Although numerous German authors have discussed Beethoven’s Mass in C, opus 86, there have been only limited critical discussions of the work published in English.1 Often opus 86 has suffered from comparison with the Missa Solemnis. Since the Mass in C is of a more modest length and places lesser demands on the performers than Beethoven’s later work, it deserves more frequent performance.
Beethoven wrote the Mass in C during the summer of 1807 on commission from Prince Nikolaus Esterhazy von Galantha for the name day celebration of his wife, Maria Josepha, nee Liechtenstein. He knew the Prince would evaluate the work with Haydn’s last six Mass settings and in a letter to the Prince explaining when the score would arrive in Eisenstadt concluded, “May I add that I shall hand you the Mass with considerable apprehension since you, most excellent prince, are accustomed to have the inimitable masterpieces of Haydn performed for you.” Following an unsatisfactory dress rehearsal at which only one of five altos was present, Beethoven conducted the first performance in the Eisenstadt palace chapel on September 13, 1807. After the performance the Prince remarked ambiguously, “But my dear Beethoven, what have you gone and done now?” In a later letter to Countess Zielinska, Prince Nikolaus left no doubt about his criticism of the work. “Beethoven’s Mass is unbearably ridiculous and detestable, and I am convinced that it can never be performed. I am angry and mortified.”
Kitty Babcock says
Bill Chiles says
Gordon Thornett says