Gaetano DONIZETTI & Johann Simon Mayr Messa di Gloria and Credo in D Thornhill • Pollak • Papenmeyer • Adler • Berner Simon Mayr Chorus • Members of the Bavarian State Opera Chorus Concerto de Bassus Franz Hauk Gaetano Donizetti (1797–1848) and Johann Simon Mayr (1763–1845) Gaetano Donizetti Messa di Gloria and Credo in D ! Ave Maria, gratia plena...... 3:34 (MSP • SKT • MP • MA • MB • Orchestra) Kyrie

1 Kyrie eleison...... 12:34 Johann Simon Mayr

(SKT • MSP • MA • MB • Chorus • Orchestra) Sanctus @ Sanctus Dominus Deus...... 1:56 # Gloria Benedictus qui venit in nomine Domini...... 2:43 2 Gloria in excelsis Deo...... 6:12 (MSP • MP • MA • MB • Chorus • Orchestra) (SKT • MP • MA • MB • Chorus • Orchestra)

3 Laudamus te / Gratias agimus tibi...... 4:53 Johann Simon Mayr $ (SKT • Orchestra) Agnus Dei ...... 4:55 4 Domine Deus, Rex cælestis...... 11:47 (MSP • MP • MA • MB • Chorus • Orchestra) (MB • Orchestra) 5 Qui tollis peccata mundi...... 8:40 (SKT • Orchestra) (SKT) Siri Karoline Thornhill, Soprano I • (MSP) Marie-Sophie Pollak, Soprano II 6 Qui sedes ad dexteram Patris / Quoniam tu solus sanctus...... 12:49 (MP) Marie-Sande Papenmeyer, Alto (MA • Violin Solo • Orchestra – Violin Solo part written for Pietro Rovelli, 1793-1838) (MA) Mark Adler, Tenor • (MB) Martin Berner, Bass 7 Cum Sancto Spiritu...... 3:24 Simon Mayr Chorus • Members of the Bavarian State Opera Chorus 6 (SKT • MP • MA • MB • Chorus • Orchestra) (Theona Gubba-Chkheidze, Concertmaster and Solo-Violin ) Concerto de Bassus Credo Franz Hauk 8 Credo in unum Deum...... 2:57 9 Et incarnatus est...... 2:59 0 Et resurrexit tertia die...... 6:48 (MSP • MP • MA • MB • Chorus • Orchestra) Gaetano Donizetti (1797–1848) and Johann Simon Mayr (1763–1845) Only the Kyrie, Gloria in excelsis and Qui sedes are identical; In 1818 Donizetti returned from Bologna, where he had the remaining movements contain disparities. Donizetti was been studying with Stanislao Mattei since 1815, to his home Messa di Gloria and Credo in D here following a practice that was then widespread in Italy town of Bergamo and to his former teacher and mentor Donizetti and Church Music Alongside numerous smaller sacred pieces, Donizetti’s and was also common in the operatic sphere: works were Johann Simon Mayr. In the years that followed, at least from Messa di Gloria e Credo in C minor (1837) and his Messa assembled in an ad hoc manner from individual movements, time to time, Donizetti acted as Mayr’s musical assistant, and Since the early 19th century, German church music has di Requiem in morte di Vincenzo Bellini in D minor (written in sometimes by several composers and sometimes adapted to Mayr repeatedly incorporated contributions by his former typically observed a strict distinction between sacred and 1835) are widely known. Almost all of his sacred works date suit different forces. It seems reasonable to make use of this pupil into his own works. The Credo of the Mass presented secular styles. A piece of music written for liturgical use should from his student years. Like all opera composers at that time, so-called pasticcio technique again in our own day to create here is a prime example of this collaboration. Donizetti wrote sound austere and dignified and eschew pleasing melodies, Donizetti had learned his craft to a significant extent in the another Messa di Gloria out of individual pieces by Donizetti it, probably c.1820, in a version in E flat major. According let alone operatic-sounding ones. This attitude is due to the schoolroom of sacred music. His most important teacher was that have not hitherto been used. to Mayr’s son-in-law Luigi Massinelli, Donizetti reworked Cecilian movement, which took its name from the third-century Johann Simon Mayr, who set up the Lezioni Caritatevoli at this version in 1824 for performance at the festival of Saint martyr Saint Cecilia, patron saint of sacred music. From the the cathedral in Bergamo c.1805, giving