CHAN 0734

Joseph (1732–1809) COMPACT DISC ONE TT 59:58 1 - 11 41:57 12 - 17 Kleine Orgelmesse 17:49

COMPACT DISC TWO TT 61:59 1 - 11 Schöpfungsmesse 43:42 12 - 17 Missa ‘rorate coeli desuper’ 6:49 18 - 19 from Schöpfungsmesse 11:03

COMPACT DISC THREE TT 58:32 1 - 11 43:13 12 - 16 Salve Regina 15:07

COMPACT DISC FOUR TT 63:38 1 Te Deum 6:50 2 - 12 Paukenmesse (Missa in tempore belli) 38:44 13 - 14 Incidental music to ‘Alfred, König der Angelsachsen’ 9:27 Susan Gritton soprano 15 Te Deum 8:20 Janice Watson soprano COMPACT DISC FIVE TT 63:15 Nancy Argenta soprano 1 - 11 Nelsonmesse 38:44 Lorna Anderson soprano 12 - 14 Ave Regina 11:46 Pamela Helen Stephen 15 - 20 12:27 mezzo-soprano COMPACT DISC SIX TT 62:23 Catherine Denley 1 - 12 Heiligmesse (Missa Sancti Bernardi von Offi da) 34:00 mezzo-soprano 13 23 - Nikolaimesse (Missa Sancti Nicolai) 28:16 Louise Winter COMPACT DISC SEVEN TT 70:29 mezzo-soprano 1 - 18 Missa Sanctae Caeciliae (Missa Cellensis) 64:10 19 - 20 Missa sunt bona mixta malis 6:17 Stephen Varcoe baritone COMPACT DISC EIGHT TT 70:56 Ian Watson organ CHANDOS early music 1 - 10 Große Orgelmesse (Missa in honorem BVM) 38:17 Collegium Musicum 90 11 - 20 Mariazeller Messe (Missa Cellensis (No. 2)) 32:37 Richard Hickox (1732–1809)

COMPACT DISC ONE Mass (Hob. XXII:12) 41:57 in B fl at major • in B-Dur • en si bémol majeur Theresienmesse 1 I Kyrie 4:53 2 II Gloria: ‘Gloria in excelsis Deo’ – 2:36 3 ‘Gratias agimus tibi’ – 6:32 Lebrecht Music & Arts Photo Library 4 ‘Quoniam tu solus sanctus’ 2:52 5 III Credo: ‘Credo in unum Deum’ – 1:52 6 ‘Et incarnatus est’ – 3:33 7 ‘Et resurrexit’ 4:18 8 IV Sanctus 2:12 9 V Benedictus 6:39 10 VI Agnus Dei: ‘Agnus Dei’ – 2:33 11 ‘Dona nobis pacem’ 3:42

Missa brevis Sancti Joannis de Deo (Hob. XXII:7) 17:49 in B fl at major • in B-Dur • en si bémol majeur Kleine Orgelmesse 12 I Kyrie 1:54 13 II Gloria 0:52 14 III Credo 3:26 15 IV Sanctus 1:06 16 V Benedictus 5:22 17 VI Agnus Dei 4:58 Janice Watson soloist Joseph Haydn TT 59:58

3 COMPACT DISC TWO Missa solemnis (Hob. XXII:13) 43:42 Gloria from ‘Schöpfungsmesse’ 11:03 in B fl at major • in B-Dur • en si bémol majeur Haydn’s alternative Gloria for Empress Marie Therese Schöpfungsmesse (Creation Mass) 18 II Gloria: ‘Gloria in excelsis Deo’ – 7:12 1 I Kyrie 6:20 19 ‘Quoniam tu solus sanctus’ 3:51 2 II Gloria: ‘Gloria in excelsis Deo’ – 7:12 TT 61:59 3 ‘Quoniam tu solus sanctus’ 3:47 4 III Credo: ‘Credo in unum Deum’ – 2:06 5 ‘Et incarnatus est’ – 2:58 COMPACT DISC THREE 6 ‘Et resurrexit’ – 2:48 Mass (Hob. XXII:14) 43:13 7 ‘Et vitam venturi saeculi’ 1:35 in B fl at major • in B-Dur • en si bémol majeur 8 IV Sanctus 3:05 Harmoniemesse 9 V Benedictus 6:36 1 I Kyrie 8:07 10 VI Agnus Dei: ‘Agnus Dei’ – 3:21 2 II Gloria: ‘Gloria in excelsis Deo’ – 2:05 11 ‘Dona nobis pacem’ 3:41 3 ‘Gratias agimus’ – 5:18 Susan Gritton • Pamela Helen Stephen 4 ‘Quoniam tu solus sanctus’ 3:10 Mark Padmore • Stephen Varcoe soloists 5 III Credo: ‘Credo in unum Deum’ – 2:46 6 ‘Et incarnatus est’ – 3:49 Missa ‘rorate coeli desuper’ (Hob. XXII:3) 6:49 7 ‘Et resurrexit’ 4:25 in major • in G-Dur • en sol majeur 8 IV Sanctus 2:59 12 I Kyrie – 0:49 9 V Benedictus 4:07 13 II Gloria – 0:41 10 VI Agnus Dei: ‘Agnus Dei’ – 3:13 14 III Credo – 2:00 11 ‘Dona nobis pacem’ 2:57 15 IV Sanctus – 0:42 16 V Benedictus – 0:49 17 VI Agnus Dei 1:48

4 5 Salve Regina (Hob. XXIIIb:1) 15:07 11 VI Agnus Dei: ‘Agnus Dei’ – 2:45 in E major • in E-Dur • en mi majeur 12 ‘Dona nobis pacem’ 2:38 12 I ‘Salve Regina’ – 5:20 Nancy Argenta • Catherine Denley 13 II ‘Ad te clamamus’ – 3:06 Mark Padmore • Stephen Varcoe soloists 14 III ‘Eia ergo, advocata nostra’ 2:18 15 IV ‘Et Jesum’ – 0:52 Incidental music to 16 V ‘O clemens, o pia’ 3:30 ‘Alfred, König der Angelsachsen’ 9:27 13 Nancy Argenta soloist des Schutzgeistes (Hob. XXX:5a) 6:09 TT 58:32 (The Guardian Spirit’s Aria) Jacqueline Fox speaker Nancy Argenta soloist 14 Chor der Dänen (Hob. XXX:5b) 3:12 COMPACT DISC FOUR (Chorus of the Danes) 1 Te Deum (Hob. XXIIIc:1) 6:50 in major • in C-Dur • en ut majeur 15 8:20 Nancy Argenta • Catherine Denley Te Deum (Hob. XXIIIc:2) Mark Padmore • Stephen Varcoe soloists in • in C-Dur • en ut majeur TT 63:38 Missa in tempore belli (Hob. XXII:9) 38:44 in C major • in C-Dur • en ut majeur Paukenmesse COMPACT DISC FIVE 2 I Kyrie 4:45 Mass (Hob. XXII:11) 38:44 3 II Gloria: ‘Gloria in excelsis Deo’ – 2:41 in minor • in d-Moll • en ré mineur 4 ‘Qui tollis peccata mundi’ – 5:29 Nelsonmesse (Nelson Mass) 1 5 ‘Quoniam tu solus sanctus’ 2:19 I Kyrie 4:26 2 6 III Credo: ‘Credo in unum Deum’ – 1:11 II Gloria: ‘Gloria in excelsis Deo’ – 3:24 3 7 ‘Et incarnatus est’ – 4:10 ‘Qui tollis peccata mundi’ – 4:29 4 8 ‘Et resurrexit’ 4:25 ‘Quoniam tu solus sanctus’ 2:44 5 9 IV Sanctus 2:10 III Credo: ‘Credo in unum Deum’ – 1:36 6 10 V Benedictus 5:45 ‘Et incarnatus est’ – 4:12

