❤️ If you like CM//RR content, please consider membership at our Patreon page. Thank you :) www.patreon.com/cmrr Ludwig Van Beethoven (1770-1827) - Missa Solemnis Op.123 . Click to activate the English subtitles for the presentation (00:00-07:50) KYRIE (00:00) GLORIA I.Gloria in excelsis Deo (10:35) II.Qui tollis peccata mundi (15:50) III.Quoniam tu solus sanctus (20:59) CREDO I.Credo in unum Deum (28:04) II.Et incarnatus est (33:02) III.Et resurrexit (39:04) SANCTUS (50:16) BENEDICTUS (54:00) Solo Violin : Thomas Brandis AGNUS DEI I.Agnus Dei (1:07:42) II.Dona nobis pacem (1:14:46) Sopran : Gundula Janowitz Alt : Agnes Baltsa Tenor : Peter Schreier Bass : José Van Dam Singverein der Gesellschaft der Musikfreunde Wien Chorus Master : Helmuth Froschauer Berliner Philharmoniker Conductor: Herbert Von Karajan Recorded in 1975 🔊 FOLLOW US on SPOTIFY (Profil: CMRR) : spoti.fi/3016eVr 🔊 Download CMRR's recordings in High fidelity audio (QOBUZ) : bit.ly/2M1Eop2 There are two timeless versions of Beethoven's Missa Solemnis: the one you are listening to (Karajan 1975 & 1958: th-cam.com/video/WUYeYsLMLus/w-d-xo.html) right now, and the one by Otto Klemperer (th-cam.com/video/aI0FhkCnLoc/w-d-xo.html). You have to listen to Klemperer for the overall architecture, and to Karajan to hear the smallest details of the score (1975) and overall unity (1958). Beethoven: Missa solemnis, Op. 123 / History. On June 4th 1819, the Archduke Rudolph of Austria was elected Archbishop of Olmütz in Moravia. His enthronement was due to take place in Cologne Cathedral on March 20th 1820. Beethoven at once determined to compose music for this solemn occasion. The Archduke Rudolph had been Beethoven's pupil for pianoforte tuition since 1804, when the boy was fifteen. In 1808, when Beethoven was invited to become Kapellmeister to the Court of Cassel, Rudolph and two other friends guaranteed him a salary if he would remain in Vienna. Rudolph's place in Beethoven's affections is sufficiently attested by the quality and grandeur of the works that Beethoven dedicated to him: the fourth and fifth piano concertos, the piano sonatas Les Adieux, Hammerklavier and Opus 111 in C minor, the Grosse Fuge, the Archduke Trio, the last of the violin sonatas, and the vocal score of Fidelio, besides this Mass in D. Rudolph, it may be added, was an extremely able pianist, capable of performing the keyboard music dedicated to him; for the piano concertos Beethoven also supplied him with the cadenzas which we usually hear today. Anton Schindler, Beethoven's pupil declared that Beethoven started work on the Mass in D 'in the late autumn of 1818'. For the celebration in a great cathedral he chose the key of D major which has strong associations of dignity, brilliance and joy; it was the key of Beethoven's Ode to Joy, which had been on the stocks since 1817 and was to be completed soon after the Mass. Beethoven made elaborate preparations for a task that he knew would summon his highest talents. He studied earlier settings of the text, particularly Palestrina's, for modal polyphony and for textual emphases in their music, and he had an accurate translation made of the Latin text of the Mass, so that no implications should escape him. The first sketches for the Mass in D were made in a book started early in 1819. Beethoven was definitely hard at work on the Mass in the summer of 1819, when Schindler and his friend Horsalka visited the composer in Mödling, found the house in terrible disarray, and heard Beethoven howling and stamping at the piano as he worked on the great fugue Et vitam venturi from the Credo. As the summer wore on Beethoven began to doubt whether the work would be completed in time for the ceremony. He complained to Schindler that 'every movement as he carne to it took on much greater dimensions than had been originally planned', and we can infer that the difficulties affected not only the length of each movement, but the control of internal texture and harmonic transition, and the actual realization of the great ideas in Beethoven's head. The Mass was not, indeed, ready for the new Cardinal-Archbishop's enthronement. The music had to be by Haydn, Hummel and others. Beethoven completed his last three piano sonatas before he reached the end of his Missa solemnis nearly two and a half years after the celebration for which it was designed. Early in 1823 he completed the finishing touches and wrote out the organ part in full, sent the Archduke his own dedicatory copy, made other copies for sale by subscription, and entered into competitive negotiation with seven publishers. Two of the subscription copies went to Russia, and the first performance of the Mass was organized by Prince Galitzin (an amateur chamber musician who commissioned the string quartets, Op. 127, 130 and 132), and given in St. Petersburg on March 26th 1924. Vienna followed in May with the Kyrie, Credo and Agnus Dei only; they were billed, for reasons of ecclesiastical censorship, as Three Grand Hymns, and sung in German, in the same programme as the premiere of the Ninth Symphony. Beethoven was present, but of course could not hear a note, nor even the applause at the end. Beethoven - Missa Solemnis / New Mastering (Century's recording: Herbert Von Karajan 1958): th-cam.com/video/WUYeYsLMLus/w-d-xo.html Berlioz - Requiem, Grande Messe des Morts Op.5 / NEW MASTERING (Ct.rec.: Dimitri Mitropoulos 1956) : th-cam.com/video/9T131BY2Vxs/w-d-xo.html Ludwig Van Beethoven PLAYLIST (reference recordings) : th-cam.com/video/aI0FhkCnLoc/w-d-xo.html
Karajan and his immense ego, from collaborator of Nazism to superstar of modernity. Never in history has there been a conductor so self-conscious, vain and flattering of himself. The media made the role of burying the conductor's Nazi and rotten past and dogmatic fans raising it to the pedestal above the composers he explored.