musical instruction on Cecilia in Bergamo, which took place on 24th November that beginning of the 19th century onwards, this Catholic reform a charitable basis. Donizetti, who was born in Bergamo and year, transposing it to D major. The only curious thing is that movement advocated a return to Gregorian chant and an went on to compose around 70 operas, then rounded off his Donizetti’s original score seems to have been lost, and Mayr approach oriented towards the liturgical style of Palestrina and musical education c.1815 with the famous music theorist and himself produced the lion’s share of the extensive orchestral Pieralberto Cattaneo’s catalogue of works offers the early vocal polyphony. pedagogue Padre Stanislao Mattei at the Liceo Filarmonico in material, including the full score, which Massinelli prefaced original dates of composition for the remainder of the By contrast, with the exception of the closing fugue, which Bologna, where Rossini had also concluded his studies. with this comment among others: “N.B. Questa partitura non movements assembled here: Kyrie in D minor “20.5.1820”, harks back to more rigorous liturgical methods of composition, It must be said straight away that for Donizetti, who, under è di Donizetti, ma bensi trascritta del celebre G. S. Mayr. Gloria in excelsis in C major “28.5.1818”, Laudamus e Gratias listening to a Mass by an Italian composer of the same Mayr’s patronage, set his sights mainly on writing church Ridotta per piccola Orchestra in Bergamo” (“N.B. This score “3.7.1819”, Domine Deus in E flat major “1820”,Qui sedes and period feels like attending an operatic performance. Both music and composed numerous religious pieces up until is not by Donizetti, but transcribed by the famous G.S. Mayr. Quoniam “3.7.1820”. In addition there are some estimates: the orchestration and the melodies reinforce this impression, 1822, as for his slightly older colleague Rossini, the church Adapted and reduced for small orchestra in Bergamo”). One Qui tollis in E major “[1820/21]” and Cum sancto spiritu in C regardless of whether the composer happens to be Rossini, didn’t remain a schoolroom. Right up to the end of his life can hardly describe the orchestra as small, however – after minor “[1816/18]”. Bellini or Donizetti. Individual movements are just like short he continued to compose sacred works and arranged larger all, it includes 3 trombones and a serpent. Mayr used excerpts Donizetti did not set any movements from the Ordinary scenes in an opera: instrumental ritornelli lead into solo or units, including a full Mass, out of separate component parts of this Credo, with modifications and reduced forces, for the after the Credo. By way of completion we have therefore choral cantilenas that are not substantially different in style that he had written earlier. The catalogue of his works lists Mass in C minor he composed in 1826 for the primis, or first added three compositions by Johann Simon Mayr that are from contemporaneous music for the stage and are developed around 150 items under sacred music. It was not for nothing Holy Mass, celebrated by P. Gall Morel after his dedication at linked in the autograph. The Sanctus, Benedictus and Agnus quite operatically in the form of arioso or, more generally, full- that, when already a mature opera composer, he wrote in a the monastery of Einsiedeln. Dei probably also date from around 1820, judging by the blown arias or duets. letter dated March 1842 telling his elderly teacher and mentor The violin solo in the expansive Qui sedes was written for handwriting in the autograph. Variants of the Sanctus und Thus particularly in Italy in the late eighteenth and early Simon Mayr, through Antonio Dolci, about the Ave Maria Pietro Rovelli (1793-1838), one of the most famous virtuoso Benedictus can be identified among Mayr’s complete works. nineteenth centuries no stylistic distinction was made between that he had dedicated