Opus 86 Mass in C major for soloists (soprano, alto, tenor and bass), choir and orchestra
I) Kyrie (Andante con moto assai vivace quasi allegretto ma non troppo) – II) Gloria (Allegro) – III) Credo (Allegro con brio) – IV) Sanctus (Adagio) – V) Benedictus (Allegretto ma non troppo) – VI) Agnus Dei (Poco andante)
Opus 086, Mass in C major for soloists (soprano, alto-tenor, and bass), choir, and orchestra, Op. 86, dedicated to Prince Ferdinand Kinsky, composed between spring and August 1808, was published in score in Leipzig by Breitkopf & Härtel in October 1812. The Latin text is accompanied by a German reduction, not entirely satisfactory, by the theologian Christian Schreiber. The choral parts were published by Simrock in Bonn in 1826; the solo parts in Leipzig by Breitkopf & Härtel; and the orchestral score in the same location in June 1847. The original vocal and piano reduction was published by Breitkopf & Härtel in December 1827. GA no. 204 (series 19/2) – B. 86 – KH. 86 – L. III, p. 223 – N. 86 – T. 137.
The original manuscripts of the Kyrie and Gloria are preserved in the Beethovenhaus, while those of the other sections (Credo, Sanctus and Benedictus, Agnus Dei) are lost. Various sketches can be found in the library of the Paris Conservatory. The work was originally intended to be dedicated to Prince Nikolaus Esterházy of Galanta, who annually, on the feast day of his wife, Princess Maria of Liechtenstein, had a Mass performed in music. The first public performance (partial, limited to the Gloria, Sanctus, and Benedictus) took place, the success of which remains uncertain, during Beethoven’s grand Academy at the Theater an der Wien on 22 December 1808. This concert also featured, as novelties, the Fifth and Sixth Symphonies, a Piano Fantasy, the Piano, Orchestra, and Chorus Fantasy Op. 80, and a reprise of the Fourth Piano Concerto Op. 58, which had already been performed the previous year.
In fact, the Mass took a different approach from the norm, as it began to implement ideas that, fifteen years later, would be fully realised in the Missa Solemnis. Beethoven sought to give the sacred text a more vivid and dramatic character, stating in a letter to Breitkopf & Härtel on 8 June 1808, “I believe I have treated the text as rarely has been done.” He endeavoured to highlight each episode with its own distinctive musical emphasis, in line with the meaning of the words, rather than adhering to general musical moods for each of the major sections of the liturgical office.
Another matter is to consider the relationship between the inspiration, the musical elaboration, and the grandeur of the subject. Indeed, this Mass, which required Beethoven only a few months of work, cannot be compared to the Missa solemnis, begun in 1819 and completed in 1823, although it already reveals, albeit schematically, some analogy with it, particularly in terms of its approach to colours and expressive contrasts.
Fifteen years is a significant span for an artist in continuous evolution like Beethoven, and for his spiritual deepening. Nevertheless, the work retains its own distinct poetic identity, even among the other major works of the same creative period. The score includes two flutes (fewer than in the Kyrie), two oboes, two clarinets, two bassoons, two horns, two trumpets (fewer than in the Kyrie), timpani (fewer than in the Kyrie), and strings. Two letters from Beethoven to Breitkopf & Härtel, dated 4 and 19 February 1811, hint at his intention to include an organ part (“in a manner,” as he says in the first letter, “different from how it has appeared in previous Masses”), but this does not appear in the score. Beneath the (single) line for cellos and double basses, only figures are provided for realisation, with the indication of either no organ or organ on each occasion.
Kyrie – Andante con moto assai vivace. It is divided into three sections, corresponding to the threefold invocation: the first (Kyrie) is devoutly restrained, the second (Christe) more gentle as it transitions to E major, and the third (Kyrie) is based on the theme of the first, serenely concluding in the same key.
Gloria – Allegro con brio. This also divides into three main sections: the first, from the beginning to the words “Agnus Dei, Filius Patris,” is characterised by an acclamatory theme in the voices and orchestra, to which the brief motifs of Et in terra pax and Adorarne te respond humbly. Then the tenor, accompanied by the choir, introduces the Gratias agimus tibi with a more serene theme, within which the phrase “Deus, Deus omnipotens” is forcefully etched.