6 7 7 ‘Et resurrexit’ 3:34 COMPACT DISC SIX 8 IV Sanctus 2:30 Missa Sancti Bernardi von Offi da (Hob. XXII:10) 34:00 9 V Benedictus 5:59 in B fl at major • in B-Dur • en bémol majeur 10 VI Agnus Dei: ‘Agnus Dei’ – 3:00 Heiligmesse 11 ‘Dona nobis pacem’ 2:33 1 I Kyrie 4:14 Susan Gritton • Pamela Helen Stephen 2 II Gloria: ‘Gloria in excelsis Deo’ – 2:08 Mark Padmore • Stephen Varcoe soloists 3 ‘Gratias agimus tibi’ – 3:30 4 ‘Quoniam tu solus sanctus’ 2:41 Ave Regina (Hob. XXIIIb:3) 11:46 5 III Credo: ‘Credo in unum Deum’ – 1:24 in A major • in A-Dur • en la majeur 6 ‘Et incarnatus est’ – 3:40 12 ‘Ave Regina coelorum’ – 5:41 7 ‘Et resurrexit’ – 1:59 13 ‘Gaude Virgo gloriosa’ – 1:15 8 ‘Et vitam venturi saeculi’ 1:56 14 ‘Valde, o valde’ 4:50 9 IV Sanctus 1:22 Susan Gritton soloist 10 V Benedictus 5:09 11 VI Agnus Dei: ‘Agnus Dei’ – 3:07 Missa brevis (Hob. XXII:1) 12:27 12 ‘Dona nobis pacem’ 2:33 in major • in F-Dur • en fa majeur 15 I Kyrie 1:15 28:16 16 II Gloria 1:37 Missa Sancti Nicolai (Hob. XXII:6) in • in G-Dur • en sol majeur 17 III Credo 2:42 Nikolaimesse 18 IV Sanctus 1:03 13 I Kyrie 3:17 19 V Benedictus 3:11 14 II Gloria: ‘Gloria in excelsis Deo’ – 3:30 20 VI Agnus Dei 2:40 15 ‘Quoniam tu solus sanctus’ 1:03 Susan Gritton • Pamela Helen Stephen soloists 16 III Credo: ‘Credo in unum Deum’ – 0:39 TT 63:15 17 ‘Et incarnatus est’ – 3:23

8 9 18 ‘Et resurrexit’ – 1:19 14 ‘Et resurrexit’ 5:02 19 IV Sanctus: ‘Sanctus, sanctus, sanctus’ – 1:36 15 IV Sanctus 1:30 20 ‘Pleni sunt coeli’ 0:48 16 V Benedictus 5:13 21 V Benedictus 5:39 17 VI Agnus Dei: ‘Agnus Dei’ – 1:59 22 VI Agnus Dei: ‘Agnus Dei’ – 3:13 18 ‘Dona nobis pacem’ 2:16 23 ‘Dona nobis pacem’ 3:29 TT 62:23 Missa sunt bona mixta malis (Hob. XXII:2) 6:17 in • in d-Moll • en ré mineur COMPACT DISC SEVEN 19 I Kyrie 2:39 Missa Cellensis (Hob. XXII:5) 64:10 20 II Gloria 3:37 in C major • in C-Dur • en ut majeur TT 70:29 Missa Sanctae Caeciliae 1 I Kyrie: ‘Kyrie eleison’ – 2:52 2 ‘Christe eleison’ – 3:21 COMPACT DISC EIGHT 3 ‘Kyrie eleison’ 3:02 Missa in honorem BVM (Hob. XXII:4) 38:17 4 II Gloria: ‘Gloria in excelsis Deo’ – 2:55 in E fl at major • in Es-Dur • en mi bémol majeur 5 ‘Laudamus te’ – 4:26 Große Orgelmesse 6 ‘Gratias agimus tibi’ – 2:32 1 I Kyrie 5:41 7 ‘Domine Deus, Rex coelestis’ – 6:04 2 II Gloria: ‘Gloria in excelsis Deo’ – 1:06 8 ‘Qui tollis peccata mundi’ – 5:02 3 ‘Gratias agimus tibi’ – 6:04 9 ‘Quoniam tu solus sanctus’ – 3:23 4 ‘Quoniam tu solus sanctus’ 1:49 10 ‘Cum Sancto Spiritu’ – 0:27 5 III Credo: ‘Credo in unum Deum’ – 2:04 11 ‘In gloria Dei Patris’ 2:50 6 ‘Et incarnatus est’ – 4:06 12 III Credo: ‘Credo in unum Deum’ – 3:41 7 ‘Et resurrexit’ 3:39 13 ‘Et incarnatus est’ – 7:27 8 IV Sanctus 1:56 9 V Benedictus 6:03 10 VI Agnus Dei 5:45

10 11 Missa Cellensis (No. 2) (Hob. XXII:8) 32:37 Haydn: The Complete Mass Edition in C major • in C-Dur • en ut majeur Mariazeller Messe 11 I Kyrie 4:20 In comparison with his contribution to the Missa Cellensis, the Missa sunt bona mixta 12 II Gloria: ‘Gloria in excelsis Deo’ – 1:35 quartet, the , opera and many malis, the Große Orgelmesse and the Missa 13 ‘Gratias agimus tibi’ – 5:09 other genres, Haydn’s tally of fourteen masses Sancti Nicolai. 14 ‘Quoniam tu solus sanctus’ 1:51 is a small one. His musical upbringing in When Haydn returned to Vienna in 1795 15 III Credo: ‘Credo in unum Deum’ – 1:35 Rohrau, Hainburg and, especially, Vienna from the second of his two visits to London, 16 ‘Et incarnatus est’ – 4:13 was almost entirely within the confi nes of the he resumed his duties as Kapellmeister to the 17 ‘Et resurrexit’ 2:13 Catholic Church with its rich tradition of Esterházy family. By 1802 he had served 18 IV Sanctus 2:06 performance and composition. A career as a the Esterházy court for forty-one years, and 19 V Benedictus 5:07 church musician would have been a perfectly the reigning prince, Nicolaus II, was his 20 VI Agnus Dei 4:22 natural development for the young Haydn. fourth master. Musical life of the court had TT 70:56 In the 1750s, however, he became esteemed been at a low ebb since 1790, and because Susan Gritton soprano (CD 2, 5, 7 & 8) as an innovative composer of instrumental of the diminished interest of his employers, music, and at the Esterházy court from 1761 the court had lost its position as a leading Janice Watson soprano (CD 1) onwards circumstances ensured that he never cultural centre in the Austrian Monarchy. The Nancy Argenta soprano (CD 3 & 4) developed a continuing career as a composer resident opera company had been disbanded, soprano (CD 6) Lorna Anderson of church music. Although from 1766 Haydn the summer palace at Eszterháza was no Pamela Helen Stephen mezzo-soprano (CDs 1, 2, 3, 5, 6 & 7) was nominally in charge of church music longer in use, and there was no permanently Catherine Denley mezzo-soprano (CD 4) at the court, Prince Nicolaus Esterházy was constituted orchestra. Haydn was retained Louise Winter mezzo-soprano (CD 8) not particularly interested in promoting it, as Kapellmeister, mainly out of loyalty, but Mark Padmore tenor preferring instrumental music and opera also because the Esterházy family could Stephen Varcoe baritone (unlike his grandson, also Nicolaus, who was rightly claim some of the glory that this now Ian Watson organ (CD 8) to be associated with the six late masses). world-famous fi gure had earned. The Prince’s Collegium Musicum 90 Nevertheless, between 1766 and 1772 Haydn main cultural interest lay in amassing a large Richard Hickox did manage to compose four masses, largely, collection of paintings (later displayed to the it seems, because he wanted to rather than public), but he was also interested in church because he was required to do so: the fi rst music and re-activated the musical life of the

