzysztof Penderecki, Peter Ruzicka, and Jörg Widmann. The RSB is particularly attractive for capable young conductors from the international music scene, with Andris

In 2014 Marek Janowski was awarded

and won the 2nd prize in the Birgit

the “Ehrenpreis der deutschen

Nilson competition.

Schallplattenkritik” (= honorary prize of the German Critics’ Award) for his extensive life’s work.

Since 2013/14 Regine Hangler is an

Tokyo and the Scala in Milan.

success as a soprano. Since 2005

Thielemann, Marek Janowski or Franz

As a successful concert singer Regine Hangler is very successful in Austria,

Elisabeth Kulman has been singing the major parts of the mezzo and alto repertoire. As a member of the

close collaboration with Nikolaus Harnoncourt.

ensemble member of the Wiener

Germany, Albany, the Netherlands,

ensemble at the Vienna State Opera

Regine Hangler Soprano

Staatsoper and is performing the following roles, just to name a few: Rosalinde (Die Fledermaus), Santuzza

Slovenia, Hungary, Japan and Israel. Regine Hangler’s discography and videography continue to grow steadily.

she quickly became a favourite of the audience and established the basis for her vast repertoire. Her most

After having studied viola and technics, Regine Hangler studied canto as her major subject at the Kärntner

Ariadne (auf Naxos), Leonore (Fidelio) and Eva (Die Meistersinger von Nürnberg).

(Cavalleria Rusticana), Elsa (Lohengrin),

Landeskonservatorium and the Universität für Musik in Vienna, which she passed with distinction.

In May 2015 the soprano was highly acclaimed for her title role of “Daphne” in Berlin, which was conducted by

Elisabeth Kulman Alto

important roles include Fricka, Erda and Waltraute (The Ring of the Nibelung), Carmen, Mrs. Quickly (Falstaff), Brangäne (Tristan and Isolde), Begbick

Elisabeth Kulman is one of today’s

(Mahagonny), Orlofsky (The Bat), Orfeo

most sought-after singers and leading authorities in the international classical music scene. She impresses

(Gluck) and Marina (Boris Godunov). Since 2010 Elisabeth Kulman has been

At the same time she was working

Marek Janowski, in New York und

audiences and critics alike with her rich,

working as a freelance artist. She is

with KS Mara Zampieri in Padua and concluded her education with numerous Masterclasses.

Cleveland by Franz Welser-Möst. In 2016 she had a big success at the Salzburger Festspiele for her interpretation of

colourful timbre, her charismatic stage personality and her musical versatility.

a much sought-after soloist in the metropolitan centres of the music world: Vienna, Paris, London, Munich,

Xanthe in “Die Liebe der Danae”.

She studied voice with Helena Lazarska

Berlin, Tokyo, Salzburg, Moscow, etc.

Further future engagements lead the soprano i.e. to the Bayreuther Festspiele,

at the Vienna Music University, made her debut as Pamina in 2001 at the Volksoper in Vienna and enjoyed early

She works regularly with world-class orchestras and conductors such as Zubin Mehta, Kirill Petrenko, Christian

Several times she was decorated with highly skilled scholarships, became finalist of the Italian Aslico competition

Welser-Möst. She enjoyed a particularly

Christian Elsner Tenor Born in Freiburg, Christian Elsner is one of the most versatile German tenors. He

On the opera stage Christian Elsner has

The versatile singer has written his own

established himself as a heroic tenor

children’s book, Lennie und der Ring des

in the roles of Siegmund and Parsifal at the Deutsches Nationaltheater in Weimar, the Staatstheater in Kassel, the

Nibelungen, and has been working as a professor for singing at the Hochschule für Musik in Wurzburg since 2006.

Franz-Josef Selig Bass

Nezét-Séguin, Antonio Pappano, Phillipe Jordan, Zubin Mehta and many others.

Franz-Josef Selig has established himself on the international scene as

Bass singer Franz-Josef Selig first studied church music at the Staatliche

Since 2015 Elisabeth Kulman has been

studied singing with Martin Gründler,

Dresden Semperoper, the Vienna State

focusing her artistic activities on recitals (together with her longtime accompanist Eduard Kutrowatz),

took lessons with Dietrich FischerDieskau and Neil Semer, and has won many international competitions.

Opera and at the Teatro Real in Madrid. Accompanied by Gerold Huber and Burkhard Kehring, the tenor has given recitals in Frankfurt, Hamburg, Bonn,

Real in Madrid under Semyon Bychkov,

Fiesco and Fasolt at all the world’s

ensemble in Essen. He has since been a

As an internationally sought-after concert singer, Christian Elsner is a popular guest at all the important

Dresden, Munich, Wurzburg and Brussels, and at the Schubertiade in Feldkirch.

in Vienna in Franz Schmidt’s The Book with Seven Seals under Manfred Honeck with the Vienna Symphony Orchestra,

major opera houses (such as the Vienna State Opera, Bavarian State Opera, Teatro alla Scala di Milano, Teatro Real

freelance singer.

in Beethoven’s Ninth Symphony in

Madrid, the Parisian opera houses or

Wien as well as “Hungaro Tune” with symphony orchestra and jazz soloists.

the Berlin Philharmonic, New York’s Carnegie Hall, La Scala, Milan and the Suntory Hall in Tokyo, and has worked

Christian Elsner can also be heard on CD, with recordings such as Schubert’s Winterreise and Schumann’s

Leipzig with the Gewandhausorchester under Herbert Blomstedt, and in Berlin, Vienna, New York, Taipei and Tokyo with

the Metropolitan Opera New York) and at prestigious festivals such as the Bayreuth and Salzburg Festival and

Her latest solo programme “La femme c’est moi” features pieces from Carmen

with many renowned conductors such as Herbert Blomstedt, Manfred Honeck,

Dichterliebe, along with studio productions of Mahler’s Lied von der

the Berlin Philharmonic under Sir Simon Rattle.

the Festival d’Aix-en-Provence. Opera productions as well as concerts bring

up to the Beatles.

Marek Janowski, Mariss Jansons, Kent Nagano, Yannick Nézet-Séguin, Semyon

Erde as well as complete recordings of Wagner’s Rheingold (Loge) and Parsifal

Bychkov and Sir Simon Rattle.

(title role).

concerts and operas in concert. She is especially devoted to unconventional projects: “Mussorgsky Dis-Covered” with an international jazz quartet, “Mahler Lieder” and “Wer wagt mich zu höhnen?” with the ensemble Amarcord

classical music centres, such as

Christian Elsner’s most recent performances have included the title role in Wagner’s Parsifal at the Teatro

one of the best-known serious bass

Hochschule für Musik in Cologne before

baritones. He regularly gives guest performances as Gurnemanz, King Marke, Sarastro, Rocco, Osmin, Daland,

taking voice classes under Claudio Nicolai. At the beginning of his career he was a member of the Aalto Theatre

him together frequently with renowned orchestras and conductors, such as James Levine, Christian Thielemann, Sir Simon Rattle, Marek Janowski,

MDR Rundfunkchor Leipzig

Mit Andacht Gedanken zu Beethovens Missa solemnis

into the live recording of the successful ten part Wagner cycle. Other activities of the RSB include special concerts for families and children, as well as guest performances in the major international concert halls, which have taken place over the past 50 years. Alongside regular tours of Asia the orchestra appears at German and European festivals. MDR Rundfunkchor Leipzig © Peter Adamik

Nelsons, Yannick Nézet-Séguin, Alain Altinoglu, Jakub Hrůša, Alondra de

nicht die Missa solemnis, sondern eine

Ein Solitär benötigt Zeit. Und die nahm sich Beethoven in diesem Fall reichlich. Im Sommer 1818 wurde in Wien bekannt, dass sein Schüler und Gönner, Erzherzog Rudolph, am 9. März 1820 zum Erzbischof von Olmütz inthronisiert

Überzeugungskraft. Reich an zutiefst persönlichen Blicken auf jenen Glauben, wie er in Gestalt des lateinischen Messtextes seit Jahrhunderten in

werden sollte. Aus diesem Anlass plante Beethoven eine Messvertonung. Im Juni 1819 schrieb er an den Erzherzog: „Der Tag, wo ein Hochamt von mir

Stein gemeißelt ist. Und doch auch reich an Momenten des Zweifelns an dogmatischer Religion und der formellen Institution Kirche. In ihrer

zu den Feierlichkeiten für I.K.H. soll aufgeführt werden, wird für mich der schönste meines Lebens sein. Und Gott wird mich erleuchten, dass meine

Monumentalität und zeitlichen Ausdehnung von knapp 90 Minuten sprengt die Missa solemnis jegliche liturgischen Vorgaben. Auch wenn das Werk ursprünglich für ein konkretes

schwachen Kräfte zur Verherrlichung dieses Feierlichen Tages beitragen.“ Doch die kompositorische Arbeit ging nur schleppend voran und Ende 1819

Hochamt gedacht war. Dort dann aber nicht erklang. Rundfunk-Sinfonieorchester Berlin © Molina Visuals

Äußerer Anlass und innere Aufgabe

Beethovens Missa solemnis ist ein Solitär. Ein Werk von äußerer dramatischer Wucht und schier unglaublicher innerer Stärke. Voller

hatte Beethoven gerade einmal den Mittelteil des Credos skizziert. Der Tag des Hochamtes kam. Und es erklang – Deutsch

Messe von Johann Nepomuk Hummel. Erst drei Jahre später konnte Beethoven die Missa solemnis vollenden. Weil ihm schnell klar wurde, dass er einen außergewöhnlichen Weg würde gehen müssen. Die Uraufführung fand am 7. April 1824 in St. Petersburg im Rahmen einer konzertanten Aufführung des Fürsten Galitzin statt und am 7. Mai 1824 erklang das Werk bruchstückhaft in Wien, ohne Gloria und Sanctus. Beethoven hatte ganz augenscheinlich kein schlechtes Gewissen, seine Missa aus ihrer ursprünglichen Bestimmung herauszulösen. Betrachtete er sie doch mittlerweile als zutiefst persönliche Auseinandersetzung mit seinem Glauben.

Stile antico und moderne Tonsprache

als „submotivische Beziehungen“.

dass ich den Text behandelt habe, wie

Glaubensfragen. Was nicht zuletzt der

Wie schon in der C-Dur-Messe

knappe volksliedhafte Bildungen. Die

Folgt man Carl Dahlhaus, so ging

Demnach kehren auf äußerst subtile Weise einzelne Parameter aus Motivgestalten genauestens kalkuliert

er noch wenig behandelt worden“. Auch bei der Missa solemnis untersuchte Beethoven die einzelnen Wörter des

es Beethoven in der Missa solemnis kompositorisch vor allem um eine Vermittlung zwischen altem Kirchenstil und moderner Instrumentalmusik. Gelungen sei ihm dies dadurch, „dass

wieder – aber in einem jeweils anderen inhaltlichen Zusammenhang. Diese submotivischen Bezüge sind beim erstmaligen Hören kaum zu erkennen. Während der Arbeit an der Messe

lateinischen Messtextes genau, um sie musikalisch exakt auszudeuten. Auf ihre reine Bedeutung hin, vor allem aber auch auf ihre Konnotationen. Welche Gefühle schwingen mit? Welche

im Autograph über dem Kyrie stehende Satz „Von Herzen – möge es wieder – zu Herzen gehen“ transportiert. Wie schlicht. Wie groß. Wie menschlich. Vielleicht hat Beethoven die Missa

verzichtet Beethoven auch in der Missa solemnis auf die traditionelle Nummerngliederung, also auf die Verteilung von Arien und Chorsätzen auf die Messabschnitte. Die formale

Missa solemnis ist ein Werk der Extreme. Beethoven lässt Chor, Solisten und das groß besetzte Orchester zu einem einzigen Klangkörper verschmelzen, der den Hörer mit seinem voluminösen

gerade deshalb als das „gelungenste seiner Geistesprodukte“ bezeichnet. Weil sie seinen persönlichen Blick

Gliederung folgt teils traditionellen Vorgaben, wie bei der Dreiteilung des Kyrie, geht aber auch eigene Wege,

Klangbild „rühren, treffen, erschüttern“ (Werner-Jensen) soll. Und das gelingt Beethoven, der sich zum Ziel gesetzt

er im Archaischen, das die Kirchlichkeit verbürgen sollte, zugleich ein Ferment von Modernität entdeckte, durch die das Werk vor der ästhetischen Maxime

vertiefte sich Beethoven in der Bibliothek Erzherzog Rudolphs in alte Kirchenmusik, studierte Palestrinas Werke und die Gregorianik.

Emotionen setzen sie frei? Und zwar nicht nur beim Hörer, sondern vor allem beim Komponisten.

etwa wenn Beethoven das „Gloria in excelsis Deo“ am Ende des Gloria im presto wiederholt. Dem extrem kurzen Sanctus steht ein extrem gedehntes Benedictus gegenüber und das textlich

hatte „sowohl bei Singenden als bei Zuhörern religiöse Gefühle (zu) erwecken und dauernd (zu) machen“.

bestehen konnte, dass Musik neu sein müsse, um authentisch zu sein.“ Und in der Tat finden sich Techniken wie motivisch-thematische Arbeit oder

auf den Glauben zeigt. Und wie er bestimmte Aussagen des Messtextes bewertet. Man denke etwa an das beiläufige, lediglich einmal im ChorTenor rezitierte „credo in unam sanctam

Schon in seiner C-Dur-Messe aus dem Jahr 1807 und auch in seinem Oratorium Christus am Ölberge (1803/1804/1811)

entwickelnde Variation (ihres Zeichens Merkmale des mittleren Beethovens) nur rudimentär. Was wiederum nicht bedeutet, dass die formalen Teile der

hatte sich Beethoven intensiv mit den Textvorlagen beschäftigt, mit dem Ziel „Musick und wort ein’s“ werden zu lassen. Beim Messtext bediente er sich

catholicam“, das in den „Credo“-Rufen der anderen Stimmen schier untergeht. Der Glaube an das ewige Leben erfährt dagegen auf über 170 Takten in einer

eigentlich dreiteilig angelegte Agnus Dei wird vierteilig umgesetzt. Auf allen Ebenen findet sich ein extrem ausgeprägtes Kontrastprinzip. Ruhe

homophon vom Chor fast geflüstert, das hymnisch anbetende „Laudamus te“ und das klanglich luftige „Gratias agimus tibi“. Mit dem „Qui tollis“ beginnt der langsame, zweite Teil des Gloria, in dem

der Hilfe eines Übersetzers, der selber Musiker war. Beethoven schrieb über seine erste Messe: „jedoch glaube ich,

wird Bewegung gegenübergestellt, ekstatischer Jubel erklingt neben schreitender Würde, polyphone und homophone Ausgestaltung wechseln

Das Kyrie, der Bittgesang, ist klassisch dreigeteilt, im steten, demutsvollen Wechselgesang zwischen Soli und Chor. Der machtvolle Kyrie-Anruf der Chorstimmen wird bereits im ersten

Messe isoliert nebeneinanderstehen. Die motivischen Bezüge zwischen den Formabschnitten beschreibt Dahlhaus

ausgeweiteten Doppelfuge eine starke Gewichtung. Derart kontrastreiche Interpretationen der textlichen Vorgabe prägen die Missa.

D-Dur-Akkord des vollen Orchesters vorweggenommen. Im mittleren Christe-Teil führen die Soli, der Chor antwortet. Immer dichter werden die

Klarinetten und Flöten das Klagethema präsentieren. Eine ausgedehnte, zerknirschte Bitte um Erbarmen entwickelt sich im von Beethoven um

Stimmen kontrapunktisch miteinander

den emotionalen Laut „O“ erweiterte

Bekenntniswerk Ist dies mein Glaube? Wie glaube ich? Und warum? Mit diesen Fragen zieht sich ein religiöser und „expressiv gesteigerter Subjektivismus“ (Ackermann) wie ein roter Faden durch die Missa solemnis. Sie ist ein zutiefst persönliches Bekenntniswerk. Es geht Beethoven um individuelle Emotionen, nicht um allgemeingültige

sich ab. Ein Rezitationston trifft auf weit ausschwingende Kantilenen und

Die Sätze

verwoben. In der variierten KyrieWiederholung betont Beethoven die schmerzvolle Haltung durch Chromatik, der Satz verklingt im Pianissimo-Gebet. In stärkstem Kontrast eröffnet Beethoven den Preisgesang des Gloria, das in vier Teile gegliedert ist. Nach stürmischem Fortissimo-Orchesterauftakt jagen die Chorstimmen mit dem aufsteigenden Gloria-Hauptthema in himmlische Höhen. Dieses Thema kehrt mottoartig an Schlüsselstellen des Satzes wieder. Es folgt das „et in terra pax hominibus“,

Acknowledgments

Bevor im Benedictus die Solo-

durchaus gefährdet ist, zeigen zwei

Violine in einem coup de théâtre von den höchsten Höhen des Himmels herabsteigt. Weltlicher Kitsch? Arnold Werner-Jensen sah darin „ein legitimes künstlerisches Mittel, den

instrumentale Einschübe mit gleichsam kriegerischen Pauken und Trompeten, die gewaltsam einbrechen. „Ängstlich“ bitten die Solisten erneut um Erbarmen. Der Chor fordert geradezu insistierend

einer gewaltigen Fuge abgeschlossen, einer Doppelfuge auf „et vitam venturi saeculi, amen“.

Hörer emotional aus der Fassung zu bringen“. Immerhin gehe es hier um die „Wucht der Verheißung“. Die

mit seinen Sforzato-Rufen „pacem“.

Das Sanctus nimmt „mit Andacht“ eine tiefgründige Versenkungshaltung ein, mezza voce werden die Gebetsrufe geflüstert, grundiert von Posaunen

gedämpften Klangfarben im Orchester unterstreichen die andachtsvolle Haltung noch. Bis zum Ende hat die Solo-Violine stets die Führung inne und steigt nach einer erneut fugierten

und um das Wunder von Geburt, Leiden, Tod, Wiederauferstehung und Himmelfahrt Christi. Analog zum Gloria kehrt das eröffnende, wuchtige Credo-

und tiefen Streichern. Nach einer Generalpause beginnt ein energisch vorantreibendes Chorfugato über „Osanna in excelsis“. Es folgt ein kurzes,

Lobpreisung am Ende wieder in die Höhe hinauf.

Kernmotiv am Ende wie einer Klammer wieder. Kann man hier irgendwie an Beethovens Glauben zweifeln? Die musikalische Gestaltung zementiert

fast schon amotivisches Präludium, in dem Beethoven das Wunder der Hostienwandlung nachzeichnet; übrigens der einzige rein instrumentale

einen Adagio-Teil ein, der sich immer wieder aufzuschwingen versucht, dann im Pianissimo verklingt. Das „Dona nobis pacem“ ist von Beethoven mit

PENTATONE TEAM Vice President A&R Renaud Loranger | Director A&R Job Maarse | Managing

eine unerschütterliche Geisteshaltung. Der Binnensatz („Et incarnatus est“

„Satz“.

„Bitte um innern und äußern Frieden“ überschrieben. Dass dieser Frieden

Director Dirk Jan Vink | Director Product, Marketing & Distribution Simon M. Eder A&R Kate Rockett | Marketing & PR Silvia Pietrosanti | Distribution Veronica Neo

– „et homo factus est“) gestaltet die einzelnen Phasen tief empfunden nach. Mal abgründig versunken, mal schmerz- und leidvoll, dann wieder plastisch-majestätisch beim Jüngsten Gericht. Auch das Credo wird von

Beginns den Satz im Presto krönend abschließt.

PRODUCTION TEAM Executive producers Stefan Lang (Deutschlandradio Kultur), Job Maarse (Pentatone) | Recording producer Job Maarse | Balance engineer Jean-Marie Geijsen (Polyhymnia) | Recording engineer & editor Erdo Groot (Polyhymnia) Deutschlandradio recording team Wolfram Nehls, Henri Thaon, Jens Müller Liner notes Jörg Peter Urbach | English translation Fiona J. Stroker-Gale Design Joost de Boo | Product management Max Tiel This album was live recorded at the Berlin Philharmonie, September 2016.

Das abschließende Agnus Dei leitet

Together with our talented artists, we take pride in our work, providing an impeccable means of experiencing classical music. For all their diversity, our artists have one thing in common.

And so also should the experience be. We take listening to classical music to a whole new level, using the best technology to produce a high-quality

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Broadcasting Union, through touring or in guest performances worldwide,

years of musical history. Numerous world premieres attest to the 73 choir

the MDR LEIPZIG RADIO CHOIR, which was awarded the European Cultural

members’ reputation as a specialised ensemble for contemporary music.

Prize in 2013, acts as a supreme musical ambassador for central Germany.

work it is invariably the MDR LEIPZIG RADIO CHOIR that comes at the top

acclaimed world-class ensemble. From the season 2015/2016 he was succeeded

of their wish list. As the largest concert choir within the German Broadcasting

by Risto Joost as artistic director of the MDR LEIPZIG RADIO CHOIR.

experts as one of the best.

Premium Sound and Outstanding Artists PENTATONE. Today’s music is evolving and forever changing, but classical music remains true in creating harmony among the instruments. Classical music is as time-honoured as it is timeless.

formats. In 2017 the choir was awarded the International Classical Music Award for its recording of Max Reger’s Motets op. 110. Whether via the European

works complete a repertoire that encompasses practically a thousand

In the fifteen years of his tenure

Corporation (ARD), the MDR LEIPZIG RADIO CHOIR is widely regarded among

Sit back and enjoy

70-year history. These recordings have been released on LPs, CDs and digital

demonstrates its expertise with highly acclaimed a cappella performances. Secular and sacred music, wide-ranging ensemble singing and choral symphonic

from 1998 Howard Arman lastingly consolidated the reputation of this

Semyon Bychkov, Riccardo Muti, Yannick

Gleichfalls kontrastreich im Gesamtrahmen wie in den einzelnen Teilen gestaltet Beethoven das Credo. Auch hier zutiefst persönlich, geht es doch um das Glaubensbekenntnis

„Miserere nobis“. Im dritten Teil – „Quoniam tu solus sanctus“ – kehrt der Preisgesang im mächtigen Chorsatz zurück, bevor sich eine gewaltige „in gloria dei patris, amen“-Fuge anschließt bevor erneut das Zitat des Gloria-

Not only an excellent partner for major orchestras, the ensemble regularly

When major orchestras in Germany or abroad plan to perform a choral

Artists

The collaboration with Deutschlandradio, the main shareholder of the ROC GmbH Berlin to which the

Marek Janowski © Jean-François Leclercq

ACKNOWLEDGMENTS

the heavenly heights with the soaring main theme of the “Gloria.” This theme recurs like a motto at key points in the movement. This is followed by the “terra pax hominibus,” almost like a homophonic whisper from the choir, the hymnically worshipping “Laudamus te” and the airy “Gratias agimus tibi.” The “Qui tollis” introduces the slow, second

The “Kyrie,” the song of invocation, has a classical tripartite division, with a constant and humble interchange of singing between soloists and choir. The first D-major chord of the full orchestra already anticipates the impressive cry of “Kyrie” from the choir. In the middle

with widely resonating cantilenas and concise folk-song-like creations. The Missa solemnis is a work of extremes. Beethoven blends choir, soloists, and large orchestra into a single “body of sound,” which is meant to “touch, strike, shake” (Werner-Jensen) the listener with volume of its sound. And Beethoven succeeds at this, having set himself the goal “of awakening and perpetuating religious feelings both in

DEUTSCH

←

TRACK INFORMATION

Nearly 200 recordings, many of them award-winning, have been recorded by the ensemble during its more than

RundfunkSinfonieorchester Berlin (RSB, Berlin Radio Symphony Orchestra) dates back to the beginnings of music broadcasting in 1923, and has since sustained its position amongst the leading orchestras in Berlin and other radio orchestras throughout Germany. From 2002 to 2015, Marek Janowski was artistic director and chief conductor

←

ENGLISH

The Sanctus “devoutly” assumes a profoundly meditative attitude, the prayers are whispered mezza voce, primed by trombones and low strings. A general pause is immediately followed by an energetically driving choral fugato to the phrase “Osanna in excelsis.”

reverent mood. Right up to the end, the solo violin remains in charge; and at the conclusion, it soars back up to the heights after a glorification, once again set as a fugue.

This is followed by a short prelude, almost lacking in motif, in which Beethoven portrays the miracle of the transformation of the host; by the way, this is the only exclusively instrumental “movement.” But then suddenly in the “Benedictus,” the solo violin swoops down from the highest heights of heaven in a coup de théâtre. Profane kitsch? Well, Arnold

an Adagio section that continually attempts to soar, but finally fades away in pp. Beethoven wrote the following words above the “Dona nobis pacem”: “Plea for internal and external peace.” Two instrumental interpolations with, so to speak, warlike timpani and trumpets, violently breaking into the music, demonstrate that this peace is truly under siege. “Fearfully,” the soloists once again plea for mercy; and the

Werner-Jensen described this as “a legitimate artistic means of emotionally

choir virtually insists upon it, with its sforzato cries of “pacem.”

DEUTSCH

Marek Janowski

Dortmund (1975-1979). Since the late 1970s, he has appeared regularly at all the major opera houses world-wide.

From 2002 until 2015, Marek Janowski was Artistic Director and Chief Conductor of the RundfunkSinfonieorchester Berlin (RSB). Before embarking upon his Berlin period, and also partly parallel to this, he was Musical Director of the Orchestre

The concluding “Agnus Dei” introduces

Marek Janowski stepped back from the opera scene in the 1990s to concentrate on the great German and French symphonic repertoire. He enjoys an outstanding reputation amongst the

de la Suisse Romande (2005-2012), Chief Conductor of the Orchestre Philharmonique de Monte Carlo (2000-2005), Chief Conductor of the Dresdner Philharmonie (2001-2003), and Musical Director of the Orchestre Philharmonique de Radio France (19842000).

flustering the listener.” For after all, it was about the “impact of the promise.” The muted sound-colours in the orchestra further emphasize the

ACKNOWLEDGMENTS

premier orchestras of Europe, North America and Asia and is recognised for his ability to create orchestras of international standing.

←

TRACK INFORMATION

Born in Warsaw and educated in Germany, Marek Janowski’s artistic

His leave-taking of the opera, however, was merely an institutional matter, not a musical farewell. Thus he is now recognized as one of the greatest experts regarding the music of Richard Wagner, to which his concertante

path led him from positions in Aachen, Cologne, Düsseldorf and Hamburg to his

Wagner cycle with the RSB bears witness. In the sequel he accepted the

appointment as General Music Director in Freiburg im Breisgau (1973-1975) and

invitation to conduct Wagner’s “Ring” at the Bayreuth Festival in 2016 and 2017. Artists

Ludwig van Beethoven (1770 – 1827)

With devotion

MISSA SOLEMNIS

Reflections on Beethoven’s

in D Major Op. 123

BEETHOVEN

MISSA SOLEMNIS

Missa solemnis

1 2

Kyrie Gloria

9. 22 15. 41

Beethoven’s Missa solemnis is a unique gem. A work of dramatic external

3 4

Credo Sanctus – Benedictus

16. 59 15. 26

power and well-nigh incredible inner strength. Full of conviction. Rich in

5

Agnus Dei Total playing time:

Rundfunk-Sinfonieorchester Berlin MDR Rundfunkchor Leipzig

15. 32

profoundly personal visions of the faith that has remained, carved in stone,

73. 04

Regine Hangler, Soprano

in the form of the Latin mass text for centuries. And yet also rich in moments of doubt about dogmatic religion and

Elisabeth Kulman, Alto

the formal institution of the church.

Christian Elsner, Tenor Franz-Josef Selig, Bass

In its monumentality and lengthy duration of just under 90 minutes, the Missa solemnis departs from all

MDR Rundfunkchor Leipzig

liturgical guidelines – despite the fact

Michael Gläser, Chorus Master

that the work was originally intended for a specific high mass; yet it was not actually performed there in the end.

Rundfunk-Sinfonieorchester Berlin

Marek Janowski

External event and internal task Creating a unique gem takes time: and in this case, Beethoven took plenty

– not Beethoven’s Missa solemnis, but a mass composed by Johann Nepomuk Hummel was performed. Not until three years later did Beethoven manage to complete the Missa solemnis, the

Stile antico and modern musical idiom According to Carl Dahlhaus, in his Missa solemnis Beethoven was mainly

Dahlhaus describes the motivic links

as follows about his first mass: “…

between the various structural sections

however, I believe that I have treated

as “submotivic connections.” Thus, very subtly, individual parameters from motifs constantly reappear in a precisely

the text in a manner in which it has seldom been treated.” And again with his Missa solemnis, Beethoven subjected

of time. In the summer of 1818 it was

reason being that he had quickly

concerned with finding a good mix

calculated manner – however, always in

the individual words of the Latin text to

announced in Vienna that his pupil and patron, the Archduke Rudolph, was to be enthroned as Archbishop of Olomouc

realized that he would have to take an extraordinary path. The première took place in St. Petersburg on April 7, 1824,

between the idiom of ancient church music and that of modern instrumental music. He appears to have managed

a different context as regards content. These submotivic references are very difficult to recognize at first hearing.

a precise examination, in order to give them an exact musical interpretation: both with regard to their pure

on March 9, 1820. Beethoven decided

as a concertante performance under

this due to the fact that “in the archaic

While working on his mass, Beethoven

significance, but above all, with regard

to compose a mass for this event. In June 1819, he wrote as follows to the Archduke: “The day on which a high

the auspices of Prince Gallitzin; and on May 7, 1824, the mass was given an incomplete performance in Vienna,

idiom, which was meant to vouch for the church, he simultaneously discovered a ferment of modernity,

delved into ancient church music in Archduke Rudolph’s library, studying works by Palestrina as well as Gregorian

to their connotations. Which feelings are resonating here? Which emotions are they releasing? And not only in the case

mass by my hand will be performed

not including the “Gloria” and the “Sanctus.” Obviously, Beethoven had no

thanks to which the work was able to

chant.

of the listener, but above all, with regard to the composer himself.

during the celebrations solemnized for Y.I.H. will be for me the most beautiful day of my life. And God will enlighten

problem in “extracting” his Missa from its original destination. Clearly, in the

hold its own with regard to the aesthetic maxim that music must be novel in order to be considered authentic.” And

me, so that my paltry creative powers may contribute to the glorification

meantime, he had begun to regard it as a deeply personal confrontation with

indeed, techniques such as motivicthematic passage work, or evolving

am Ölberge (= Christ on the mount of olives, 1803/1804/1811), Beethoven had

of this solemn day.” But work on the composition dragged out, and by the

his faith.

variation (characteristic for Beethoven’s middle period) are to be found only

already devoted a great deal of time to the texts, aiming to “unify music

In his Mass in C major, dating from 1807, and also in his oratorio Christus

Rainer Wolters, Concert Master

end of 1819 Beethoven had only just sketched the middle part of the Credo.

in rudimentary form. However, this does not signify that the structural

and word.” To help with the mass text, he brought in a translator, who was

Conducted by Marek Janowski

The day arrived of the High Mass, and

sections of the mass coexist in isolation.

himself a musician. Beethoven wrote

Creed

drowned by the calls of “credo” in the

Is this my faith? How do I believe?

other voices. On the other hand, great emphasis is placed on the belief in

And why? A religious and “expressively intensified subjectivism” (Ackermann)

eternal life by means of an extended double fugue lasting more than 170

containing these questions runs like a red thread through the Missa solemnis.

bars. The Missa is full of such highly contrasting interpretations of the text.

It is a deeply personal creed. Here, Beethoven is concerned with individual

As in the Mass in C major, in the Missa

emotions, not with universal questions of faith – as he makes clear to us in the

solemnis Beethoven also renounces the traditional numbering, i.e. the

following sentence “May it continue to flow from heart to heart,” written in the autograph score above the “Kyrie.”

classification of the distribution of arias and choral settings within the various sections of the mass. In part, the

How simple. How noble. How human.

formal structuring keeps to traditional

Perhaps this is precisely why Beethoven described the Missa as “the most successful of his intellectual products”:

guidelines, as in the tripartite division of the “Kyrie”; however, it also goes its own way, for example at the end of the

because it demonstrates his personal

“Gloria,” when the “Gloria in excelsis

view of faith, and also how he rated certain assertions in the mass text. Take, for instance, the casual “credo in

Deo” is repeated, but now in presto. The extremely short “Sanctus” is contrasted with a greatly elongated “Benedictus”;

is laid out in four sections. There is

The movements

an extremely pronounced principle of contrast at all levels. Peace and quiet is contrasted with movement, ecstatic rejoicing resonates alongside pacing dignity, polyphony is alternated with homophony. A recitative tone meets with widely resonating cantilenas and concise folk-song-like creations. The Missa solemnis is a work of extremes. Beethoven blends choir, soloists, and large orchestra into a single “body of sound,” which is meant to “touch, strike, shake” (Werner-Jensen) the listener with volume of its sound. And Beethoven succeeds at this, having set himself the goal “of awakening and perpetuating religious feelings both in the singer and the listener.”

the heavenly heights with the soaring

Beethoven designs the “Credo” with

The “Kyrie,” the song of invocation,

main theme of the “Gloria.” This theme recurs like a motto at key points in

equally rich contrast, both in its entirety and its individual sections. Here, too,

has a classical tripartite division, with a constant and humble interchange of

the movement. This is followed by the “terra pax hominibus,” almost like a

the music is deeply personal, all about the confession of faith and the miracle

singing between soloists and choir. The first D-major chord of the full orchestra

homophonic whisper from the choir, the hymnically worshipping “Laudamus te”

of Christ’s birth, suffering, death, resurrection and ascension. Analogous

already anticipates the impressive cry of “Kyrie” from the choir. In the middle

and the airy “Gratias agimus tibi.” The “Qui tollis” introduces the slow, second

to the “Gloria,” the powerful opening core motif of the “Credo” returns at

part (“Christe”), the soloists lead with the choir responding. Increasingly

part of the Gloria, in which clarinets and flutes present the lament theme. An

the end as if to close brackets. Can there be any doubt about Beethoven’s

dense, the voices become more and more contrapuntally interwoven. In the varied repetition of the “Kyrie,”

extended, contrite plea for compassion develops in the “Miserere nobis,” in which Beethoven draws out the emotion

faith here? The musical design cements an imperturbable attitude of mind. The next section of the movement

Beethoven emphasizes the agonizing

in the vowel “o.” In the third part –

(“Et incarnatus est” – “et homo factus

mood by means of chromaticism, and the movement fades away in the prayer in pianissimo.

“Quoniam tu solus sanctus” – the eulogy returns in the powerful choral setting, followed by a tremendous fugue, “in

est”) recreates the individual phases with deep feeling: at times profoundly absorbed in thought, at others painful

gloria dei patris, amen,” after which

and sorrowful, then again vividly

Beethoven begins the eulogy of the “Gloria,” which is divided into four parts in a hugely contrasting manner.

the recurrence of the motto from the beginning of the “Gloria” concludes the movement in presto.

majestic during the Last Judgment. Here too, the “Credo” is concluded with a massive fugue – a double fugue on the

unam sanctam catholicam,” recited

and the “Agnus Dei” – which in fact

After a stormy fortissimo upbeat in

only once in the tenors, which is almost

consists of three sections in the text –

the orchestra, the choir races up into

phrase “et vitam venturi saeculi, amen.”

The Sanctus “devoutly” assumes a

reverent mood. Right up to the end, the

profoundly meditative attitude, the

solo violin remains in charge; and at

prayers are whispered mezza voce, primed by trombones and low strings. A general pause is immediately followed

the conclusion, it soars back up to the heights after a glorification, once again set as a fugue.

by an energetically driving choral fugato to the phrase “Osanna in excelsis.” This is followed by a short prelude, almost lacking in motif, in which

The concluding “Agnus Dei” introduces an Adagio section that continually attempts to soar, but finally fades away

Beethoven portrays the miracle of the

in pp. Beethoven wrote the following

transformation of the host; by the way, this is the only exclusively instrumental “movement.”

words above the “Dona nobis pacem”: “Plea for internal and external peace.” Two instrumental interpolations with,

But then suddenly in the “Benedictus,”

so to speak, warlike timpani and trumpets, violently breaking into the

the solo violin swoops down from the highest heights of heaven in a coup de

music, demonstrate that this peace is truly under siege. “Fearfully,” the soloists

théâtre. Profane kitsch? Well, Arnold Werner-Jensen described this as “a

once again plea for mercy; and the choir virtually insists upon it, with its

legitimate artistic means of emotionally flustering the listener.” For after all,

sforzato cries of “pacem.”

it was about the “impact of the promise.” The muted sound-colours in the orchestra further emphasize the

Marek Janowski

Dortmund (1975-1979). Since the late

From 2002 until 2015, Marek

1970s, he has appeared regularly at all the major opera houses world-wide.

Janowski was Artistic Director and Chief Conductor of the Rundfunk-

Marek Janowski stepped back from the

Sinfonieorchester Berlin (RSB). Before embarking upon his Berlin period,

opera scene in the 1990s to concentrate on the great German and French

and also partly parallel to this, he was Musical Director of the Orchestre

symphonic repertoire. He enjoys an outstanding reputation amongst the

de la Suisse Romande (2005-2012), Chief Conductor of the Orchestre

premier orchestras of Europe, North America and Asia and is recognised

Philharmonique de Monte Carlo (2000-2005), Chief Conductor of the Dresdner Philharmonie (2001-2003),

for his ability to create orchestras of international standing.

and Musical Director of the Orchestre

His leave-taking of the opera, however,

Philharmonique de Radio France (19842000).

was merely an institutional matter, not a musical farewell. Thus he is now recognized as one of the greatest

Born in Warsaw and educated in

experts regarding the music of Richard

Germany, Marek Janowski’s artistic path led him from positions in Aachen, Cologne, Düsseldorf and Hamburg to his

Wagner, to which his concertante Wagner cycle with the RSB bears witness. In the sequel he accepted the

appointment as General Music Director

invitation to conduct Wagner’s “Ring” at

in Freiburg im Breisgau (1973-1975) and

the Bayreuth Festival in 2016 and 2017.

Liner notes

of the RSB. Vladimir Jurowski has

la Parra, Lahav Shani and Omer Meir

been named as his successor, starting in the 2017-2018 season. Previous chief conductors (including Sergiu Celibidache, Eugen Jochum, Hermann Abendroth, Rolf Kleinert, Heinz Rogner,

Wellber performing in recent years.

and Rafael Frühbeck de Burgos) have all helped to create the ensemble’s exceptional sound.

RSB belongs, has born rich fruit on recording. Starting in 2010, together with PENTATONE, great effort was put

Since its foundation, the RSB has invited major composers to conduct or to perform as soloists in their own works. These have included Paul Hindemith, Sergei Prokofiev, Richard Strauss, and Igor Stravinsky, as well as Krzysztof Penderecki, Peter Ruzicka, and Jörg Widmann. The RSB is particularly attractive for capable young conductors from the international music scene, with Andris

and won the 2nd prize in the Birgit

the “Ehrenpreis der deutschen

Nilson competition.

Schallplattenkritik” (= honorary prize of the German Critics’ Award) for his extensive life’s work.

Since 2013/14 Regine Hangler is an

Tokyo and the Scala in Milan.

success as a soprano. Since 2005

Thielemann, Marek Janowski or Franz

As a successful concert singer Regine Hangler is very successful in Austria,

Elisabeth Kulman has been singing the major parts of the mezzo and alto repertoire. As a member of the

close collaboration with Nikolaus Harnoncourt.

ensemble member of the Wiener

Germany, Albany, the Netherlands,

ensemble at the Vienna State Opera

Regine Hangler Soprano

Staatsoper and is performing the following roles, just to name a few: Rosalinde (Die Fledermaus), Santuzza

Slovenia, Hungary, Japan and Israel. Regine Hangler’s discography and videography continue to grow steadily.

she quickly became a favourite of the audience and established the basis for her vast repertoire. Her most

After having studied viola and technics, Regine Hangler studied canto as her major subject at the Kärntner

Ariadne (auf Naxos), Leonore (Fidelio) and Eva (Die Meistersinger von Nürnberg).

(Cavalleria Rusticana), Elsa (Lohengrin),

Landeskonservatorium and the Universität für Musik in Vienna, which she passed with distinction.

In May 2015 the soprano was highly acclaimed for her title role of “Daphne” in Berlin, which was conducted by

Elisabeth Kulman Alto

important roles include Fricka, Erda and Waltraute (The Ring of the Nibelung), Carmen, Mrs. Quickly (Falstaff), Brangäne (Tristan and Isolde), Begbick

Elisabeth Kulman is one of today’s

(Mahagonny), Orlofsky (The Bat), Orfeo

most sought-after singers and leading authorities in the international classical music scene. She impresses

(Gluck) and Marina (Boris Godunov). Since 2010 Elisabeth Kulman has been

At the same time she was working

Marek Janowski, in New York und

audiences and critics alike with her rich,

working as a freelance artist. She is

with KS Mara Zampieri in Padua and concluded her education with numerous Masterclasses.

Cleveland by Franz Welser-Möst. In 2016 she had a big success at the Salzburger Festspiele for her interpretation of

colourful timbre, her charismatic stage personality and her musical versatility.

a much sought-after soloist in the metropolitan centres of the music world: Vienna, Paris, London, Munich,

Xanthe in “Die Liebe der Danae”.

She studied voice with Helena Lazarska

Berlin, Tokyo, Salzburg, Moscow, etc.

Further future engagements lead the soprano i.e. to the Bayreuther Festspiele,

at the Vienna Music University, made her debut as Pamina in 2001 at the Volksoper in Vienna and enjoyed early

She works regularly with world-class orchestras and conductors such as Zubin Mehta, Kirill Petrenko, Christian

Several times she was decorated with highly skilled scholarships, became finalist of the Italian Aslico competition

Welser-Möst. She enjoyed a particularly

Christian Elsner Tenor Born in Freiburg, Christian Elsner is one of the most versatile German tenors. He

On the opera stage Christian Elsner has

The versatile singer has written his own

established himself as a heroic tenor

children’s book, Lennie und der Ring des

in the roles of Siegmund and Parsifal at the Deutsches Nationaltheater in Weimar, the Staatstheater in Kassel, the

Nibelungen, and has been working as a professor for singing at the Hochschule für Musik in Wurzburg since 2006.

Franz-Josef Selig Bass

Nezét-Séguin, Antonio Pappano, Phillipe Jordan, Zubin Mehta and many others.

Franz-Josef Selig has established himself on the international scene as

Bass singer Franz-Josef Selig first studied church music at the Staatliche

Since 2015 Elisabeth Kulman has been

studied singing with Martin Gründler,

Dresden Semperoper, the Vienna State

focusing her artistic activities on recitals (together with her longtime accompanist Eduard Kutrowatz),

took lessons with Dietrich FischerDieskau and Neil Semer, and has won many international competitions.

Opera and at the Teatro Real in Madrid. Accompanied by Gerold Huber and Burkhard Kehring, the tenor has given recitals in Frankfurt, Hamburg, Bonn,

Real in Madrid under Semyon Bychkov,

Fiesco and Fasolt at all the world’s

ensemble in Essen. He has since been a

As an internationally sought-after concert singer, Christian Elsner is a popular guest at all the important

Dresden, Munich, Wurzburg and Brussels, and at the Schubertiade in Feldkirch.

in Vienna in Franz Schmidt’s The Book with Seven Seals under Manfred Honeck with the Vienna Symphony Orchestra,

major opera houses (such as the Vienna State Opera, Bavarian State Opera, Teatro alla Scala di Milano, Teatro Real

freelance singer.

in Beethoven’s Ninth Symphony in

Madrid, the Parisian opera houses or

Wien as well as “Hungaro Tune” with symphony orchestra and jazz soloists.

the Berlin Philharmonic, New York’s Carnegie Hall, La Scala, Milan and the Suntory Hall in Tokyo, and has worked

Christian Elsner can also be heard on CD, with recordings such as Schubert’s Winterreise and Schumann’s

Leipzig with the Gewandhausorchester under Herbert Blomstedt, and in Berlin, Vienna, New York, Taipei and Tokyo with

the Metropolitan Opera New York) and at prestigious festivals such as the Bayreuth and Salzburg Festival and

Her latest solo programme “La femme c’est moi” features pieces from Carmen

with many renowned conductors such as Herbert Blomstedt, Manfred Honeck,

Dichterliebe, along with studio productions of Mahler’s Lied von der

the Berlin Philharmonic under Sir Simon Rattle.

the Festival d’Aix-en-Provence. Opera productions as well as concerts bring

up to the Beatles.

Marek Janowski, Mariss Jansons, Kent Nagano, Yannick Nézet-Séguin, Semyon

Erde as well as complete recordings of Wagner’s Rheingold (Loge) and Parsifal

Bychkov and Sir Simon Rattle.

(title role).

concerts and operas in concert. She is especially devoted to unconventional projects: “Mussorgsky Dis-Covered” with an international jazz quartet, “Mahler Lieder” and “Wer wagt mich zu höhnen?” with the ensemble Amarcord

classical music centres, such as

Christian Elsner’s most recent performances have included the title role in Wagner’s Parsifal at the Teatro

one of the best-known serious bass

Hochschule für Musik in Cologne before

baritones. He regularly gives guest performances as Gurnemanz, King Marke, Sarastro, Rocco, Osmin, Daland,

taking voice classes under Claudio Nicolai. At the beginning of his career he was a member of the Aalto Theatre

him together frequently with renowned orchestras and conductors, such as James Levine, Christian Thielemann, Sir Simon Rattle, Marek Janowski,

MDR Rundfunkchor Leipzig

Mit Andacht Gedanken zu Beethovens Missa solemnis

into the live recording of the successful ten part Wagner cycle. Other activities of the RSB include special concerts for families and children, as well as guest performances in the major international concert halls, which have taken place over the past 50 years. Alongside regular tours of Asia the orchestra appears at German and European festivals. MDR Rundfunkchor Leipzig © Peter Adamik

Nelsons, Yannick Nézet-Séguin, Alain Altinoglu, Jakub Hrůša, Alondra de

nicht die Missa solemnis, sondern eine

Ein Solitär benötigt Zeit. Und die nahm sich Beethoven in diesem Fall reichlich. Im Sommer 1818 wurde in Wien bekannt, dass sein Schüler und Gönner, Erzherzog Rudolph, am 9. März 1820 zum Erzbischof von Olmütz inthronisiert

Überzeugungskraft. Reich an zutiefst persönlichen Blicken auf jenen Glauben, wie er in Gestalt des lateinischen Messtextes seit Jahrhunderten in

werden sollte. Aus diesem Anlass plante Beethoven eine Messvertonung. Im Juni 1819 schrieb er an den Erzherzog: „Der Tag, wo ein Hochamt von mir

Stein gemeißelt ist. Und doch auch reich an Momenten des Zweifelns an dogmatischer Religion und der formellen Institution Kirche. In ihrer

zu den Feierlichkeiten für I.K.H. soll aufgeführt werden, wird für mich der schönste meines Lebens sein. Und Gott wird mich erleuchten, dass meine

Monumentalität und zeitlichen Ausdehnung von knapp 90 Minuten sprengt die Missa solemnis jegliche liturgischen Vorgaben. Auch wenn das Werk ursprünglich für ein konkretes

schwachen Kräfte zur Verherrlichung dieses Feierlichen Tages beitragen.“ Doch die kompositorische Arbeit ging nur schleppend voran und Ende 1819

Hochamt gedacht war. Dort dann aber nicht erklang. Rundfunk-Sinfonieorchester Berlin © Molina Visuals

Äußerer Anlass und innere Aufgabe

Beethovens Missa solemnis ist ein Solitär. Ein Werk von äußerer dramatischer Wucht und schier unglaublicher innerer Stärke. Voller

hatte Beethoven gerade einmal den Mittelteil des Credos skizziert. Der Tag des Hochamtes kam. Und es erklang – Deutsch

Messe von Johann Nepomuk Hummel. Erst drei Jahre später konnte Beethoven die Missa solemnis vollenden. Weil ihm schnell klar wurde, dass er einen außergewöhnlichen Weg würde gehen müssen. Die Uraufführung fand am 7. April 1824 in St. Petersburg im Rahmen einer konzertanten Aufführung des Fürsten Galitzin statt und am 7. Mai 1824 erklang das Werk bruchstückhaft in Wien, ohne Gloria und Sanctus. Beethoven hatte ganz augenscheinlich kein schlechtes Gewissen, seine Missa aus ihrer ursprünglichen Bestimmung herauszulösen. Betrachtete er sie doch mittlerweile als zutiefst persönliche Auseinandersetzung mit seinem Glauben.

Stile antico und moderne Tonsprache

als „submotivische Beziehungen“.

dass ich den Text behandelt habe, wie

Glaubensfragen. Was nicht zuletzt der

Wie schon in der C-Dur-Messe

knappe volksliedhafte Bildungen. Die

Folgt man Carl Dahlhaus, so ging

Demnach kehren auf äußerst subtile Weise einzelne Parameter aus Motivgestalten genauestens kalkuliert

er noch wenig behandelt worden“. Auch bei der Missa solemnis untersuchte Beethoven die einzelnen Wörter des

es Beethoven in der Missa solemnis kompositorisch vor allem um eine Vermittlung zwischen altem Kirchenstil und moderner Instrumentalmusik. Gelungen sei ihm dies dadurch, „dass

wieder – aber in einem jeweils anderen inhaltlichen Zusammenhang. Diese submotivischen Bezüge sind beim erstmaligen Hören kaum zu erkennen. Während der Arbeit an der Messe

lateinischen Messtextes genau, um sie musikalisch exakt auszudeuten. Auf ihre reine Bedeutung hin, vor allem aber auch auf ihre Konnotationen. Welche Gefühle schwingen mit? Welche

im Autograph über dem Kyrie stehende Satz „Von Herzen – möge es wieder – zu Herzen gehen“ transportiert. Wie schlicht. Wie groß. Wie menschlich. Vielleicht hat Beethoven die Missa

verzichtet Beethoven auch in der Missa solemnis auf die traditionelle Nummerngliederung, also auf die Verteilung von Arien und Chorsätzen auf die Messabschnitte. Die formale

Missa solemnis ist ein Werk der Extreme. Beethoven lässt Chor, Solisten und das groß besetzte Orchester zu einem einzigen Klangkörper verschmelzen, der den Hörer mit seinem voluminösen

gerade deshalb als das „gelungenste seiner Geistesprodukte“ bezeichnet. Weil sie seinen persönlichen Blick

Gliederung folgt teils traditionellen Vorgaben, wie bei der Dreiteilung des Kyrie, geht aber auch eigene Wege,

Klangbild „rühren, treffen, erschüttern“ (Werner-Jensen) soll. Und das gelingt Beethoven, der sich zum Ziel gesetzt

er im Archaischen, das die Kirchlichkeit verbürgen sollte, zugleich ein Ferment von Modernität entdeckte, durch die das Werk vor der ästhetischen Maxime

vertiefte sich Beethoven in der Bibliothek Erzherzog Rudolphs in alte Kirchenmusik, studierte Palestrinas Werke und die Gregorianik.

Emotionen setzen sie frei? Und zwar nicht nur beim Hörer, sondern vor allem beim Komponisten.

etwa wenn Beethoven das „Gloria in excelsis Deo“ am Ende des Gloria im presto wiederholt. Dem extrem kurzen Sanctus steht ein extrem gedehntes Benedictus gegenüber und das textlich

hatte „sowohl bei Singenden als bei Zuhörern religiöse Gefühle (zu) erwecken und dauernd (zu) machen“.

bestehen konnte, dass Musik neu sein müsse, um authentisch zu sein.“ Und in der Tat finden sich Techniken wie motivisch-thematische Arbeit oder

auf den Glauben zeigt. Und wie er bestimmte Aussagen des Messtextes bewertet. Man denke etwa an das beiläufige, lediglich einmal im ChorTenor rezitierte „credo in unam sanctam

Schon in seiner C-Dur-Messe aus dem Jahr 1807 und auch in seinem Oratorium Christus am Ölberge (1803/1804/1811)

entwickelnde Variation (ihres Zeichens Merkmale des mittleren Beethovens) nur rudimentär. Was wiederum nicht bedeutet, dass die formalen Teile der

hatte sich Beethoven intensiv mit den Textvorlagen beschäftigt, mit dem Ziel „Musick und wort ein’s“ werden zu lassen. Beim Messtext bediente er sich

catholicam“, das in den „Credo“-Rufen der anderen Stimmen schier untergeht. Der Glaube an das ewige Leben erfährt dagegen auf über 170 Takten in einer

eigentlich dreiteilig angelegte Agnus Dei wird vierteilig umgesetzt. Auf allen Ebenen findet sich ein extrem ausgeprägtes Kontrastprinzip. Ruhe

homophon vom Chor fast geflüstert, das hymnisch anbetende „Laudamus te“ und das klanglich luftige „Gratias agimus tibi“. Mit dem „Qui tollis“ beginnt der langsame, zweite Teil des Gloria, in dem

der Hilfe eines Übersetzers, der selber Musiker war. Beethoven schrieb über seine erste Messe: „jedoch glaube ich,

wird Bewegung gegenübergestellt, ekstatischer Jubel erklingt neben schreitender Würde, polyphone und homophone Ausgestaltung wechseln

Das Kyrie, der Bittgesang, ist klassisch dreigeteilt, im steten, demutsvollen Wechselgesang zwischen Soli und Chor. Der machtvolle Kyrie-Anruf der Chorstimmen wird bereits im ersten

Messe isoliert nebeneinanderstehen. Die motivischen Bezüge zwischen den Formabschnitten beschreibt Dahlhaus

ausgeweiteten Doppelfuge eine starke Gewichtung. Derart kontrastreiche Interpretationen der textlichen Vorgabe prägen die Missa.

D-Dur-Akkord des vollen Orchesters vorweggenommen. Im mittleren Christe-Teil führen die Soli, der Chor antwortet. Immer dichter werden die

Klarinetten und Flöten das Klagethema präsentieren. Eine ausgedehnte, zerknirschte Bitte um Erbarmen entwickelt sich im von Beethoven um

Stimmen kontrapunktisch miteinander

den emotionalen Laut „O“ erweiterte

Bekenntniswerk Ist dies mein Glaube? Wie glaube ich? Und warum? Mit diesen Fragen zieht sich ein religiöser und „expressiv gesteigerter Subjektivismus“ (Ackermann) wie ein roter Faden durch die Missa solemnis. Sie ist ein zutiefst persönliches Bekenntniswerk. Es geht Beethoven um individuelle Emotionen, nicht um allgemeingültige

sich ab. Ein Rezitationston trifft auf weit ausschwingende Kantilenen und

Die Sätze

verwoben. In der variierten KyrieWiederholung betont Beethoven die schmerzvolle Haltung durch Chromatik, der Satz verklingt im Pianissimo-Gebet. In stärkstem Kontrast eröffnet Beethoven den Preisgesang des Gloria, das in vier Teile gegliedert ist. Nach stürmischem Fortissimo-Orchesterauftakt jagen die Chorstimmen mit dem aufsteigenden Gloria-Hauptthema in himmlische Höhen. Dieses Thema kehrt mottoartig an Schlüsselstellen des Satzes wieder. Es folgt das „et in terra pax hominibus“,

Acknowledgments

Bevor im Benedictus die Solo-

durchaus gefährdet ist, zeigen zwei

Violine in einem coup de théâtre von den höchsten Höhen des Himmels herabsteigt. Weltlicher Kitsch? Arnold Werner-Jensen sah darin „ein legitimes künstlerisches Mittel, den

instrumentale Einschübe mit gleichsam kriegerischen Pauken und Trompeten, die gewaltsam einbrechen. „Ängstlich“ bitten die Solisten erneut um Erbarmen. Der Chor fordert geradezu insistierend

einer gewaltigen Fuge abgeschlossen, einer Doppelfuge auf „et vitam venturi saeculi, amen“.

Hörer emotional aus der Fassung zu bringen“. Immerhin gehe es hier um die „Wucht der Verheißung“. Die

mit seinen Sforzato-Rufen „pacem“.

Das Sanctus nimmt „mit Andacht“ eine tiefgründige Versenkungshaltung ein, mezza voce werden die Gebetsrufe geflüstert, grundiert von Posaunen

gedämpften Klangfarben im Orchester unterstreichen die andachtsvolle Haltung noch. Bis zum Ende hat die Solo-Violine stets die Führung inne und steigt nach einer erneut fugierten

und um das Wunder von Geburt, Leiden, Tod, Wiederauferstehung und Himmelfahrt Christi. Analog zum Gloria kehrt das eröffnende, wuchtige Credo-

und tiefen Streichern. Nach einer Generalpause beginnt ein energisch vorantreibendes Chorfugato über „Osanna in excelsis“. Es folgt ein kurzes,

Lobpreisung am Ende wieder in die Höhe hinauf.

Kernmotiv am Ende wie einer Klammer wieder. Kann man hier irgendwie an Beethovens Glauben zweifeln? Die musikalische Gestaltung zementiert

fast schon amotivisches Präludium, in dem Beethoven das Wunder der Hostienwandlung nachzeichnet; übrigens der einzige rein instrumentale

einen Adagio-Teil ein, der sich immer wieder aufzuschwingen versucht, dann im Pianissimo verklingt. Das „Dona nobis pacem“ ist von Beethoven mit

PENTATONE TEAM Vice President A&R Renaud Loranger | Director A&R Job Maarse | Managing

eine unerschütterliche Geisteshaltung. Der Binnensatz („Et incarnatus est“

„Satz“.

„Bitte um innern und äußern Frieden“ überschrieben. Dass dieser Frieden

Director Dirk Jan Vink | Director Product, Marketing & Distribution Simon M. Eder A&R Kate Rockett | Marketing & PR Silvia Pietrosanti | Distribution Veronica Neo

– „et homo factus est“) gestaltet die einzelnen Phasen tief empfunden nach. Mal abgründig versunken, mal schmerz- und leidvoll, dann wieder plastisch-majestätisch beim Jüngsten Gericht. Auch das Credo wird von

Beginns den Satz im Presto krönend abschließt.

