Name: Wiener KammerOrchester Wiener Singakademie Tjeknavorian
Start: 2023-06-12T00:00:00.000Z
End: 2023-06-13T00:00:00.000Z
Location: Wiener Konzerthaus

Organization

Conductor

Emmanuel Tjeknavorian

Singer

Tenor

Ilker Arcayürek

Soprano

Nikola Hillebrand

Sopran

Bass

Manuel Walser

Contralto

Anna Lucia Richter

Orchestra

Wiener KammerOrchester

Others

Wiener Singakademie

Wiener Konzerthaus

Wiener KammerOrchester / Wiener Singakademie / Tjeknavorian

Vienna

Austria

Großer Saal

Wiener KammerOrchester / Wiener Singakademie / Tjeknavorian: Mass in C Major, op. 86 Beethoven (+1 More)

Public

Private

Mass in C Major, op. 86

Symphony No. 5

Approved

Accordionist

Instrumentalist

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Baroque Oboist

Baroque Trumpetist

Bassist

Bassoonist

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Contrabassist

Cornettist

Flutist

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Musette de cour Player

Oboist

Organist

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Saxophonist

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Timpani

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Viola Pomposa Player

Viola da gamba

Viola d’amore Player

Violinist

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Violist

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Mezzo-soprano

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Baritone

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Alto

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Continuo

Silent

Spoken

fair and power
What on earth does Beethoven's C major Mass have to do with his 5th symphony? The setting of the Catholic Ordinary Mass with the apotheosis of political and individual freedom? Nothing more, one could say, than that the two works »meet« in the composer's great academy on December 22, 1808. On this memorable evening at the Theater an der Wien, Beethoven, who was rapidly deaf, not only made his last public appearance as a pianist. In a four-hour marathon concert, he also premiered his 5th and 6th symphonies, his 4th piano concerto and the choral fantasy op. 80. In each of the two halves of the concert, a movement from the Mass in C major was also heard: the Gloria in the first part, the Sanctus in the second part. Emmanuel Tjeknavorian can refer to this historical event, when he places both works on the program of this concert of the Vienna Chamber Orchestra. Of course, a certain similarity also results from a lack of understanding and rejection, which Beethoven’s music liked to encounter among contemporaries. The revolutionary-minded artist so angered his client Nikolaus II Esterházy with the mass that he allowed himself to be carried away into a less than noble outburst: »Beethoven’s mass is unbearably ridiculous and horrible […], I am angry and ashamed.« A verdict that which has survived along with the title of nobility thrown into the balance.

English

Messe und Macht
Was, um Himmels Willen, hat Beethovens C-Dur-Messe mit seiner 5. Symphonie zu tun? Die Vertonung des katholischen Messordinariums mit der Apotheose politischer und individueller Freiheit? Nicht mehr, könnte man sagen, als dass beide Werke einander in der großen Akademie des Komponisten am 22. Dezember 1808 »begegneten«. An diesem denkwürdigen Abend im Theater an der Wien trat der rapide ertaubende Beethoven nicht nur zum letzten Mal öffentlich als Pianist auf. In einem vierstündigen Marathonkonzert hob er auch seine 5. und 6. Symphonie, sein 4. Klavierkonzert sowie die Chorphantasie op. 80 aus der Taufe. In jeder der beiden Konzerthälften erklang ferner u. a. ein Satz aus der C-Dur-Messe: das Gloria im ersten, das Sanctus im zweiten Teil. Auf diese historische Begebenheit kann sich Emmanuel Tjeknavorian also berufen, wenn er beide Werke auf das Programm dieses Konzerts des Wiener KammerOrchesters setzt. Eine gewisse Gemeinsamkeit ergibt sich freilich auch aus Unverständnis und Ablehnung, auf die Beethovens Musik bei Zeitgenoss:innen gern stieß. Gerade mit der Messe erzürnte der revolutionär gesinnte Künstler seinen Auftraggeber Nikolaus II. Esterházy dermaßen, dass sich dieser zu einem wenig noblen Ausbruch hinreißen ließ: »Beethovens Messe ist unerträglich lächerlich und scheußlich […], ich bin zornig und beschämt.« Ein Urteil, das sich mitsamt des in die Waagschale geworfenen Adelsprädikats überlebt hat.

Deutsch

Wiener KammerOrchester / Wiener Singakademie / Tjeknavorian by Beethoven, 에서 (2023/2023), 지휘자 Emmanuel Tjeknavorian, Wiener Konzerthaus, Vienna, Austria

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