12 13 court, encouraged in this by his wife, Princess soloists plus chorus, written in such a way that movement to a climactic conclusion. But The Missa brevis Sancti Joannis de Marie Hermenegild (1768–1845). Instead there is a continual interweaving of single and Haydn’s is not a dry-as-dust, dutiful Deo (Kleine Orgelmesse) is a much earlier of the and operas of former massed voices. Unique to this mass, however, conclusion; it is founded on an infectiously work, dating from the 1770s; although years, Haydn was now required to compose a is the orchestral sonority. The absence of a jaunty subject that proclaims the joy as the autograph is extant, rather unusually new mass every year for the nameday of the regularly constituted court orchestra encouraged well as the certainty of eternal life. The for Haydn he did not date it. The ‘John Princess; each mass was performed on the Haydn to score each of the six masses in a Benedictus always constituted a musical and of God’ of the title is a reference to the nearest convenient Sunday to 8 September, different manner. To the basic sonority of spiritual highlight in settings of the mass patron saint of the Barmherzigen Brüder the Feast of Our Lady. These celebrations strings and organ continuo, the Theresienmesse in the Classical period. The Benedictus in (the Hospitallers of St John of God), a became a central feature in the social adds the warm sounds of clarinets and , the Theresienmesse is one of Haydn’s most holy order represented in many towns and calendar of the Esterházy court, celebrated and the brilliance of and . captivating. After four movements in cities in the Austrian Monarchy. They with fi reworks, visits by acting troupes who These varied orchestral hues are immediately B fl at major – some twenty-fi ve minutes of were esteemed for their medical services presented a season of plays and operas, and apparent in the slow introduction, encouraging music – the Benedictus switches magically to the community, and were noted for a special mass service at the local Bergkirche. a mood that is variously lyrical and dramatic. to a luminous G major; the delightfully their learned understanding of botany and Between 1796 and 1802 Haydn composed The introduction unostentatiously hints at the tuneful orchestral introduction leads to an medicine (the hospice next to their church six masses for these occasions: the Heiligmesse, shape of the themes that are to be used in the extended setting of the text, culminating in a in Vienna prepares and dispenses potions to Paukenmesse, Nelsonmesse, Theresienmesse, subsequent Allegro: the fugue subject associated central climax when the music swings round this day). The order also believed strongly Schöpfungsmesse and Harmoniemesse. with the text ‘Kyrie eleison’ and the secondary, to B fl at major, the home key, so that the in the palliative powers of music which, more lightly-scored idea associated with the composer can feature trumpets and timpani consequently, played a more than usually COMPACT DISC ONE text ‘Christe eleison’. While the emotional to punctuate a martial declamation of the prominent part in their worship. The The Theresienmesse is the fourth of the response of the Kyrie (and the mass as a whole) text. Eszterházy family were regular benefactors series of six late masses, and like all Haydn’s is typical of Austrian church music of the The traditional three statements of ‘Agnus of the order and Haydn himself had played church music it circulated quickly through time – an appropriate aural equivalent to the Dei, qui tollis peccata mundi’ are set in an the violin in services in the church in the Austrian territories. The Empress Marie stunningly decorated Baroque and Rococo Adagio tempo and in G minor. This mood of Vienna in the 1750s; many smaller pieces Therese was an avid collector of Haydn’s churches of the area – what is distinctive is severity is swept aside by the return to B fl at of church music (especially advent music) music and soon added it to her library; from the desire to reinforce this tradition with a major and a fast tempo for the fi nal section, from the composer’s youth can be associated this association grew the view that the work powerful sense of musical argument that is ‘Dona nobis pacem’. As always, Haydn is not with the order. This mass was probably had been composed for the Empress, hence modern rather than backward-looking. Two merely asking for peace and deliverance, but written for the church in . It is a the misleading nickname Theresienmesse. further instances will have to suffi ce. also rejoicing in the fact that they are to be much smaller church than the Bergkirche, The vocal forces of the mass are the At the end of the Credo Haydn has a granted. There is no anguish or doubt, just a where most of the six late masses were fi rst customary soprano, alto, tenor and fugue, as was the norm, to draw the lengthy wonderful certainty. performed. As a result the instrumental