to Emperor Ferdinand I of Austria: “It violinists of his day. Rovelli studied with Rodolphe Kreutzer The harmonic structure of the closing Agnus Dei in D minor the musical genres; the declamatory, arioso or emotional is always good for His Majesty to know that even among the and was first violinist in the royal Hofkapelle in Munich from is reminiscent of the opening of the Allegretto from Ludwig nature of secular opera was equally characteristic of sacred opera composers there is a good Christian who knows a thing 1815 to 1818. In 1819 he took on the direction of various van Beethoven’s Symphony No.7, Op. 92. Beethoven was a music. Many individual works were youthful productions – or two about sacred music.” orchestras in his home town of Bergamo, teaching at the composer whom Mayr revered and quoted repeatedly in his student exercises in composition cobbled together at a later school of music that Mayr had founded there. Rovelli played own works. date to form a complete Mass. Reproaches along these lines Thomas Lindner a Guarneri del Gesù violin, which Paganini later sought to Franz Hauk by the Cecilian movement consigned bel canto composers’ The Messa di Gloria e Credo in D for soloists, chorus and purchase. Translation: Susan Baxter church music to oblivion, heaping contempt on their sacred orchestra music when they were already being discredited as the purveyors of mass-produced goods in the secular arena. The Hitherto only one Mass by Gaetano Donizetti has been known. German musicologist Hermann Kretschmar even presumed The Messa di Gloria e Credo in C minor mentioned above was to note “a period of amazing decline in religious music in the first heard on 27th November 1837 in the church of Santa Latin countries”. The controversy “church music versus opera” Maria la Nova in Naples and has since been published in was immediately built up into a contrast between North and several editions. This work is, of course, based on individual South. That Pergolesi and Mozart were readily forgiven the movements which Donizetti composed around 1820 and later debt their sacred works owed to the opera of the period is, of combined to form a Messa di Gloria, probably also arranging course, significant in terms of the history of musical reception. some of them. Two versions of this work have come down to us. Siri Karoline Thornhill Martin Berner Siri Karoline Thornhill studied first in her Norwegian home city of Stavanger, continuing at the Royal Born in Hamburg, Martin Berner studied first at the Hamburg Musikhochschule, continuing at the Mannheim Conservatorium of The Hague. She has collaborated with ensembles, including the Freiburg Baroque Orchestra Musikhochschule. He holds awards from the Richard Wagner Association, the Steans Institute for Young Consort, the Balthasar Neumann Ensemble, and the Amsterdam Baroque Orchestra. She has participated in Artists (Ravinia Festival Chicago) and the Stuttgart International Bach Academy in Leipzig, and has been a recordings of Bach Cantatas with La Petite Bande and the Cologne Chamber Orchestra, as well as in the St prize-winner in various competitions, including the International Bach Competition in Leipzig, the Robert Stolz Matthew Passion under Jos van Veldhoven and Buxtehude Cantatas with Ton Koopman. Guest appearances Competition, and the German Schubert Society. As a member of the Aachen Theatre and the Nuremberg State include the Handel Festival in Göttingen and Halle, the Rheingau Music Festival, the Oslo Chamber Music Theatre he has sung Mozart rôles and other French and Italian repertoire. His guest appearances include Festival, the Feldkirch Festival, the Festivals for Early Music in Bruges and Utrecht and Les Rencontres opera houses in Hamburg, Cologne, Basle, Bremen and Munich. musicales de Vézelay. Theona Gubba-Chkheidze Theona Gubba-Chkheidze, the daughter of a violinist and an internationally distinguished theatre director, was Marie-Sophie