In the CARUS Highlights, Jan Schumacher writes about Beethoven’s “Missa solemnis”: an oratorio that challenges both, musicians and recipients.
BeethovenThe following articles on the keyword "Beethoven" have previously appeared in the CARUS blog.
Tag Archive for: Beethoven
We have a suggestion for you right now how you and your choir can bridge the corona-enforced pause – and at the same time celebrate the Beethoven’s 250th birthday, which falls in mid-December, in fitting style. For if this event were to be cancelled completely, well, that really wouldn’t do!
Conductor Hans Jaskulsky admires the originality, inspiration, and the courage to take risks in Beethoven’s C major Mass.
Somehow the 2020 Beethoven Anniversary Year is not quite as high on the agenda as it really ought to be. Corona has completely changed the anniversary year. So it is delightful that Anja Braun’s favorite piece is the Kyrie for choir, arranged by Benedict Bierey after the Moonlight Sonata by Beethoven.
The “Moonlight Sonata” sung as a “Kyrie”, the slow movement from Beethoven’s 7th Symphony as a “Persian Nocturne” for choir – these vocal interpretations of Beethoven’s instrumental works may surprise you, but they will also convince. A tradition of arranging, incidentally, which was already well-established in Beethoven’s time. And every now and then, these arrangements for choir also reveal aspects of the compositions which were previously hidden.
The Moonlight Sonata, the Appassionata, a violin sonata for choir? Is this really necessary? Isn’t there enough original music by Beethoven already? Isn’t there something slightly disrespectful about this? Karen Priebe’s background is as a pianist, and she is a professed fan of classical piano music, so she was both curious and a little sceptical when she first heard about the new Beethoven for choir CD. Naturally she first listened to the Kyrie based on the first movement of the Moonlight Sonata, and was lost in reverie from the first measures. She has found her favorite piece!
When conductor Jan Schumacher heard a recording of Beethoven’s Missa solemnis for the first time, he was stunned: and even ten years later he still had not overcome his awe and fear of the work. You can read why Schumacher’s enthusiasm for the work since then knows no bounds …