14 15 forces could well have consisted of the COMPACT DISC TWO stop, the only time in his career that the have expected a change of tempo from fast to minimum of two violins, one cello, one The Schöpfungsmesse (‘Creation’ Mass) composer indicated an organ registration. slow at either the clause ‘Gratias agimus tibi’ double bass and organ; the vocal forces is the fi fth of the six late masses. By the According to one anecdote Haydn ‘darted or ‘Qui tollis peccata mundi’. Instead Haydn’s are unlikely to have numbered more than time of its composition Haydn was an like a weasel’ to the organ to play the part orchestra carries blithely on in a fast tempo, two or three per part. It is a Missa brevis, international fi gure whose symphonies, himself, much to the amusement of the quoting and ’s music from the a work designed not for an important holy quartets and, most sensationally, the performers. , music associated with day or to celebrate a nameday of a secular oratorio The Creation dominated musical The vocal forces are the customary SATB the text ‘The dew dropping morn, Oh how she patron, but for routine services. The taste, but he was still also the dutiful and four soloists (the latter sometimes quickens all!’; the instrumentation, including lengthier portions of the text, the Gloria Kapellmeister at the Esterházy court. He briefl y expanded to six). Instruments and the very secular-sounding horns, is the same. and Credo, are set polytextually, that is, began work on the latest nameday mass on voices are integrated into one seamless In the mass the bass soloist then enters and several clauses are sung simultaneously so as 28 July 1801, completing it in just under texture: the instruments are as much vocalists repeats the tune with the very different words to proceed through the text in approximately seven weeks in readiness for performance declaiming the text as the singers are ‘Qui tollis peccata mundi’ before the choir in a quarter of the time. This was a common on 13 September at the Bergkirche in instrumentalists projecting a complementary an abrupt change of tempo asks for mercy, characteristic of such masses, but Haydn Eisenstadt. musical argument. As well as unconscious ‘Miserere nobis’. The joke is a multi-layered balances such apparent perfunctoriness with As there was no longer a steady and fully manipulation of forces, Haydn shows, too, one: the salacious innuendo of the quotation, more expansive treatment of other parts of constituted orchestra available at the court, how easily his mature language can move the sudden realization that the composer has the text. The opening and closing movements many players had to be engaged on an ad hoc between melody with accompaniment and ‘forgotten’ to change the tempo and the mock of the mass are in a slow tempo throughout, basis. From 1800 onwards a reasonably full the most intricate contrapuntal writing. contrition of the choir. At least one person providing a contemplative frame for the complement of wind players was available The latter never sounds stolid or spuriously was offended: the Empress Marie Therese; work. But it is the Benedictus that offers and so the Schöpfungsmesse was scored for authoritative, the fugue at the end of the Haydn had to recompose this passage in her the spiritual and musical highlight of the , clarinets, bassoons, horns, trumpets, Gloria, for instance, featuring a delightfully copy of the mass. This alternative version too setting. It is a luxurious aria for solo soprano, timpani, strings and organ. In the section of unorthodox chromatic theme. is recorded here. Listeners might feel that the accompanied by solo organ and strings. The the Credo dealing with the mystery of the Haydn had always enjoyed a reputation offence is mitigated rather than removed, since composer may well have played the organ Virgin Birth, the ‘Et incarnatus est’, Haydn as a humorist in music, providing anything the wrong tempo and the abrupt change at himself in early performances in Eisenstadt had it in mind to depict the Holy Spirit from witty manipulation of language to ‘Miserere nobis’ remain; only the quotation of and almost certainly he would have brought in the centuries-old manner, as a dove. In open guffaws. The nickname of this mass, the theme from The Creation is removed. a singer from the Eszterházy court for this music such an image is often represented by ‘Creation’ Mass, draws attention to one of To any charges of mischievous impropriety aria, simultaneously a celebration of a life in a fl ute. Since Haydn did not have a player Haydn’s most incautious musical pranks. Haydn would no doubt have replied that it Christ and Haydn’s tribute to the work of the at his disposal he gave the line to the organ, In the Gloria, listeners and performers was the impropriety of a believer, projected Hospitallers of St John of God. indicating that it should be played on a fl ute steeped in Austrian church music would in order to assert the essential security of his

16 17 vision. This is the overwhelming impression Haydn was still a choirboy at the Hofkapelle stamina to attend to their potential. The Carefully wrought musical argument is also that the mass leaves. in Vienna. Harmoniemesse, however, is certainly not the typical of the mass as a whole, allowing For nearly forty years Haydn had kept The unambitious nature of the work work of a weary composer; neither is it an those passages of simple melody and a draft catalogue of his compositions, the itself is not necessarily a refl ection of introverted, spiritually reclusive work. There accompaniment, such as the ‘Gratias agimus so-called Entwurf-Katalog. Sometimes in his Haydn’s inexperience. Short settings of the is no such thing as ‘third period’ Haydn: tibi’ (in the Gloria) and the ‘Et incarnatus est’ old age Haydn rediscovered a work from his mass in which the Gloria and Credo are the enquiring and confi dent optimism that (in the Credo), to yield a touching simplicity, youth and added it to the catalogue. One set polytextually (here four different lines had sustained him in over half a century of and the at the end of the Gloria and of the most problematical of these very late of the text are sung simultaneously) and composition is as keenly felt here as in any of Credo to impart tremendous energy. entries is the one described as Missa rorate with the minimum of accompaniment (two his output. It is perhaps the tone of the Benedictus coeli desuper in G; Haydn noted too a very violin lines plus continuo) are frequently The mass is scored for one fl ute, two oboes, that is the least expected. Rather than being short musical incipit. The work remained encountered in the period. ‘Rorate coeli two clarinets, two bassoons, two horns, two an expansive, lyrical movement for soloists, lost until the twentieth century when it desuper’ refers to the Introitus in the Liber trumpets, timpani, strings and organ. It was it is a brisk Molto allegro featuring the was discovered as work ascribed to Haydn’s Usualis used for the fourth Sunday in Advent, still comparatively unusual for a mass to chorus, and a melody that is sung played in teacher, Georg Reutter, a respected composer indicating that at least one performance be accompanied by an orchestra with a full pianissimo octaves over a restless accom- of church music. Later, a source attributed to took place on that date. Advent and Lent wind section – a ‘’; the nickname paniment, evoking the quiet excitement, Haydn was discovered, several further sources were two seasons in the church calendar (‘mass with the wind band’) refl ects this fact rather than the comfort, of a life in Christ. naming it as a work of Reutter, and two when the musical ambition of masses was rather than implying consistent solo use of Most of the mass is set in the home key claiming it as the work of a certain Ferdinand severely curtailed. This mass may well be an wind instruments. The vocal forces were the of B fl at. For the beginning of the Agnus Arbesser. To aggravate an already complicated intriguing piece of juvenilia by Haydn, but it customary SATB choir and soloists, the latter Dei, Haydn turns magically to G major, situation, the musical beginning recorded by is also a useful reminder of how perfunctory augmented by an extra soprano and tenor for emphasized by extended writing for the Haydn in his catalogue is not quite the same church music in eighteenth-century Austria a few bars near the end of the Credo. soloists and members of the ‘Harmonie’, as that in these rediscovered sources. In his could be. In the opening Kyrie, the typical frankness creating an optimistic mood that is crucially old age Haydn had an imperfect memory of the main melodic statement is undermined tempered by chromatic harmony and, later, of what he had composed, most infamously COMPACT DISC THREE by the chromatic note that begins the second by a single ominous timpani roll. A brisk sanctioning the publication of the so-called Haydn’s Harmoniemesse was the composer’s phrase, and throughout this commanding fanfare heralds the ‘Dona nobis pacem’, a Op. 3 quartets under his name, works that last major work, written at the age of seventy movement soloists and choir enhance this section of increasing assurance but with some are undoubtedly spurious. One plausible in 1802. Although he was to live for a further feeling of a supplication made in the hopeful excitable mirth from the ‘Harmonie’ along explanation is that the mass represents the seven years and was able to invent many knowledge of a response; the literal meaning the way. joint work of master and pupil, Reutter and promising musical ideas, the increasingly of Haydn’s tempo marking, Poco adagio, The Salve Regina in E Major belongs to Haydn, dating from the late 1740s when frail old man lacked the physical and mental seems very appropriate here – ‘a little at ease’. the opposite end of Haydn’s career, and can