Pollak born in Georgia and as a child enjoyed performing at home and abroad. A pupil of Konstantin Vardeli and Liana Born in 1988, Marie-Sophie Pollak graduated with distinction from the Munich Music and Theatre Hochschule Isakadze, from 1995 she studied at the Munich Music and Theatre Hochschule. Since 2006 she has been a in 2012. She made her début in 2011 as Vespetta in Telemann‘s Pimpinone at the Innsbruck Festival of Early mamber of the Georgian Chamber Orchestra in Ingolstadt and leader of the Simon Mayr Ensemble. She is Music. Further opera engagements later took her to festivals in Turin, Potsdam, Linz, and to the Théâtre du co-founder of Concerto de Bassus and Trio Con Moto. Châtelet in Paris. There she made her début in 2015 as Tamiri in Mozart’s Il re pastore. She was a regional prize-winner in 2006 in the Jugend Musiziert Competition and a finalist in the Pietro Antonio Cesti International Baroque Opera Competition. Awards include support from the Christie and Klaus Haack Foundation. Chorus of the Bavarian State Opera The Chorus of the Bavarian State Opera can count on a long and distinguished history, sharing Marie-Sande Papenmeyer with the Bavarian State Orchestra and Bavarian State Ballet a repertoire of some 350 opera The mezzo-soprano Marie-Sande Papenmeyer first studied singing and vocal pedagogy at the Dresden Carl and ballet performances annually at the Munich National Theatre, the Prince Regent Theatre Maria von Weber Musikhochschule. From 2010 she continued her study at the Hanover Music, Theatre and and the Cuvilliés Theatre. Since 2003-2004 the chorusmaster has been Andrés Maspéro, with Media Hochschule under Peter Anton Ling and in the Lieder class of Jan Philip Schulze. She profited further Stellario Fagone as deputy and Anna Hauer as répétiteur. from lessons with Cheryl Studer, Christian Immler, Juliane Banse and Olaf Bär, among others. In 2009 she was awarded the Development Prize of the city of Perleberg during the Lotte Lehmann Week. She has appeared in various opera productions and as a concert singer. Since the 2014-15 season she has been a member of the Simon Mayr Chorus Hanover Young Opera Ensemble. The Simon Mayr Chorus was founded by Franz Hauk in 2003. The repertoire of the choir includes works from the sixteenth to the twentieth century. A special emphasis is laid on authentic historical performance and on the promotion of music by Simon Mayr at the highest Mark Adler cultural level. Members of the choir are vocal students from the Hochschule für Musik und Mark Adler studied at the Hochschule der Künste in his home city of Berlin, and in 1997 continued at the Hanns Theater, Munich and singers selected from Ingolstadt and the region. Eisler Musikhochschule. In 1999 he made his début as Tamino at the Aix-en-Provence Festival, repeating the rôle at Lausanne, La Fenice, Opéra Lyon, the Edinburgh Festival and the Opéra de Rouen. From 1999 to 2005 he worked with the Musiktheater im Revier in Gelsenkirchen, and from 2005 to 2010 with the Darmstadt State Concerto de Bassus Theatre. He sang at La Monnaie, Brussels in Monteverdi’s Il ritorno d’Ulisse, and at the Lincoln Center in New Concerto de Bassus is an international ensemble engaging young musicians in historical York, the theatres in Caen and Luxembourg and at the Melbourne Festival. performance of music from the 17th, 18th and 19th centuries. Many members of the ensemble are outstanding students or graduates of the Munich Hochschule für Music und Theater, schooled in the specific Munich string tradition and, with wind instruments constructed on similarly historical principles. The ensemble takes its name from the fundamental element of Baroque music and from the distinguished family that has done so much to promote culture and knowledge. Baroness Margarete de Bassus is thus particularly associated with the ensemble. Franz Hauk etwas älteren Komponistenkollegen Rossini auch bei Donizetti um 