The second section, Qui tollis, is the most expressive, with the pleading melody, equally sung by the tenor followed by the choir in Miserere nobis, repeated and concluded by the solo quartet, followed by the subsequent Qui sedes ad dexteram Patris… miserere nobis, also by the choir, which celebrates the divine power and mercy. The third section returns to the celebratory intensity of the first. The bright Quoniam tu solus sanctus introduces a fugue on the final words Cum Santo Spiritu, gloria Dei Patris, amen, entrusted to the full voices of the choir and orchestra, with the solo quartet making only a brief final intervention.
Credo –Allegro con brio. It is treated in a manner similar to the Gloria, with a corresponding alternation of musical sections reflecting the various meanings of the text. The powerful initial affirmation, in a succession of brief, incisive phrases, is contrasted episodically by moments of awe-inspiring wonder, such as in “Et invisibilium… ante omnia saecula.” The Descendit de coelis stands out for its vivid, pictorial effectiveness. The central section, similarly to the Qui tollis in the Gloria, is the most inwardly intense, ranging from the Et incarnatus est, entrusted with great delicacy to the soloists, to the Crucifixus, passus et sepultus est, which weaves together the soloists and choir in a progressively darkening texture, interpreting the Passion narrative all the way to the descent into the tomb. From here, the joyful Et resurrexit emerges suddenly, followed by a vigorous reference to the Last Judgment, and then the profession of the articles of faith: “Et in Spiritum Sanctum”… etc., crowned, as in the final section of the Gloria, by a fugue on Et venturi saeculi, amen.
Sanctus et Benedictus –An initial Adagio in a quiet dynamic; the intervention of a few instruments and the choir, which softly intones the first words Sanctus, Benedictus Dominus Deus Sabaoth like a psalmody, creates the impression of a solemn, expectant gathering and serves appropriately as an introduction to the jubilant Pieni sunt coeli et terra, crowned by the Osanna. This is followed by the hymn of peaceful triumph, Benedictus qui venit in nomine Domini, first sung and developed by the solo quartet (initially a cappella), then divided with the choir in a dialogue between a few chosen voices and the multitude, all united by the same celebratory feeling; the section concludes, as per the liturgical text, with a reprise of the Osanna.
Agnus Dei – The first part, Agnus Dei… miserere nobis, entrusted to the choir with a restrained but meaningful contribution from the orchestra, carries a sorrowful character, alternately urgent and humble. At the final dona, the atmosphere lightens, and in the shift to major (introduced by a clarinet solo), under which the choir softly syllables “dona, dona,” the prayer for peace is expressed, with a theme of resolution and serenity, first intoned by the solo quartet and then developed by the choir. A sudden return to the invocation for mercy interrupts this course, briefly restoring the dramatic tone, which is quickly dispersed by the reprise of the prayer. Finally, the theme takes on an almost pastoral quality, in brief solos by the horn and bassoon, interwoven repeatedly with the voices, adding a sense of pastoral serenity (in harmony with the character of the clarinet’s introductory solo). The calming cadences of the summarising word pacem lead to the conclusion: ultimately, as a spiritual seal for the entire work, the theme from the Kyrie returns.