18 19 justly be regarded as his fi rst major work. In former, in particular, shows several Italianate priesthood of Joseph Franz von Hofmann, atmosphere that was gently ecstatic. Here, his twenties the composer had led a freelance tricks of the trade picked up from Porpora: the whose father, rather appropriately, was however, the opening orchestral introduction existence in Vienna, playing the violin and long note (messa di voce) opening, the gently Imperial and Royal Paymaster for War. The in , with its short phrases leading to a the organ, directing some church services, affecting rests in the middle of phrases and following year, rather than composing a new powerful climax, suggests an entirely different accompanying singing lessons, giving his the agile decoration. It is the chorus, however, mass for the annual nameday celebrations mood; when the four solo voices enter it own keyboard lessons, providing music for who end the work, with a quiet, contemplative of Princess Marie Hermenegild, Haydn is not with expansive melodies but with a a German opera company, and accepting on the word ‘Maria’. introduced the Esterházy family to his Missa comparatively short motif, nervously shared more and more commissions for instrumental in tempore belli. between all four voices. Later, the music turns works. His formal education in music had COMPACT DISC FOUR Given Haydn’s advanced age and the fact to C major, yet the memory of the unsettling been patchy and he was still learning his craft: The Missa in tempore belli (Mass in time of that the original commission for the mass C minor remains. I wrote diligently, but not correctly, until war) was Haydn’s own title for the Mass in was for a service in Vienna and the second In the following Agnus Dei the menace is at last I had the good fortune to learn the C major, appearing on the autograph score performance was an equally local occasion, more explicit; the three traditional statements true fundamentals of composition from and in the composer’s own catalogue of his in the Bergkirche in Eisenstadt, it would of the prayer are undermined by ominous the celebrated Herr Porpora. music. During the summer and autumn of have been understandable had the composer drumbeats and insistent fanfares on wind Nicola Porpora (1686 –1768) had been 1796, four years into the European war that withdrawn into his background and written a instruments. In an interview with his fi rst one of Europe’s leading opera composers followed the French Revolution, Austrian gentle, comforting setting of the text. Instead, biographer, Georg August Griesinger, Haydn with a career that had taken him from his forces were under attack on two fronts: the he made an inspired effort to incorporate said the drumbeats should sound ‘as if one native Italy to Germany, (where he Italian territories were being conquered by the troubled mood of the times into the heard the enemy approaching in the distance’. was a rival of Handel) and, fi nally, Austria. French troops under the inspired leadership music, so as to project with even greater The opening movements of the mass – For several years in the 1750s Haydn acted of the young , while on the western force the conviction of his Christian belief. Kyrie, Gloria, Credo and Sanctus – provide as an accompanist in singing lessons given front French and Austrian troops were Incorporating references to battles in a mass a more conventional background to the by Porpora. The fi rst work by the young fi ghting for control of southern Germany. was not something new, but the potency of ‘tempore belli’, but one that is informed with composer to reveal Porpora’s professionalism is For the fi rst time since the Turkish threat in the integration found in the Missa in tempore the full range of techniques and emotions this Salve Regina, probably dating from 1756. 1683, Austria sensed an imminent invasion of belli was not to be surpassed until Beethoven’s typical of Haydn’s six late masses: easy The work is scored for soprano soloist, its heartland. Missa solemnis, composed a quarter of a integration of soloists and chorus, simple SATB choir, strings (but without violas, as was It was against this background that Haydn, century later. melodies as well as intricate fugues, and typical of much Austrian church music) and at the age of sixty-four, composed this mass. ‘In tempore belli’ fi rst suggests itself, very great vitality alongside sections of exquisite organ. The alternation throughout of elaborate It was fi rst performed in the Piaristenkirche subtly, in the Benedictus. Traditionally, the beauty. When, after the Agnus Dei, wind writing for the soloist and more chordal in Vienna on 26 December 1796 as part of text of this movement was set indulgently, instruments herald the ‘Dona nobis pacem’ writing for the choir is highly effective. The a service celebrating the admission to the with an expansive, lyrical style and an with a forceful fl ourish, it is not merely peace

20 21 that is granted but a victory that transcends to celebrate the nameday of the Princess. As probably in 1799. As an avid admirer of the choral version of the Seven Last Words the ‘tempore belli’: a secure vision delivered well as a church service with a new mass (the of Haydn’s music she organised private of Christ. with irresistible joy. Missa Sancti Bernardi), there was a visit from concerts at the Imperial and Royal Court By the end of May, Haydn was physically While the mass had an appeal that was a travelling theatre company, who performed to explore his music. While sharing many exhausted and, according to one source, vividly contemporary, it also tapped into a over two dozen operas and plays during a generic features in common with the earlier had to be confi ned to his rooms for a few fi rm tradition of Catholic church music in six-week stay. On 9 September, the actual Te Deum – C major, trumpets and timpani, weeks to rest. He moved with the Esterházy Austria in that its key, C major, was inevitably nameday, the play was Alfred, König der and a three-part design – its colossal raw family to Eisenstadt for the summer associated with the sound of trumpets and Angelsachsen (Alfred, King of the Anglo- energy seems to sum up not only Haydn’s months, knowing that by September he timpani, projecting the overlapping qualities Saxons), a free adaptation of an English play long experience as a composer but the was expected to produce a new mass for of praise, celebration and triumph. Three of by Alexander Bicknell. Haydn provided three whole heritage of such music. Although it the Princess. Normally, Haydn liked to the remaining items on this disc explore the items of incidental music: an aria, a chorus was commissioned by the Empress, its fi rst have up to three months to write such a same idiom. and a duet, the last of which is incomplete. known performance took place in Eisenstadt work, but in 1798, probably because of The fi rst Te Deum in C was composed in The aria is sung by the Guardian Spirit who in September 1800 as part of that year’s his exhaustion, he did not begin the mass the early 1760s when Haydn had just entered comforts the imprisoned Queen Elvida. It is nameday celebrations. until 10 July, completing it by 31 August, a the service of the Esterházy family. The precise accompanied by a wind sextet of clarinets, remarkably short period of fi fty-three days. circumstances of its composition are not horns and bassoons, and Queen Elvida’s COMPACT DISC FIVE As well as composing against the clock, unknown; most likely it was fi rst performed responses are spoken against this wonderfully The year 1798 was one of the most Haydn was faced with another restriction. as part of the wedding celebrations in January evocative background. The chorus is sung by remarkable in Haydn’s long life. He had Prince Esterházy was attempting to reduce 1763 that marked the marriage of Count the victorious Danes, celebrating a particularly recently completed his oratorio, The Creation, expenditure at court and had dismissed the Anton Esterházy and Countess Marie Therese bloodthirsty victory over the Anglo-Saxons. In an ambitious work that had consumed his ‘Harmonie’ (windband) that Haydn had Erdödy. As well as the sound of C major mood and technique it foreshadows the Missa energy and imagination for over two years. been able to call upon for previous nameday coloured by trumpets and timpani, the work in tempore belli which was to occupy Haydn’s The fi rst few months of the year were taken performances. His solution was to make a has the typical three-part design common in energies in the next few months; at the words up with the less fulfi lling, but equally time- virtue of this situation and to score the mass settings of the Te Deum at the time: brisk ‘Trompeten und Pauken verkünden den Sieg’ consuming task of supervising the copying for strings (always available in Eisenstadt), outer sections framing a contrasting slow (Trumpets and drums herald the victory) of the scores and the parts in readiness for a organ (played by the composer himself), section for the words ‘Te ergo quaesumus’ there is even an anticipation of the beginning series of four semi-public performances of three players (specially hired for the (We therefore pray). of the ‘Dona nobis pacem’ from the Mass. the work that took place in late April/early occasion) and timpani (a local player). The A few months before the fi rst performance This is the fi rst recording of the chorus. May. As someone who was now lauded as resulting sonority – sparse yet capable also of the Missa in tempore belli in 1796, Haydn The second Te Deum in C was Austria’s leading artistic fi gure, Haydn also of great theatricality – is a highly distinctive was in Eisenstadt taking part in the festivities commissioned by the Empress Marie Therese, directed two charity performances in April feature of the mass.