1820, in einer Es-Dur-Fassung, die er 1824 nach Ausweis – der ja unter der Ägide Mayrs vornehmlich mit der kirchlichen von Mayrs Schwiegersohn Luigi Massinelli für die Aufführung Born in Neuburg an der Donau in 1955, Franz Hauk studied church and school music, with piano and organ, Tonkunst liebäugelte und bis 1822 zahlreiche religiöse beim am 24. November des Jahres in Bergamo stattfindenden at the Munich Musikhochschule and in Salzburg. In 1988 he took his doctorate with a thesis on church music Kompositionen schuf – die Kirche nicht nur Schule geblieben Cäcilienfest überarbeitete und nach D-Dur transponierte. in Munich at the beginning of the nineteenth century. Since 1982 he has served as organist at Ingolstadt ist: Er sollte im Lauf seines Lebens bis zuletzt auch geistliche Merkwürdig ist nur, daß Donizettis Originalpartitur verschollen Minster, and since 1995 also as choirmaster. He has given concerts in Europe and the United States and made Werke komponieren und größere Einheiten, etwa eine gesamte scheint, Mayr selbst einen Großteil des umfangreichen a number of recordings. Since October 2002 he has taught in the historical performance and church music Messe, aus bereits separat komponierten Teilen arrangieren; Orchestermaterials samt der Partitur fertigte und Massinelli department of the Munich Music and Theatre Hochschule. He founded the Simon Mayr Choir in 2003. sein kirchenmusikalisches Œuvre umfaßt im Werkkatalog derselben unter anderem voransetzte: „N.B. Questa partitura etwa 150 Titel. Nicht umsonst schreibt der schon gereifte non è di Donizetti, ma bensi trascritta del celebre G. S. Mayr. Opernkomponist in einem Brief vom März 1842, in welchem Ridotta per piccola Orchestra.“ Von einem kleinen Orchester Gaetano Donizetti (1797–1848) und Johann Simon Mayr (1763–1845) er via Antonio Dolci dem greisen Lehrer und Mentor Simon kann allerdings keine Rede sein, immerhin sind auch drei Mayr über sein Kaiser Ferdinand I. von Österreich gewidmetes Posaunen und Serpent besetzt. Mayr benutzte dieses Credo, in Messa di Gloria und Credo in D für Soli, Chor und Orchester Ave Maria berichtet: „Es ist immer gut, wenn Seine Majestät reduzierter Besetzung, in Ausschnitten und mit Ergänzungen, Donizetti und die Kirchenmusik späterhin gleichsam als Flickwerk zu einer kompletten Messe weiß, daß es selbst unter den Opernkomponisten einen guten für seine 1826 komponierte Messe in c-Moll, die der Primiz von Die strikte Trennung der sakralen Tonkunst vom profanen zusammengefaßt wurden: Vorwürfe solcherart vonseiten Christen gibt, der sich ein wenig mit der geistlichen Musik P. Gall Morel im Kloster Einsiedeln gewidmet war. Musikstil ist für die deutsche Kirchenmusik seit dem frühen jener Restaurationsbewegung ließen die Kirchenmusik der auskennt“. Das Violinsolo im ausgedehnten Qui sedes war für 19. Jahrhundert charakteristisch: Ein musikalisches Werk für Belcanto-Komponisten in Vergessenheit geraten, nachdem Pietro Rovelli (1793–1838) bestimmt, einen der bekanntesten die Liturgie hat streng und würdevoll zu klingen und ist fernab insbesondere diese im Profanbereich als Verfertiger von Thomas Lindner Geigenvirtuosen seiner Zeit. Rovelli studierte bei Rodolphe von vergnüglicher, gar opernhafter Melodik anzusiedeln. Massenware diskreditiert und mithin in kirchenmusikalischer Kreutzer und war von 1815 bis 1818 Konzertmeister der Diese Attitüde ist dem Cäcilianismus geschuldet, jener nach Hinsicht mit äußerster Geringschätzung bedacht worden waren. Messa di Gloria und Credo in D königlichen Hofkapelle in München. 