The angst, the passion and the glory

BROODY: Portrait artist Joseph Karl Stieler’s 1820 painting of Ludwig van Beethoven is said to be the most well-known representation of the composer today.

Dah d-d-daaah.

Everyone is familiar with the opening bars to Ludwig van Beethoven’s 5th symphony but the German composer and pianist’s 1807 work, Mass in C major is not so well known. Beethoven’s Mass in C, Op. 86 was overshadowed by later giants, Missa Solemnis and the Ninth Symphony, says Gavin Maclean, musical director for the Gisborne Choral Society’s (GCS) upcoming performance of the work.

Beethoven wrote the mass during his “middle period,” when he struggled with the knowledge he was going to lose his hearing.

“There is angst,” says Maclean

“It breaks new ground after centuries of pious mass settings, as if faith itself was hard to hold, expressed in dynamic outbursts from beginning to end.”

The Mass in C stands between classical and Romantic territory, with graceful touches reminiscent of the Mozart Requiem counterpoised by romantic passion, says Maclean.

“It is an exquisite miniature, within the reach of smaller choirs and orchestras. And as with much vocal work, not least Beethoven’s, it can be much greater in live performance than in a recording.”

To supercharge the August 5 concert, the GSC and Hastings Choral Society will combine forces and will be fuelled by the Hawke’s Bay Youth Orchestra and Gisborne guest musicians Janet Roderick and Anna Lawton (violins), Richard Flyger on viola, cellist Chris Reynolds, flute players Laura Gilding and Susan St John, Amanda Maclean on trumpet and Micah Russell on bassoon.

Beethoven’s Mass in C follows a form known as the Ordinary of the mass which consists of five parts — Kyrie, Gloria, Credo, Sanctus (sometimes divided into Sanctus and Benedictus) and Agnus Dei. The repeated Latin phrasing is consistent from one Ordinary to another.

During rehearsals for Beethoven’s mass, Maclean often walks singers through the emotional and spiritual subtext of songs in the work. The Mass in C major no doubt resonates with those who have a faith but it is also powerfully engaging for the secular as well as godless journalists.

Kyrie

The phrasing “Kyrie eleison, Christe eleison” (Lord have mercy, Christ have mercy) is a beautiful theme, says Maclean, “lifted from the violin concerto of the year before it swells into a dramatic plea for mercy.”

Gloria

“‘Gloria in excelsis Deo’ (Glory to God in the highest) is a frenzy of exaltation followed by a serene central ‘miserere’ (have mercy) and a joyous fugue on ‘Quoniam tu solus’ (For you alone are most high, with the holy spirit).”

Credo

Even the creed, “Credo in unum Deo” (I believe in one God), often a routine recitation, gets the dramatic treatment, says Maclean.

“The soft phrase ‘I believe’ goes loud, as if to say ‘I have to believe!’

“Having let off so much steam by now, Beethoven gives the next sections a more obvious narrative treatment: a gentle ‘Et incarnatus est’ (and was made flesh), a forceful ‘crucifixus . . . passus’ (was crucified . . .died), a sub-audible ‘sepultus’ (buried), and a sprightly ‘resurrexit’ that returns to glory for the fugal ‘et vitam venture seculi’ (and the life of the coming age).”

Sanctus

“Sanctus . . . Benedictus . . . Osanna” (Holy, holy, holy . . . Blessed is he . . . Hosanna) brings about a new mood and a new key, says Maclean.

“The solo quartet sings the Benedictus with chorale underpinning, framed by a happily syncopated, dancing Hosanna.”

Agnus Dei

“Agnus Dei, qui tollis peccata mundi” (Lamb of God who takes away the sin of the world, have mercy on us).

“Even stronger pleading than the opening Kyrie progressively calms as the loud and soft sections lengthen into ‘dona nobis pacem’ (give us peace) which is established with the return of the opening theme and a final blessing from the solo flute.”

Gisborne Choral Society with Hastings Choral Society, Hawke’s Bay Youth Orchestra and guest Gisborne musicians, Beethoven Mass in C, August 5, 2pm, St Andrew’s Church.