22 23 The mass was fi rst performed at the the fi nal resolution into unalloyed joy so long-forgotten works and selling them to Haydn’s melodic style (especially for solo Martinkirche in Eisenstadt on 23 September. uplifting. The fi rst movement is in D minor, Breitkopf & Härtel, sometimes amending the soprano) shows a deliberate attempt to absorb It must have been about this time that the only time in an orchestral mass that instrumentation. One of these rediscoveries contemporary Italian mannerisms. The three Haydn entered the work in his catalogue of Haydn sets the text in a minor key. The was the Missa brevis in F major, probably movements are scored for solo soprano, composition, calling it ‘’, unusual orchestral forces make their impact Haydn’s fi rst mass and originally composed chorus, strings and organ. that is, ‘Mass in straitened times’. This was immediately, joined later by the chorus when he was seventeen or eighteen. ‘What never the formal title of the work – Haydn’s and a particularly fl amboyant part for the specially pleases me in this little work’, he COMPACT DISC SIX title was ‘missa’ – and it may well have been solo soprano. D minor is next heard in the told one of his biographers, ‘is the melody, During the summer of 1796 Haydn worked a wry reference to the limited time in which Benedictus which, rather than having the and a certain youthful fi re…’. The mass on a mass for the forthcoming nameday he had composed it, and to its restricted customary grace and lyricism, is a nervous is scored for chorus, strings and organ, celebrations. As was often the custom (there instrumental forces. Two years later, when movement, simmering with a latent power with two delightfully fl orid parts for solo are three instances in Haydn’s output), the Nelson visited Eisenstadt, the mass was that is fi nally unleashed when the three sopranos. Its neat, unambitious nature work was given a title that featured a saint’s performed in his presence, giving rise to trumpets play an insistent fanfare against should not be taken as the inexperience of a name: Missa Sancti Bernardi von Offi da. the much more familiar nickname, the the contradictory text of ‘Blessed is he who youthful composer; rather the reverse, for it Bernard of Offi da was a seventeenth century Nelsonmesse. Later commentators looking comes in the name of the Lord’. In a way was a very skilful setting of the text designed Capuchin monk who had been beatifi ed by for ‘Nelson’-like qualities in the work seized that Beethoven would have admired, this to further Haydn’s career as a composer of Pope Pius VI in 1795. The saint’s day was on the coincidence that in the summer of element of fear associated with D minor is church music in mid-century Vienna. This 11 September which, in 1796, happened 1798, while Haydn was working on the mass, juxtaposed with, and ultimately overcome neatness is partly due to the composer’s also to be the nameday of Princess Marie the British fl eet under Nelson’s leadership by, radiant music in . decision to follow the frequent practice Esterházy. Haydn’s work, therefore, was a achieved a stunning victory over Napoleon’s One of the most telling aspects of Haydn’s of setting the ‘Dona nobis pacem’ to the tribute both to a lowly monk and a gracious Mediterranean fl eet in the Battle of Aboukir. status at the end of the eighteenth century same music as the Kyrie. Equally typical patron and, though direct evidence is not But the news of this victory did not reach is that music originally composed for the of contemporary practice is the Credo, forthcoming, it was almost certainly fi rst Haydn until after he had fi nished the mass. Catholic liturgy was performed extensively in which several lines of the text are sung performed on that date. It is a mistake, therefore, to make a direct as concert music in Protestant Europe. The simultaneously, and the Benedictus, which Haydn had not composed a mass link between the mass and Nelson, and to publishing fi rm of Breitkopf & Härtel in adopts the opposite approach: a high ratio of for fourteen years and this work has an associate ‘straitened times’ with specifi c events Leipzig issued fi ve of the six late masses in music to words. unmistakable feeling of the composer in contemporary European history. print (including the ‘Nelson’ Mass) and Also from the early part of Haydn’s career reconnecting with his roots in Austria after Nobody, however, would wish to deny the continually pressed Haydn for further items is the Ave Regina. While nothing is known the excitement of two visits to London. As extraordinary tension that informs certain of sacred music. In his old age Haydn had the about the circumstances of its composition, the opening of the Kyrie suggests, this is the movements of this mass, one that makes touching experience of re-discovering some it is likely to date from the mid-1750s when most openly tuneful of Haydn’s late masses;

