Mass in C Major

Abstract

Mass in C major, Op. 86 Prince Nicolaus Lsterhazy II is best known as Haydn's last employer, the aristocrat who combined a life of debauchery with a genuine love for church music, and who, in particular, elicited the composers six late masses. He figures, too, in Beethoven's life, particularly in the first decade of the nineteenth century. As president of the consortium of four aristocrats who ran the main theatres in Vienna he was continually in negotiation with Beethoven about operatic projects, including Leonore (the first version of Fidelia), and the possibility of presenting concerts of the composers music in the theatres. In continuation of the tradition associated with Haydn's late masses, he asked Beethoven in 1807 to compose a mass for performance in Eisenstadt in September on the name-day of his wife, Princess Marie Hermenegild. Beethoven readily agreed. It was the composer's first foray into liturgical music, part of a broader expansion of stylistic horizons that characterised this period; at the same time he was genuinely worried about inevitable comparisons with his former teacher, Haydn. When in July 1807 the prince enquired politely about the delivery of the mass, Beethoven replied, I shall hand you the mass with considerable apprehension, since you, most excellent prince, are accustomed to having the inimitable masterpieces of the great Haydn performed for you. The mass was performed in the usual venue, the Bergkirche, during a service on 13 September 1807, the Feast of the Holy Name of Mary. The rehearsals had not gone well and the performance was not a success. In a judgement that has blighted the reception of the mass ever since, the prince wrote to a friend, Beethoven's music is unbearably ridiculous and detestable; I am not convinced that it can ever be performed properly. I am angry and ashamed.