You are absolutely wright : "Klemperer for the overall architecture, and to Karajan to hear the smallest details" But don't forget Giulini Harper, Baker,Tear, Sotin LPO for the Humanity that is very important to!!!!
@@sapere-m1p En lisant par hasard votre commentaire sur Karajan et le nazisme, un détail vous échappe, je me permet d'essayer de dissiper un préjugé et de replacer le dans le contexte de l'époque. Karajan avait un objectif définit, celui de rejoindre la tête du Philharmonie de Berlin, pour celà, il devait rejoindre le parti nazi pour obtenir son objectif musical avant tout. eh oui ! si vous étiez à sa place vous auriez fait la même démarche, et quelque soit l'époque et le parti politique majoritaire du moment. In faut pas oublier que Karajan à toujours été le maestro de la musique classique et que bon nombre de ses élèves ont suivis son enseignement.
Yes, it is incredible. I have heard the piece often and also followed rehearsals. Missa S. goes ahead of all other music, takes you fully into the realm of existence above ego and does reveal Beethoven's soul fully. I still could cry when I do think what he had to endure.
The last 5 minutes of the Credo might be the most intense music ever written. It's obvious that Beethoven used every possible resource available to him; squeezed every effort from the musicians they could deliver; wrote music that could never be contained within one genre or timeframe. And then he took it even past all of that.
I was privileged to sing this with the Tallahassee Community Chorus several years ago. At every rehearsal and performance I felt that I was at prayer. I can pay no higher compliment than that.
This is a transcendent recording, the greatest I’ve ever heard. Are there any plans to upload some of Karajan’s Bruckner as well? I think Karajan’s vision of Bruckner, especially in the 8th, is unparalleled and worth looking into. Thanks for your incredible work in advancing the cause of beauty in the world!
I have all of Karajan's recordings of the Missa Solemnis as well as the Klemperer. I must say that in this 1975 recording the chorus and orchestra are better and more assured than in any of HVK's other recordings and yes the soloists are a great team. But I have a soft spot for Karajan's 1965 recording - while the chorus is less accomplished in that account the soloists are IMHO the best ever assembled for any recording of this Mass, namely Janowitz, Ludwig, Wunderlich and Berry. Janowitz is in marginally better voice and Wunderlich must be heard to be believed - such beauty of tone and such effortless singing. Ludwig is also great, especially in the Agnus Dei and Berry is likewise fabulous. One would do worse than to collect all three versions - Karajan 1965 and 1975 and Klemperer. With these versions you need not bother with anyone else.
YES! And thank you for saying that. Those last seconds, starting here at 27:14/15 are, after 60 years of knowing this piece, still the wildest music I know. For me, after that series of AMENs, Beethoven simply lifts off from the rules and order of the known world and is off in the greater cosmos, in flight with the Angels - and even HIGHER. I have this sense that if we are fast enough, we can grab onto his coat tails in that moment and soar with him into those regions of the Divine.
There are points in the Gloria where I imagine myself as just gotten to heaven, I am in complete and utter awe. I’m kneeling and I place my forehead to the ground. I am in the presence of God!!!!
SALVE LUDWIG VAN BEETHOVEN !!!!!!! NO ANO DE 2020 ONDE SE COMEMORA 250 ANOS DE TEU NASCIMENTO!!!!!!!VOCÊ TROUXE LUZ À ESTE MUNDO! !!!!!!ETERNAMENTE BEETHOVEN!!!!!!!💖💖💖💖💖💖💖💖💖💖💖💖💖💖💖💖💖💖💖
This is one of the greatest anniversaries in western culture. The Sistine Chapel of Music. Yesterday we had a Viennese dinner I made for his Birthday and today listening to this on his name day. et Incarnatus est! Eternal.
Probably the instrumentation and 'tone'. The 9th is mostly beautiful instrumental music with vocalists and choir joining at the end, almost as a final treat. Missa is complicated choir throughout, and perhaps a little heavy for most listeners. Masses are religious. You really need to be in the mood. Symphonies are far more accessible. That's just my guess.
The Missa Solemnis is not ignored. It is recognized as one of the greatest sacred works ever composed. The 9th symphony simply has more appeal. The Missa is a serious liturgical work. The 9th symphony was created for the masses, with an appealing call for brotherhood in the final movement. That said, the 9th is a great work regardless.
@@kenm.3512 Missa is not ignored, but too heavy for singers! There is no more than only few choirs who can sing it (during decades, always) until today.
I recall it said that a friend asked him very late in life what he thought his greatest or best works were and he said the Op. 55 Symphony 3 and The Missa were his personal favorites. :-)
Thanks Classical Music -- reference recording for the new masterization of this enormous work. The 1975 version conducted by von Karajan was considered at the time a century recording. It is a very major work of religious content, considered by many one of the summits of the genre. It is a complex, difficult work, highly demanding on the choir and soloists. Beethoven knew Bach and Handel masses, as well as Mozart Requiem, but he endeavored to find an original, personal answer to the demands of the catholic text. His music is symphonic, emotional, solemn, at times lyrical (Benedictus). Together with the 9th symphony, the Missa Solemnis put the crown to the musical work of this difficult, problematic, suffering man of genius that was Beethoven.
