{"id":926,"date":"2010-05-10T16:45:55","date_gmt":"2010-05-10T14:45:55","guid":{"rendered":"https:\/\/pureaudiorecordings.com\/product\/import-placeholder-for-775\/"},"modified":"2026-06-26T15:16:06","modified_gmt":"2026-06-26T13:16:06","slug":"orchester-kammerchor-d-klangverwaltung-beethoven-missa-solemnis","status":"publish","type":"product","link":"https:\/\/pureaudiorecordings.com\/en\/product\/orchester-kammerchor-d-klangverwaltung-beethoven-missa-solemnis\/","title":{"rendered":"ORCHESTER & KAMMERCHOR D. KLANGVERWALTUNG – Beethoven: Missa Solemnis"},"content":{"rendered":"

Ludwig van Beethoven<\/a> himself called the Missa Solemnis as his most accomplished work, and in fact the composition is still one of the most famous fairs of Western art genre. <\/span>Rise to the emergence of the Missa Solemnis delivered Archduke Rudolph of Austria, Beethoven gifted student, close friend and financial sponsor, than this should be appointed Archbishop of Olomouc. Spontaneous took Beethoven to compose the decision a solemn Mass for the enthronement.<\/p>\n

Beethoven was incredulous neither religious nor. He dealt with the ancient Egyptian writings, with the philosophy of Kant, claiming to recognize the existence of God in the splendor of nature. As a deep-rooted in church life man, he did not apply. In this respect the intellectual confrontation took with his understanding of God and the resulting, as accepted studies’ of theology, liturgy and church music that Beethoven considered for the composition of the Missa Solemnis as needed far more time to complete. Nearly four years he worked at the factory. His plan to accompany the celebrations of the consecration with his exhibition, unfortunately, did not work. 1823, three years after the enthronement, handed Ludwig van Beethoven Archbishop of Olomouc which he dedicated Missa Solemnis.<\/p>\n

The Missa Solemnis is not a pure church music, a number of symphonic points make up a large part of the fair from. It provides extremely high technical and vocal requirements for soloists, chorus and orchestra. The experts claimed that the finale of the Credo, for example, belong to the most demanding Tonl\u00e4ufen of choral literature. “Art has to transport content,” says the conductor, “the listener has to understand what is said there.” The musical allegories and images varied used by Beethoven white plastic and implement contrast zu Guttenberg. From the inner meaning of the liturgical texts and images the result is an extraordinarily high musical dynamics and density. Human humility and divine glory resound haunting contrast.<\/p>\n

The knowledge of the theological references in the score, its interpretation and formation provides zu Guttenberg in the service of an approach that opens Beethoven’s work from a new angle to the listener. The autograph of the Mass on Ludwig van Beethoven wrote with the slogan “From the heart – may it again – go to the heart” Enoch zu Guttenberg takes this motto as its mission and as the benchmark in its interpretation.<\/p>\n