Official title: Opus 86 Messe (C-dur) für Soli, Chor und Orchester Widmung: Ferdinand Johann Nepomuk Fürst Kinsky von Wchinitz und Tettau NGA VIII/2 AGA 204 = Serie 19/2
Origin and Publication: The Mass was commissioned by Prince Nikolaus II Esterházy von Galantha for the celebration of Princess Maria Josepha Hermenegild’s name day. The work was performed in Eisenstadt on 13 September 1807, and Beethoven was commissioned no later than the winter of 1806/07. The original score was published by Breitkopf & Härtel in Leipzig around September 1812, with the piano reduction following in December. In a letter to Prince Esterházy dated 26 July 1807, Beethoven listed several reasons for the delay in delivery, including the planning of a charity concert that never took place (March 1807), negotiations with Muzio Clementi and his associates regarding the production and revision of the engraving models for the publication of the work in London (from March to May 1807), and a prolonged illness (from May to July 1807): “Da man mir sagt, daß sie mein Fürst nach der Messe gefragt, die sie mir aufgetragen für sie zu schreiben, so nehme ich mir die Freiheit, ihnen durchlauchtigster Fürst zu verkünden, daß sie solche spätestens bis zum 20ten August-Monath erhalten werden — wo alsdenn Zeit genug seyn wird, solche auf den Namens-Eag der Durchlauchtigsten Fürstin aufzuführen — außerordentliche vorteilhafte Bedingungen, die mir von London gemacht wurden, als ich das Unglück hatte mit einem Benefice Tag im Theater durchzufallen, und die mich die Noth mit Freuden ergreifen machen musste, verzögerten die Verfertigung der Messe, so sehr ich es auch gewünscht, damit vor ihnen Durchlauchtigster Fürst zu erscheinen, dazu kam später eine Kopfkrankheit, welche mir anfangs gar nicht und später und selbst jetzt noch nur wenig zu arbeiten erlaubte” (BGA 291).
Assuming the dates given by Beethoven are correct, Jeremiah McGrann suggests that the work was composed before March 1807 and during the summer of 1807, with a long pause in between. This could also explain why the July/August sketchbook “Pariser” contains very few sketches for the Credo. However, by the time of the letter (26 July 1807), drafts for all the movements had certainly already existed. McGrann presumes that the material for the first performance was worked out in the early weeks of August (McGrann/NGA VIII/2 p. IX and 215). Beethoven first offered the Mass to Breitkopf & Härtel on 8 June 1808: “Von meiner Messe wie überhaupt von mir selbst sage ich nicht gerne etwas, jedoch glaube ich, daß ich den Text behandelt habe, wie er noch wenig behandelt worden, auch wurde sie an mehreren Orten, unter anderem auch bei Fürst Esterházy auf den NamensTag der Fürstin mit vielem Beifall gegeben in Eisenstadt, – ich bin überzeugt, daß die Partitur und selbst KlavierAuszug ihnen gewiß einträglich sein wird” (BGA 327).
After the publisher declined the offer, pointing out that the financial request was too high, Beethoven re-offered the work at a lower fee, with some additions: “Übrigens mache ich mich verbindlich, ihnen mit einem Offertorium und Graduale zu der Messe in einiger Zeit ein Geschenk zu machen, in diesem Augenblick stehen mir aber beide nicht zu Gebote” (BGA 329). Despite this, the publisher once again declined the offer, and the composer then offered the Mass as a “gift”: “Warum ich sie vorzüglich verbinden wollte diese Messe herauszugeben, ist weil sie mir erstens vorzüglich am Herzen liegt trotz aller Kälte unseres Zeitalters gegen dergleichen” (BGA 331).
Eight months later, in April 1809, Beethoven finally announced that the Mass would be sent by post (BGA 375), but again delayed the delivery as he was negotiating with Simrock in Bonn. After further discussions about the fee, Breitkopf & Härtel finally secured the rights to publish the work (the publisher purchased the Mass along with Christ on the Mount of Olives and Fidelio); Beethoven sent all the music to Leipzig before 19 September 1809 (BGA 400). By the end of November, the publisher confirmed the correct receipt of the fine copies for engraving (BGA 410).
Subsequent Delays in Publication: In the years following, there were additional delays in the publication of the work. The cause lay in two suggestions that Beethoven submitted to Breitkopf & Härtel on 4 February 1810: “Sollte sich nicht auf die Messe ein deutscher Text jedoch ohne den lateinischen auszulaßen, machen lassen — die Orgelstimme von der Messe schicke ich ihnen Insbesondre noch nach, wenn sie sonst sie nicht schon gestochen haben, ich möge sie auf eine andere Art als bisher bei der Messe erscheinen lassen, ist aber daß sie selbe schon gestochen, so muß mans diesmal so hingehn lassen” (BGA 423).