PRODUCTION TEAM Executive producers Stefan Lang (Deutschlandradio Kultur), Job Maarse (Pentatone) | Recording producer Job Maarse | Balance engineer Jean-Marie Geijsen (Polyhymnia) | Recording engineer & editor Erdo Groot (Polyhymnia) Deutschlandradio recording team Wolfram Nehls, Henri Thaon, Jens Müller Liner notes Jörg Peter Urbach | English translation Fiona J. Stroker-Gale Design Joost de Boo | Product management Max Tiel This album was live recorded at the Berlin Philharmonie, September 2016.

Das abschließende Agnus Dei leitet

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Broadcasting Union, through touring or in guest performances worldwide,

years of musical history. Numerous world premieres attest to the 73 choir

the MDR LEIPZIG RADIO CHOIR, which was awarded the European Cultural

members’ reputation as a specialised ensemble for contemporary music.

Prize in 2013, acts as a supreme musical ambassador for central Germany.

work it is invariably the MDR LEIPZIG RADIO CHOIR that comes at the top

acclaimed world-class ensemble. From the season 2015/2016 he was succeeded

of their wish list. As the largest concert choir within the German Broadcasting

by Risto Joost as artistic director of the MDR LEIPZIG RADIO CHOIR.

experts as one of the best.

Premium Sound and Outstanding Artists PENTATONE. Today’s music is evolving and forever changing, but classical music remains true in creating harmony among the instruments. Classical music is as time-honoured as it is timeless.

formats. In 2017 the choir was awarded the International Classical Music Award for its recording of Max Reger’s Motets op. 110. Whether via the European

works complete a repertoire that encompasses practically a thousand

In the fifteen years of his tenure

Corporation (ARD), the MDR LEIPZIG RADIO CHOIR is widely regarded among

Sit back and enjoy

70-year history. These recordings have been released on LPs, CDs and digital

demonstrates its expertise with highly acclaimed a cappella performances. Secular and sacred music, wide-ranging ensemble singing and choral symphonic

from 1998 Howard Arman lastingly consolidated the reputation of this

Semyon Bychkov, Riccardo Muti, Yannick

Gleichfalls kontrastreich im Gesamtrahmen wie in den einzelnen Teilen gestaltet Beethoven das Credo. Auch hier zutiefst persönlich, geht es doch um das Glaubensbekenntnis

„Miserere nobis“. Im dritten Teil – „Quoniam tu solus sanctus“ – kehrt der Preisgesang im mächtigen Chorsatz zurück, bevor sich eine gewaltige „in gloria dei patris, amen“-Fuge anschließt bevor erneut das Zitat des Gloria-

Not only an excellent partner for major orchestras, the ensemble regularly

When major orchestras in Germany or abroad plan to perform a choral

Artists

The collaboration with Deutschlandradio, the main shareholder of the ROC GmbH Berlin to which the

Marek Janowski © Jean-François Leclercq

In 2014 Marek Janowski was awarded

Nearly 200 recordings, many of them award-winning, have been recorded by the ensemble during its more than

RundfunkSinfonieorchester Berlin (RSB, Berlin Radio Symphony Orchestra) dates back to the beginnings of music broadcasting in 1923, and has since sustained its position amongst the leading orchestras in Berlin and other radio orchestras throughout Germany. From 2002 to 2015, Marek Janowski was artistic director and chief conductor

In 2014 Marek Janowski was awarded the “Ehrenpreis der deutschen Schallplattenkritik” (= honorary prize of the German Critics’ Award) for his extensive life’s work.

and won the 2nd prize in the Birgit Nilson competition.

After having studied viola and technics, Regine Hangler studied canto as her major subject at the Kärntner Landeskonservatorium and the Universität für Musik in Vienna, which she passed with distinction.

with KS Mara Zampieri in Padua and concluded her education with numerous Masterclasses. Several times she was decorated with highly skilled scholarships, became finalist of the Italian Aslico competition

Ludwig van Beethoven (1770 – 1827)

With devotion

MISSA SOLEMNIS

Reflections on Beethoven’s

in D Major Op. 123

BEETHOVEN

MISSA SOLEMNIS

Missa solemnis

1 2

Kyrie Gloria

9. 22 15. 41

Beethoven’s Missa solemnis is a unique gem. A work of dramatic external

3 4

Credo Sanctus – Benedictus

16. 59 15. 26

power and well-nigh incredible inner strength. Full of conviction. Rich in

5

Agnus Dei Total playing time:

Rundfunk-Sinfonieorchester Berlin MDR Rundfunkchor Leipzig

15. 32

profoundly personal visions of the faith that has remained, carved in stone,

73. 04

Regine Hangler, Soprano

in the form of the Latin mass text for centuries. And yet also rich in moments of doubt about dogmatic religion and

Elisabeth Kulman, Alto

the formal institution of the church.

Christian Elsner, Tenor Franz-Josef Selig, Bass

In its monumentality and lengthy duration of just under 90 minutes, the Missa solemnis departs from all

MDR Rundfunkchor Leipzig

liturgical guidelines – despite the fact

Michael Gläser, Chorus Master

that the work was originally intended for a specific high mass; yet it was not actually performed there in the end.

Rundfunk-Sinfonieorchester Berlin

Marek Janowski

External event and internal task Creating a unique gem takes time: and in this case, Beethoven took plenty

Elisabeth Kulman is one of today’s most sought-after singers and leading authorities in the international classical music scene. She impresses audiences and critics alike with her rich, colourful timbre, her charismatic stage personality and her musical versatility.

– not Beethoven’s Missa solemnis, but a mass composed by Johann Nepomuk Hummel was performed. Not until three years later did Beethoven manage to complete the Missa solemnis, the

Stile antico and modern musical idiom According to Carl Dahlhaus, in his Missa solemnis Beethoven was mainly

Dahlhaus describes the motivic links

as follows about his first mass: “…

between the various structural sections

however, I believe that I have treated

as “submotivic connections.” Thus, very subtly, individual parameters from motifs constantly reappear in a precisely

the text in a manner in which it has seldom been treated.” And again with his Missa solemnis, Beethoven subjected

of time. In the summer of 1818 it was

reason being that he had quickly

concerned with finding a good mix

calculated manner – however, always in

the individual words of the Latin text to

realized that he would have to take an extraordinary path. The première took place in St. Petersburg on April 7, 1824,

between the idiom of ancient church music and that of modern instrumental music. He appears to have managed

a different context as regards content. These submotivic references are very difficult to recognize at first hearing.

a precise examination, in order to give them an exact musical interpretation: both with regard to their pure

on March 9, 1820. Beethoven decided

as a concertante performance under

this due to the fact that “in the archaic

While working on his mass, Beethoven

significance, but above all, with regard

to compose a mass for this event. In June 1819, he wrote as follows to the Archduke: “The day on which a high

the auspices of Prince Gallitzin; and on May 7, 1824, the mass was given an incomplete performance in Vienna,

idiom, which was meant to vouch for the church, he simultaneously discovered a ferment of modernity,

delved into ancient church music in Archduke Rudolph’s library, studying works by Palestrina as well as Gregorian

to their connotations. Which feelings are resonating here? Which emotions are they releasing? And not only in the case

mass by my hand will be performed

not including the “Gloria” and the “Sanctus.” Obviously, Beethoven had no

thanks to which the work was able to

chant.

of the listener, but above all, with regard to the composer himself.

problem in “extracting” his Missa from its original destination. Clearly, in the

hold its own with regard to the aesthetic maxim that music must be novel in order to be considered authentic.” And

me, so that my paltry creative powers may contribute to the glorification

meantime, he had begun to regard it as a deeply personal confrontation with

indeed, techniques such as motivicthematic passage work, or evolving

am Ölberge (= Christ on the mount of olives, 1803/1804/1811), Beethoven had

of this solemn day.” But work on the composition dragged out, and by the

his faith.

variation (characteristic for Beethoven’s middle period) are to be found only

already devoted a great deal of time to the texts, aiming to “unify music

In his Mass in C major, dating from 1807, and also in his oratorio Christus

Rainer Wolters, Concert Master

end of 1819 Beethoven had only just sketched the middle part of the Credo.

in rudimentary form. However, this does not signify that the structural

and word.” To help with the mass text, he brought in a translator, who was

Conducted by Marek Janowski

The day arrived of the High Mass, and

sections of the mass coexist in isolation.

himself a musician. Beethoven wrote

Creed

drowned by the calls of “credo” in the

Is this my faith? How do I believe?

other voices. On the other hand, great emphasis is placed on the belief in

And why? A religious and “expressively intensified subjectivism” (Ackermann)

eternal life by means of an extended double fugue lasting more than 170

containing these questions runs like a red thread through the Missa solemnis.

bars. The Missa is full of such highly contrasting interpretations of the text.

It is a deeply personal creed. Here, Beethoven is concerned with individual

As in the Mass in C major, in the Missa

emotions, not with universal questions of faith – as he makes clear to us in the

solemnis Beethoven also renounces the traditional numbering, i.e. the

following sentence “May it continue to flow from heart to heart,” written in the autograph score above the “Kyrie.”

classification of the distribution of arias and choral settings within the various sections of the mass. In part, the

How simple. How noble. How human.

formal structuring keeps to traditional

Perhaps this is precisely why Beethoven described the Missa as “the most successful of his intellectual products”:

guidelines, as in the tripartite division of the “Kyrie”; however, it also goes its own way, for example at the end of the

because it demonstrates his personal

“Gloria,” when the “Gloria in excelsis

view of faith, and also how he rated certain assertions in the mass text. Take, for instance, the casual “credo in

Deo” is repeated, but now in presto. The extremely short “Sanctus” is contrasted with a greatly elongated “Benedictus”;

is laid out in four sections. There is

The movements

an extremely pronounced principle of contrast at all levels. Peace and quiet is contrasted with movement, ecstatic rejoicing resonates alongside pacing dignity, polyphony is alternated with homophony. A recitative tone meets with widely resonating cantilenas and concise folk-song-like creations. The Missa solemnis is a work of extremes. Beethoven blends choir, soloists, and large orchestra into a single “body of sound,” which is meant to “touch, strike, shake” (Werner-Jensen) the listener with volume of its sound. And Beethoven succeeds at this, having set himself the goal “of awakening and perpetuating religious feelings both in the singer and the listener.”

the heavenly heights with the soaring

Beethoven designs the “Credo” with

The “Kyrie,” the song of invocation,

main theme of the “Gloria.” This theme recurs like a motto at key points in

equally rich contrast, both in its entirety and its individual sections. Here, too,

has a classical tripartite division, with a constant and humble interchange of

the movement. This is followed by the “terra pax hominibus,” almost like a

the music is deeply personal, all about the confession of faith and the miracle

singing between soloists and choir. The first D-major chord of the full orchestra

homophonic whisper from the choir, the hymnically worshipping “Laudamus te”

of Christ’s birth, suffering, death, resurrection and ascension. Analogous

already anticipates the impressive cry of “Kyrie” from the choir. In the middle

and the airy “Gratias agimus tibi.” The “Qui tollis” introduces the slow, second

to the “Gloria,” the powerful opening core motif of the “Credo” returns at

part (“Christe”), the soloists lead with the choir responding. Increasingly

part of the Gloria, in which clarinets and flutes present the lament theme. An

the end as if to close brackets. Can there be any doubt about Beethoven’s

dense, the voices become more and more contrapuntally interwoven. In the varied repetition of the “Kyrie,”

extended, contrite plea for compassion develops in the “Miserere nobis,” in which Beethoven draws out the emotion

faith here? The musical design cements an imperturbable attitude of mind. The next section of the movement

Beethoven emphasizes the agonizing

in the vowel “o.” In the third part –

(“Et incarnatus est” – “et homo factus

mood by means of chromaticism, and the movement fades away in the prayer in pianissimo.

“Quoniam tu solus sanctus” – the eulogy returns in the powerful choral setting, followed by a tremendous fugue, “in

est”) recreates the individual phases with deep feeling: at times profoundly absorbed in thought, at others painful

gloria dei patris, amen,” after which

and sorrowful, then again vividly

Beethoven begins the eulogy of the “Gloria,” which is divided into four parts in a hugely contrasting manner.

the recurrence of the motto from the beginning of the “Gloria” concludes the movement in presto.

majestic during the Last Judgment. Here too, the “Credo” is concluded with a massive fugue – a double fugue on the

unam sanctam catholicam,” recited

and the “Agnus Dei” – which in fact

After a stormy fortissimo upbeat in

only once in the tenors, which is almost

consists of three sections in the text –

the orchestra, the choir races up into

phrase “et vitam venturi saeculi, amen.”

The Sanctus “devoutly” assumes a

reverent mood. Right up to the end, the

profoundly meditative attitude, the

solo violin remains in charge; and at

prayers are whispered mezza voce, primed by trombones and low strings. A general pause is immediately followed

the conclusion, it soars back up to the heights after a glorification, once again set as a fugue.

by an energetically driving choral fugato to the phrase “Osanna in excelsis.” This is followed by a short prelude, almost lacking in motif, in which

The concluding “Agnus Dei” introduces an Adagio section that continually attempts to soar, but finally fades away

Beethoven portrays the miracle of the

in pp. Beethoven wrote the following

transformation of the host; by the way, this is the only exclusively instrumental “movement.”

words above the “Dona nobis pacem”: “Plea for internal and external peace.” Two instrumental interpolations with,

But then suddenly in the “Benedictus,”

so to speak, warlike timpani and trumpets, violently breaking into the

the solo violin swoops down from the highest heights of heaven in a coup de

music, demonstrate that this peace is truly under siege. “Fearfully,” the soloists

théâtre. Profane kitsch? Well, Arnold Werner-Jensen described this as “a

once again plea for mercy; and the choir virtually insists upon it, with its

legitimate artistic means of emotionally flustering the listener.” For after all,

sforzato cries of “pacem.”

it was about the “impact of the promise.” The muted sound-colours in the orchestra further emphasize the

Marek Janowski

Dortmund (1975-1979). Since the late

From 2002 until 2015, Marek

1970s, he has appeared regularly at all the major opera houses world-wide.

Janowski was Artistic Director and Chief Conductor of the Rundfunk-

Marek Janowski stepped back from the

Sinfonieorchester Berlin (RSB). Before embarking upon his Berlin period,

opera scene in the 1990s to concentrate on the great German and French

and also partly parallel to this, he was Musical Director of the Orchestre

symphonic repertoire. He enjoys an outstanding reputation amongst the

de la Suisse Romande (2005-2012), Chief Conductor of the Orchestre

premier orchestras of Europe, North America and Asia and is recognised

Philharmonique de Monte Carlo (2000-2005), Chief Conductor of the Dresdner Philharmonie (2001-2003),

for his ability to create orchestras of international standing.

and Musical Director of the Orchestre

His leave-taking of the opera, however,

Philharmonique de Radio France (19842000).

was merely an institutional matter, not a musical farewell. Thus he is now recognized as one of the greatest

Born in Warsaw and educated in

experts regarding the music of Richard

Germany, Marek Janowski’s artistic path led him from positions in Aachen, Cologne, Düsseldorf and Hamburg to his

Wagner, to which his concertante Wagner cycle with the RSB bears witness. In the sequel he accepted the

appointment as General Music Director

invitation to conduct Wagner’s “Ring” at

in Freiburg im Breisgau (1973-1975) and

the Bayreuth Festival in 2016 and 2017.

Liner notes

of the RSB. Vladimir Jurowski has

la Parra, Lahav Shani and Omer Meir

been named as his successor, starting in the 2017-2018 season. Previous chief conductors (including Sergiu Celibidache, Eugen Jochum, Hermann Abendroth, Rolf Kleinert, Heinz Rogner,

Wellber performing in recent years.

and Rafael Frühbeck de Burgos) have all helped to create the ensemble’s exceptional sound.

RSB belongs, has born rich fruit on recording. Starting in 2010, together with PENTATONE, great effort was put

Since its foundation, the RSB has invited major composers to conduct or to perform as soloists in their own works. These have included Paul Hindemith, Sergei Prokofiev, Richard Strauss, and Igor Stravinsky, as well as Krzysztof Penderecki, Peter Ruzicka, and Jörg Widmann. The RSB is particularly attractive for capable young conductors from the international music scene, with Andris

and won the 2nd prize in the Birgit

the “Ehrenpreis der deutschen

Nilson competition.

Schallplattenkritik” (= honorary prize of the German Critics’ Award) for his extensive life’s work.

Since 2013/14 Regine Hangler is an

Since 2010 Elisabeth Kulman has been working as a freelance artist. She is a much sought-after soloist in the metropolitan centres of the music

Tokyo and the Scala in Milan.

success as a soprano. Since 2005

Thielemann, Marek Janowski or Franz

As a successful concert singer Regine Hangler is very successful in Austria,

Elisabeth Kulman has been singing the major parts of the mezzo and alto repertoire. As a member of the

close collaboration with Nikolaus Harnoncourt.

ensemble member of the Wiener

Germany, Albany, the Netherlands,

ensemble at the Vienna State Opera

Regine Hangler Soprano

Staatsoper and is performing the following roles, just to name a few: Rosalinde (Die Fledermaus), Santuzza

Slovenia, Hungary, Japan and Israel. Regine Hangler’s discography and videography continue to grow steadily.

she quickly became a favourite of the audience and established the basis for her vast repertoire. Her most

After having studied viola and technics, Regine Hangler studied canto as her major subject at the Kärntner

Ariadne (auf Naxos), Leonore (Fidelio) and Eva (Die Meistersinger von Nürnberg).

(Cavalleria Rusticana), Elsa (Lohengrin),

Landeskonservatorium and the Universität für Musik in Vienna, which she passed with distinction.

In May 2015 the soprano was highly acclaimed for her title role of “Daphne” in Berlin, which was conducted by

Elisabeth Kulman Alto

important roles include Fricka, Erda and Waltraute (The Ring of the Nibelung), Carmen, Mrs. Quickly (Falstaff), Brangäne (Tristan and Isolde), Begbick

Elisabeth Kulman is one of today’s

(Mahagonny), Orlofsky (The Bat), Orfeo

most sought-after singers and leading authorities in the international classical music scene. She impresses

(Gluck) and Marina (Boris Godunov). Since 2010 Elisabeth Kulman has been

At the same time she was working

Marek Janowski, in New York und

audiences and critics alike with her rich,

working as a freelance artist. She is

with KS Mara Zampieri in Padua and concluded her education with numerous Masterclasses.

Cleveland by Franz Welser-Möst. In 2016 she had a big success at the Salzburger Festspiele for her interpretation of

colourful timbre, her charismatic stage personality and her musical versatility.

a much sought-after soloist in the metropolitan centres of the music world: Vienna, Paris, London, Munich,

Xanthe in “Die Liebe der Danae”.

She studied voice with Helena Lazarska

Berlin, Tokyo, Salzburg, Moscow, etc.

Further future engagements lead the soprano i.e. to the Bayreuther Festspiele,

at the Vienna Music University, made her debut as Pamina in 2001 at the Volksoper in Vienna and enjoyed early

She works regularly with world-class orchestras and conductors such as Zubin Mehta, Kirill Petrenko, Christian

Several times she was decorated with highly skilled scholarships, became finalist of the Italian Aslico competition

Welser-Möst. She enjoyed a particularly

Christian Elsner Tenor Born in Freiburg, Christian Elsner is one of the most versatile German tenors. He

On the opera stage Christian Elsner has

The versatile singer has written his own

established himself as a heroic tenor

children’s book, Lennie und der Ring des

in the roles of Siegmund and Parsifal at the Deutsches Nationaltheater in Weimar, the Staatstheater in Kassel, the

Nibelungen, and has been working as a professor for singing at the Hochschule für Musik in Wurzburg since 2006.

Franz-Josef Selig Bass

Nezét-Séguin, Antonio Pappano, Phillipe Jordan, Zubin Mehta and many others.

Franz-Josef Selig has established himself on the international scene as

Bass singer Franz-Josef Selig first studied church music at the Staatliche

Since 2015 Elisabeth Kulman has been

studied singing with Martin Gründler,

Dresden Semperoper, the Vienna State

focusing her artistic activities on recitals (together with her longtime accompanist Eduard Kutrowatz),

took lessons with Dietrich FischerDieskau and Neil Semer, and has won many international competitions.

Opera and at the Teatro Real in Madrid. Accompanied by Gerold Huber and Burkhard Kehring, the tenor has given recitals in Frankfurt, Hamburg, Bonn,

Real in Madrid under Semyon Bychkov,

Fiesco and Fasolt at all the world’s

ensemble in Essen. He has since been a

As an internationally sought-after concert singer, Christian Elsner is a popular guest at all the important

Dresden, Munich, Wurzburg and Brussels, and at the Schubertiade in Feldkirch.

in Vienna in Franz Schmidt’s The Book with Seven Seals under Manfred Honeck with the Vienna Symphony Orchestra,

major opera houses (such as the Vienna State Opera, Bavarian State Opera, Teatro alla Scala di Milano, Teatro Real

freelance singer.

in Beethoven’s Ninth Symphony in

Madrid, the Parisian opera houses or

Wien as well as “Hungaro Tune” with symphony orchestra and jazz soloists.

the Berlin Philharmonic, New York’s Carnegie Hall, La Scala, Milan and the Suntory Hall in Tokyo, and has worked

Christian Elsner can also be heard on CD, with recordings such as Schubert’s Winterreise and Schumann’s

Leipzig with the Gewandhausorchester under Herbert Blomstedt, and in Berlin, Vienna, New York, Taipei and Tokyo with

the Metropolitan Opera New York) and at prestigious festivals such as the Bayreuth and Salzburg Festival and

Her latest solo programme “La femme c’est moi” features pieces from Carmen

with many renowned conductors such as Herbert Blomstedt, Manfred Honeck,

Dichterliebe, along with studio productions of Mahler’s Lied von der

the Berlin Philharmonic under Sir Simon Rattle.

the Festival d’Aix-en-Provence. Opera productions as well as concerts bring

up to the Beatles.

Marek Janowski, Mariss Jansons, Kent Nagano, Yannick Nézet-Séguin, Semyon

Erde as well as complete recordings of Wagner’s Rheingold (Loge) and Parsifal

Bychkov and Sir Simon Rattle.

(title role).

concerts and operas in concert. She is especially devoted to unconventional projects: “Mussorgsky Dis-Covered” with an international jazz quartet, “Mahler Lieder” and “Wer wagt mich zu höhnen?” with the ensemble Amarcord

classical music centres, such as

Christian Elsner’s most recent performances have included the title role in Wagner’s Parsifal at the Teatro

one of the best-known serious bass

Hochschule für Musik in Cologne before

baritones. He regularly gives guest performances as Gurnemanz, King Marke, Sarastro, Rocco, Osmin, Daland,

taking voice classes under Claudio Nicolai. At the beginning of his career he was a member of the Aalto Theatre

him together frequently with renowned orchestras and conductors, such as James Levine, Christian Thielemann, Sir Simon Rattle, Marek Janowski,

MDR Rundfunkchor Leipzig

Mit Andacht Gedanken zu Beethovens Missa solemnis

into the live recording of the successful ten part Wagner cycle. Other activities of the RSB include special concerts for families and children, as well as guest performances in the major international concert halls, which have taken place over the past 50 years. Alongside regular tours of Asia the orchestra appears at German and European festivals. MDR Rundfunkchor Leipzig © Peter Adamik

Nelsons, Yannick Nézet-Séguin, Alain Altinoglu, Jakub Hrůša, Alondra de

nicht die Missa solemnis, sondern eine

Ein Solitär benötigt Zeit. Und die nahm sich Beethoven in diesem Fall reichlich. Im Sommer 1818 wurde in Wien bekannt, dass sein Schüler und Gönner, Erzherzog Rudolph, am 9. März 1820 zum Erzbischof von Olmütz inthronisiert

Überzeugungskraft. Reich an zutiefst persönlichen Blicken auf jenen Glauben, wie er in Gestalt des lateinischen Messtextes seit Jahrhunderten in

werden sollte. Aus diesem Anlass plante Beethoven eine Messvertonung. Im Juni 1819 schrieb er an den Erzherzog: „Der Tag, wo ein Hochamt von mir

Stein gemeißelt ist. Und doch auch reich an Momenten des Zweifelns an dogmatischer Religion und der formellen Institution Kirche. In ihrer

zu den Feierlichkeiten für I.K.H. soll aufgeführt werden, wird für mich der schönste meines Lebens sein. Und Gott wird mich erleuchten, dass meine

Monumentalität und zeitlichen Ausdehnung von knapp 90 Minuten sprengt die Missa solemnis jegliche liturgischen Vorgaben. Auch wenn das Werk ursprünglich für ein konkretes

schwachen Kräfte zur Verherrlichung dieses Feierlichen Tages beitragen.“ Doch die kompositorische Arbeit ging nur schleppend voran und Ende 1819

Hochamt gedacht war. Dort dann aber nicht erklang. Rundfunk-Sinfonieorchester Berlin © Molina Visuals

Äußerer Anlass und innere Aufgabe

Beethovens Missa solemnis ist ein Solitär. Ein Werk von äußerer dramatischer Wucht und schier unglaublicher innerer Stärke. Voller

hatte Beethoven gerade einmal den Mittelteil des Credos skizziert. Der Tag des Hochamtes kam. Und es erklang – Deutsch

Messe von Johann Nepomuk Hummel. Erst drei Jahre später konnte Beethoven die Missa solemnis vollenden. Weil ihm schnell klar wurde, dass er einen außergewöhnlichen Weg würde gehen müssen. Die Uraufführung fand am 7. April 1824 in St. Petersburg im Rahmen einer konzertanten Aufführung des Fürsten Galitzin statt und am 7. Mai 1824 erklang das Werk bruchstückhaft in Wien, ohne Gloria und Sanctus. Beethoven hatte ganz augenscheinlich kein schlechtes Gewissen, seine Missa aus ihrer ursprünglichen Bestimmung herauszulösen. Betrachtete er sie doch mittlerweile als zutiefst persönliche Auseinandersetzung mit seinem Glauben.

Stile antico und moderne Tonsprache

als „submotivische Beziehungen“.

dass ich den Text behandelt habe, wie

Glaubensfragen. Was nicht zuletzt der

Wie schon in der C-Dur-Messe

knappe volksliedhafte Bildungen. Die

Folgt man Carl Dahlhaus, so ging

Demnach kehren auf äußerst subtile Weise einzelne Parameter aus Motivgestalten genauestens kalkuliert

er noch wenig behandelt worden“. Auch bei der Missa solemnis untersuchte Beethoven die einzelnen Wörter des

es Beethoven in der Missa solemnis kompositorisch vor allem um eine Vermittlung zwischen altem Kirchenstil und moderner Instrumentalmusik. Gelungen sei ihm dies dadurch, „dass

wieder – aber in einem jeweils anderen inhaltlichen Zusammenhang. Diese submotivischen Bezüge sind beim erstmaligen Hören kaum zu erkennen. Während der Arbeit an der Messe

lateinischen Messtextes genau, um sie musikalisch exakt auszudeuten. Auf ihre reine Bedeutung hin, vor allem aber auch auf ihre Konnotationen. Welche Gefühle schwingen mit? Welche

im Autograph über dem Kyrie stehende Satz „Von Herzen – möge es wieder – zu Herzen gehen“ transportiert. Wie schlicht. Wie groß. Wie menschlich. Vielleicht hat Beethoven die Missa

verzichtet Beethoven auch in der Missa solemnis auf die traditionelle Nummerngliederung, also auf die Verteilung von Arien und Chorsätzen auf die Messabschnitte. Die formale

Missa solemnis ist ein Werk der Extreme. Beethoven lässt Chor, Solisten und das groß besetzte Orchester zu einem einzigen Klangkörper verschmelzen, der den Hörer mit seinem voluminösen

gerade deshalb als das „gelungenste seiner Geistesprodukte“ bezeichnet. Weil sie seinen persönlichen Blick

Gliederung folgt teils traditionellen Vorgaben, wie bei der Dreiteilung des Kyrie, geht aber auch eigene Wege,

Klangbild „rühren, treffen, erschüttern“ (Werner-Jensen) soll. Und das gelingt Beethoven, der sich zum Ziel gesetzt

er im Archaischen, das die Kirchlichkeit verbürgen sollte, zugleich ein Ferment von Modernität entdeckte, durch die das Werk vor der ästhetischen Maxime

vertiefte sich Beethoven in der Bibliothek Erzherzog Rudolphs in alte Kirchenmusik, studierte Palestrinas Werke und die Gregorianik.

Emotionen setzen sie frei? Und zwar nicht nur beim Hörer, sondern vor allem beim Komponisten.

etwa wenn Beethoven das „Gloria in excelsis Deo“ am Ende des Gloria im presto wiederholt. Dem extrem kurzen Sanctus steht ein extrem gedehntes Benedictus gegenüber und das textlich

hatte „sowohl bei Singenden als bei Zuhörern religiöse Gefühle (zu) erwecken und dauernd (zu) machen“.

bestehen konnte, dass Musik neu sein müsse, um authentisch zu sein.“ Und in der Tat finden sich Techniken wie motivisch-thematische Arbeit oder

auf den Glauben zeigt. Und wie er bestimmte Aussagen des Messtextes bewertet. Man denke etwa an das beiläufige, lediglich einmal im ChorTenor rezitierte „credo in unam sanctam

Schon in seiner C-Dur-Messe aus dem Jahr 1807 und auch in seinem Oratorium Christus am Ölberge (1803/1804/1811)

entwickelnde Variation (ihres Zeichens Merkmale des mittleren Beethovens) nur rudimentär. Was wiederum nicht bedeutet, dass die formalen Teile der

hatte sich Beethoven intensiv mit den Textvorlagen beschäftigt, mit dem Ziel „Musick und wort ein’s“ werden zu lassen. Beim Messtext bediente er sich

catholicam“, das in den „Credo“-Rufen der anderen Stimmen schier untergeht. Der Glaube an das ewige Leben erfährt dagegen auf über 170 Takten in einer

eigentlich dreiteilig angelegte Agnus Dei wird vierteilig umgesetzt. Auf allen Ebenen findet sich ein extrem ausgeprägtes Kontrastprinzip. Ruhe

homophon vom Chor fast geflüstert, das hymnisch anbetende „Laudamus te“ und das klanglich luftige „Gratias agimus tibi“. Mit dem „Qui tollis“ beginnt der langsame, zweite Teil des Gloria, in dem

der Hilfe eines Übersetzers, der selber Musiker war. Beethoven schrieb über seine erste Messe: „jedoch glaube ich,

wird Bewegung gegenübergestellt, ekstatischer Jubel erklingt neben schreitender Würde, polyphone und homophone Ausgestaltung wechseln

Das Kyrie, der Bittgesang, ist klassisch dreigeteilt, im steten, demutsvollen Wechselgesang zwischen Soli und Chor. Der machtvolle Kyrie-Anruf der Chorstimmen wird bereits im ersten

Messe isoliert nebeneinanderstehen. Die motivischen Bezüge zwischen den Formabschnitten beschreibt Dahlhaus

ausgeweiteten Doppelfuge eine starke Gewichtung. Derart kontrastreiche Interpretationen der textlichen Vorgabe prägen die Missa.

D-Dur-Akkord des vollen Orchesters vorweggenommen. Im mittleren Christe-Teil führen die Soli, der Chor antwortet. Immer dichter werden die

Klarinetten und Flöten das Klagethema präsentieren. Eine ausgedehnte, zerknirschte Bitte um Erbarmen entwickelt sich im von Beethoven um

Stimmen kontrapunktisch miteinander

den emotionalen Laut „O“ erweiterte

Bekenntniswerk Ist dies mein Glaube? Wie glaube ich? Und warum? Mit diesen Fragen zieht sich ein religiöser und „expressiv gesteigerter Subjektivismus“ (Ackermann) wie ein roter Faden durch die Missa solemnis. Sie ist ein zutiefst persönliches Bekenntniswerk. Es geht Beethoven um individuelle Emotionen, nicht um allgemeingültige

sich ab. Ein Rezitationston trifft auf weit ausschwingende Kantilenen und

Die Sätze

verwoben. In der variierten KyrieWiederholung betont Beethoven die schmerzvolle Haltung durch Chromatik, der Satz verklingt im Pianissimo-Gebet. In stärkstem Kontrast eröffnet Beethoven den Preisgesang des Gloria, das in vier Teile gegliedert ist. Nach stürmischem Fortissimo-Orchesterauftakt jagen die Chorstimmen mit dem aufsteigenden Gloria-Hauptthema in himmlische Höhen. Dieses Thema kehrt mottoartig an Schlüsselstellen des Satzes wieder. Es folgt das „et in terra pax hominibus“,

Acknowledgments

Bevor im Benedictus die Solo-

durchaus gefährdet ist, zeigen zwei

Violine in einem coup de théâtre von den höchsten Höhen des Himmels herabsteigt. Weltlicher Kitsch? Arnold Werner-Jensen sah darin „ein legitimes künstlerisches Mittel, den

instrumentale Einschübe mit gleichsam kriegerischen Pauken und Trompeten, die gewaltsam einbrechen. „Ängstlich“ bitten die Solisten erneut um Erbarmen. Der Chor fordert geradezu insistierend

einer gewaltigen Fuge abgeschlossen, einer Doppelfuge auf „et vitam venturi saeculi, amen“.

Hörer emotional aus der Fassung zu bringen“. Immerhin gehe es hier um die „Wucht der Verheißung“. Die

mit seinen Sforzato-Rufen „pacem“.

Das Sanctus nimmt „mit Andacht“ eine tiefgründige Versenkungshaltung ein, mezza voce werden die Gebetsrufe geflüstert, grundiert von Posaunen

gedämpften Klangfarben im Orchester unterstreichen die andachtsvolle Haltung noch. Bis zum Ende hat die Solo-Violine stets die Führung inne und steigt nach einer erneut fugierten

und um das Wunder von Geburt, Leiden, Tod, Wiederauferstehung und Himmelfahrt Christi. Analog zum Gloria kehrt das eröffnende, wuchtige Credo-

und tiefen Streichern. Nach einer Generalpause beginnt ein energisch vorantreibendes Chorfugato über „Osanna in excelsis“. Es folgt ein kurzes,

Lobpreisung am Ende wieder in die Höhe hinauf.

Kernmotiv am Ende wie einer Klammer wieder. Kann man hier irgendwie an Beethovens Glauben zweifeln? Die musikalische Gestaltung zementiert

fast schon amotivisches Präludium, in dem Beethoven das Wunder der Hostienwandlung nachzeichnet; übrigens der einzige rein instrumentale

einen Adagio-Teil ein, der sich immer wieder aufzuschwingen versucht, dann im Pianissimo verklingt. Das „Dona nobis pacem“ ist von Beethoven mit

PENTATONE TEAM Vice President A&R Renaud Loranger | Director A&R Job Maarse | Managing

eine unerschütterliche Geisteshaltung. Der Binnensatz („Et incarnatus est“

„Satz“.

„Bitte um innern und äußern Frieden“ überschrieben. Dass dieser Frieden

Director Dirk Jan Vink | Director Product, Marketing & Distribution Simon M. Eder A&R Kate Rockett | Marketing & PR Silvia Pietrosanti | Distribution Veronica Neo

– „et homo factus est“) gestaltet die einzelnen Phasen tief empfunden nach. Mal abgründig versunken, mal schmerz- und leidvoll, dann wieder plastisch-majestätisch beim Jüngsten Gericht. Auch das Credo wird von

Beginns den Satz im Presto krönend abschließt.

PRODUCTION TEAM Executive producers Stefan Lang (Deutschlandradio Kultur), Job Maarse (Pentatone) | Recording producer Job Maarse | Balance engineer Jean-Marie Geijsen (Polyhymnia) | Recording engineer & editor Erdo Groot (Polyhymnia) Deutschlandradio recording team Wolfram Nehls, Henri Thaon, Jens Müller Liner notes Jörg Peter Urbach | English translation Fiona J. Stroker-Gale Design Joost de Boo | Product management Max Tiel This album was live recorded at the Berlin Philharmonie, September 2016.

Das abschließende Agnus Dei leitet

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Find out more: www.pentatonemusic.com

Broadcasting Union, through touring or in guest performances worldwide,

years of musical history. Numerous world premieres attest to the 73 choir

the MDR LEIPZIG RADIO CHOIR, which was awarded the European Cultural

members’ reputation as a specialised ensemble for contemporary music.

Prize in 2013, acts as a supreme musical ambassador for central Germany.

work it is invariably the MDR LEIPZIG RADIO CHOIR that comes at the top

acclaimed world-class ensemble. From the season 2015/2016 he was succeeded

of their wish list. As the largest concert choir within the German Broadcasting

by Risto Joost as artistic director of the MDR LEIPZIG RADIO CHOIR.

experts as one of the best.

Premium Sound and Outstanding Artists PENTATONE. Today’s music is evolving and forever changing, but classical music remains true in creating harmony among the instruments. Classical music is as time-honoured as it is timeless.

formats. In 2017 the choir was awarded the International Classical Music Award for its recording of Max Reger’s Motets op. 110. Whether via the European

works complete a repertoire that encompasses practically a thousand

In the fifteen years of his tenure

Corporation (ARD), the MDR LEIPZIG RADIO CHOIR is widely regarded among

Sit back and enjoy

70-year history. These recordings have been released on LPs, CDs and digital

demonstrates its expertise with highly acclaimed a cappella performances. Secular and sacred music, wide-ranging ensemble singing and choral symphonic

from 1998 Howard Arman lastingly consolidated the reputation of this

Semyon Bychkov, Riccardo Muti, Yannick

Gleichfalls kontrastreich im Gesamtrahmen wie in den einzelnen Teilen gestaltet Beethoven das Credo. Auch hier zutiefst persönlich, geht es doch um das Glaubensbekenntnis

„Miserere nobis“. Im dritten Teil – „Quoniam tu solus sanctus“ – kehrt der Preisgesang im mächtigen Chorsatz zurück, bevor sich eine gewaltige „in gloria dei patris, amen“-Fuge anschließt bevor erneut das Zitat des Gloria-

Not only an excellent partner for major orchestras, the ensemble regularly

When major orchestras in Germany or abroad plan to perform a choral

Artists

The collaboration with Deutschlandradio, the main shareholder of the ROC GmbH Berlin to which the

Marek Janowski © Jean-François Leclercq

In 2014 Marek Janowski was awarded

the audience and established the basis for her vast repertoire. Her most important roles include Fricka, Erda and Waltraute (The Ring of the Nibelung), Carmen, Mrs. Quickly (Falstaff), Brangäne (Tristan and Isolde), Begbick (Mahagonny), Orlofsky (The Bat), Orfeo (Gluck) and Marina (Boris Godunov).

world: Vienna, Paris, London, Munich, Berlin, Tokyo, Salzburg, Moscow, etc. She works regularly with world-class orchestras and conductors such as Zubin Mehta, Kirill Petrenko, Christian

She studied voice with Helena Lazarska at the Vienna Music University, made her debut as Pamina in 2001 at the Volksoper in Vienna and enjoyed early

Further future engagements lead the soprano i.e. to the Bayreuther Festspiele,

announced in Vienna that his pupil and patron, the Archduke Rudolph, was to be enthroned as Archbishop of Olomouc

during the celebrations solemnized for Y.I.H. will be for me the most beautiful day of my life. And God will enlighten

Elisabeth Kulman Alto

Cleveland by Franz Welser-Möst. In 2016 she had a big success at the Salzburger Festspiele for her interpretation of Xanthe in “Die Liebe der Danae”.

ACKNOWLEDGMENTS

success as a soprano. Since 2005 Elisabeth Kulman has been singing the major parts of the mezzo and alto repertoire. As a member of the ensemble at the Vienna State Opera she quickly became a favourite of

As a successful concert singer Regine Hangler is very successful in Austria, Germany, Albany, the Netherlands, Slovenia, Hungary, Japan and Israel. Regine Hangler’s discography and videography continue to grow steadily.

In May 2015 the soprano was highly acclaimed for her title role of “Daphne” in Berlin, which was conducted by Marek Janowski, in New York und

At the same time she was working

DEUTSCH

Tokyo and the Scala in Milan.

Since 2013/14 Regine Hangler is an ensemble member of the Wiener Staatsoper and is performing the following roles, just to name a few: Rosalinde (Die Fledermaus), Santuzza (Cavalleria Rusticana), Elsa (Lohengrin), Ariadne (auf Naxos), Leonore (Fidelio) and Eva (Die Meistersinger von Nürnberg).

Regine Hangler Soprano

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ENGLISH

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TRACK INFORMATION

Nearly 200 recordings, many of them award-winning, have been recorded by the ensemble during its more than

RundfunkSinfonieorchester Berlin (RSB, Berlin Radio Symphony Orchestra) dates back to the beginnings of music broadcasting in 1923, and has since sustained its position amongst the leading orchestras in Berlin and other radio orchestras throughout Germany. From 2002 to 2015, Marek Janowski was artistic director and chief conductor

Christian Elsner Tenor

Thielemann, Marek Janowski or Franz Welser-Möst. She enjoyed a particularly close collaboration with Nikolaus Harnoncourt.

recitals (together with her longtime accompanist Eduard Kutrowatz), concerts and operas in concert. She is especially devoted to unconventional projects: “Mussorgsky Dis-Covered” with an international jazz quartet, “Mahler Lieder” and “Wer wagt mich zu höhnen?” with the ensemble Amarcord Wien as well as “Hungaro Tune” with symphony orchestra and jazz soloists. Her latest solo programme “La femme c’est moi” features pieces from Carmen up to the Beatles.

Ludwig van Beethoven (1770 – 1827)

With devotion

MISSA SOLEMNIS

Reflections on Beethoven’s

in D Major Op. 123

BEETHOVEN

MISSA SOLEMNIS

Missa solemnis

1 2

Kyrie Gloria

9. 22 15. 41

Beethoven’s Missa solemnis is a unique gem. A work of dramatic external

3 4

Credo Sanctus – Benedictus

16. 59 15. 26

power and well-nigh incredible inner strength. Full of conviction. Rich in

5

Agnus Dei Total playing time:

Rundfunk-Sinfonieorchester Berlin MDR Rundfunkchor Leipzig

15. 32

profoundly personal visions of the faith that has remained, carved in stone,

73. 04

Regine Hangler, Soprano

in the form of the Latin mass text for centuries. And yet also rich in moments of doubt about dogmatic religion and

Elisabeth Kulman, Alto

the formal institution of the church.

Christian Elsner, Tenor Franz-Josef Selig, Bass

In its monumentality and lengthy duration of just under 90 minutes, the Missa solemnis departs from all

MDR Rundfunkchor Leipzig

liturgical guidelines – despite the fact

Michael Gläser, Chorus Master

that the work was originally intended for a specific high mass; yet it was not actually performed there in the end.

Rundfunk-Sinfonieorchester Berlin

Marek Janowski

External event and internal task Creating a unique gem takes time: and in this case, Beethoven took plenty

As an internationally sought-after concert singer, Christian Elsner is a popular guest at all the important classical music centres, such as the Berlin Philharmonic, New York’s Carnegie Hall, La Scala, Milan and the Suntory Hall in Tokyo, and has worked with many renowned conductors such as Herbert Blomstedt, Manfred Honeck, Marek Janowski, Mariss Jansons, Kent Nagano, Yannick Nézet-Séguin, Semyon

Dresden, Munich, Wurzburg and Brussels, and at the Schubertiade in Feldkirch.

in Vienna in Franz Schmidt’s The Book with Seven Seals under Manfred Honeck with the Vienna Symphony Orchestra, in Beethoven’s Ninth Symphony in Leipzig with the Gewandhausorchester under Herbert Blomstedt, and in Berlin, Vienna, New York, Taipei and Tokyo with the Berlin Philharmonic under Sir Simon Rattle.

Bychkov and Sir Simon Rattle.

(title role).

– not Beethoven’s Missa solemnis, but a mass composed by Johann Nepomuk Hummel was performed. Not until three years later did Beethoven manage to complete the Missa solemnis, the

Stile antico and modern musical idiom According to Carl Dahlhaus, in his Missa solemnis Beethoven was mainly

Dahlhaus describes the motivic links

as follows about his first mass: “…

between the various structural sections

however, I believe that I have treated

as “submotivic connections.” Thus, very subtly, individual parameters from motifs constantly reappear in a precisely

the text in a manner in which it has seldom been treated.” And again with his Missa solemnis, Beethoven subjected

of time. In the summer of 1818 it was

reason being that he had quickly

concerned with finding a good mix

calculated manner – however, always in

the individual words of the Latin text to

realized that he would have to take an extraordinary path. The première took place in St. Petersburg on April 7, 1824,

between the idiom of ancient church music and that of modern instrumental music. He appears to have managed

a different context as regards content. These submotivic references are very difficult to recognize at first hearing.

a precise examination, in order to give them an exact musical interpretation: both with regard to their pure

on March 9, 1820. Beethoven decided

as a concertante performance under

this due to the fact that “in the archaic

While working on his mass, Beethoven

significance, but above all, with regard

to compose a mass for this event. In June 1819, he wrote as follows to the Archduke: “The day on which a high

the auspices of Prince Gallitzin; and on May 7, 1824, the mass was given an incomplete performance in Vienna,

idiom, which was meant to vouch for the church, he simultaneously discovered a ferment of modernity,

delved into ancient church music in Archduke Rudolph’s library, studying works by Palestrina as well as Gregorian

to their connotations. Which feelings are resonating here? Which emotions are they releasing? And not only in the case

mass by my hand will be performed

not including the “Gloria” and the “Sanctus.” Obviously, Beethoven had no

thanks to which the work was able to

chant.

of the listener, but above all, with regard to the composer himself.

problem in “extracting” his Missa from its original destination. Clearly, in the

hold its own with regard to the aesthetic maxim that music must be novel in order to be considered authentic.” And

me, so that my paltry creative powers may contribute to the glorification

meantime, he had begun to regard it as a deeply personal confrontation with

indeed, techniques such as motivicthematic passage work, or evolving

am Ölberge (= Christ on the mount of olives, 1803/1804/1811), Beethoven had

of this solemn day.” But work on the composition dragged out, and by the

his faith.

variation (characteristic for Beethoven’s middle period) are to be found only

already devoted a great deal of time to the texts, aiming to “unify music

In his Mass in C major, dating from 1807, and also in his oratorio Christus

Rainer Wolters, Concert Master

end of 1819 Beethoven had only just sketched the middle part of the Credo.

in rudimentary form. However, this does not signify that the structural

and word.” To help with the mass text, he brought in a translator, who was

Conducted by Marek Janowski

The day arrived of the High Mass, and

sections of the mass coexist in isolation.

himself a musician. Beethoven wrote

Creed

drowned by the calls of “credo” in the

Is this my faith? How do I believe?

other voices. On the other hand, great emphasis is placed on the belief in

And why? A religious and “expressively intensified subjectivism” (Ackermann)

eternal life by means of an extended double fugue lasting more than 170

containing these questions runs like a red thread through the Missa solemnis.

bars. The Missa is full of such highly contrasting interpretations of the text.

It is a deeply personal creed. Here, Beethoven is concerned with individual

As in the Mass in C major, in the Missa

emotions, not with universal questions of faith – as he makes clear to us in the

solemnis Beethoven also renounces the traditional numbering, i.e. the

following sentence “May it continue to flow from heart to heart,” written in the autograph score above the “Kyrie.”

classification of the distribution of arias and choral settings within the various sections of the mass. In part, the

How simple. How noble. How human.

formal structuring keeps to traditional

Perhaps this is precisely why Beethoven described the Missa as “the most successful of his intellectual products”:

guidelines, as in the tripartite division of the “Kyrie”; however, it also goes its own way, for example at the end of the

because it demonstrates his personal

“Gloria,” when the “Gloria in excelsis

view of faith, and also how he rated certain assertions in the mass text. Take, for instance, the casual “credo in

Deo” is repeated, but now in presto. The extremely short “Sanctus” is contrasted with a greatly elongated “Benedictus”;

is laid out in four sections. There is

The movements

an extremely pronounced principle of contrast at all levels. Peace and quiet is contrasted with movement, ecstatic rejoicing resonates alongside pacing dignity, polyphony is alternated with homophony. A recitative tone meets with widely resonating cantilenas and concise folk-song-like creations. The Missa solemnis is a work of extremes. Beethoven blends choir, soloists, and large orchestra into a single “body of sound,” which is meant to “touch, strike, shake” (Werner-Jensen) the listener with volume of its sound. And Beethoven succeeds at this, having set himself the goal “of awakening and perpetuating religious feelings both in the singer and the listener.”

Christian Elsner can also be heard on CD, with recordings such as Schubert’s Winterreise and Schumann’s Dichterliebe, along with studio productions of Mahler’s Lied von der Erde as well as complete recordings of Wagner’s Rheingold (Loge) and Parsifal

the heavenly heights with the soaring

Beethoven designs the “Credo” with

The “Kyrie,” the song of invocation,

main theme of the “Gloria.” This theme recurs like a motto at key points in

equally rich contrast, both in its entirety and its individual sections. Here, too,

has a classical tripartite division, with a constant and humble interchange of

the movement. This is followed by the “terra pax hominibus,” almost like a

the music is deeply personal, all about the confession of faith and the miracle

singing between soloists and choir. The first D-major chord of the full orchestra

homophonic whisper from the choir, the hymnically worshipping “Laudamus te”

of Christ’s birth, suffering, death, resurrection and ascension. Analogous

already anticipates the impressive cry of “Kyrie” from the choir. In the middle

and the airy “Gratias agimus tibi.” The “Qui tollis” introduces the slow, second

to the “Gloria,” the powerful opening core motif of the “Credo” returns at

part (“Christe”), the soloists lead with the choir responding. Increasingly

part of the Gloria, in which clarinets and flutes present the lament theme. An

the end as if to close brackets. Can there be any doubt about Beethoven’s

dense, the voices become more and more contrapuntally interwoven. In the varied repetition of the “Kyrie,”

extended, contrite plea for compassion develops in the “Miserere nobis,” in which Beethoven draws out the emotion

faith here? The musical design cements an imperturbable attitude of mind. The next section of the movement

Beethoven emphasizes the agonizing

in the vowel “o.” In the third part –

(“Et incarnatus est” – “et homo factus

mood by means of chromaticism, and the movement fades away in the prayer in pianissimo.

“Quoniam tu solus sanctus” – the eulogy returns in the powerful choral setting, followed by a tremendous fugue, “in

est”) recreates the individual phases with deep feeling: at times profoundly absorbed in thought, at others painful

gloria dei patris, amen,” after which

and sorrowful, then again vividly

Beethoven begins the eulogy of the “Gloria,” which is divided into four parts in a hugely contrasting manner.

the recurrence of the motto from the beginning of the “Gloria” concludes the movement in presto.

majestic during the Last Judgment. Here too, the “Credo” is concluded with a massive fugue – a double fugue on the

unam sanctam catholicam,” recited

and the “Agnus Dei” – which in fact

After a stormy fortissimo upbeat in

only once in the tenors, which is almost

consists of three sections in the text –

the orchestra, the choir races up into

phrase “et vitam venturi saeculi, amen.”

The Sanctus “devoutly” assumes a

reverent mood. Right up to the end, the

profoundly meditative attitude, the

solo violin remains in charge; and at

prayers are whispered mezza voce, primed by trombones and low strings. A general pause is immediately followed

the conclusion, it soars back up to the heights after a glorification, once again set as a fugue.

by an energetically driving choral fugato to the phrase “Osanna in excelsis.” This is followed by a short prelude, almost lacking in motif, in which

The concluding “Agnus Dei” introduces an Adagio section that continually attempts to soar, but finally fades away

Beethoven portrays the miracle of the

in pp. Beethoven wrote the following

transformation of the host; by the way, this is the only exclusively instrumental “movement.”

words above the “Dona nobis pacem”: “Plea for internal and external peace.” Two instrumental interpolations with,

But then suddenly in the “Benedictus,”

so to speak, warlike timpani and trumpets, violently breaking into the

the solo violin swoops down from the highest heights of heaven in a coup de

music, demonstrate that this peace is truly under siege. “Fearfully,” the soloists

théâtre. Profane kitsch? Well, Arnold Werner-Jensen described this as “a

once again plea for mercy; and the choir virtually insists upon it, with its

legitimate artistic means of emotionally flustering the listener.” For after all,

sforzato cries of “pacem.”

it was about the “impact of the promise.” The muted sound-colours in the orchestra further emphasize the

Marek Janowski

Dortmund (1975-1979). Since the late

From 2002 until 2015, Marek

1970s, he has appeared regularly at all the major opera houses world-wide.

Janowski was Artistic Director and Chief Conductor of the Rundfunk-

Marek Janowski stepped back from the

Sinfonieorchester Berlin (RSB). Before embarking upon his Berlin period,

opera scene in the 1990s to concentrate on the great German and French

and also partly parallel to this, he was Musical Director of the Orchestre

symphonic repertoire. He enjoys an outstanding reputation amongst the

de la Suisse Romande (2005-2012), Chief Conductor of the Orchestre

premier orchestras of Europe, North America and Asia and is recognised

Philharmonique de Monte Carlo (2000-2005), Chief Conductor of the Dresdner Philharmonie (2001-2003),

for his ability to create orchestras of international standing.

and Musical Director of the Orchestre

His leave-taking of the opera, however,

Philharmonique de Radio France (19842000).

was merely an institutional matter, not a musical farewell. Thus he is now recognized as one of the greatest

Born in Warsaw and educated in

experts regarding the music of Richard

Germany, Marek Janowski’s artistic path led him from positions in Aachen, Cologne, Düsseldorf and Hamburg to his

Wagner, to which his concertante Wagner cycle with the RSB bears witness. In the sequel he accepted the

appointment as General Music Director

invitation to conduct Wagner’s “Ring” at

in Freiburg im Breisgau (1973-1975) and

the Bayreuth Festival in 2016 and 2017.

Liner notes

of the RSB. Vladimir Jurowski has

la Parra, Lahav Shani and Omer Meir

been named as his successor, starting in the 2017-2018 season. Previous chief conductors (including Sergiu Celibidache, Eugen Jochum, Hermann Abendroth, Rolf Kleinert, Heinz Rogner,

Wellber performing in recent years.

and Rafael Frühbeck de Burgos) have all helped to create the ensemble’s exceptional sound.

RSB belongs, has born rich fruit on recording. Starting in 2010, together with PENTATONE, great effort was put

Since its foundation, the RSB has invited major composers to conduct or to perform as soloists in their own works. These have included Paul Hindemith, Sergei Prokofiev, Richard Strauss, and Igor Stravinsky, as well as Krzysztof Penderecki, Peter Ruzicka, and Jörg Widmann. The RSB is particularly attractive for capable young conductors from the international music scene, with Andris

In 2014 Marek Janowski was awarded

and won the 2nd prize in the Birgit

the “Ehrenpreis der deutschen

Nilson competition.

Schallplattenkritik” (= honorary prize of the German Critics’ Award) for his extensive life’s work.

Since 2013/14 Regine Hangler is an

Christian Elsner’s most recent performances have included the title role in Wagner’s Parsifal at the Teatro Real in Madrid under Semyon Bychkov,

Tokyo and the Scala in Milan.

success as a soprano. Since 2005

Thielemann, Marek Janowski or Franz

As a successful concert singer Regine Hangler is very successful in Austria,

Elisabeth Kulman has been singing the major parts of the mezzo and alto repertoire. As a member of the

close collaboration with Nikolaus Harnoncourt.

ensemble member of the Wiener

Germany, Albany, the Netherlands,

ensemble at the Vienna State Opera

Regine Hangler Soprano

Staatsoper and is performing the following roles, just to name a few: Rosalinde (Die Fledermaus), Santuzza

Slovenia, Hungary, Japan and Israel. Regine Hangler’s discography and videography continue to grow steadily.

she quickly became a favourite of the audience and established the basis for her vast repertoire. Her most

After having studied viola and technics, Regine Hangler studied canto as her major subject at the Kärntner

Ariadne (auf Naxos), Leonore (Fidelio) and Eva (Die Meistersinger von Nürnberg).

(Cavalleria Rusticana), Elsa (Lohengrin),

Landeskonservatorium and the Universität für Musik in Vienna, which she passed with distinction.

In May 2015 the soprano was highly acclaimed for her title role of “Daphne” in Berlin, which was conducted by

Elisabeth Kulman Alto

important roles include Fricka, Erda and Waltraute (The Ring of the Nibelung), Carmen, Mrs. Quickly (Falstaff), Brangäne (Tristan and Isolde), Begbick

Elisabeth Kulman is one of today’s

(Mahagonny), Orlofsky (The Bat), Orfeo

most sought-after singers and leading authorities in the international classical music scene. She impresses

(Gluck) and Marina (Boris Godunov). Since 2010 Elisabeth Kulman has been

At the same time she was working

Marek Janowski, in New York und

audiences and critics alike with her rich,

working as a freelance artist. She is

with KS Mara Zampieri in Padua and concluded her education with numerous Masterclasses.

Cleveland by Franz Welser-Möst. In 2016 she had a big success at the Salzburger Festspiele for her interpretation of

colourful timbre, her charismatic stage personality and her musical versatility.

a much sought-after soloist in the metropolitan centres of the music world: Vienna, Paris, London, Munich,

Xanthe in “Die Liebe der Danae”.

She studied voice with Helena Lazarska

Berlin, Tokyo, Salzburg, Moscow, etc.

Further future engagements lead the soprano i.e. to the Bayreuther Festspiele,

at the Vienna Music University, made her debut as Pamina in 2001 at the Volksoper in Vienna and enjoyed early

She works regularly with world-class orchestras and conductors such as Zubin Mehta, Kirill Petrenko, Christian

Several times she was decorated with highly skilled scholarships, became finalist of the Italian Aslico competition

Welser-Möst. She enjoyed a particularly

Christian Elsner Tenor Born in Freiburg, Christian Elsner is one of the most versatile German tenors. He

On the opera stage Christian Elsner has

The versatile singer has written his own

established himself as a heroic tenor

children’s book, Lennie und der Ring des

in the roles of Siegmund and Parsifal at the Deutsches Nationaltheater in Weimar, the Staatstheater in Kassel, the

Nibelungen, and has been working as a professor for singing at the Hochschule für Musik in Wurzburg since 2006.

Franz-Josef Selig Bass

Nezét-Séguin, Antonio Pappano, Phillipe Jordan, Zubin Mehta and many others.

