One of the most breathtaking pieces that make me sing for joy is Beethoven’s “Missa Solemnis.” It weighs very heavy on the heart from the “Kyrie” to the very end. This and Beethoven’s Symphony Number 9 are two big works of his later repertoire. They may be the final two. An interesting note is that this particular performance is slowed down in certain parts to let the soloists have their bright and shining moments with the choir in the background. One of these such moments is in the round of the “Kyrie.” The pleading of the mass while listening to the woes of Jeremiah go well together because a heavy heart is hearing these.
The “Gloria” is a beautiful golden picture of glory. It is so awesome a presentation of God’s glory one could be found to weep. I miss music like this. It reminds me of college days when I would be listening to countless scores, this one included. To the glory of God is the cause of this fabulous song. It is a swan song of all in the Catholic mass. You wouldn’t want to sin or do anything else while listening to this. It shall bring your heart joy and bring to repentance all our deeds into action. This piece makes you just want Jesus. It makes you want and long for heaven. The mass was first performed in April of 1824 in complete form. Another incomplete performance was given by Beethoven himself. Later on, the piece was dubbed one of the most extraordinary mass sequences ever.
The Mass is scored for two flutes, two clarinets, two bassoons, a contrabassoon, four different types of horns, alto, tenor and bass trombone, organ continuo, and a full set of strings—plus the full choir. The orchestra was much larger than the standard format of the day back then.
The Mass was dedicated to the Archduke of Austria, a well-known pupil and friend and patron of Beethoven’s. The piece has received spectacular performance reviews from the plaudits of later classical music to say that there is not much in the way of other choir and sacred music that comes near as this to perfection. It has a large spatial structure which is accompanied by the big orchestral arrangement. It has all the pomp and circumstance of any classical work in the last two to three hundred years. It is a shining gem of optimism, repentance, hope, and loss—all for the glory of God.