1819 übernahm er in der Hl. Cäcilia, Patronin der Kirchenmusik und Märtyrerin Hermann Kretzschmar verstieg sich sogar zur Konstatierung Nur eine Messe aus der Feder von Gaetano Donizetti war seiner Heimatstadt Bergamo die Leitung diverser Orchester des 3. Jahrhunderts n. Chr., benannten katholischen „einer Periode wunderlichen Verfalls religiöser Tonkunst in bislang bekannt: Die erwähnte Messa di Gloria e Credo in c-Moll und unterrichtete an der von Mayr gegründeten Musikschule. Reformbewegung, die seit dem Beginn des 19. Jahrhunderts romanischen Landen“; die Kontroverse Kirchenmusik versus erklang erstmals am 27. November 1837 in der Kirche Santa Rovelli spielte eine Violine von Guernieri del Gesù, die später eine Rückbesinnung auf den Gregorianischen Choral und eine Oper wurde geradewegs zu einem Gegensatz zwischen Nord Maria la Nova zu Neapel und erschien mittlerweile mehrfach Paganini zu kaufen suchte. Orientierung am liturgischen Stil von Palestrina und der alten und Süd hochstilisiert. Rezeptionsgeschichtlich bezeichnend im Druck. Dieses Werk basiert freilich auf Einzelsätzen, die Pieralberto Cattaneo bietet in seinem Werkkatalog Vokalpolyphonie propagierte. bleibt freilich die Tatsache, daß man einem Pergolesi Donizetti um 1820 komponierte und später zu einer Messa die originalen Kompositionsdaten der übrigen hier Wenn man sich hingegen etwa eine Messe eines oder gar einem Mozart bereitwillig verzieh, was deren di Gloria zusammenstellte, wohl auch teilweise arrangierte. zusammengefügten Sätze: Kyrie d-Moll „20.5.1820“, Gloria in italienischen Opernkomponisten aus jener Zeit anhört, kirchenmusikalische Werke der Oper ihrer Zeit verdanken. Dieses Werk ist in zwei Versionen überliefert: Nur Kyrie, Gloria excelsis C-Dur „28.5.1818“, Laudamus e Gratias „3.7.1819“, hat man – mit Ausnahme der an die strengere liturgische Allgemein bekannt sind, neben zahlreichen kleineren in excelsis und Qui sedes sind jeweils identisch, die übrigen Domine Deus Es-Dur „1820“, Qui sedes und Quoniam Kompositionsweise gemahnenden Schlußfuge – das Gefühl, geistlichen Kompositionen, vor allem Donizettis Messa di Sätze unterschiedlich. Donizetti huldigt hier einer Praxis, die in „3.7.1820“. Dazu kommen Schätzungen: Qui tollis E-Dur einer Opernaufführung beizuwohnen; sowohl von der Gloria e Credo in c-Moll (1837) und seine Messa di Requiem Italien seinerzeit weit verbreitet und auch im Bereich der Oper „[1820/21]“ und Cum sancto spiritu c-Moll „[1816/18]“. Orchestrierung als auch von der melodischen Gestaltung in morte di Vincenzo Bellini in d-Moll (komponiert 1835). üblich war: Werke wurden aus Einzelsätzen, bisweilen auch Donizetti hat über das Credo hinaus keine weiteren bestätigt sich dieser Eindruck, gleichgültig, ob der Komponist Fast alle Sakralkompositionen datieren freilich aus seiner mehrerer Komponisten, ad hoc zusammengestellt, mitunter in Ordinariumssätze hinterlassen. Als Ergänzung haben nun Rossini, Bellini oder Donizetti heißt. Die einzelnen Studienzeit. Wie alle anderen Opernkomponisten dieser der Besetzung angepaßt. Es liegt nahe, heute dieses zeitübliche wir deshalb drei in der autographen Handschrift Sätze ähneln durchaus kleinen Opernszenen: Instrumentale Epoche hatte auch Donizetti seine kompositorische Ausbildung sogenannte Pasticcio-Verfahren erneut anzuwenden und aus zusammenhängende Kompositionen von Johann Simon Mayr Ritornelle begleiten die solistischen oder chorischen Kantilenen zu einem nicht geringen Teil in der Schule der geistlichen Musik bislang nicht genutzten Einzelstücken Donizettis eine weitere angefügt. Sanctus, Benedictus und Agnus Dei dürften, nach ein, die sich recht opernhaft in Form eines Ariosos, meistens bekommen. Sein wichtigster Lehrer war Johann Simon Mayr, Messa di Gloria zu formen. den autographen Schriftzügen zu urteilen, ebenfalls in der Zeit aber einer vollwertigen Arie oder eines Duetts entfalten und der in Bergamo an der dortigen Kathedrale um 1805 die Lezioni 1818 kehrte Donizetti aus Bologna, wo er seit 1815 bei um 1820 anzusiedeln sein. Für Sanctus und Benedictus lassen vom musikdramatischen Zeitstil nicht wesentlich unterscheiden. caritatevoli gründete und somit karitativen Musikunterricht Stanislao Mattei studiert hatte, in seine Heimatstadt Bergamo sich Varianten im Gesamtwerk ausmachen. Das abschließende Gerade im Italien des späteren