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Hummel US 2/04/2004 02:12Pm Page 12 557572 bk Hummel US 2/04/2004 02:12pm Page 12 DDD The orchestral parts and scores of thefollowing works are available from: 8.557572 ARTARIA EDITIONS LTD PO Box 9836 Te Aro Wellington NEW ZEALAND Johann Nepomuk http://www.artaria.com Sources HUMMEL The works on this disc, published by Artaria Editions, have been edited by Allan Badley. The sources upon which the editions used in this recording have been made are: Missa Solemnis in C Te Deum Edited by Allan Badley - Artaria Editions AE412 Edited by Allan Badley - Artaria Editions AE419 Missa Solemnis London, The British Library London, The British Library Te Deum Patricia Wright Zan McKendree-Wright Patrick Power David Griffiths TOWER Voices New Zealand New Zealand Symphony Orchestra Uwe Grodd 8.557572 12 557572 bk Hummel US 2/04/2004 02:12pm Page 2 Johann Nepomuk Hummel (1778-1837) Confiteor unum baptisma I acknowledge one baptism Missa Solemnis in C • Te Deum in remissionem peccatorum. for the forgiveness of sins. et exspecto resurrectionem mortuorum. And I look for the resurrection of the dead By 1803 it had become apparent to Joseph Haydn that he reforms introduced by Joseph II in 1783. More Et vitam venturi sæculi. and the life of the world to come. was no longer capable of fulfilling his duties as importantly, he instigated the tradition of having a new Amen. Amen. Kapellmeister at the Esterházy court. Accordingly, he Mass performed annually on the name-day of his wife, recommended the appointment of Mozart’s former pupil Princess Maria Hermenegild. In the first fifteen years of 5 Sanctus 5 Sanctus Hummel for the post of Concertmeister and divided his his reign Fuchs, Hummel and Beethoven all wrote Sanctus, Sanctus, Sanctus Holy, Holy, Holy existing duties between Hummel, Johann Nepomuk Masses for the occasion, in addition to Haydn’s six Dominus Deus Sabaoth, Lord God of Hosts, Fuchs, the Vice-Kapellmeister, and the Kammer- magnificent settings which ended in 1802 with the Pleni sunt cæli et terra gloria tua. Heaven and earth are full of thy glory. musikdirektor Luigi Tomasini. Hummel’s contract Harmoniemesse. These performances generally took Hosanna in excelsis. Hosanna in the highest. became effective from 1st April 1804 and in a resolution place in September on the Princess’s name-day in the signed by Prince Nicolaus II on 23rd June 1804 his Bergkirche in Eisenstadt. 6 Benedictus 6 Benedictus responsibilities were outlined in some detail: “... the Hummel’s five settings of the Mass were composed Benedictus qui venit Blessed is he that cometh Concertmeister Hummel is to have the direction of between 1804 and 1808. The Mass in E flat, Op. 80, the in nomine Domini. in the name of the Lord. cantatas, oratorios and such music pieces as do not fall second of Hummel’s Masses to be published, was Hosanna in excelsis Hosanna in the highest. under the genre of church music, and altogether in almost certainly composed before the Mass in B flat, rehearsals and productions of his own works”. The Op. 77. The D minor Mass was begun in August 1805, 7 Agnus Dei 7 Agnus Dei general divisions of responsibility - Fuchs church music, the Missa Solemnis in C, composed for the wedding of Agnus Dei, qui tollis O Lamb of God, that takest Tomasini instrumental music and Hummel secular vocal Princess Leopoldina Esterházy, was completed in March peccata mundi, away the sins of the world, music including opera - were not adhered to rigorously 1806 and the final work, the Mass in D, Op. 111, the so- miserere nobis. have mercy upon us. and this created a good deal of tension within the called Third Mass, was written in 1808. It was perhaps Agnus Dei, qui tollis O Lamb of God that takest prince’s musical establishment. Although Fuchs appears to this work - or conceivably the Missa Solemnis in C, peccata mundi, away the sins of the world, as a rather pedantic individual in the historical record, it which is known to have been performed in April 1808 - miserere nobis. have mercy upon us. is impossible not to feel a measure of sympathy for him, that Haydn was alluding when he remarked to the Agnus Dei, qui tollis O Lamb of God, that takest given Hummel’s arrogant and inconsiderate behaviour composer during Hummel’s visit to his home in Vienna peccata mundi, away the sins of the world, at times. Hummel seems to have been a very casual the following month: ‘Well, dear Hummel, I’ve already dona nobis pacem. grant us thy peace. disciplinarian and there is no doubt that the overall heard that you’ve written such a beautiful Mass and was standard of the Esterházy Kapelle declined as a result. pleased about it. I often said to you that you would be He was summarily dismissed after a chaotic somebody. Continue like this