The most powerful and spectacular fuges at 22:40 and at 45:00 and the final 1:20:04. Is enough only this music moment to declare Beethoven one of the best innovative genius of music history!!!
The definitive recording of one of the greatest works in the repertoire. Karajan, BPO, Wiener Singverein with that fabulous collection of soloists - what a combination! I don't think anyone is able to match such a combination of artistry in these modern times. So grateful this recording exists!
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As obras de Beethoven nas mãos de Herr Karajan e seus seletos cantores são inigualáveis. Isto é o máximo em termos de Música e Artes.
Beethoven on the top with ont of the greatest baroque ever…and the conductor Herbert Von Karajan has is excellent; making things glorious and inspiring for the soul looking for redemption… giving the chorus the opportunity to please God on relax…
I read somewhere that Janowitz was *discovered* by Karajan. (Is it my imagination?) Long time ago when I first heard her singing Sieglinde in Karajan's Walkure, I immediately fell in love with her voice - hopelessly. She is still the one and only soprano I never get tired of. I am addicted to her voice in a sense. I feel my soul getting cleansed and pain (of being alive) relieved whenever I hear her singing Bach, Haydn, Mozart, Beethoven, Schubert, R. Strauss, and so on -- including this Missa Solemnis. Without her, I might not have liked this recording that much despite that it was done by Karajan.
Comecei escutar Beethoven aos 9 anos de idade, o Terceiro Concerto, daí vieram as promoções de farciculos nas Bancas de Revistas, enfim,hoje em dia,prefiro escutar música Erudita que toda essa Parafernália que rola por aí afora.
Karajan and his immense ego, from collaborator of Nazism to superstar of modernity. Never in history has there been a conductor so self-conscious, vain and flattering of himself. The media made the role of burying the conductor's Nazi and rotten past and dogmatic fans raising it to the pedestal above the composers he explored.
@Seokjin Yoon Do you know why art and politics are inextricably linked? Because we live in society and art is an expression of the objective spirit that is a political phenomenon. You are either unaware of Beethoven's 9th symphony, or the works of Chopin, Hayden and Shubert who were composers who expressed their time and their political convictions and feelings. Remember that the Nazis wanted to Nazify the world through the Nazi aesthetic of racism and chaos. Don't be cynical and foolish. th-cam.com/video/UZNRGjPcrMg/w-d-xo.html
COMO SE NÃO BASTASSE A FALTA DE VOCAÇÃO DE BEETHOVEN PARA A MÚSICA SACRA, O REGENTE AUSTRÍACO HERBERT VON KARAJAN GRAVOU NA DÉCADA DE 1980, ESSA CARICATURA DA MISSA SOLEMNIS DO REFERIDO COMPOSITOR ALEMÃO. AQUI FOI JUNTADO A FALTA DE TALENTO DE BEETHOVEN NO TOCANTE À MÚSICA SACRA E A INCOMPREENÇÃO DE KARAJAN SOBRE AS OBRAS SACRAS, NÃO SÓ DE BEETHOVEN MAS TAMBÉM DE OUTROS COMPOSITORES QUE DEIXARAM UM LEGADO DIGNO DE SER INTERPRETADOS. BEETHOVEN E KARAJAN É UMA FÓRMULA DO FRACASSO EM SE TRATANDO DE PEÇAS DO GÊNERO SACRO. LAMENTÁVEL.
Per arrivare a questo superbo e immortale capolavoro la Musica ha dovuto "percorrere" una lunghissima strada. Il viaggio inizia con il divino Alessandro Scarlatti con l'inarrivabile "Messa di Santa Cecilia" ("infarcita" con un contrappunto da "manicomio") e tutta la scuola musicale Partenopea (Feo, Porpora, Jommelli...) compreso il più grande musicista di tutti i tempi Giovanni Battista Draghi detto Pergolesi. Si arriva a J.S.B e W.A.Mozart per approdare finalmente a L.van Beethoven!!! Che cavalcata musicale entusiasmante! Da un Genio all'altro...
May I ask what your thoughts are on the original DG master of this? I was perusing it today and found it surprisingly good! DG since went back to remaster it in-house to 24-bit/192 kHz, but that is already beyond what most people are capable of hearing. It seems perhaps they just made it brighter sounding overall. I think for an analogue recording it was already pretty excellent, no?
Je possède la version 1966 de Karajan. Mais celle-ci est plus sophistiquée surtout en ce qui concerne la finesse et majesté du jeu orchestral. C’est Karajan à son meilleur. Merci vraiement, Alex. Avec celle de Klemperer, c'est "ein musikalisches Erlebnis."
Deberás que Beethoven era un iluminado a pesar se muy poco onda de música clásica pero está misa lo remonta a lo espiritual y si no me equivoco a lo angelical
Votre attitude manifeste vraiment peu d'ouverture d'esprit. Je pense que cette œuvre est un des sommets de la musique occidentale, mais cela ne m'empêchera absolument pas de demeurer athée jusqu'à la fin de mes jours !
By Beethoven's own declaration, This was his magnum opus.With the plethora of masterful works, this fact was the mandate that merited intently listening to perceived devotional aspect that I did not appreciate until now.Thank you for sharing this most challenging (vocally) piece of heaven.Best regards, Don (Ausgezeichnet!)
