Ludwig van Beethoven
Messe C-Dur op. 86
NEW
Ludwig van Beethoven
Messe C-Dur op. 86
- Instrumentation Soloists, Choir, Piano 4 Hands and Harmonium
- Optional Instrumentation Soloists, Choir, Piano 4 Hands and Organ
- Composer Ludwig van Beethoven
- Editor Michael Ostrzyga
- Edition Score Download
- Publisher Bärenreiter Verlag
- Order no. BA11571-DL
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Description:
Bärenreiter presents a new arrangement of Ludwig van Beethoven's Mass in C Major. The vocal parts remain unchanged. However, the orchestra is replaced by a piano for four hands and a harmonium.
This arrangement, commissioned by the Harvard Choruses and the Massachusetts American Choral Directors Association from the composer, conductor, and musicologist Michael Ostrzyga, builds on the tradition of arranging major works for four-hand piano—a tradition that reached its peak in the 19th century.
In its conception, however, it differs fundamentally from historical four-hand arrangements: only the orchestral accompaniment is transcribed—faithfully to the original, stylistically accurate, and idiomatic for the new instrumentation. The 19th-century arrangements, by contrast, aimed to reproduce the full score, which—while retaining the original vocal parts—inevitably led to sonic and structural distortions. Ostrzyga's arrangement, by contrast, preserves the clarity and brilliance of the original score. The use of the harmonium is reminiscent of Rossini's "Petite Messe solennelle." Here, then, space is given to an instrument that significantly shaped church and secular music-making in the 19th century.
From a small vocal ensemble accompanied by period instruments to a large oratorio choir with a modern grand piano and harmonium—and, if necessary, with technical amplification—this new version is suitable for a variety of concert settings. Beethoven's masterpiece can thus be experienced anew in a fascinating and historically grounded setting.
This arrangement, commissioned by the Harvard Choruses and the Massachusetts American Choral Directors Association from the composer, conductor, and musicologist Michael Ostrzyga, builds on the tradition of arranging major works for four-hand piano—a tradition that reached its peak in the 19th century.
In its conception, however, it differs fundamentally from historical four-hand arrangements: only the orchestral accompaniment is transcribed—faithfully to the original, stylistically accurate, and idiomatic for the new instrumentation. The 19th-century arrangements, by contrast, aimed to reproduce the full score, which—while retaining the original vocal parts—inevitably led to sonic and structural distortions. Ostrzyga's arrangement, by contrast, preserves the clarity and brilliance of the original score. The use of the harmonium is reminiscent of Rossini's "Petite Messe solennelle." Here, then, space is given to an instrument that significantly shaped church and secular music-making in the 19th century.
From a small vocal ensemble accompanied by period instruments to a large oratorio choir with a modern grand piano and harmonium—and, if necessary, with technical amplification—this new version is suitable for a variety of concert settings. Beethoven's masterpiece can thus be experienced anew in a fascinating and historically grounded setting.