On the 13th of September, 1807, Beethoven’s Mass in C Major, Opus 86, premiered. It was commissioned by Nikolaus I, Prince Esterházy. I am drawn to this topic for two reasons. I was interviewed by John Suchet at the 2024 Dartmouth Book Festival, and John is the great authority on Beethoven. Secondly, I am a great fan of John Le Carré, and although the spelling is different, Esterhase is the wire tapping expert in the George Smiley books.
Ludwig van Beethoven’s Mass in C Major, Op. 86, stands as a remarkable contribution to the choral repertoire, embodying both reverence for tradition and the distinct creative voice that Beethoven brought to all his compositions. Completed in 1807, this work marked Beethoven’s first full setting of the mass ordinary, preceding his later, more expansive Missa Solemnis.
Commission and Context
The Mass in C Major was commissioned by Prince Nikolaus Esterházy II, a member of the influential Esterházy family known for their long-standing patronage of the arts. The family had a renowned musical tradition, notably employing Joseph Haydn as their court composer. Indeed, Haydn had composed numerous masses for the Esterházy family, setting a high standard and a particular expectation for Beethoven to meet.
Beethoven approached the composition with characteristic seriousness and innovation. He commenced work on it in 1806, and it was first performed in 1807 at the Esterházy estate in Eisenstadt. Unfortunately, the premiere did not receive the warm reception that Beethoven might have hoped for. Prince Esterházy famously remarked with disapproval, “But my dear Beethoven, what have you done here?” indicating that the mass did not conform to the familiar style of Haydn’s liturgical works.
Structure and Musical Characteristics
The mass follows the traditional structure of the Catholic mass ordinary, consisting of five main movements:
- Kyrie
- Gloria
- Credo
- Sanctus (including Benedictus)
- Agnus Dei
Despite adhering to this classical format, Beethoven infused the work with his unique compositional voice. The mass is scored for four vocal soloists (soprano, alto, tenor, bass), mixed chorus, and a modest orchestra, including strings, woodwinds, horns, trumpets, and timpani.
Kyrie
The mass opens with the Kyrie, marked Andante con moto, in C major. It begins with a subdued, almost introspective quality, contrasting with the more majestic openings of earlier classical masses. The orchestra introduces a gentle yet firm harmonic foundation, and the choral entries are tender, invoking a genuine sense of supplication.
Gloria
The Gloria shifts to a more jubilant character, marked Allegro vivace. Beethoven employs dynamic contrasts and vigorous rhythms to reflect the exultant text. The interplay between soloists and chorus adds dramatic flair, with the recurring “Gloria in excelsis Deo” motif serving as a celebratory refrain. The movement concludes with an energetic Amen fugue, showcasing Beethoven’s contrapuntal prowess.
Credo
The Credo, the mass’s lengthiest section, displays Beethoven’s skill in setting complex theological text to music. The movement is marked Allegro ma non troppo and features rhythmic vitality and harmonic inventiveness. Notably, the “Et incarnatus est” section shifts to a more reflective, lyrical tone, underscoring the significance of the Incarnation within the creed. The choral writing here is particularly expressive, with subtle orchestral colouration enhancing the meditative mood.
Sanctus and Benedictus
The Sanctus begins with a serene, almost ethereal quality, marked Adagio. Beethoven’s setting inspires an atmosphere of awe and reverence. The Benedictus follows seamlessly, featuring a lyrical, almost chamber-like texture with solo voices interwoven delicately with the orchestra. The use of solo violin passages adds a transcendent quality, lending a contemplative, spiritual intimacy to the music.
Agnus Dei
The mass concludes with the Agnus Dei, marked Adagio molto, transitioning into an Allegretto vivace for the “Dona nobis pacem” section. Beethoven’s setting poignantly juxtaposes the solemn plea for mercy with a hopeful, confident expression of peace. The final “Dona nobis pacem” is particularly striking, as Beethoven employs martial rhythms and bold orchestration, hinting at both the fragility and the triumph of peace—perhaps reflective of the turbulent political climate of the Napoleonic era.
Reception and Legacy
While the Mass in C Major did not initially receive widespread acclaim, it has since been recognised for its profound musical and spiritual depths. Its more modest, intimate character contrasts with the grandeur of Beethoven’s later Missa Solemnis, yet this very quality endears it to performers and audiences seeking a heartfelt, sincere liturgical experience.
Beethoven’s approach to the mass text was both respectful and innovative. He sought not merely to fulfil liturgical function but to express deep personal reflection and emotional resonance. The mass reveals Beethoven’s ability to balance tradition with individuality, creating a work that is both accessible and profound.
Today, the Mass in C Major holds an esteemed place in the choral canon. Its clarity of form, expressive directness, and melodic richness continue to captivate and inspire, offering a glimpse into Beethoven’s evolving mastery of sacred music.