24 25 at the beginning of the Sanctus he wrote in who usually transform the tunefulness into a court’s activities had gone into decline at COMPACT DISC SEVEN the margin next to the tenor line ‘Heilig’, radiant energy that is equally captivating. the expense of opera and instrumental music. The Missa Cellensis is one of two masses drawing gentle attention to a well-known A more familiar saint is commemorated Nicolaus would have been surprised as well as by Haydn with this title. ‘Cellensis’ refers to German hymn tune ‘Heilig, Heilig’ (Holy, in the Missa Sancti Nicolai (Nikolaimesse), delighted that his Kapellmeister had composed Mariazell, a small town nestled high in the Holy) which is concealed, like a favoured from 1772. St Nicolaus’s day falls on a mass especially for his nameday. hills in the Styrian countryside to the south keepsake, in the middle of the texture. 6 December, the beginning of Advent, The work belongs to a distinct type of the Danube. Generations of Austrian This musical reference occasioned the later and the work was probably performed of mass associated with Advent, often Catholics have travelled on foot to the town, nickname for the mass, Heiligmesse. More to celebrate the nameday of the then separately catalogued in eighteenth-century often in gatherings of several thousand, poignant is the ‘Et incarnatus’ section in Prince Esterházy, another Nicolaus, the sources as missae pastorales (pastoral masses). to pay homage to a simple rustic carving the Credo, where yet another simple melody grandfather of Nicolaus II. Although he was Traditional musical techniques designed of the Virgin Mary that is placed on an is developed as a three-part canon for by far the most supportive of the Esterházy to conjure up the familiar intermingled incongruously opulent altar. In his late teens solo voices. But, as throughout this mass, princes, that particular year, 1772, was a images of the loving Shepherd, the birth of Haydn had made such a pilgrimage. The simplicity of utterance is only the prelude diffi cult one for Kapellmeister and patron. Christ in a stable, and the shepherds in the fi rst ‘Mariazell mass’, recorded here, dates to something much more probing; in this Because of fi nancial stringency there were fi eld characterise this mass, as they do any from 1766, fi ve years into the composer’s passage Haydn uses his unrivalled mastery suggestions that the musical retinue might number of contemporary pastoral masses: service at the Esterházy court. Beyond the of orchestral colour as he explores the have to be cut back, and the lengthy stay gently lilting metres (the opening and fact that the work has something to do with resonances of the text, high treble sounds, in the summer palace of Eszterháza proved closing movements are in 6/4, an unusual the famous pilgrimage church nothing pizzicato strings and the sound of clarinets unpopular with the players who had been metre in the Classical period), simple is known about the circumstances of its for the mystery of the Virgin Birth (‘Et forced to leave their families in Eisenstadt. melodies and a propensity for the top of the composition. Since the church in Mariazell incarnatus est de Spiritu Sancto, ex Maria Haydn, who was always a master diplomat texture to move in parallel thirds, especially had very limited musical resources the Virgine, et homo factus est’), male voices on behalf of his musicians, composed the downwards, as if in obeisance. Even the mass is unlikely to have been intended for and low, bowed strings for a minor-key ‘Farewell’ Symphony in which the players choice of key, G major, is characteristic; it performance there; much more likely is a version of the same melody when the text leave the stage one by one until only two was often favoured for pastoral masses to performance in Vienna, at one of the many turns to the death of Christ (‘Crucifi xus violins are playing; the prince took the distinguish them in sonority from the large services that honoured the shrine or were etiam pro nobis, sub Pontio Pilato’). hint and immediately allowed the court number of masses in C. Since the main aim associated with pilgrimages from the city to A second distinctive feature of this mass – to return to Eisenstadt. The Missa Sancti is to comfort rather than to uplift, Haydn Mariazell. Later, the mass acquired another certainly in comparison with a work like the Nicolai may well have been the second stage uses the frequently encountered device of name, Missa Sanctae Caeciliae, as the result ‘Nelson’ Mass (1798) – is the comparatively of Haydn’s diplomacy; he was certainly not repeating the music of the Kyrie for the of a likely (but hitherto undocumented) small role given to the vocal soloists. Most of required to compose church music as part ‘Dona nobis pacem’. The fi nal impression, performance at one of the annual services the setting is led by the choir, and it is they of his duties as that traditional side of the therefore, is the same as the initial one. on 22 November promoted in Vienna by the

26 27 so-called Musical Congregation to honour chorus would expect to have to master two described in his thematic catalogue as Missa output in general was ‘mala mixta bonis’, the patron saint of music. fugues, at the end of the Gloria and the sunt bona mixta malis. For over 200 years and Beethoven, too, used the remark on at That the original occasion for which end of the Credo. The Missa Cellensis has the work was lost, until it was discovered in least one occasion. It is clear from Haydn’s the mass was composed was a particularly fi ve fugues in total: a complete movement a farmhouse in Northern Ireland in 1983. It autograph manuscript that the aphorism was splendid one is suggested by the ambition of for the second ‘Kyrie eleison’, a gravely is an incomplete work, consisting of a Kyrie added to the title page as an ironic comment Haydn’s work. It is by far the longest setting beautiful setting of ‘Gratias agimus tibi’, movement and the Gloria as far as the clause alongside the more prosaic, but correct, title of the liturgical text by the composer, one the customary ‘In gloria Dei Patris’ and ‘Et ‘Gratias agimus tibi’. Scored only for SATB of ‘Missa a 4tro voci alla Cappella’. that was clearly intended to take its place vitam venturi’, and, to end the work, an voices with the support of continuo, it is an Apprentice composers in Vienna were often alongside the grandest masses of the Viennese intricate double fugue setting the text ‘Dona example of the so-called stylus a cappella, given the task of writing such masses to show tradition by Fux, Reutter and others. Haydn nobis pacem’. To bind together the longest liturgical music composed for performance their developing mastery of counterpoint; had not composed a mass since the end of section of the mass, the Credo, Haydn uses during Lent and Advent when orchestral an intriguing example by Salieri, to name the 1740s and there is a palpable sense of a well-established procedure in eighteenth- accompaniment was deemed inappropriate. only one, survives. Haydn’s schoolmasterish revelling in the challenge, in much the same century settings, that of reiterating the This is a sizeable, forgotten repertoire in comment on his own music is typically wry: it way as Mozart was to do when writing the initial affi rmative word ‘Credo’ (I believe) eighteenth-century Austria that included is a competent piece of work, but because of Mass in C minor (K427). Like that work several times, always sung by a soprano music by Haydn’s contemporaries as well as the stylistic exigencies of the stylus a cappella Haydn’s mass is an example of what is today soloist in fl orid semiquavers in a choral by composers from the Italian Renaissance, it is not a convincing one by a composer who usually called a ‘cantata mass’, that is the context that is predominantly syllabic. especially Palestrina who was celebrated as had already demonstrated his mastery of all single movements of the Ordinary divided Apart from the scope of the work, a fi nal the begetter of the style. But, as Haydn’s kinds of music. It was probably for this reason into several, musically complete numbers, lasting memory of the Missa Cellensis is the mass reveals almost immediately, it is not that Haydn lost interest in the work and so that instead of the typical six movements splendour of its sonority: C major coloured pastiche Palestrina; instead, the vocal abandoned it. found in most Haydn masses, the Missa by energetic fi guration from trumpets and texture is invariably mixed with features While modern listeners will regard the mass Cellensis has eighteen. The text ‘Laudamus timpani. Again, this association of key of eighteenth-century style, including as a curiosity, they will be struck too by the te’, for instance, would normally be presented and sonority for Haydn, his musicians and sequence, chromatic harmony, pedal points similarity of some of the thematic ideas in the as part of the fast opening section of the the Mariazell pilgrims was a familiar one, and a fi rm sense of key rather than mode. Kyrie to those found in the fi rst movement of Gloria, accounting typically for about thirty celebrated repeatedly in the church music The signifi cance of the title must be viewed Mozart’s . In truth, both composers seconds or so of music; here, it is set apart of the Viennese tradition. Few works, against this hybrid stylistic background. were using ideas that were common musical as a complete aria for solo soprano, with a however, reveal the same verve and sense of ‘Sunt bona mixta malis’ (the good mixed property. Mozart’s Requiem has accrued lengthy orchestral introduction and a good commitment as Haydn’s Missa Cellensis. with the bad) was a saying in common enough fanciful baggage without being deal of ostentatious vocal decoration. In most Two years later, in 1768, Haydn began use at the time. Late in his life, Haydn, burdened by the view that it was indebted to settings of the mass in Haydn’s Austria the work on a very different kind of mass, with typical self-deprecation, said that his Haydn’s Missa sunt bona mixta malis.