Franz-Josef Selig has established himself on the international scene as

Bass singer Franz-Josef Selig first studied church music at the Staatliche

Since 2015 Elisabeth Kulman has been

studied singing with Martin Gründler,

Dresden Semperoper, the Vienna State

focusing her artistic activities on recitals (together with her longtime accompanist Eduard Kutrowatz),

took lessons with Dietrich FischerDieskau and Neil Semer, and has won many international competitions.

Opera and at the Teatro Real in Madrid. Accompanied by Gerold Huber and Burkhard Kehring, the tenor has given recitals in Frankfurt, Hamburg, Bonn,

Real in Madrid under Semyon Bychkov,

Fiesco and Fasolt at all the world’s

ensemble in Essen. He has since been a

As an internationally sought-after concert singer, Christian Elsner is a popular guest at all the important

Dresden, Munich, Wurzburg and Brussels, and at the Schubertiade in Feldkirch.

in Vienna in Franz Schmidt’s The Book with Seven Seals under Manfred Honeck with the Vienna Symphony Orchestra,

major opera houses (such as the Vienna State Opera, Bavarian State Opera, Teatro alla Scala di Milano, Teatro Real

freelance singer.

in Beethoven’s Ninth Symphony in

Madrid, the Parisian opera houses or

Wien as well as “Hungaro Tune” with symphony orchestra and jazz soloists.

the Berlin Philharmonic, New York’s Carnegie Hall, La Scala, Milan and the Suntory Hall in Tokyo, and has worked

Christian Elsner can also be heard on CD, with recordings such as Schubert’s Winterreise and Schumann’s

Leipzig with the Gewandhausorchester under Herbert Blomstedt, and in Berlin, Vienna, New York, Taipei and Tokyo with

the Metropolitan Opera New York) and at prestigious festivals such as the Bayreuth and Salzburg Festival and

Her latest solo programme “La femme c’est moi” features pieces from Carmen

with many renowned conductors such as Herbert Blomstedt, Manfred Honeck,

Dichterliebe, along with studio productions of Mahler’s Lied von der

the Berlin Philharmonic under Sir Simon Rattle.

the Festival d’Aix-en-Provence. Opera productions as well as concerts bring

up to the Beatles.

Marek Janowski, Mariss Jansons, Kent Nagano, Yannick Nézet-Séguin, Semyon

Erde as well as complete recordings of Wagner’s Rheingold (Loge) and Parsifal

Bychkov and Sir Simon Rattle.

(title role).

concerts and operas in concert. She is especially devoted to unconventional projects: “Mussorgsky Dis-Covered” with an international jazz quartet, “Mahler Lieder” and “Wer wagt mich zu höhnen?” with the ensemble Amarcord

classical music centres, such as

Christian Elsner’s most recent performances have included the title role in Wagner’s Parsifal at the Teatro

one of the best-known serious bass

Hochschule für Musik in Cologne before

baritones. He regularly gives guest performances as Gurnemanz, King Marke, Sarastro, Rocco, Osmin, Daland,

taking voice classes under Claudio Nicolai. At the beginning of his career he was a member of the Aalto Theatre

him together frequently with renowned orchestras and conductors, such as James Levine, Christian Thielemann, Sir Simon Rattle, Marek Janowski,

MDR Rundfunkchor Leipzig

Mit Andacht Gedanken zu Beethovens Missa solemnis

into the live recording of the successful ten part Wagner cycle. Other activities of the RSB include special concerts for families and children, as well as guest performances in the major international concert halls, which have taken place over the past 50 years. Alongside regular tours of Asia the orchestra appears at German and European festivals. MDR Rundfunkchor Leipzig © Peter Adamik

Nelsons, Yannick Nézet-Séguin, Alain Altinoglu, Jakub Hrůša, Alondra de

nicht die Missa solemnis, sondern eine

Ein Solitär benötigt Zeit. Und die nahm sich Beethoven in diesem Fall reichlich. Im Sommer 1818 wurde in Wien bekannt, dass sein Schüler und Gönner, Erzherzog Rudolph, am 9. März 1820 zum Erzbischof von Olmütz inthronisiert

Überzeugungskraft. Reich an zutiefst persönlichen Blicken auf jenen Glauben, wie er in Gestalt des lateinischen Messtextes seit Jahrhunderten in

werden sollte. Aus diesem Anlass plante Beethoven eine Messvertonung. Im Juni 1819 schrieb er an den Erzherzog: „Der Tag, wo ein Hochamt von mir

Stein gemeißelt ist. Und doch auch reich an Momenten des Zweifelns an dogmatischer Religion und der formellen Institution Kirche. In ihrer

zu den Feierlichkeiten für I.K.H. soll aufgeführt werden, wird für mich der schönste meines Lebens sein. Und Gott wird mich erleuchten, dass meine

Monumentalität und zeitlichen Ausdehnung von knapp 90 Minuten sprengt die Missa solemnis jegliche liturgischen Vorgaben. Auch wenn das Werk ursprünglich für ein konkretes

schwachen Kräfte zur Verherrlichung dieses Feierlichen Tages beitragen.“ Doch die kompositorische Arbeit ging nur schleppend voran und Ende 1819

Hochamt gedacht war. Dort dann aber nicht erklang. Rundfunk-Sinfonieorchester Berlin © Molina Visuals

Äußerer Anlass und innere Aufgabe

Beethovens Missa solemnis ist ein Solitär. Ein Werk von äußerer dramatischer Wucht und schier unglaublicher innerer Stärke. Voller

hatte Beethoven gerade einmal den Mittelteil des Credos skizziert. Der Tag des Hochamtes kam. Und es erklang – Deutsch

Messe von Johann Nepomuk Hummel. Erst drei Jahre später konnte Beethoven die Missa solemnis vollenden. Weil ihm schnell klar wurde, dass er einen außergewöhnlichen Weg würde gehen müssen. Die Uraufführung fand am 7. April 1824 in St. Petersburg im Rahmen einer konzertanten Aufführung des Fürsten Galitzin statt und am 7. Mai 1824 erklang das Werk bruchstückhaft in Wien, ohne Gloria und Sanctus. Beethoven hatte ganz augenscheinlich kein schlechtes Gewissen, seine Missa aus ihrer ursprünglichen Bestimmung herauszulösen. Betrachtete er sie doch mittlerweile als zutiefst persönliche Auseinandersetzung mit seinem Glauben.

Stile antico und moderne Tonsprache

als „submotivische Beziehungen“.

dass ich den Text behandelt habe, wie

Glaubensfragen. Was nicht zuletzt der

Wie schon in der C-Dur-Messe

knappe volksliedhafte Bildungen. Die

Folgt man Carl Dahlhaus, so ging

Demnach kehren auf äußerst subtile Weise einzelne Parameter aus Motivgestalten genauestens kalkuliert

er noch wenig behandelt worden“. Auch bei der Missa solemnis untersuchte Beethoven die einzelnen Wörter des

es Beethoven in der Missa solemnis kompositorisch vor allem um eine Vermittlung zwischen altem Kirchenstil und moderner Instrumentalmusik. Gelungen sei ihm dies dadurch, „dass

wieder – aber in einem jeweils anderen inhaltlichen Zusammenhang. Diese submotivischen Bezüge sind beim erstmaligen Hören kaum zu erkennen. Während der Arbeit an der Messe

lateinischen Messtextes genau, um sie musikalisch exakt auszudeuten. Auf ihre reine Bedeutung hin, vor allem aber auch auf ihre Konnotationen. Welche Gefühle schwingen mit? Welche

im Autograph über dem Kyrie stehende Satz „Von Herzen – möge es wieder – zu Herzen gehen“ transportiert. Wie schlicht. Wie groß. Wie menschlich. Vielleicht hat Beethoven die Missa

verzichtet Beethoven auch in der Missa solemnis auf die traditionelle Nummerngliederung, also auf die Verteilung von Arien und Chorsätzen auf die Messabschnitte. Die formale

Missa solemnis ist ein Werk der Extreme. Beethoven lässt Chor, Solisten und das groß besetzte Orchester zu einem einzigen Klangkörper verschmelzen, der den Hörer mit seinem voluminösen

gerade deshalb als das „gelungenste seiner Geistesprodukte“ bezeichnet. Weil sie seinen persönlichen Blick

Gliederung folgt teils traditionellen Vorgaben, wie bei der Dreiteilung des Kyrie, geht aber auch eigene Wege,

Klangbild „rühren, treffen, erschüttern“ (Werner-Jensen) soll. Und das gelingt Beethoven, der sich zum Ziel gesetzt

er im Archaischen, das die Kirchlichkeit verbürgen sollte, zugleich ein Ferment von Modernität entdeckte, durch die das Werk vor der ästhetischen Maxime

vertiefte sich Beethoven in der Bibliothek Erzherzog Rudolphs in alte Kirchenmusik, studierte Palestrinas Werke und die Gregorianik.

Emotionen setzen sie frei? Und zwar nicht nur beim Hörer, sondern vor allem beim Komponisten.

etwa wenn Beethoven das „Gloria in excelsis Deo“ am Ende des Gloria im presto wiederholt. Dem extrem kurzen Sanctus steht ein extrem gedehntes Benedictus gegenüber und das textlich

hatte „sowohl bei Singenden als bei Zuhörern religiöse Gefühle (zu) erwecken und dauernd (zu) machen“.

bestehen konnte, dass Musik neu sein müsse, um authentisch zu sein.“ Und in der Tat finden sich Techniken wie motivisch-thematische Arbeit oder

auf den Glauben zeigt. Und wie er bestimmte Aussagen des Messtextes bewertet. Man denke etwa an das beiläufige, lediglich einmal im ChorTenor rezitierte „credo in unam sanctam

Schon in seiner C-Dur-Messe aus dem Jahr 1807 und auch in seinem Oratorium Christus am Ölberge (1803/1804/1811)

entwickelnde Variation (ihres Zeichens Merkmale des mittleren Beethovens) nur rudimentär. Was wiederum nicht bedeutet, dass die formalen Teile der

hatte sich Beethoven intensiv mit den Textvorlagen beschäftigt, mit dem Ziel „Musick und wort ein’s“ werden zu lassen. Beim Messtext bediente er sich

catholicam“, das in den „Credo“-Rufen der anderen Stimmen schier untergeht. Der Glaube an das ewige Leben erfährt dagegen auf über 170 Takten in einer

eigentlich dreiteilig angelegte Agnus Dei wird vierteilig umgesetzt. Auf allen Ebenen findet sich ein extrem ausgeprägtes Kontrastprinzip. Ruhe

homophon vom Chor fast geflüstert, das hymnisch anbetende „Laudamus te“ und das klanglich luftige „Gratias agimus tibi“. Mit dem „Qui tollis“ beginnt der langsame, zweite Teil des Gloria, in dem

der Hilfe eines Übersetzers, der selber Musiker war. Beethoven schrieb über seine erste Messe: „jedoch glaube ich,

wird Bewegung gegenübergestellt, ekstatischer Jubel erklingt neben schreitender Würde, polyphone und homophone Ausgestaltung wechseln

Das Kyrie, der Bittgesang, ist klassisch dreigeteilt, im steten, demutsvollen Wechselgesang zwischen Soli und Chor. Der machtvolle Kyrie-Anruf der Chorstimmen wird bereits im ersten

Messe isoliert nebeneinanderstehen. Die motivischen Bezüge zwischen den Formabschnitten beschreibt Dahlhaus

ausgeweiteten Doppelfuge eine starke Gewichtung. Derart kontrastreiche Interpretationen der textlichen Vorgabe prägen die Missa.

D-Dur-Akkord des vollen Orchesters vorweggenommen. Im mittleren Christe-Teil führen die Soli, der Chor antwortet. Immer dichter werden die

Klarinetten und Flöten das Klagethema präsentieren. Eine ausgedehnte, zerknirschte Bitte um Erbarmen entwickelt sich im von Beethoven um

Stimmen kontrapunktisch miteinander

den emotionalen Laut „O“ erweiterte

Bekenntniswerk Ist dies mein Glaube? Wie glaube ich? Und warum? Mit diesen Fragen zieht sich ein religiöser und „expressiv gesteigerter Subjektivismus“ (Ackermann) wie ein roter Faden durch die Missa solemnis. Sie ist ein zutiefst persönliches Bekenntniswerk. Es geht Beethoven um individuelle Emotionen, nicht um allgemeingültige

sich ab. Ein Rezitationston trifft auf weit ausschwingende Kantilenen und

Die Sätze

verwoben. In der variierten KyrieWiederholung betont Beethoven die schmerzvolle Haltung durch Chromatik, der Satz verklingt im Pianissimo-Gebet. In stärkstem Kontrast eröffnet Beethoven den Preisgesang des Gloria, das in vier Teile gegliedert ist. Nach stürmischem Fortissimo-Orchesterauftakt jagen die Chorstimmen mit dem aufsteigenden Gloria-Hauptthema in himmlische Höhen. Dieses Thema kehrt mottoartig an Schlüsselstellen des Satzes wieder. Es folgt das „et in terra pax hominibus“,

Acknowledgments

Bevor im Benedictus die Solo-

durchaus gefährdet ist, zeigen zwei

Violine in einem coup de théâtre von den höchsten Höhen des Himmels herabsteigt. Weltlicher Kitsch? Arnold Werner-Jensen sah darin „ein legitimes künstlerisches Mittel, den

instrumentale Einschübe mit gleichsam kriegerischen Pauken und Trompeten, die gewaltsam einbrechen. „Ängstlich“ bitten die Solisten erneut um Erbarmen. Der Chor fordert geradezu insistierend

einer gewaltigen Fuge abgeschlossen, einer Doppelfuge auf „et vitam venturi saeculi, amen“.

Hörer emotional aus der Fassung zu bringen“. Immerhin gehe es hier um die „Wucht der Verheißung“. Die

mit seinen Sforzato-Rufen „pacem“.

Das Sanctus nimmt „mit Andacht“ eine tiefgründige Versenkungshaltung ein, mezza voce werden die Gebetsrufe geflüstert, grundiert von Posaunen

gedämpften Klangfarben im Orchester unterstreichen die andachtsvolle Haltung noch. Bis zum Ende hat die Solo-Violine stets die Führung inne und steigt nach einer erneut fugierten

und um das Wunder von Geburt, Leiden, Tod, Wiederauferstehung und Himmelfahrt Christi. Analog zum Gloria kehrt das eröffnende, wuchtige Credo-

und tiefen Streichern. Nach einer Generalpause beginnt ein energisch vorantreibendes Chorfugato über „Osanna in excelsis“. Es folgt ein kurzes,

Lobpreisung am Ende wieder in die Höhe hinauf.

Kernmotiv am Ende wie einer Klammer wieder. Kann man hier irgendwie an Beethovens Glauben zweifeln? Die musikalische Gestaltung zementiert

fast schon amotivisches Präludium, in dem Beethoven das Wunder der Hostienwandlung nachzeichnet; übrigens der einzige rein instrumentale

einen Adagio-Teil ein, der sich immer wieder aufzuschwingen versucht, dann im Pianissimo verklingt. Das „Dona nobis pacem“ ist von Beethoven mit

PENTATONE TEAM Vice President A&R Renaud Loranger | Director A&R Job Maarse | Managing

eine unerschütterliche Geisteshaltung. Der Binnensatz („Et incarnatus est“

„Satz“.

„Bitte um innern und äußern Frieden“ überschrieben. Dass dieser Frieden

Director Dirk Jan Vink | Director Product, Marketing & Distribution Simon M. Eder A&R Kate Rockett | Marketing & PR Silvia Pietrosanti | Distribution Veronica Neo

– „et homo factus est“) gestaltet die einzelnen Phasen tief empfunden nach. Mal abgründig versunken, mal schmerz- und leidvoll, dann wieder plastisch-majestätisch beim Jüngsten Gericht. Auch das Credo wird von

Beginns den Satz im Presto krönend abschließt.

PRODUCTION TEAM Executive producers Stefan Lang (Deutschlandradio Kultur), Job Maarse (Pentatone) | Recording producer Job Maarse | Balance engineer Jean-Marie Geijsen (Polyhymnia) | Recording engineer & editor Erdo Groot (Polyhymnia) Deutschlandradio recording team Wolfram Nehls, Henri Thaon, Jens Müller Liner notes Jörg Peter Urbach | English translation Fiona J. Stroker-Gale Design Joost de Boo | Product management Max Tiel This album was live recorded at the Berlin Philharmonie, September 2016.

Das abschließende Agnus Dei leitet

Together with our talented artists, we take pride in our work, providing an impeccable means of experiencing classical music. For all their diversity, our artists have one thing in common.

And so also should the experience be. We take listening to classical music to a whole new level, using the best technology to produce a high-quality

They all put their heart and soul into the music, drawing on every last drop of creativity, skill, and determination to perfect their contribution.

recording, in whichever format it may come, in whichever format it may be released.

Find out more: www.pentatonemusic.com

Broadcasting Union, through touring or in guest performances worldwide,

years of musical history. Numerous world premieres attest to the 73 choir

the MDR LEIPZIG RADIO CHOIR, which was awarded the European Cultural

members’ reputation as a specialised ensemble for contemporary music.

Prize in 2013, acts as a supreme musical ambassador for central Germany.

work it is invariably the MDR LEIPZIG RADIO CHOIR that comes at the top

acclaimed world-class ensemble. From the season 2015/2016 he was succeeded

of their wish list. As the largest concert choir within the German Broadcasting

by Risto Joost as artistic director of the MDR LEIPZIG RADIO CHOIR.

experts as one of the best.

Premium Sound and Outstanding Artists PENTATONE. Today’s music is evolving and forever changing, but classical music remains true in creating harmony among the instruments. Classical music is as time-honoured as it is timeless.

formats. In 2017 the choir was awarded the International Classical Music Award for its recording of Max Reger’s Motets op. 110. Whether via the European

works complete a repertoire that encompasses practically a thousand

In the fifteen years of his tenure

Corporation (ARD), the MDR LEIPZIG RADIO CHOIR is widely regarded among

Sit back and enjoy

70-year history. These recordings have been released on LPs, CDs and digital

demonstrates its expertise with highly acclaimed a cappella performances. Secular and sacred music, wide-ranging ensemble singing and choral symphonic

from 1998 Howard Arman lastingly consolidated the reputation of this

Semyon Bychkov, Riccardo Muti, Yannick

Gleichfalls kontrastreich im Gesamtrahmen wie in den einzelnen Teilen gestaltet Beethoven das Credo. Auch hier zutiefst persönlich, geht es doch um das Glaubensbekenntnis

„Miserere nobis“. Im dritten Teil – „Quoniam tu solus sanctus“ – kehrt der Preisgesang im mächtigen Chorsatz zurück, bevor sich eine gewaltige „in gloria dei patris, amen“-Fuge anschließt bevor erneut das Zitat des Gloria-

Not only an excellent partner for major orchestras, the ensemble regularly

When major orchestras in Germany or abroad plan to perform a choral

Artists

The collaboration with Deutschlandradio, the main shareholder of the ROC GmbH Berlin to which the

Marek Janowski © Jean-François Leclercq

ACKNOWLEDGMENTS

The versatile singer has written his own children’s book, Lennie und der Ring des Nibelungen, and has been working as a professor for singing at the Hochschule für Musik in Wurzburg since 2006.

announced in Vienna that his pupil and patron, the Archduke Rudolph, was to be enthroned as Archbishop of Olomouc

during the celebrations solemnized for Y.I.H. will be for me the most beautiful day of my life. And God will enlighten

DEUTSCH

On the opera stage Christian Elsner has established himself as a heroic tenor in the roles of Siegmund and Parsifal at the Deutsches Nationaltheater in Weimar, the Staatstheater in Kassel, the Dresden Semperoper, the Vienna State Opera and at the Teatro Real in Madrid. Accompanied by Gerold Huber and Burkhard Kehring, the tenor has given recitals in Frankfurt, Hamburg, Bonn,

Born in Freiburg, Christian Elsner is one of the most versatile German tenors. He studied singing with Martin Gründler, took lessons with Dietrich FischerDieskau and Neil Semer, and has won many international competitions.

Since 2015 Elisabeth Kulman has been focusing her artistic activities on

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ENGLISH

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TRACK INFORMATION

Nearly 200 recordings, many of them award-winning, have been recorded by the ensemble during its more than

RundfunkSinfonieorchester Berlin (RSB, Berlin Radio Symphony Orchestra) dates back to the beginnings of music broadcasting in 1923, and has since sustained its position amongst the leading orchestras in Berlin and other radio orchestras throughout Germany. From 2002 to 2015, Marek Janowski was artistic director and chief conductor

←

ENGLISH

Franz-Josef Selig Bass

Nezét-Séguin, Antonio Pappano, Phillipe Jordan, Zubin Mehta and many others.

Franz-Josef Selig has established himself on the international scene as one of the best-known serious bass baritones. He regularly gives guest performances as Gurnemanz, King Marke, Sarastro, Rocco, Osmin, Daland, Fiesco and Fasolt at all the world’s

Bass singer Franz-Josef Selig first studied church music at the Staatliche Hochschule für Musik in Cologne before taking voice classes under Claudio Nicolai. At the beginning of his career he was a member of the Aalto Theatre ensemble in Essen. He has since been a

major opera houses (such as the Vienna State Opera, Bavarian State Opera, Teatro alla Scala di Milano, Teatro Real Madrid, the Parisian opera houses or the Metropolitan Opera New York) and at prestigious festivals such as the Bayreuth and Salzburg Festival and the Festival d’Aix-en-Provence. Opera productions as well as concerts bring him together frequently with renowned orchestras and conductors, such as

freelance singer.

James Levine, Christian Thielemann, Sir Simon Rattle, Marek Janowski,

MDR Rundfunkchor Leipzig When major orchestras in Germany or abroad plan to perform a choral work it is invariably the MDR LEIPZIG RADIO CHOIR that comes at the top of their wish list. As the largest concert choir within the German Broadcasting Corporation (ARD), the MDR LEIPZIG RADIO CHOIR is widely regarded among

Ludwig van Beethoven (1770 – 1827)

With devotion

MISSA SOLEMNIS

Reflections on Beethoven’s

BEETHOVEN

MISSA SOLEMNIS

Missa solemnis

1 2

Kyrie Gloria

9. 22 15. 41

Beethoven’s Missa solemnis is a unique gem. A work of dramatic external

3 4

Credo Sanctus – Benedictus

16. 59 15. 26

power and well-nigh incredible inner strength. Full of conviction. Rich in

5

Agnus Dei Total playing time:

Rundfunk-Sinfonieorchester Berlin MDR Rundfunkchor Leipzig

15. 32

profoundly personal visions of the faith that has remained, carved in stone,

73. 04

Regine Hangler, Soprano

in the form of the Latin mass text for centuries. And yet also rich in moments of doubt about dogmatic religion and

Elisabeth Kulman, Alto

the formal institution of the church.

Christian Elsner, Tenor Franz-Josef Selig, Bass

In its monumentality and lengthy duration of just under 90 minutes, the Missa solemnis departs from all

MDR Rundfunkchor Leipzig

liturgical guidelines – despite the fact

Michael Gläser, Chorus Master

that the work was originally intended for a specific high mass; yet it was not actually performed there in the end.

Rundfunk-Sinfonieorchester Berlin

Marek Janowski

External event and internal task Creating a unique gem takes time: and in this case, Beethoven took plenty

– not Beethoven’s Missa solemnis, but a mass composed by Johann Nepomuk Hummel was performed. Not until three years later did Beethoven manage to complete the Missa solemnis, the

Stile antico and modern musical idiom According to Carl Dahlhaus, in his Missa solemnis Beethoven was mainly

Dahlhaus describes the motivic links

as follows about his first mass: “…

between the various structural sections

however, I believe that I have treated

as “submotivic connections.” Thus, very subtly, individual parameters from motifs constantly reappear in a precisely

the text in a manner in which it has seldom been treated.” And again with his Missa solemnis, Beethoven subjected

of time. In the summer of 1818 it was

reason being that he had quickly

concerned with finding a good mix

calculated manner – however, always in

the individual words of the Latin text to

announced in Vienna that his pupil and patron, the Archduke Rudolph, was to be enthroned as Archbishop of Olomouc

realized that he would have to take an extraordinary path. The première took place in St. Petersburg on April 7, 1824,

between the idiom of ancient church music and that of modern instrumental music. He appears to have managed

a different context as regards content. These submotivic references are very difficult to recognize at first hearing.

a precise examination, in order to give them an exact musical interpretation: both with regard to their pure

on March 9, 1820. Beethoven decided

as a concertante performance under

this due to the fact that “in the archaic

While working on his mass, Beethoven

significance, but above all, with regard

to compose a mass for this event. In June 1819, he wrote as follows to the Archduke: “The day on which a high

the auspices of Prince Gallitzin; and on May 7, 1824, the mass was given an incomplete performance in Vienna,

idiom, which was meant to vouch for the church, he simultaneously discovered a ferment of modernity,

delved into ancient church music in Archduke Rudolph’s library, studying works by Palestrina as well as Gregorian

to their connotations. Which feelings are resonating here? Which emotions are they releasing? And not only in the case

mass by my hand will be performed

not including the “Gloria” and the “Sanctus.” Obviously, Beethoven had no

thanks to which the work was able to

chant.

of the listener, but above all, with regard to the composer himself.

during the celebrations solemnized for Y.I.H. will be for me the most beautiful day of my life. And God will enlighten

problem in “extracting” his Missa from its original destination. Clearly, in the

hold its own with regard to the aesthetic maxim that music must be novel in order to be considered authentic.” And

me, so that my paltry creative powers may contribute to the glorification

meantime, he had begun to regard it as a deeply personal confrontation with

indeed, techniques such as motivicthematic passage work, or evolving

am Ölberge (= Christ on the mount of olives, 1803/1804/1811), Beethoven had

of this solemn day.” But work on the composition dragged out, and by the

his faith.

variation (characteristic for Beethoven’s middle period) are to be found only

already devoted a great deal of time to the texts, aiming to “unify music

In his Mass in C major, dating from 1807, and also in his oratorio Christus

Rainer Wolters, Concert Master

end of 1819 Beethoven had only just sketched the middle part of the Credo.

in rudimentary form. However, this does not signify that the structural

and word.” To help with the mass text, he brought in a translator, who was

Conducted by Marek Janowski

The day arrived of the High Mass, and

sections of the mass coexist in isolation.

himself a musician. Beethoven wrote

Creed

70-year history. These recordings have been released on LPs, CDs and digital formats. In 2017 the choir was awarded the International Classical Music Award for its recording of Max Reger’s Motets op. 110. Whether via the European Broadcasting Union, through touring

encompasses practically a thousand years of musical history. Numerous world premieres attest to the 73 choir members’ reputation as a specialised ensemble for contemporary music.

or in guest performances worldwide, the MDR LEIPZIG RADIO CHOIR, which was awarded the European Cultural Prize in 2013, acts as a supreme musical ambassador for central Germany.

Nearly 200 recordings, many of them

experts as one of the best.

award-winning, have been recorded by the ensemble during its more than

drowned by the calls of “credo” in the

Is this my faith? How do I believe?

other voices. On the other hand, great emphasis is placed on the belief in

And why? A religious and “expressively intensified subjectivism” (Ackermann)

eternal life by means of an extended double fugue lasting more than 170

containing these questions runs like a red thread through the Missa solemnis.

bars. The Missa is full of such highly contrasting interpretations of the text.

It is a deeply personal creed. Here, Beethoven is concerned with individual

As in the Mass in C major, in the Missa

emotions, not with universal questions of faith – as he makes clear to us in the

solemnis Beethoven also renounces the traditional numbering, i.e. the

following sentence “May it continue to flow from heart to heart,” written in the autograph score above the “Kyrie.”

classification of the distribution of arias and choral settings within the various sections of the mass. In part, the

How simple. How noble. How human.

formal structuring keeps to traditional

Perhaps this is precisely why Beethoven described the Missa as “the most successful of his intellectual products”:

guidelines, as in the tripartite division of the “Kyrie”; however, it also goes its own way, for example at the end of the

because it demonstrates his personal

“Gloria,” when the “Gloria in excelsis

view of faith, and also how he rated certain assertions in the mass text. Take, for instance, the casual “credo in

Deo” is repeated, but now in presto. The extremely short “Sanctus” is contrasted with a greatly elongated “Benedictus”;

is laid out in four sections. There is

The movements

an extremely pronounced principle of contrast at all levels. Peace and quiet is contrasted with movement, ecstatic rejoicing resonates alongside pacing dignity, polyphony is alternated with homophony. A recitative tone meets with widely resonating cantilenas and concise folk-song-like creations. The Missa solemnis is a work of extremes. Beethoven blends choir, soloists, and large orchestra into a single “body of sound,” which is meant to “touch, strike, shake” (Werner-Jensen) the listener with volume of its sound. And Beethoven succeeds at this, having set himself the goal “of awakening and perpetuating religious feelings both in the singer and the listener.”

the heavenly heights with the soaring

Beethoven designs the “Credo” with

The “Kyrie,” the song of invocation,

main theme of the “Gloria.” This theme recurs like a motto at key points in

equally rich contrast, both in its entirety and its individual sections. Here, too,

has a classical tripartite division, with a constant and humble interchange of

the movement. This is followed by the “terra pax hominibus,” almost like a

the music is deeply personal, all about the confession of faith and the miracle

singing between soloists and choir. The first D-major chord of the full orchestra

homophonic whisper from the choir, the hymnically worshipping “Laudamus te”

of Christ’s birth, suffering, death, resurrection and ascension. Analogous

already anticipates the impressive cry of “Kyrie” from the choir. In the middle

and the airy “Gratias agimus tibi.” The “Qui tollis” introduces the slow, second

to the “Gloria,” the powerful opening core motif of the “Credo” returns at

part (“Christe”), the soloists lead with the choir responding. Increasingly

part of the Gloria, in which clarinets and flutes present the lament theme. An

the end as if to close brackets. Can there be any doubt about Beethoven’s

dense, the voices become more and more contrapuntally interwoven. In the varied repetition of the “Kyrie,”

extended, contrite plea for compassion develops in the “Miserere nobis,” in which Beethoven draws out the emotion

faith here? The musical design cements an imperturbable attitude of mind. The next section of the movement

Beethoven emphasizes the agonizing

in the vowel “o.” In the third part –

(“Et incarnatus est” – “et homo factus

mood by means of chromaticism, and the movement fades away in the prayer in pianissimo.

“Quoniam tu solus sanctus” – the eulogy returns in the powerful choral setting, followed by a tremendous fugue, “in

est”) recreates the individual phases with deep feeling: at times profoundly absorbed in thought, at others painful

gloria dei patris, amen,” after which

and sorrowful, then again vividly

Beethoven begins the eulogy of the “Gloria,” which is divided into four parts in a hugely contrasting manner.

the recurrence of the motto from the beginning of the “Gloria” concludes the movement in presto.

majestic during the Last Judgment. Here too, the “Credo” is concluded with a massive fugue – a double fugue on the

unam sanctam catholicam,” recited

and the “Agnus Dei” – which in fact

After a stormy fortissimo upbeat in

only once in the tenors, which is almost

consists of three sections in the text –

the orchestra, the choir races up into

phrase “et vitam venturi saeculi, amen.”

The Sanctus “devoutly” assumes a

reverent mood. Right up to the end, the

profoundly meditative attitude, the

solo violin remains in charge; and at

prayers are whispered mezza voce, primed by trombones and low strings. A general pause is immediately followed

the conclusion, it soars back up to the heights after a glorification, once again set as a fugue.

by an energetically driving choral fugato to the phrase “Osanna in excelsis.” This is followed by a short prelude, almost lacking in motif, in which

The concluding “Agnus Dei” introduces an Adagio section that continually attempts to soar, but finally fades away

Beethoven portrays the miracle of the

in pp. Beethoven wrote the following

transformation of the host; by the way, this is the only exclusively instrumental “movement.”

words above the “Dona nobis pacem”: “Plea for internal and external peace.” Two instrumental interpolations with,

But then suddenly in the “Benedictus,”

so to speak, warlike timpani and trumpets, violently breaking into the

the solo violin swoops down from the highest heights of heaven in a coup de

music, demonstrate that this peace is truly under siege. “Fearfully,” the soloists

théâtre. Profane kitsch? Well, Arnold Werner-Jensen described this as “a

once again plea for mercy; and the choir virtually insists upon it, with its

legitimate artistic means of emotionally flustering the listener.” For after all,

sforzato cries of “pacem.”

it was about the “impact of the promise.” The muted sound-colours in the orchestra further emphasize the

Marek Janowski

Dortmund (1975-1979). Since the late

From 2002 until 2015, Marek

1970s, he has appeared regularly at all the major opera houses world-wide.

Janowski was Artistic Director and Chief Conductor of the Rundfunk-

Marek Janowski stepped back from the

Sinfonieorchester Berlin (RSB). Before embarking upon his Berlin period,

opera scene in the 1990s to concentrate on the great German and French

and also partly parallel to this, he was Musical Director of the Orchestre

symphonic repertoire. He enjoys an outstanding reputation amongst the

de la Suisse Romande (2005-2012), Chief Conductor of the Orchestre

premier orchestras of Europe, North America and Asia and is recognised

Philharmonique de Monte Carlo (2000-2005), Chief Conductor of the Dresdner Philharmonie (2001-2003),

for his ability to create orchestras of international standing.

and Musical Director of the Orchestre

His leave-taking of the opera, however,

Philharmonique de Radio France (19842000).

was merely an institutional matter, not a musical farewell. Thus he is now recognized as one of the greatest

Born in Warsaw and educated in

experts regarding the music of Richard

Germany, Marek Janowski’s artistic path led him from positions in Aachen, Cologne, Düsseldorf and Hamburg to his

Wagner, to which his concertante Wagner cycle with the RSB bears witness. In the sequel he accepted the

appointment as General Music Director

invitation to conduct Wagner’s “Ring” at

in Freiburg im Breisgau (1973-1975) and

the Bayreuth Festival in 2016 and 2017.

Liner notes

of the RSB. Vladimir Jurowski has

la Parra, Lahav Shani and Omer Meir

been named as his successor, starting in the 2017-2018 season. Previous chief conductors (including Sergiu Celibidache, Eugen Jochum, Hermann Abendroth, Rolf Kleinert, Heinz Rogner,

Wellber performing in recent years.

and Rafael Frühbeck de Burgos) have all helped to create the ensemble’s exceptional sound.

RSB belongs, has born rich fruit on recording. Starting in 2010, together with PENTATONE, great effort was put

Since its foundation, the RSB has invited major composers to conduct or to perform as soloists in their own works. These have included Paul Hindemith, Sergei Prokofiev, Richard Strauss, and Igor Stravinsky, as well as Krzysztof Penderecki, Peter Ruzicka, and Jörg Widmann. The RSB is particularly attractive for capable young conductors from the international music scene, with Andris

In 2014 Marek Janowski was awarded

and won the 2nd prize in the Birgit

the “Ehrenpreis der deutschen

Nilson competition.

Schallplattenkritik” (= honorary prize of the German Critics’ Award) for his extensive life’s work.

Since 2013/14 Regine Hangler is an

RundfunkSinfonieorchester Berlin (RSB, Berlin Radio Symphony Orchestra) dates back to the beginnings of music broadcasting in 1923, and has since sustained its position amongst the leading orchestras in Berlin and other radio orchestras throughout Germany. From 2002 to 2015, Marek Janowski was artistic director and chief conductor

Tokyo and the Scala in Milan.

success as a soprano. Since 2005

Thielemann, Marek Janowski or Franz

As a successful concert singer Regine Hangler is very successful in Austria,

Elisabeth Kulman has been singing the major parts of the mezzo and alto repertoire. As a member of the

close collaboration with Nikolaus Harnoncourt.

ensemble member of the Wiener

Germany, Albany, the Netherlands,

ensemble at the Vienna State Opera

Regine Hangler Soprano

Staatsoper and is performing the following roles, just to name a few: Rosalinde (Die Fledermaus), Santuzza

Slovenia, Hungary, Japan and Israel. Regine Hangler’s discography and videography continue to grow steadily.

she quickly became a favourite of the audience and established the basis for her vast repertoire. Her most

After having studied viola and technics, Regine Hangler studied canto as her major subject at the Kärntner

Ariadne (auf Naxos), Leonore (Fidelio) and Eva (Die Meistersinger von Nürnberg).

(Cavalleria Rusticana), Elsa (Lohengrin),

Landeskonservatorium and the Universität für Musik in Vienna, which she passed with distinction.

In May 2015 the soprano was highly acclaimed for her title role of “Daphne” in Berlin, which was conducted by

Elisabeth Kulman Alto

important roles include Fricka, Erda and Waltraute (The Ring of the Nibelung), Carmen, Mrs. Quickly (Falstaff), Brangäne (Tristan and Isolde), Begbick

Elisabeth Kulman is one of today’s

(Mahagonny), Orlofsky (The Bat), Orfeo

most sought-after singers and leading authorities in the international classical music scene. She impresses

(Gluck) and Marina (Boris Godunov). Since 2010 Elisabeth Kulman has been

At the same time she was working

Marek Janowski, in New York und

audiences and critics alike with her rich,

working as a freelance artist. She is

with KS Mara Zampieri in Padua and concluded her education with numerous Masterclasses.

Cleveland by Franz Welser-Möst. In 2016 she had a big success at the Salzburger Festspiele for her interpretation of

colourful timbre, her charismatic stage personality and her musical versatility.

a much sought-after soloist in the metropolitan centres of the music world: Vienna, Paris, London, Munich,

Xanthe in “Die Liebe der Danae”.

She studied voice with Helena Lazarska

Berlin, Tokyo, Salzburg, Moscow, etc.

Further future engagements lead the soprano i.e. to the Bayreuther Festspiele,

at the Vienna Music University, made her debut as Pamina in 2001 at the Volksoper in Vienna and enjoyed early

She works regularly with world-class orchestras and conductors such as Zubin Mehta, Kirill Petrenko, Christian

Several times she was decorated with highly skilled scholarships, became finalist of the Italian Aslico competition

Welser-Möst. She enjoyed a particularly

Christian Elsner Tenor Born in Freiburg, Christian Elsner is one of the most versatile German tenors. He

On the opera stage Christian Elsner has

The versatile singer has written his own

established himself as a heroic tenor

children’s book, Lennie und der Ring des

in the roles of Siegmund and Parsifal at the Deutsches Nationaltheater in Weimar, the Staatstheater in Kassel, the

Nibelungen, and has been working as a professor for singing at the Hochschule für Musik in Wurzburg since 2006.

Franz-Josef Selig Bass

Nezét-Séguin, Antonio Pappano, Phillipe Jordan, Zubin Mehta and many others.

Franz-Josef Selig has established himself on the international scene as

Bass singer Franz-Josef Selig first studied church music at the Staatliche

Since 2015 Elisabeth Kulman has been

studied singing with Martin Gründler,

Dresden Semperoper, the Vienna State

focusing her artistic activities on recitals (together with her longtime accompanist Eduard Kutrowatz),

took lessons with Dietrich FischerDieskau and Neil Semer, and has won many international competitions.

Opera and at the Teatro Real in Madrid. Accompanied by Gerold Huber and Burkhard Kehring, the tenor has given recitals in Frankfurt, Hamburg, Bonn,

Real in Madrid under Semyon Bychkov,

Fiesco and Fasolt at all the world’s

ensemble in Essen. He has since been a

As an internationally sought-after concert singer, Christian Elsner is a popular guest at all the important

Dresden, Munich, Wurzburg and Brussels, and at the Schubertiade in Feldkirch.

in Vienna in Franz Schmidt’s The Book with Seven Seals under Manfred Honeck with the Vienna Symphony Orchestra,

major opera houses (such as the Vienna State Opera, Bavarian State Opera, Teatro alla Scala di Milano, Teatro Real

freelance singer.

in Beethoven’s Ninth Symphony in

Madrid, the Parisian opera houses or

Wien as well as “Hungaro Tune” with symphony orchestra and jazz soloists.

the Berlin Philharmonic, New York’s Carnegie Hall, La Scala, Milan and the Suntory Hall in Tokyo, and has worked

Christian Elsner can also be heard on CD, with recordings such as Schubert’s Winterreise and Schumann’s

Leipzig with the Gewandhausorchester under Herbert Blomstedt, and in Berlin, Vienna, New York, Taipei and Tokyo with

the Metropolitan Opera New York) and at prestigious festivals such as the Bayreuth and Salzburg Festival and

Her latest solo programme “La femme c’est moi” features pieces from Carmen

with many renowned conductors such as Herbert Blomstedt, Manfred Honeck,

Dichterliebe, along with studio productions of Mahler’s Lied von der

the Berlin Philharmonic under Sir Simon Rattle.

the Festival d’Aix-en-Provence. Opera productions as well as concerts bring

up to the Beatles.

Marek Janowski, Mariss Jansons, Kent Nagano, Yannick Nézet-Séguin, Semyon

Erde as well as complete recordings of Wagner’s Rheingold (Loge) and Parsifal

Bychkov and Sir Simon Rattle.

(title role).

concerts and operas in concert. She is especially devoted to unconventional projects: “Mussorgsky Dis-Covered” with an international jazz quartet, “Mahler Lieder” and “Wer wagt mich zu höhnen?” with the ensemble Amarcord

classical music centres, such as

Christian Elsner’s most recent performances have included the title role in Wagner’s Parsifal at the Teatro

one of the best-known serious bass

Hochschule für Musik in Cologne before

baritones. He regularly gives guest performances as Gurnemanz, King Marke, Sarastro, Rocco, Osmin, Daland,

taking voice classes under Claudio Nicolai. At the beginning of his career he was a member of the Aalto Theatre

him together frequently with renowned orchestras and conductors, such as James Levine, Christian Thielemann, Sir Simon Rattle, Marek Janowski,

MDR Rundfunkchor Leipzig

Mit Andacht Gedanken zu Beethovens Missa solemnis

into the live recording of the successful ten part Wagner cycle. Other activities of the RSB include special concerts for families and children, as well as guest performances in the major international concert halls, which have taken place over the past 50 years. Alongside regular tours of Asia the orchestra appears at German and European festivals. MDR Rundfunkchor Leipzig © Peter Adamik

Nelsons, Yannick Nézet-Séguin, Alain Altinoglu, Jakub Hrůša, Alondra de

nicht die Missa solemnis, sondern eine

Ein Solitär benötigt Zeit. Und die nahm sich Beethoven in diesem Fall reichlich. Im Sommer 1818 wurde in Wien bekannt, dass sein Schüler und Gönner, Erzherzog Rudolph, am 9. März 1820 zum Erzbischof von Olmütz inthronisiert

Überzeugungskraft. Reich an zutiefst persönlichen Blicken auf jenen Glauben, wie er in Gestalt des lateinischen Messtextes seit Jahrhunderten in

werden sollte. Aus diesem Anlass plante Beethoven eine Messvertonung. Im Juni 1819 schrieb er an den Erzherzog: „Der Tag, wo ein Hochamt von mir

Stein gemeißelt ist. Und doch auch reich an Momenten des Zweifelns an dogmatischer Religion und der formellen Institution Kirche. In ihrer

zu den Feierlichkeiten für I.K.H. soll aufgeführt werden, wird für mich der schönste meines Lebens sein. Und Gott wird mich erleuchten, dass meine

Monumentalität und zeitlichen Ausdehnung von knapp 90 Minuten sprengt die Missa solemnis jegliche liturgischen Vorgaben. Auch wenn das Werk ursprünglich für ein konkretes

schwachen Kräfte zur Verherrlichung dieses Feierlichen Tages beitragen.“ Doch die kompositorische Arbeit ging nur schleppend voran und Ende 1819

Hochamt gedacht war. Dort dann aber nicht erklang. Rundfunk-Sinfonieorchester Berlin © Molina Visuals

Äußerer Anlass und innere Aufgabe

Beethovens Missa solemnis ist ein Solitär. Ein Werk von äußerer dramatischer Wucht und schier unglaublicher innerer Stärke. Voller

hatte Beethoven gerade einmal den Mittelteil des Credos skizziert. Der Tag des Hochamtes kam. Und es erklang – Deutsch

Messe von Johann Nepomuk Hummel. Erst drei Jahre später konnte Beethoven die Missa solemnis vollenden. Weil ihm schnell klar wurde, dass er einen außergewöhnlichen Weg würde gehen müssen. Die Uraufführung fand am 7. April 1824 in St. Petersburg im Rahmen einer konzertanten Aufführung des Fürsten Galitzin statt und am 7. Mai 1824 erklang das Werk bruchstückhaft in Wien, ohne Gloria und Sanctus. Beethoven hatte ganz augenscheinlich kein schlechtes Gewissen, seine Missa aus ihrer ursprünglichen Bestimmung herauszulösen. Betrachtete er sie doch mittlerweile als zutiefst persönliche Auseinandersetzung mit seinem Glauben.

Stile antico und moderne Tonsprache

als „submotivische Beziehungen“.

dass ich den Text behandelt habe, wie

Glaubensfragen. Was nicht zuletzt der

Wie schon in der C-Dur-Messe

knappe volksliedhafte Bildungen. Die

Folgt man Carl Dahlhaus, so ging

Demnach kehren auf äußerst subtile Weise einzelne Parameter aus Motivgestalten genauestens kalkuliert

er noch wenig behandelt worden“. Auch bei der Missa solemnis untersuchte Beethoven die einzelnen Wörter des

es Beethoven in der Missa solemnis kompositorisch vor allem um eine Vermittlung zwischen altem Kirchenstil und moderner Instrumentalmusik. Gelungen sei ihm dies dadurch, „dass

wieder – aber in einem jeweils anderen inhaltlichen Zusammenhang. Diese submotivischen Bezüge sind beim erstmaligen Hören kaum zu erkennen. Während der Arbeit an der Messe

lateinischen Messtextes genau, um sie musikalisch exakt auszudeuten. Auf ihre reine Bedeutung hin, vor allem aber auch auf ihre Konnotationen. Welche Gefühle schwingen mit? Welche

im Autograph über dem Kyrie stehende Satz „Von Herzen – möge es wieder – zu Herzen gehen“ transportiert. Wie schlicht. Wie groß. Wie menschlich. Vielleicht hat Beethoven die Missa

verzichtet Beethoven auch in der Missa solemnis auf die traditionelle Nummerngliederung, also auf die Verteilung von Arien und Chorsätzen auf die Messabschnitte. Die formale

Missa solemnis ist ein Werk der Extreme. Beethoven lässt Chor, Solisten und das groß besetzte Orchester zu einem einzigen Klangkörper verschmelzen, der den Hörer mit seinem voluminösen

gerade deshalb als das „gelungenste seiner Geistesprodukte“ bezeichnet. Weil sie seinen persönlichen Blick

Gliederung folgt teils traditionellen Vorgaben, wie bei der Dreiteilung des Kyrie, geht aber auch eigene Wege,

Klangbild „rühren, treffen, erschüttern“ (Werner-Jensen) soll. Und das gelingt Beethoven, der sich zum Ziel gesetzt

er im Archaischen, das die Kirchlichkeit verbürgen sollte, zugleich ein Ferment von Modernität entdeckte, durch die das Werk vor der ästhetischen Maxime

vertiefte sich Beethoven in der Bibliothek Erzherzog Rudolphs in alte Kirchenmusik, studierte Palestrinas Werke und die Gregorianik.

Emotionen setzen sie frei? Und zwar nicht nur beim Hörer, sondern vor allem beim Komponisten.

etwa wenn Beethoven das „Gloria in excelsis Deo“ am Ende des Gloria im presto wiederholt. Dem extrem kurzen Sanctus steht ein extrem gedehntes Benedictus gegenüber und das textlich

hatte „sowohl bei Singenden als bei Zuhörern religiöse Gefühle (zu) erwecken und dauernd (zu) machen“.

bestehen konnte, dass Musik neu sein müsse, um authentisch zu sein.“ Und in der Tat finden sich Techniken wie motivisch-thematische Arbeit oder

auf den Glauben zeigt. Und wie er bestimmte Aussagen des Messtextes bewertet. Man denke etwa an das beiläufige, lediglich einmal im ChorTenor rezitierte „credo in unam sanctam

Schon in seiner C-Dur-Messe aus dem Jahr 1807 und auch in seinem Oratorium Christus am Ölberge (1803/1804/1811)

entwickelnde Variation (ihres Zeichens Merkmale des mittleren Beethovens) nur rudimentär. Was wiederum nicht bedeutet, dass die formalen Teile der

hatte sich Beethoven intensiv mit den Textvorlagen beschäftigt, mit dem Ziel „Musick und wort ein’s“ werden zu lassen. Beim Messtext bediente er sich

catholicam“, das in den „Credo“-Rufen der anderen Stimmen schier untergeht. Der Glaube an das ewige Leben erfährt dagegen auf über 170 Takten in einer

eigentlich dreiteilig angelegte Agnus Dei wird vierteilig umgesetzt. Auf allen Ebenen findet sich ein extrem ausgeprägtes Kontrastprinzip. Ruhe

homophon vom Chor fast geflüstert, das hymnisch anbetende „Laudamus te“ und das klanglich luftige „Gratias agimus tibi“. Mit dem „Qui tollis“ beginnt der langsame, zweite Teil des Gloria, in dem

der Hilfe eines Übersetzers, der selber Musiker war. Beethoven schrieb über seine erste Messe: „jedoch glaube ich,

wird Bewegung gegenübergestellt, ekstatischer Jubel erklingt neben schreitender Würde, polyphone und homophone Ausgestaltung wechseln

Das Kyrie, der Bittgesang, ist klassisch dreigeteilt, im steten, demutsvollen Wechselgesang zwischen Soli und Chor. Der machtvolle Kyrie-Anruf der Chorstimmen wird bereits im ersten

Messe isoliert nebeneinanderstehen. Die motivischen Bezüge zwischen den Formabschnitten beschreibt Dahlhaus

ausgeweiteten Doppelfuge eine starke Gewichtung. Derart kontrastreiche Interpretationen der textlichen Vorgabe prägen die Missa.

D-Dur-Akkord des vollen Orchesters vorweggenommen. Im mittleren Christe-Teil führen die Soli, der Chor antwortet. Immer dichter werden die

Klarinetten und Flöten das Klagethema präsentieren. Eine ausgedehnte, zerknirschte Bitte um Erbarmen entwickelt sich im von Beethoven um

Stimmen kontrapunktisch miteinander

den emotionalen Laut „O“ erweiterte

Bekenntniswerk Ist dies mein Glaube? Wie glaube ich? Und warum? Mit diesen Fragen zieht sich ein religiöser und „expressiv gesteigerter Subjektivismus“ (Ackermann) wie ein roter Faden durch die Missa solemnis. Sie ist ein zutiefst persönliches Bekenntniswerk. Es geht Beethoven um individuelle Emotionen, nicht um allgemeingültige

sich ab. Ein Rezitationston trifft auf weit ausschwingende Kantilenen und

Die Sätze

verwoben. In der variierten KyrieWiederholung betont Beethoven die schmerzvolle Haltung durch Chromatik, der Satz verklingt im Pianissimo-Gebet. In stärkstem Kontrast eröffnet Beethoven den Preisgesang des Gloria, das in vier Teile gegliedert ist. Nach stürmischem Fortissimo-Orchesterauftakt jagen die Chorstimmen mit dem aufsteigenden Gloria-Hauptthema in himmlische Höhen. Dieses Thema kehrt mottoartig an Schlüsselstellen des Satzes wieder. Es folgt das „et in terra pax hominibus“,

Acknowledgments

Bevor im Benedictus die Solo-

durchaus gefährdet ist, zeigen zwei

Violine in einem coup de théâtre von den höchsten Höhen des Himmels herabsteigt. Weltlicher Kitsch? Arnold Werner-Jensen sah darin „ein legitimes künstlerisches Mittel, den

instrumentale Einschübe mit gleichsam kriegerischen Pauken und Trompeten, die gewaltsam einbrechen. „Ängstlich“ bitten die Solisten erneut um Erbarmen. Der Chor fordert geradezu insistierend

einer gewaltigen Fuge abgeschlossen, einer Doppelfuge auf „et vitam venturi saeculi, amen“.

Hörer emotional aus der Fassung zu bringen“. Immerhin gehe es hier um die „Wucht der Verheißung“. Die

mit seinen Sforzato-Rufen „pacem“.

Das Sanctus nimmt „mit Andacht“ eine tiefgründige Versenkungshaltung ein, mezza voce werden die Gebetsrufe geflüstert, grundiert von Posaunen

gedämpften Klangfarben im Orchester unterstreichen die andachtsvolle Haltung noch. Bis zum Ende hat die Solo-Violine stets die Führung inne und steigt nach einer erneut fugierten

und um das Wunder von Geburt, Leiden, Tod, Wiederauferstehung und Himmelfahrt Christi. Analog zum Gloria kehrt das eröffnende, wuchtige Credo-

und tiefen Streichern. Nach einer Generalpause beginnt ein energisch vorantreibendes Chorfugato über „Osanna in excelsis“. Es folgt ein kurzes,

Lobpreisung am Ende wieder in die Höhe hinauf.

Kernmotiv am Ende wie einer Klammer wieder. Kann man hier irgendwie an Beethovens Glauben zweifeln? Die musikalische Gestaltung zementiert

fast schon amotivisches Präludium, in dem Beethoven das Wunder der Hostienwandlung nachzeichnet; übrigens der einzige rein instrumentale

einen Adagio-Teil ein, der sich immer wieder aufzuschwingen versucht, dann im Pianissimo verklingt. Das „Dona nobis pacem“ ist von Beethoven mit

PENTATONE TEAM Vice President A&R Renaud Loranger | Director A&R Job Maarse | Managing

eine unerschütterliche Geisteshaltung. Der Binnensatz („Et incarnatus est“

„Satz“.

„Bitte um innern und äußern Frieden“ überschrieben. Dass dieser Frieden

Director Dirk Jan Vink | Director Product, Marketing & Distribution Simon M. Eder A&R Kate Rockett | Marketing & PR Silvia Pietrosanti | Distribution Veronica Neo

– „et homo factus est“) gestaltet die einzelnen Phasen tief empfunden nach. Mal abgründig versunken, mal schmerz- und leidvoll, dann wieder plastisch-majestätisch beim Jüngsten Gericht. Auch das Credo wird von

Beginns den Satz im Presto krönend abschließt.

PRODUCTION TEAM Executive producers Stefan Lang (Deutschlandradio Kultur), Job Maarse (Pentatone) | Recording producer Job Maarse | Balance engineer Jean-Marie Geijsen (Polyhymnia) | Recording engineer & editor Erdo Groot (Polyhymnia) Deutschlandradio recording team Wolfram Nehls, Henri Thaon, Jens Müller Liner notes Jörg Peter Urbach | English translation Fiona J. Stroker-Gale Design Joost de Boo | Product management Max Tiel This album was live recorded at the Berlin Philharmonie, September 2016.

Das abschließende Agnus Dei leitet

Together with our talented artists, we take pride in our work, providing an impeccable means of experiencing classical music. For all their diversity, our artists have one thing in common.

And so also should the experience be. We take listening to classical music to a whole new level, using the best technology to produce a high-quality

They all put their heart and soul into the music, drawing on every last drop of creativity, skill, and determination to perfect their contribution.

recording, in whichever format it may come, in whichever format it may be released.

Find out more: www.pentatonemusic.com

Broadcasting Union, through touring or in guest performances worldwide,

years of musical history. Numerous world premieres attest to the 73 choir

the MDR LEIPZIG RADIO CHOIR, which was awarded the European Cultural

members’ reputation as a specialised ensemble for contemporary music.

Prize in 2013, acts as a supreme musical ambassador for central Germany.

work it is invariably the MDR LEIPZIG RADIO CHOIR that comes at the top

acclaimed world-class ensemble. From the season 2015/2016 he was succeeded

of their wish list. As the largest concert choir within the German Broadcasting

by Risto Joost as artistic director of the MDR LEIPZIG RADIO CHOIR.

experts as one of the best.

Premium Sound and Outstanding Artists PENTATONE. Today’s music is evolving and forever changing, but classical music remains true in creating harmony among the instruments. Classical music is as time-honoured as it is timeless.

formats. In 2017 the choir was awarded the International Classical Music Award for its recording of Max Reger’s Motets op. 110. Whether via the European

works complete a repertoire that encompasses practically a thousand

In the fifteen years of his tenure

Corporation (ARD), the MDR LEIPZIG RADIO CHOIR is widely regarded among

Sit back and enjoy

70-year history. These recordings have been released on LPs, CDs and digital

demonstrates its expertise with highly acclaimed a cappella performances. Secular and sacred music, wide-ranging ensemble singing and choral symphonic

from 1998 Howard Arman lastingly consolidated the reputation of this

Semyon Bychkov, Riccardo Muti, Yannick

Gleichfalls kontrastreich im Gesamtrahmen wie in den einzelnen Teilen gestaltet Beethoven das Credo. Auch hier zutiefst persönlich, geht es doch um das Glaubensbekenntnis

„Miserere nobis“. Im dritten Teil – „Quoniam tu solus sanctus“ – kehrt der Preisgesang im mächtigen Chorsatz zurück, bevor sich eine gewaltige „in gloria dei patris, amen“-Fuge anschließt bevor erneut das Zitat des Gloria-

Not only an excellent partner for major orchestras, the ensemble regularly

When major orchestras in Germany or abroad plan to perform a choral

Artists

The collaboration with Deutschlandradio, the main shareholder of the ROC GmbH Berlin to which the

Marek Janowski © Jean-François Leclercq

ACKNOWLEDGMENTS

Not only an excellent partner for major orchestras, the ensemble regularly demonstrates its expertise with highly acclaimed a cappella performances. Secular and sacred music, wide-ranging ensemble singing and choral symphonic works complete a repertoire that

In the fifteen years of his tenure from 1998 Howard Arman lastingly consolidated the reputation of this acclaimed world-class ensemble. From the season 2015/2016 he was succeeded by Risto Joost as artistic director of the MDR LEIPZIG RADIO CHOIR.