Despite repeated requests to Beethoven, the publisher did not receive an organ part, to the point that in November 1810, Breitkopf & Härtel complained: “Ich gestehe Ihnen, daß es mir sehr unlieb ist, diese Sachen so lange erwarten zu müssen, da auf diese Weise nicht allein dieser Winter, mithin ein Jahr für diese Werke verloren wird […]. Wie lange ist schon das Orator [Op. 85] u. die Messe in meinen Händen u. doch noch unvollständig, so daß ich nichts damit anfangen kann. Ich bitte Sie angelegentlich, doch nun gütig zu sorgen, daß wir einmal in Richtigkeit kommen u. daß Ihnen die Plage einer längern Korrespondenz darüber u. mir das vergebliche Warten erspart werde” (BGA 477).
Although Beethoven eventually instructed the publisher to publish the Mass without the organ part as soon as possible, Breitkopf & Härtel focused on completing other Beethoven works (Op. 80–85). It was only in May 1812 that Beethoven received the proof engravings for the Mass (BGA 577), which were returned to the publisher in July.
The score was included in the publisher’s catalog in September (KH: October) 1812. A preview appeared already in April 1812 in AmZ 14 (Intelligenzblatt 4, Col. 18: “Nach der [Oster-] Messe werden fertig […] Missa, Partitur”), and in November 1812, it was listed among the publisher’s new releases (Intelligenzblatt 15, column 65).
On the German Text: Beethoven told Breitkopf & Härtel in July 1808: “geben sie dieselbe [Op. 86] meinetwegen im Klawierauszug mit Deutschem Text, ich stehe ihnen jedesmal wie immer für den Erfolg gut” (BGA 329). He also planned to use German texts for the performance of some parts of the Mass, which was scheduled in Vienna on 22 December 1808 (BGA 347). He reiterated his suggestion to the publisher on 4 February 1810. The publisher then commissioned theologian Christian Schreiber (1781–1857) to write a German text. Schreiber also translated the Ariette Op. 82 (Schmidt-Görg/Op. 86).
In January 1811, Beethoven commented on the German text: “Die Übersetzung zum Gloria scheint mir sehr gut zu passen, zum Kyrie nicht so gut, obwohl der Anfang, ‘tief im Staub anbeten wir’ sehr gut passt, so scheint mir doch bei manchen Ausdrücken wie ‘ew’gen Weltenherrscher’, ‘Allgewaltigen’ mehr zum Gloria tauglich. Der allgemeine Charakter (Bei solch einer Übersetzung sollte nur, wie mir scheint, der allgemeine Charakter jedes Stücks angegeben sein) in dem Kyrie ist innige Ergebung, woher Innigkeit religiöser Gefühle, ‘Gott erbarme dich unser’, ohne deswegen traurig zu sein, Sanftheit liegt dem Ganzen zu Grunde. Hier scheint mir die Ausdrücke ‘Allgewaltiger’ nicht im Sinne des Ganzen, obwohl ‘Eleison, erbarme dich unser’ — so ist doch Heiterkeit im Ganzen. Der Katholik tritt sonntags geschmückt festlich heiter in seine Kirche, das Kyrie Eleison ist gleichfalls die Einführung zur ganzen Messe, bei so starken Ausdrücken würde wenig übrig bleiben für da, wo sie wirklich stark sein müssen.” (BGA 484).
Despite these criticisms, Beethoven gladly thanked the translator for his work (BGA 486).
In May 1823, Beethoven received a new German transcription of the Mass text, created by Benedict Scholz, the musical director of Warmbrunn (Cieplice), and dedicated to the composer (BGA 1662 and BKh 3 pp. 262-265). To this end, Scholz had copied a score with the vocal parts. Beethoven was impressed by this translation and wrote on 7 May 1825 to the Schott publishing house in Mainz regarding a new edition: “Es hat jemand zu meiner Messe in C einen vortrefflichen deutschen Text gemacht, ganz anders als den Leipziger, wollten sie wohl selbe mit dem neuen Texte neu auflegen” (BGA 1966). However, nothing came of this, and the text was eventually printed years later in the journal Caecilia (23, 1844, pp. 54–61).
A comparison between Schreiber’s and Scholz’s texts can be found in Schmidt-Görg/Op. 86 pp. 19-24 and McGrann/NGA VIII/2 pp. 189-294.