Sette- und frühen erteilte. Diese musikalische Grundschule komplettierte der zu seinem ehemaligen Lehrer und Mentor Johann Simon Mayr Agnus Dei in d-Moll erinnert in seiner harmonischen Struktur Ottocento gab es also jene musikstilistische Abgrenzung spätere Bergamasker Meister und Komponist von etwa 70 zurück. In den folgenden Jahren wirkte Donizetti zumindest an den Beginn des Allegretto aus der 7. Symphonie op. 92 von nicht; der deklamatorische, arienhafte oder auch sentimentale Opern bei dem berühmten Musiktheoretiker und -pädagogen zeitweilig als dessen musikalischer Assistent, immer wieder griff Ludwig van Beethoven – ein Meister, den Mayr verehrte und Charakter der profanen Oper eignete in vergleichbarer Weise Padre Stanislao Mattei um 1815 am Liceo Filarmonico in Mayr Beiträge des früheren Schülers auch in seinen eigenen immer wieder in den eigenen Werken zitierte. auch der sakralen Musik. Vielfach handelte es sich bei den Bologna, wo auch Rossini seine Ausbildung vervollkomnen Werken auf. Das Credo der vorliegenden Messe dokumentiert einzelnen Stücken um Jugendwerke, die zumeist noch in der konnte. diese Zusammenarbeit beispielhaft: Donizetti schrieb es, wohl Franz Hauk Studienzeit gewissermaßen als Fingerübung komponiert und Man muß indes sogleich festhalten, daß wie bei seinem 1 Kyrie eleison Lord, have mercy upon us 9 Et incarnatus est de Spiritu Sancto ex Maria Virgine, and became incarnate by the Holy Ghost of the Virgin Mary, Christe eleison Christ have mercy upon us et homo factus est. and was made man. Kyrie eleison Lord, have mercy upon us Crucifixus etiam pro nobis; He was crucified also for us; sub Pontio Pilato passus et sepultus est, suffered under Pontius Pilate and was buried, 2 Gloria in excelsis Deo, Glory be to God on high, et in terra pax hominibus bonae voluntatis. and peace on earth to men of good will. 0 Et resurrexit tertia die, And the third day He arose again secundum Scripturas. according to the Scriptures. 3 Laudamus te, benedicimus te, We praise Thee, we bless Thee, Et ascendit in cælum, And ascended into heaven, adoramus te, glorificamus te. we adore Thee, we glorify Thee sedet ad dexteram Patris. and sitteth at the right hand of the Father. Gratias agimus tibi propter magnam gloriam tuam. we give Thee thanks for Thy great glory. Et iterum venturus est cum gloria And He is to come again, with glory, judicare vivos et mortuos; to judge both the living and the dead; 4 Domine Deus, Rex cælestis, Lord God, heavenly King, Cujus regni non erit finis. Of whose kingdom there shall be no end. Deus Pater omnipotens, God, the Father Almighty. Credo in Spiritum Sanctum, I believe in the Holy Ghost, Domine, Fili unigenite, Jesu Christe. Lord Jesus Christ, the only-begotten Son, Dominum et vivificantem, the Lord and Giver of life, Domine Deus. Agnus Dei. Filius Patris. Lord God, Lamb of God, Son of the Father, qui ex Patre Filioque procedit; Who proceedeth from the Father and the Son; qui cum Patre et Filio simul adoratur Who, together with the Father and the Son, 5 Qui tollis peccata mundi, Thou, who takest away the sins of the world, et conglorificatur; is adored and glorified; miserere nobis; suscipe deprecationem nostram. have mercy upon us; receive our prayer. qui locutus est per prophetas. Who spoke by the prophets. Credo in unam sanctam Catholicam I believe in one holy Catholic 6 Qui sedes ad dexteram Patris, O Thou, who sittest at the right hand of the Father, et Apostolicam Ecclesiam. and Apostolic Church. miserere nobis. have mercy on us. Confiteor unum Baptisma in remissionem peccatorum. I confess one baptism for the remission of sins. Quoniam tu solus sanctus, For Thou alone art holy, Et expecto resurrectionem mortuorum, And I expect the resurrection of the dead, tu solus Dominus, Thou alone art Lord, et vitam venturi sæculi. and the life of the world to come. tu solus altissimus, Jesu Christe, Thou alone art most high, Jesus Christ. Amen. Amen.