Semyon Bychkov, Riccardo Muti, Yannick

in D Major Op. 123

DEUTSCH

←

TRACK INFORMATION

Nearly 200 recordings, many of them award-winning, have been recorded by the ensemble during its more than

RundfunkSinfonieorchester Berlin (RSB, Berlin Radio Symphony Orchestra) dates back to the beginnings of music broadcasting in 1923, and has since sustained its position amongst the leading orchestras in Berlin and other radio orchestras throughout Germany. From 2002 to 2015, Marek Janowski was artistic director and chief conductor

TRACK INFORMATION

of the RSB. Vladimir Jurowski has been named as his successor, starting in the 2017-2018 season. Previous chief conductors (including Sergiu Celibidache, Eugen Jochum, Hermann Abendroth, Rolf Kleinert, Heinz Rogner, and Rafael Frühbeck de Burgos) have

la Parra, Lahav Shani and Omer Meir Wellber performing in recent years.

all helped to create the ensemble’s exceptional sound.

recording. Starting in 2010, together with PENTATONE, great effort was put into the live recording of the successful ten part Wagner cycle.

DEUTSCH

ACKNOWLEDGMENTS

The collaboration with Deutschlandradio, the main shareholder of the ROC GmbH Berlin to which the RSB belongs, has born rich fruit on

Since its foundation, the RSB has invited major composers to conduct or to perform as soloists in their own works. These have included Paul Hindemith, Sergei Prokofiev, Richard Strauss, and Igor Stravinsky, as well as Krzysztof Penderecki, Peter Ruzicka, and Jörg Widmann.

←

←

ENGLISH

Other activities of the RSB include special concerts for families and children, as well as guest performances in the major international concert halls, which have taken place over the past 50 years. Alongside regular tours of Asia the orchestra appears at German and European festivals.

The RSB is particularly attractive for capable young conductors from the international music scene, with Andris Nelsons, Yannick Nézet-Séguin, Alain Altinoglu, Jakub Hrůša, Alondra de

Marek Janowski © Jean-François Leclercq

Ludwig van Beethoven (1770 – 1827)

With devotion

MISSA SOLEMNIS

Reflections on Beethoven’s

in D Major Op. 123

BEETHOVEN

MISSA SOLEMNIS

Missa solemnis

1 2

Kyrie Gloria

9. 22 15. 41

Beethoven’s Missa solemnis is a unique gem. A work of dramatic external

3 4

Credo Sanctus – Benedictus

16. 59 15. 26

power and well-nigh incredible inner strength. Full of conviction. Rich in

5

Agnus Dei Total playing time:

Rundfunk-Sinfonieorchester Berlin MDR Rundfunkchor Leipzig

15. 32

profoundly personal visions of the faith that has remained, carved in stone,

73. 04

Regine Hangler, Soprano

in the form of the Latin mass text for centuries. And yet also rich in moments of doubt about dogmatic religion and

Elisabeth Kulman, Alto

the formal institution of the church.

Christian Elsner, Tenor Franz-Josef Selig, Bass

In its monumentality and lengthy duration of just under 90 minutes, the Missa solemnis departs from all

MDR Rundfunkchor Leipzig

liturgical guidelines – despite the fact

Michael Gläser, Chorus Master

that the work was originally intended for a specific high mass; yet it was not actually performed there in the end.

Rundfunk-Sinfonieorchester Berlin

Marek Janowski

External event and internal task Creating a unique gem takes time: and in this case, Beethoven took plenty

– not Beethoven’s Missa solemnis, but a mass composed by Johann Nepomuk Hummel was performed. Not until three years later did Beethoven manage to complete the Missa solemnis, the

Stile antico and modern musical idiom According to Carl Dahlhaus, in his Missa solemnis Beethoven was mainly

Dahlhaus describes the motivic links

as follows about his first mass: “…

between the various structural sections

however, I believe that I have treated

as “submotivic connections.” Thus, very subtly, individual parameters from motifs constantly reappear in a precisely

the text in a manner in which it has seldom been treated.” And again with his Missa solemnis, Beethoven subjected

of time. In the summer of 1818 it was

reason being that he had quickly

concerned with finding a good mix

calculated manner – however, always in

the individual words of the Latin text to

announced in Vienna that his pupil and patron, the Archduke Rudolph, was to be enthroned as Archbishop of Olomouc

realized that he would have to take an extraordinary path. The première took place in St. Petersburg on April 7, 1824,

between the idiom of ancient church music and that of modern instrumental music. He appears to have managed

a different context as regards content. These submotivic references are very difficult to recognize at first hearing.

a precise examination, in order to give them an exact musical interpretation: both with regard to their pure

on March 9, 1820. Beethoven decided

as a concertante performance under

this due to the fact that “in the archaic

While working on his mass, Beethoven

significance, but above all, with regard

to compose a mass for this event. In June 1819, he wrote as follows to the Archduke: “The day on which a high

the auspices of Prince Gallitzin; and on May 7, 1824, the mass was given an incomplete performance in Vienna,

idiom, which was meant to vouch for the church, he simultaneously discovered a ferment of modernity,

delved into ancient church music in Archduke Rudolph’s library, studying works by Palestrina as well as Gregorian

to their connotations. Which feelings are resonating here? Which emotions are they releasing? And not only in the case

mass by my hand will be performed

not including the “Gloria” and the “Sanctus.” Obviously, Beethoven had no

thanks to which the work was able to

chant.

of the listener, but above all, with regard to the composer himself.

during the celebrations solemnized for Y.I.H. will be for me the most beautiful day of my life. And God will enlighten

problem in “extracting” his Missa from its original destination. Clearly, in the

hold its own with regard to the aesthetic maxim that music must be novel in order to be considered authentic.” And

me, so that my paltry creative powers may contribute to the glorification

meantime, he had begun to regard it as a deeply personal confrontation with

indeed, techniques such as motivicthematic passage work, or evolving

am Ölberge (= Christ on the mount of olives, 1803/1804/1811), Beethoven had

of this solemn day.” But work on the composition dragged out, and by the

his faith.

variation (characteristic for Beethoven’s middle period) are to be found only

already devoted a great deal of time to the texts, aiming to “unify music

In his Mass in C major, dating from 1807, and also in his oratorio Christus

Rainer Wolters, Concert Master

end of 1819 Beethoven had only just sketched the middle part of the Credo.

in rudimentary form. However, this does not signify that the structural

and word.” To help with the mass text, he brought in a translator, who was

Conducted by Marek Janowski

The day arrived of the High Mass, and

sections of the mass coexist in isolation.

himself a musician. Beethoven wrote

Creed

drowned by the calls of “credo” in the

Is this my faith? How do I believe?

other voices. On the other hand, great emphasis is placed on the belief in

And why? A religious and “expressively intensified subjectivism” (Ackermann)

eternal life by means of an extended double fugue lasting more than 170

containing these questions runs like a red thread through the Missa solemnis.

bars. The Missa is full of such highly contrasting interpretations of the text.

It is a deeply personal creed. Here, Beethoven is concerned with individual

As in the Mass in C major, in the Missa

emotions, not with universal questions of faith – as he makes clear to us in the

solemnis Beethoven also renounces the traditional numbering, i.e. the

following sentence “May it continue to flow from heart to heart,” written in the autograph score above the “Kyrie.”

classification of the distribution of arias and choral settings within the various sections of the mass. In part, the

How simple. How noble. How human.

formal structuring keeps to traditional

Perhaps this is precisely why Beethoven described the Missa as “the most successful of his intellectual products”:

guidelines, as in the tripartite division of the “Kyrie”; however, it also goes its own way, for example at the end of the

because it demonstrates his personal

“Gloria,” when the “Gloria in excelsis

view of faith, and also how he rated certain assertions in the mass text. Take, for instance, the casual “credo in

Deo” is repeated, but now in presto. The extremely short “Sanctus” is contrasted with a greatly elongated “Benedictus”;

is laid out in four sections. There is

The movements

an extremely pronounced principle of contrast at all levels. Peace and quiet is contrasted with movement, ecstatic rejoicing resonates alongside pacing dignity, polyphony is alternated with homophony. A recitative tone meets with widely resonating cantilenas and concise folk-song-like creations. The Missa solemnis is a work of extremes. Beethoven blends choir, soloists, and large orchestra into a single “body of sound,” which is meant to “touch, strike, shake” (Werner-Jensen) the listener with volume of its sound. And Beethoven succeeds at this, having set himself the goal “of awakening and perpetuating religious feelings both in the singer and the listener.”

the heavenly heights with the soaring

Beethoven designs the “Credo” with

The “Kyrie,” the song of invocation,

main theme of the “Gloria.” This theme recurs like a motto at key points in

equally rich contrast, both in its entirety and its individual sections. Here, too,

has a classical tripartite division, with a constant and humble interchange of

the movement. This is followed by the “terra pax hominibus,” almost like a

the music is deeply personal, all about the confession of faith and the miracle

singing between soloists and choir. The first D-major chord of the full orchestra

homophonic whisper from the choir, the hymnically worshipping “Laudamus te”

of Christ’s birth, suffering, death, resurrection and ascension. Analogous

already anticipates the impressive cry of “Kyrie” from the choir. In the middle

and the airy “Gratias agimus tibi.” The “Qui tollis” introduces the slow, second

to the “Gloria,” the powerful opening core motif of the “Credo” returns at

part (“Christe”), the soloists lead with the choir responding. Increasingly

part of the Gloria, in which clarinets and flutes present the lament theme. An

the end as if to close brackets. Can there be any doubt about Beethoven’s

dense, the voices become more and more contrapuntally interwoven. In the varied repetition of the “Kyrie,”

extended, contrite plea for compassion develops in the “Miserere nobis,” in which Beethoven draws out the emotion

faith here? The musical design cements an imperturbable attitude of mind. The next section of the movement

Beethoven emphasizes the agonizing

in the vowel “o.” In the third part –

(“Et incarnatus est” – “et homo factus

mood by means of chromaticism, and the movement fades away in the prayer in pianissimo.

“Quoniam tu solus sanctus” – the eulogy returns in the powerful choral setting, followed by a tremendous fugue, “in

est”) recreates the individual phases with deep feeling: at times profoundly absorbed in thought, at others painful

gloria dei patris, amen,” after which

and sorrowful, then again vividly

Beethoven begins the eulogy of the “Gloria,” which is divided into four parts in a hugely contrasting manner.

the recurrence of the motto from the beginning of the “Gloria” concludes the movement in presto.

majestic during the Last Judgment. Here too, the “Credo” is concluded with a massive fugue – a double fugue on the

unam sanctam catholicam,” recited

and the “Agnus Dei” – which in fact

After a stormy fortissimo upbeat in

only once in the tenors, which is almost

consists of three sections in the text –

the orchestra, the choir races up into

phrase “et vitam venturi saeculi, amen.”

The Sanctus “devoutly” assumes a

reverent mood. Right up to the end, the

profoundly meditative attitude, the

solo violin remains in charge; and at

prayers are whispered mezza voce, primed by trombones and low strings. A general pause is immediately followed

the conclusion, it soars back up to the heights after a glorification, once again set as a fugue.

by an energetically driving choral fugato to the phrase “Osanna in excelsis.” This is followed by a short prelude, almost lacking in motif, in which

The concluding “Agnus Dei” introduces an Adagio section that continually attempts to soar, but finally fades away

Beethoven portrays the miracle of the

in pp. Beethoven wrote the following

transformation of the host; by the way, this is the only exclusively instrumental “movement.”

words above the “Dona nobis pacem”: “Plea for internal and external peace.” Two instrumental interpolations with,

But then suddenly in the “Benedictus,”

so to speak, warlike timpani and trumpets, violently breaking into the

the solo violin swoops down from the highest heights of heaven in a coup de

music, demonstrate that this peace is truly under siege. “Fearfully,” the soloists

théâtre. Profane kitsch? Well, Arnold Werner-Jensen described this as “a

once again plea for mercy; and the choir virtually insists upon it, with its

legitimate artistic means of emotionally flustering the listener.” For after all,

sforzato cries of “pacem.”

it was about the “impact of the promise.” The muted sound-colours in the orchestra further emphasize the

Marek Janowski

Dortmund (1975-1979). Since the late

From 2002 until 2015, Marek

1970s, he has appeared regularly at all the major opera houses world-wide.

Janowski was Artistic Director and Chief Conductor of the Rundfunk-

Marek Janowski stepped back from the

Sinfonieorchester Berlin (RSB). Before embarking upon his Berlin period,

opera scene in the 1990s to concentrate on the great German and French

and also partly parallel to this, he was Musical Director of the Orchestre

symphonic repertoire. He enjoys an outstanding reputation amongst the

de la Suisse Romande (2005-2012), Chief Conductor of the Orchestre

premier orchestras of Europe, North America and Asia and is recognised

Philharmonique de Monte Carlo (2000-2005), Chief Conductor of the Dresdner Philharmonie (2001-2003),

for his ability to create orchestras of international standing.

and Musical Director of the Orchestre

His leave-taking of the opera, however,

Philharmonique de Radio France (19842000).

was merely an institutional matter, not a musical farewell. Thus he is now recognized as one of the greatest

Born in Warsaw and educated in

experts regarding the music of Richard

Germany, Marek Janowski’s artistic path led him from positions in Aachen, Cologne, Düsseldorf and Hamburg to his

Wagner, to which his concertante Wagner cycle with the RSB bears witness. In the sequel he accepted the

appointment as General Music Director

invitation to conduct Wagner’s “Ring” at

in Freiburg im Breisgau (1973-1975) and

the Bayreuth Festival in 2016 and 2017.

Liner notes

of the RSB. Vladimir Jurowski has

la Parra, Lahav Shani and Omer Meir

been named as his successor, starting in the 2017-2018 season. Previous chief conductors (including Sergiu Celibidache, Eugen Jochum, Hermann Abendroth, Rolf Kleinert, Heinz Rogner,

Wellber performing in recent years.

and Rafael Frühbeck de Burgos) have all helped to create the ensemble’s exceptional sound.

RSB belongs, has born rich fruit on recording. Starting in 2010, together with PENTATONE, great effort was put

Since its foundation, the RSB has invited major composers to conduct or to perform as soloists in their own works. These have included Paul Hindemith, Sergei Prokofiev, Richard Strauss, and Igor Stravinsky, as well as Krzysztof Penderecki, Peter Ruzicka, and Jörg Widmann. The RSB is particularly attractive for capable young conductors from the international music scene, with Andris

and won the 2nd prize in the Birgit

the “Ehrenpreis der deutschen

Nilson competition.

Schallplattenkritik” (= honorary prize of the German Critics’ Award) for his extensive life’s work.

Since 2013/14 Regine Hangler is an

Tokyo and the Scala in Milan.

success as a soprano. Since 2005

Thielemann, Marek Janowski or Franz

As a successful concert singer Regine Hangler is very successful in Austria,

Elisabeth Kulman has been singing the major parts of the mezzo and alto repertoire. As a member of the

close collaboration with Nikolaus Harnoncourt.

ensemble member of the Wiener

Germany, Albany, the Netherlands,

ensemble at the Vienna State Opera

Regine Hangler Soprano

Staatsoper and is performing the following roles, just to name a few: Rosalinde (Die Fledermaus), Santuzza

Slovenia, Hungary, Japan and Israel. Regine Hangler’s discography and videography continue to grow steadily.

she quickly became a favourite of the audience and established the basis for her vast repertoire. Her most

After having studied viola and technics, Regine Hangler studied canto as her major subject at the Kärntner

Ariadne (auf Naxos), Leonore (Fidelio) and Eva (Die Meistersinger von Nürnberg).

(Cavalleria Rusticana), Elsa (Lohengrin),

Landeskonservatorium and the Universität für Musik in Vienna, which she passed with distinction.

In May 2015 the soprano was highly acclaimed for her title role of “Daphne” in Berlin, which was conducted by

Elisabeth Kulman Alto

important roles include Fricka, Erda and Waltraute (The Ring of the Nibelung), Carmen, Mrs. Quickly (Falstaff), Brangäne (Tristan and Isolde), Begbick

Elisabeth Kulman is one of today’s

(Mahagonny), Orlofsky (The Bat), Orfeo

most sought-after singers and leading authorities in the international classical music scene. She impresses

(Gluck) and Marina (Boris Godunov). Since 2010 Elisabeth Kulman has been

At the same time she was working

Marek Janowski, in New York und

audiences and critics alike with her rich,

working as a freelance artist. She is

with KS Mara Zampieri in Padua and concluded her education with numerous Masterclasses.

Cleveland by Franz Welser-Möst. In 2016 she had a big success at the Salzburger Festspiele for her interpretation of

colourful timbre, her charismatic stage personality and her musical versatility.

a much sought-after soloist in the metropolitan centres of the music world: Vienna, Paris, London, Munich,

Xanthe in “Die Liebe der Danae”.

She studied voice with Helena Lazarska

Berlin, Tokyo, Salzburg, Moscow, etc.

Further future engagements lead the soprano i.e. to the Bayreuther Festspiele,

at the Vienna Music University, made her debut as Pamina in 2001 at the Volksoper in Vienna and enjoyed early

She works regularly with world-class orchestras and conductors such as Zubin Mehta, Kirill Petrenko, Christian

Several times she was decorated with highly skilled scholarships, became finalist of the Italian Aslico competition

Welser-Möst. She enjoyed a particularly

Christian Elsner Tenor Born in Freiburg, Christian Elsner is one of the most versatile German tenors. He

On the opera stage Christian Elsner has

The versatile singer has written his own

established himself as a heroic tenor

children’s book, Lennie und der Ring des

in the roles of Siegmund and Parsifal at the Deutsches Nationaltheater in Weimar, the Staatstheater in Kassel, the

Nibelungen, and has been working as a professor for singing at the Hochschule für Musik in Wurzburg since 2006.

Franz-Josef Selig Bass

Nezét-Séguin, Antonio Pappano, Phillipe Jordan, Zubin Mehta and many others.

Franz-Josef Selig has established himself on the international scene as

Bass singer Franz-Josef Selig first studied church music at the Staatliche

Since 2015 Elisabeth Kulman has been

studied singing with Martin Gründler,

Dresden Semperoper, the Vienna State

focusing her artistic activities on recitals (together with her longtime accompanist Eduard Kutrowatz),

took lessons with Dietrich FischerDieskau and Neil Semer, and has won many international competitions.

Opera and at the Teatro Real in Madrid. Accompanied by Gerold Huber and Burkhard Kehring, the tenor has given recitals in Frankfurt, Hamburg, Bonn,

Real in Madrid under Semyon Bychkov,

Fiesco and Fasolt at all the world’s

ensemble in Essen. He has since been a

As an internationally sought-after concert singer, Christian Elsner is a popular guest at all the important

Dresden, Munich, Wurzburg and Brussels, and at the Schubertiade in Feldkirch.

in Vienna in Franz Schmidt’s The Book with Seven Seals under Manfred Honeck with the Vienna Symphony Orchestra,

major opera houses (such as the Vienna State Opera, Bavarian State Opera, Teatro alla Scala di Milano, Teatro Real

freelance singer.

in Beethoven’s Ninth Symphony in

Madrid, the Parisian opera houses or

Wien as well as “Hungaro Tune” with symphony orchestra and jazz soloists.

the Berlin Philharmonic, New York’s Carnegie Hall, La Scala, Milan and the Suntory Hall in Tokyo, and has worked

Christian Elsner can also be heard on CD, with recordings such as Schubert’s Winterreise and Schumann’s

Leipzig with the Gewandhausorchester under Herbert Blomstedt, and in Berlin, Vienna, New York, Taipei and Tokyo with

the Metropolitan Opera New York) and at prestigious festivals such as the Bayreuth and Salzburg Festival and

Her latest solo programme “La femme c’est moi” features pieces from Carmen

with many renowned conductors such as Herbert Blomstedt, Manfred Honeck,

Dichterliebe, along with studio productions of Mahler’s Lied von der

the Berlin Philharmonic under Sir Simon Rattle.

the Festival d’Aix-en-Provence. Opera productions as well as concerts bring

up to the Beatles.

Marek Janowski, Mariss Jansons, Kent Nagano, Yannick Nézet-Séguin, Semyon

Erde as well as complete recordings of Wagner’s Rheingold (Loge) and Parsifal

Bychkov and Sir Simon Rattle.

(title role).

concerts and operas in concert. She is especially devoted to unconventional projects: “Mussorgsky Dis-Covered” with an international jazz quartet, “Mahler Lieder” and “Wer wagt mich zu höhnen?” with the ensemble Amarcord

classical music centres, such as

Christian Elsner’s most recent performances have included the title role in Wagner’s Parsifal at the Teatro

one of the best-known serious bass

Hochschule für Musik in Cologne before

baritones. He regularly gives guest performances as Gurnemanz, King Marke, Sarastro, Rocco, Osmin, Daland,

taking voice classes under Claudio Nicolai. At the beginning of his career he was a member of the Aalto Theatre

him together frequently with renowned orchestras and conductors, such as James Levine, Christian Thielemann, Sir Simon Rattle, Marek Janowski,

MDR Rundfunkchor Leipzig

Mit Andacht Gedanken zu Beethovens Missa solemnis

into the live recording of the successful ten part Wagner cycle. Other activities of the RSB include special concerts for families and children, as well as guest performances in the major international concert halls, which have taken place over the past 50 years. Alongside regular tours of Asia the orchestra appears at German and European festivals. MDR Rundfunkchor Leipzig © Peter Adamik

Nelsons, Yannick Nézet-Séguin, Alain Altinoglu, Jakub Hrůša, Alondra de

nicht die Missa solemnis, sondern eine

Ein Solitär benötigt Zeit. Und die nahm sich Beethoven in diesem Fall reichlich. Im Sommer 1818 wurde in Wien bekannt, dass sein Schüler und Gönner, Erzherzog Rudolph, am 9. März 1820 zum Erzbischof von Olmütz inthronisiert

Überzeugungskraft. Reich an zutiefst persönlichen Blicken auf jenen Glauben, wie er in Gestalt des lateinischen Messtextes seit Jahrhunderten in

werden sollte. Aus diesem Anlass plante Beethoven eine Messvertonung. Im Juni 1819 schrieb er an den Erzherzog: „Der Tag, wo ein Hochamt von mir

Stein gemeißelt ist. Und doch auch reich an Momenten des Zweifelns an dogmatischer Religion und der formellen Institution Kirche. In ihrer

zu den Feierlichkeiten für I.K.H. soll aufgeführt werden, wird für mich der schönste meines Lebens sein. Und Gott wird mich erleuchten, dass meine

Monumentalität und zeitlichen Ausdehnung von knapp 90 Minuten sprengt die Missa solemnis jegliche liturgischen Vorgaben. Auch wenn das Werk ursprünglich für ein konkretes

schwachen Kräfte zur Verherrlichung dieses Feierlichen Tages beitragen.“ Doch die kompositorische Arbeit ging nur schleppend voran und Ende 1819

Hochamt gedacht war. Dort dann aber nicht erklang. Rundfunk-Sinfonieorchester Berlin © Molina Visuals

Äußerer Anlass und innere Aufgabe

Beethovens Missa solemnis ist ein Solitär. Ein Werk von äußerer dramatischer Wucht und schier unglaublicher innerer Stärke. Voller

hatte Beethoven gerade einmal den Mittelteil des Credos skizziert. Der Tag des Hochamtes kam. Und es erklang – Deutsch

Messe von Johann Nepomuk Hummel. Erst drei Jahre später konnte Beethoven die Missa solemnis vollenden. Weil ihm schnell klar wurde, dass er einen außergewöhnlichen Weg würde gehen müssen. Die Uraufführung fand am 7. April 1824 in St. Petersburg im Rahmen einer konzertanten Aufführung des Fürsten Galitzin statt und am 7. Mai 1824 erklang das Werk bruchstückhaft in Wien, ohne Gloria und Sanctus. Beethoven hatte ganz augenscheinlich kein schlechtes Gewissen, seine Missa aus ihrer ursprünglichen Bestimmung herauszulösen. Betrachtete er sie doch mittlerweile als zutiefst persönliche Auseinandersetzung mit seinem Glauben.

Stile antico und moderne Tonsprache

als „submotivische Beziehungen“.

dass ich den Text behandelt habe, wie

Glaubensfragen. Was nicht zuletzt der

Wie schon in der C-Dur-Messe

knappe volksliedhafte Bildungen. Die

Folgt man Carl Dahlhaus, so ging

Demnach kehren auf äußerst subtile Weise einzelne Parameter aus Motivgestalten genauestens kalkuliert

er noch wenig behandelt worden“. Auch bei der Missa solemnis untersuchte Beethoven die einzelnen Wörter des

es Beethoven in der Missa solemnis kompositorisch vor allem um eine Vermittlung zwischen altem Kirchenstil und moderner Instrumentalmusik. Gelungen sei ihm dies dadurch, „dass

wieder – aber in einem jeweils anderen inhaltlichen Zusammenhang. Diese submotivischen Bezüge sind beim erstmaligen Hören kaum zu erkennen. Während der Arbeit an der Messe

lateinischen Messtextes genau, um sie musikalisch exakt auszudeuten. Auf ihre reine Bedeutung hin, vor allem aber auch auf ihre Konnotationen. Welche Gefühle schwingen mit? Welche

im Autograph über dem Kyrie stehende Satz „Von Herzen – möge es wieder – zu Herzen gehen“ transportiert. Wie schlicht. Wie groß. Wie menschlich. Vielleicht hat Beethoven die Missa

verzichtet Beethoven auch in der Missa solemnis auf die traditionelle Nummerngliederung, also auf die Verteilung von Arien und Chorsätzen auf die Messabschnitte. Die formale

Missa solemnis ist ein Werk der Extreme. Beethoven lässt Chor, Solisten und das groß besetzte Orchester zu einem einzigen Klangkörper verschmelzen, der den Hörer mit seinem voluminösen

gerade deshalb als das „gelungenste seiner Geistesprodukte“ bezeichnet. Weil sie seinen persönlichen Blick

Gliederung folgt teils traditionellen Vorgaben, wie bei der Dreiteilung des Kyrie, geht aber auch eigene Wege,

Klangbild „rühren, treffen, erschüttern“ (Werner-Jensen) soll. Und das gelingt Beethoven, der sich zum Ziel gesetzt

er im Archaischen, das die Kirchlichkeit verbürgen sollte, zugleich ein Ferment von Modernität entdeckte, durch die das Werk vor der ästhetischen Maxime

vertiefte sich Beethoven in der Bibliothek Erzherzog Rudolphs in alte Kirchenmusik, studierte Palestrinas Werke und die Gregorianik.

Emotionen setzen sie frei? Und zwar nicht nur beim Hörer, sondern vor allem beim Komponisten.

etwa wenn Beethoven das „Gloria in excelsis Deo“ am Ende des Gloria im presto wiederholt. Dem extrem kurzen Sanctus steht ein extrem gedehntes Benedictus gegenüber und das textlich

hatte „sowohl bei Singenden als bei Zuhörern religiöse Gefühle (zu) erwecken und dauernd (zu) machen“.

bestehen konnte, dass Musik neu sein müsse, um authentisch zu sein.“ Und in der Tat finden sich Techniken wie motivisch-thematische Arbeit oder

auf den Glauben zeigt. Und wie er bestimmte Aussagen des Messtextes bewertet. Man denke etwa an das beiläufige, lediglich einmal im ChorTenor rezitierte „credo in unam sanctam

Schon in seiner C-Dur-Messe aus dem Jahr 1807 und auch in seinem Oratorium Christus am Ölberge (1803/1804/1811)

entwickelnde Variation (ihres Zeichens Merkmale des mittleren Beethovens) nur rudimentär. Was wiederum nicht bedeutet, dass die formalen Teile der

hatte sich Beethoven intensiv mit den Textvorlagen beschäftigt, mit dem Ziel „Musick und wort ein’s“ werden zu lassen. Beim Messtext bediente er sich

catholicam“, das in den „Credo“-Rufen der anderen Stimmen schier untergeht. Der Glaube an das ewige Leben erfährt dagegen auf über 170 Takten in einer

eigentlich dreiteilig angelegte Agnus Dei wird vierteilig umgesetzt. Auf allen Ebenen findet sich ein extrem ausgeprägtes Kontrastprinzip. Ruhe

homophon vom Chor fast geflüstert, das hymnisch anbetende „Laudamus te“ und das klanglich luftige „Gratias agimus tibi“. Mit dem „Qui tollis“ beginnt der langsame, zweite Teil des Gloria, in dem

der Hilfe eines Übersetzers, der selber Musiker war. Beethoven schrieb über seine erste Messe: „jedoch glaube ich,

wird Bewegung gegenübergestellt, ekstatischer Jubel erklingt neben schreitender Würde, polyphone und homophone Ausgestaltung wechseln

Das Kyrie, der Bittgesang, ist klassisch dreigeteilt, im steten, demutsvollen Wechselgesang zwischen Soli und Chor. Der machtvolle Kyrie-Anruf der Chorstimmen wird bereits im ersten

Messe isoliert nebeneinanderstehen. Die motivischen Bezüge zwischen den Formabschnitten beschreibt Dahlhaus

ausgeweiteten Doppelfuge eine starke Gewichtung. Derart kontrastreiche Interpretationen der textlichen Vorgabe prägen die Missa.

D-Dur-Akkord des vollen Orchesters vorweggenommen. Im mittleren Christe-Teil führen die Soli, der Chor antwortet. Immer dichter werden die

Klarinetten und Flöten das Klagethema präsentieren. Eine ausgedehnte, zerknirschte Bitte um Erbarmen entwickelt sich im von Beethoven um

Stimmen kontrapunktisch miteinander

den emotionalen Laut „O“ erweiterte

Bekenntniswerk Ist dies mein Glaube? Wie glaube ich? Und warum? Mit diesen Fragen zieht sich ein religiöser und „expressiv gesteigerter Subjektivismus“ (Ackermann) wie ein roter Faden durch die Missa solemnis. Sie ist ein zutiefst persönliches Bekenntniswerk. Es geht Beethoven um individuelle Emotionen, nicht um allgemeingültige

sich ab. Ein Rezitationston trifft auf weit ausschwingende Kantilenen und

Die Sätze

verwoben. In der variierten KyrieWiederholung betont Beethoven die schmerzvolle Haltung durch Chromatik, der Satz verklingt im Pianissimo-Gebet. In stärkstem Kontrast eröffnet Beethoven den Preisgesang des Gloria, das in vier Teile gegliedert ist. Nach stürmischem Fortissimo-Orchesterauftakt jagen die Chorstimmen mit dem aufsteigenden Gloria-Hauptthema in himmlische Höhen. Dieses Thema kehrt mottoartig an Schlüsselstellen des Satzes wieder. Es folgt das „et in terra pax hominibus“,

Acknowledgments

Bevor im Benedictus die Solo-

durchaus gefährdet ist, zeigen zwei

Violine in einem coup de théâtre von den höchsten Höhen des Himmels herabsteigt. Weltlicher Kitsch? Arnold Werner-Jensen sah darin „ein legitimes künstlerisches Mittel, den

instrumentale Einschübe mit gleichsam kriegerischen Pauken und Trompeten, die gewaltsam einbrechen. „Ängstlich“ bitten die Solisten erneut um Erbarmen. Der Chor fordert geradezu insistierend

einer gewaltigen Fuge abgeschlossen, einer Doppelfuge auf „et vitam venturi saeculi, amen“.

Hörer emotional aus der Fassung zu bringen“. Immerhin gehe es hier um die „Wucht der Verheißung“. Die

mit seinen Sforzato-Rufen „pacem“.

Das Sanctus nimmt „mit Andacht“ eine tiefgründige Versenkungshaltung ein, mezza voce werden die Gebetsrufe geflüstert, grundiert von Posaunen

gedämpften Klangfarben im Orchester unterstreichen die andachtsvolle Haltung noch. Bis zum Ende hat die Solo-Violine stets die Führung inne und steigt nach einer erneut fugierten

und um das Wunder von Geburt, Leiden, Tod, Wiederauferstehung und Himmelfahrt Christi. Analog zum Gloria kehrt das eröffnende, wuchtige Credo-

und tiefen Streichern. Nach einer Generalpause beginnt ein energisch vorantreibendes Chorfugato über „Osanna in excelsis“. Es folgt ein kurzes,

Lobpreisung am Ende wieder in die Höhe hinauf.

Kernmotiv am Ende wie einer Klammer wieder. Kann man hier irgendwie an Beethovens Glauben zweifeln? Die musikalische Gestaltung zementiert

fast schon amotivisches Präludium, in dem Beethoven das Wunder der Hostienwandlung nachzeichnet; übrigens der einzige rein instrumentale

einen Adagio-Teil ein, der sich immer wieder aufzuschwingen versucht, dann im Pianissimo verklingt. Das „Dona nobis pacem“ ist von Beethoven mit

PENTATONE TEAM Vice President A&R Renaud Loranger | Director A&R Job Maarse | Managing

eine unerschütterliche Geisteshaltung. Der Binnensatz („Et incarnatus est“

„Satz“.

„Bitte um innern und äußern Frieden“ überschrieben. Dass dieser Frieden

Director Dirk Jan Vink | Director Product, Marketing & Distribution Simon M. Eder A&R Kate Rockett | Marketing & PR Silvia Pietrosanti | Distribution Veronica Neo

– „et homo factus est“) gestaltet die einzelnen Phasen tief empfunden nach. Mal abgründig versunken, mal schmerz- und leidvoll, dann wieder plastisch-majestätisch beim Jüngsten Gericht. Auch das Credo wird von

Beginns den Satz im Presto krönend abschließt.

PRODUCTION TEAM Executive producers Stefan Lang (Deutschlandradio Kultur), Job Maarse (Pentatone) | Recording producer Job Maarse | Balance engineer Jean-Marie Geijsen (Polyhymnia) | Recording engineer & editor Erdo Groot (Polyhymnia) Deutschlandradio recording team Wolfram Nehls, Henri Thaon, Jens Müller Liner notes Jörg Peter Urbach | English translation Fiona J. Stroker-Gale Design Joost de Boo | Product management Max Tiel This album was live recorded at the Berlin Philharmonie, September 2016.

Das abschließende Agnus Dei leitet

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Broadcasting Union, through touring or in guest performances worldwide,

years of musical history. Numerous world premieres attest to the 73 choir

the MDR LEIPZIG RADIO CHOIR, which was awarded the European Cultural

members’ reputation as a specialised ensemble for contemporary music.

Prize in 2013, acts as a supreme musical ambassador for central Germany.

work it is invariably the MDR LEIPZIG RADIO CHOIR that comes at the top

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Premium Sound and Outstanding Artists PENTATONE. Today’s music is evolving and forever changing, but classical music remains true in creating harmony among the instruments. Classical music is as time-honoured as it is timeless.

formats. In 2017 the choir was awarded the International Classical Music Award for its recording of Max Reger’s Motets op. 110. Whether via the European

works complete a repertoire that encompasses practically a thousand

In the fifteen years of his tenure

Corporation (ARD), the MDR LEIPZIG RADIO CHOIR is widely regarded among

Sit back and enjoy

70-year history. These recordings have been released on LPs, CDs and digital

demonstrates its expertise with highly acclaimed a cappella performances. Secular and sacred music, wide-ranging ensemble singing and choral symphonic

from 1998 Howard Arman lastingly consolidated the reputation of this

Semyon Bychkov, Riccardo Muti, Yannick

Gleichfalls kontrastreich im Gesamtrahmen wie in den einzelnen Teilen gestaltet Beethoven das Credo. Auch hier zutiefst persönlich, geht es doch um das Glaubensbekenntnis

„Miserere nobis“. Im dritten Teil – „Quoniam tu solus sanctus“ – kehrt der Preisgesang im mächtigen Chorsatz zurück, bevor sich eine gewaltige „in gloria dei patris, amen“-Fuge anschließt bevor erneut das Zitat des Gloria-

Not only an excellent partner for major orchestras, the ensemble regularly

When major orchestras in Germany or abroad plan to perform a choral

Artists

The collaboration with Deutschlandradio, the main shareholder of the ROC GmbH Berlin to which the

Marek Janowski © Jean-François Leclercq

In 2014 Marek Janowski was awarded

Nearly 200 recordings, many of them award-winning, have been recorded by the ensemble during its more than

RundfunkSinfonieorchester Berlin (RSB, Berlin Radio Symphony Orchestra) dates back to the beginnings of music broadcasting in 1923, and has since sustained its position amongst the leading orchestras in Berlin and other radio orchestras throughout Germany. From 2002 to 2015, Marek Janowski was artistic director and chief conductor

TRACK INFORMATION

ENGLISH

DEUTSCH

ACKNOWLEDGMENTS

←

← Rundfunk-Sinfonieorchester Berlin © Molina Visuals

Ludwig van Beethoven (1770 – 1827)

With devotion

MISSA SOLEMNIS

Reflections on Beethoven’s

in D Major Op. 123

BEETHOVEN

MISSA SOLEMNIS

Missa solemnis

1 2

Kyrie Gloria

9. 22 15. 41

Beethoven’s Missa solemnis is a unique gem. A work of dramatic external

3 4

Credo Sanctus – Benedictus

16. 59 15. 26

power and well-nigh incredible inner strength. Full of conviction. Rich in

5

Agnus Dei Total playing time:

Rundfunk-Sinfonieorchester Berlin MDR Rundfunkchor Leipzig

15. 32

profoundly personal visions of the faith that has remained, carved in stone,

73. 04

Regine Hangler, Soprano

in the form of the Latin mass text for centuries. And yet also rich in moments of doubt about dogmatic religion and

Elisabeth Kulman, Alto

the formal institution of the church.

Christian Elsner, Tenor Franz-Josef Selig, Bass

In its monumentality and lengthy duration of just under 90 minutes, the Missa solemnis departs from all

MDR Rundfunkchor Leipzig

liturgical guidelines – despite the fact

Michael Gläser, Chorus Master

that the work was originally intended for a specific high mass; yet it was not actually performed there in the end.

Rundfunk-Sinfonieorchester Berlin

Marek Janowski

External event and internal task Creating a unique gem takes time: and in this case, Beethoven took plenty

– not Beethoven’s Missa solemnis, but a mass composed by Johann Nepomuk Hummel was performed. Not until three years later did Beethoven manage to complete the Missa solemnis, the

Stile antico and modern musical idiom According to Carl Dahlhaus, in his Missa solemnis Beethoven was mainly

Dahlhaus describes the motivic links

as follows about his first mass: “…

between the various structural sections

however, I believe that I have treated

as “submotivic connections.” Thus, very subtly, individual parameters from motifs constantly reappear in a precisely

the text in a manner in which it has seldom been treated.” And again with his Missa solemnis, Beethoven subjected

of time. In the summer of 1818 it was

reason being that he had quickly

concerned with finding a good mix

calculated manner – however, always in

the individual words of the Latin text to

announced in Vienna that his pupil and patron, the Archduke Rudolph, was to be enthroned as Archbishop of Olomouc

realized that he would have to take an extraordinary path. The première took place in St. Petersburg on April 7, 1824,

between the idiom of ancient church music and that of modern instrumental music. He appears to have managed

a different context as regards content. These submotivic references are very difficult to recognize at first hearing.

a precise examination, in order to give them an exact musical interpretation: both with regard to their pure

on March 9, 1820. Beethoven decided

as a concertante performance under

this due to the fact that “in the archaic

While working on his mass, Beethoven

significance, but above all, with regard

to compose a mass for this event. In June 1819, he wrote as follows to the Archduke: “The day on which a high

the auspices of Prince Gallitzin; and on May 7, 1824, the mass was given an incomplete performance in Vienna,

idiom, which was meant to vouch for the church, he simultaneously discovered a ferment of modernity,

delved into ancient church music in Archduke Rudolph’s library, studying works by Palestrina as well as Gregorian

to their connotations. Which feelings are resonating here? Which emotions are they releasing? And not only in the case

mass by my hand will be performed

not including the “Gloria” and the “Sanctus.” Obviously, Beethoven had no

thanks to which the work was able to

chant.

of the listener, but above all, with regard to the composer himself.

during the celebrations solemnized for Y.I.H. will be for me the most beautiful day of my life. And God will enlighten

problem in “extracting” his Missa from its original destination. Clearly, in the

hold its own with regard to the aesthetic maxim that music must be novel in order to be considered authentic.” And

me, so that my paltry creative powers may contribute to the glorification

meantime, he had begun to regard it as a deeply personal confrontation with

indeed, techniques such as motivicthematic passage work, or evolving

am Ölberge (= Christ on the mount of olives, 1803/1804/1811), Beethoven had

of this solemn day.” But work on the composition dragged out, and by the

his faith.

variation (characteristic for Beethoven’s middle period) are to be found only

already devoted a great deal of time to the texts, aiming to “unify music

In his Mass in C major, dating from 1807, and also in his oratorio Christus

Rainer Wolters, Concert Master

end of 1819 Beethoven had only just sketched the middle part of the Credo.

in rudimentary form. However, this does not signify that the structural

and word.” To help with the mass text, he brought in a translator, who was

Conducted by Marek Janowski

The day arrived of the High Mass, and

sections of the mass coexist in isolation.

himself a musician. Beethoven wrote

Creed

drowned by the calls of “credo” in the

Is this my faith? How do I believe?

other voices. On the other hand, great emphasis is placed on the belief in

And why? A religious and “expressively intensified subjectivism” (Ackermann)

eternal life by means of an extended double fugue lasting more than 170

containing these questions runs like a red thread through the Missa solemnis.

bars. The Missa is full of such highly contrasting interpretations of the text.

It is a deeply personal creed. Here, Beethoven is concerned with individual

As in the Mass in C major, in the Missa

emotions, not with universal questions of faith – as he makes clear to us in the

solemnis Beethoven also renounces the traditional numbering, i.e. the

following sentence “May it continue to flow from heart to heart,” written in the autograph score above the “Kyrie.”

classification of the distribution of arias and choral settings within the various sections of the mass. In part, the

How simple. How noble. How human.

formal structuring keeps to traditional

Perhaps this is precisely why Beethoven described the Missa as “the most successful of his intellectual products”:

guidelines, as in the tripartite division of the “Kyrie”; however, it also goes its own way, for example at the end of the

because it demonstrates his personal

“Gloria,” when the “Gloria in excelsis

view of faith, and also how he rated certain assertions in the mass text. Take, for instance, the casual “credo in

Deo” is repeated, but now in presto. The extremely short “Sanctus” is contrasted with a greatly elongated “Benedictus”;

is laid out in four sections. There is

The movements

an extremely pronounced principle of contrast at all levels. Peace and quiet is contrasted with movement, ecstatic rejoicing resonates alongside pacing dignity, polyphony is alternated with homophony. A recitative tone meets with widely resonating cantilenas and concise folk-song-like creations. The Missa solemnis is a work of extremes. Beethoven blends choir, soloists, and large orchestra into a single “body of sound,” which is meant to “touch, strike, shake” (Werner-Jensen) the listener with volume of its sound. And Beethoven succeeds at this, having set himself the goal “of awakening and perpetuating religious feelings both in the singer and the listener.”

the heavenly heights with the soaring

Beethoven designs the “Credo” with

The “Kyrie,” the song of invocation,

main theme of the “Gloria.” This theme recurs like a motto at key points in

equally rich contrast, both in its entirety and its individual sections. Here, too,

has a classical tripartite division, with a constant and humble interchange of

the movement. This is followed by the “terra pax hominibus,” almost like a

the music is deeply personal, all about the confession of faith and the miracle

singing between soloists and choir. The first D-major chord of the full orchestra

homophonic whisper from the choir, the hymnically worshipping “Laudamus te”

of Christ’s birth, suffering, death, resurrection and ascension. Analogous

already anticipates the impressive cry of “Kyrie” from the choir. In the middle

and the airy “Gratias agimus tibi.” The “Qui tollis” introduces the slow, second

to the “Gloria,” the powerful opening core motif of the “Credo” returns at

part (“Christe”), the soloists lead with the choir responding. Increasingly

part of the Gloria, in which clarinets and flutes present the lament theme. An

the end as if to close brackets. Can there be any doubt about Beethoven’s

dense, the voices become more and more contrapuntally interwoven. In the varied repetition of the “Kyrie,”

extended, contrite plea for compassion develops in the “Miserere nobis,” in which Beethoven draws out the emotion

faith here? The musical design cements an imperturbable attitude of mind. The next section of the movement

Beethoven emphasizes the agonizing

in the vowel “o.” In the third part –

(“Et incarnatus est” – “et homo factus

mood by means of chromaticism, and the movement fades away in the prayer in pianissimo.

“Quoniam tu solus sanctus” – the eulogy returns in the powerful choral setting, followed by a tremendous fugue, “in

est”) recreates the individual phases with deep feeling: at times profoundly absorbed in thought, at others painful

gloria dei patris, amen,” after which

and sorrowful, then again vividly

Beethoven begins the eulogy of the “Gloria,” which is divided into four parts in a hugely contrasting manner.

the recurrence of the motto from the beginning of the “Gloria” concludes the movement in presto.

majestic during the Last Judgment. Here too, the “Credo” is concluded with a massive fugue – a double fugue on the

unam sanctam catholicam,” recited

and the “Agnus Dei” – which in fact

After a stormy fortissimo upbeat in

only once in the tenors, which is almost

consists of three sections in the text –

the orchestra, the choir races up into

phrase “et vitam venturi saeculi, amen.”

The Sanctus “devoutly” assumes a

reverent mood. Right up to the end, the

profoundly meditative attitude, the

solo violin remains in charge; and at

prayers are whispered mezza voce, primed by trombones and low strings. A general pause is immediately followed

the conclusion, it soars back up to the heights after a glorification, once again set as a fugue.

by an energetically driving choral fugato to the phrase “Osanna in excelsis.” This is followed by a short prelude, almost lacking in motif, in which

The concluding “Agnus Dei” introduces an Adagio section that continually attempts to soar, but finally fades away

Beethoven portrays the miracle of the

in pp. Beethoven wrote the following

transformation of the host; by the way, this is the only exclusively instrumental “movement.”

words above the “Dona nobis pacem”: “Plea for internal and external peace.” Two instrumental interpolations with,

But then suddenly in the “Benedictus,”

so to speak, warlike timpani and trumpets, violently breaking into the

the solo violin swoops down from the highest heights of heaven in a coup de

music, demonstrate that this peace is truly under siege. “Fearfully,” the soloists

théâtre. Profane kitsch? Well, Arnold Werner-Jensen described this as “a

once again plea for mercy; and the choir virtually insists upon it, with its

legitimate artistic means of emotionally flustering the listener.” For after all,

sforzato cries of “pacem.”

it was about the “impact of the promise.” The muted sound-colours in the orchestra further emphasize the

Marek Janowski

Dortmund (1975-1979). Since the late

From 2002 until 2015, Marek

1970s, he has appeared regularly at all the major opera houses world-wide.

Janowski was Artistic Director and Chief Conductor of the Rundfunk-

Marek Janowski stepped back from the

Sinfonieorchester Berlin (RSB). Before embarking upon his Berlin period,

opera scene in the 1990s to concentrate on the great German and French

and also partly parallel to this, he was Musical Director of the Orchestre

symphonic repertoire. He enjoys an outstanding reputation amongst the

de la Suisse Romande (2005-2012), Chief Conductor of the Orchestre

premier orchestras of Europe, North America and Asia and is recognised

Philharmonique de Monte Carlo (2000-2005), Chief Conductor of the Dresdner Philharmonie (2001-2003),

for his ability to create orchestras of international standing.

and Musical Director of the Orchestre

His leave-taking of the opera, however,

Philharmonique de Radio France (19842000).

was merely an institutional matter, not a musical farewell. Thus he is now recognized as one of the greatest

Born in Warsaw and educated in

experts regarding the music of Richard

Germany, Marek Janowski’s artistic path led him from positions in Aachen, Cologne, Düsseldorf and Hamburg to his

Wagner, to which his concertante Wagner cycle with the RSB bears witness. In the sequel he accepted the

appointment as General Music Director

invitation to conduct Wagner’s “Ring” at

in Freiburg im Breisgau (1973-1975) and

the Bayreuth Festival in 2016 and 2017.

Liner notes

of the RSB. Vladimir Jurowski has

la Parra, Lahav Shani and Omer Meir

been named as his successor, starting in the 2017-2018 season. Previous chief conductors (including Sergiu Celibidache, Eugen Jochum, Hermann Abendroth, Rolf Kleinert, Heinz Rogner,

Wellber performing in recent years.

and Rafael Frühbeck de Burgos) have all helped to create the ensemble’s exceptional sound.

RSB belongs, has born rich fruit on recording. Starting in 2010, together with PENTATONE, great effort was put

Since its foundation, the RSB has invited major composers to conduct or to perform as soloists in their own works. These have included Paul Hindemith, Sergei Prokofiev, Richard Strauss, and Igor Stravinsky, as well as Krzysztof Penderecki, Peter Ruzicka, and Jörg Widmann. The RSB is particularly attractive for capable young conductors from the international music scene, with Andris

and won the 2nd prize in the Birgit

the “Ehrenpreis der deutschen

Nilson competition.

Schallplattenkritik” (= honorary prize of the German Critics’ Award) for his extensive life’s work.

Since 2013/14 Regine Hangler is an

Tokyo and the Scala in Milan.

success as a soprano. Since 2005

Thielemann, Marek Janowski or Franz

As a successful concert singer Regine Hangler is very successful in Austria,

Elisabeth Kulman has been singing the major parts of the mezzo and alto repertoire. As a member of the

close collaboration with Nikolaus Harnoncourt.

ensemble member of the Wiener

Germany, Albany, the Netherlands,

ensemble at the Vienna State Opera

Regine Hangler Soprano

Staatsoper and is performing the following roles, just to name a few: Rosalinde (Die Fledermaus), Santuzza

Slovenia, Hungary, Japan and Israel. Regine Hangler’s discography and videography continue to grow steadily.

she quickly became a favourite of the audience and established the basis for her vast repertoire. Her most

After having studied viola and technics, Regine Hangler studied canto as her major subject at the Kärntner

Ariadne (auf Naxos), Leonore (Fidelio) and Eva (Die Meistersinger von Nürnberg).

(Cavalleria Rusticana), Elsa (Lohengrin),

Landeskonservatorium and the Universität für Musik in Vienna, which she passed with distinction.

In May 2015 the soprano was highly acclaimed for her title role of “Daphne” in Berlin, which was conducted by

Elisabeth Kulman Alto

important roles include Fricka, Erda and Waltraute (The Ring of the Nibelung), Carmen, Mrs. Quickly (Falstaff), Brangäne (Tristan and Isolde), Begbick

Elisabeth Kulman is one of today’s

(Mahagonny), Orlofsky (The Bat), Orfeo

most sought-after singers and leading authorities in the international classical music scene. She impresses

(Gluck) and Marina (Boris Godunov). Since 2010 Elisabeth Kulman has been

At the same time she was working

Marek Janowski, in New York und

audiences and critics alike with her rich,

working as a freelance artist. She is

with KS Mara Zampieri in Padua and concluded her education with numerous Masterclasses.

Cleveland by Franz Welser-Möst. In 2016 she had a big success at the Salzburger Festspiele for her interpretation of

colourful timbre, her charismatic stage personality and her musical versatility.

a much sought-after soloist in the metropolitan centres of the music world: Vienna, Paris, London, Munich,

Xanthe in “Die Liebe der Danae”.

She studied voice with Helena Lazarska

Berlin, Tokyo, Salzburg, Moscow, etc.

Further future engagements lead the soprano i.e. to the Bayreuther Festspiele,

at the Vienna Music University, made her debut as Pamina in 2001 at the Volksoper in Vienna and enjoyed early

She works regularly with world-class orchestras and conductors such as Zubin Mehta, Kirill Petrenko, Christian

Several times she was decorated with highly skilled scholarships, became finalist of the Italian Aslico competition

Welser-Möst. She enjoyed a particularly

Christian Elsner Tenor Born in Freiburg, Christian Elsner is one of the most versatile German tenors. He

On the opera stage Christian Elsner has

The versatile singer has written his own

established himself as a heroic tenor

children’s book, Lennie und der Ring des

in the roles of Siegmund and Parsifal at the Deutsches Nationaltheater in Weimar, the Staatstheater in Kassel, the

Nibelungen, and has been working as a professor for singing at the Hochschule für Musik in Wurzburg since 2006.

Franz-Josef Selig Bass

Nezét-Séguin, Antonio Pappano, Phillipe Jordan, Zubin Mehta and many others.

Franz-Josef Selig has established himself on the international scene as

Bass singer Franz-Josef Selig first studied church music at the Staatliche

Since 2015 Elisabeth Kulman has been

studied singing with Martin Gründler,

Dresden Semperoper, the Vienna State

focusing her artistic activities on recitals (together with her longtime accompanist Eduard Kutrowatz),

took lessons with Dietrich FischerDieskau and Neil Semer, and has won many international competitions.

Opera and at the Teatro Real in Madrid. Accompanied by Gerold Huber and Burkhard Kehring, the tenor has given recitals in Frankfurt, Hamburg, Bonn,

Real in Madrid under Semyon Bychkov,

Fiesco and Fasolt at all the world’s

ensemble in Essen. He has since been a

As an internationally sought-after concert singer, Christian Elsner is a popular guest at all the important

Dresden, Munich, Wurzburg and Brussels, and at the Schubertiade in Feldkirch.

in Vienna in Franz Schmidt’s The Book with Seven Seals under Manfred Honeck with the Vienna Symphony Orchestra,

major opera houses (such as the Vienna State Opera, Bavarian State Opera, Teatro alla Scala di Milano, Teatro Real

freelance singer.

in Beethoven’s Ninth Symphony in

Madrid, the Parisian opera houses or

Wien as well as “Hungaro Tune” with symphony orchestra and jazz soloists.

the Berlin Philharmonic, New York’s Carnegie Hall, La Scala, Milan and the Suntory Hall in Tokyo, and has worked

Christian Elsner can also be heard on CD, with recordings such as Schubert’s Winterreise and Schumann’s

Leipzig with the Gewandhausorchester under Herbert Blomstedt, and in Berlin, Vienna, New York, Taipei and Tokyo with

the Metropolitan Opera New York) and at prestigious festivals such as the Bayreuth and Salzburg Festival and

Her latest solo programme “La femme c’est moi” features pieces from Carmen

with many renowned conductors such as Herbert Blomstedt, Manfred Honeck,

Dichterliebe, along with studio productions of Mahler’s Lied von der

the Berlin Philharmonic under Sir Simon Rattle.

the Festival d’Aix-en-Provence. Opera productions as well as concerts bring

up to the Beatles.

Marek Janowski, Mariss Jansons, Kent Nagano, Yannick Nézet-Séguin, Semyon

Erde as well as complete recordings of Wagner’s Rheingold (Loge) and Parsifal

Bychkov and Sir Simon Rattle.

(title role).

concerts and operas in concert. She is especially devoted to unconventional projects: “Mussorgsky Dis-Covered” with an international jazz quartet, “Mahler Lieder” and “Wer wagt mich zu höhnen?” with the ensemble Amarcord

classical music centres, such as

Christian Elsner’s most recent performances have included the title role in Wagner’s Parsifal at the Teatro

one of the best-known serious bass

Hochschule für Musik in Cologne before

baritones. He regularly gives guest performances as Gurnemanz, King Marke, Sarastro, Rocco, Osmin, Daland,

taking voice classes under Claudio Nicolai. At the beginning of his career he was a member of the Aalto Theatre

him together frequently with renowned orchestras and conductors, such as James Levine, Christian Thielemann, Sir Simon Rattle, Marek Janowski,

MDR Rundfunkchor Leipzig

Mit Andacht Gedanken zu Beethovens Missa solemnis

into the live recording of the successful ten part Wagner cycle. Other activities of the RSB include special concerts for families and children, as well as guest performances in the major international concert halls, which have taken place over the past 50 years. Alongside regular tours of Asia the orchestra appears at German and European festivals. MDR Rundfunkchor Leipzig © Peter Adamik

Nelsons, Yannick Nézet-Séguin, Alain Altinoglu, Jakub Hrůša, Alondra de

nicht die Missa solemnis, sondern eine

Ein Solitär benötigt Zeit. Und die nahm sich Beethoven in diesem Fall reichlich. Im Sommer 1818 wurde in Wien bekannt, dass sein Schüler und Gönner, Erzherzog Rudolph, am 9. März 1820 zum Erzbischof von Olmütz inthronisiert

Überzeugungskraft. Reich an zutiefst persönlichen Blicken auf jenen Glauben, wie er in Gestalt des lateinischen Messtextes seit Jahrhunderten in

werden sollte. Aus diesem Anlass plante Beethoven eine Messvertonung. Im Juni 1819 schrieb er an den Erzherzog: „Der Tag, wo ein Hochamt von mir

Stein gemeißelt ist. Und doch auch reich an Momenten des Zweifelns an dogmatischer Religion und der formellen Institution Kirche. In ihrer

zu den Feierlichkeiten für I.K.H. soll aufgeführt werden, wird für mich der schönste meines Lebens sein. Und Gott wird mich erleuchten, dass meine

Monumentalität und zeitlichen Ausdehnung von knapp 90 Minuten sprengt die Missa solemnis jegliche liturgischen Vorgaben. Auch wenn das Werk ursprünglich für ein konkretes

schwachen Kräfte zur Verherrlichung dieses Feierlichen Tages beitragen.“ Doch die kompositorische Arbeit ging nur schleppend voran und Ende 1819

Hochamt gedacht war. Dort dann aber nicht erklang. Rundfunk-Sinfonieorchester Berlin © Molina Visuals

Äußerer Anlass und innere Aufgabe

Beethovens Missa solemnis ist ein Solitär. Ein Werk von äußerer dramatischer Wucht und schier unglaublicher innerer Stärke. Voller

hatte Beethoven gerade einmal den Mittelteil des Credos skizziert. Der Tag des Hochamtes kam. Und es erklang – Deutsch

Messe von Johann Nepomuk Hummel. Erst drei Jahre später konnte Beethoven die Missa solemnis vollenden. Weil ihm schnell klar wurde, dass er einen außergewöhnlichen Weg würde gehen müssen. Die Uraufführung fand am 7. April 1824 in St. Petersburg im Rahmen einer konzertanten Aufführung des Fürsten Galitzin statt und am 7. Mai 1824 erklang das Werk bruchstückhaft in Wien, ohne Gloria und Sanctus. Beethoven hatte ganz augenscheinlich kein schlechtes Gewissen, seine Missa aus ihrer ursprünglichen Bestimmung herauszulösen. Betrachtete er sie doch mittlerweile als zutiefst persönliche Auseinandersetzung mit seinem Glauben.

