I believe in . . . the life of the world to come.
—Nicene Creed
Readers of “Lifted Voice” might be surprised to encounter a column on the sacred music of Ludwig van Beethoven (1770–1827). Although he was raised Roman Catholic, he was not much of a church goer in his adult life, and certainly not a composer primarily for the church. Nevertheless, his Solemn Mass in D Major or Missa Solemnis (Opus 123), is what conductor Robert Shaw, from whose writings and recordings I have borrowed here, described as “an Everest,” i.e., a musical mountain that begs to be climbed (Deep River: The Life and Music of Robert Shaw, p. 497). Those who have done so (the present writer included) have not emerged the same; indeed, they never fully descend from this majestic mountain, even years after the programs have been archived and the echo has faded. As the church contemplates the end times this November, concurrent with COVID-limited celebrations of Beethoven’s 250th birthday, please join me to survey Beethoven’s masterpiece, with special focus on his setting of the words “and the life of the world to come.”
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