Mal auf deutsch:: Eine gelungene und erfrischende Aufarbeitung dieses überwältigenden Werks. Danke! Aber Diese und die Keilberth Aufnahmen als conditio sine qua non darzustellen geht in Richtung Banausentum. Möchte youtube danken, für die vielen Komplettaufnahmen derr Missa, die hier auf youtube verwewigt sind. Jede alternative Auifnahme gibt neue Anregungen, zeigt neue Wege auf. Beethoven will das und lässt das zu. Selbst die Karajanaufnahmen der Missa sind jedemal neue Interpretationen. Allwetterinterpretin Janowitz lässt Elisabetchen hinter sich.
Yes , There are two timeless versions of Beethoven's Missa Solemnis: the one you are listening to (Karajan 1975) right now, and the one by Otto Klemperer (th-cam.com/video/aI0FhkCnLoc/w-d-xo.html). You have to listen to Klemperer for the overall architecture, and to Karajan to hear the smallest details of the score.
Quite interesting Karajan recorded this so many times, and three in a comparatively short period: DG with Janowitz and Wunderlich etc in 1966, EMI this one in1975, and again DG with Cole etc in 1985.
«Si rompe il cordone d’argento, la lucerna d’oro s’infrange, si rompe l’anfora alla fonte, la carrucola cade nel pozzo, ritorna la polvere alla terra».
Des enchaînements harmoniques recherchés, pour ne pas dire tirés par les cheveux. C'est le charme de Beethoven, qui force les choses et affirme son goût comme quelqu'un qui n'a rien à perdre. Dans ce sens, certains passages me font penser à Berlioz, dont la Symphonie Fantastique est créée seulement 7 ans plus tard.
Ce su il y a de glorieux pour l honnêteté intellectuelle de Ludwig , c est qu il ' évite pas le côté inquietant ( plus inquiétant que joyeux , peut être () du Ressurexit.
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Ludwig Van Beethoven (1770-1827) - Missa Solemnis Op.123 .
Click to activate the English subtitles for the presentation (00:00-07:50)
KYRIE (00:00)
GLORIA
I.Gloria in excelsis Deo (10:35)
II.Qui tollis peccata mundi (15:50)
III.Quoniam tu solus sanctus (20:59)
CREDO
I.Credo in unum Deum (28:04)
II.Et incarnatus est (33:02)
III.Et resurrexit (39:04)
SANCTUS (50:16)
BENEDICTUS (54:00)
Solo Violin : Thomas Brandis
AGNUS DEI
I.Agnus Dei (1:07:42)
II.Dona nobis pacem (1:14:46)
Sopran : Gundula Janowitz
Alt : Agnes Baltsa
Tenor : Peter Schreier
Bass : José Van Dam
Singverein der Gesellschaft der Musikfreunde Wien
Chorus Master : Helmuth Froschauer
Berliner Philharmoniker
Conductor: Herbert Von Karajan
Recorded in 1975
🔊 FOLLOW US on SPOTIFY (Profil: CMRR) : spoti.fi/3016eVr
🔊 Download CMRR's recordings in High fidelity audio (QOBUZ) : bit.ly/2M1Eop2
There are two timeless versions of Beethoven's Missa Solemnis: the one you are listening to (Karajan 1975 & 1958: th-cam.com/video/WUYeYsLMLus/w-d-xo.html) right now, and the one by Otto Klemperer (th-cam.com/video/aI0FhkCnLoc/w-d-xo.html). You have to listen to Klemperer for the overall architecture, and to Karajan to hear the smallest details of the score (1975) and overall unity (1958).
Beethoven: Missa solemnis, Op. 123 / History. On June 4th 1819, the Archduke Rudolph of Austria was elected
Archbishop of Olmütz in Moravia. His enthronement was due to take place in Cologne Cathedral on March 20th 1820. Beethoven at once determined to compose music for this solemn occasion. The Archduke Rudolph had been Beethoven's pupil for pianoforte tuition since 1804, when the boy was fifteen. In 1808, when Beethoven was invited to become Kapellmeister to the Court of Cassel, Rudolph and two other friends guaranteed him a salary if he would remain in Vienna. Rudolph's place in Beethoven's affections is sufficiently attested by the quality and grandeur of the works that Beethoven dedicated to him: the fourth and fifth piano concertos, the piano sonatas Les Adieux, Hammerklavier and Opus 111 in C minor, the Grosse Fuge, the Archduke Trio, the last of the violin sonatas, and the vocal score of Fidelio, besides this Mass in D. Rudolph, it may be added, was an extremely able pianist, capable of performing the keyboard music dedicated to him; for the piano concertos Beethoven also supplied him with the cadenzas which we usually hear today.
Anton Schindler, Beethoven's pupil declared that Beethoven started work on the Mass in D 'in the late autumn of 1818'. For the celebration in a great cathedral he chose the key of D major which has strong associations of dignity, brilliance and joy; it was the key of Beethoven's Ode to Joy, which had been on the stocks since 1817 and was to be completed soon after the Mass.
Beethoven made elaborate preparations for a task that he knew would summon his highest talents. He studied earlier settings of the text, particularly Palestrina's, for modal polyphony and for textual emphases in their music, and he had an accurate translation made of the Latin text of the Mass, so that no implications should escape him.
The first sketches for the Mass in D were made in a book started early in 1819. Beethoven was definitely hard at work on the Mass in the summer of 1819, when Schindler and his friend Horsalka visited the composer in Mödling, found the house in terrible disarray, and heard Beethoven howling and stamping at the piano as he worked on the great fugue Et vitam venturi from the Credo. As the summer wore on Beethoven began to doubt whether the work would be completed in time for the ceremony. He complained to Schindler that 'every movement as he carne to it took on much greater dimensions than had been originally planned', and we can infer that the difficulties affected not only the length of each movement, but the control of internal texture and harmonic transition, and the actual realization of the great ideas in Beethoven's head.
