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Mariazellermesse Paukenmesse HAYDN Mariazellermesse Missa Cellensis Paukenmesse Missa in tempore belli (‘Mass in Time of War’) Trinity Choir • REBEL Baroque Orchestra J. Owen Burdick 8.572124 Haydn masses-Mariazellermesse booklet.indd 1 15/2/10 15:57:27 Joseph HAYDN (1732–1809) Missa Cellensis, ‘Mariazellermesse’ 34:03 in C major (Hob.XXII:8; 1782) 1 Kyrie 1 4:24 2 Gloria 1:44 3 Gratias agimus tibi 2 5:14 4 Quoniam tu solus sanctus 1:53 5 Credo 1:35 6 Et incarnatus est 4:29 7 Et resurrexit 0:57 8 Et vitam venturi 1:20 9 Sanctus 2:29 0 Benedictus 1 5:15 ! Agnus Dei 2:28 @ Dona nobis pacem 2:15 Ann Hoyt, soprano 1 • Sharla Nafziger, soprano 2 Kirsten Sollek, alto • Nathan Davis, tenor Richard Lippold, bass Trinity Choir Rebel Baroque Orchestra Jörg Michael Schwarz, leader J. Owen Burdick 8.572124 2 8.572124 Haydn masses-Mariazellermesse booklet.indd 2 15/2/10 15:57:28 Joseph HAYDN (1732–1809) Missa Cellensis, ‘Mariazellermesse’ 34:03 Missa in tempore belli, ‘Paukenmesse’ 37:34 in C major in C major (Hob.XXII:8; 1782) (Hob.XXII:9; 1796) 1 1 Kyrie 4:24 # Kyrie 4:29 2 $ Gloria 1:44 Gloria 2:49 2 3 Gratias agimus tibi 5:14 % Qui tollis peccata mundi 4:46 4 Quoniam tu solus sanctus 1:53 ^ Quoniam tu solus sanctus 2:26 5 Credo 1:35 & Credo 1:13 6 Et incarnatus est 4:29 * Et incarnatus est 3:31 7 Et resurrexit 0:57 ( Et resurrexit 2:04 8 Et vitam venturi 1:20 ) Et vitam venturi 2:25 9 ¡ Sanctus 2:29 Sanctus 2:05 1 0 Benedictus 5:15 ™ Benedictus 5:56 ! Agnus Dei 2:28 £ Agnus Dei 2:47 @ Dona nobis pacem 2:15 ¢ Dona nobis pacem 3:03 Ann Hoyt, soprano 1 • Sharla Nafziger, soprano 2 Ann Hoyt, soprano • Kirsten Sollek, alto Kirsten Sollek, alto • Nathan Davis, tenor Daniel Neer, tenor • Richard Lippold, bass Richard Lippold, bass Trinity Choir Trinity Choir Rebel Baroque Orchestra Rebel Baroque Orchestra Jörg Michael Schwarz, leader Jörg Michael Schwarz, leader J. Owen Burdick J. Owen Burdick 3 8.572124 8.572124 Haydn masses-Mariazellermesse booklet.indd 3 15/2/10 15:57:28 Haydn’s Masses The ‘father of the symphony’ and master of part setting.’3 Reutter’s instruction was predominantly conversational wit in the string quartet, [Franz] Joseph practical in nature; although Haydn remembered only Haydn is viewed today principally in the light of his two formal lessons, Griesinger writes that ‘Reutter did instrumental music. According to his nineteenth-century encourage him to make whatever variations he liked on biographer Georg August Griesinger, however, Haydn the motets and the Salves that he had to sing in church, sometimes wondered if ‘instead of so many quartets, and this practice early led him to ideas of his own, sonatas, and symphonies, he should have written more which Reutter corrected’4. Haydn was forced to leave vocal music’1. While our modern image of Haydn tends the school when his voice broke, and at the juncture of to neglect his vocal compositions, they comprise a large this important transition composed his first authenticated part of his oeuvre – and sacred music in particular played Mass, the Missa brevis in F major (1749). After leaving a unique role in his musical development. Haydn’s St Stephen’s, Haydn moved into the Michaelerhaus near formative musical experiences were as a choirboy, and St Michael’s Cathedral – coincidentally several floors his first and last compositions were Mass settings. His above the famous librettist Metastasio. Through the poet Masses were popular during his lifetime, travelling to he met the Italian composer Nicola Porpora, whom he Catholic countries all along the Danube and making credited with teaching him the Italian singing style and their way into concert halls after Breitkopf and Härtel manner of composition. As Haydn said in 1766, ‘I wrote published seven of them in the first part of the nineteenth diligently, but not entirely correctly, until I had the good century. Sacred music also figured prominently in the fortune to learn the true fundamentals of composition composer’s musical philosophy; in Haydn’s mind, from the celebrated Porpora’5. compositional process and even artistic inspiration were As with most composers of his era, Haydn’s indelibly linked to spirituality. Griesinger reports: ‘“If, musical output was closely linked to the needs of when I am composing, things don’t go quite right,” I patrons. In 1761 he was hired as an assistant to the heard him say, “I walk up and down the room with my Esterházy court’s aging Kapellmeister Gregor Werner rosary in my hand, say several Aves, and then the ideas and was put in charge of all musical activities with the come again.”’2 While his instrumental music is clearly exception of sacred music, a responsibility that was inspired, perhaps Haydn’s sacred music – in particular, added after Werner’s death in 1766. In spite of Prince his twelve complete and authenticated