Stile antico und moderne Tonsprache

als „submotivische Beziehungen“.

dass ich den Text behandelt habe, wie

Glaubensfragen. Was nicht zuletzt der

Wie schon in der C-Dur-Messe

knappe volksliedhafte Bildungen. Die

Folgt man Carl Dahlhaus, so ging

Demnach kehren auf äußerst subtile Weise einzelne Parameter aus Motivgestalten genauestens kalkuliert

er noch wenig behandelt worden“. Auch bei der Missa solemnis untersuchte Beethoven die einzelnen Wörter des

es Beethoven in der Missa solemnis kompositorisch vor allem um eine Vermittlung zwischen altem Kirchenstil und moderner Instrumentalmusik. Gelungen sei ihm dies dadurch, „dass

wieder – aber in einem jeweils anderen inhaltlichen Zusammenhang. Diese submotivischen Bezüge sind beim erstmaligen Hören kaum zu erkennen. Während der Arbeit an der Messe

lateinischen Messtextes genau, um sie musikalisch exakt auszudeuten. Auf ihre reine Bedeutung hin, vor allem aber auch auf ihre Konnotationen. Welche Gefühle schwingen mit? Welche

im Autograph über dem Kyrie stehende Satz „Von Herzen – möge es wieder – zu Herzen gehen“ transportiert. Wie schlicht. Wie groß. Wie menschlich. Vielleicht hat Beethoven die Missa

verzichtet Beethoven auch in der Missa solemnis auf die traditionelle Nummerngliederung, also auf die Verteilung von Arien und Chorsätzen auf die Messabschnitte. Die formale

Missa solemnis ist ein Werk der Extreme. Beethoven lässt Chor, Solisten und das groß besetzte Orchester zu einem einzigen Klangkörper verschmelzen, der den Hörer mit seinem voluminösen

gerade deshalb als das „gelungenste seiner Geistesprodukte“ bezeichnet. Weil sie seinen persönlichen Blick

Gliederung folgt teils traditionellen Vorgaben, wie bei der Dreiteilung des Kyrie, geht aber auch eigene Wege,

Klangbild „rühren, treffen, erschüttern“ (Werner-Jensen) soll. Und das gelingt Beethoven, der sich zum Ziel gesetzt

er im Archaischen, das die Kirchlichkeit verbürgen sollte, zugleich ein Ferment von Modernität entdeckte, durch die das Werk vor der ästhetischen Maxime

vertiefte sich Beethoven in der Bibliothek Erzherzog Rudolphs in alte Kirchenmusik, studierte Palestrinas Werke und die Gregorianik.

Emotionen setzen sie frei? Und zwar nicht nur beim Hörer, sondern vor allem beim Komponisten.

etwa wenn Beethoven das „Gloria in excelsis Deo“ am Ende des Gloria im presto wiederholt. Dem extrem kurzen Sanctus steht ein extrem gedehntes Benedictus gegenüber und das textlich

hatte „sowohl bei Singenden als bei Zuhörern religiöse Gefühle (zu) erwecken und dauernd (zu) machen“.

bestehen konnte, dass Musik neu sein müsse, um authentisch zu sein.“ Und in der Tat finden sich Techniken wie motivisch-thematische Arbeit oder

auf den Glauben zeigt. Und wie er bestimmte Aussagen des Messtextes bewertet. Man denke etwa an das beiläufige, lediglich einmal im ChorTenor rezitierte „credo in unam sanctam

Schon in seiner C-Dur-Messe aus dem Jahr 1807 und auch in seinem Oratorium Christus am Ölberge (1803/1804/1811)

entwickelnde Variation (ihres Zeichens Merkmale des mittleren Beethovens) nur rudimentär. Was wiederum nicht bedeutet, dass die formalen Teile der

hatte sich Beethoven intensiv mit den Textvorlagen beschäftigt, mit dem Ziel „Musick und wort ein’s“ werden zu lassen. Beim Messtext bediente er sich

catholicam“, das in den „Credo“-Rufen der anderen Stimmen schier untergeht. Der Glaube an das ewige Leben erfährt dagegen auf über 170 Takten in einer

eigentlich dreiteilig angelegte Agnus Dei wird vierteilig umgesetzt. Auf allen Ebenen findet sich ein extrem ausgeprägtes Kontrastprinzip. Ruhe

homophon vom Chor fast geflüstert, das hymnisch anbetende „Laudamus te“ und das klanglich luftige „Gratias agimus tibi“. Mit dem „Qui tollis“ beginnt der langsame, zweite Teil des Gloria, in dem

der Hilfe eines Übersetzers, der selber Musiker war. Beethoven schrieb über seine erste Messe: „jedoch glaube ich,

wird Bewegung gegenübergestellt, ekstatischer Jubel erklingt neben schreitender Würde, polyphone und homophone Ausgestaltung wechseln

Das Kyrie, der Bittgesang, ist klassisch dreigeteilt, im steten, demutsvollen Wechselgesang zwischen Soli und Chor. Der machtvolle Kyrie-Anruf der Chorstimmen wird bereits im ersten

Messe isoliert nebeneinanderstehen. Die motivischen Bezüge zwischen den Formabschnitten beschreibt Dahlhaus

ausgeweiteten Doppelfuge eine starke Gewichtung. Derart kontrastreiche Interpretationen der textlichen Vorgabe prägen die Missa.

D-Dur-Akkord des vollen Orchesters vorweggenommen. Im mittleren Christe-Teil führen die Soli, der Chor antwortet. Immer dichter werden die

Klarinetten und Flöten das Klagethema präsentieren. Eine ausgedehnte, zerknirschte Bitte um Erbarmen entwickelt sich im von Beethoven um

Stimmen kontrapunktisch miteinander

den emotionalen Laut „O“ erweiterte

Bekenntniswerk Ist dies mein Glaube? Wie glaube ich? Und warum? Mit diesen Fragen zieht sich ein religiöser und „expressiv gesteigerter Subjektivismus“ (Ackermann) wie ein roter Faden durch die Missa solemnis. Sie ist ein zutiefst persönliches Bekenntniswerk. Es geht Beethoven um individuelle Emotionen, nicht um allgemeingültige

sich ab. Ein Rezitationston trifft auf weit ausschwingende Kantilenen und

Die Sätze

verwoben. In der variierten KyrieWiederholung betont Beethoven die schmerzvolle Haltung durch Chromatik, der Satz verklingt im Pianissimo-Gebet. In stärkstem Kontrast eröffnet Beethoven den Preisgesang des Gloria, das in vier Teile gegliedert ist. Nach stürmischem Fortissimo-Orchesterauftakt jagen die Chorstimmen mit dem aufsteigenden Gloria-Hauptthema in himmlische Höhen. Dieses Thema kehrt mottoartig an Schlüsselstellen des Satzes wieder. Es folgt das „et in terra pax hominibus“,

Acknowledgments

Bevor im Benedictus die Solo-

durchaus gefährdet ist, zeigen zwei

Violine in einem coup de théâtre von den höchsten Höhen des Himmels herabsteigt. Weltlicher Kitsch? Arnold Werner-Jensen sah darin „ein legitimes künstlerisches Mittel, den

instrumentale Einschübe mit gleichsam kriegerischen Pauken und Trompeten, die gewaltsam einbrechen. „Ängstlich“ bitten die Solisten erneut um Erbarmen. Der Chor fordert geradezu insistierend

einer gewaltigen Fuge abgeschlossen, einer Doppelfuge auf „et vitam venturi saeculi, amen“.

Hörer emotional aus der Fassung zu bringen“. Immerhin gehe es hier um die „Wucht der Verheißung“. Die

mit seinen Sforzato-Rufen „pacem“.

Das Sanctus nimmt „mit Andacht“ eine tiefgründige Versenkungshaltung ein, mezza voce werden die Gebetsrufe geflüstert, grundiert von Posaunen

gedämpften Klangfarben im Orchester unterstreichen die andachtsvolle Haltung noch. Bis zum Ende hat die Solo-Violine stets die Führung inne und steigt nach einer erneut fugierten

und um das Wunder von Geburt, Leiden, Tod, Wiederauferstehung und Himmelfahrt Christi. Analog zum Gloria kehrt das eröffnende, wuchtige Credo-

und tiefen Streichern. Nach einer Generalpause beginnt ein energisch vorantreibendes Chorfugato über „Osanna in excelsis“. Es folgt ein kurzes,

Lobpreisung am Ende wieder in die Höhe hinauf.

Kernmotiv am Ende wie einer Klammer wieder. Kann man hier irgendwie an Beethovens Glauben zweifeln? Die musikalische Gestaltung zementiert

fast schon amotivisches Präludium, in dem Beethoven das Wunder der Hostienwandlung nachzeichnet; übrigens der einzige rein instrumentale

einen Adagio-Teil ein, der sich immer wieder aufzuschwingen versucht, dann im Pianissimo verklingt. Das „Dona nobis pacem“ ist von Beethoven mit

PENTATONE TEAM Vice President A&R Renaud Loranger | Director A&R Job Maarse | Managing

eine unerschütterliche Geisteshaltung. Der Binnensatz („Et incarnatus est“

„Satz“.

„Bitte um innern und äußern Frieden“ überschrieben. Dass dieser Frieden

Director Dirk Jan Vink | Director Product, Marketing & Distribution Simon M. Eder A&R Kate Rockett | Marketing & PR Silvia Pietrosanti | Distribution Veronica Neo

– „et homo factus est“) gestaltet die einzelnen Phasen tief empfunden nach. Mal abgründig versunken, mal schmerz- und leidvoll, dann wieder plastisch-majestätisch beim Jüngsten Gericht. Auch das Credo wird von

Beginns den Satz im Presto krönend abschließt.

PRODUCTION TEAM Executive producers Stefan Lang (Deutschlandradio Kultur), Job Maarse (Pentatone) | Recording producer Job Maarse | Balance engineer Jean-Marie Geijsen (Polyhymnia) | Recording engineer & editor Erdo Groot (Polyhymnia) Deutschlandradio recording team Wolfram Nehls, Henri Thaon, Jens Müller Liner notes Jörg Peter Urbach | English translation Fiona J. Stroker-Gale Design Joost de Boo | Product management Max Tiel This album was live recorded at the Berlin Philharmonie, September 2016.

Das abschließende Agnus Dei leitet

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Broadcasting Union, through touring or in guest performances worldwide,

years of musical history. Numerous world premieres attest to the 73 choir

the MDR LEIPZIG RADIO CHOIR, which was awarded the European Cultural

members’ reputation as a specialised ensemble for contemporary music.

Prize in 2013, acts as a supreme musical ambassador for central Germany.

work it is invariably the MDR LEIPZIG RADIO CHOIR that comes at the top

acclaimed world-class ensemble. From the season 2015/2016 he was succeeded

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experts as one of the best.

Premium Sound and Outstanding Artists PENTATONE. Today’s music is evolving and forever changing, but classical music remains true in creating harmony among the instruments. Classical music is as time-honoured as it is timeless.

formats. In 2017 the choir was awarded the International Classical Music Award for its recording of Max Reger’s Motets op. 110. Whether via the European

works complete a repertoire that encompasses practically a thousand

In the fifteen years of his tenure

Corporation (ARD), the MDR LEIPZIG RADIO CHOIR is widely regarded among

Sit back and enjoy

70-year history. These recordings have been released on LPs, CDs and digital

demonstrates its expertise with highly acclaimed a cappella performances. Secular and sacred music, wide-ranging ensemble singing and choral symphonic

from 1998 Howard Arman lastingly consolidated the reputation of this

Semyon Bychkov, Riccardo Muti, Yannick

Gleichfalls kontrastreich im Gesamtrahmen wie in den einzelnen Teilen gestaltet Beethoven das Credo. Auch hier zutiefst persönlich, geht es doch um das Glaubensbekenntnis

„Miserere nobis“. Im dritten Teil – „Quoniam tu solus sanctus“ – kehrt der Preisgesang im mächtigen Chorsatz zurück, bevor sich eine gewaltige „in gloria dei patris, amen“-Fuge anschließt bevor erneut das Zitat des Gloria-

Not only an excellent partner for major orchestras, the ensemble regularly

When major orchestras in Germany or abroad plan to perform a choral

Artists

The collaboration with Deutschlandradio, the main shareholder of the ROC GmbH Berlin to which the

Marek Janowski © Jean-François Leclercq

In 2014 Marek Janowski was awarded

Nearly 200 recordings, many of them award-winning, have been recorded by the ensemble during its more than

RundfunkSinfonieorchester Berlin (RSB, Berlin Radio Symphony Orchestra) dates back to the beginnings of music broadcasting in 1923, and has since sustained its position amongst the leading orchestras in Berlin and other radio orchestras throughout Germany. From 2002 to 2015, Marek Janowski was artistic director and chief conductor

ENGLISH

DEUTSCH

Mit Andacht

Äußerer Anlass und innere Aufgabe

Gedanken zu Beethovens Missa solemnis Beethovens Missa solemnis ist ein Solitär. Ein Werk von äußerer dramatischer Wucht und schier unglaublicher innerer Stärke. Voller Überzeugungskraft. Reich an zutiefst persönlichen Blicken auf jenen Glauben, wie er in Gestalt des lateinischen Messtextes seit Jahrhunderten in Stein gemeißelt ist. Und doch auch reich an Momenten des Zweifelns an dogmatischer Religion und der formellen Institution Kirche. In ihrer Monumentalität und zeitlichen Ausdehnung von knapp 90 Minuten sprengt die Missa solemnis jegliche

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liturgischen Vorgaben. Auch wenn das Werk ursprünglich für ein konkretes

MDR Rundfunkchor Leipzig © Peter Adamik

ACKNOWLEDGMENTS

Ein Solitär benötigt Zeit. Und die nahm sich Beethoven in diesem Fall reichlich. Im Sommer 1818 wurde in Wien bekannt, dass sein Schüler und Gönner, Erzherzog Rudolph, am 9. März 1820 zum Erzbischof von Olmütz inthronisiert werden sollte. Aus diesem Anlass plante Beethoven eine Messvertonung. Im Juni 1819 schrieb er an den Erzherzog: „Der Tag, wo ein Hochamt von mir zu den Feierlichkeiten für I.K.H. soll aufgeführt werden, wird für mich der schönste meines Lebens sein. Und Gott wird mich erleuchten, dass meine schwachen Kräfte zur Verherrlichung dieses Feierlichen Tages beitragen.“ Doch die kompositorische Arbeit ging nur schleppend voran und Ende 1819

←

TRACK INFORMATION

hatte Beethoven gerade einmal den Mittelteil des Credos skizziert. Der Tag

Hochamt gedacht war. Dort dann aber nicht erklang.

des Hochamtes kam. Und es erklang – Deutsch

Ludwig van Beethoven (1770 – 1827)

With devotion

MISSA SOLEMNIS

Reflections on Beethoven’s

in D Major Op. 123

BEETHOVEN

MISSA SOLEMNIS

Missa solemnis

1 2

Kyrie Gloria

9. 22 15. 41

Beethoven’s Missa solemnis is a unique gem. A work of dramatic external

3 4

Credo Sanctus – Benedictus

16. 59 15. 26

power and well-nigh incredible inner strength. Full of conviction. Rich in

5

Agnus Dei Total playing time:

Rundfunk-Sinfonieorchester Berlin MDR Rundfunkchor Leipzig

15. 32

profoundly personal visions of the faith that has remained, carved in stone,

73. 04

Regine Hangler, Soprano

in the form of the Latin mass text for centuries. And yet also rich in moments of doubt about dogmatic religion and

Elisabeth Kulman, Alto

the formal institution of the church.

Christian Elsner, Tenor Franz-Josef Selig, Bass

In its monumentality and lengthy duration of just under 90 minutes, the Missa solemnis departs from all

MDR Rundfunkchor Leipzig

liturgical guidelines – despite the fact

Michael Gläser, Chorus Master

that the work was originally intended for a specific high mass; yet it was not actually performed there in the end.

Rundfunk-Sinfonieorchester Berlin

Marek Janowski

External event and internal task Creating a unique gem takes time: and in this case, Beethoven took plenty

– not Beethoven’s Missa solemnis, but a mass composed by Johann Nepomuk Hummel was performed. Not until three years later did Beethoven manage to complete the Missa solemnis, the

Stile antico and modern musical idiom According to Carl Dahlhaus, in his Missa solemnis Beethoven was mainly

Dahlhaus describes the motivic links

as follows about his first mass: “…

between the various structural sections

however, I believe that I have treated

as “submotivic connections.” Thus, very subtly, individual parameters from motifs constantly reappear in a precisely

the text in a manner in which it has seldom been treated.” And again with his Missa solemnis, Beethoven subjected

of time. In the summer of 1818 it was

reason being that he had quickly

concerned with finding a good mix

calculated manner – however, always in

the individual words of the Latin text to

announced in Vienna that his pupil and patron, the Archduke Rudolph, was to be enthroned as Archbishop of Olomouc

realized that he would have to take an extraordinary path. The première took place in St. Petersburg on April 7, 1824,

between the idiom of ancient church music and that of modern instrumental music. He appears to have managed

a different context as regards content. These submotivic references are very difficult to recognize at first hearing.

a precise examination, in order to give them an exact musical interpretation: both with regard to their pure

on March 9, 1820. Beethoven decided

as a concertante performance under

this due to the fact that “in the archaic

While working on his mass, Beethoven

significance, but above all, with regard

to compose a mass for this event. In June 1819, he wrote as follows to the Archduke: “The day on which a high

the auspices of Prince Gallitzin; and on May 7, 1824, the mass was given an incomplete performance in Vienna,

idiom, which was meant to vouch for the church, he simultaneously discovered a ferment of modernity,

delved into ancient church music in Archduke Rudolph’s library, studying works by Palestrina as well as Gregorian

to their connotations. Which feelings are resonating here? Which emotions are they releasing? And not only in the case

mass by my hand will be performed

not including the “Gloria” and the “Sanctus.” Obviously, Beethoven had no

thanks to which the work was able to

chant.

of the listener, but above all, with regard to the composer himself.

during the celebrations solemnized for Y.I.H. will be for me the most beautiful day of my life. And God will enlighten

problem in “extracting” his Missa from its original destination. Clearly, in the

hold its own with regard to the aesthetic maxim that music must be novel in order to be considered authentic.” And

me, so that my paltry creative powers may contribute to the glorification

meantime, he had begun to regard it as a deeply personal confrontation with

indeed, techniques such as motivicthematic passage work, or evolving

am Ölberge (= Christ on the mount of olives, 1803/1804/1811), Beethoven had

of this solemn day.” But work on the composition dragged out, and by the

his faith.

variation (characteristic for Beethoven’s middle period) are to be found only

already devoted a great deal of time to the texts, aiming to “unify music

In his Mass in C major, dating from 1807, and also in his oratorio Christus

Rainer Wolters, Concert Master

end of 1819 Beethoven had only just sketched the middle part of the Credo.

in rudimentary form. However, this does not signify that the structural

and word.” To help with the mass text, he brought in a translator, who was

Conducted by Marek Janowski

The day arrived of the High Mass, and

sections of the mass coexist in isolation.

himself a musician. Beethoven wrote

Creed

drowned by the calls of “credo” in the

Is this my faith? How do I believe?

other voices. On the other hand, great emphasis is placed on the belief in

And why? A religious and “expressively intensified subjectivism” (Ackermann)

eternal life by means of an extended double fugue lasting more than 170

containing these questions runs like a red thread through the Missa solemnis.

bars. The Missa is full of such highly contrasting interpretations of the text.

It is a deeply personal creed. Here, Beethoven is concerned with individual

As in the Mass in C major, in the Missa

emotions, not with universal questions of faith – as he makes clear to us in the

solemnis Beethoven also renounces the traditional numbering, i.e. the

following sentence “May it continue to flow from heart to heart,” written in the autograph score above the “Kyrie.”

classification of the distribution of arias and choral settings within the various sections of the mass. In part, the

How simple. How noble. How human.

formal structuring keeps to traditional

Perhaps this is precisely why Beethoven described the Missa as “the most successful of his intellectual products”:

guidelines, as in the tripartite division of the “Kyrie”; however, it also goes its own way, for example at the end of the

because it demonstrates his personal

“Gloria,” when the “Gloria in excelsis

view of faith, and also how he rated certain assertions in the mass text. Take, for instance, the casual “credo in

Deo” is repeated, but now in presto. The extremely short “Sanctus” is contrasted with a greatly elongated “Benedictus”;

is laid out in four sections. There is

The movements

an extremely pronounced principle of contrast at all levels. Peace and quiet is contrasted with movement, ecstatic rejoicing resonates alongside pacing dignity, polyphony is alternated with homophony. A recitative tone meets with widely resonating cantilenas and concise folk-song-like creations. The Missa solemnis is a work of extremes. Beethoven blends choir, soloists, and large orchestra into a single “body of sound,” which is meant to “touch, strike, shake” (Werner-Jensen) the listener with volume of its sound. And Beethoven succeeds at this, having set himself the goal “of awakening and perpetuating religious feelings both in the singer and the listener.”

the heavenly heights with the soaring

Beethoven designs the “Credo” with

The “Kyrie,” the song of invocation,

main theme of the “Gloria.” This theme recurs like a motto at key points in

equally rich contrast, both in its entirety and its individual sections. Here, too,

has a classical tripartite division, with a constant and humble interchange of

the movement. This is followed by the “terra pax hominibus,” almost like a

the music is deeply personal, all about the confession of faith and the miracle

singing between soloists and choir. The first D-major chord of the full orchestra

homophonic whisper from the choir, the hymnically worshipping “Laudamus te”

of Christ’s birth, suffering, death, resurrection and ascension. Analogous

already anticipates the impressive cry of “Kyrie” from the choir. In the middle

and the airy “Gratias agimus tibi.” The “Qui tollis” introduces the slow, second

to the “Gloria,” the powerful opening core motif of the “Credo” returns at

part (“Christe”), the soloists lead with the choir responding. Increasingly

part of the Gloria, in which clarinets and flutes present the lament theme. An

the end as if to close brackets. Can there be any doubt about Beethoven’s

dense, the voices become more and more contrapuntally interwoven. In the varied repetition of the “Kyrie,”

extended, contrite plea for compassion develops in the “Miserere nobis,” in which Beethoven draws out the emotion

faith here? The musical design cements an imperturbable attitude of mind. The next section of the movement

Beethoven emphasizes the agonizing

in the vowel “o.” In the third part –

(“Et incarnatus est” – “et homo factus

mood by means of chromaticism, and the movement fades away in the prayer in pianissimo.

“Quoniam tu solus sanctus” – the eulogy returns in the powerful choral setting, followed by a tremendous fugue, “in

est”) recreates the individual phases with deep feeling: at times profoundly absorbed in thought, at others painful

gloria dei patris, amen,” after which

and sorrowful, then again vividly

Beethoven begins the eulogy of the “Gloria,” which is divided into four parts in a hugely contrasting manner.

the recurrence of the motto from the beginning of the “Gloria” concludes the movement in presto.

majestic during the Last Judgment. Here too, the “Credo” is concluded with a massive fugue – a double fugue on the

unam sanctam catholicam,” recited

and the “Agnus Dei” – which in fact

After a stormy fortissimo upbeat in

only once in the tenors, which is almost

consists of three sections in the text –

the orchestra, the choir races up into

phrase “et vitam venturi saeculi, amen.”

The Sanctus “devoutly” assumes a

reverent mood. Right up to the end, the

profoundly meditative attitude, the

solo violin remains in charge; and at

prayers are whispered mezza voce, primed by trombones and low strings. A general pause is immediately followed

the conclusion, it soars back up to the heights after a glorification, once again set as a fugue.

by an energetically driving choral fugato to the phrase “Osanna in excelsis.” This is followed by a short prelude, almost lacking in motif, in which

The concluding “Agnus Dei” introduces an Adagio section that continually attempts to soar, but finally fades away

Beethoven portrays the miracle of the

in pp. Beethoven wrote the following

transformation of the host; by the way, this is the only exclusively instrumental “movement.”

words above the “Dona nobis pacem”: “Plea for internal and external peace.” Two instrumental interpolations with,

But then suddenly in the “Benedictus,”

so to speak, warlike timpani and trumpets, violently breaking into the

the solo violin swoops down from the highest heights of heaven in a coup de

music, demonstrate that this peace is truly under siege. “Fearfully,” the soloists

théâtre. Profane kitsch? Well, Arnold Werner-Jensen described this as “a

once again plea for mercy; and the choir virtually insists upon it, with its

legitimate artistic means of emotionally flustering the listener.” For after all,

sforzato cries of “pacem.”

it was about the “impact of the promise.” The muted sound-colours in the orchestra further emphasize the

Marek Janowski

Dortmund (1975-1979). Since the late

From 2002 until 2015, Marek

1970s, he has appeared regularly at all the major opera houses world-wide.

Janowski was Artistic Director and Chief Conductor of the Rundfunk-

Marek Janowski stepped back from the

Sinfonieorchester Berlin (RSB). Before embarking upon his Berlin period,

opera scene in the 1990s to concentrate on the great German and French

and also partly parallel to this, he was Musical Director of the Orchestre

symphonic repertoire. He enjoys an outstanding reputation amongst the

de la Suisse Romande (2005-2012), Chief Conductor of the Orchestre

premier orchestras of Europe, North America and Asia and is recognised

Philharmonique de Monte Carlo (2000-2005), Chief Conductor of the Dresdner Philharmonie (2001-2003),

for his ability to create orchestras of international standing.

and Musical Director of the Orchestre

His leave-taking of the opera, however,

Philharmonique de Radio France (19842000).

was merely an institutional matter, not a musical farewell. Thus he is now recognized as one of the greatest

Born in Warsaw and educated in

experts regarding the music of Richard

Germany, Marek Janowski’s artistic path led him from positions in Aachen, Cologne, Düsseldorf and Hamburg to his

Wagner, to which his concertante Wagner cycle with the RSB bears witness. In the sequel he accepted the

appointment as General Music Director

invitation to conduct Wagner’s “Ring” at

in Freiburg im Breisgau (1973-1975) and

the Bayreuth Festival in 2016 and 2017.

Liner notes

of the RSB. Vladimir Jurowski has

la Parra, Lahav Shani and Omer Meir

been named as his successor, starting in the 2017-2018 season. Previous chief conductors (including Sergiu Celibidache, Eugen Jochum, Hermann Abendroth, Rolf Kleinert, Heinz Rogner,

Wellber performing in recent years.

and Rafael Frühbeck de Burgos) have all helped to create the ensemble’s exceptional sound.

RSB belongs, has born rich fruit on recording. Starting in 2010, together with PENTATONE, great effort was put

Since its foundation, the RSB has invited major composers to conduct or to perform as soloists in their own works. These have included Paul Hindemith, Sergei Prokofiev, Richard Strauss, and Igor Stravinsky, as well as Krzysztof Penderecki, Peter Ruzicka, and Jörg Widmann. The RSB is particularly attractive for capable young conductors from the international music scene, with Andris

and won the 2nd prize in the Birgit

the “Ehrenpreis der deutschen

Nilson competition.

Schallplattenkritik” (= honorary prize of the German Critics’ Award) for his extensive life’s work.

Since 2013/14 Regine Hangler is an

Tokyo and the Scala in Milan.

success as a soprano. Since 2005

Thielemann, Marek Janowski or Franz

As a successful concert singer Regine Hangler is very successful in Austria,

Elisabeth Kulman has been singing the major parts of the mezzo and alto repertoire. As a member of the

close collaboration with Nikolaus Harnoncourt.

ensemble member of the Wiener

Germany, Albany, the Netherlands,

ensemble at the Vienna State Opera

Regine Hangler Soprano

Staatsoper and is performing the following roles, just to name a few: Rosalinde (Die Fledermaus), Santuzza

Slovenia, Hungary, Japan and Israel. Regine Hangler’s discography and videography continue to grow steadily.

she quickly became a favourite of the audience and established the basis for her vast repertoire. Her most

After having studied viola and technics, Regine Hangler studied canto as her major subject at the Kärntner

Ariadne (auf Naxos), Leonore (Fidelio) and Eva (Die Meistersinger von Nürnberg).

(Cavalleria Rusticana), Elsa (Lohengrin),

Landeskonservatorium and the Universität für Musik in Vienna, which she passed with distinction.

In May 2015 the soprano was highly acclaimed for her title role of “Daphne” in Berlin, which was conducted by

Elisabeth Kulman Alto

important roles include Fricka, Erda and Waltraute (The Ring of the Nibelung), Carmen, Mrs. Quickly (Falstaff), Brangäne (Tristan and Isolde), Begbick

Elisabeth Kulman is one of today’s

(Mahagonny), Orlofsky (The Bat), Orfeo

most sought-after singers and leading authorities in the international classical music scene. She impresses

(Gluck) and Marina (Boris Godunov). Since 2010 Elisabeth Kulman has been

At the same time she was working

Marek Janowski, in New York und

audiences and critics alike with her rich,

working as a freelance artist. She is

with KS Mara Zampieri in Padua and concluded her education with numerous Masterclasses.

Cleveland by Franz Welser-Möst. In 2016 she had a big success at the Salzburger Festspiele for her interpretation of

colourful timbre, her charismatic stage personality and her musical versatility.

a much sought-after soloist in the metropolitan centres of the music world: Vienna, Paris, London, Munich,

Xanthe in “Die Liebe der Danae”.

She studied voice with Helena Lazarska

Berlin, Tokyo, Salzburg, Moscow, etc.

Further future engagements lead the soprano i.e. to the Bayreuther Festspiele,

at the Vienna Music University, made her debut as Pamina in 2001 at the Volksoper in Vienna and enjoyed early

She works regularly with world-class orchestras and conductors such as Zubin Mehta, Kirill Petrenko, Christian

Several times she was decorated with highly skilled scholarships, became finalist of the Italian Aslico competition

Welser-Möst. She enjoyed a particularly

Christian Elsner Tenor Born in Freiburg, Christian Elsner is one of the most versatile German tenors. He

On the opera stage Christian Elsner has

The versatile singer has written his own

established himself as a heroic tenor

children’s book, Lennie und der Ring des

in the roles of Siegmund and Parsifal at the Deutsches Nationaltheater in Weimar, the Staatstheater in Kassel, the

Nibelungen, and has been working as a professor for singing at the Hochschule für Musik in Wurzburg since 2006.

Franz-Josef Selig Bass

Nezét-Séguin, Antonio Pappano, Phillipe Jordan, Zubin Mehta and many others.

Franz-Josef Selig has established himself on the international scene as

Bass singer Franz-Josef Selig first studied church music at the Staatliche

Since 2015 Elisabeth Kulman has been

studied singing with Martin Gründler,

Dresden Semperoper, the Vienna State

focusing her artistic activities on recitals (together with her longtime accompanist Eduard Kutrowatz),

took lessons with Dietrich FischerDieskau and Neil Semer, and has won many international competitions.

Opera and at the Teatro Real in Madrid. Accompanied by Gerold Huber and Burkhard Kehring, the tenor has given recitals in Frankfurt, Hamburg, Bonn,

Real in Madrid under Semyon Bychkov,

Fiesco and Fasolt at all the world’s

ensemble in Essen. He has since been a

As an internationally sought-after concert singer, Christian Elsner is a popular guest at all the important

Dresden, Munich, Wurzburg and Brussels, and at the Schubertiade in Feldkirch.

in Vienna in Franz Schmidt’s The Book with Seven Seals under Manfred Honeck with the Vienna Symphony Orchestra,

major opera houses (such as the Vienna State Opera, Bavarian State Opera, Teatro alla Scala di Milano, Teatro Real

freelance singer.

in Beethoven’s Ninth Symphony in

Madrid, the Parisian opera houses or

Wien as well as “Hungaro Tune” with symphony orchestra and jazz soloists.

the Berlin Philharmonic, New York’s Carnegie Hall, La Scala, Milan and the Suntory Hall in Tokyo, and has worked

Christian Elsner can also be heard on CD, with recordings such as Schubert’s Winterreise and Schumann’s

Leipzig with the Gewandhausorchester under Herbert Blomstedt, and in Berlin, Vienna, New York, Taipei and Tokyo with

the Metropolitan Opera New York) and at prestigious festivals such as the Bayreuth and Salzburg Festival and

Her latest solo programme “La femme c’est moi” features pieces from Carmen

with many renowned conductors such as Herbert Blomstedt, Manfred Honeck,

Dichterliebe, along with studio productions of Mahler’s Lied von der

the Berlin Philharmonic under Sir Simon Rattle.

the Festival d’Aix-en-Provence. Opera productions as well as concerts bring

up to the Beatles.

Marek Janowski, Mariss Jansons, Kent Nagano, Yannick Nézet-Séguin, Semyon

Erde as well as complete recordings of Wagner’s Rheingold (Loge) and Parsifal

Bychkov and Sir Simon Rattle.

(title role).

concerts and operas in concert. She is especially devoted to unconventional projects: “Mussorgsky Dis-Covered” with an international jazz quartet, “Mahler Lieder” and “Wer wagt mich zu höhnen?” with the ensemble Amarcord

classical music centres, such as

Christian Elsner’s most recent performances have included the title role in Wagner’s Parsifal at the Teatro

one of the best-known serious bass

Hochschule für Musik in Cologne before

baritones. He regularly gives guest performances as Gurnemanz, King Marke, Sarastro, Rocco, Osmin, Daland,

taking voice classes under Claudio Nicolai. At the beginning of his career he was a member of the Aalto Theatre

him together frequently with renowned orchestras and conductors, such as James Levine, Christian Thielemann, Sir Simon Rattle, Marek Janowski,

MDR Rundfunkchor Leipzig

Mit Andacht Gedanken zu Beethovens Missa solemnis

into the live recording of the successful ten part Wagner cycle. Other activities of the RSB include special concerts for families and children, as well as guest performances in the major international concert halls, which have taken place over the past 50 years. Alongside regular tours of Asia the orchestra appears at German and European festivals. MDR Rundfunkchor Leipzig © Peter Adamik

Nelsons, Yannick Nézet-Séguin, Alain Altinoglu, Jakub Hrůša, Alondra de

nicht die Missa solemnis, sondern eine

Ein Solitär benötigt Zeit. Und die nahm sich Beethoven in diesem Fall reichlich. Im Sommer 1818 wurde in Wien bekannt, dass sein Schüler und Gönner, Erzherzog Rudolph, am 9. März 1820 zum Erzbischof von Olmütz inthronisiert

Überzeugungskraft. Reich an zutiefst persönlichen Blicken auf jenen Glauben, wie er in Gestalt des lateinischen Messtextes seit Jahrhunderten in

werden sollte. Aus diesem Anlass plante Beethoven eine Messvertonung. Im Juni 1819 schrieb er an den Erzherzog: „Der Tag, wo ein Hochamt von mir

Stein gemeißelt ist. Und doch auch reich an Momenten des Zweifelns an dogmatischer Religion und der formellen Institution Kirche. In ihrer

zu den Feierlichkeiten für I.K.H. soll aufgeführt werden, wird für mich der schönste meines Lebens sein. Und Gott wird mich erleuchten, dass meine

Monumentalität und zeitlichen Ausdehnung von knapp 90 Minuten sprengt die Missa solemnis jegliche liturgischen Vorgaben. Auch wenn das Werk ursprünglich für ein konkretes

schwachen Kräfte zur Verherrlichung dieses Feierlichen Tages beitragen.“ Doch die kompositorische Arbeit ging nur schleppend voran und Ende 1819

Hochamt gedacht war. Dort dann aber nicht erklang. Rundfunk-Sinfonieorchester Berlin © Molina Visuals

Äußerer Anlass und innere Aufgabe

Beethovens Missa solemnis ist ein Solitär. Ein Werk von äußerer dramatischer Wucht und schier unglaublicher innerer Stärke. Voller

hatte Beethoven gerade einmal den Mittelteil des Credos skizziert. Der Tag des Hochamtes kam. Und es erklang – Deutsch

Messe von Johann Nepomuk Hummel. Erst drei Jahre später konnte Beethoven die Missa solemnis vollenden. Weil ihm schnell klar wurde, dass er einen außergewöhnlichen Weg würde gehen müssen. Die Uraufführung fand am 7. April 1824 in St. Petersburg im Rahmen einer konzertanten Aufführung des Fürsten Galitzin statt und am 7. Mai 1824 erklang das Werk bruchstückhaft in Wien, ohne Gloria und Sanctus. Beethoven hatte ganz augenscheinlich kein schlechtes Gewissen, seine Missa aus ihrer ursprünglichen Bestimmung herauszulösen. Betrachtete er sie doch mittlerweile als zutiefst persönliche Auseinandersetzung mit seinem Glauben.

Stile antico und moderne Tonsprache

als „submotivische Beziehungen“.

dass ich den Text behandelt habe, wie

Glaubensfragen. Was nicht zuletzt der

Wie schon in der C-Dur-Messe

knappe volksliedhafte Bildungen. Die

Folgt man Carl Dahlhaus, so ging

Demnach kehren auf äußerst subtile Weise einzelne Parameter aus Motivgestalten genauestens kalkuliert

er noch wenig behandelt worden“. Auch bei der Missa solemnis untersuchte Beethoven die einzelnen Wörter des

es Beethoven in der Missa solemnis kompositorisch vor allem um eine Vermittlung zwischen altem Kirchenstil und moderner Instrumentalmusik. Gelungen sei ihm dies dadurch, „dass

wieder – aber in einem jeweils anderen inhaltlichen Zusammenhang. Diese submotivischen Bezüge sind beim erstmaligen Hören kaum zu erkennen. Während der Arbeit an der Messe

lateinischen Messtextes genau, um sie musikalisch exakt auszudeuten. Auf ihre reine Bedeutung hin, vor allem aber auch auf ihre Konnotationen. Welche Gefühle schwingen mit? Welche

im Autograph über dem Kyrie stehende Satz „Von Herzen – möge es wieder – zu Herzen gehen“ transportiert. Wie schlicht. Wie groß. Wie menschlich. Vielleicht hat Beethoven die Missa

verzichtet Beethoven auch in der Missa solemnis auf die traditionelle Nummerngliederung, also auf die Verteilung von Arien und Chorsätzen auf die Messabschnitte. Die formale

Missa solemnis ist ein Werk der Extreme. Beethoven lässt Chor, Solisten und das groß besetzte Orchester zu einem einzigen Klangkörper verschmelzen, der den Hörer mit seinem voluminösen

gerade deshalb als das „gelungenste seiner Geistesprodukte“ bezeichnet. Weil sie seinen persönlichen Blick

Gliederung folgt teils traditionellen Vorgaben, wie bei der Dreiteilung des Kyrie, geht aber auch eigene Wege,

Klangbild „rühren, treffen, erschüttern“ (Werner-Jensen) soll. Und das gelingt Beethoven, der sich zum Ziel gesetzt

er im Archaischen, das die Kirchlichkeit verbürgen sollte, zugleich ein Ferment von Modernität entdeckte, durch die das Werk vor der ästhetischen Maxime

vertiefte sich Beethoven in der Bibliothek Erzherzog Rudolphs in alte Kirchenmusik, studierte Palestrinas Werke und die Gregorianik.

Emotionen setzen sie frei? Und zwar nicht nur beim Hörer, sondern vor allem beim Komponisten.

etwa wenn Beethoven das „Gloria in excelsis Deo“ am Ende des Gloria im presto wiederholt. Dem extrem kurzen Sanctus steht ein extrem gedehntes Benedictus gegenüber und das textlich

hatte „sowohl bei Singenden als bei Zuhörern religiöse Gefühle (zu) erwecken und dauernd (zu) machen“.

bestehen konnte, dass Musik neu sein müsse, um authentisch zu sein.“ Und in der Tat finden sich Techniken wie motivisch-thematische Arbeit oder

auf den Glauben zeigt. Und wie er bestimmte Aussagen des Messtextes bewertet. Man denke etwa an das beiläufige, lediglich einmal im ChorTenor rezitierte „credo in unam sanctam

Schon in seiner C-Dur-Messe aus dem Jahr 1807 und auch in seinem Oratorium Christus am Ölberge (1803/1804/1811)

entwickelnde Variation (ihres Zeichens Merkmale des mittleren Beethovens) nur rudimentär. Was wiederum nicht bedeutet, dass die formalen Teile der

hatte sich Beethoven intensiv mit den Textvorlagen beschäftigt, mit dem Ziel „Musick und wort ein’s“ werden zu lassen. Beim Messtext bediente er sich

catholicam“, das in den „Credo“-Rufen der anderen Stimmen schier untergeht. Der Glaube an das ewige Leben erfährt dagegen auf über 170 Takten in einer

eigentlich dreiteilig angelegte Agnus Dei wird vierteilig umgesetzt. Auf allen Ebenen findet sich ein extrem ausgeprägtes Kontrastprinzip. Ruhe

homophon vom Chor fast geflüstert, das hymnisch anbetende „Laudamus te“ und das klanglich luftige „Gratias agimus tibi“. Mit dem „Qui tollis“ beginnt der langsame, zweite Teil des Gloria, in dem

der Hilfe eines Übersetzers, der selber Musiker war. Beethoven schrieb über seine erste Messe: „jedoch glaube ich,

wird Bewegung gegenübergestellt, ekstatischer Jubel erklingt neben schreitender Würde, polyphone und homophone Ausgestaltung wechseln

Das Kyrie, der Bittgesang, ist klassisch dreigeteilt, im steten, demutsvollen Wechselgesang zwischen Soli und Chor. Der machtvolle Kyrie-Anruf der Chorstimmen wird bereits im ersten

Messe isoliert nebeneinanderstehen. Die motivischen Bezüge zwischen den Formabschnitten beschreibt Dahlhaus

ausgeweiteten Doppelfuge eine starke Gewichtung. Derart kontrastreiche Interpretationen der textlichen Vorgabe prägen die Missa.

D-Dur-Akkord des vollen Orchesters vorweggenommen. Im mittleren Christe-Teil führen die Soli, der Chor antwortet. Immer dichter werden die

Klarinetten und Flöten das Klagethema präsentieren. Eine ausgedehnte, zerknirschte Bitte um Erbarmen entwickelt sich im von Beethoven um

Stimmen kontrapunktisch miteinander

den emotionalen Laut „O“ erweiterte

Bekenntniswerk Ist dies mein Glaube? Wie glaube ich? Und warum? Mit diesen Fragen zieht sich ein religiöser und „expressiv gesteigerter Subjektivismus“ (Ackermann) wie ein roter Faden durch die Missa solemnis. Sie ist ein zutiefst persönliches Bekenntniswerk. Es geht Beethoven um individuelle Emotionen, nicht um allgemeingültige

sich ab. Ein Rezitationston trifft auf weit ausschwingende Kantilenen und

Die Sätze

verwoben. In der variierten KyrieWiederholung betont Beethoven die schmerzvolle Haltung durch Chromatik, der Satz verklingt im Pianissimo-Gebet. In stärkstem Kontrast eröffnet Beethoven den Preisgesang des Gloria, das in vier Teile gegliedert ist. Nach stürmischem Fortissimo-Orchesterauftakt jagen die Chorstimmen mit dem aufsteigenden Gloria-Hauptthema in himmlische Höhen. Dieses Thema kehrt mottoartig an Schlüsselstellen des Satzes wieder. Es folgt das „et in terra pax hominibus“,

Acknowledgments

Bevor im Benedictus die Solo-

durchaus gefährdet ist, zeigen zwei

Violine in einem coup de théâtre von den höchsten Höhen des Himmels herabsteigt. Weltlicher Kitsch? Arnold Werner-Jensen sah darin „ein legitimes künstlerisches Mittel, den

instrumentale Einschübe mit gleichsam kriegerischen Pauken und Trompeten, die gewaltsam einbrechen. „Ängstlich“ bitten die Solisten erneut um Erbarmen. Der Chor fordert geradezu insistierend

einer gewaltigen Fuge abgeschlossen, einer Doppelfuge auf „et vitam venturi saeculi, amen“.

Hörer emotional aus der Fassung zu bringen“. Immerhin gehe es hier um die „Wucht der Verheißung“. Die

mit seinen Sforzato-Rufen „pacem“.

Das Sanctus nimmt „mit Andacht“ eine tiefgründige Versenkungshaltung ein, mezza voce werden die Gebetsrufe geflüstert, grundiert von Posaunen

gedämpften Klangfarben im Orchester unterstreichen die andachtsvolle Haltung noch. Bis zum Ende hat die Solo-Violine stets die Führung inne und steigt nach einer erneut fugierten

und um das Wunder von Geburt, Leiden, Tod, Wiederauferstehung und Himmelfahrt Christi. Analog zum Gloria kehrt das eröffnende, wuchtige Credo-

und tiefen Streichern. Nach einer Generalpause beginnt ein energisch vorantreibendes Chorfugato über „Osanna in excelsis“. Es folgt ein kurzes,

Lobpreisung am Ende wieder in die Höhe hinauf.

Kernmotiv am Ende wie einer Klammer wieder. Kann man hier irgendwie an Beethovens Glauben zweifeln? Die musikalische Gestaltung zementiert

fast schon amotivisches Präludium, in dem Beethoven das Wunder der Hostienwandlung nachzeichnet; übrigens der einzige rein instrumentale

einen Adagio-Teil ein, der sich immer wieder aufzuschwingen versucht, dann im Pianissimo verklingt. Das „Dona nobis pacem“ ist von Beethoven mit

PENTATONE TEAM Vice President A&R Renaud Loranger | Director A&R Job Maarse | Managing

eine unerschütterliche Geisteshaltung. Der Binnensatz („Et incarnatus est“

„Satz“.

„Bitte um innern und äußern Frieden“ überschrieben. Dass dieser Frieden

Director Dirk Jan Vink | Director Product, Marketing & Distribution Simon M. Eder A&R Kate Rockett | Marketing & PR Silvia Pietrosanti | Distribution Veronica Neo

– „et homo factus est“) gestaltet die einzelnen Phasen tief empfunden nach. Mal abgründig versunken, mal schmerz- und leidvoll, dann wieder plastisch-majestätisch beim Jüngsten Gericht. Auch das Credo wird von

Beginns den Satz im Presto krönend abschließt.

PRODUCTION TEAM Executive producers Stefan Lang (Deutschlandradio Kultur), Job Maarse (Pentatone) | Recording producer Job Maarse | Balance engineer Jean-Marie Geijsen (Polyhymnia) | Recording engineer & editor Erdo Groot (Polyhymnia) Deutschlandradio recording team Wolfram Nehls, Henri Thaon, Jens Müller Liner notes Jörg Peter Urbach | English translation Fiona J. Stroker-Gale Design Joost de Boo | Product management Max Tiel This album was live recorded at the Berlin Philharmonie, September 2016.

Das abschließende Agnus Dei leitet

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Broadcasting Union, through touring or in guest performances worldwide,

years of musical history. Numerous world premieres attest to the 73 choir

the MDR LEIPZIG RADIO CHOIR, which was awarded the European Cultural

members’ reputation as a specialised ensemble for contemporary music.

Prize in 2013, acts as a supreme musical ambassador for central Germany.

work it is invariably the MDR LEIPZIG RADIO CHOIR that comes at the top

acclaimed world-class ensemble. From the season 2015/2016 he was succeeded

of their wish list. As the largest concert choir within the German Broadcasting

by Risto Joost as artistic director of the MDR LEIPZIG RADIO CHOIR.

experts as one of the best.

Premium Sound and Outstanding Artists PENTATONE. Today’s music is evolving and forever changing, but classical music remains true in creating harmony among the instruments. Classical music is as time-honoured as it is timeless.

formats. In 2017 the choir was awarded the International Classical Music Award for its recording of Max Reger’s Motets op. 110. Whether via the European

works complete a repertoire that encompasses practically a thousand

In the fifteen years of his tenure

Corporation (ARD), the MDR LEIPZIG RADIO CHOIR is widely regarded among

Sit back and enjoy

70-year history. These recordings have been released on LPs, CDs and digital

demonstrates its expertise with highly acclaimed a cappella performances. Secular and sacred music, wide-ranging ensemble singing and choral symphonic

from 1998 Howard Arman lastingly consolidated the reputation of this

Semyon Bychkov, Riccardo Muti, Yannick

Gleichfalls kontrastreich im Gesamtrahmen wie in den einzelnen Teilen gestaltet Beethoven das Credo. Auch hier zutiefst persönlich, geht es doch um das Glaubensbekenntnis

„Miserere nobis“. Im dritten Teil – „Quoniam tu solus sanctus“ – kehrt der Preisgesang im mächtigen Chorsatz zurück, bevor sich eine gewaltige „in gloria dei patris, amen“-Fuge anschließt bevor erneut das Zitat des Gloria-

Not only an excellent partner for major orchestras, the ensemble regularly

When major orchestras in Germany or abroad plan to perform a choral

Artists

The collaboration with Deutschlandradio, the main shareholder of the ROC GmbH Berlin to which the

Marek Janowski © Jean-François Leclercq

In 2014 Marek Janowski was awarded

Nearly 200 recordings, many of them award-winning, have been recorded by the ensemble during its more than

RundfunkSinfonieorchester Berlin (RSB, Berlin Radio Symphony Orchestra) dates back to the beginnings of music broadcasting in 1923, and has since sustained its position amongst the leading orchestras in Berlin and other radio orchestras throughout Germany. From 2002 to 2015, Marek Janowski was artistic director and chief conductor

Stile antico und moderne Tonsprache

nicht die Missa solemnis, sondern eine Messe von Johann Nepomuk Hummel. Erst drei Jahre später konnte Beethoven die Missa solemnis vollenden. Weil ihm schnell klar wurde, dass er einen außergewöhnlichen Weg würde gehen müssen. Die Uraufführung fand am 7.

←

Glauben.

Ludwig van Beethoven (1770 – 1827)

With devotion

MISSA SOLEMNIS

Reflections on Beethoven’s

BEETHOVEN

MISSA SOLEMNIS

Missa solemnis

1 2

Kyrie Gloria

9. 22 15. 41

Beethoven’s Missa solemnis is a unique gem. A work of dramatic external

3 4

Credo Sanctus – Benedictus

16. 59 15. 26

power and well-nigh incredible inner strength. Full of conviction. Rich in

5

Agnus Dei Total playing time:

Rundfunk-Sinfonieorchester Berlin MDR Rundfunkchor Leipzig

15. 32

profoundly personal visions of the faith that has remained, carved in stone,

73. 04

Regine Hangler, Soprano

in the form of the Latin mass text for centuries. And yet also rich in moments of doubt about dogmatic religion and

Elisabeth Kulman, Alto

the formal institution of the church.

Christian Elsner, Tenor Franz-Josef Selig, Bass

In its monumentality and lengthy duration of just under 90 minutes, the Missa solemnis departs from all

MDR Rundfunkchor Leipzig

liturgical guidelines – despite the fact

Michael Gläser, Chorus Master

that the work was originally intended for a specific high mass; yet it was not actually performed there in the end.

Rundfunk-Sinfonieorchester Berlin

Marek Janowski

External event and internal task Creating a unique gem takes time: and in this case, Beethoven took plenty

verbürgen sollte, zugleich ein Ferment von Modernität entdeckte, durch die das Werk vor der ästhetischen Maxime bestehen konnte, dass Musik neu sein müsse, um authentisch zu sein.“ Und in der Tat finden sich Techniken wie motivisch-thematische Arbeit oder entwickelnde Variation (ihres Zeichens Merkmale des mittleren Beethovens) nur rudimentär. Was wiederum nicht bedeutet, dass die formalen Teile der

Bibliothek Erzherzog Rudolphs in alte Kirchenmusik, studierte Palestrinas Werke und die Gregorianik.

nicht nur beim Hörer, sondern vor allem beim Komponisten.

Schon in seiner C-Dur-Messe aus dem Jahr 1807 und auch in seinem Oratorium Christus am Ölberge (1803/1804/1811) hatte sich Beethoven intensiv mit den Textvorlagen beschäftigt, mit dem Ziel „Musick und wort ein’s“ werden zu lassen. Beim Messtext bediente er sich

Ist dies mein Glaube? Wie glaube ich? Und warum? Mit diesen Fragen zieht sich ein religiöser und „expressiv gesteigerter Subjektivismus“ (Ackermann) wie ein roter Faden durch die Missa solemnis. Sie ist ein

Messe isoliert nebeneinanderstehen. Die motivischen Bezüge zwischen den

der Hilfe eines Übersetzers, der selber Musiker war. Beethoven schrieb über

zutiefst persönliches Bekenntniswerk. Es geht Beethoven um individuelle

Formabschnitten beschreibt Dahlhaus

seine erste Messe: „jedoch glaube ich,

Emotionen, nicht um allgemeingültige

– not Beethoven’s Missa solemnis, but a mass composed by Johann Nepomuk Hummel was performed. Not until three years later did Beethoven manage to complete the Missa solemnis, the

Stile antico and modern musical idiom According to Carl Dahlhaus, in his Missa solemnis Beethoven was mainly

Dahlhaus describes the motivic links

as follows about his first mass: “…

between the various structural sections

however, I believe that I have treated

as “submotivic connections.” Thus, very subtly, individual parameters from motifs constantly reappear in a precisely

the text in a manner in which it has seldom been treated.” And again with his Missa solemnis, Beethoven subjected

of time. In the summer of 1818 it was

reason being that he had quickly

concerned with finding a good mix

calculated manner – however, always in

the individual words of the Latin text to

realized that he would have to take an extraordinary path. The première took place in St. Petersburg on April 7, 1824,

between the idiom of ancient church music and that of modern instrumental music. He appears to have managed

a different context as regards content. These submotivic references are very difficult to recognize at first hearing.

a precise examination, in order to give them an exact musical interpretation: both with regard to their pure

on March 9, 1820. Beethoven decided

as a concertante performance under

this due to the fact that “in the archaic

While working on his mass, Beethoven

significance, but above all, with regard

to compose a mass for this event. In June 1819, he wrote as follows to the Archduke: “The day on which a high

the auspices of Prince Gallitzin; and on May 7, 1824, the mass was given an incomplete performance in Vienna,

idiom, which was meant to vouch for the church, he simultaneously discovered a ferment of modernity,

delved into ancient church music in Archduke Rudolph’s library, studying works by Palestrina as well as Gregorian

to their connotations. Which feelings are resonating here? Which emotions are they releasing? And not only in the case

mass by my hand will be performed

not including the “Gloria” and the “Sanctus.” Obviously, Beethoven had no

thanks to which the work was able to

chant.

of the listener, but above all, with regard to the composer himself.

problem in “extracting” his Missa from its original destination. Clearly, in the

hold its own with regard to the aesthetic maxim that music must be novel in order to be considered authentic.” And

me, so that my paltry creative powers may contribute to the glorification

meantime, he had begun to regard it as a deeply personal confrontation with

indeed, techniques such as motivicthematic passage work, or evolving

am Ölberge (= Christ on the mount of olives, 1803/1804/1811), Beethoven had

of this solemn day.” But work on the composition dragged out, and by the

his faith.

variation (characteristic for Beethoven’s middle period) are to be found only

already devoted a great deal of time to the texts, aiming to “unify music

In his Mass in C major, dating from 1807, and also in his oratorio Christus

Rainer Wolters, Concert Master

end of 1819 Beethoven had only just sketched the middle part of the Credo.

in rudimentary form. However, this does not signify that the structural

and word.” To help with the mass text, he brought in a translator, who was

Conducted by Marek Janowski

The day arrived of the High Mass, and

sections of the mass coexist in isolation.

himself a musician. Beethoven wrote

Creed

drowned by the calls of “credo” in the

Is this my faith? How do I believe?

other voices. On the other hand, great emphasis is placed on the belief in

And why? A religious and “expressively intensified subjectivism” (Ackermann)

eternal life by means of an extended double fugue lasting more than 170

containing these questions runs like a red thread through the Missa solemnis.

bars. The Missa is full of such highly contrasting interpretations of the text.

It is a deeply personal creed. Here, Beethoven is concerned with individual

As in the Mass in C major, in the Missa

emotions, not with universal questions of faith – as he makes clear to us in the

solemnis Beethoven also renounces the traditional numbering, i.e. the

following sentence “May it continue to flow from heart to heart,” written in the autograph score above the “Kyrie.”

classification of the distribution of arias and choral settings within the various sections of the mass. In part, the

How simple. How noble. How human.

formal structuring keeps to traditional

Perhaps this is precisely why Beethoven described the Missa as “the most successful of his intellectual products”:

guidelines, as in the tripartite division of the “Kyrie”; however, it also goes its own way, for example at the end of the

because it demonstrates his personal

“Gloria,” when the “Gloria in excelsis

view of faith, and also how he rated certain assertions in the mass text. Take, for instance, the casual “credo in

Deo” is repeated, but now in presto. The extremely short “Sanctus” is contrasted with a greatly elongated “Benedictus”;

is laid out in four sections. There is

The movements

an extremely pronounced principle of contrast at all levels. Peace and quiet is contrasted with movement, ecstatic rejoicing resonates alongside pacing dignity, polyphony is alternated with homophony. A recitative tone meets with widely resonating cantilenas and concise folk-song-like creations. The Missa solemnis is a work of extremes. Beethoven blends choir, soloists, and large orchestra into a single “body of sound,” which is meant to “touch, strike, shake” (Werner-Jensen) the listener with volume of its sound. And Beethoven succeeds at this, having set himself the goal “of awakening and perpetuating religious feelings both in the singer and the listener.”

the heavenly heights with the soaring

Beethoven designs the “Credo” with

The “Kyrie,” the song of invocation,

main theme of the “Gloria.” This theme recurs like a motto at key points in

equally rich contrast, both in its entirety and its individual sections. Here, too,

has a classical tripartite division, with a constant and humble interchange of

the movement. This is followed by the “terra pax hominibus,” almost like a

the music is deeply personal, all about the confession of faith and the miracle

singing between soloists and choir. The first D-major chord of the full orchestra

homophonic whisper from the choir, the hymnically worshipping “Laudamus te”

of Christ’s birth, suffering, death, resurrection and ascension. Analogous

already anticipates the impressive cry of “Kyrie” from the choir. In the middle

and the airy “Gratias agimus tibi.” The “Qui tollis” introduces the slow, second

to the “Gloria,” the powerful opening core motif of the “Credo” returns at

part (“Christe”), the soloists lead with the choir responding. Increasingly

part of the Gloria, in which clarinets and flutes present the lament theme. An

the end as if to close brackets. Can there be any doubt about Beethoven’s

dense, the voices become more and more contrapuntally interwoven. In the varied repetition of the “Kyrie,”

extended, contrite plea for compassion develops in the “Miserere nobis,” in which Beethoven draws out the emotion

faith here? The musical design cements an imperturbable attitude of mind. The next section of the movement

Beethoven emphasizes the agonizing

in the vowel “o.” In the third part –

(“Et incarnatus est” – “et homo factus

mood by means of chromaticism, and the movement fades away in the prayer in pianissimo.