The Mass was not, indeed, ready for the new Cardinal-Archbishop's enthronement. The music had to be by Haydn, Hummel and others. Beethoven completed his last three piano sonatas before he reached the end of his Missa solemnis nearly two and a half years after the celebration for which it was designed. Early in 1823 he completed the finishing touches and wrote out the organ part in full, sent the Archduke his own dedicatory copy, made other copies for sale by subscription, and entered into competitive negotiation with seven publishers. Two of the subscription copies went to Russia, and the first performance of the Mass was organized by Prince Galitzin (an amateur chamber musician who commissioned the string quartets, Op. 127, 130 and 132), and given in St. Petersburg on March 26th 1924. Vienna followed in May with the Kyrie, Credo and Agnus Dei only; they were billed, for reasons of ecclesiastical censorship, as Three Grand Hymns, and sung in German, in the same programme as the premiere of the Ninth Symphony. Beethoven was present, but of course could not hear a note, nor even the applause at the end.
Beethoven - Missa Solemnis / New Mastering (Century's recording: Herbert Von Karajan 1958): th-cam.com/video/WUYeYsLMLus/w-d-xo.html
Berlioz - Requiem, Grande Messe des Morts Op.5 / NEW MASTERING (Ct.rec.: Dimitri Mitropoulos 1956) : th-cam.com/video/9T131BY2Vxs/w-d-xo.html
Ludwig Van Beethoven PLAYLIST (reference recordings) : th-cam.com/video/aI0FhkCnLoc/w-d-xo.html
Karajan and his immense ego, from collaborator of Nazism to superstar of modernity. Never in history has there been a conductor so self-conscious, vain and flattering of himself. The media made the role of burying the conductor's Nazi and rotten past and dogmatic fans raising it to the pedestal above the composers he explored.
You are absolutely wright : "Klemperer for the overall architecture, and to Karajan to hear the smallest details" But don't forget Giulini Harper, Baker,Tear, Sotin LPO for the Humanity that is very important to!!!!
Definitivamente estaba solo Beethoven deberás que estaba Dios con el
@@sapere-m1p En lisant par hasard votre commentaire sur Karajan et le nazisme, un détail vous échappe, je me permet d'essayer de dissiper un préjugé et de replacer le dans le contexte de l'époque. Karajan avait un objectif définit, celui de rejoindre la tête du Philharmonie de Berlin, pour celà, il devait rejoindre le parti nazi pour obtenir son objectif musical avant tout. eh oui ! si vous étiez à sa place vous auriez fait la même démarche, et quelque soit l'époque et le parti politique majoritaire du moment. In faut pas oublier que Karajan à toujours été le maestro de la musique classique et que bon nombre de ses élèves ont suivis son enseignement.
Super!!! Perfekt!!!
One of the greatest masterpiece of history. Beethoven 's genius, Karajan 's, Berlin Philarmoniker and soloist 's extraordinary performance.
Yes, it is incredible. I have heard the piece often and also followed rehearsals. Missa S. goes ahead of all other music, takes you fully into the realm of existence above ego and does reveal Beethoven's soul fully. I still could cry when I do think what he had to endure.
The last 5 minutes of the Credo might be the most intense music ever written. It's obvious that Beethoven used every possible resource available to him; squeezed every effort from the musicians they could deliver; wrote music that could never be contained within one genre or timeframe. And then he took it even past all of that.
I call it being Beethovenized. That’s when he adds his signature elements.
I was privileged to sing this with the Tallahassee Community Chorus several years ago. At every rehearsal and performance I felt that I was at prayer. I can pay no higher compliment than that.
"Ni sordo , ni muerto.
Solo Immortal y eterno"
Eso es saber de la verdadera música
Verissimo! Lui ora è eterno !
This is a transcendent recording, the greatest I’ve ever heard. Are there any plans to upload some of Karajan’s Bruckner as well? I think Karajan’s vision of Bruckner, especially in the 8th, is unparalleled and worth looking into. Thanks for your incredible work in advancing the cause of beauty in the world!
Try Bernstein version with Edda Moser, Hanna Schwarz, René Kollo and Kurt Moll with the Royal Concertgebouw.
You can find playlists of Bruckner conducted by Karajan and others on my channel, along with loads of other good stuff.
@@nightjaronthegate Thanks.
Love all the soloists, but especially Janowitz! And Karajan is wonderful, of course!
Agreed. Janowitz is extraordinary. Pitch perfect, sublime.
Janowitz was always heavenly
I have all of Karajan's recordings of the Missa Solemnis as well as the Klemperer. I must say that in this 1975 recording the chorus and orchestra are better and more assured than in any of HVK's other recordings and yes the soloists are a great team. But I have a soft spot for Karajan's 1965 recording - while the chorus is less accomplished in that account the soloists are IMHO the best ever assembled for any recording of this Mass, namely Janowitz, Ludwig, Wunderlich and Berry. Janowitz is in marginally better voice and Wunderlich must be heard to be believed - such beauty of tone and such effortless singing. Ludwig is also great, especially in the Agnus Dei and Berry is likewise fabulous. One would do worse than to collect all three versions - Karajan 1965 and 1975 and Klemperer. With these versions you need not bother with anyone else.
One of the greatest pieces of music. Ever.
And Bach's Mass!!
