After evaluating the ongoing Pandemic and extraordinary challenges that the world is facing, the Missa Solemnis Alliance has decided to postpone our performance of the Beethoven, Missa Solemnis to 2021.  Further information will be forthcoming at a later date.

Regarding tickets that have already been purchased, there are two options for ticket holders:

1. You can keep your tickets and apply them to the 2021 performance date 

2. You can receive a full refund by returning your tickets to the location where they were purchased for a full refund





The Missa Solemnis Alliance represents many of the very best in our community and beyond, coming together in celebration of the 250th anniversary of the birth of Beethoven. We also celebrate the Panhandle Spirit, as we present this incredibly challenging work, rarely done as the forces needed, must give an enormous effort asked by Beethoven. This once in a lifetime experience in Amarillo, Texas will amaze you and make you proud of the extraordinary talent in our community. Don’t miss this incredible work, a piece described by Beethoven as, “the greatest music I have ever written.”

The Missa solemnis in D major, Op. 123, is a solemn mass composed by Ludwig van Beethoven from 1819 to 1823. It was first performed on 7 April 1824 in Saint Petersburg, Russia, under the auspices of Beethoven’s patron Prince Nikolai Galitzin; an incomplete performance was given in Vienna on 7 May 1824, when the Kyrie, Credo, and Agnus Dei were conducted by the composer.[1] It is generally considered one of the composer’s supreme achievements and, along with Bach’s Mass in B minor, one of the most significant Mass settings of the common practice period.

“When I enter inside this masterpiece I feel myself transcend into another dimension and another world that words cannot express or describe. This work is beyond any definition or explanation.

  • anonymous

Why is Missa Solemnis so special?

The artistic forces being secured total 177 musicians including 1 conductor, 4 soloists, 58 orchestra musicians and 115 choral musicians.

The writing displays Beethoven’s characteristic disregard for the performer, and is in several places both technically and physically exacting, with many sudden changes of dynamic, metre and tempo. The orchestral parts also include many demanding sections. A typical performance of the complete work runs 80 to 85 minutes. The difficulty of the piece combined with the requirements for a full orchestra, large chorus, and highly trained soloists, both vocal and instrumental, mean that it is not often performed by amateur or semi-professional ensembles.