Missa solemnis (Beethoven)
Critical reception: not seeing original research here
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== Critical reception == |
== Critical reception == |
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Some critics have been troubled, as [[Theodor W. Adorno]] wrote, that "there is something peculiar about the Missa solemnis."Adorno, Theodor W. Alienated Masterpiece: The Missa Solemnis. Essays On Music. University of California Press. 2002. p. 570. In many ways it is an atypical work: it lacks the sustained [[Theme (music)|thematic]] development that is one of Beethoven's hallmarks. The fugues at the end of the Gloria and Credo align the mass with work from his late period—but his simultaneous interest in the [[variation (music)|theme and variations]] form is absent. |
Some critics have been troubled, as [[Theodor W. Adorno]] wrote, that "there is something peculiar about the Missa solemnis."Adorno, Theodor W. Alienated Masterpiece: The Missa Solemnis. Essays On Music. University of California Press. 2002. p. 570. In many ways it is an atypical work: it lacks the sustained [[Theme (music)|thematic]] development that is one of Beethoven's hallmarks. The fugues at the end of the Gloria and Credo align the mass with work from his late period—but his simultaneous interest in the [[variation (music)|theme and variations]] form is absent. |
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Instead, the Missa presents a continuous musical narrative, almost without repetition, particularly in the Gloria and Credo (the two longest movements). The style, Adorno noted, resembles the treatment of themes in [[imitation (music)|imitation]] that one finds in [[Franco-Flemish school|Franco-Flemish]] masters such as [[Josquin des Prez]] and [[Johannes Ockeghem]]; but it is unclear whether Beethoven was consciously imitating their techniques to meet the demands of the Mass text. |
Instead, the Missa presents a continuous musical narrative, almost without repetition, particularly in the Gloria and Credo (the two longest movements). The style, Adorno noted, resembles the treatment of themes in [[imitation (music)|imitation]] that one finds in [[Franco-Flemish school|Franco-Flemish]] masters such as [[Josquin des Prez]] and [[Johannes Ockeghem]]; but it is unclear whether Beethoven was consciously imitating their techniques to meet the demands of the Mass text. |
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