Mister Missa

Beethoven’s "Missa Solemnis" performed by the Philadelphia Orchestra, conducted by Wolfgang Sawallisch. Feb. 1, Academy of Music

The "Missa Solemnis" is one of only a handful of religious works written by Beethoven. While the work is a setting of the Latin mass, it is so intensely personalized by the composer that it seems far removed from the institutional rituals of the church. The celebrated humanism and pantheism of Beethoven is elevated to sublime heights in the "Missa Solemnis." Composed in the last decade of Beethoven’s life, when he was completely deaf, it is full of astonishing musical innovations, especially in the strange and beautiful harmonic transpositions which seem designed to push the music into other worlds.

Remarkably, this masterpiece has only been performed by the Philadelphia Orchestra on three previous occasions. Why? The music is simply not as accessible as the Ninth Symphony, written for a very similar ensemble shortly after the "Missa Solemnis." The structural constraints of the mass forced Beethoven to concentrate his genius on the internal mechanics of the "Missa Solemnis," whereas in the Ninth Symphony, the composer was freer to invent wholly new structures. "Missa Solemnis" is also a tremendous technical challenge, especially for the vocalists, who must negotiate acrobatic leaps.

This performance, under the baton-less direction of Wolfgang Sawallisch, betrayed little strain by the well-drilled musicians. This sort of effortless virtuosity is, of course, a hallmark of the reputation of this orchestra. But some music, including "Missa Solemnis," benefits from some visible perspiration. This writer can recall a performance of the work by the Pittsburgh Symphony under the late Robert Shaw that was so frenetic that the conductor nearly lost control in the spectacular "Gloria," but captured the heaven-storming nature of the music with thrilling power. And David Hayes rendered a more craggy vision of the music in his wonderful performance with the Philadelphia Singers last season.

Despite the relative reticence and gloss of this most recent performance, which could be called neither craggy nor thrilling, Sawallisch delivered a wise and memorable "Missa Solemnis." The Maestro works like a fine carpenter, dove-tailing every joint, honing every multi-grained texture. His insightful grasp of the monumental score produced a rich, glowing reading. He was well assisted by his vocal soloists, with especially distinctive singing by bass Alfred Reiter. The Westminster Symphonic Choir sang with agility, if somewhat lightweight in tone. Concertmaster David Kim made the "Benedictus" the heart and soul of the work with his brightly-lit, song-like violin solo.