Christ on the Mount of Olives

[mspaceray]

I heard this yesterday on the radio from Berlin.
It was not at all what I was expecting,Opus 85 is dramatic ,operatic and very moving.His choral writing is extraordinary and beautiful.And Christ's words are set perfectly to heavenly music.Why don't we hear this piece performed more often?

[Troels]

Originally posted by mspaceray:
I heard this yesterday on the radio from Berlin.
It was not at all what I was expecting,Opus 85 is dramatic ,operatic and very moving.His choral writing is extraordinary and beautiful.And Christ's words are set perfectly to heavenly music.Why don't we hear this piece performed more often?

Have just put "Christus am Ôlberge" in the CD-player. Haven't heard it for years. Will return later with an opinion.

[lysander]

Originally posted by mspaceray:
I heard this yesterday on the radio from Berlin.
It was not at all what I was expecting,Opus 85 is dramatic ,operatic and very moving.His choral writing is extraordinary and beautiful.And Christ's words are set perfectly to heavenly music.Why don't we hear this piece performed more often?

I have Beethoven's Christus am Olberge on CD by Chorus Musicus, Das Neue Orchester.

I think it was performed about seven times in Beethoven's life time. Somebody please correct me if I am wrong.
I think the answer to your questiion on why this work isn't performed very often is because that it is probably overshadowed by Beethoven's Immense and powerful hymn to the diety - the Missa Solemnis.

Beethoven began writing 'Christus am Olberge' a few weeks after the Heiligenstadt testament, suggesting that the Oratorio embodies many of the concepts of considerable suffering, personal experiences and emotions.
Many of the ideas contained in the testament are closely echoed in the Oratorio, and 'B' may have chosen the text deliberately as a means of expressing his personal suffering. It was probably also very theraputic for him. He said that "it is a work that was especially dear to his heart".

Critics had varied reactions , one of them said he admired the Oratorio and offered the prescient remark that -
"it confirms my long held opinion that Beethoven in time can effect a revalution in music like Mozart's. He is hastening towards this goal with great strides".

Whereas, Prince Esterhazy after hearing the first performance described it as "ridiculous and detestable".

To me, this remark borders on being abusive, and completely unfair.

The work was criticised because it was considered quasi-blasphemous. because it treated a sacred theme in a rather open and secular mode, however reverential Beethoven's handling of the material was.
(and it was).

[This message has been edited by lysander (edited April 20, 2003).]

[Peter]

Originally posted by lysander:

Whereas, Prince Esterhazy after hearing the first performance described it as "ridiculous and detestable".

I think this remark refers to the Mass in C which Esterhazy had commisioned from B.

------------------
'Man know thyself'

[lysander]

Originally posted by Peter:
I think this remark refers to the Mass in C which Esterhazy had commisioned from B.

Peter,
Thankyou for drawing the above to my attention. Indeed this remark does refer to 'B's Mass in C. I take it that Hummel also sneered at it?

[Rod]

Originally posted by lysander:

I have Beethoven's Christus am Olberge on CD by Chorus Musicus, Das Neue Orchester.

...The work was criticised because it was considered quasi-blasphemous. because it treated a sacred theme in a rather open and secular mode, however reverential Beethoven's handling of the material was.
(and it was).

[This message has been edited by lysander (edited April 20, 2003).]

The CD you have is the best currently available of this piece. Consider no other at this point in time.

It was regarded as totally blasphemous here. It was only allowed a performance with a different text, which no doubt contributed to its neglect. I'm surprised the oratorio was allowed as it stood in Austria.

------------------
"If I were but of noble birth..." - Rod Corkin