Missa Solemnis

Ludwig van Beethoven

New Philharmonia Chorus and Orchestra (Otto Kelmperer, cond.)

album cover

A Massive Mass

Beethoven gave future interpreters a set of massive challenges with the Missa solemnis. It's been called the greatest unperformable masterpiece, and with good reason. Just in terms of manpower, the piece calls for four solo singers, a large chorus, and an orchestra. To do it justice, a conductor must operate like an air traffic controller at rush hour, guiding large forces through a crowded soundscape so that they work in tandem, and, ideally, interact with each other.

Then there's the not-small matter of what Beethoven (1770–1827) expects the human voice to do. This was written during the composer's late period, when he was cut off from the world by his deafness. Though his previous writing shows he understood the particulars of vocal range, the Missa and Ninth Symphony both push the limits, with one key difference: The difficult vocal passages happen only in the last movement of the symphony, and they're pretty much nonstop in this mass. As he ponders the meaning of earthly and divine existence, Beethoven sends his singers to the highest heights, and gives them demanding intervallic exercises to puzzle over along the way. He divides the words between full chorus and the soloists, and at times asks that they bat lines back and forth in torrid exchanges that can be hard singing work. His idea of a respite are the prayers of forgiveness and gratitude the four principals (here, soprano Elisabeth Söderström, contralto Marga Hoffen, tenor Waldemar Kmentt, bass Martti Talvela) usually sing alone. Each of these is spectacular.

This recording shows how powerful the Missa solemnis can be when the army of performers involved seek clarity above all. Conductor Otto Klemperer, a sure hand with Beethoven, thinks strategically throughout, insisting on a deliberate rhythmic foundation that comes in handy as the Gloria section gathers momentum. The orchestra barrels into a dizzying, bigger-than-big fugue that has "climax" written all over it; but where some groups race ahead to exploit the excitement, Klemperer keeps things earthbound. The score moves through a series of increasingly dramatic false endings (a favorite Beethoven tactic), and eventually, as the end draws near, Klemperer lightens up. The extra-large group, suddenly turned loose, blows lustily through to the finale, bringing new animation to some of Beethoven's most exalted themes.

Genre: Classical
Released: 1966, EMI (Reissued 2001)
Key Tracks: Kyrie; Gloria; Credo
Catalog Choice: Mass in C, Elegaic Song, Atlanta Symphony Orchestra and Chorus (Robert Shaw, cond.)
Next Stop: Giuseppe Verdi: Requiem, Leontyne Price, Jossi Björling, Vienna Philharmonic and Chorus (Fritz Reiner, cond.)
After That: Richard Strauss: Four Las Songs, Jessye Norman, Leipzig Gewandhaus Orchestra (Kurt Masur, cond.)
Book Pages: 67–68

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