And one of the most intimidating
The greatest work of Beethoven, this one is at the level of the greatest masses of Mozart imo. Almost as sublime as Bach.
@@pierfrancescopeperoni the greatest masses from Mozart are not nearly as good as this one.
@@marcossidoruk8033 Yeah well, you know, that's just like uh your opinion, man.
The last bars of Gloria sounds like the end of a light and brief heavenly vision of millions of angels.
YES! And thank you for saying that.
Those last seconds, starting here at 27:14/15 are, after 60 years of knowing this piece, still the wildest music I know.
For me, after that series of AMENs, Beethoven simply lifts off from the rules and order of the known world and is off in the greater cosmos, in flight with the Angels - and even HIGHER.
I have this sense that if we are fast enough, we can grab onto his coat tails in that moment and soar with him into those regions of the Divine.
The buildup to that dominant extension and then the meter change, I swear it always makes me smile.
There are points in the Gloria where I imagine myself as just gotten to heaven, I am in complete and utter awe. I’m kneeling and I place my forehead to the ground. I am in the presence of God!!!!
I hope that someday young men will perform this piece. Church professional Catholic choir. And the Mass will sound differently, heavenly...
SALVE LUDWIG VAN BEETHOVEN !!!!!!! NO ANO DE 2020 ONDE SE COMEMORA 250 ANOS DE TEU NASCIMENTO!!!!!!!VOCÊ TROUXE LUZ À ESTE MUNDO! !!!!!!ETERNAMENTE BEETHOVEN!!!!!!!💖💖💖💖💖💖💖💖💖💖💖💖💖💖💖💖💖💖💖
You should perhaps abstain from consuming drugs -at least some time before you post comments. This exaggerated statement is rather awkward.
This is one of the greatest anniversaries in western culture. The Sistine Chapel of Music. Yesterday we had a Viennese dinner I made for his Birthday and today listening to this on his name day. et Incarnatus est! Eternal.
Beethoven o maior músico de todos os tempos! Fenomenal, divino, maravilhoso, supremo.......
The 9th Symphony and the Missa Solemnis are the best works! I don't know why people ignore the Missa Solemnis as compared to the 9th symphony.
Ditto, sir. I have the same question.
Probably the instrumentation and 'tone'. The 9th is mostly beautiful instrumental music with vocalists and choir joining at the end, almost as a final treat. Missa is complicated choir throughout, and perhaps a little heavy for most listeners.
Masses are religious. You really need to be in the mood. Symphonies are far more accessible.
That's just my guess.
The Missa Solemnis is not ignored. It is recognized as one of the greatest sacred works ever composed. The 9th symphony simply has more appeal. The Missa is a serious liturgical work. The 9th symphony was created for the masses, with an appealing call for brotherhood in the final movement. That said, the 9th is a great work regardless.
@@kenm.3512 Missa is not ignored, but too heavy for singers! There is no more than only few choirs who can sing it (during decades, always) until today.
Beethoven inmenso, Karajan perfecto
Beethoven quite liked this himself... How he had the creativity to write this just adjacent to his ninth symphony is otherworldly genius..
I recall it said that a friend asked him very late in life what he thought his greatest or best works were and he said the Op. 55 Symphony 3 and The Missa were his personal favorites. :-)
And the latest string quartet?
Good morning!
How a pleasant surprise to star my morning work with this marvelous gift from you!
Thank you very much and best regards to you!!!
:-)
Karajan usually keeps up a brisk pace with everything he conducts, but here I am pleased to see him slow down quite dramatically for maximum impact.
Thanks Classical Music -- reference recording for the new masterization of this enormous work. The 1975 version conducted by von Karajan was considered at the time a century recording. It is a very major work of religious content, considered by many one of the summits of the genre. It is a complex, difficult work, highly demanding on the choir and soloists. Beethoven knew Bach and Handel masses, as well as Mozart Requiem, but he endeavored to find an original, personal answer to the demands of the catholic text. His music is symphonic, emotional, solemn, at times lyrical (Benedictus). Together with the 9th symphony, the Missa Solemnis put the crown to the musical work of this difficult, problematic, suffering man of genius that was Beethoven.
The Agnus Dei in particular is out of this world
This performance beats every other for this composition
It's the professional league when you listen to gundula janowitz, walton berry christine ledwwig ... and coach karajan is another level.
No words after listening... That is Herbert von Karajan!
THis is Beethoven!!!
The most powerful and spectacular fuges at 22:40 and at 45:00 and the final 1:20:04. Is enough only this music moment to declare Beethoven one of the best innovative genius of music history!!!
Do you mean in fumes on Credo at 39:05?
no, I'm in error!!!!
The definitive recording of one of the greatest works in the repertoire. Karajan, BPO, Wiener Singverein with that fabulous collection of soloists - what a combination! I don't think anyone is able to match such a combination of artistry in these modern times. So grateful this recording exists!
As obras de Beethoven nas mãos de Herr Karajan e seus seletos cantores são inigualáveis. Isto é o máximo em termos de Música e Artes.
You can hear all the emotions that a person may feel in this enormous mass he wrote. Nothing is left out with everything is clear and precise.
Most beautiful performance! I wish there is a video recording of this performance too!
Beethoven + Karajan = magnificently utmost sound with tremendous authorities!
Hi, can you link me the spotify album for this? if it is available?
What a fantastic and modern passage at 13:12 wonderful
L' Agnus Dei è tremendo! La Musica si trasforma in qualcosa di metafisco e trascendentale!
