Dudamel’s ‘Missa Solemnis’: A Profound Exploration of Peace
Gustavo Dudamel recently led the Los Angeles Philharmonic in Beethoven’s “Missa Solemnis,” marking his first performance of the work. This undertaking, a centerpiece of the L.A. Phil’s month-long Beethoven focus, arrives after decades of the conductor engaging with Beethoven’s music, beginning in his teenage years. The performance, held at Walt Disney Concert Hall, is particularly notable given the work’s reputation as one of Beethoven’s most ambitious and elusive creations, and its relative infrequency in concert programs.
Beethoven’s Spiritual and Musical Ambition
Beethoven’s “Missa Solemnis” is a grand mass for large orchestra, chorus, and four vocal soloists, lasting approximately 80 minutes. Written near the end of his life, it represents his most ambitious work both musically and spiritually. Beethoven himself inscribed “Coming from the heart, may it go to the heart” on the first page of the score, hinting at the deeply personal nature of the composition.
“Talking to God, Man to Man”
As Beethoven biographer Jan Swafford articulates, “ ‘Missa Solemnis’ is Beethoven talking to God, man to man. And what they talked about is peace.” Swafford further explains that for Beethoven, creation represented the magnificence of the world, and “Missa Solemnis” was intended to preserve that magnificence. Despite its profound depth, the work remains less frequently performed than many of Beethoven’s other major compositions, due in part to the challenges it presents to conductors.
A Conductor’s Challenge
Conductors often struggle to fully grasp the intricacies of “Missa Solemnis.” Simon Rattle, even after a lifetime of conducting, contended that the work remained beyond his reach. Michael Tilson Thomas previously staged a performance of the piece with the Los Angeles Philharmonic in 2015. Dudamel, having waited until after his 45th birthday, approached the work with a commitment to encompassing its full emotional and spiritual weight.
Dudamel’s Interpretation and Performance
Dudamel conducted the mass from memory and notably incorporated two Spanish choruses – Orfeó Català and Cor de Cambra del Palau de la Música Catalana – comprising a total of 130 singers, directed by Xavier Puig. The four vocal soloists – soprano Pretty Yende, mezzo-soprano Sarah Saturnino, tenor SeokJong Baek, and bass Nicholas Brownlee – provided robust and powerful performances. The soloists were positioned mid-orchestra, behind the violas and in front of the timpani.
A Work of Theatricality and Contradiction
“Missa Solemnis” doesn’t strictly adhere to the traditional liturgical narrative of the mass; instead, it dramatizes feelings. Dudamel’s approach focused on encompassing the work’s emotional and spiritual weight, conducting with expansive gestures as if embracing the entire ensemble. The performance featured a particularly noteworthy violin solo from Alan Snow, associate concertmaster of the Minnesota Symphony, who brought a silken tone to the piece.
A Reflection on Peace
The reception to Dudamel’s performance differed from the typically rapturous applause he receives after Beethoven interpretations. Instead, the audience offered a respectful standing ovation, suggesting a moment for reflection. As the work suggests, true peace comes not from triumph, but from the ending of conflict – be it between nations, nature, or within ourselves.