Mass settings – Nicolaus Esterházy’s reported lack of interest in church brings us closest to the source of his artistic inspiration. music, Haydn composed a number of sacred works Haydn showed vocal talent at an early age. Around between 1766 and 1772 that showcase his facility with 1740, the Kapellmeister at St Stephen’s in Vienna, the various styles and traditions associated with Austrian Georg Reutter, recruited him as a choirboy. Haydn church music, including the first Missa Cellensis (or received a well-rounded musical education at the Cäcilienmesse), the Stabat Mater, the Missa in honorem church, learning keyboard, violin and composition in BVM (or Grosse Orgelsolomesse) and the Missa Sancti addition to singing. In his autobiographical writings, Nicolai (or Nikolaimesse). After the construction Haydn gives a light-hearted description of his early of an Italian opera house and marionette theatre at attempts to compose: ‘I used to think then that it was all Eszterháza, the Prince’s new summer residence, Haydn right if only the paper were pretty full. Reutter laughed transferred his focus from sacred to secular vocal at my immature output, at measures that no throat and music, composing only two Mass settings between no instrument could have executed, and he scolded me 1772 and 1782: the Missa brevis Sancti Joannis de Deo for composing in sixteen parts before I understood two- (or Kleine Orgelsolomesse) in the mid 1770s, and the 8.572124 4 8.572124 Haydn masses-Mariazellermesse booklet.indd 4 15/2/10 15:57:28 second Missa Cellensis (the Mariazellermesse) in 1782. frequent use of waltz-like metres more suitable for With Prince Nicolaus’s preference for opera, his the dance hall than the church, while the theatrical successor Prince Anton’s complete lack of interest arias ‘with their exaggeratedly sensual and superficial in music, and the emperor Joseph II’s church music performances... can very easily banish devotion but reforms of the 1780s all working against him, Haydn can never awaken it’8. As these criticisms illustrate, didn’t return to the Mass text for fourteen years. After listeners had particular expectations when it came to Prince Anton’s death in 1794, however, the new prince, sacred music, and Haydn’s settings depend upon an Nicolaus II, called his Kapellmeister back into service. intimate acquaintance with these established Viennese Whereas Prince Nicolaus I had preferred the isolation traditions. At the same time that the works illustrate his of Eszterháza in Hungary, Nicolaus II enjoyed the fluency with the vernacular of sacred music, however, more urban setting of Vienna, and Haydn stayed in the Masses display an inspiration and an originality that the city until his death in 1809 (with the exception of belong to Haydn alone. summers, when he travelled with the Esterházy court to Eisenstadt). As part of his duties, Haydn was required to write a Mass each year to celebrate the nameday of Missa Cellensis, ‘Mariazellermesse’ Princess Marie Hermenegild, Nicolaus II’s wife, and in C major between 1796 and 1802 Haydn composed six Masses (Hob.XXII:8; 1782) in fulfilment of this responsibility: the Heiligmesse, Paukenmesse, Nelsonmesse, Theresienmesse, Between 1772 and 1796, Haydn composed only two Schöpfungsmesse and Harmoniemesse. Haydn’s Mass settings, neither of which was written for the relationship with Nicolaus II was sometimes rocky, but court. One of these was the Mariazellermesse of 1782, the Princess was much friendlier than her notoriously also known as the second Missa Cellensis. While difficult husband and reportedly made sure that Haydn’s an inscription on the autograph manuscript, ‘Missa favourite wine (Málaga) was served to him on a regular Cellensis Fatta per il Signor Liebe de Kreutzner’, tells basis. While some of Haydn’s contemporaries criticised us that the work was commissioned by retired military his late Masses as ‘too cheerful to be sacred’, their officer Anton Liebe de Kreutzner, the reason it was exuberance is perhaps due at least in part to his warm requested is not as clearly stated. One theory proposes relationship with the Princess. that the Mariazellermesse was first performed at Haydn’s association with the Esterházy family may one of the celebrations commemorating Kreutzner’s have provided the impetus for most of his Mass settings, ennoblement, which had taken place the previous but his ideas about faith in general gave them their year. Kreutzner was also a member of the Viennese unique spirit. Haydn’s biographer Griesinger writes of brotherhood responsible for services in honour of the the composer’s approach to religion: ‘Altogether his Mariazell pilgrimages, and it is even more likely that devotion was not of a sort which is gloomy and forever he commissioned the piece on behalf of the group.
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