“Quoniam tu solus sanctus” – the eulogy returns in the powerful choral setting, followed by a tremendous fugue, “in

est”) recreates the individual phases with deep feeling: at times profoundly absorbed in thought, at others painful

gloria dei patris, amen,” after which

and sorrowful, then again vividly

Beethoven begins the eulogy of the “Gloria,” which is divided into four parts in a hugely contrasting manner.

the recurrence of the motto from the beginning of the “Gloria” concludes the movement in presto.

majestic during the Last Judgment. Here too, the “Credo” is concluded with a massive fugue – a double fugue on the

unam sanctam catholicam,” recited

and the “Agnus Dei” – which in fact

After a stormy fortissimo upbeat in

only once in the tenors, which is almost

consists of three sections in the text –

the orchestra, the choir races up into

phrase “et vitam venturi saeculi, amen.”

The Sanctus “devoutly” assumes a

reverent mood. Right up to the end, the

profoundly meditative attitude, the

solo violin remains in charge; and at

prayers are whispered mezza voce, primed by trombones and low strings. A general pause is immediately followed

the conclusion, it soars back up to the heights after a glorification, once again set as a fugue.

by an energetically driving choral fugato to the phrase “Osanna in excelsis.” This is followed by a short prelude, almost lacking in motif, in which

The concluding “Agnus Dei” introduces an Adagio section that continually attempts to soar, but finally fades away

Beethoven portrays the miracle of the

in pp. Beethoven wrote the following

transformation of the host; by the way, this is the only exclusively instrumental “movement.”

words above the “Dona nobis pacem”: “Plea for internal and external peace.” Two instrumental interpolations with,

But then suddenly in the “Benedictus,”

so to speak, warlike timpani and trumpets, violently breaking into the

the solo violin swoops down from the highest heights of heaven in a coup de

music, demonstrate that this peace is truly under siege. “Fearfully,” the soloists

théâtre. Profane kitsch? Well, Arnold Werner-Jensen described this as “a

once again plea for mercy; and the choir virtually insists upon it, with its

legitimate artistic means of emotionally flustering the listener.” For after all,

sforzato cries of “pacem.”

it was about the “impact of the promise.” The muted sound-colours in the orchestra further emphasize the

Marek Janowski

Dortmund (1975-1979). Since the late

From 2002 until 2015, Marek

1970s, he has appeared regularly at all the major opera houses world-wide.

Janowski was Artistic Director and Chief Conductor of the Rundfunk-

Marek Janowski stepped back from the

Sinfonieorchester Berlin (RSB). Before embarking upon his Berlin period,

opera scene in the 1990s to concentrate on the great German and French

and also partly parallel to this, he was Musical Director of the Orchestre

symphonic repertoire. He enjoys an outstanding reputation amongst the

de la Suisse Romande (2005-2012), Chief Conductor of the Orchestre

premier orchestras of Europe, North America and Asia and is recognised

Philharmonique de Monte Carlo (2000-2005), Chief Conductor of the Dresdner Philharmonie (2001-2003),

for his ability to create orchestras of international standing.

and Musical Director of the Orchestre

His leave-taking of the opera, however,

Philharmonique de Radio France (19842000).

was merely an institutional matter, not a musical farewell. Thus he is now recognized as one of the greatest

Born in Warsaw and educated in

experts regarding the music of Richard

Germany, Marek Janowski’s artistic path led him from positions in Aachen, Cologne, Düsseldorf and Hamburg to his

Wagner, to which his concertante Wagner cycle with the RSB bears witness. In the sequel he accepted the

appointment as General Music Director

invitation to conduct Wagner’s “Ring” at

in Freiburg im Breisgau (1973-1975) and

the Bayreuth Festival in 2016 and 2017.

Liner notes

of the RSB. Vladimir Jurowski has

la Parra, Lahav Shani and Omer Meir

been named as his successor, starting in the 2017-2018 season. Previous chief conductors (including Sergiu Celibidache, Eugen Jochum, Hermann Abendroth, Rolf Kleinert, Heinz Rogner,

Wellber performing in recent years.

and Rafael Frühbeck de Burgos) have all helped to create the ensemble’s exceptional sound.

RSB belongs, has born rich fruit on recording. Starting in 2010, together with PENTATONE, great effort was put

Since its foundation, the RSB has invited major composers to conduct or to perform as soloists in their own works. These have included Paul Hindemith, Sergei Prokofiev, Richard Strauss, and Igor Stravinsky, as well as Krzysztof Penderecki, Peter Ruzicka, and Jörg Widmann. The RSB is particularly attractive for capable young conductors from the international music scene, with Andris

In 2014 Marek Janowski was awarded

and won the 2nd prize in the Birgit

the “Ehrenpreis der deutschen

Nilson competition.

Schallplattenkritik” (= honorary prize of the German Critics’ Award) for his extensive life’s work.

Since 2013/14 Regine Hangler is an

Bekenntniswerk

Tokyo and the Scala in Milan.

success as a soprano. Since 2005

Thielemann, Marek Janowski or Franz

As a successful concert singer Regine Hangler is very successful in Austria,

Elisabeth Kulman has been singing the major parts of the mezzo and alto repertoire. As a member of the

close collaboration with Nikolaus Harnoncourt.

ensemble member of the Wiener

Germany, Albany, the Netherlands,

ensemble at the Vienna State Opera

Regine Hangler Soprano

Staatsoper and is performing the following roles, just to name a few: Rosalinde (Die Fledermaus), Santuzza

Slovenia, Hungary, Japan and Israel. Regine Hangler’s discography and videography continue to grow steadily.

she quickly became a favourite of the audience and established the basis for her vast repertoire. Her most

After having studied viola and technics, Regine Hangler studied canto as her major subject at the Kärntner

Ariadne (auf Naxos), Leonore (Fidelio) and Eva (Die Meistersinger von Nürnberg).

(Cavalleria Rusticana), Elsa (Lohengrin),

Landeskonservatorium and the Universität für Musik in Vienna, which she passed with distinction.

In May 2015 the soprano was highly acclaimed for her title role of “Daphne” in Berlin, which was conducted by

Elisabeth Kulman Alto

important roles include Fricka, Erda and Waltraute (The Ring of the Nibelung), Carmen, Mrs. Quickly (Falstaff), Brangäne (Tristan and Isolde), Begbick

Elisabeth Kulman is one of today’s

(Mahagonny), Orlofsky (The Bat), Orfeo

most sought-after singers and leading authorities in the international classical music scene. She impresses

(Gluck) and Marina (Boris Godunov). Since 2010 Elisabeth Kulman has been

At the same time she was working

Marek Janowski, in New York und

audiences and critics alike with her rich,

working as a freelance artist. She is

with KS Mara Zampieri in Padua and concluded her education with numerous Masterclasses.

Cleveland by Franz Welser-Möst. In 2016 she had a big success at the Salzburger Festspiele for her interpretation of

colourful timbre, her charismatic stage personality and her musical versatility.

a much sought-after soloist in the metropolitan centres of the music world: Vienna, Paris, London, Munich,

Xanthe in “Die Liebe der Danae”.

She studied voice with Helena Lazarska

Berlin, Tokyo, Salzburg, Moscow, etc.

Further future engagements lead the soprano i.e. to the Bayreuther Festspiele,

at the Vienna Music University, made her debut as Pamina in 2001 at the Volksoper in Vienna and enjoyed early

She works regularly with world-class orchestras and conductors such as Zubin Mehta, Kirill Petrenko, Christian

Several times she was decorated with highly skilled scholarships, became finalist of the Italian Aslico competition

Welser-Möst. She enjoyed a particularly

Christian Elsner Tenor Born in Freiburg, Christian Elsner is one of the most versatile German tenors. He

On the opera stage Christian Elsner has

The versatile singer has written his own

established himself as a heroic tenor

children’s book, Lennie und der Ring des

in the roles of Siegmund and Parsifal at the Deutsches Nationaltheater in Weimar, the Staatstheater in Kassel, the

Nibelungen, and has been working as a professor for singing at the Hochschule für Musik in Wurzburg since 2006.

Franz-Josef Selig Bass

Nezét-Séguin, Antonio Pappano, Phillipe Jordan, Zubin Mehta and many others.

Franz-Josef Selig has established himself on the international scene as

Bass singer Franz-Josef Selig first studied church music at the Staatliche

Since 2015 Elisabeth Kulman has been

studied singing with Martin Gründler,

Dresden Semperoper, the Vienna State

focusing her artistic activities on recitals (together with her longtime accompanist Eduard Kutrowatz),

took lessons with Dietrich FischerDieskau and Neil Semer, and has won many international competitions.

Opera and at the Teatro Real in Madrid. Accompanied by Gerold Huber and Burkhard Kehring, the tenor has given recitals in Frankfurt, Hamburg, Bonn,

Real in Madrid under Semyon Bychkov,

Fiesco and Fasolt at all the world’s

ensemble in Essen. He has since been a

As an internationally sought-after concert singer, Christian Elsner is a popular guest at all the important

Dresden, Munich, Wurzburg and Brussels, and at the Schubertiade in Feldkirch.

in Vienna in Franz Schmidt’s The Book with Seven Seals under Manfred Honeck with the Vienna Symphony Orchestra,

major opera houses (such as the Vienna State Opera, Bavarian State Opera, Teatro alla Scala di Milano, Teatro Real

freelance singer.

in Beethoven’s Ninth Symphony in

Madrid, the Parisian opera houses or

Wien as well as “Hungaro Tune” with symphony orchestra and jazz soloists.

the Berlin Philharmonic, New York’s Carnegie Hall, La Scala, Milan and the Suntory Hall in Tokyo, and has worked

Christian Elsner can also be heard on CD, with recordings such as Schubert’s Winterreise and Schumann’s

Leipzig with the Gewandhausorchester under Herbert Blomstedt, and in Berlin, Vienna, New York, Taipei and Tokyo with

the Metropolitan Opera New York) and at prestigious festivals such as the Bayreuth and Salzburg Festival and

Her latest solo programme “La femme c’est moi” features pieces from Carmen

with many renowned conductors such as Herbert Blomstedt, Manfred Honeck,

Dichterliebe, along with studio productions of Mahler’s Lied von der

the Berlin Philharmonic under Sir Simon Rattle.

the Festival d’Aix-en-Provence. Opera productions as well as concerts bring

up to the Beatles.

Marek Janowski, Mariss Jansons, Kent Nagano, Yannick Nézet-Séguin, Semyon

Erde as well as complete recordings of Wagner’s Rheingold (Loge) and Parsifal

Bychkov and Sir Simon Rattle.

(title role).

concerts and operas in concert. She is especially devoted to unconventional projects: “Mussorgsky Dis-Covered” with an international jazz quartet, “Mahler Lieder” and “Wer wagt mich zu höhnen?” with the ensemble Amarcord

classical music centres, such as

Christian Elsner’s most recent performances have included the title role in Wagner’s Parsifal at the Teatro

one of the best-known serious bass

Hochschule für Musik in Cologne before

baritones. He regularly gives guest performances as Gurnemanz, King Marke, Sarastro, Rocco, Osmin, Daland,

taking voice classes under Claudio Nicolai. At the beginning of his career he was a member of the Aalto Theatre

him together frequently with renowned orchestras and conductors, such as James Levine, Christian Thielemann, Sir Simon Rattle, Marek Janowski,

MDR Rundfunkchor Leipzig

Mit Andacht Gedanken zu Beethovens Missa solemnis

into the live recording of the successful ten part Wagner cycle. Other activities of the RSB include special concerts for families and children, as well as guest performances in the major international concert halls, which have taken place over the past 50 years. Alongside regular tours of Asia the orchestra appears at German and European festivals. MDR Rundfunkchor Leipzig © Peter Adamik

Nelsons, Yannick Nézet-Séguin, Alain Altinoglu, Jakub Hrůša, Alondra de

nicht die Missa solemnis, sondern eine

Ein Solitär benötigt Zeit. Und die nahm sich Beethoven in diesem Fall reichlich. Im Sommer 1818 wurde in Wien bekannt, dass sein Schüler und Gönner, Erzherzog Rudolph, am 9. März 1820 zum Erzbischof von Olmütz inthronisiert

Überzeugungskraft. Reich an zutiefst persönlichen Blicken auf jenen Glauben, wie er in Gestalt des lateinischen Messtextes seit Jahrhunderten in

werden sollte. Aus diesem Anlass plante Beethoven eine Messvertonung. Im Juni 1819 schrieb er an den Erzherzog: „Der Tag, wo ein Hochamt von mir

Stein gemeißelt ist. Und doch auch reich an Momenten des Zweifelns an dogmatischer Religion und der formellen Institution Kirche. In ihrer

zu den Feierlichkeiten für I.K.H. soll aufgeführt werden, wird für mich der schönste meines Lebens sein. Und Gott wird mich erleuchten, dass meine

Monumentalität und zeitlichen Ausdehnung von knapp 90 Minuten sprengt die Missa solemnis jegliche liturgischen Vorgaben. Auch wenn das Werk ursprünglich für ein konkretes

schwachen Kräfte zur Verherrlichung dieses Feierlichen Tages beitragen.“ Doch die kompositorische Arbeit ging nur schleppend voran und Ende 1819

Hochamt gedacht war. Dort dann aber nicht erklang. Rundfunk-Sinfonieorchester Berlin © Molina Visuals

Äußerer Anlass und innere Aufgabe

Beethovens Missa solemnis ist ein Solitär. Ein Werk von äußerer dramatischer Wucht und schier unglaublicher innerer Stärke. Voller

hatte Beethoven gerade einmal den Mittelteil des Credos skizziert. Der Tag des Hochamtes kam. Und es erklang – Deutsch

Messe von Johann Nepomuk Hummel. Erst drei Jahre später konnte Beethoven die Missa solemnis vollenden. Weil ihm schnell klar wurde, dass er einen außergewöhnlichen Weg würde gehen müssen. Die Uraufführung fand am 7. April 1824 in St. Petersburg im Rahmen einer konzertanten Aufführung des Fürsten Galitzin statt und am 7. Mai 1824 erklang das Werk bruchstückhaft in Wien, ohne Gloria und Sanctus. Beethoven hatte ganz augenscheinlich kein schlechtes Gewissen, seine Missa aus ihrer ursprünglichen Bestimmung herauszulösen. Betrachtete er sie doch mittlerweile als zutiefst persönliche Auseinandersetzung mit seinem Glauben.

Stile antico und moderne Tonsprache

als „submotivische Beziehungen“.

dass ich den Text behandelt habe, wie

Glaubensfragen. Was nicht zuletzt der

Wie schon in der C-Dur-Messe

knappe volksliedhafte Bildungen. Die

Folgt man Carl Dahlhaus, so ging

Demnach kehren auf äußerst subtile Weise einzelne Parameter aus Motivgestalten genauestens kalkuliert

er noch wenig behandelt worden“. Auch bei der Missa solemnis untersuchte Beethoven die einzelnen Wörter des

es Beethoven in der Missa solemnis kompositorisch vor allem um eine Vermittlung zwischen altem Kirchenstil und moderner Instrumentalmusik. Gelungen sei ihm dies dadurch, „dass

wieder – aber in einem jeweils anderen inhaltlichen Zusammenhang. Diese submotivischen Bezüge sind beim erstmaligen Hören kaum zu erkennen. Während der Arbeit an der Messe

lateinischen Messtextes genau, um sie musikalisch exakt auszudeuten. Auf ihre reine Bedeutung hin, vor allem aber auch auf ihre Konnotationen. Welche Gefühle schwingen mit? Welche

im Autograph über dem Kyrie stehende Satz „Von Herzen – möge es wieder – zu Herzen gehen“ transportiert. Wie schlicht. Wie groß. Wie menschlich. Vielleicht hat Beethoven die Missa

verzichtet Beethoven auch in der Missa solemnis auf die traditionelle Nummerngliederung, also auf die Verteilung von Arien und Chorsätzen auf die Messabschnitte. Die formale

Missa solemnis ist ein Werk der Extreme. Beethoven lässt Chor, Solisten und das groß besetzte Orchester zu einem einzigen Klangkörper verschmelzen, der den Hörer mit seinem voluminösen

gerade deshalb als das „gelungenste seiner Geistesprodukte“ bezeichnet. Weil sie seinen persönlichen Blick

Gliederung folgt teils traditionellen Vorgaben, wie bei der Dreiteilung des Kyrie, geht aber auch eigene Wege,

Klangbild „rühren, treffen, erschüttern“ (Werner-Jensen) soll. Und das gelingt Beethoven, der sich zum Ziel gesetzt

er im Archaischen, das die Kirchlichkeit verbürgen sollte, zugleich ein Ferment von Modernität entdeckte, durch die das Werk vor der ästhetischen Maxime

vertiefte sich Beethoven in der Bibliothek Erzherzog Rudolphs in alte Kirchenmusik, studierte Palestrinas Werke und die Gregorianik.

Emotionen setzen sie frei? Und zwar nicht nur beim Hörer, sondern vor allem beim Komponisten.

etwa wenn Beethoven das „Gloria in excelsis Deo“ am Ende des Gloria im presto wiederholt. Dem extrem kurzen Sanctus steht ein extrem gedehntes Benedictus gegenüber und das textlich

hatte „sowohl bei Singenden als bei Zuhörern religiöse Gefühle (zu) erwecken und dauernd (zu) machen“.

bestehen konnte, dass Musik neu sein müsse, um authentisch zu sein.“ Und in der Tat finden sich Techniken wie motivisch-thematische Arbeit oder

auf den Glauben zeigt. Und wie er bestimmte Aussagen des Messtextes bewertet. Man denke etwa an das beiläufige, lediglich einmal im ChorTenor rezitierte „credo in unam sanctam

Schon in seiner C-Dur-Messe aus dem Jahr 1807 und auch in seinem Oratorium Christus am Ölberge (1803/1804/1811)

entwickelnde Variation (ihres Zeichens Merkmale des mittleren Beethovens) nur rudimentär. Was wiederum nicht bedeutet, dass die formalen Teile der

hatte sich Beethoven intensiv mit den Textvorlagen beschäftigt, mit dem Ziel „Musick und wort ein’s“ werden zu lassen. Beim Messtext bediente er sich

catholicam“, das in den „Credo“-Rufen der anderen Stimmen schier untergeht. Der Glaube an das ewige Leben erfährt dagegen auf über 170 Takten in einer

eigentlich dreiteilig angelegte Agnus Dei wird vierteilig umgesetzt. Auf allen Ebenen findet sich ein extrem ausgeprägtes Kontrastprinzip. Ruhe

homophon vom Chor fast geflüstert, das hymnisch anbetende „Laudamus te“ und das klanglich luftige „Gratias agimus tibi“. Mit dem „Qui tollis“ beginnt der langsame, zweite Teil des Gloria, in dem

der Hilfe eines Übersetzers, der selber Musiker war. Beethoven schrieb über seine erste Messe: „jedoch glaube ich,

wird Bewegung gegenübergestellt, ekstatischer Jubel erklingt neben schreitender Würde, polyphone und homophone Ausgestaltung wechseln

Das Kyrie, der Bittgesang, ist klassisch dreigeteilt, im steten, demutsvollen Wechselgesang zwischen Soli und Chor. Der machtvolle Kyrie-Anruf der Chorstimmen wird bereits im ersten

Messe isoliert nebeneinanderstehen. Die motivischen Bezüge zwischen den Formabschnitten beschreibt Dahlhaus

ausgeweiteten Doppelfuge eine starke Gewichtung. Derart kontrastreiche Interpretationen der textlichen Vorgabe prägen die Missa.

D-Dur-Akkord des vollen Orchesters vorweggenommen. Im mittleren Christe-Teil führen die Soli, der Chor antwortet. Immer dichter werden die

Klarinetten und Flöten das Klagethema präsentieren. Eine ausgedehnte, zerknirschte Bitte um Erbarmen entwickelt sich im von Beethoven um

Stimmen kontrapunktisch miteinander

den emotionalen Laut „O“ erweiterte

Bekenntniswerk Ist dies mein Glaube? Wie glaube ich? Und warum? Mit diesen Fragen zieht sich ein religiöser und „expressiv gesteigerter Subjektivismus“ (Ackermann) wie ein roter Faden durch die Missa solemnis. Sie ist ein zutiefst persönliches Bekenntniswerk. Es geht Beethoven um individuelle Emotionen, nicht um allgemeingültige

sich ab. Ein Rezitationston trifft auf weit ausschwingende Kantilenen und

Die Sätze

verwoben. In der variierten KyrieWiederholung betont Beethoven die schmerzvolle Haltung durch Chromatik, der Satz verklingt im Pianissimo-Gebet. In stärkstem Kontrast eröffnet Beethoven den Preisgesang des Gloria, das in vier Teile gegliedert ist. Nach stürmischem Fortissimo-Orchesterauftakt jagen die Chorstimmen mit dem aufsteigenden Gloria-Hauptthema in himmlische Höhen. Dieses Thema kehrt mottoartig an Schlüsselstellen des Satzes wieder. Es folgt das „et in terra pax hominibus“,

Acknowledgments

Bevor im Benedictus die Solo-

durchaus gefährdet ist, zeigen zwei

Violine in einem coup de théâtre von den höchsten Höhen des Himmels herabsteigt. Weltlicher Kitsch? Arnold Werner-Jensen sah darin „ein legitimes künstlerisches Mittel, den

instrumentale Einschübe mit gleichsam kriegerischen Pauken und Trompeten, die gewaltsam einbrechen. „Ängstlich“ bitten die Solisten erneut um Erbarmen. Der Chor fordert geradezu insistierend

einer gewaltigen Fuge abgeschlossen, einer Doppelfuge auf „et vitam venturi saeculi, amen“.

Hörer emotional aus der Fassung zu bringen“. Immerhin gehe es hier um die „Wucht der Verheißung“. Die

mit seinen Sforzato-Rufen „pacem“.

Das Sanctus nimmt „mit Andacht“ eine tiefgründige Versenkungshaltung ein, mezza voce werden die Gebetsrufe geflüstert, grundiert von Posaunen

gedämpften Klangfarben im Orchester unterstreichen die andachtsvolle Haltung noch. Bis zum Ende hat die Solo-Violine stets die Führung inne und steigt nach einer erneut fugierten

und um das Wunder von Geburt, Leiden, Tod, Wiederauferstehung und Himmelfahrt Christi. Analog zum Gloria kehrt das eröffnende, wuchtige Credo-

und tiefen Streichern. Nach einer Generalpause beginnt ein energisch vorantreibendes Chorfugato über „Osanna in excelsis“. Es folgt ein kurzes,

Lobpreisung am Ende wieder in die Höhe hinauf.

Kernmotiv am Ende wie einer Klammer wieder. Kann man hier irgendwie an Beethovens Glauben zweifeln? Die musikalische Gestaltung zementiert

fast schon amotivisches Präludium, in dem Beethoven das Wunder der Hostienwandlung nachzeichnet; übrigens der einzige rein instrumentale

einen Adagio-Teil ein, der sich immer wieder aufzuschwingen versucht, dann im Pianissimo verklingt. Das „Dona nobis pacem“ ist von Beethoven mit

PENTATONE TEAM Vice President A&R Renaud Loranger | Director A&R Job Maarse | Managing

eine unerschütterliche Geisteshaltung. Der Binnensatz („Et incarnatus est“

„Satz“.

„Bitte um innern und äußern Frieden“ überschrieben. Dass dieser Frieden

Director Dirk Jan Vink | Director Product, Marketing & Distribution Simon M. Eder A&R Kate Rockett | Marketing & PR Silvia Pietrosanti | Distribution Veronica Neo

– „et homo factus est“) gestaltet die einzelnen Phasen tief empfunden nach. Mal abgründig versunken, mal schmerz- und leidvoll, dann wieder plastisch-majestätisch beim Jüngsten Gericht. Auch das Credo wird von

Beginns den Satz im Presto krönend abschließt.

PRODUCTION TEAM Executive producers Stefan Lang (Deutschlandradio Kultur), Job Maarse (Pentatone) | Recording producer Job Maarse | Balance engineer Jean-Marie Geijsen (Polyhymnia) | Recording engineer & editor Erdo Groot (Polyhymnia) Deutschlandradio recording team Wolfram Nehls, Henri Thaon, Jens Müller Liner notes Jörg Peter Urbach | English translation Fiona J. Stroker-Gale Design Joost de Boo | Product management Max Tiel This album was live recorded at the Berlin Philharmonie, September 2016.

Das abschließende Agnus Dei leitet

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Premium Sound and Outstanding Artists PENTATONE. Today’s music is evolving and forever changing, but classical music remains true in creating harmony among the instruments. Classical music is as time-honoured as it is timeless.

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works complete a repertoire that encompasses practically a thousand

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Sit back and enjoy

70-year history. These recordings have been released on LPs, CDs and digital

demonstrates its expertise with highly acclaimed a cappella performances. Secular and sacred music, wide-ranging ensemble singing and choral symphonic

from 1998 Howard Arman lastingly consolidated the reputation of this

Semyon Bychkov, Riccardo Muti, Yannick

Gleichfalls kontrastreich im Gesamtrahmen wie in den einzelnen Teilen gestaltet Beethoven das Credo. Auch hier zutiefst persönlich, geht es doch um das Glaubensbekenntnis

„Miserere nobis“. Im dritten Teil – „Quoniam tu solus sanctus“ – kehrt der Preisgesang im mächtigen Chorsatz zurück, bevor sich eine gewaltige „in gloria dei patris, amen“-Fuge anschließt bevor erneut das Zitat des Gloria-

Not only an excellent partner for major orchestras, the ensemble regularly

When major orchestras in Germany or abroad plan to perform a choral

Artists

The collaboration with Deutschlandradio, the main shareholder of the ROC GmbH Berlin to which the

Marek Janowski © Jean-François Leclercq

ACKNOWLEDGMENTS

dass ich den Text behandelt habe, wie er noch wenig behandelt worden“. Auch bei der Missa solemnis untersuchte Beethoven die einzelnen Wörter des lateinischen Messtextes genau, um sie musikalisch exakt auszudeuten. Auf ihre reine Bedeutung hin, vor allem aber auch auf ihre Konnotationen. Welche Gefühle schwingen mit? Welche Emotionen setzen sie frei? Und zwar

announced in Vienna that his pupil and patron, the Archduke Rudolph, was to be enthroned as Archbishop of Olomouc

during the celebrations solemnized for Y.I.H. will be for me the most beautiful day of my life. And God will enlighten

DEUTSCH

als „submotivische Beziehungen“. Demnach kehren auf äußerst subtile Weise einzelne Parameter aus Motivgestalten genauestens kalkuliert wieder – aber in einem jeweils anderen inhaltlichen Zusammenhang. Diese submotivischen Bezüge sind beim erstmaligen Hören kaum zu erkennen. Während der Arbeit an der Messe vertiefte sich Beethoven in der

Folgt man Carl Dahlhaus, so ging es Beethoven in der Missa solemnis kompositorisch vor allem um eine Vermittlung zwischen altem Kirchenstil und moderner Instrumentalmusik. Gelungen sei ihm dies dadurch, „dass er im Archaischen, das die Kirchlichkeit

April 1824 in St. Petersburg im Rahmen einer konzertanten Aufführung des Fürsten Galitzin statt und am 7. Mai 1824 erklang das Werk bruchstückhaft in Wien, ohne Gloria und Sanctus. Beethoven hatte ganz augenscheinlich kein schlechtes Gewissen, seine Missa aus ihrer ursprünglichen Bestimmung herauszulösen. Betrachtete er sie doch mittlerweile als zutiefst persönliche Auseinandersetzung mit seinem

in D Major Op. 123

ENGLISH

←

TRACK INFORMATION

Nearly 200 recordings, many of them award-winning, have been recorded by the ensemble during its more than

RundfunkSinfonieorchester Berlin (RSB, Berlin Radio Symphony Orchestra) dates back to the beginnings of music broadcasting in 1923, and has since sustained its position amongst the leading orchestras in Berlin and other radio orchestras throughout Germany. From 2002 to 2015, Marek Janowski was artistic director and chief conductor

←

ENGLISH

DEUTSCH

ACKNOWLEDGMENTS

Glaubensfragen. Was nicht zuletzt der im Autograph über dem Kyrie stehende Satz „Von Herzen – möge es wieder – zu Herzen gehen“ transportiert. Wie schlicht. Wie groß. Wie menschlich. Vielleicht hat Beethoven die Missa gerade deshalb als das „gelungenste

Wie schon in der C-Dur-Messe verzichtet Beethoven auch in der Missa solemnis auf die traditionelle Nummerngliederung, also auf die Verteilung von Arien und Chorsätzen auf die Messabschnitte. Die formale Gliederung folgt teils traditionellen

knappe volksliedhafte Bildungen. Die Missa solemnis ist ein Werk der Extreme. Beethoven lässt Chor, Solisten und das groß besetzte Orchester zu einem einzigen Klangkörper verschmelzen, der den Hörer mit seinem voluminösen Klangbild „rühren, treffen, erschüttern“

verwoben. In der variierten KyrieWiederholung betont Beethoven die schmerzvolle Haltung durch Chromatik, der Satz verklingt im Pianissimo-Gebet.

seiner Geistesprodukte“ bezeichnet. Weil sie seinen persönlichen Blick auf den Glauben zeigt. Und wie er bestimmte Aussagen des Messtextes bewertet. Man denke etwa an das beiläufige, lediglich einmal im ChorTenor rezitierte „credo in unam sanctam catholicam“, das in den „Credo“-Rufen der anderen Stimmen schier untergeht. Der Glaube an das ewige Leben erfährt dagegen auf über 170 Takten in einer

Vorgaben, wie bei der Dreiteilung des Kyrie, geht aber auch eigene Wege, etwa wenn Beethoven das „Gloria in excelsis Deo“ am Ende des Gloria im presto wiederholt. Dem extrem kurzen Sanctus steht ein extrem gedehntes Benedictus gegenüber und das textlich eigentlich dreiteilig angelegte Agnus Dei wird vierteilig umgesetzt. Auf allen Ebenen findet sich ein extrem ausgeprägtes Kontrastprinzip. Ruhe

(Werner-Jensen) soll. Und das gelingt Beethoven, der sich zum Ziel gesetzt hatte „sowohl bei Singenden als bei Zuhörern religiöse Gefühle (zu) erwecken und dauernd (zu) machen“.

ausgeweiteten Doppelfuge eine starke Gewichtung. Derart kontrastreiche

wird Bewegung gegenübergestellt, ekstatischer Jubel erklingt neben

Interpretationen der textlichen Vorgabe prägen die Missa.

schreitender Würde, polyphone und homophone Ausgestaltung wechseln sich ab. Ein Rezitationston trifft auf weit ausschwingende Kantilenen und

Das Kyrie, der Bittgesang, ist klassisch dreigeteilt, im steten, demutsvollen Wechselgesang zwischen Soli und Chor. Der machtvolle Kyrie-Anruf der Chorstimmen wird bereits im ersten D-Dur-Akkord des vollen Orchesters vorweggenommen. Im mittleren Christe-Teil führen die Soli, der Chor

Teile gegliedert ist. Nach stürmischem Fortissimo-Orchesterauftakt jagen die Chorstimmen mit dem aufsteigenden Gloria-Hauptthema in himmlische Höhen. Dieses Thema kehrt mottoartig an Schlüsselstellen des Satzes wieder. Es folgt das „et in terra pax hominibus“, homophon vom Chor fast geflüstert, das hymnisch anbetende „Laudamus te“ und das klanglich luftige „Gratias agimus tibi“. Mit dem „Qui tollis“ beginnt der langsame, zweite Teil des Gloria, in dem Klarinetten und Flöten das Klagethema präsentieren. Eine ausgedehnte, zerknirschte Bitte um Erbarmen

antwortet. Immer dichter werden die Stimmen kontrapunktisch miteinander

entwickelt sich im von Beethoven um den emotionalen Laut „O“ erweiterte

Ludwig van Beethoven (1770 – 1827)

With devotion

MISSA SOLEMNIS

Reflections on Beethoven’s

in D Major Op. 123

BEETHOVEN

MISSA SOLEMNIS

Missa solemnis

1 2

Kyrie Gloria

9. 22 15. 41

Beethoven’s Missa solemnis is a unique gem. A work of dramatic external

3 4

Credo Sanctus – Benedictus

16. 59 15. 26

power and well-nigh incredible inner strength. Full of conviction. Rich in

5

Agnus Dei Total playing time:

Rundfunk-Sinfonieorchester Berlin MDR Rundfunkchor Leipzig

15. 32

profoundly personal visions of the faith that has remained, carved in stone,

73. 04

Regine Hangler, Soprano

in the form of the Latin mass text for centuries. And yet also rich in moments of doubt about dogmatic religion and

Elisabeth Kulman, Alto

the formal institution of the church.

Christian Elsner, Tenor Franz-Josef Selig, Bass

In its monumentality and lengthy duration of just under 90 minutes, the Missa solemnis departs from all

MDR Rundfunkchor Leipzig

liturgical guidelines – despite the fact

Michael Gläser, Chorus Master

that the work was originally intended for a specific high mass; yet it was not actually performed there in the end.

Rundfunk-Sinfonieorchester Berlin

Marek Janowski

External event and internal task Creating a unique gem takes time: and in this case, Beethoven took plenty

– not Beethoven’s Missa solemnis, but a mass composed by Johann Nepomuk Hummel was performed. Not until three years later did Beethoven manage to complete the Missa solemnis, the

Stile antico and modern musical idiom According to Carl Dahlhaus, in his Missa solemnis Beethoven was mainly

Dahlhaus describes the motivic links

as follows about his first mass: “…

between the various structural sections

however, I believe that I have treated

as “submotivic connections.” Thus, very subtly, individual parameters from motifs constantly reappear in a precisely

the text in a manner in which it has seldom been treated.” And again with his Missa solemnis, Beethoven subjected

of time. In the summer of 1818 it was

reason being that he had quickly

concerned with finding a good mix

calculated manner – however, always in

the individual words of the Latin text to

announced in Vienna that his pupil and patron, the Archduke Rudolph, was to be enthroned as Archbishop of Olomouc

realized that he would have to take an extraordinary path. The première took place in St. Petersburg on April 7, 1824,

between the idiom of ancient church music and that of modern instrumental music. He appears to have managed

a different context as regards content. These submotivic references are very difficult to recognize at first hearing.

a precise examination, in order to give them an exact musical interpretation: both with regard to their pure

on March 9, 1820. Beethoven decided

as a concertante performance under

this due to the fact that “in the archaic

While working on his mass, Beethoven

significance, but above all, with regard

to compose a mass for this event. In June 1819, he wrote as follows to the Archduke: “The day on which a high

the auspices of Prince Gallitzin; and on May 7, 1824, the mass was given an incomplete performance in Vienna,

idiom, which was meant to vouch for the church, he simultaneously discovered a ferment of modernity,

delved into ancient church music in Archduke Rudolph’s library, studying works by Palestrina as well as Gregorian

to their connotations. Which feelings are resonating here? Which emotions are they releasing? And not only in the case

mass by my hand will be performed

not including the “Gloria” and the “Sanctus.” Obviously, Beethoven had no

thanks to which the work was able to

chant.

of the listener, but above all, with regard to the composer himself.

during the celebrations solemnized for Y.I.H. will be for me the most beautiful day of my life. And God will enlighten

problem in “extracting” his Missa from its original destination. Clearly, in the

hold its own with regard to the aesthetic maxim that music must be novel in order to be considered authentic.” And

me, so that my paltry creative powers may contribute to the glorification

meantime, he had begun to regard it as a deeply personal confrontation with

indeed, techniques such as motivicthematic passage work, or evolving

am Ölberge (= Christ on the mount of olives, 1803/1804/1811), Beethoven had

of this solemn day.” But work on the composition dragged out, and by the

his faith.

variation (characteristic for Beethoven’s middle period) are to be found only

already devoted a great deal of time to the texts, aiming to “unify music

In his Mass in C major, dating from 1807, and also in his oratorio Christus

Rainer Wolters, Concert Master

end of 1819 Beethoven had only just sketched the middle part of the Credo.

in rudimentary form. However, this does not signify that the structural

and word.” To help with the mass text, he brought in a translator, who was

Conducted by Marek Janowski

The day arrived of the High Mass, and

sections of the mass coexist in isolation.

himself a musician. Beethoven wrote

Creed

drowned by the calls of “credo” in the

Is this my faith? How do I believe?

other voices. On the other hand, great emphasis is placed on the belief in

And why? A religious and “expressively intensified subjectivism” (Ackermann)

eternal life by means of an extended double fugue lasting more than 170

containing these questions runs like a red thread through the Missa solemnis.

bars. The Missa is full of such highly contrasting interpretations of the text.

It is a deeply personal creed. Here, Beethoven is concerned with individual

As in the Mass in C major, in the Missa

emotions, not with universal questions of faith – as he makes clear to us in the

solemnis Beethoven also renounces the traditional numbering, i.e. the

following sentence “May it continue to flow from heart to heart,” written in the autograph score above the “Kyrie.”

classification of the distribution of arias and choral settings within the various sections of the mass. In part, the

How simple. How noble. How human.

formal structuring keeps to traditional

Perhaps this is precisely why Beethoven described the Missa as “the most successful of his intellectual products”:

guidelines, as in the tripartite division of the “Kyrie”; however, it also goes its own way, for example at the end of the

because it demonstrates his personal

“Gloria,” when the “Gloria in excelsis

view of faith, and also how he rated certain assertions in the mass text. Take, for instance, the casual “credo in

Deo” is repeated, but now in presto. The extremely short “Sanctus” is contrasted with a greatly elongated “Benedictus”;

is laid out in four sections. There is

The movements

an extremely pronounced principle of contrast at all levels. Peace and quiet is contrasted with movement, ecstatic rejoicing resonates alongside pacing dignity, polyphony is alternated with homophony. A recitative tone meets with widely resonating cantilenas and concise folk-song-like creations. The Missa solemnis is a work of extremes. Beethoven blends choir, soloists, and large orchestra into a single “body of sound,” which is meant to “touch, strike, shake” (Werner-Jensen) the listener with volume of its sound. And Beethoven succeeds at this, having set himself the goal “of awakening and perpetuating religious feelings both in the singer and the listener.”

Die Sätze

the heavenly heights with the soaring

Beethoven designs the “Credo” with

The “Kyrie,” the song of invocation,

main theme of the “Gloria.” This theme recurs like a motto at key points in

equally rich contrast, both in its entirety and its individual sections. Here, too,

has a classical tripartite division, with a constant and humble interchange of

the movement. This is followed by the “terra pax hominibus,” almost like a

the music is deeply personal, all about the confession of faith and the miracle

singing between soloists and choir. The first D-major chord of the full orchestra

homophonic whisper from the choir, the hymnically worshipping “Laudamus te”

of Christ’s birth, suffering, death, resurrection and ascension. Analogous

already anticipates the impressive cry of “Kyrie” from the choir. In the middle

and the airy “Gratias agimus tibi.” The “Qui tollis” introduces the slow, second

to the “Gloria,” the powerful opening core motif of the “Credo” returns at

part (“Christe”), the soloists lead with the choir responding. Increasingly

part of the Gloria, in which clarinets and flutes present the lament theme. An

the end as if to close brackets. Can there be any doubt about Beethoven’s

dense, the voices become more and more contrapuntally interwoven. In the varied repetition of the “Kyrie,”

extended, contrite plea for compassion develops in the “Miserere nobis,” in which Beethoven draws out the emotion

faith here? The musical design cements an imperturbable attitude of mind. The next section of the movement

Beethoven emphasizes the agonizing

in the vowel “o.” In the third part –

(“Et incarnatus est” – “et homo factus

mood by means of chromaticism, and the movement fades away in the prayer in pianissimo.

“Quoniam tu solus sanctus” – the eulogy returns in the powerful choral setting, followed by a tremendous fugue, “in

est”) recreates the individual phases with deep feeling: at times profoundly absorbed in thought, at others painful

gloria dei patris, amen,” after which

and sorrowful, then again vividly

Beethoven begins the eulogy of the “Gloria,” which is divided into four parts in a hugely contrasting manner.

the recurrence of the motto from the beginning of the “Gloria” concludes the movement in presto.

majestic during the Last Judgment. Here too, the “Credo” is concluded with a massive fugue – a double fugue on the

unam sanctam catholicam,” recited

and the “Agnus Dei” – which in fact

After a stormy fortissimo upbeat in

only once in the tenors, which is almost

consists of three sections in the text –

the orchestra, the choir races up into

phrase “et vitam venturi saeculi, amen.”

The Sanctus “devoutly” assumes a

reverent mood. Right up to the end, the

profoundly meditative attitude, the

solo violin remains in charge; and at

prayers are whispered mezza voce, primed by trombones and low strings. A general pause is immediately followed

the conclusion, it soars back up to the heights after a glorification, once again set as a fugue.

by an energetically driving choral fugato to the phrase “Osanna in excelsis.” This is followed by a short prelude, almost lacking in motif, in which

The concluding “Agnus Dei” introduces an Adagio section that continually attempts to soar, but finally fades away

Beethoven portrays the miracle of the

in pp. Beethoven wrote the following

transformation of the host; by the way, this is the only exclusively instrumental “movement.”

words above the “Dona nobis pacem”: “Plea for internal and external peace.” Two instrumental interpolations with,

But then suddenly in the “Benedictus,”

so to speak, warlike timpani and trumpets, violently breaking into the

the solo violin swoops down from the highest heights of heaven in a coup de

music, demonstrate that this peace is truly under siege. “Fearfully,” the soloists

théâtre. Profane kitsch? Well, Arnold Werner-Jensen described this as “a

once again plea for mercy; and the choir virtually insists upon it, with its

legitimate artistic means of emotionally flustering the listener.” For after all,

sforzato cries of “pacem.”

it was about the “impact of the promise.” The muted sound-colours in the orchestra further emphasize the

Marek Janowski

Dortmund (1975-1979). Since the late

From 2002 until 2015, Marek

1970s, he has appeared regularly at all the major opera houses world-wide.

Janowski was Artistic Director and Chief Conductor of the Rundfunk-

Marek Janowski stepped back from the

Sinfonieorchester Berlin (RSB). Before embarking upon his Berlin period,

opera scene in the 1990s to concentrate on the great German and French

and also partly parallel to this, he was Musical Director of the Orchestre

symphonic repertoire. He enjoys an outstanding reputation amongst the

de la Suisse Romande (2005-2012), Chief Conductor of the Orchestre

premier orchestras of Europe, North America and Asia and is recognised

Philharmonique de Monte Carlo (2000-2005), Chief Conductor of the Dresdner Philharmonie (2001-2003),

for his ability to create orchestras of international standing.

and Musical Director of the Orchestre

His leave-taking of the opera, however,

Philharmonique de Radio France (19842000).

was merely an institutional matter, not a musical farewell. Thus he is now recognized as one of the greatest

Born in Warsaw and educated in

experts regarding the music of Richard

Germany, Marek Janowski’s artistic path led him from positions in Aachen, Cologne, Düsseldorf and Hamburg to his

Wagner, to which his concertante Wagner cycle with the RSB bears witness. In the sequel he accepted the

appointment as General Music Director

invitation to conduct Wagner’s “Ring” at

in Freiburg im Breisgau (1973-1975) and

the Bayreuth Festival in 2016 and 2017.

Liner notes

of the RSB. Vladimir Jurowski has

la Parra, Lahav Shani and Omer Meir

been named as his successor, starting in the 2017-2018 season. Previous chief conductors (including Sergiu Celibidache, Eugen Jochum, Hermann Abendroth, Rolf Kleinert, Heinz Rogner,

Wellber performing in recent years.

and Rafael Frühbeck de Burgos) have all helped to create the ensemble’s exceptional sound.

RSB belongs, has born rich fruit on recording. Starting in 2010, together with PENTATONE, great effort was put

Since its foundation, the RSB has invited major composers to conduct or to perform as soloists in their own works. These have included Paul Hindemith, Sergei Prokofiev, Richard Strauss, and Igor Stravinsky, as well as Krzysztof Penderecki, Peter Ruzicka, and Jörg Widmann. The RSB is particularly attractive for capable young conductors from the international music scene, with Andris

and won the 2nd prize in the Birgit

the “Ehrenpreis der deutschen

Nilson competition.

Schallplattenkritik” (= honorary prize of the German Critics’ Award) for his extensive life’s work.

Since 2013/14 Regine Hangler is an

Tokyo and the Scala in Milan.

success as a soprano. Since 2005

Thielemann, Marek Janowski or Franz

As a successful concert singer Regine Hangler is very successful in Austria,

Elisabeth Kulman has been singing the major parts of the mezzo and alto repertoire. As a member of the

close collaboration with Nikolaus Harnoncourt.

ensemble member of the Wiener

Germany, Albany, the Netherlands,

ensemble at the Vienna State Opera

Regine Hangler Soprano

Staatsoper and is performing the following roles, just to name a few: Rosalinde (Die Fledermaus), Santuzza

Slovenia, Hungary, Japan and Israel. Regine Hangler’s discography and videography continue to grow steadily.

she quickly became a favourite of the audience and established the basis for her vast repertoire. Her most

After having studied viola and technics, Regine Hangler studied canto as her major subject at the Kärntner

Ariadne (auf Naxos), Leonore (Fidelio) and Eva (Die Meistersinger von Nürnberg).

(Cavalleria Rusticana), Elsa (Lohengrin),

Landeskonservatorium and the Universität für Musik in Vienna, which she passed with distinction.

In May 2015 the soprano was highly acclaimed for her title role of “Daphne” in Berlin, which was conducted by

Elisabeth Kulman Alto

important roles include Fricka, Erda and Waltraute (The Ring of the Nibelung), Carmen, Mrs. Quickly (Falstaff), Brangäne (Tristan and Isolde), Begbick

Elisabeth Kulman is one of today’s

(Mahagonny), Orlofsky (The Bat), Orfeo

most sought-after singers and leading authorities in the international classical music scene. She impresses

(Gluck) and Marina (Boris Godunov). Since 2010 Elisabeth Kulman has been

At the same time she was working

Marek Janowski, in New York und

audiences and critics alike with her rich,

working as a freelance artist. She is

with KS Mara Zampieri in Padua and concluded her education with numerous Masterclasses.

Cleveland by Franz Welser-Möst. In 2016 she had a big success at the Salzburger Festspiele for her interpretation of

colourful timbre, her charismatic stage personality and her musical versatility.

a much sought-after soloist in the metropolitan centres of the music world: Vienna, Paris, London, Munich,

Xanthe in “Die Liebe der Danae”.

She studied voice with Helena Lazarska

Berlin, Tokyo, Salzburg, Moscow, etc.

Further future engagements lead the soprano i.e. to the Bayreuther Festspiele,

at the Vienna Music University, made her debut as Pamina in 2001 at the Volksoper in Vienna and enjoyed early

She works regularly with world-class orchestras and conductors such as Zubin Mehta, Kirill Petrenko, Christian

Several times she was decorated with highly skilled scholarships, became finalist of the Italian Aslico competition

Welser-Möst. She enjoyed a particularly

Christian Elsner Tenor Born in Freiburg, Christian Elsner is one of the most versatile German tenors. He

On the opera stage Christian Elsner has

The versatile singer has written his own

established himself as a heroic tenor

children’s book, Lennie und der Ring des

in the roles of Siegmund and Parsifal at the Deutsches Nationaltheater in Weimar, the Staatstheater in Kassel, the

Nibelungen, and has been working as a professor for singing at the Hochschule für Musik in Wurzburg since 2006.

Franz-Josef Selig Bass

Nezét-Séguin, Antonio Pappano, Phillipe Jordan, Zubin Mehta and many others.

Franz-Josef Selig has established himself on the international scene as

Bass singer Franz-Josef Selig first studied church music at the Staatliche

Since 2015 Elisabeth Kulman has been

studied singing with Martin Gründler,

Dresden Semperoper, the Vienna State

focusing her artistic activities on recitals (together with her longtime accompanist Eduard Kutrowatz),

took lessons with Dietrich FischerDieskau and Neil Semer, and has won many international competitions.

Opera and at the Teatro Real in Madrid. Accompanied by Gerold Huber and Burkhard Kehring, the tenor has given recitals in Frankfurt, Hamburg, Bonn,

Real in Madrid under Semyon Bychkov,

Fiesco and Fasolt at all the world’s

ensemble in Essen. He has since been a

As an internationally sought-after concert singer, Christian Elsner is a popular guest at all the important

Dresden, Munich, Wurzburg and Brussels, and at the Schubertiade in Feldkirch.

in Vienna in Franz Schmidt’s The Book with Seven Seals under Manfred Honeck with the Vienna Symphony Orchestra,

major opera houses (such as the Vienna State Opera, Bavarian State Opera, Teatro alla Scala di Milano, Teatro Real

freelance singer.

in Beethoven’s Ninth Symphony in

Madrid, the Parisian opera houses or

Wien as well as “Hungaro Tune” with symphony orchestra and jazz soloists.

the Berlin Philharmonic, New York’s Carnegie Hall, La Scala, Milan and the Suntory Hall in Tokyo, and has worked

Christian Elsner can also be heard on CD, with recordings such as Schubert’s Winterreise and Schumann’s

Leipzig with the Gewandhausorchester under Herbert Blomstedt, and in Berlin, Vienna, New York, Taipei and Tokyo with

the Metropolitan Opera New York) and at prestigious festivals such as the Bayreuth and Salzburg Festival and

Her latest solo programme “La femme c’est moi” features pieces from Carmen

with many renowned conductors such as Herbert Blomstedt, Manfred Honeck,

Dichterliebe, along with studio productions of Mahler’s Lied von der

the Berlin Philharmonic under Sir Simon Rattle.

the Festival d’Aix-en-Provence. Opera productions as well as concerts bring

up to the Beatles.

Marek Janowski, Mariss Jansons, Kent Nagano, Yannick Nézet-Séguin, Semyon

Erde as well as complete recordings of Wagner’s Rheingold (Loge) and Parsifal

Bychkov and Sir Simon Rattle.

(title role).

concerts and operas in concert. She is especially devoted to unconventional projects: “Mussorgsky Dis-Covered” with an international jazz quartet, “Mahler Lieder” and “Wer wagt mich zu höhnen?” with the ensemble Amarcord

classical music centres, such as

Christian Elsner’s most recent performances have included the title role in Wagner’s Parsifal at the Teatro

one of the best-known serious bass

Hochschule für Musik in Cologne before

baritones. He regularly gives guest performances as Gurnemanz, King Marke, Sarastro, Rocco, Osmin, Daland,

taking voice classes under Claudio Nicolai. At the beginning of his career he was a member of the Aalto Theatre

him together frequently with renowned orchestras and conductors, such as James Levine, Christian Thielemann, Sir Simon Rattle, Marek Janowski,

MDR Rundfunkchor Leipzig

Mit Andacht Gedanken zu Beethovens Missa solemnis

into the live recording of the successful ten part Wagner cycle. Other activities of the RSB include special concerts for families and children, as well as guest performances in the major international concert halls, which have taken place over the past 50 years. Alongside regular tours of Asia the orchestra appears at German and European festivals. MDR Rundfunkchor Leipzig © Peter Adamik

Nelsons, Yannick Nézet-Séguin, Alain Altinoglu, Jakub Hrůša, Alondra de

nicht die Missa solemnis, sondern eine

Ein Solitär benötigt Zeit. Und die nahm sich Beethoven in diesem Fall reichlich. Im Sommer 1818 wurde in Wien bekannt, dass sein Schüler und Gönner, Erzherzog Rudolph, am 9. März 1820 zum Erzbischof von Olmütz inthronisiert

Überzeugungskraft. Reich an zutiefst persönlichen Blicken auf jenen Glauben, wie er in Gestalt des lateinischen Messtextes seit Jahrhunderten in

werden sollte. Aus diesem Anlass plante Beethoven eine Messvertonung. Im Juni 1819 schrieb er an den Erzherzog: „Der Tag, wo ein Hochamt von mir

Stein gemeißelt ist. Und doch auch reich an Momenten des Zweifelns an dogmatischer Religion und der formellen Institution Kirche. In ihrer

zu den Feierlichkeiten für I.K.H. soll aufgeführt werden, wird für mich der schönste meines Lebens sein. Und Gott wird mich erleuchten, dass meine

Monumentalität und zeitlichen Ausdehnung von knapp 90 Minuten sprengt die Missa solemnis jegliche liturgischen Vorgaben. Auch wenn das Werk ursprünglich für ein konkretes

schwachen Kräfte zur Verherrlichung dieses Feierlichen Tages beitragen.“ Doch die kompositorische Arbeit ging nur schleppend voran und Ende 1819

Hochamt gedacht war. Dort dann aber nicht erklang. Rundfunk-Sinfonieorchester Berlin © Molina Visuals

Äußerer Anlass und innere Aufgabe

Beethovens Missa solemnis ist ein Solitär. Ein Werk von äußerer dramatischer Wucht und schier unglaublicher innerer Stärke. Voller

hatte Beethoven gerade einmal den Mittelteil des Credos skizziert. Der Tag des Hochamtes kam. Und es erklang – Deutsch

Messe von Johann Nepomuk Hummel. Erst drei Jahre später konnte Beethoven die Missa solemnis vollenden. Weil ihm schnell klar wurde, dass er einen außergewöhnlichen Weg würde gehen müssen. Die Uraufführung fand am 7. April 1824 in St. Petersburg im Rahmen einer konzertanten Aufführung des Fürsten Galitzin statt und am 7. Mai 1824 erklang das Werk bruchstückhaft in Wien, ohne Gloria und Sanctus. Beethoven hatte ganz augenscheinlich kein schlechtes Gewissen, seine Missa aus ihrer ursprünglichen Bestimmung herauszulösen. Betrachtete er sie doch mittlerweile als zutiefst persönliche Auseinandersetzung mit seinem Glauben.

Stile antico und moderne Tonsprache

als „submotivische Beziehungen“.

dass ich den Text behandelt habe, wie

Glaubensfragen. Was nicht zuletzt der

Wie schon in der C-Dur-Messe

knappe volksliedhafte Bildungen. Die

Folgt man Carl Dahlhaus, so ging

Demnach kehren auf äußerst subtile Weise einzelne Parameter aus Motivgestalten genauestens kalkuliert

er noch wenig behandelt worden“. Auch bei der Missa solemnis untersuchte Beethoven die einzelnen Wörter des

es Beethoven in der Missa solemnis kompositorisch vor allem um eine Vermittlung zwischen altem Kirchenstil und moderner Instrumentalmusik. Gelungen sei ihm dies dadurch, „dass

wieder – aber in einem jeweils anderen inhaltlichen Zusammenhang. Diese submotivischen Bezüge sind beim erstmaligen Hören kaum zu erkennen. Während der Arbeit an der Messe

lateinischen Messtextes genau, um sie musikalisch exakt auszudeuten. Auf ihre reine Bedeutung hin, vor allem aber auch auf ihre Konnotationen. Welche Gefühle schwingen mit? Welche

im Autograph über dem Kyrie stehende Satz „Von Herzen – möge es wieder – zu Herzen gehen“ transportiert. Wie schlicht. Wie groß. Wie menschlich. Vielleicht hat Beethoven die Missa

verzichtet Beethoven auch in der Missa solemnis auf die traditionelle Nummerngliederung, also auf die Verteilung von Arien und Chorsätzen auf die Messabschnitte. Die formale

Missa solemnis ist ein Werk der Extreme. Beethoven lässt Chor, Solisten und das groß besetzte Orchester zu einem einzigen Klangkörper verschmelzen, der den Hörer mit seinem voluminösen

gerade deshalb als das „gelungenste seiner Geistesprodukte“ bezeichnet. Weil sie seinen persönlichen Blick

Gliederung folgt teils traditionellen Vorgaben, wie bei der Dreiteilung des Kyrie, geht aber auch eigene Wege,

Klangbild „rühren, treffen, erschüttern“ (Werner-Jensen) soll. Und das gelingt Beethoven, der sich zum Ziel gesetzt

er im Archaischen, das die Kirchlichkeit verbürgen sollte, zugleich ein Ferment von Modernität entdeckte, durch die das Werk vor der ästhetischen Maxime

vertiefte sich Beethoven in der Bibliothek Erzherzog Rudolphs in alte Kirchenmusik, studierte Palestrinas Werke und die Gregorianik.

