In 1807, Ludwig van Beethoven received a commission from Prince Nikolaus Esterházy II to compose the Mass in C major, Op. 86. For Beethoven, already recognized as an instrumental composer, this commission presented a particular challenge, as his experience with sacred music was limited. The composition was further complicated by the inevitable comparison with Haydn's famous masses. After a delay, Beethoven promised the prince he would complete the work by August 20th. The premiere took place on September 13th, 1807, in Eisenstadt, but was received extremely negatively by the prince. He is even said to have described the work as "unbearably ridiculous and revolting." Consequently, when the mass was published by Breitkopf & Härtel in 1812, Beethoven dedicated it not to his patron, but to Prince Kinsky.
The contemporary critic E.T.A. Hoffmann also expressed dissatisfaction with the Mass in C major, as it did not conform to his ideal of church music. Hoffmann preferred traditional unaccompanied contrapuntal church music and found it difficult to reconcile old and new musical aesthetics. Although he was convinced that Beethoven's symphonic compositions offered direct access to the "spiritual world," he felt personally disappointed by the Mass in C major.
Beethoven initially tried to sell the Mass to the publisher Breitkopf as part of a larger package of works, but met with little interest at first. He emphasized the originality of his composition, despite its presence of traditional elements. The Mass in C major reflects Beethoven's personal and dramatic approach to liturgical texts, with his music powerfully conveying inner conflict and faith.
A notable structural feature of the Mass is the recurrence of the "Kyrie" theme in the final section, creating a subtle motivic connection. Through this musical repetition, Beethoven developed a new form of awareness. The concluding sections of the Mass approach the character of operatic music. "Ah! perfido" is considered Beethoven's significant contribution to the genre of concert arias, while "Ne' giorni tuoi felici" and "Tremate, empi, tremate" served as exercises for developing his instrumental skills.
The Mass in C major remains a multifaceted work that reveals Beethoven's unique approach to sacred music and continues to evoke controversial reactions. Despite initial rejection, the work is now regarded as "entirely worthy of the great master," particularly because of its "inner structure and intelligent orchestration," as even Hoffmann acknowledged.