In the TEMPLE OF MUSIC the great and unsurpassed BEETHOVEN and Maestro KARAJAN, l freeze, bowing my head...
I've heard several excellent recordings of the _Missa Solemnis_, but Karajan's is surely among the very best.
Que Beleza de obra... nos leva ao céu!!
The Carlo Maria Giulini is the timeless version for my taste, as much as I admire "holy Herbert".
Very impressive and concrete playing
Beethoven on the top with ont of the greatest baroque ever…and the conductor Herbert Von Karajan has is excellent; making things glorious and inspiring for the soul looking for redemption… giving the chorus the opportunity to please God on relax…
Majestic! My favorite parts:
4:50 Kyrie
18:00 in the gloria (qui tollis pecata mundi)
27:30 end of the gloria
46:50 end of credo (et resurrexit)
1:13:45 the miserere of the Agnus Dei
Merveilleux. Merci beaucoup.
Thank you for all you do! Love this channel!
thanks :-)
We are listening from Australia.wonderful.id this
How it will be heaven. I look forward to it
Leo
Great........Karajan is wonderful
Thanks sweetheart good weekend 🇨🇱🌹🙏🙌🍀💐💃🎼🎵🎶😘
You're welcome Anita :-)
@@classicalmusicreference 😘
I read somewhere that Janowitz was *discovered* by Karajan. (Is it my imagination?) Long time ago when I first heard her singing Sieglinde in Karajan's Walkure, I immediately fell in love with her voice - hopelessly. She is still the one and only soprano I never get tired of. I am addicted to her voice in a sense. I feel my soul getting cleansed and pain (of being alive) relieved whenever I hear her singing Bach, Haydn, Mozart, Beethoven, Schubert, R. Strauss, and so on -- including this Missa Solemnis. Without her, I might not have liked this recording that much despite that it was done by Karajan.
Comecei escutar Beethoven aos 9 anos de idade, o Terceiro Concerto, daí vieram as promoções de farciculos nas Bancas de Revistas, enfim,hoje em dia,prefiro escutar música Erudita que toda essa Parafernália que rola por aí afora.
Fabuleux, magistral : une leçon de musique !
🙏🙏🙏🙏🙏🙏🙏
@@BalbirSingh-gr2qk Ce moment de musique est sublime Nous sommes si humbles face au BEAU
It is just the perfect performance!
À la fois enthousiaste et grave on a ici un Beethoven au sommet de son art… interprété par un Herbert Von Karajan brillantissime!
You people just keep on scaling new peaks, and enrich our lives. Thanks!
Esto es lo que estoy escuchando en este momento que estoy guardando cuarentena por el corona virus excelente
Sublime...profundo...llega al alma.
'and given in St. Petersburg on March 26th 1924" it should have been 1824.
I’m not religious in the slightest but the ending of the Gloria sections got me busting out the amens with my full chest
2023 is 200 anniversary of this great work.
Excellente versions, mais malgré tout j’aurais choisi la version des années 1960 avec Berry, Ludwig...
Seokjin Yoon Ravi de vous retrouver ici !
Karajan and his immense ego, from collaborator of Nazism to superstar of modernity. Never in history has there been a conductor so self-conscious, vain and flattering of himself. The media made the role of burying the conductor's Nazi and rotten past and dogmatic fans raising it to the pedestal above the composers he explored.
@Seokjin Yoon Do you know why art and politics are inextricably linked? Because we live in society and art is an expression of the objective spirit that is a political phenomenon. You are either unaware of Beethoven's 9th symphony, or the works of Chopin, Hayden and Shubert who were composers who expressed their time and their political convictions and feelings. Remember that the Nazis wanted to Nazify the world through the Nazi aesthetic of racism and chaos. Don't be cynical and foolish. th-cam.com/video/UZNRGjPcrMg/w-d-xo.html
@@Sofronichrist Celle de 75 est encore plus fouillée :)
The Kylie is a magical moment in music. Brave maestro!
So eine Musik bleibt unerreicht.
Excellent!!!
COMO SE NÃO BASTASSE A FALTA DE VOCAÇÃO DE BEETHOVEN PARA A MÚSICA SACRA, O REGENTE AUSTRÍACO HERBERT VON KARAJAN GRAVOU NA DÉCADA DE 1980, ESSA CARICATURA DA MISSA SOLEMNIS DO REFERIDO COMPOSITOR ALEMÃO. AQUI FOI JUNTADO A FALTA DE TALENTO DE BEETHOVEN NO TOCANTE À MÚSICA SACRA E A INCOMPREENÇÃO DE KARAJAN SOBRE AS OBRAS SACRAS, NÃO SÓ DE BEETHOVEN MAS TAMBÉM DE OUTROS COMPOSITORES QUE DEIXARAM UM LEGADO DIGNO DE SER INTERPRETADOS. BEETHOVEN E KARAJAN É UMA FÓRMULA DO FRACASSO EM SE TRATANDO DE PEÇAS DO GÊNERO SACRO. LAMENTÁVEL.
I just wish the choir was better recorded (captured). They sound neglected by the recorders!
O God, thank you!
Et pourtant votre dieu n'y est pour rien, tout ici n'est qu'humain !
Per arrivare a questo superbo e immortale capolavoro la Musica ha dovuto "percorrere" una lunghissima strada. Il viaggio inizia con il divino Alessandro Scarlatti con l'inarrivabile "Messa di Santa Cecilia" ("infarcita" con un contrappunto da "manicomio") e tutta la scuola musicale Partenopea (Feo, Porpora, Jommelli...) compreso il più grande musicista di tutti i tempi Giovanni Battista Draghi detto Pergolesi. Si arriva a J.S.B e W.A.Mozart per approdare finalmente a L.van Beethoven!!! Che cavalcata musicale entusiasmante! Da un Genio all'altro...
