Luigi Cherubini

Messe solennelle in d

How does a female composer apply for a position at court? With her own music! When Luigi Cherubini sought to recommend himself in 1810 as Joseph Haydn’s successor at the court of Hungarian Prince Nicholas II Esterházy, he composed his "Messe solennelle in D minor." Cherubini opted for a very extensive, almost opulent Mass that gave him ample opportunity to demonstrate his skill. The work is longer than Beethoven’s "Missa solemnis" and is certainly one of the most extensive settings of the Mass Ordinary ever written—the Gloria alone consists of nearly 900 measures. However, the Mass is not only overwhelming in its sheer scale but also relies on well-balanced contrasts. One example of this is the "Et incarnatus." The first part, featuring soloists, is restrained and devotional—sung largely a cappella. In the second half, the movement intensifies over rhythmic ostinatos with the aid of a very long and prominent pedal note in the choir and the clarinets, lending the crucifixion scene an unyielding and tragic character. Through bold yet no less captivating harmonic shifts and the contrast with the first part of the movement, its impact is all the more profound. Although Cherubini’s efforts at court did not lead to the desired position, he successfully self-published his "Messe solennelle" in 1825. Wolfgang Hochstein’s critical edition presents the "Hosanna" for the first time in the form originally intended by the composer, based on the autograph manuscript. As a valuable addition, the edition also includes an alternative introduction to the "Sanctus," which is preserved in the autograph but was not included in the first printing. Thus, the edition provides a new, comprehensive approach to this multifaceted work of church music from the period between the Classical and Romantic eras.