The Esterházy family of Hungry were known for being longtime patrons of Joseph Haydn and other composers. Between 1796 and 1802, Nicholas II, the current Prince Esterházy, had commissioned six Masses from Haydn to celebrate the name day of his wife Maria Josepha.
After Haydn retired from composing, Prince Nicholas Esterházy continued to commission Masses to celebrate his wife’s name day, including several from the new court composer Johann Hummel.
In 1807, Prince Esterházy commissioned Beethoven for the annual Mass.
Beethoven spent much of the summer of 1807 in Baden and Heiligenstadt working on the commissioned Mass, but he encountered some delays. On 26 July 1807 Beethoven wrote to Prince Nikolaus Esterházy:
“As I am told that you, my Prince, have been asking about the Mass which you commissioned me to compose for you, I am taking the liberty of informing you, most excellent Prince, that you will receive it by August 20th at latest — That will give us sufficient time to produce it on the name-day of the most excellent Princess.”
The Princess’s name day was 8 September, so Beethoven’s music would be performed during Mass on the following Sunday, 13 September.
Beethoven then alludes to his business with Clementi (Day 203) and continues:
“I was afflicted somewhat later by an illness which affected my head. This prevented me at first from working at all and later and even now has allowed me to do very little work. Since people are so ready to construe everything to my disadvantage, I am enclosing, most excellent Prince, one of my doctor’s letters.”
Then, as now, a doctor’s note is helpful when missing an appointment or deadline.
Beethoven likely had some real trepidation in admitting:
“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 the great Haydn performed for you.” (Letters, No. 150)
In composing his Mass, Beethoven was put into a difficult artistic bind. He knew he must avoid imitating Haydn’s great Masses, yet he would also have to severely restrain his more post-Haydn compositional tendencies as being inappropriate for a religious service.
Beethoven’s Mass in C is scored for soprano, alto, tenor and bass soloists, SATB choir, and a fairly standard orchestra plus organ, an instrument found in many churches.
It's generally acknowledged that Beethoven had more success writing a Mass in his second try 15 years later.
“The Mass in C major reads as if Beethoven had difficulty in deciding to feel his way into an alien genre; as if his humanism had bridled at the heteronomy of the traditional liturgical text and had delegated its composition to a routine devoid of genius.” — Theodor Adorno
#Beethoven250 Day 205
Mass in C Major (Opus 86), 1807
A particularly dynamic reading by the Sint-Paulus Sinfonietta performing in St. Paul’s Church in Antwerp during a real Mass. (Too bad about the glitch between the Sanctus and Benedictus).
The Mass in C begins with a peaceful, lovely, lyrical Kyrie. The Gloria follows with orchestral and choral triumph but at “Qui Tollis peccata mundi,” the mood gets darker and sadder with throbbing string accompaniment, until “Quoniam tu solus sanctus” bursts into fugal passages.
The central Credo is the longest movement of the Mass in C, and Beethoven treats it as a dramatic narrative rather than a litany, with frequent changes of tempo and dynamics. “Sub Pontio Pilato passus” isn’t just one belief of many, but a pivotal part of the story.
The 4th movement of the Mass in C combines the Sanctus and Benedictus. The Sanctus begins serenely and ethereally before bursting into glory, while the Benedictus maintains long sustained lyrical lines with soloist and choral voices soaring and swirling above our heads.
The last movement of the Mass in C is an Agnus Dei that begins with unsettling pulsing accompaniment, and includes an almost whispered anguished “miserere nobis,” but with the “dona nobis pacem” the Mass ends with the same serene melody that began the Kyrie.
#Beethoven250 Day 205
Mass in C Major (Opus 86), 1807
The Kosovo Philharmonic Choir and Orchestra performing in the Mother Teresa Cathedral in Prishtina.
The rehearsals and first performance of Beethoven’s Mass in C did not go well. When Beethoven and Prince Esterházy met afterwards, Esterházy asked “But, my dear Beethoven, what is this that you have done again?” causing Hummel to laugh and Beethoven to feel insulted.
Later, Prince Esterházy was more explicit in his feelings about the commission. He wrote in a letter, “Beethoven’s Mass is unbearably ridiculous and detestable, and I am not convinced that it can ever be performed property.” (Landon, “A Beethoven Documentary Study,” p. 219)