May I ask what your thoughts are on the original DG master of this? I was perusing it today and found it surprisingly good! DG since went back to remaster it in-house to 24-bit/192 kHz, but that is already beyond what most people are capable of hearing. It seems perhaps they just made it brighter sounding overall. I think for an analogue recording it was already pretty excellent, no?
Je possède la version 1966 de Karajan. Mais celle-ci est plus sophistiquée surtout en ce qui concerne la finesse et majesté du jeu orchestral. C’est Karajan à son meilleur. Merci vraiement, Alex. Avec celle de Klemperer, c'est "ein musikalisches Erlebnis."
Avec plaisir cher Alireza :-)
Merci de ne pas avoir oublié Otto Klemperer, indispensable !
Deberás que Beethoven era un iluminado a pesar se muy poco onda de música clásica pero está misa lo remonta a lo espiritual y si no me equivoco a lo angelical
The voice of God Himself! He is real creator, B is just His instrument. All great artists are.
Thank you very much!
Can someone give me the metronome markings taken for all the movements please.
Thanks❤️
Karajan's best performance is from 1958
If you don't believe in God this music will make you believe
Votre attitude manifeste vraiment peu d'ouverture d'esprit. Je pense que cette œuvre est un des sommets de la musique occidentale, mais cela ne m'empêchera absolument pas de demeurer athée jusqu'à la fin de mes jours !
No.
God,creator of everything, existed before Christianity.-is not a Christian Monopoly.
Hindu Ragas can make you believe in God.
Maybe Beethoven was right when he said this was his best work, it is certainly his most heartfelt.
20세기 최고의 지휘자 헤르베르트 폰 카라얀, 당신을 존경합니다.
Oh my Lord! Subliminal!!
My favorite peace of art. Thank you.
Great Beethoven!!❤❤
Great Missa Solemnis!!❤️❤️❤️
Great Karajan!!!❤❤❤
Thanks, “ captions” are not available , on my iPad....:::( subtitles?.)??????
Hi, we just added subtitles, they are now available :-)
Damn! just subscribed; not disappointed at all.
İşte budur müzik.
1:14:00 movie music before there was movie music
By Beethoven's own declaration, This was his magnum opus.With the plethora of masterful works, this fact was the mandate that merited intently listening to perceived devotional aspect that I did not appreciate until now.Thank you for sharing this most challenging (vocally)
piece of heaven.Best regards, Don (Ausgezeichnet!)
Mal auf deutsch:: Eine gelungene und erfrischende Aufarbeitung dieses überwältigenden Werks. Danke!
Aber
Diese und die Keilberth Aufnahmen als conditio sine qua non darzustellen geht in Richtung Banausentum. Möchte youtube danken, für die vielen Komplettaufnahmen derr Missa, die hier auf youtube verwewigt sind. Jede alternative Auifnahme gibt neue Anregungen, zeigt neue Wege auf. Beethoven will das und lässt das zu. Selbst die Karajanaufnahmen der Missa sind jedemal neue Interpretationen. Allwetterinterpretin Janowitz lässt Elisabetchen hinter sich.
Have not heard the Keilberth, will seek it out.
wonderful, Beethoven is unique
The best one is from 1985 on DG
RIP Maestro Karajan (#dotd in 1989) 🌺🌺🌺
Best version, like many other karajan,s registration, the melodic line is perfect and innovative.
Yes , There are two timeless versions of Beethoven's Missa Solemnis: the one you are listening to (Karajan 1975) right now, and the one by Otto Klemperer (th-cam.com/video/aI0FhkCnLoc/w-d-xo.html). You have to listen to Klemperer for the overall architecture, and to Karajan to hear the smallest details of the score.
Classical Music/ /Reference Recording yes, I know Klemperer version, for me is innovative for the use of orchestration and the tempo
Quite interesting Karajan recorded this so many times, and three in a comparatively short period: DG with Janowitz and Wunderlich etc in 1966, EMI this one in1975, and again DG with Cole etc in 1985.
Fave version?
Apoteosi in assoluta
«Si rompe il cordone d’argento, la lucerna d’oro s’infrange, si rompe l’anfora alla fonte, la carrucola cade nel pozzo, ritorna la polvere alla terra».
Thank you so much!!!
44:54 - 47:20
Los 35 pulgares hacia abajo esperaban una bachata o un tema de Carlos Vives???????
Kindly write "SANCTUS" instead of "SACTUS"...
The subtitle😂 spelling of "Sactus" is briskly original! A sock in the eyeball!
The Best❤❤❤
Listeningo LvB's Name Day. My all time favorite of music.
Des enchaînements harmoniques recherchés, pour ne pas dire tirés par les cheveux. C'est le charme de Beethoven, qui force les choses et affirme son goût comme quelqu'un qui n'a rien à perdre. Dans ce sens, certains passages me font penser à Berlioz, dont la Symphonie Fantastique est créée seulement 7 ans plus tard.
Hy father
Beethoven forever. ..uncompearable. ..Orchestra is perfect. ..
Ce su il y a de glorieux pour l honnêteté intellectuelle de Ludwig , c est qu il ' évite pas le côté inquietant ( plus inquiétant que joyeux , peut être () du Ressurexit.