7 cum Sancto Spiritu in gloria Dei Patris. Together with the Holy Ghost, in the glory of God the Father. ! Ave Maria, gratia plena, Dominus tecum, Hail Mary, full of grace, the Lord is with thee, Amen. Amen. benedicta tu in mulieribus , blessed art thou amongst women et benedictus fructus ventri tui, Jesus. and blessed is the fruit of thy womb, Jesus. 8 Credo in unum Deum, I believe in one God, Sancta Maria, Mater Dei, Holy Mary, Mother of God, patrem omnipotentem, the Father Almighty, ora pro nobis peccatoribus pray for us sinners, factorem cæli et terræ maker of heaven and earth, nunc et in hora mortis nostrae. now and at the hour of our death. visibilium omnium et invisibilium. of all things visible and invisible. Amen. Amen. Credo in unum Dominum Jesum Christum, I believe in one Lord Jesus Christ, Filium Dei unigenitum; the only-begotten Son of God; @ Sanctus Dominus Deus Sabaoth. Holy, holy, holy Lord God of Sabaoth. et ex Patre natum ante omnia sæcula. and born of the Father before all ages. Pleni sunt cæli et terra gloria tua. Heaven and earth are full of Thy Glory Deum de Deo, Lumen de Lumine: God of Gods, Light of Light, Osanna in excelsis. Hosanna in the highest. Deum verum de Deo vero; true God of true God; Genitum, non factum; begotten, not made; # Benedictus qui venit in nomine Domini. Blessed is he who cometh in the name of the Lord. consubstantialem Patri, consubstantial with the Father, Osanna in excelsis. Hosanna in the highest. per quem omnia facta sunt; by Whom all things were made; Qui propter nos homines, Who for us men $ Agnus Dei, qui tollis peccata mundi, Lamb of God, that takest away the sins of the world, et propter nostram salutem, and for our salvation, miserere nobis. have mercy upon us. descendit de cælis, came down from heaven, Agnus Dei, qui tollis peccata mundi, Lamb of God, that takest away the sins of the world, miserere nobis. have mercy upon us. Agnus Dei, qui tollis peccata mundi, Lamb of God, that takest away the sins of the world, dona nobis pacem. grant us peace. While the German tradition observes a strict distinction between sacred and secular styles, the 19th-century Italian Mass can feel more akin to attending an operatic performance. Donizetti’s church music, consisting of at least a hundred items, has hardly been explored. Individual movements were often later recycled by the composer, in cantata-like fashion, to form a complete Mass, and it is this ad hoc technique that Franz Hauk has used to create a new work, the Messa di Gloria and Credo in D. This includes an expansive Qui sedes with its violin solo written for the famous violinist-composer Pietro Rovelli, and is completed with movements by Johann Simon Mayr from whom Donizetti learned his compositional craft in settings of sacred texts. Gaetano Johann Simon Playing Time DONIZETTI & MAYR 1:26:19 (1797–1848) (1763–1845) Messa di Gloria and Credo in D 1 Kyrie 12:42 2-7 Gloria 47:45 8-0 Credo 12:44 Gaetano Donizetti ! Ave Maria, gratia plena 3:34 Johann Simon Mayr @-# Sanctus 4:39 Johann Simon Mayr $ Agnus Dei 4:55

Siri Karoline Thornhill, Soprano I • Marie-Sophie Pollak, Soprano II Marie-Sande Papenmeyer, Alto Mark Adler, Tenor • Martin Berner, Bass Simon Mayr Chorus • Members of the Bavarian State Opera Chorus Concerto de Bassus Theona Gubba-Chkheidze, Concertmaster Franz Hauk Recorded in the Asamkirche Maria de Victoria, Ingolstadt, Germany, 22-26 September 2014 Producer, Engineer and Editor: Sebastian Riederer • Booklet notes: Franz Hauk & Thomas Lindner Edition: Franz Hauk and Manfred Hößl • Cover Photo: Paolo Zeccara (Church of San Dionigi, Vigevano, Italy) Sponsors: Margarete Baronin de Bassus; Bezirk Oberbayern; Kulturfonds Bayern