Emotionen setzen sie frei? Und zwar nicht nur beim Hörer, sondern vor allem beim Komponisten.

etwa wenn Beethoven das „Gloria in excelsis Deo“ am Ende des Gloria im presto wiederholt. Dem extrem kurzen Sanctus steht ein extrem gedehntes Benedictus gegenüber und das textlich

hatte „sowohl bei Singenden als bei Zuhörern religiöse Gefühle (zu) erwecken und dauernd (zu) machen“.

bestehen konnte, dass Musik neu sein müsse, um authentisch zu sein.“ Und in der Tat finden sich Techniken wie motivisch-thematische Arbeit oder

auf den Glauben zeigt. Und wie er bestimmte Aussagen des Messtextes bewertet. Man denke etwa an das beiläufige, lediglich einmal im ChorTenor rezitierte „credo in unam sanctam

Schon in seiner C-Dur-Messe aus dem Jahr 1807 und auch in seinem Oratorium Christus am Ölberge (1803/1804/1811)

entwickelnde Variation (ihres Zeichens Merkmale des mittleren Beethovens) nur rudimentär. Was wiederum nicht bedeutet, dass die formalen Teile der

hatte sich Beethoven intensiv mit den Textvorlagen beschäftigt, mit dem Ziel „Musick und wort ein’s“ werden zu lassen. Beim Messtext bediente er sich

catholicam“, das in den „Credo“-Rufen der anderen Stimmen schier untergeht. Der Glaube an das ewige Leben erfährt dagegen auf über 170 Takten in einer

eigentlich dreiteilig angelegte Agnus Dei wird vierteilig umgesetzt. Auf allen Ebenen findet sich ein extrem ausgeprägtes Kontrastprinzip. Ruhe

homophon vom Chor fast geflüstert, das hymnisch anbetende „Laudamus te“ und das klanglich luftige „Gratias agimus tibi“. Mit dem „Qui tollis“ beginnt der langsame, zweite Teil des Gloria, in dem

der Hilfe eines Übersetzers, der selber Musiker war. Beethoven schrieb über seine erste Messe: „jedoch glaube ich,

wird Bewegung gegenübergestellt, ekstatischer Jubel erklingt neben schreitender Würde, polyphone und homophone Ausgestaltung wechseln

Das Kyrie, der Bittgesang, ist klassisch dreigeteilt, im steten, demutsvollen Wechselgesang zwischen Soli und Chor. Der machtvolle Kyrie-Anruf der Chorstimmen wird bereits im ersten

Messe isoliert nebeneinanderstehen. Die motivischen Bezüge zwischen den Formabschnitten beschreibt Dahlhaus

ausgeweiteten Doppelfuge eine starke Gewichtung. Derart kontrastreiche Interpretationen der textlichen Vorgabe prägen die Missa.

D-Dur-Akkord des vollen Orchesters vorweggenommen. Im mittleren Christe-Teil führen die Soli, der Chor antwortet. Immer dichter werden die

Klarinetten und Flöten das Klagethema präsentieren. Eine ausgedehnte, zerknirschte Bitte um Erbarmen entwickelt sich im von Beethoven um

Stimmen kontrapunktisch miteinander

den emotionalen Laut „O“ erweiterte

Bekenntniswerk Ist dies mein Glaube? Wie glaube ich? Und warum? Mit diesen Fragen zieht sich ein religiöser und „expressiv gesteigerter Subjektivismus“ (Ackermann) wie ein roter Faden durch die Missa solemnis. Sie ist ein zutiefst persönliches Bekenntniswerk. Es geht Beethoven um individuelle Emotionen, nicht um allgemeingültige

sich ab. Ein Rezitationston trifft auf weit ausschwingende Kantilenen und

Die Sätze

verwoben. In der variierten KyrieWiederholung betont Beethoven die schmerzvolle Haltung durch Chromatik, der Satz verklingt im Pianissimo-Gebet. In stärkstem Kontrast eröffnet Beethoven den Preisgesang des Gloria, das in vier Teile gegliedert ist. Nach stürmischem Fortissimo-Orchesterauftakt jagen die Chorstimmen mit dem aufsteigenden Gloria-Hauptthema in himmlische Höhen. Dieses Thema kehrt mottoartig an Schlüsselstellen des Satzes wieder. Es folgt das „et in terra pax hominibus“,

Acknowledgments

Bevor im Benedictus die Solo-

durchaus gefährdet ist, zeigen zwei

Violine in einem coup de théâtre von den höchsten Höhen des Himmels herabsteigt. Weltlicher Kitsch? Arnold Werner-Jensen sah darin „ein legitimes künstlerisches Mittel, den

instrumentale Einschübe mit gleichsam kriegerischen Pauken und Trompeten, die gewaltsam einbrechen. „Ängstlich“ bitten die Solisten erneut um Erbarmen. Der Chor fordert geradezu insistierend

einer gewaltigen Fuge abgeschlossen, einer Doppelfuge auf „et vitam venturi saeculi, amen“.

Hörer emotional aus der Fassung zu bringen“. Immerhin gehe es hier um die „Wucht der Verheißung“. Die

mit seinen Sforzato-Rufen „pacem“.

Das Sanctus nimmt „mit Andacht“ eine tiefgründige Versenkungshaltung ein, mezza voce werden die Gebetsrufe geflüstert, grundiert von Posaunen

gedämpften Klangfarben im Orchester unterstreichen die andachtsvolle Haltung noch. Bis zum Ende hat die Solo-Violine stets die Führung inne und steigt nach einer erneut fugierten

und um das Wunder von Geburt, Leiden, Tod, Wiederauferstehung und Himmelfahrt Christi. Analog zum Gloria kehrt das eröffnende, wuchtige Credo-

und tiefen Streichern. Nach einer Generalpause beginnt ein energisch vorantreibendes Chorfugato über „Osanna in excelsis“. Es folgt ein kurzes,

Lobpreisung am Ende wieder in die Höhe hinauf.

Kernmotiv am Ende wie einer Klammer wieder. Kann man hier irgendwie an Beethovens Glauben zweifeln? Die musikalische Gestaltung zementiert

fast schon amotivisches Präludium, in dem Beethoven das Wunder der Hostienwandlung nachzeichnet; übrigens der einzige rein instrumentale

einen Adagio-Teil ein, der sich immer wieder aufzuschwingen versucht, dann im Pianissimo verklingt. Das „Dona nobis pacem“ ist von Beethoven mit

PENTATONE TEAM Vice President A&R Renaud Loranger | Director A&R Job Maarse | Managing

eine unerschütterliche Geisteshaltung. Der Binnensatz („Et incarnatus est“

„Satz“.

„Bitte um innern und äußern Frieden“ überschrieben. Dass dieser Frieden

Director Dirk Jan Vink | Director Product, Marketing & Distribution Simon M. Eder A&R Kate Rockett | Marketing & PR Silvia Pietrosanti | Distribution Veronica Neo

– „et homo factus est“) gestaltet die einzelnen Phasen tief empfunden nach. Mal abgründig versunken, mal schmerz- und leidvoll, dann wieder plastisch-majestätisch beim Jüngsten Gericht. Auch das Credo wird von

Beginns den Satz im Presto krönend abschließt.

PRODUCTION TEAM Executive producers Stefan Lang (Deutschlandradio Kultur), Job Maarse (Pentatone) | Recording producer Job Maarse | Balance engineer Jean-Marie Geijsen (Polyhymnia) | Recording engineer & editor Erdo Groot (Polyhymnia) Deutschlandradio recording team Wolfram Nehls, Henri Thaon, Jens Müller Liner notes Jörg Peter Urbach | English translation Fiona J. Stroker-Gale Design Joost de Boo | Product management Max Tiel This album was live recorded at the Berlin Philharmonie, September 2016.

Das abschließende Agnus Dei leitet

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Premium Sound and Outstanding Artists PENTATONE. Today’s music is evolving and forever changing, but classical music remains true in creating harmony among the instruments. Classical music is as time-honoured as it is timeless.

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works complete a repertoire that encompasses practically a thousand

In the fifteen years of his tenure

Corporation (ARD), the MDR LEIPZIG RADIO CHOIR is widely regarded among

Sit back and enjoy

70-year history. These recordings have been released on LPs, CDs and digital

demonstrates its expertise with highly acclaimed a cappella performances. Secular and sacred music, wide-ranging ensemble singing and choral symphonic

from 1998 Howard Arman lastingly consolidated the reputation of this

Semyon Bychkov, Riccardo Muti, Yannick

Gleichfalls kontrastreich im Gesamtrahmen wie in den einzelnen Teilen gestaltet Beethoven das Credo. Auch hier zutiefst persönlich, geht es doch um das Glaubensbekenntnis

„Miserere nobis“. Im dritten Teil – „Quoniam tu solus sanctus“ – kehrt der Preisgesang im mächtigen Chorsatz zurück, bevor sich eine gewaltige „in gloria dei patris, amen“-Fuge anschließt bevor erneut das Zitat des Gloria-

Not only an excellent partner for major orchestras, the ensemble regularly

When major orchestras in Germany or abroad plan to perform a choral

Artists

The collaboration with Deutschlandradio, the main shareholder of the ROC GmbH Berlin to which the

Marek Janowski © Jean-François Leclercq

In 2014 Marek Janowski was awarded

In stärkstem Kontrast eröffnet Beethoven den Preisgesang des Gloria, das in vier

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TRACK INFORMATION

Nearly 200 recordings, many of them award-winning, have been recorded by the ensemble during its more than

RundfunkSinfonieorchester Berlin (RSB, Berlin Radio Symphony Orchestra) dates back to the beginnings of music broadcasting in 1923, and has since sustained its position amongst the leading orchestras in Berlin and other radio orchestras throughout Germany. From 2002 to 2015, Marek Janowski was artistic director and chief conductor

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ENGLISH

DEUTSCH

„Miserere nobis“. Im dritten Teil – „Quoniam tu solus sanctus“ – kehrt der Preisgesang im mächtigen Chorsatz zurück, bevor sich eine gewaltige „in gloria dei patris, amen“-Fuge anschließt bevor erneut das Zitat des GloriaBeginns den Satz im Presto krönend

– „et homo factus est“) gestaltet die einzelnen Phasen tief empfunden nach. Mal abgründig versunken, mal schmerz- und leidvoll, dann wieder plastisch-majestätisch beim Jüngsten Gericht. Auch das Credo wird von einer gewaltigen Fuge abgeschlossen,

Bevor im Benedictus die SoloVioline in einem coup de théâtre von den höchsten Höhen des Himmels herabsteigt. Weltlicher Kitsch? Arnold Werner-Jensen sah darin „ein legitimes künstlerisches Mittel, den Hörer emotional aus der Fassung

abschließt.

einer Doppelfuge auf „et vitam venturi saeculi, amen“.

zu bringen“. Immerhin gehe es hier um die „Wucht der Verheißung“. Die gedämpften Klangfarben im Orchester unterstreichen die andachtsvolle Haltung noch. Bis zum Ende hat die Solo-Violine stets die Führung inne und steigt nach einer erneut fugierten Lobpreisung am Ende wieder in die Höhe hinauf.

Gleichfalls kontrastreich im Gesamtrahmen wie in den einzelnen Teilen gestaltet Beethoven das Credo. Auch hier zutiefst persönlich, geht es doch um das Glaubensbekenntnis und um das Wunder von Geburt, Leiden, Tod, Wiederauferstehung und Himmelfahrt Christi. Analog zum Gloria kehrt das eröffnende, wuchtige Credo-

Das Sanctus nimmt „mit Andacht“ eine tiefgründige Versenkungshaltung ein, mezza voce werden die Gebetsrufe geflüstert, grundiert von Posaunen und tiefen Streichern. Nach einer Generalpause beginnt ein energisch vorantreibendes Chorfugato über „Osanna in excelsis“. Es folgt ein kurzes,

Kernmotiv am Ende wie einer Klammer wieder. Kann man hier irgendwie an

fast schon amotivisches Präludium, in dem Beethoven das Wunder der

einen Adagio-Teil ein, der sich immer wieder aufzuschwingen versucht, dann

Beethovens Glauben zweifeln? Die musikalische Gestaltung zementiert eine unerschütterliche Geisteshaltung. Der Binnensatz („Et incarnatus est“

Hostienwandlung nachzeichnet; übrigens der einzige rein instrumentale „Satz“.

im Pianissimo verklingt. Das „Dona nobis pacem“ ist von Beethoven mit „Bitte um innern und äußern Frieden“ überschrieben. Dass dieser Frieden

Ludwig van Beethoven (1770 – 1827)

With devotion

MISSA SOLEMNIS

Reflections on Beethoven’s

in D Major Op. 123

BEETHOVEN

MISSA SOLEMNIS

Missa solemnis

1 2

Kyrie Gloria

9. 22 15. 41

Beethoven’s Missa solemnis is a unique gem. A work of dramatic external

3 4

Credo Sanctus – Benedictus

16. 59 15. 26

power and well-nigh incredible inner strength. Full of conviction. Rich in

5

Agnus Dei Total playing time:

Rundfunk-Sinfonieorchester Berlin MDR Rundfunkchor Leipzig

15. 32

profoundly personal visions of the faith that has remained, carved in stone,

73. 04

Regine Hangler, Soprano

in the form of the Latin mass text for centuries. And yet also rich in moments of doubt about dogmatic religion and

Elisabeth Kulman, Alto

the formal institution of the church.

Christian Elsner, Tenor Franz-Josef Selig, Bass

In its monumentality and lengthy duration of just under 90 minutes, the Missa solemnis departs from all

MDR Rundfunkchor Leipzig

liturgical guidelines – despite the fact

Michael Gläser, Chorus Master

that the work was originally intended for a specific high mass; yet it was not actually performed there in the end.

Rundfunk-Sinfonieorchester Berlin

Marek Janowski

External event and internal task Creating a unique gem takes time: and in this case, Beethoven took plenty

– not Beethoven’s Missa solemnis, but a mass composed by Johann Nepomuk Hummel was performed. Not until three years later did Beethoven manage to complete the Missa solemnis, the

Stile antico and modern musical idiom According to Carl Dahlhaus, in his Missa solemnis Beethoven was mainly

Dahlhaus describes the motivic links

as follows about his first mass: “…

between the various structural sections

however, I believe that I have treated

as “submotivic connections.” Thus, very subtly, individual parameters from motifs constantly reappear in a precisely

the text in a manner in which it has seldom been treated.” And again with his Missa solemnis, Beethoven subjected

of time. In the summer of 1818 it was

reason being that he had quickly

concerned with finding a good mix

calculated manner – however, always in

the individual words of the Latin text to

announced in Vienna that his pupil and patron, the Archduke Rudolph, was to be enthroned as Archbishop of Olomouc

realized that he would have to take an extraordinary path. The première took place in St. Petersburg on April 7, 1824,

between the idiom of ancient church music and that of modern instrumental music. He appears to have managed

a different context as regards content. These submotivic references are very difficult to recognize at first hearing.

a precise examination, in order to give them an exact musical interpretation: both with regard to their pure

on March 9, 1820. Beethoven decided

as a concertante performance under

this due to the fact that “in the archaic

While working on his mass, Beethoven

significance, but above all, with regard

to compose a mass for this event. In June 1819, he wrote as follows to the Archduke: “The day on which a high

the auspices of Prince Gallitzin; and on May 7, 1824, the mass was given an incomplete performance in Vienna,

idiom, which was meant to vouch for the church, he simultaneously discovered a ferment of modernity,

delved into ancient church music in Archduke Rudolph’s library, studying works by Palestrina as well as Gregorian

to their connotations. Which feelings are resonating here? Which emotions are they releasing? And not only in the case

mass by my hand will be performed

not including the “Gloria” and the “Sanctus.” Obviously, Beethoven had no

thanks to which the work was able to

chant.

of the listener, but above all, with regard to the composer himself.

during the celebrations solemnized for Y.I.H. will be for me the most beautiful day of my life. And God will enlighten

problem in “extracting” his Missa from its original destination. Clearly, in the

hold its own with regard to the aesthetic maxim that music must be novel in order to be considered authentic.” And

me, so that my paltry creative powers may contribute to the glorification

meantime, he had begun to regard it as a deeply personal confrontation with

indeed, techniques such as motivicthematic passage work, or evolving

am Ölberge (= Christ on the mount of olives, 1803/1804/1811), Beethoven had

of this solemn day.” But work on the composition dragged out, and by the

his faith.

variation (characteristic for Beethoven’s middle period) are to be found only

already devoted a great deal of time to the texts, aiming to “unify music

In his Mass in C major, dating from 1807, and also in his oratorio Christus

Rainer Wolters, Concert Master

end of 1819 Beethoven had only just sketched the middle part of the Credo.

in rudimentary form. However, this does not signify that the structural

and word.” To help with the mass text, he brought in a translator, who was

Conducted by Marek Janowski

The day arrived of the High Mass, and

sections of the mass coexist in isolation.

himself a musician. Beethoven wrote

Creed

drowned by the calls of “credo” in the

Is this my faith? How do I believe?

other voices. On the other hand, great emphasis is placed on the belief in

And why? A religious and “expressively intensified subjectivism” (Ackermann)

eternal life by means of an extended double fugue lasting more than 170

containing these questions runs like a red thread through the Missa solemnis.

bars. The Missa is full of such highly contrasting interpretations of the text.

It is a deeply personal creed. Here, Beethoven is concerned with individual

As in the Mass in C major, in the Missa

emotions, not with universal questions of faith – as he makes clear to us in the

solemnis Beethoven also renounces the traditional numbering, i.e. the

following sentence “May it continue to flow from heart to heart,” written in the autograph score above the “Kyrie.”

classification of the distribution of arias and choral settings within the various sections of the mass. In part, the

How simple. How noble. How human.

formal structuring keeps to traditional

Perhaps this is precisely why Beethoven described the Missa as “the most successful of his intellectual products”:

guidelines, as in the tripartite division of the “Kyrie”; however, it also goes its own way, for example at the end of the

because it demonstrates his personal

“Gloria,” when the “Gloria in excelsis

view of faith, and also how he rated certain assertions in the mass text. Take, for instance, the casual “credo in

Deo” is repeated, but now in presto. The extremely short “Sanctus” is contrasted with a greatly elongated “Benedictus”;

is laid out in four sections. There is

The movements

an extremely pronounced principle of contrast at all levels. Peace and quiet is contrasted with movement, ecstatic rejoicing resonates alongside pacing dignity, polyphony is alternated with homophony. A recitative tone meets with widely resonating cantilenas and concise folk-song-like creations. The Missa solemnis is a work of extremes. Beethoven blends choir, soloists, and large orchestra into a single “body of sound,” which is meant to “touch, strike, shake” (Werner-Jensen) the listener with volume of its sound. And Beethoven succeeds at this, having set himself the goal “of awakening and perpetuating religious feelings both in the singer and the listener.”

the heavenly heights with the soaring

Beethoven designs the “Credo” with

The “Kyrie,” the song of invocation,

main theme of the “Gloria.” This theme recurs like a motto at key points in

equally rich contrast, both in its entirety and its individual sections. Here, too,

the movement. This is followed by the “terra pax hominibus,” almost like a

the music is deeply personal, all about the confession of faith and the miracle

singing between soloists and choir. The first D-major chord of the full orchestra

homophonic whisper from the choir, the hymnically worshipping “Laudamus te”

of Christ’s birth, suffering, death, resurrection and ascension. Analogous

already anticipates the impressive cry of “Kyrie” from the choir. In the middle

and the airy “Gratias agimus tibi.” The “Qui tollis” introduces the slow, second

to the “Gloria,” the powerful opening core motif of the “Credo” returns at

part (“Christe”), the soloists lead with the choir responding. Increasingly

part of the Gloria, in which clarinets and flutes present the lament theme. An

the end as if to close brackets. Can there be any doubt about Beethoven’s

dense, the voices become more and more contrapuntally interwoven. In the varied repetition of the “Kyrie,”

extended, contrite plea for compassion develops in the “Miserere nobis,” in which Beethoven draws out the emotion

faith here? The musical design cements an imperturbable attitude of mind. The next section of the movement

Beethoven emphasizes the agonizing

in the vowel “o.” In the third part –

(“Et incarnatus est” – “et homo factus

mood by means of chromaticism, and the movement fades away in the prayer in pianissimo.

“Quoniam tu solus sanctus” – the eulogy returns in the powerful choral setting, followed by a tremendous fugue, “in

est”) recreates the individual phases with deep feeling: at times profoundly absorbed in thought, at others painful

gloria dei patris, amen,” after which

and sorrowful, then again vividly

Beethoven begins the eulogy of the “Gloria,” which is divided into four parts in a hugely contrasting manner.

the recurrence of the motto from the beginning of the “Gloria” concludes the movement in presto.

majestic during the Last Judgment. Here too, the “Credo” is concluded with a massive fugue – a double fugue on the

unam sanctam catholicam,” recited

and the “Agnus Dei” – which in fact

After a stormy fortissimo upbeat in

consists of three sections in the text –

the orchestra, the choir races up into

phrase “et vitam venturi saeculi, amen.”

The Sanctus “devoutly” assumes a

reverent mood. Right up to the end, the

profoundly meditative attitude, the

solo violin remains in charge; and at

prayers are whispered mezza voce, primed by trombones and low strings. A general pause is immediately followed

the conclusion, it soars back up to the heights after a glorification, once again set as a fugue.

by an energetically driving choral fugato to the phrase “Osanna in excelsis.” This is followed by a short prelude, almost lacking in motif, in which

The concluding “Agnus Dei” introduces an Adagio section that continually attempts to soar, but finally fades away

Beethoven portrays the miracle of the

in pp. Beethoven wrote the following

transformation of the host; by the way, this is the only exclusively instrumental “movement.”

words above the “Dona nobis pacem”: “Plea for internal and external peace.” Two instrumental interpolations with,

But then suddenly in the “Benedictus,”

so to speak, warlike timpani and trumpets, violently breaking into the

the solo violin swoops down from the highest heights of heaven in a coup de

music, demonstrate that this peace is truly under siege. “Fearfully,” the soloists

théâtre. Profane kitsch? Well, Arnold Werner-Jensen described this as “a

once again plea for mercy; and the choir virtually insists upon it, with its

legitimate artistic means of emotionally flustering the listener.” For after all,

sforzato cries of “pacem.”

it was about the “impact of the promise.” The muted sound-colours in the orchestra further emphasize the

Marek Janowski

Dortmund (1975-1979). Since the late

From 2002 until 2015, Marek

1970s, he has appeared regularly at all the major opera houses world-wide.

Janowski was Artistic Director and Chief Conductor of the Rundfunk-

Marek Janowski stepped back from the

Sinfonieorchester Berlin (RSB). Before embarking upon his Berlin period,

opera scene in the 1990s to concentrate on the great German and French

and also partly parallel to this, he was Musical Director of the Orchestre

symphonic repertoire. He enjoys an outstanding reputation amongst the

de la Suisse Romande (2005-2012), Chief Conductor of the Orchestre

premier orchestras of Europe, North America and Asia and is recognised

Philharmonique de Monte Carlo (2000-2005), Chief Conductor of the Dresdner Philharmonie (2001-2003),

for his ability to create orchestras of international standing.

and Musical Director of the Orchestre

His leave-taking of the opera, however,

Philharmonique de Radio France (19842000).

was merely an institutional matter, not a musical farewell. Thus he is now recognized as one of the greatest

Born in Warsaw and educated in

experts regarding the music of Richard

Germany, Marek Janowski’s artistic path led him from positions in Aachen, Cologne, Düsseldorf and Hamburg to his

Wagner, to which his concertante Wagner cycle with the RSB bears witness. In the sequel he accepted the

appointment as General Music Director

invitation to conduct Wagner’s “Ring” at

in Freiburg im Breisgau (1973-1975) and

the Bayreuth Festival in 2016 and 2017.

Liner notes

of the RSB. Vladimir Jurowski has

la Parra, Lahav Shani and Omer Meir

been named as his successor, starting in the 2017-2018 season. Previous chief conductors (including Sergiu Celibidache, Eugen Jochum, Hermann Abendroth, Rolf Kleinert, Heinz Rogner,

Wellber performing in recent years.

and Rafael Frühbeck de Burgos) have all helped to create the ensemble’s exceptional sound.

RSB belongs, has born rich fruit on recording. Starting in 2010, together with PENTATONE, great effort was put

Since its foundation, the RSB has invited major composers to conduct or to perform as soloists in their own works. These have included Paul Hindemith, Sergei Prokofiev, Richard Strauss, and Igor Stravinsky, as well as Krzysztof Penderecki, Peter Ruzicka, and Jörg Widmann. The RSB is particularly attractive for capable young conductors from the international music scene, with Andris

In 2014 Marek Janowski was awarded

and won the 2nd prize in the Birgit

the “Ehrenpreis der deutschen

Nilson competition.

Schallplattenkritik” (= honorary prize of the German Critics’ Award) for his extensive life’s work.

Since 2013/14 Regine Hangler is an

Tokyo and the Scala in Milan.

success as a soprano. Since 2005

Thielemann, Marek Janowski or Franz

As a successful concert singer Regine Hangler is very successful in Austria,

Elisabeth Kulman has been singing the major parts of the mezzo and alto repertoire. As a member of the

close collaboration with Nikolaus Harnoncourt.

ensemble member of the Wiener

Germany, Albany, the Netherlands,

ensemble at the Vienna State Opera

Regine Hangler Soprano

Staatsoper and is performing the following roles, just to name a few: Rosalinde (Die Fledermaus), Santuzza

Slovenia, Hungary, Japan and Israel. Regine Hangler’s discography and videography continue to grow steadily.

she quickly became a favourite of the audience and established the basis for her vast repertoire. Her most

After having studied viola and technics, Regine Hangler studied canto as her major subject at the Kärntner

Ariadne (auf Naxos), Leonore (Fidelio) and Eva (Die Meistersinger von Nürnberg).

(Cavalleria Rusticana), Elsa (Lohengrin),

Landeskonservatorium and the Universität für Musik in Vienna, which she passed with distinction.

In May 2015 the soprano was highly acclaimed for her title role of “Daphne” in Berlin, which was conducted by

Elisabeth Kulman Alto

important roles include Fricka, Erda and Waltraute (The Ring of the Nibelung), Carmen, Mrs. Quickly (Falstaff), Brangäne (Tristan and Isolde), Begbick

Elisabeth Kulman is one of today’s

(Mahagonny), Orlofsky (The Bat), Orfeo

most sought-after singers and leading authorities in the international classical music scene. She impresses

(Gluck) and Marina (Boris Godunov). Since 2010 Elisabeth Kulman has been

At the same time she was working

Marek Janowski, in New York und

audiences and critics alike with her rich,

working as a freelance artist. She is

with KS Mara Zampieri in Padua and concluded her education with numerous Masterclasses.

Cleveland by Franz Welser-Möst. In 2016 she had a big success at the Salzburger Festspiele for her interpretation of

colourful timbre, her charismatic stage personality and her musical versatility.

a much sought-after soloist in the metropolitan centres of the music world: Vienna, Paris, London, Munich,

Xanthe in “Die Liebe der Danae”.

She studied voice with Helena Lazarska

Berlin, Tokyo, Salzburg, Moscow, etc.

Further future engagements lead the soprano i.e. to the Bayreuther Festspiele,

at the Vienna Music University, made her debut as Pamina in 2001 at the Volksoper in Vienna and enjoyed early

She works regularly with world-class orchestras and conductors such as Zubin Mehta, Kirill Petrenko, Christian

Several times she was decorated with highly skilled scholarships, became finalist of the Italian Aslico competition

Welser-Möst. She enjoyed a particularly

Christian Elsner Tenor Born in Freiburg, Christian Elsner is one of the most versatile German tenors. He

On the opera stage Christian Elsner has

The versatile singer has written his own

established himself as a heroic tenor

children’s book, Lennie und der Ring des

in the roles of Siegmund and Parsifal at the Deutsches Nationaltheater in Weimar, the Staatstheater in Kassel, the

Nibelungen, and has been working as a professor for singing at the Hochschule für Musik in Wurzburg since 2006.

Franz-Josef Selig Bass

Nezét-Séguin, Antonio Pappano, Phillipe Jordan, Zubin Mehta and many others.

Franz-Josef Selig has established himself on the international scene as

Bass singer Franz-Josef Selig first studied church music at the Staatliche

Since 2015 Elisabeth Kulman has been

studied singing with Martin Gründler,

Dresden Semperoper, the Vienna State

focusing her artistic activities on recitals (together with her longtime accompanist Eduard Kutrowatz),

took lessons with Dietrich FischerDieskau and Neil Semer, and has won many international competitions.

Opera and at the Teatro Real in Madrid. Accompanied by Gerold Huber and Burkhard Kehring, the tenor has given recitals in Frankfurt, Hamburg, Bonn,

Real in Madrid under Semyon Bychkov,

Fiesco and Fasolt at all the world’s

ensemble in Essen. He has since been a

As an internationally sought-after concert singer, Christian Elsner is a popular guest at all the important

Dresden, Munich, Wurzburg and Brussels, and at the Schubertiade in Feldkirch.

in Vienna in Franz Schmidt’s The Book with Seven Seals under Manfred Honeck with the Vienna Symphony Orchestra,

major opera houses (such as the Vienna State Opera, Bavarian State Opera, Teatro alla Scala di Milano, Teatro Real

freelance singer.

in Beethoven’s Ninth Symphony in

Madrid, the Parisian opera houses or

Wien as well as “Hungaro Tune” with symphony orchestra and jazz soloists.

the Berlin Philharmonic, New York’s Carnegie Hall, La Scala, Milan and the Suntory Hall in Tokyo, and has worked

Christian Elsner can also be heard on CD, with recordings such as Schubert’s Winterreise and Schumann’s

Leipzig with the Gewandhausorchester under Herbert Blomstedt, and in Berlin, Vienna, New York, Taipei and Tokyo with

the Metropolitan Opera New York) and at prestigious festivals such as the Bayreuth and Salzburg Festival and

Her latest solo programme “La femme c’est moi” features pieces from Carmen

with many renowned conductors such as Herbert Blomstedt, Manfred Honeck,

Dichterliebe, along with studio productions of Mahler’s Lied von der

the Berlin Philharmonic under Sir Simon Rattle.

the Festival d’Aix-en-Provence. Opera productions as well as concerts bring

up to the Beatles.

Marek Janowski, Mariss Jansons, Kent Nagano, Yannick Nézet-Séguin, Semyon

Erde as well as complete recordings of Wagner’s Rheingold (Loge) and Parsifal

Bychkov and Sir Simon Rattle.

(title role).

concerts and operas in concert. She is especially devoted to unconventional projects: “Mussorgsky Dis-Covered” with an international jazz quartet, “Mahler Lieder” and “Wer wagt mich zu höhnen?” with the ensemble Amarcord

classical music centres, such as

Christian Elsner’s most recent performances have included the title role in Wagner’s Parsifal at the Teatro

one of the best-known serious bass

Hochschule für Musik in Cologne before

baritones. He regularly gives guest performances as Gurnemanz, King Marke, Sarastro, Rocco, Osmin, Daland,

taking voice classes under Claudio Nicolai. At the beginning of his career he was a member of the Aalto Theatre

him together frequently with renowned orchestras and conductors, such as James Levine, Christian Thielemann, Sir Simon Rattle, Marek Janowski,

MDR Rundfunkchor Leipzig

Mit Andacht Gedanken zu Beethovens Missa solemnis

into the live recording of the successful ten part Wagner cycle. Other activities of the RSB include special concerts for families and children, as well as guest performances in the major international concert halls, which have taken place over the past 50 years. Alongside regular tours of Asia the orchestra appears at German and European festivals. MDR Rundfunkchor Leipzig © Peter Adamik

Nelsons, Yannick Nézet-Séguin, Alain Altinoglu, Jakub Hrůša, Alondra de

nicht die Missa solemnis, sondern eine

Ein Solitär benötigt Zeit. Und die nahm sich Beethoven in diesem Fall reichlich. Im Sommer 1818 wurde in Wien bekannt, dass sein Schüler und Gönner, Erzherzog Rudolph, am 9. März 1820 zum Erzbischof von Olmütz inthronisiert

Überzeugungskraft. Reich an zutiefst persönlichen Blicken auf jenen Glauben, wie er in Gestalt des lateinischen Messtextes seit Jahrhunderten in

werden sollte. Aus diesem Anlass plante Beethoven eine Messvertonung. Im Juni 1819 schrieb er an den Erzherzog: „Der Tag, wo ein Hochamt von mir

Stein gemeißelt ist. Und doch auch reich an Momenten des Zweifelns an dogmatischer Religion und der formellen Institution Kirche. In ihrer

zu den Feierlichkeiten für I.K.H. soll aufgeführt werden, wird für mich der schönste meines Lebens sein. Und Gott wird mich erleuchten, dass meine

Monumentalität und zeitlichen Ausdehnung von knapp 90 Minuten sprengt die Missa solemnis jegliche liturgischen Vorgaben. Auch wenn das Werk ursprünglich für ein konkretes

schwachen Kräfte zur Verherrlichung dieses Feierlichen Tages beitragen.“ Doch die kompositorische Arbeit ging nur schleppend voran und Ende 1819

Hochamt gedacht war. Dort dann aber nicht erklang. Rundfunk-Sinfonieorchester Berlin © Molina Visuals

Äußerer Anlass und innere Aufgabe

Beethovens Missa solemnis ist ein Solitär. Ein Werk von äußerer dramatischer Wucht und schier unglaublicher innerer Stärke. Voller

hatte Beethoven gerade einmal den Mittelteil des Credos skizziert. Der Tag des Hochamtes kam. Und es erklang – Deutsch

Messe von Johann Nepomuk Hummel. Erst drei Jahre später konnte Beethoven die Missa solemnis vollenden. Weil ihm schnell klar wurde, dass er einen außergewöhnlichen Weg würde gehen müssen. Die Uraufführung fand am 7. April 1824 in St. Petersburg im Rahmen einer konzertanten Aufführung des Fürsten Galitzin statt und am 7. Mai 1824 erklang das Werk bruchstückhaft in Wien, ohne Gloria und Sanctus. Beethoven hatte ganz augenscheinlich kein schlechtes Gewissen, seine Missa aus ihrer ursprünglichen Bestimmung herauszulösen. Betrachtete er sie doch mittlerweile als zutiefst persönliche Auseinandersetzung mit seinem Glauben.

Stile antico und moderne Tonsprache

als „submotivische Beziehungen“.

dass ich den Text behandelt habe, wie

Glaubensfragen. Was nicht zuletzt der

Wie schon in der C-Dur-Messe

knappe volksliedhafte Bildungen. Die

Folgt man Carl Dahlhaus, so ging

Demnach kehren auf äußerst subtile Weise einzelne Parameter aus Motivgestalten genauestens kalkuliert

er noch wenig behandelt worden“. Auch bei der Missa solemnis untersuchte Beethoven die einzelnen Wörter des

es Beethoven in der Missa solemnis kompositorisch vor allem um eine Vermittlung zwischen altem Kirchenstil und moderner Instrumentalmusik. Gelungen sei ihm dies dadurch, „dass

wieder – aber in einem jeweils anderen inhaltlichen Zusammenhang. Diese submotivischen Bezüge sind beim erstmaligen Hören kaum zu erkennen. Während der Arbeit an der Messe

lateinischen Messtextes genau, um sie musikalisch exakt auszudeuten. Auf ihre reine Bedeutung hin, vor allem aber auch auf ihre Konnotationen. Welche Gefühle schwingen mit? Welche

im Autograph über dem Kyrie stehende Satz „Von Herzen – möge es wieder – zu Herzen gehen“ transportiert. Wie schlicht. Wie groß. Wie menschlich. Vielleicht hat Beethoven die Missa

verzichtet Beethoven auch in der Missa solemnis auf die traditionelle Nummerngliederung, also auf die Verteilung von Arien und Chorsätzen auf die Messabschnitte. Die formale

Missa solemnis ist ein Werk der Extreme. Beethoven lässt Chor, Solisten und das groß besetzte Orchester zu einem einzigen Klangkörper verschmelzen, der den Hörer mit seinem voluminösen

gerade deshalb als das „gelungenste seiner Geistesprodukte“ bezeichnet. Weil sie seinen persönlichen Blick

Gliederung folgt teils traditionellen Vorgaben, wie bei der Dreiteilung des Kyrie, geht aber auch eigene Wege,

Klangbild „rühren, treffen, erschüttern“ (Werner-Jensen) soll. Und das gelingt Beethoven, der sich zum Ziel gesetzt

er im Archaischen, das die Kirchlichkeit verbürgen sollte, zugleich ein Ferment von Modernität entdeckte, durch die das Werk vor der ästhetischen Maxime

vertiefte sich Beethoven in der Bibliothek Erzherzog Rudolphs in alte Kirchenmusik, studierte Palestrinas Werke und die Gregorianik.

Emotionen setzen sie frei? Und zwar nicht nur beim Hörer, sondern vor allem beim Komponisten.

etwa wenn Beethoven das „Gloria in excelsis Deo“ am Ende des Gloria im presto wiederholt. Dem extrem kurzen Sanctus steht ein extrem gedehntes Benedictus gegenüber und das textlich

hatte „sowohl bei Singenden als bei Zuhörern religiöse Gefühle (zu) erwecken und dauernd (zu) machen“.

bestehen konnte, dass Musik neu sein müsse, um authentisch zu sein.“ Und in der Tat finden sich Techniken wie motivisch-thematische Arbeit oder

auf den Glauben zeigt. Und wie er bestimmte Aussagen des Messtextes bewertet. Man denke etwa an das beiläufige, lediglich einmal im ChorTenor rezitierte „credo in unam sanctam

Schon in seiner C-Dur-Messe aus dem Jahr 1807 und auch in seinem Oratorium Christus am Ölberge (1803/1804/1811)

entwickelnde Variation (ihres Zeichens Merkmale des mittleren Beethovens) nur rudimentär. Was wiederum nicht bedeutet, dass die formalen Teile der

hatte sich Beethoven intensiv mit den Textvorlagen beschäftigt, mit dem Ziel „Musick und wort ein’s“ werden zu lassen. Beim Messtext bediente er sich

catholicam“, das in den „Credo“-Rufen der anderen Stimmen schier untergeht. Der Glaube an das ewige Leben erfährt dagegen auf über 170 Takten in einer

eigentlich dreiteilig angelegte Agnus Dei wird vierteilig umgesetzt. Auf allen Ebenen findet sich ein extrem ausgeprägtes Kontrastprinzip. Ruhe

homophon vom Chor fast geflüstert, das hymnisch anbetende „Laudamus te“ und das klanglich luftige „Gratias agimus tibi“. Mit dem „Qui tollis“ beginnt der langsame, zweite Teil des Gloria, in dem

der Hilfe eines Übersetzers, der selber Musiker war. Beethoven schrieb über seine erste Messe: „jedoch glaube ich,

wird Bewegung gegenübergestellt, ekstatischer Jubel erklingt neben schreitender Würde, polyphone und homophone Ausgestaltung wechseln

Das Kyrie, der Bittgesang, ist klassisch dreigeteilt, im steten, demutsvollen Wechselgesang zwischen Soli und Chor. Der machtvolle Kyrie-Anruf der Chorstimmen wird bereits im ersten

Messe isoliert nebeneinanderstehen. Die motivischen Bezüge zwischen den Formabschnitten beschreibt Dahlhaus

ausgeweiteten Doppelfuge eine starke Gewichtung. Derart kontrastreiche Interpretationen der textlichen Vorgabe prägen die Missa.

D-Dur-Akkord des vollen Orchesters vorweggenommen. Im mittleren Christe-Teil führen die Soli, der Chor antwortet. Immer dichter werden die

Klarinetten und Flöten das Klagethema präsentieren. Eine ausgedehnte, zerknirschte Bitte um Erbarmen entwickelt sich im von Beethoven um

Stimmen kontrapunktisch miteinander

den emotionalen Laut „O“ erweiterte

Bekenntniswerk Ist dies mein Glaube? Wie glaube ich? Und warum? Mit diesen Fragen zieht sich ein religiöser und „expressiv gesteigerter Subjektivismus“ (Ackermann) wie ein roter Faden durch die Missa solemnis. Sie ist ein zutiefst persönliches Bekenntniswerk. Es geht Beethoven um individuelle Emotionen, nicht um allgemeingültige

sich ab. Ein Rezitationston trifft auf weit ausschwingende Kantilenen und

Die Sätze

verwoben. In der variierten KyrieWiederholung betont Beethoven die schmerzvolle Haltung durch Chromatik, der Satz verklingt im Pianissimo-Gebet. In stärkstem Kontrast eröffnet Beethoven den Preisgesang des Gloria, das in vier Teile gegliedert ist. Nach stürmischem Fortissimo-Orchesterauftakt jagen die Chorstimmen mit dem aufsteigenden Gloria-Hauptthema in himmlische Höhen. Dieses Thema kehrt mottoartig an Schlüsselstellen des Satzes wieder. Es folgt das „et in terra pax hominibus“,

Acknowledgments

Bevor im Benedictus die Solo-

durchaus gefährdet ist, zeigen zwei

Violine in einem coup de théâtre von den höchsten Höhen des Himmels herabsteigt. Weltlicher Kitsch? Arnold Werner-Jensen sah darin „ein legitimes künstlerisches Mittel, den

instrumentale Einschübe mit gleichsam kriegerischen Pauken und Trompeten, die gewaltsam einbrechen. „Ängstlich“ bitten die Solisten erneut um Erbarmen. Der Chor fordert geradezu insistierend

einer gewaltigen Fuge abgeschlossen, einer Doppelfuge auf „et vitam venturi saeculi, amen“.

Hörer emotional aus der Fassung zu bringen“. Immerhin gehe es hier um die „Wucht der Verheißung“. Die

mit seinen Sforzato-Rufen „pacem“.

Das Sanctus nimmt „mit Andacht“ eine tiefgründige Versenkungshaltung ein, mezza voce werden die Gebetsrufe geflüstert, grundiert von Posaunen

gedämpften Klangfarben im Orchester unterstreichen die andachtsvolle Haltung noch. Bis zum Ende hat die Solo-Violine stets die Führung inne und steigt nach einer erneut fugierten

und um das Wunder von Geburt, Leiden, Tod, Wiederauferstehung und Himmelfahrt Christi. Analog zum Gloria kehrt das eröffnende, wuchtige Credo-

und tiefen Streichern. Nach einer Generalpause beginnt ein energisch vorantreibendes Chorfugato über „Osanna in excelsis“. Es folgt ein kurzes,

Lobpreisung am Ende wieder in die Höhe hinauf.

Kernmotiv am Ende wie einer Klammer wieder. Kann man hier irgendwie an Beethovens Glauben zweifeln? Die musikalische Gestaltung zementiert

fast schon amotivisches Präludium, in dem Beethoven das Wunder der Hostienwandlung nachzeichnet; übrigens der einzige rein instrumentale

einen Adagio-Teil ein, der sich immer wieder aufzuschwingen versucht, dann im Pianissimo verklingt. Das „Dona nobis pacem“ ist von Beethoven mit

PENTATONE TEAM Vice President A&R Renaud Loranger | Director A&R Job Maarse | Managing

eine unerschütterliche Geisteshaltung. Der Binnensatz („Et incarnatus est“

„Satz“.

„Bitte um innern und äußern Frieden“ überschrieben. Dass dieser Frieden

Director Dirk Jan Vink | Director Product, Marketing & Distribution Simon M. Eder A&R Kate Rockett | Marketing & PR Silvia Pietrosanti | Distribution Veronica Neo

– „et homo factus est“) gestaltet die einzelnen Phasen tief empfunden nach. Mal abgründig versunken, mal schmerz- und leidvoll, dann wieder plastisch-majestätisch beim Jüngsten Gericht. Auch das Credo wird von

Beginns den Satz im Presto krönend abschließt.

PRODUCTION TEAM Executive producers Stefan Lang (Deutschlandradio Kultur), Job Maarse (Pentatone) | Recording producer Job Maarse | Balance engineer Jean-Marie Geijsen (Polyhymnia) | Recording engineer & editor Erdo Groot (Polyhymnia) Deutschlandradio recording team Wolfram Nehls, Henri Thaon, Jens Müller Liner notes Jörg Peter Urbach | English translation Fiona J. Stroker-Gale Design Joost de Boo | Product management Max Tiel This album was live recorded at the Berlin Philharmonie, September 2016.

Das abschließende Agnus Dei leitet

Together with our talented artists, we take pride in our work, providing an impeccable means of experiencing classical music. For all their diversity, our artists have one thing in common.

And so also should the experience be. We take listening to classical music to a whole new level, using the best technology to produce a high-quality

They all put their heart and soul into the music, drawing on every last drop of creativity, skill, and determination to perfect their contribution.

recording, in whichever format it may come, in whichever format it may be released.

Find out more: www.pentatonemusic.com

Broadcasting Union, through touring or in guest performances worldwide,

years of musical history. Numerous world premieres attest to the 73 choir

the MDR LEIPZIG RADIO CHOIR, which was awarded the European Cultural

members’ reputation as a specialised ensemble for contemporary music.

Prize in 2013, acts as a supreme musical ambassador for central Germany.

work it is invariably the MDR LEIPZIG RADIO CHOIR that comes at the top

acclaimed world-class ensemble. From the season 2015/2016 he was succeeded

of their wish list. As the largest concert choir within the German Broadcasting

by Risto Joost as artistic director of the MDR LEIPZIG RADIO CHOIR.

experts as one of the best.

Premium Sound and Outstanding Artists PENTATONE. Today’s music is evolving and forever changing, but classical music remains true in creating harmony among the instruments. Classical music is as time-honoured as it is timeless.

formats. In 2017 the choir was awarded the International Classical Music Award for its recording of Max Reger’s Motets op. 110. Whether via the European

works complete a repertoire that encompasses practically a thousand

In the fifteen years of his tenure

Corporation (ARD), the MDR LEIPZIG RADIO CHOIR is widely regarded among

Sit back and enjoy

70-year history. These recordings have been released on LPs, CDs and digital

demonstrates its expertise with highly acclaimed a cappella performances. Secular and sacred music, wide-ranging ensemble singing and choral symphonic

from 1998 Howard Arman lastingly consolidated the reputation of this

Semyon Bychkov, Riccardo Muti, Yannick

Gleichfalls kontrastreich im Gesamtrahmen wie in den einzelnen Teilen gestaltet Beethoven das Credo. Auch hier zutiefst persönlich, geht es doch um das Glaubensbekenntnis

„Miserere nobis“. Im dritten Teil – „Quoniam tu solus sanctus“ – kehrt der Preisgesang im mächtigen Chorsatz zurück, bevor sich eine gewaltige „in gloria dei patris, amen“-Fuge anschließt bevor erneut das Zitat des Gloria-

Not only an excellent partner for major orchestras, the ensemble regularly

When major orchestras in Germany or abroad plan to perform a choral

Artists

The collaboration with Deutschlandradio, the main shareholder of the ROC GmbH Berlin to which the

Marek Janowski © Jean-François Leclercq

durchaus gefährdet ist, zeigen zwei instrumentale Einschübe mit gleichsam kriegerischen Pauken und Trompeten, die gewaltsam einbrechen. „Ängstlich“ bitten die Solisten erneut um Erbarmen. Der Chor fordert geradezu insistierend mit seinen Sforzato-Rufen „pacem“.

Das abschließende Agnus Dei leitet

has a classical tripartite division, with a constant and humble interchange of

only once in the tenors, which is almost

ACKNOWLEDGMENTS

←

TRACK INFORMATION

Nearly 200 recordings, many of them award-winning, have been recorded by the ensemble during its more than

RundfunkSinfonieorchester Berlin (RSB, Berlin Radio Symphony Orchestra) dates back to the beginnings of music broadcasting in 1923, and has since sustained its position amongst the leading orchestras in Berlin and other radio orchestras throughout Germany. From 2002 to 2015, Marek Janowski was artistic director and chief conductor

TRACK INFORMATION

ENGLISH

DEUTSCH

Acknowledgments

Premium Sound and Outstanding Artists

Liner notes Jörg Peter Urbach | English translation Fiona J. Stroker-Gale Design Joost de Boo | Product management Max Tiel This album was live recorded at the Berlin Philharmonie, September 2016.

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Ludwig van Beethoven (1770 – 1827)

With devotion

MISSA SOLEMNIS

Reflections on Beethoven’s

in D Major Op. 123

BEETHOVEN

MISSA SOLEMNIS

Missa solemnis

1 2

Kyrie Gloria

9. 22 15. 41

Beethoven’s Missa solemnis is a unique gem. A work of dramatic external

3 4

Credo Sanctus – Benedictus

16. 59 15. 26

power and well-nigh incredible inner strength. Full of conviction. Rich in

5

Agnus Dei Total playing time:

Rundfunk-Sinfonieorchester Berlin MDR Rundfunkchor Leipzig

15. 32

profoundly personal visions of the faith that has remained, carved in stone,

73. 04

Regine Hangler, Soprano

in the form of the Latin mass text for centuries. And yet also rich in moments of doubt about dogmatic religion and

Elisabeth Kulman, Alto

the formal institution of the church.

Christian Elsner, Tenor Franz-Josef Selig, Bass

In its monumentality and lengthy duration of just under 90 minutes, the Missa solemnis departs from all

MDR Rundfunkchor Leipzig

liturgical guidelines – despite the fact

Michael Gläser, Chorus Master

that the work was originally intended for a specific high mass; yet it was not actually performed there in the end.

Rundfunk-Sinfonieorchester Berlin

Marek Janowski

External event and internal task Creating a unique gem takes time: and in this case, Beethoven took plenty

– not Beethoven’s Missa solemnis, but a mass composed by Johann Nepomuk Hummel was performed. Not until three years later did Beethoven manage to complete the Missa solemnis, the

Stile antico and modern musical idiom According to Carl Dahlhaus, in his Missa solemnis Beethoven was mainly

Dahlhaus describes the motivic links

as follows about his first mass: “…

between the various structural sections

however, I believe that I have treated

as “submotivic connections.” Thus, very subtly, individual parameters from motifs constantly reappear in a precisely

the text in a manner in which it has seldom been treated.” And again with his Missa solemnis, Beethoven subjected

of time. In the summer of 1818 it was

reason being that he had quickly

concerned with finding a good mix

calculated manner – however, always in

the individual words of the Latin text to

announced in Vienna that his pupil and patron, the Archduke Rudolph, was to be enthroned as Archbishop of Olomouc

realized that he would have to take an extraordinary path. The première took place in St. Petersburg on April 7, 1824,

between the idiom of ancient church music and that of modern instrumental music. He appears to have managed

a different context as regards content. These submotivic references are very difficult to recognize at first hearing.

a precise examination, in order to give them an exact musical interpretation: both with regard to their pure

on March 9, 1820. Beethoven decided

as a concertante performance under

this due to the fact that “in the archaic

While working on his mass, Beethoven

significance, but above all, with regard

to compose a mass for this event. In June 1819, he wrote as follows to the Archduke: “The day on which a high

the auspices of Prince Gallitzin; and on May 7, 1824, the mass was given an incomplete performance in Vienna,

idiom, which was meant to vouch for the church, he simultaneously discovered a ferment of modernity,

delved into ancient church music in Archduke Rudolph’s library, studying works by Palestrina as well as Gregorian

to their connotations. Which feelings are resonating here? Which emotions are they releasing? And not only in the case

mass by my hand will be performed

not including the “Gloria” and the “Sanctus.” Obviously, Beethoven had no

thanks to which the work was able to

chant.

of the listener, but above all, with regard to the composer himself.

during the celebrations solemnized for Y.I.H. will be for me the most beautiful day of my life. And God will enlighten

problem in “extracting” his Missa from its original destination. Clearly, in the

hold its own with regard to the aesthetic maxim that music must be novel in order to be considered authentic.” And

me, so that my paltry creative powers may contribute to the glorification

meantime, he had begun to regard it as a deeply personal confrontation with

indeed, techniques such as motivicthematic passage work, or evolving

am Ölberge (= Christ on the mount of olives, 1803/1804/1811), Beethoven had

of this solemn day.” But work on the composition dragged out, and by the

his faith.

variation (characteristic for Beethoven’s middle period) are to be found only

already devoted a great deal of time to the texts, aiming to “unify music

In his Mass in C major, dating from 1807, and also in his oratorio Christus

Rainer Wolters, Concert Master

end of 1819 Beethoven had only just sketched the middle part of the Credo.

in rudimentary form. However, this does not signify that the structural

and word.” To help with the mass text, he brought in a translator, who was

Conducted by Marek Janowski

The day arrived of the High Mass, and

sections of the mass coexist in isolation.

himself a musician. Beethoven wrote

Creed

drowned by the calls of “credo” in the

Is this my faith? How do I believe?

other voices. On the other hand, great emphasis is placed on the belief in

And why? A religious and “expressively intensified subjectivism” (Ackermann)

eternal life by means of an extended double fugue lasting more than 170

containing these questions runs like a red thread through the Missa solemnis.

bars. The Missa is full of such highly contrasting interpretations of the text.

It is a deeply personal creed. Here, Beethoven is concerned with individual

As in the Mass in C major, in the Missa

emotions, not with universal questions of faith – as he makes clear to us in the

solemnis Beethoven also renounces the traditional numbering, i.e. the

following sentence “May it continue to flow from heart to heart,” written in the autograph score above the “Kyrie.”

classification of the distribution of arias and choral settings within the various sections of the mass. In part, the

How simple. How noble. How human.

formal structuring keeps to traditional

Perhaps this is precisely why Beethoven described the Missa as “the most successful of his intellectual products”:

guidelines, as in the tripartite division of the “Kyrie”; however, it also goes its own way, for example at the end of the

because it demonstrates his personal

“Gloria,” when the “Gloria in excelsis

view of faith, and also how he rated certain assertions in the mass text. Take, for instance, the casual “credo in

Deo” is repeated, but now in presto. The extremely short “Sanctus” is contrasted with a greatly elongated “Benedictus”;

is laid out in four sections. There is

The movements

an extremely pronounced principle of contrast at all levels. Peace and quiet is contrasted with movement, ecstatic rejoicing resonates alongside pacing dignity, polyphony is alternated with homophony. A recitative tone meets with widely resonating cantilenas and concise folk-song-like creations. The Missa solemnis is a work of extremes. Beethoven blends choir, soloists, and large orchestra into a single “body of sound,” which is meant to “touch, strike, shake” (Werner-Jensen) the listener with volume of its sound. And Beethoven succeeds at this, having set himself the goal “of awakening and perpetuating religious feelings both in the singer and the listener.”

the heavenly heights with the soaring

Beethoven designs the “Credo” with

The “Kyrie,” the song of invocation,

main theme of the “Gloria.” This theme recurs like a motto at key points in

equally rich contrast, both in its entirety and its individual sections. Here, too,

has a classical tripartite division, with a constant and humble interchange of

the movement. This is followed by the “terra pax hominibus,” almost like a

the music is deeply personal, all about the confession of faith and the miracle

singing between soloists and choir. The first D-major chord of the full orchestra

homophonic whisper from the choir, the hymnically worshipping “Laudamus te”

of Christ’s birth, suffering, death, resurrection and ascension. Analogous

already anticipates the impressive cry of “Kyrie” from the choir. In the middle

and the airy “Gratias agimus tibi.” The “Qui tollis” introduces the slow, second

to the “Gloria,” the powerful opening core motif of the “Credo” returns at

part (“Christe”), the soloists lead with the choir responding. Increasingly

part of the Gloria, in which clarinets and flutes present the lament theme. An

the end as if to close brackets. Can there be any doubt about Beethoven’s

dense, the voices become more and more contrapuntally interwoven. In the varied repetition of the “Kyrie,”

extended, contrite plea for compassion develops in the “Miserere nobis,” in which Beethoven draws out the emotion

faith here? The musical design cements an imperturbable attitude of mind. The next section of the movement

Beethoven emphasizes the agonizing

in the vowel “o.” In the third part –

(“Et incarnatus est” – “et homo factus

mood by means of chromaticism, and the movement fades away in the prayer in pianissimo.

“Quoniam tu solus sanctus” – the eulogy returns in the powerful choral setting, followed by a tremendous fugue, “in

est”) recreates the individual phases with deep feeling: at times profoundly absorbed in thought, at others painful

gloria dei patris, amen,” after which

and sorrowful, then again vividly

Beethoven begins the eulogy of the “Gloria,” which is divided into four parts in a hugely contrasting manner.

the recurrence of the motto from the beginning of the “Gloria” concludes the movement in presto.

majestic during the Last Judgment. Here too, the “Credo” is concluded with a massive fugue – a double fugue on the

unam sanctam catholicam,” recited

and the “Agnus Dei” – which in fact

After a stormy fortissimo upbeat in

only once in the tenors, which is almost

consists of three sections in the text –

the orchestra, the choir races up into

phrase “et vitam venturi saeculi, amen.”

The Sanctus “devoutly” assumes a

reverent mood. Right up to the end, the

profoundly meditative attitude, the

solo violin remains in charge; and at

prayers are whispered mezza voce, primed by trombones and low strings. A general pause is immediately followed

the conclusion, it soars back up to the heights after a glorification, once again set as a fugue.

by an energetically driving choral fugato to the phrase “Osanna in excelsis.” This is followed by a short prelude, almost lacking in motif, in which

The concluding “Agnus Dei” introduces an Adagio section that continually attempts to soar, but finally fades away

Beethoven portrays the miracle of the

in pp. Beethoven wrote the following

transformation of the host; by the way, this is the only exclusively instrumental “movement.”

words above the “Dona nobis pacem”: “Plea for internal and external peace.” Two instrumental interpolations with,

But then suddenly in the “Benedictus,”

so to speak, warlike timpani and trumpets, violently breaking into the

the solo violin swoops down from the highest heights of heaven in a coup de

music, demonstrate that this peace is truly under siege. “Fearfully,” the soloists

théâtre. Profane kitsch? Well, Arnold Werner-Jensen described this as “a

once again plea for mercy; and the choir virtually insists upon it, with its

legitimate artistic means of emotionally flustering the listener.” For after all,

sforzato cries of “pacem.”

it was about the “impact of the promise.” The muted sound-colours in the orchestra further emphasize the

Marek Janowski

Dortmund (1975-1979). Since the late

From 2002 until 2015, Marek

1970s, he has appeared regularly at all the major opera houses world-wide.

Janowski was Artistic Director and Chief Conductor of the Rundfunk-

Marek Janowski stepped back from the

Sinfonieorchester Berlin (RSB). Before embarking upon his Berlin period,

opera scene in the 1990s to concentrate on the great German and French

and also partly parallel to this, he was Musical Director of the Orchestre

symphonic repertoire. He enjoys an outstanding reputation amongst the

de la Suisse Romande (2005-2012), Chief Conductor of the Orchestre

premier orchestras of Europe, North America and Asia and is recognised

Philharmonique de Monte Carlo (2000-2005), Chief Conductor of the Dresdner Philharmonie (2001-2003),

for his ability to create orchestras of international standing.

and Musical Director of the Orchestre

His leave-taking of the opera, however,

Philharmonique de Radio France (19842000).

was merely an institutional matter, not a musical farewell. Thus he is now recognized as one of the greatest

Born in Warsaw and educated in

experts regarding the music of Richard

Germany, Marek Janowski’s artistic path led him from positions in Aachen, Cologne, Düsseldorf and Hamburg to his

Wagner, to which his concertante Wagner cycle with the RSB bears witness. In the sequel he accepted the

appointment as General Music Director

invitation to conduct Wagner’s “Ring” at

in Freiburg im Breisgau (1973-1975) and

the Bayreuth Festival in 2016 and 2017.