Dedication: Between 6 and 10 October 1810, Beethoven made a note about the intention to dedicate the Mass to Napoleon: “Die Messe könnte vielleicht auch dem Napoleo[n] dediziert werden.” (D-BNba, HC Bodmer HCB Br 275). Soon after, he changed his mind and on 15 October 1810, wrote to Breitkopf & Härtel, dedicating it initially to Nikolaus Zmeskall (BGA 474). A year later, on 9 October 1811, the dedication was changed again: “Was die Messe so könnte die Dedikation verändert werden, das Frauenzimmer ist jetzt geheirathet, und müsste der Name so verändert werden, sie kann also Unterbleiben, schreiben sie mir nur, wann sie sie heraus geben, und dann wird sich schon der Heilige für dieses Werk finden” (BGA 523 a Breitkopf & Härtel). It is not clear who the woman referred to was (Leitzmann/Briefe p. 270f suspects it was Bettina Brentano, who had married Achim von Arnim on 11 March 1811). The “Heilige” was found in May 1812: “Da sie [die Messe] so spät herauskommt, soll die Dedikation geändert werden, nämlich an Fürst Kynsky das weitere Titularium, deswegen erhalten sie – Es muß so seyn” (BGA 577).
Ferdinand Johann Nepomuk, Prince Kinsky von Wchinitz und Tettau was born on 4 December 1781 in Vienna and died on 3 November 1812 in Weltrus [Veltrusy] on the Vltava River from the consequences of a fall from a horse. He was the son of Prince Joseph Kinsky (1751–1798) and his wife Maria Rosa Aloysia, née Countess Harrach (1758–1814). Ferdinand Kinsky was an officer, later a colonel in the Schwarzenberg Uhlans regiment, and an active fighter during the Napoleonic Wars.
In 1796, Schönfeld listed both Ferdinand Kinsky and his father among the exceptional nobles (Schönfeld/Annuario, p. 107). Along with Archduke Rudolph and Prince Lobkowitz, Prince Kinsky was one of Beethoven’s patrons, providing him with an annual pension of 4,000 florins starting from 1 March 1809. Kinsky was the largest donor, contributing 1,800 florins annually, but soon fell behind on payments. In addition to these delays, the conventional currency lost considerable value in 1811. During a visit to Prague in early July 1811, Prince Kinsky verbally assured Beethoven that the sum would be adjusted to account for the devaluation, but once again, the composer was not paid. After Kinsky’s death in 1812, Beethoven wrote to the widow on 30 December 1812, requesting payment of the guaranteed portion of the pension (BGA 607f). The princess forwarded Beethoven’s request to Count Kolowrat in Prague, as she could not be involved in financial matters without the consent of the co-guardian and Bohemian guardianship authority in Prague. This resulted in a legal dispute lasting a year between Beethoven and the Kinsky heirs, which was resolved only on 18 January 1815 with a settlement.
First Performance: The first performance took place on 13 September 1807 at the Bergkirche (not at the castle chapel, see Landon/Haydn vol. 4 p. 49f) in Eisenstadt. Beethoven, who was in Eisenstadt from 10 to 16 September, conducted the concert. (For the cast, see Harich/Eisenstadt, p. 183s). The Prince did not like the work, and, visibly displeased by Beethoven’s Mass, wrote: “La messe de Beethoven est insupportablement ridicule et détestable, je ne suis pas convaincu qu’elle puisse même paraître honnêtement: j’en suis colère et honteux,” (letter to Henriette Zielinska).
In the grand academy in Vienna on 22 December 1808, parts of the Mass were performed as “Hymns” with German text. (See photo).
According to the journal Annalen der Literatur und Kunst (February 1809, columns 84-87), these were the Gloria and the Sanctus. According to Aloys Fuchs, a performance with Beethoven participating took place during Beethoven’s stay at Prince Lichnowsky’s castle in Grätz near Troppau in the summer of 1811. In this case, Beethoven would have traveled to Troppau after his stay at the Teplitz spa. This journey is doubted by a statement from Beethoven himself that he would travel “flugs nach Wien” (BGA 523 note 3).
Numerous sketches will be dealt with in a separate article.
Opus 86 Mass in C major
Gesamtausgabe