and consider that performance on Christmas Day 1808 and it was only everything beautiful and good comes from above’. after repeated requests to be taken back into service that Hummel’s autograph score of the Missa Solemnis in Prince Nicolaus II relented. C was completed in March 1806, three months after the Prince Nicolaus II Esterházy (1765-1833) Te Deum. Hummel carefully noted on the last page of succeeded his father as the reigning prince in 1794. He the autograph that the work had been composed for the was a difficult man, severe and uncongenial by nature wedding of Princess Leopoldina Esterházy [Marzo 806 / and thoroughly debauched in his private life. Although composta all’occasione / dello sposalizio di S. Alt. / la music did not occupy a central place in his life, he did Principessa Leopoldina / d’Esterhazy; eseguito ai have a strong and genuine interest in church music. He Aprille 808.] Hummel’s reference to a performance in began to build up his library’s holdings in this area, April 1808 is puzzling, since surely the work was which had languished since the death of Haydn’s performed as intended during the wedding celebrations predecessor, Gregor Werner, and perhaps as a in 1806. It appears, after all, to have been completed in consequence of the wide-sweeping church music good time for the occasion. Princess Maria Leopoldina 8.557572 2 11 8.557572 557572 bk Hummel US 2/04/2004 02:12pm Page 10 miserere nobis. of the Father, have mercy upon us. Josepha Aloysia Esterházy von Galantha (1788-1846), in the long and distinguished Viennese tradition of C Quoniam tu solus sanctus; For thou only art holy; the daughter of Prince Nicolaus II and Princess Marie major festive Masses. In contrast, the quiet opening of Tu solus Dominus; thou only art the lord; Hermenegild Esterházy, married Moritz Joseph Johann the succeeding Allegro moderato, scored for winds Tu solus Altissimus, Jesu Christe, thou only, O Christ, Baptist Viktor von Liechtenstein (1775-1819) in alone, is an astonishingly modern touch. The choral cum Sancto Spiritu, with the Holy Spirit art most high Eisenstadt on 13th April 1806. It must have ranked as writing is lyrical but not without its moments of drama; in gloria Dei Patris. in the glory of God the Father. the Society Wedding of the Year, given the enormous the accompaniment, which benefits enormously from Amen. Amen. wealth, power, influence and prestige of the two Hummel’s brilliant handling of his orchestral forces, families. That Hummel was invited to compose the work infuses the Kyrie with tremendous drive and verve. 4 Credo 4 Credo for the occasion is a clear indication of his high The Gloria is a highly original movement. Shunning Credo in unum Deum, I believe in one God, professional standing with the Prince. Perhaps the the conventional division of the Gloria into three or Patrem omnipotentem, the Father almighty, failure of Beethoven’s C major Mass the following year more interlinked sections, Hummel sets the text in a factorem cæli et terræ, maker of heaven and earth, (the Prince felt compelled to write to a friend: single large-scale movement unified by the use of a visibilium omnium et invisibilium. of all things visible and invisible, “Beethoven’s Mass is unbearably ridiculous and recurring theme which is developed as the movement et in unum Dominum, Jesum Christum, And in one Lord, Jesus Christ, detestable, and I am not convinced that it can ever be unfolds. Given the length of the text, Hummel’s filium Dei unigenitum; only son of God; performed properly. I am angry and mortified”) should preference for homophonic choral textures is hardly et ex Patre natum ante omnia sæcula. and born of the Father eternally, be viewed as much in the context of Hummel’s personal surprising, but his employment of blocks of Deum de Deo, lumen de lumine, God of God, light of light, triumph in 1806 as in terms of the poor performance and a cappella writing is startling and with their pseudo- Deum verum de Deo vero, true God of true God, challenging nature of the work. It is unlikely that Haydn modal harmonies he successfully creates a sense of genitum non factum, begotten, not made, attended the ceremony, given his poor state of health, timelessness and even of mystery which is highly consubstantialem Patri; of one substance with the Father, but he was fond of Princess Leopoldina and doubtless effective. per quem omnia facta sunt. by whom all things were made. took a close personal and professional interest in her The Credo is another singularly impressive Qui propter nos homines et propter nostram He who for mankind wedding celebrations. movement with much to commend it. At its heart lies a salutem descendit de cælis, and for our salvation descended from heaven.
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