Liner notes

of the RSB. Vladimir Jurowski has

la Parra, Lahav Shani and Omer Meir

been named as his successor, starting in the 2017-2018 season. Previous chief conductors (including Sergiu Celibidache, Eugen Jochum, Hermann Abendroth, Rolf Kleinert, Heinz Rogner,

Wellber performing in recent years.

and Rafael Frühbeck de Burgos) have all helped to create the ensemble’s exceptional sound.

RSB belongs, has born rich fruit on recording. Starting in 2010, together with PENTATONE, great effort was put

Since its foundation, the RSB has invited major composers to conduct or to perform as soloists in their own works. These have included Paul Hindemith, Sergei Prokofiev, Richard Strauss, and Igor Stravinsky, as well as Krzysztof Penderecki, Peter Ruzicka, and Jörg Widmann. The RSB is particularly attractive for capable young conductors from the international music scene, with Andris

and won the 2nd prize in the Birgit

the “Ehrenpreis der deutschen

Nilson competition.

Schallplattenkritik” (= honorary prize of the German Critics’ Award) for his extensive life’s work.

Since 2013/14 Regine Hangler is an

Tokyo and the Scala in Milan.

success as a soprano. Since 2005

Thielemann, Marek Janowski or Franz

As a successful concert singer Regine Hangler is very successful in Austria,

Elisabeth Kulman has been singing the major parts of the mezzo and alto repertoire. As a member of the

close collaboration with Nikolaus Harnoncourt.

ensemble member of the Wiener

Germany, Albany, the Netherlands,

ensemble at the Vienna State Opera

Regine Hangler Soprano

Staatsoper and is performing the following roles, just to name a few: Rosalinde (Die Fledermaus), Santuzza

Slovenia, Hungary, Japan and Israel. Regine Hangler’s discography and videography continue to grow steadily.

she quickly became a favourite of the audience and established the basis for her vast repertoire. Her most

After having studied viola and technics, Regine Hangler studied canto as her major subject at the Kärntner

Ariadne (auf Naxos), Leonore (Fidelio) and Eva (Die Meistersinger von Nürnberg).

(Cavalleria Rusticana), Elsa (Lohengrin),

Landeskonservatorium and the Universität für Musik in Vienna, which she passed with distinction.

In May 2015 the soprano was highly acclaimed for her title role of “Daphne” in Berlin, which was conducted by

Elisabeth Kulman Alto

important roles include Fricka, Erda and Waltraute (The Ring of the Nibelung), Carmen, Mrs. Quickly (Falstaff), Brangäne (Tristan and Isolde), Begbick

Elisabeth Kulman is one of today’s

(Mahagonny), Orlofsky (The Bat), Orfeo

most sought-after singers and leading authorities in the international classical music scene. She impresses

(Gluck) and Marina (Boris Godunov). Since 2010 Elisabeth Kulman has been

At the same time she was working

Marek Janowski, in New York und

audiences and critics alike with her rich,

working as a freelance artist. She is

with KS Mara Zampieri in Padua and concluded her education with numerous Masterclasses.

Cleveland by Franz Welser-Möst. In 2016 she had a big success at the Salzburger Festspiele for her interpretation of

colourful timbre, her charismatic stage personality and her musical versatility.

a much sought-after soloist in the metropolitan centres of the music world: Vienna, Paris, London, Munich,

Xanthe in “Die Liebe der Danae”.

She studied voice with Helena Lazarska

Berlin, Tokyo, Salzburg, Moscow, etc.

Further future engagements lead the soprano i.e. to the Bayreuther Festspiele,

at the Vienna Music University, made her debut as Pamina in 2001 at the Volksoper in Vienna and enjoyed early

She works regularly with world-class orchestras and conductors such as Zubin Mehta, Kirill Petrenko, Christian

Several times she was decorated with highly skilled scholarships, became finalist of the Italian Aslico competition

Welser-Möst. She enjoyed a particularly

Christian Elsner Tenor Born in Freiburg, Christian Elsner is one of the most versatile German tenors. He

On the opera stage Christian Elsner has

The versatile singer has written his own

established himself as a heroic tenor

children’s book, Lennie und der Ring des

in the roles of Siegmund and Parsifal at the Deutsches Nationaltheater in Weimar, the Staatstheater in Kassel, the

Nibelungen, and has been working as a professor for singing at the Hochschule für Musik in Wurzburg since 2006.

Franz-Josef Selig Bass

Nezét-Séguin, Antonio Pappano, Phillipe Jordan, Zubin Mehta and many others.

Franz-Josef Selig has established himself on the international scene as

Bass singer Franz-Josef Selig first studied church music at the Staatliche

Since 2015 Elisabeth Kulman has been

studied singing with Martin Gründler,

Dresden Semperoper, the Vienna State

focusing her artistic activities on recitals (together with her longtime accompanist Eduard Kutrowatz),

took lessons with Dietrich FischerDieskau and Neil Semer, and has won many international competitions.

Opera and at the Teatro Real in Madrid. Accompanied by Gerold Huber and Burkhard Kehring, the tenor has given recitals in Frankfurt, Hamburg, Bonn,

Real in Madrid under Semyon Bychkov,

Fiesco and Fasolt at all the world’s

ensemble in Essen. He has since been a

As an internationally sought-after concert singer, Christian Elsner is a popular guest at all the important

Dresden, Munich, Wurzburg and Brussels, and at the Schubertiade in Feldkirch.

in Vienna in Franz Schmidt’s The Book with Seven Seals under Manfred Honeck with the Vienna Symphony Orchestra,

major opera houses (such as the Vienna State Opera, Bavarian State Opera, Teatro alla Scala di Milano, Teatro Real

freelance singer.

in Beethoven’s Ninth Symphony in

Madrid, the Parisian opera houses or

Wien as well as “Hungaro Tune” with symphony orchestra and jazz soloists.

the Berlin Philharmonic, New York’s Carnegie Hall, La Scala, Milan and the Suntory Hall in Tokyo, and has worked

Christian Elsner can also be heard on CD, with recordings such as Schubert’s Winterreise and Schumann’s

Leipzig with the Gewandhausorchester under Herbert Blomstedt, and in Berlin, Vienna, New York, Taipei and Tokyo with

the Metropolitan Opera New York) and at prestigious festivals such as the Bayreuth and Salzburg Festival and

Her latest solo programme “La femme c’est moi” features pieces from Carmen

with many renowned conductors such as Herbert Blomstedt, Manfred Honeck,

Dichterliebe, along with studio productions of Mahler’s Lied von der

the Berlin Philharmonic under Sir Simon Rattle.

the Festival d’Aix-en-Provence. Opera productions as well as concerts bring

up to the Beatles.

Marek Janowski, Mariss Jansons, Kent Nagano, Yannick Nézet-Séguin, Semyon

Erde as well as complete recordings of Wagner’s Rheingold (Loge) and Parsifal

Bychkov and Sir Simon Rattle.

(title role).

concerts and operas in concert. She is especially devoted to unconventional projects: “Mussorgsky Dis-Covered” with an international jazz quartet, “Mahler Lieder” and “Wer wagt mich zu höhnen?” with the ensemble Amarcord

classical music centres, such as

Christian Elsner’s most recent performances have included the title role in Wagner’s Parsifal at the Teatro

one of the best-known serious bass

Hochschule für Musik in Cologne before

baritones. He regularly gives guest performances as Gurnemanz, King Marke, Sarastro, Rocco, Osmin, Daland,

taking voice classes under Claudio Nicolai. At the beginning of his career he was a member of the Aalto Theatre

him together frequently with renowned orchestras and conductors, such as James Levine, Christian Thielemann, Sir Simon Rattle, Marek Janowski,

MDR Rundfunkchor Leipzig

Mit Andacht Gedanken zu Beethovens Missa solemnis

into the live recording of the successful ten part Wagner cycle. Other activities of the RSB include special concerts for families and children, as well as guest performances in the major international concert halls, which have taken place over the past 50 years. Alongside regular tours of Asia the orchestra appears at German and European festivals. MDR Rundfunkchor Leipzig © Peter Adamik

Nelsons, Yannick Nézet-Séguin, Alain Altinoglu, Jakub Hrůša, Alondra de

nicht die Missa solemnis, sondern eine

Ein Solitär benötigt Zeit. Und die nahm sich Beethoven in diesem Fall reichlich. Im Sommer 1818 wurde in Wien bekannt, dass sein Schüler und Gönner, Erzherzog Rudolph, am 9. März 1820 zum Erzbischof von Olmütz inthronisiert

Überzeugungskraft. Reich an zutiefst persönlichen Blicken auf jenen Glauben, wie er in Gestalt des lateinischen Messtextes seit Jahrhunderten in

werden sollte. Aus diesem Anlass plante Beethoven eine Messvertonung. Im Juni 1819 schrieb er an den Erzherzog: „Der Tag, wo ein Hochamt von mir

Stein gemeißelt ist. Und doch auch reich an Momenten des Zweifelns an dogmatischer Religion und der formellen Institution Kirche. In ihrer

zu den Feierlichkeiten für I.K.H. soll aufgeführt werden, wird für mich der schönste meines Lebens sein. Und Gott wird mich erleuchten, dass meine

Monumentalität und zeitlichen Ausdehnung von knapp 90 Minuten sprengt die Missa solemnis jegliche liturgischen Vorgaben. Auch wenn das Werk ursprünglich für ein konkretes

schwachen Kräfte zur Verherrlichung dieses Feierlichen Tages beitragen.“ Doch die kompositorische Arbeit ging nur schleppend voran und Ende 1819

Hochamt gedacht war. Dort dann aber nicht erklang. Rundfunk-Sinfonieorchester Berlin © Molina Visuals

Äußerer Anlass und innere Aufgabe

Beethovens Missa solemnis ist ein Solitär. Ein Werk von äußerer dramatischer Wucht und schier unglaublicher innerer Stärke. Voller

hatte Beethoven gerade einmal den Mittelteil des Credos skizziert. Der Tag des Hochamtes kam. Und es erklang – Deutsch

Messe von Johann Nepomuk Hummel. Erst drei Jahre später konnte Beethoven die Missa solemnis vollenden. Weil ihm schnell klar wurde, dass er einen außergewöhnlichen Weg würde gehen müssen. Die Uraufführung fand am 7. April 1824 in St. Petersburg im Rahmen einer konzertanten Aufführung des Fürsten Galitzin statt und am 7. Mai 1824 erklang das Werk bruchstückhaft in Wien, ohne Gloria und Sanctus. Beethoven hatte ganz augenscheinlich kein schlechtes Gewissen, seine Missa aus ihrer ursprünglichen Bestimmung herauszulösen. Betrachtete er sie doch mittlerweile als zutiefst persönliche Auseinandersetzung mit seinem Glauben.

Stile antico und moderne Tonsprache

als „submotivische Beziehungen“.

dass ich den Text behandelt habe, wie

Glaubensfragen. Was nicht zuletzt der

Wie schon in der C-Dur-Messe

knappe volksliedhafte Bildungen. Die

Folgt man Carl Dahlhaus, so ging

Demnach kehren auf äußerst subtile Weise einzelne Parameter aus Motivgestalten genauestens kalkuliert

er noch wenig behandelt worden“. Auch bei der Missa solemnis untersuchte Beethoven die einzelnen Wörter des

es Beethoven in der Missa solemnis kompositorisch vor allem um eine Vermittlung zwischen altem Kirchenstil und moderner Instrumentalmusik. Gelungen sei ihm dies dadurch, „dass

wieder – aber in einem jeweils anderen inhaltlichen Zusammenhang. Diese submotivischen Bezüge sind beim erstmaligen Hören kaum zu erkennen. Während der Arbeit an der Messe

lateinischen Messtextes genau, um sie musikalisch exakt auszudeuten. Auf ihre reine Bedeutung hin, vor allem aber auch auf ihre Konnotationen. Welche Gefühle schwingen mit? Welche

im Autograph über dem Kyrie stehende Satz „Von Herzen – möge es wieder – zu Herzen gehen“ transportiert. Wie schlicht. Wie groß. Wie menschlich. Vielleicht hat Beethoven die Missa

verzichtet Beethoven auch in der Missa solemnis auf die traditionelle Nummerngliederung, also auf die Verteilung von Arien und Chorsätzen auf die Messabschnitte. Die formale

Missa solemnis ist ein Werk der Extreme. Beethoven lässt Chor, Solisten und das groß besetzte Orchester zu einem einzigen Klangkörper verschmelzen, der den Hörer mit seinem voluminösen

gerade deshalb als das „gelungenste seiner Geistesprodukte“ bezeichnet. Weil sie seinen persönlichen Blick

Gliederung folgt teils traditionellen Vorgaben, wie bei der Dreiteilung des Kyrie, geht aber auch eigene Wege,

Klangbild „rühren, treffen, erschüttern“ (Werner-Jensen) soll. Und das gelingt Beethoven, der sich zum Ziel gesetzt

er im Archaischen, das die Kirchlichkeit verbürgen sollte, zugleich ein Ferment von Modernität entdeckte, durch die das Werk vor der ästhetischen Maxime

vertiefte sich Beethoven in der Bibliothek Erzherzog Rudolphs in alte Kirchenmusik, studierte Palestrinas Werke und die Gregorianik.

Emotionen setzen sie frei? Und zwar nicht nur beim Hörer, sondern vor allem beim Komponisten.

etwa wenn Beethoven das „Gloria in excelsis Deo“ am Ende des Gloria im presto wiederholt. Dem extrem kurzen Sanctus steht ein extrem gedehntes Benedictus gegenüber und das textlich

hatte „sowohl bei Singenden als bei Zuhörern religiöse Gefühle (zu) erwecken und dauernd (zu) machen“.

bestehen konnte, dass Musik neu sein müsse, um authentisch zu sein.“ Und in der Tat finden sich Techniken wie motivisch-thematische Arbeit oder

auf den Glauben zeigt. Und wie er bestimmte Aussagen des Messtextes bewertet. Man denke etwa an das beiläufige, lediglich einmal im ChorTenor rezitierte „credo in unam sanctam

Schon in seiner C-Dur-Messe aus dem Jahr 1807 und auch in seinem Oratorium Christus am Ölberge (1803/1804/1811)

entwickelnde Variation (ihres Zeichens Merkmale des mittleren Beethovens) nur rudimentär. Was wiederum nicht bedeutet, dass die formalen Teile der

hatte sich Beethoven intensiv mit den Textvorlagen beschäftigt, mit dem Ziel „Musick und wort ein’s“ werden zu lassen. Beim Messtext bediente er sich

catholicam“, das in den „Credo“-Rufen der anderen Stimmen schier untergeht. Der Glaube an das ewige Leben erfährt dagegen auf über 170 Takten in einer

eigentlich dreiteilig angelegte Agnus Dei wird vierteilig umgesetzt. Auf allen Ebenen findet sich ein extrem ausgeprägtes Kontrastprinzip. Ruhe

homophon vom Chor fast geflüstert, das hymnisch anbetende „Laudamus te“ und das klanglich luftige „Gratias agimus tibi“. Mit dem „Qui tollis“ beginnt der langsame, zweite Teil des Gloria, in dem

der Hilfe eines Übersetzers, der selber Musiker war. Beethoven schrieb über seine erste Messe: „jedoch glaube ich,

wird Bewegung gegenübergestellt, ekstatischer Jubel erklingt neben schreitender Würde, polyphone und homophone Ausgestaltung wechseln

Das Kyrie, der Bittgesang, ist klassisch dreigeteilt, im steten, demutsvollen Wechselgesang zwischen Soli und Chor. Der machtvolle Kyrie-Anruf der Chorstimmen wird bereits im ersten

Messe isoliert nebeneinanderstehen. Die motivischen Bezüge zwischen den Formabschnitten beschreibt Dahlhaus

ausgeweiteten Doppelfuge eine starke Gewichtung. Derart kontrastreiche Interpretationen der textlichen Vorgabe prägen die Missa.

D-Dur-Akkord des vollen Orchesters vorweggenommen. Im mittleren Christe-Teil führen die Soli, der Chor antwortet. Immer dichter werden die

Klarinetten und Flöten das Klagethema präsentieren. Eine ausgedehnte, zerknirschte Bitte um Erbarmen entwickelt sich im von Beethoven um

Stimmen kontrapunktisch miteinander

den emotionalen Laut „O“ erweiterte

Bekenntniswerk Ist dies mein Glaube? Wie glaube ich? Und warum? Mit diesen Fragen zieht sich ein religiöser und „expressiv gesteigerter Subjektivismus“ (Ackermann) wie ein roter Faden durch die Missa solemnis. Sie ist ein zutiefst persönliches Bekenntniswerk. Es geht Beethoven um individuelle Emotionen, nicht um allgemeingültige

sich ab. Ein Rezitationston trifft auf weit ausschwingende Kantilenen und

Die Sätze

verwoben. In der variierten KyrieWiederholung betont Beethoven die schmerzvolle Haltung durch Chromatik, der Satz verklingt im Pianissimo-Gebet. In stärkstem Kontrast eröffnet Beethoven den Preisgesang des Gloria, das in vier Teile gegliedert ist. Nach stürmischem Fortissimo-Orchesterauftakt jagen die Chorstimmen mit dem aufsteigenden Gloria-Hauptthema in himmlische Höhen. Dieses Thema kehrt mottoartig an Schlüsselstellen des Satzes wieder. Es folgt das „et in terra pax hominibus“,

Acknowledgments

Bevor im Benedictus die Solo-

durchaus gefährdet ist, zeigen zwei

Violine in einem coup de théâtre von den höchsten Höhen des Himmels herabsteigt. Weltlicher Kitsch? Arnold Werner-Jensen sah darin „ein legitimes künstlerisches Mittel, den

instrumentale Einschübe mit gleichsam kriegerischen Pauken und Trompeten, die gewaltsam einbrechen. „Ängstlich“ bitten die Solisten erneut um Erbarmen. Der Chor fordert geradezu insistierend

einer gewaltigen Fuge abgeschlossen, einer Doppelfuge auf „et vitam venturi saeculi, amen“.

Hörer emotional aus der Fassung zu bringen“. Immerhin gehe es hier um die „Wucht der Verheißung“. Die

mit seinen Sforzato-Rufen „pacem“.

Das Sanctus nimmt „mit Andacht“ eine tiefgründige Versenkungshaltung ein, mezza voce werden die Gebetsrufe geflüstert, grundiert von Posaunen

gedämpften Klangfarben im Orchester unterstreichen die andachtsvolle Haltung noch. Bis zum Ende hat die Solo-Violine stets die Führung inne und steigt nach einer erneut fugierten

und um das Wunder von Geburt, Leiden, Tod, Wiederauferstehung und Himmelfahrt Christi. Analog zum Gloria kehrt das eröffnende, wuchtige Credo-

und tiefen Streichern. Nach einer Generalpause beginnt ein energisch vorantreibendes Chorfugato über „Osanna in excelsis“. Es folgt ein kurzes,

Lobpreisung am Ende wieder in die Höhe hinauf.

Kernmotiv am Ende wie einer Klammer wieder. Kann man hier irgendwie an Beethovens Glauben zweifeln? Die musikalische Gestaltung zementiert

fast schon amotivisches Präludium, in dem Beethoven das Wunder der Hostienwandlung nachzeichnet; übrigens der einzige rein instrumentale

einen Adagio-Teil ein, der sich immer wieder aufzuschwingen versucht, dann im Pianissimo verklingt. Das „Dona nobis pacem“ ist von Beethoven mit

PENTATONE TEAM Vice President A&R Renaud Loranger | Director A&R Job Maarse | Managing

eine unerschütterliche Geisteshaltung. Der Binnensatz („Et incarnatus est“

„Satz“.

„Bitte um innern und äußern Frieden“ überschrieben. Dass dieser Frieden

Director Dirk Jan Vink | Director Product, Marketing & Distribution Simon M. Eder A&R Kate Rockett | Marketing & PR Silvia Pietrosanti | Distribution Veronica Neo

– „et homo factus est“) gestaltet die einzelnen Phasen tief empfunden nach. Mal abgründig versunken, mal schmerz- und leidvoll, dann wieder plastisch-majestätisch beim Jüngsten Gericht. Auch das Credo wird von

Beginns den Satz im Presto krönend abschließt.

PRODUCTION TEAM Executive producers Stefan Lang (Deutschlandradio Kultur), Job Maarse (Pentatone) | Recording producer Job Maarse | Balance engineer Jean-Marie Geijsen (Polyhymnia) | Recording engineer & editor Erdo Groot (Polyhymnia) Deutschlandradio recording team Wolfram Nehls, Henri Thaon, Jens Müller Liner notes Jörg Peter Urbach | English translation Fiona J. Stroker-Gale Design Joost de Boo | Product management Max Tiel This album was live recorded at the Berlin Philharmonie, September 2016.

Das abschließende Agnus Dei leitet

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Broadcasting Union, through touring or in guest performances worldwide,

years of musical history. Numerous world premieres attest to the 73 choir

the MDR LEIPZIG RADIO CHOIR, which was awarded the European Cultural

members’ reputation as a specialised ensemble for contemporary music.

Prize in 2013, acts as a supreme musical ambassador for central Germany.

work it is invariably the MDR LEIPZIG RADIO CHOIR that comes at the top

acclaimed world-class ensemble. From the season 2015/2016 he was succeeded

of their wish list. As the largest concert choir within the German Broadcasting

by Risto Joost as artistic director of the MDR LEIPZIG RADIO CHOIR.

experts as one of the best.

Premium Sound and Outstanding Artists PENTATONE. Today’s music is evolving and forever changing, but classical music remains true in creating harmony among the instruments. Classical music is as time-honoured as it is timeless.

formats. In 2017 the choir was awarded the International Classical Music Award for its recording of Max Reger’s Motets op. 110. Whether via the European

works complete a repertoire that encompasses practically a thousand

In the fifteen years of his tenure

Corporation (ARD), the MDR LEIPZIG RADIO CHOIR is widely regarded among

Sit back and enjoy

70-year history. These recordings have been released on LPs, CDs and digital

demonstrates its expertise with highly acclaimed a cappella performances. Secular and sacred music, wide-ranging ensemble singing and choral symphonic

from 1998 Howard Arman lastingly consolidated the reputation of this

Semyon Bychkov, Riccardo Muti, Yannick

Gleichfalls kontrastreich im Gesamtrahmen wie in den einzelnen Teilen gestaltet Beethoven das Credo. Auch hier zutiefst persönlich, geht es doch um das Glaubensbekenntnis

„Miserere nobis“. Im dritten Teil – „Quoniam tu solus sanctus“ – kehrt der Preisgesang im mächtigen Chorsatz zurück, bevor sich eine gewaltige „in gloria dei patris, amen“-Fuge anschließt bevor erneut das Zitat des Gloria-

Not only an excellent partner for major orchestras, the ensemble regularly

When major orchestras in Germany or abroad plan to perform a choral

Artists

The collaboration with Deutschlandradio, the main shareholder of the ROC GmbH Berlin to which the

Marek Janowski © Jean-François Leclercq

In 2014 Marek Janowski was awarded

Nearly 200 recordings, many of them award-winning, have been recorded by the ensemble during its more than

RundfunkSinfonieorchester Berlin (RSB, Berlin Radio Symphony Orchestra) dates back to the beginnings of music broadcasting in 1923, and has since sustained its position amongst the leading orchestras in Berlin and other radio orchestras throughout Germany. From 2002 to 2015, Marek Janowski was artistic director and chief conductor

TRACK INFORMATION

ENGLISH

DEUTSCH

ACKNOWLEDGMENTS

← Sit back and enjoy

Ludwig van Beethoven (1770 – 1827)

With devotion

MISSA SOLEMNIS

Reflections on Beethoven’s

in D Major Op. 123

BEETHOVEN

MISSA SOLEMNIS

Missa solemnis

1 2

Kyrie Gloria

9. 22 15. 41

Beethoven’s Missa solemnis is a unique gem. A work of dramatic external

3 4

Credo Sanctus – Benedictus

16. 59 15. 26

power and well-nigh incredible inner strength. Full of conviction. Rich in

5

Agnus Dei Total playing time:

Rundfunk-Sinfonieorchester Berlin MDR Rundfunkchor Leipzig

15. 32

profoundly personal visions of the faith that has remained, carved in stone,

73. 04

Regine Hangler, Soprano

in the form of the Latin mass text for centuries. And yet also rich in moments of doubt about dogmatic religion and

Elisabeth Kulman, Alto

the formal institution of the church.

Christian Elsner, Tenor Franz-Josef Selig, Bass

In its monumentality and lengthy duration of just under 90 minutes, the Missa solemnis departs from all

MDR Rundfunkchor Leipzig

liturgical guidelines – despite the fact

Michael Gläser, Chorus Master

that the work was originally intended for a specific high mass; yet it was not actually performed there in the end.

Rundfunk-Sinfonieorchester Berlin

Marek Janowski

External event and internal task Creating a unique gem takes time: and in this case, Beethoven took plenty

– not Beethoven’s Missa solemnis, but a mass composed by Johann Nepomuk Hummel was performed. Not until three years later did Beethoven manage to complete the Missa solemnis, the

Stile antico and modern musical idiom According to Carl Dahlhaus, in his Missa solemnis Beethoven was mainly

Dahlhaus describes the motivic links

as follows about his first mass: “…

between the various structural sections

however, I believe that I have treated

as “submotivic connections.” Thus, very subtly, individual parameters from motifs constantly reappear in a precisely

the text in a manner in which it has seldom been treated.” And again with his Missa solemnis, Beethoven subjected

of time. In the summer of 1818 it was

reason being that he had quickly

concerned with finding a good mix

calculated manner – however, always in

the individual words of the Latin text to

announced in Vienna that his pupil and patron, the Archduke Rudolph, was to be enthroned as Archbishop of Olomouc

realized that he would have to take an extraordinary path. The première took place in St. Petersburg on April 7, 1824,

between the idiom of ancient church music and that of modern instrumental music. He appears to have managed

a different context as regards content. These submotivic references are very difficult to recognize at first hearing.

a precise examination, in order to give them an exact musical interpretation: both with regard to their pure

on March 9, 1820. Beethoven decided

as a concertante performance under

this due to the fact that “in the archaic

While working on his mass, Beethoven

significance, but above all, with regard

to compose a mass for this event. In June 1819, he wrote as follows to the Archduke: “The day on which a high

the auspices of Prince Gallitzin; and on May 7, 1824, the mass was given an incomplete performance in Vienna,

idiom, which was meant to vouch for the church, he simultaneously discovered a ferment of modernity,

delved into ancient church music in Archduke Rudolph’s library, studying works by Palestrina as well as Gregorian

to their connotations. Which feelings are resonating here? Which emotions are they releasing? And not only in the case

mass by my hand will be performed

not including the “Gloria” and the “Sanctus.” Obviously, Beethoven had no

thanks to which the work was able to

chant.

of the listener, but above all, with regard to the composer himself.

during the celebrations solemnized for Y.I.H. will be for me the most beautiful day of my life. And God will enlighten

problem in “extracting” his Missa from its original destination. Clearly, in the

hold its own with regard to the aesthetic maxim that music must be novel in order to be considered authentic.” And

me, so that my paltry creative powers may contribute to the glorification

meantime, he had begun to regard it as a deeply personal confrontation with

indeed, techniques such as motivicthematic passage work, or evolving

am Ölberge (= Christ on the mount of olives, 1803/1804/1811), Beethoven had

of this solemn day.” But work on the composition dragged out, and by the

his faith.

variation (characteristic for Beethoven’s middle period) are to be found only

already devoted a great deal of time to the texts, aiming to “unify music

In his Mass in C major, dating from 1807, and also in his oratorio Christus

Rainer Wolters, Concert Master

end of 1819 Beethoven had only just sketched the middle part of the Credo.

in rudimentary form. However, this does not signify that the structural

and word.” To help with the mass text, he brought in a translator, who was

Conducted by Marek Janowski

The day arrived of the High Mass, and

sections of the mass coexist in isolation.

himself a musician. Beethoven wrote

Creed

drowned by the calls of “credo” in the

Is this my faith? How do I believe?

other voices. On the other hand, great emphasis is placed on the belief in

And why? A religious and “expressively intensified subjectivism” (Ackermann)

eternal life by means of an extended double fugue lasting more than 170

containing these questions runs like a red thread through the Missa solemnis.

bars. The Missa is full of such highly contrasting interpretations of the text.

It is a deeply personal creed. Here, Beethoven is concerned with individual

As in the Mass in C major, in the Missa

emotions, not with universal questions of faith – as he makes clear to us in the

solemnis Beethoven also renounces the traditional numbering, i.e. the

following sentence “May it continue to flow from heart to heart,” written in the autograph score above the “Kyrie.”

classification of the distribution of arias and choral settings within the various sections of the mass. In part, the

How simple. How noble. How human.

formal structuring keeps to traditional

Perhaps this is precisely why Beethoven described the Missa as “the most successful of his intellectual products”:

guidelines, as in the tripartite division of the “Kyrie”; however, it also goes its own way, for example at the end of the

because it demonstrates his personal

“Gloria,” when the “Gloria in excelsis

view of faith, and also how he rated certain assertions in the mass text. Take, for instance, the casual “credo in

Deo” is repeated, but now in presto. The extremely short “Sanctus” is contrasted with a greatly elongated “Benedictus”;

is laid out in four sections. There is

The movements

an extremely pronounced principle of contrast at all levels. Peace and quiet is contrasted with movement, ecstatic rejoicing resonates alongside pacing dignity, polyphony is alternated with homophony. A recitative tone meets with widely resonating cantilenas and concise folk-song-like creations. The Missa solemnis is a work of extremes. Beethoven blends choir, soloists, and large orchestra into a single “body of sound,” which is meant to “touch, strike, shake” (Werner-Jensen) the listener with volume of its sound. And Beethoven succeeds at this, having set himself the goal “of awakening and perpetuating religious feelings both in the singer and the listener.”

the heavenly heights with the soaring

Beethoven designs the “Credo” with

The “Kyrie,” the song of invocation,

main theme of the “Gloria.” This theme recurs like a motto at key points in

equally rich contrast, both in its entirety and its individual sections. Here, too,

has a classical tripartite division, with a constant and humble interchange of

the movement. This is followed by the “terra pax hominibus,” almost like a

the music is deeply personal, all about the confession of faith and the miracle

singing between soloists and choir. The first D-major chord of the full orchestra

homophonic whisper from the choir, the hymnically worshipping “Laudamus te”

of Christ’s birth, suffering, death, resurrection and ascension. Analogous

already anticipates the impressive cry of “Kyrie” from the choir. In the middle

and the airy “Gratias agimus tibi.” The “Qui tollis” introduces the slow, second

to the “Gloria,” the powerful opening core motif of the “Credo” returns at

part (“Christe”), the soloists lead with the choir responding. Increasingly

part of the Gloria, in which clarinets and flutes present the lament theme. An

the end as if to close brackets. Can there be any doubt about Beethoven’s

dense, the voices become more and more contrapuntally interwoven. In the varied repetition of the “Kyrie,”

extended, contrite plea for compassion develops in the “Miserere nobis,” in which Beethoven draws out the emotion

faith here? The musical design cements an imperturbable attitude of mind. The next section of the movement

Beethoven emphasizes the agonizing

in the vowel “o.” In the third part –

(“Et incarnatus est” – “et homo factus

mood by means of chromaticism, and the movement fades away in the prayer in pianissimo.

“Quoniam tu solus sanctus” – the eulogy returns in the powerful choral setting, followed by a tremendous fugue, “in

est”) recreates the individual phases with deep feeling: at times profoundly absorbed in thought, at others painful

gloria dei patris, amen,” after which

and sorrowful, then again vividly

Beethoven begins the eulogy of the “Gloria,” which is divided into four parts in a hugely contrasting manner.

the recurrence of the motto from the beginning of the “Gloria” concludes the movement in presto.

majestic during the Last Judgment. Here too, the “Credo” is concluded with a massive fugue – a double fugue on the

unam sanctam catholicam,” recited

and the “Agnus Dei” – which in fact

After a stormy fortissimo upbeat in

only once in the tenors, which is almost

consists of three sections in the text –

the orchestra, the choir races up into

phrase “et vitam venturi saeculi, amen.”

The Sanctus “devoutly” assumes a

reverent mood. Right up to the end, the

profoundly meditative attitude, the

solo violin remains in charge; and at

prayers are whispered mezza voce, primed by trombones and low strings. A general pause is immediately followed

the conclusion, it soars back up to the heights after a glorification, once again set as a fugue.

by an energetically driving choral fugato to the phrase “Osanna in excelsis.” This is followed by a short prelude, almost lacking in motif, in which

The concluding “Agnus Dei” introduces an Adagio section that continually attempts to soar, but finally fades away

Beethoven portrays the miracle of the

in pp. Beethoven wrote the following

transformation of the host; by the way, this is the only exclusively instrumental “movement.”

words above the “Dona nobis pacem”: “Plea for internal and external peace.” Two instrumental interpolations with,

But then suddenly in the “Benedictus,”

so to speak, warlike timpani and trumpets, violently breaking into the

the solo violin swoops down from the highest heights of heaven in a coup de

music, demonstrate that this peace is truly under siege. “Fearfully,” the soloists

théâtre. Profane kitsch? Well, Arnold Werner-Jensen described this as “a

once again plea for mercy; and the choir virtually insists upon it, with its

legitimate artistic means of emotionally flustering the listener.” For after all,

sforzato cries of “pacem.”

it was about the “impact of the promise.” The muted sound-colours in the orchestra further emphasize the

Marek Janowski

Dortmund (1975-1979). Since the late

From 2002 until 2015, Marek

1970s, he has appeared regularly at all the major opera houses world-wide.

Janowski was Artistic Director and Chief Conductor of the Rundfunk-

Marek Janowski stepped back from the

Sinfonieorchester Berlin (RSB). Before embarking upon his Berlin period,

opera scene in the 1990s to concentrate on the great German and French

and also partly parallel to this, he was Musical Director of the Orchestre

symphonic repertoire. He enjoys an outstanding reputation amongst the

de la Suisse Romande (2005-2012), Chief Conductor of the Orchestre

premier orchestras of Europe, North America and Asia and is recognised

Philharmonique de Monte Carlo (2000-2005), Chief Conductor of the Dresdner Philharmonie (2001-2003),

for his ability to create orchestras of international standing.

and Musical Director of the Orchestre

His leave-taking of the opera, however,

Philharmonique de Radio France (19842000).

was merely an institutional matter, not a musical farewell. Thus he is now recognized as one of the greatest

Born in Warsaw and educated in

experts regarding the music of Richard

Germany, Marek Janowski’s artistic path led him from positions in Aachen, Cologne, Düsseldorf and Hamburg to his

Wagner, to which his concertante Wagner cycle with the RSB bears witness. In the sequel he accepted the

appointment as General Music Director

invitation to conduct Wagner’s “Ring” at

in Freiburg im Breisgau (1973-1975) and

the Bayreuth Festival in 2016 and 2017.

Liner notes

of the RSB. Vladimir Jurowski has

la Parra, Lahav Shani and Omer Meir

been named as his successor, starting in the 2017-2018 season. Previous chief conductors (including Sergiu Celibidache, Eugen Jochum, Hermann Abendroth, Rolf Kleinert, Heinz Rogner,

Wellber performing in recent years.

and Rafael Frühbeck de Burgos) have all helped to create the ensemble’s exceptional sound.

RSB belongs, has born rich fruit on recording. Starting in 2010, together with PENTATONE, great effort was put

Since its foundation, the RSB has invited major composers to conduct or to perform as soloists in their own works. These have included Paul Hindemith, Sergei Prokofiev, Richard Strauss, and Igor Stravinsky, as well as Krzysztof Penderecki, Peter Ruzicka, and Jörg Widmann. The RSB is particularly attractive for capable young conductors from the international music scene, with Andris

and won the 2nd prize in the Birgit

the “Ehrenpreis der deutschen

Nilson competition.

Schallplattenkritik” (= honorary prize of the German Critics’ Award) for his extensive life’s work.

Since 2013/14 Regine Hangler is an

Tokyo and the Scala in Milan.

success as a soprano. Since 2005

Thielemann, Marek Janowski or Franz

As a successful concert singer Regine Hangler is very successful in Austria,

Elisabeth Kulman has been singing the major parts of the mezzo and alto repertoire. As a member of the

close collaboration with Nikolaus Harnoncourt.

ensemble member of the Wiener

Germany, Albany, the Netherlands,

ensemble at the Vienna State Opera

Regine Hangler Soprano

Staatsoper and is performing the following roles, just to name a few: Rosalinde (Die Fledermaus), Santuzza

Slovenia, Hungary, Japan and Israel. Regine Hangler’s discography and videography continue to grow steadily.

she quickly became a favourite of the audience and established the basis for her vast repertoire. Her most

After having studied viola and technics, Regine Hangler studied canto as her major subject at the Kärntner

Ariadne (auf Naxos), Leonore (Fidelio) and Eva (Die Meistersinger von Nürnberg).

(Cavalleria Rusticana), Elsa (Lohengrin),

Landeskonservatorium and the Universität für Musik in Vienna, which she passed with distinction.

In May 2015 the soprano was highly acclaimed for her title role of “Daphne” in Berlin, which was conducted by

Elisabeth Kulman Alto

important roles include Fricka, Erda and Waltraute (The Ring of the Nibelung), Carmen, Mrs. Quickly (Falstaff), Brangäne (Tristan and Isolde), Begbick

Elisabeth Kulman is one of today’s

(Mahagonny), Orlofsky (The Bat), Orfeo

most sought-after singers and leading authorities in the international classical music scene. She impresses

(Gluck) and Marina (Boris Godunov). Since 2010 Elisabeth Kulman has been

At the same time she was working

Marek Janowski, in New York und

audiences and critics alike with her rich,

working as a freelance artist. She is

with KS Mara Zampieri in Padua and concluded her education with numerous Masterclasses.

Cleveland by Franz Welser-Möst. In 2016 she had a big success at the Salzburger Festspiele for her interpretation of

colourful timbre, her charismatic stage personality and her musical versatility.

a much sought-after soloist in the metropolitan centres of the music world: Vienna, Paris, London, Munich,

Xanthe in “Die Liebe der Danae”.

She studied voice with Helena Lazarska

Berlin, Tokyo, Salzburg, Moscow, etc.

Further future engagements lead the soprano i.e. to the Bayreuther Festspiele,

at the Vienna Music University, made her debut as Pamina in 2001 at the Volksoper in Vienna and enjoyed early

She works regularly with world-class orchestras and conductors such as Zubin Mehta, Kirill Petrenko, Christian

Several times she was decorated with highly skilled scholarships, became finalist of the Italian Aslico competition

Welser-Möst. She enjoyed a particularly

Christian Elsner Tenor Born in Freiburg, Christian Elsner is one of the most versatile German tenors. He

On the opera stage Christian Elsner has

The versatile singer has written his own

established himself as a heroic tenor

children’s book, Lennie und der Ring des

in the roles of Siegmund and Parsifal at the Deutsches Nationaltheater in Weimar, the Staatstheater in Kassel, the

Nibelungen, and has been working as a professor for singing at the Hochschule für Musik in Wurzburg since 2006.

Franz-Josef Selig Bass

Nezét-Séguin, Antonio Pappano, Phillipe Jordan, Zubin Mehta and many others.

Franz-Josef Selig has established himself on the international scene as

Bass singer Franz-Josef Selig first studied church music at the Staatliche

Since 2015 Elisabeth Kulman has been

studied singing with Martin Gründler,

Dresden Semperoper, the Vienna State

focusing her artistic activities on recitals (together with her longtime accompanist Eduard Kutrowatz),

took lessons with Dietrich FischerDieskau and Neil Semer, and has won many international competitions.

Opera and at the Teatro Real in Madrid. Accompanied by Gerold Huber and Burkhard Kehring, the tenor has given recitals in Frankfurt, Hamburg, Bonn,

Real in Madrid under Semyon Bychkov,

Fiesco and Fasolt at all the world’s

ensemble in Essen. He has since been a

As an internationally sought-after concert singer, Christian Elsner is a popular guest at all the important

Dresden, Munich, Wurzburg and Brussels, and at the Schubertiade in Feldkirch.

in Vienna in Franz Schmidt’s The Book with Seven Seals under Manfred Honeck with the Vienna Symphony Orchestra,

major opera houses (such as the Vienna State Opera, Bavarian State Opera, Teatro alla Scala di Milano, Teatro Real

freelance singer.

in Beethoven’s Ninth Symphony in

Madrid, the Parisian opera houses or

Wien as well as “Hungaro Tune” with symphony orchestra and jazz soloists.

the Berlin Philharmonic, New York’s Carnegie Hall, La Scala, Milan and the Suntory Hall in Tokyo, and has worked

Christian Elsner can also be heard on CD, with recordings such as Schubert’s Winterreise and Schumann’s

Leipzig with the Gewandhausorchester under Herbert Blomstedt, and in Berlin, Vienna, New York, Taipei and Tokyo with

the Metropolitan Opera New York) and at prestigious festivals such as the Bayreuth and Salzburg Festival and

Her latest solo programme “La femme c’est moi” features pieces from Carmen

with many renowned conductors such as Herbert Blomstedt, Manfred Honeck,

Dichterliebe, along with studio productions of Mahler’s Lied von der

the Berlin Philharmonic under Sir Simon Rattle.

the Festival d’Aix-en-Provence. Opera productions as well as concerts bring

up to the Beatles.

Marek Janowski, Mariss Jansons, Kent Nagano, Yannick Nézet-Séguin, Semyon

Erde as well as complete recordings of Wagner’s Rheingold (Loge) and Parsifal

Bychkov and Sir Simon Rattle.

(title role).

concerts and operas in concert. She is especially devoted to unconventional projects: “Mussorgsky Dis-Covered” with an international jazz quartet, “Mahler Lieder” and “Wer wagt mich zu höhnen?” with the ensemble Amarcord

classical music centres, such as

Christian Elsner’s most recent performances have included the title role in Wagner’s Parsifal at the Teatro

one of the best-known serious bass

Hochschule für Musik in Cologne before

baritones. He regularly gives guest performances as Gurnemanz, King Marke, Sarastro, Rocco, Osmin, Daland,

taking voice classes under Claudio Nicolai. At the beginning of his career he was a member of the Aalto Theatre

him together frequently with renowned orchestras and conductors, such as James Levine, Christian Thielemann, Sir Simon Rattle, Marek Janowski,

MDR Rundfunkchor Leipzig

Mit Andacht Gedanken zu Beethovens Missa solemnis

into the live recording of the successful ten part Wagner cycle. Other activities of the RSB include special concerts for families and children, as well as guest performances in the major international concert halls, which have taken place over the past 50 years. Alongside regular tours of Asia the orchestra appears at German and European festivals. MDR Rundfunkchor Leipzig © Peter Adamik

Nelsons, Yannick Nézet-Séguin, Alain Altinoglu, Jakub Hrůša, Alondra de

nicht die Missa solemnis, sondern eine

Ein Solitär benötigt Zeit. Und die nahm sich Beethoven in diesem Fall reichlich. Im Sommer 1818 wurde in Wien bekannt, dass sein Schüler und Gönner, Erzherzog Rudolph, am 9. März 1820 zum Erzbischof von Olmütz inthronisiert

Überzeugungskraft. Reich an zutiefst persönlichen Blicken auf jenen Glauben, wie er in Gestalt des lateinischen Messtextes seit Jahrhunderten in

werden sollte. Aus diesem Anlass plante Beethoven eine Messvertonung. Im Juni 1819 schrieb er an den Erzherzog: „Der Tag, wo ein Hochamt von mir

Stein gemeißelt ist. Und doch auch reich an Momenten des Zweifelns an dogmatischer Religion und der formellen Institution Kirche. In ihrer

zu den Feierlichkeiten für I.K.H. soll aufgeführt werden, wird für mich der schönste meines Lebens sein. Und Gott wird mich erleuchten, dass meine

Monumentalität und zeitlichen Ausdehnung von knapp 90 Minuten sprengt die Missa solemnis jegliche liturgischen Vorgaben. Auch wenn das Werk ursprünglich für ein konkretes

schwachen Kräfte zur Verherrlichung dieses Feierlichen Tages beitragen.“ Doch die kompositorische Arbeit ging nur schleppend voran und Ende 1819

Hochamt gedacht war. Dort dann aber nicht erklang. Rundfunk-Sinfonieorchester Berlin © Molina Visuals

Äußerer Anlass und innere Aufgabe

Beethovens Missa solemnis ist ein Solitär. Ein Werk von äußerer dramatischer Wucht und schier unglaublicher innerer Stärke. Voller

hatte Beethoven gerade einmal den Mittelteil des Credos skizziert. Der Tag des Hochamtes kam. Und es erklang – Deutsch

Messe von Johann Nepomuk Hummel. Erst drei Jahre später konnte Beethoven die Missa solemnis vollenden. Weil ihm schnell klar wurde, dass er einen außergewöhnlichen Weg würde gehen müssen. Die Uraufführung fand am 7. April 1824 in St. Petersburg im Rahmen einer konzertanten Aufführung des Fürsten Galitzin statt und am 7. Mai 1824 erklang das Werk bruchstückhaft in Wien, ohne Gloria und Sanctus. Beethoven hatte ganz augenscheinlich kein schlechtes Gewissen, seine Missa aus ihrer ursprünglichen Bestimmung herauszulösen. Betrachtete er sie doch mittlerweile als zutiefst persönliche Auseinandersetzung mit seinem Glauben.

Stile antico und moderne Tonsprache

als „submotivische Beziehungen“.

dass ich den Text behandelt habe, wie

Glaubensfragen. Was nicht zuletzt der

Wie schon in der C-Dur-Messe

knappe volksliedhafte Bildungen. Die

Folgt man Carl Dahlhaus, so ging

Demnach kehren auf äußerst subtile Weise einzelne Parameter aus Motivgestalten genauestens kalkuliert

er noch wenig behandelt worden“. Auch bei der Missa solemnis untersuchte Beethoven die einzelnen Wörter des

es Beethoven in der Missa solemnis kompositorisch vor allem um eine Vermittlung zwischen altem Kirchenstil und moderner Instrumentalmusik. Gelungen sei ihm dies dadurch, „dass

wieder – aber in einem jeweils anderen inhaltlichen Zusammenhang. Diese submotivischen Bezüge sind beim erstmaligen Hören kaum zu erkennen. Während der Arbeit an der Messe

lateinischen Messtextes genau, um sie musikalisch exakt auszudeuten. Auf ihre reine Bedeutung hin, vor allem aber auch auf ihre Konnotationen. Welche Gefühle schwingen mit? Welche

im Autograph über dem Kyrie stehende Satz „Von Herzen – möge es wieder – zu Herzen gehen“ transportiert. Wie schlicht. Wie groß. Wie menschlich. Vielleicht hat Beethoven die Missa

verzichtet Beethoven auch in der Missa solemnis auf die traditionelle Nummerngliederung, also auf die Verteilung von Arien und Chorsätzen auf die Messabschnitte. Die formale

Missa solemnis ist ein Werk der Extreme. Beethoven lässt Chor, Solisten und das groß besetzte Orchester zu einem einzigen Klangkörper verschmelzen, der den Hörer mit seinem voluminösen

gerade deshalb als das „gelungenste seiner Geistesprodukte“ bezeichnet. Weil sie seinen persönlichen Blick

Gliederung folgt teils traditionellen Vorgaben, wie bei der Dreiteilung des Kyrie, geht aber auch eigene Wege,

Klangbild „rühren, treffen, erschüttern“ (Werner-Jensen) soll. Und das gelingt Beethoven, der sich zum Ziel gesetzt

er im Archaischen, das die Kirchlichkeit verbürgen sollte, zugleich ein Ferment von Modernität entdeckte, durch die das Werk vor der ästhetischen Maxime

vertiefte sich Beethoven in der Bibliothek Erzherzog Rudolphs in alte Kirchenmusik, studierte Palestrinas Werke und die Gregorianik.

Emotionen setzen sie frei? Und zwar nicht nur beim Hörer, sondern vor allem beim Komponisten.

etwa wenn Beethoven das „Gloria in excelsis Deo“ am Ende des Gloria im presto wiederholt. Dem extrem kurzen Sanctus steht ein extrem gedehntes Benedictus gegenüber und das textlich

hatte „sowohl bei Singenden als bei Zuhörern religiöse Gefühle (zu) erwecken und dauernd (zu) machen“.

bestehen konnte, dass Musik neu sein müsse, um authentisch zu sein.“ Und in der Tat finden sich Techniken wie motivisch-thematische Arbeit oder

auf den Glauben zeigt. Und wie er bestimmte Aussagen des Messtextes bewertet. Man denke etwa an das beiläufige, lediglich einmal im ChorTenor rezitierte „credo in unam sanctam

Schon in seiner C-Dur-Messe aus dem Jahr 1807 und auch in seinem Oratorium Christus am Ölberge (1803/1804/1811)

entwickelnde Variation (ihres Zeichens Merkmale des mittleren Beethovens) nur rudimentär. Was wiederum nicht bedeutet, dass die formalen Teile der

hatte sich Beethoven intensiv mit den Textvorlagen beschäftigt, mit dem Ziel „Musick und wort ein’s“ werden zu lassen. Beim Messtext bediente er sich

catholicam“, das in den „Credo“-Rufen der anderen Stimmen schier untergeht. Der Glaube an das ewige Leben erfährt dagegen auf über 170 Takten in einer

eigentlich dreiteilig angelegte Agnus Dei wird vierteilig umgesetzt. Auf allen Ebenen findet sich ein extrem ausgeprägtes Kontrastprinzip. Ruhe

homophon vom Chor fast geflüstert, das hymnisch anbetende „Laudamus te“ und das klanglich luftige „Gratias agimus tibi“. Mit dem „Qui tollis“ beginnt der langsame, zweite Teil des Gloria, in dem

der Hilfe eines Übersetzers, der selber Musiker war. Beethoven schrieb über seine erste Messe: „jedoch glaube ich,

wird Bewegung gegenübergestellt, ekstatischer Jubel erklingt neben schreitender Würde, polyphone und homophone Ausgestaltung wechseln

Das Kyrie, der Bittgesang, ist klassisch dreigeteilt, im steten, demutsvollen Wechselgesang zwischen Soli und Chor. Der machtvolle Kyrie-Anruf der Chorstimmen wird bereits im ersten

Messe isoliert nebeneinanderstehen. Die motivischen Bezüge zwischen den Formabschnitten beschreibt Dahlhaus

ausgeweiteten Doppelfuge eine starke Gewichtung. Derart kontrastreiche Interpretationen der textlichen Vorgabe prägen die Missa.

D-Dur-Akkord des vollen Orchesters vorweggenommen. Im mittleren Christe-Teil führen die Soli, der Chor antwortet. Immer dichter werden die

Klarinetten und Flöten das Klagethema präsentieren. Eine ausgedehnte, zerknirschte Bitte um Erbarmen entwickelt sich im von Beethoven um

Stimmen kontrapunktisch miteinander

den emotionalen Laut „O“ erweiterte

Bekenntniswerk Ist dies mein Glaube? Wie glaube ich? Und warum? Mit diesen Fragen zieht sich ein religiöser und „expressiv gesteigerter Subjektivismus“ (Ackermann) wie ein roter Faden durch die Missa solemnis. Sie ist ein zutiefst persönliches Bekenntniswerk. Es geht Beethoven um individuelle Emotionen, nicht um allgemeingültige

sich ab. Ein Rezitationston trifft auf weit ausschwingende Kantilenen und

Die Sätze

verwoben. In der variierten KyrieWiederholung betont Beethoven die schmerzvolle Haltung durch Chromatik, der Satz verklingt im Pianissimo-Gebet. In stärkstem Kontrast eröffnet Beethoven den Preisgesang des Gloria, das in vier Teile gegliedert ist. Nach stürmischem Fortissimo-Orchesterauftakt jagen die Chorstimmen mit dem aufsteigenden Gloria-Hauptthema in himmlische Höhen. Dieses Thema kehrt mottoartig an Schlüsselstellen des Satzes wieder. Es folgt das „et in terra pax hominibus“,

Acknowledgments

Bevor im Benedictus die Solo-

durchaus gefährdet ist, zeigen zwei

Violine in einem coup de théâtre von den höchsten Höhen des Himmels herabsteigt. Weltlicher Kitsch? Arnold Werner-Jensen sah darin „ein legitimes künstlerisches Mittel, den

instrumentale Einschübe mit gleichsam kriegerischen Pauken und Trompeten, die gewaltsam einbrechen. „Ängstlich“ bitten die Solisten erneut um Erbarmen. Der Chor fordert geradezu insistierend

einer gewaltigen Fuge abgeschlossen, einer Doppelfuge auf „et vitam venturi saeculi, amen“.

Hörer emotional aus der Fassung zu bringen“. Immerhin gehe es hier um die „Wucht der Verheißung“. Die

mit seinen Sforzato-Rufen „pacem“.

Das Sanctus nimmt „mit Andacht“ eine tiefgründige Versenkungshaltung ein, mezza voce werden die Gebetsrufe geflüstert, grundiert von Posaunen

gedämpften Klangfarben im Orchester unterstreichen die andachtsvolle Haltung noch. Bis zum Ende hat die Solo-Violine stets die Führung inne und steigt nach einer erneut fugierten

und um das Wunder von Geburt, Leiden, Tod, Wiederauferstehung und Himmelfahrt Christi. Analog zum Gloria kehrt das eröffnende, wuchtige Credo-

und tiefen Streichern. Nach einer Generalpause beginnt ein energisch vorantreibendes Chorfugato über „Osanna in excelsis“. Es folgt ein kurzes,

Lobpreisung am Ende wieder in die Höhe hinauf.

Kernmotiv am Ende wie einer Klammer wieder. Kann man hier irgendwie an Beethovens Glauben zweifeln? Die musikalische Gestaltung zementiert

fast schon amotivisches Präludium, in dem Beethoven das Wunder der Hostienwandlung nachzeichnet; übrigens der einzige rein instrumentale

einen Adagio-Teil ein, der sich immer wieder aufzuschwingen versucht, dann im Pianissimo verklingt. Das „Dona nobis pacem“ ist von Beethoven mit

PENTATONE TEAM Vice President A&R Renaud Loranger | Director A&R Job Maarse | Managing

eine unerschütterliche Geisteshaltung. Der Binnensatz („Et incarnatus est“

„Satz“.

„Bitte um innern und äußern Frieden“ überschrieben. Dass dieser Frieden

Director Dirk Jan Vink | Director Product, Marketing & Distribution Simon M. Eder A&R Kate Rockett | Marketing & PR Silvia Pietrosanti | Distribution Veronica Neo

– „et homo factus est“) gestaltet die einzelnen Phasen tief empfunden nach. Mal abgründig versunken, mal schmerz- und leidvoll, dann wieder plastisch-majestätisch beim Jüngsten Gericht. Auch das Credo wird von

Beginns den Satz im Presto krönend abschließt.

PRODUCTION TEAM Executive producers Stefan Lang (Deutschlandradio Kultur), Job Maarse (Pentatone) | Recording producer Job Maarse | Balance engineer Jean-Marie Geijsen (Polyhymnia) | Recording engineer & editor Erdo Groot (Polyhymnia) Deutschlandradio recording team Wolfram Nehls, Henri Thaon, Jens Müller Liner notes Jörg Peter Urbach | English translation Fiona J. Stroker-Gale Design Joost de Boo | Product management Max Tiel This album was live recorded at the Berlin Philharmonie, September 2016.

Das abschließende Agnus Dei leitet

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Find out more: www.pentatonemusic.com

Broadcasting Union, through touring or in guest performances worldwide,

years of musical history. Numerous world premieres attest to the 73 choir

the MDR LEIPZIG RADIO CHOIR, which was awarded the European Cultural

members’ reputation as a specialised ensemble for contemporary music.

Prize in 2013, acts as a supreme musical ambassador for central Germany.

work it is invariably the MDR LEIPZIG RADIO CHOIR that comes at the top

acclaimed world-class ensemble. From the season 2015/2016 he was succeeded

of their wish list. As the largest concert choir within the German Broadcasting

by Risto Joost as artistic director of the MDR LEIPZIG RADIO CHOIR.

experts as one of the best.

Premium Sound and Outstanding Artists PENTATONE. Today’s music is evolving and forever changing, but classical music remains true in creating harmony among the instruments. Classical music is as time-honoured as it is timeless.

formats. In 2017 the choir was awarded the International Classical Music Award for its recording of Max Reger’s Motets op. 110. Whether via the European

works complete a repertoire that encompasses practically a thousand

In the fifteen years of his tenure

Corporation (ARD), the MDR LEIPZIG RADIO CHOIR is widely regarded among

Sit back and enjoy

70-year history. These recordings have been released on LPs, CDs and digital

demonstrates its expertise with highly acclaimed a cappella performances. Secular and sacred music, wide-ranging ensemble singing and choral symphonic

from 1998 Howard Arman lastingly consolidated the reputation of this

Semyon Bychkov, Riccardo Muti, Yannick

Gleichfalls kontrastreich im Gesamtrahmen wie in den einzelnen Teilen gestaltet Beethoven das Credo. Auch hier zutiefst persönlich, geht es doch um das Glaubensbekenntnis

„Miserere nobis“. Im dritten Teil – „Quoniam tu solus sanctus“ – kehrt der Preisgesang im mächtigen Chorsatz zurück, bevor sich eine gewaltige „in gloria dei patris, amen“-Fuge anschließt bevor erneut das Zitat des Gloria-

Not only an excellent partner for major orchestras, the ensemble regularly

When major orchestras in Germany or abroad plan to perform a choral

Artists

The collaboration with Deutschlandradio, the main shareholder of the ROC GmbH Berlin to which the

Marek Janowski © Jean-François Leclercq

In 2014 Marek Janowski was awarded

Nearly 200 recordings, many of them award-winning, have been recorded by the ensemble during its more than

RundfunkSinfonieorchester Berlin (RSB, Berlin Radio Symphony Orchestra) dates back to the beginnings of music broadcasting in 1923, and has since sustained its position amongst the leading orchestras in Berlin and other radio orchestras throughout Germany. From 2002 to 2015, Marek Janowski was artistic director and chief conductor

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