28 29 COMPACT DISC EIGHT church music, also gave rise to the appropriate it has been assumed that the new mass (was buried). The Kyrie, on the other hand, Haydn composed the Missa in honorem nickname Große Orgelmesse (Great Organ was associated with a pilgrimage of thanks looks forward to similar movements in the six BVM (Mass in honour of the Blessed Virgin Mass) – distinguishing it from the Kleine and celebration undertaken by Kreutzner. late masses in that the fast section is laid out Mary) in 1768 or 1769 (the latter is more Orgelmesse (Small Organ Mass). The organ’s An alternative interpretation of Haydn’s in full , with the ‘Christe eleison’ likely), its title indicating that it was initially appearance at the beginning of the work is annotation has been put forward, however. constituting the development section. performed on one of the many Marian typically decorative, a careful counterpoise to Kreutzner may have been a member of the The Benedictus is the oddest movement feastdays in the church calendar, though the simplicity of the Kyrie as a whole. In the Viennese brotherhood that honoured and in the Missa Cellensis, completely unlike that precise details are unknown. When, at a later Benedictus it dominates the score, with an supported Mariazell pilgrimages, and the mass in the Große Orgelmesse. It begins in a severe stage, the composer entered the mass in a draft extended concertante part that accompanies could have been commissioned by him on G minor with all the stylistic features of a catalogue that he kept of his works, he gave it the quartet of solo singers and creates the behalf of the brotherhood. baroque aria: unison strings, dotted rhythms, another title, Missa Sancti Josephi, suggesting perfect aural complement to the ornate Unlike the Große Orgelmesse, this work and sequences. The music was taken, with that another performance had been on St rococo decoration found in many churches is fi rmly in the broad tradition of Austrian some minor adjustments, from Haydn’s opera Joseph’s day, 19 March, easily remembered by in Haydn’s Austria. After the Benedictus, the mass composition, most obviously refl ected Il mondo della luna where, sung by Ernesto, the composer since it was his own nameday. organ reverts to its basic role as a continuo in the choice of C major, with its associated it had expressed the sentiment that the course It is a very individual work, quite unlike instrument providing background support. resplendent use of trumpets and timpani. of true love does not run smooth. Here is any other mass by the composer. It is set in the Then, suddenly, at the end of ‘Dona nobis As a solitary work that stands approximately seems to be deliberately unsettling, the hope very unusual key for a mass from this period pacem’ (a jaunty movement in 6/8 marked midway between the four masses of 1766–72 of a life in Christ being tempered by a sense of E fl at major, and instead of the expected Presto) it interjects a couple of passages of and the six masses of 1796–1802, the second of mystery and fear. Haydn was to return to oboes, has parts for two cors anglais. This nervous frivolity, a very typical touch by Missa Cellensis has features in common this view of the text in the Harmoniemesse and, was a favourite, if occasional, tone colour of a composer for whom the Catholic faith with both groups of works. As in the Große most sensationally, the Nelsonmesse. The minor Haydn’s in the 1760s and 1770s, found in embraced the full range of human emotions. Orgelmesse, the ‘Et incarnatus est’ in the Credo key, C once more, returns for the Agnus Dei, four operas (Acide, La canterina, Le pescatrici The Missa Cellensis dates from 1782 and, is set as a tenor solo in the minor key, but in a clear three-fold statement of the prayer as and L’incontro improvviso), Symphony again, very little of certainty is known about the Missa Cellensis it begins in A minor before demanded by liturgical practice. The Allegro No. 22 (‘Philosopher’) and the Stabat Mater. the circumstances of its composition. Haydn’s modulating in a very unorthodox manner to which follows, ‘Dona nobis pacem’, is a fugue, The cor anglais parts in the mass are not autograph has the title ‘Missa Cellensis. Fatta C minor, the kind of challenge that Haydn but much more intricate in its polyphony especially soloistic but the doleful sound of per il Signor Liebe de Kreutzner’ which could liked to pose in his quartets and symphonies. than the one in the Große Orgelmesse; it is, in the instrument provides an earnestness that be idiomatically translated as ‘A Cellensis In both works the chorus re-enters for the fact, the longest fugue in the mass, a display of pervades the whole work. Haydn’s use of mass. Composed for Mr Liebe de Kreutzner’. ensuing ‘Crucifi xus’, singing appropriately exuberant learning for the Mariazell pilgrims. the organ as an occasional solo instrument, Kreutzner, who was a retired military offi cer, tortuous chromatic lines followed by which refl ected a distinct tradition in Austrian had been ennobled in 1781 and, traditionally, measured repeated notes for ‘sepultus est’ © David Wyn Jones

30 31 Winner of the 1994 Kathleen Ferrier regular guest with both Welsh National Opera Hogwood, Sir and Sir at the City of London, Brighton, Edinburgh Memorial Prize, Susan Gritton appears and English National Opera, she has sung Roger Norrington, and has sung with the and Aldeburgh festivals. Recent appearances regularly in recital throughout Britain and in opera houses all round the world in such , City of Birmingham include the Alte Oper, Frankfurt, the New worldwide, at venues such as the Amsterdam roles as Musetta, Pamina, Countess Almaviva; Symphony Orchestra, Düsseldorf Symphonic World Symphony in Miami and many recitals Concertgebouw and the Lincoln Center, New Vitellia, Arabella and Elettra (), Orchestra, Orchestra of St Luke’s, New at the Wigmore Hall. York. Her concert experience is extensive Daphne, Arabella and Eva (Die Meistersinger York, the Toronto and Montreal, Sydney and includes performances at the Wiener von Nürnberg), Ellen Orford, Micaela and and Melbourne Symphony Orchestras and Mezzo-soprano Pamela Helen Stephen studied Konzerthaus and the Berlin Philharmonie, as the Marschallin. In her worldwide concert the NACO Orchestra. In opera, concert at the Royal Scottish Academy of Music and well as at the BBC Proms, Edinburgh Festival appearances she has worked with conductors and recital she has appeared at many leading Drama, at the Opera Theater Center at Aspen, and Salzburg Mozartwoche. On the operatic Roger Norrington, André Previn, Michael festivals including Aix-en-Provence, Mostly Colorado, with Herta Glaz, and in Toronto stage she has appeared as Marˇenka (The Tilson-Thomas, Sir , Riccardo Mozart, Schleswig-Holstein and the BBC with Patricia Kern, before embarking on an Bartered Bride) at The Royal Opera, Covent Chailly, Frans Brüggen, Sir Proms. Born and raised in Canada, Nancy international career. Her operatic repertoire Garden; in the title role of at the and . In her Chandos Argenta now lives in England. includes Cherubino (Le nozze di Figaro), Glyndebourne Festival; as Cleopatra (Giulio discography are Janácˇek’s Jenu˚fa (CHAN Donna Clara (The Duenna), Cynthia (Playing), Cesare) at Bayerische Staatsoper, Munich; 3106), Vaughan Williams’ The Poisoned Lorna Anderson studied at the Royal Scottish Phoebe (The Yeomen of the Guard ), Moppet/ Belinda (Dido and Aeneas) at Deutsche Kiss (CHAN 10120), the award-winning Academy of Music and Drama during Goose (Paul Bunyan), the Countess of Essex Staatsoper, Berlin; and Marzelline (Fidelio) at recording of Britten’s Peter Grimes (CHAN which time she was awarded several prizes (Gloriana), the title role in Ruth, Nancy Rome Opera. Whilst a Company Principal 9447) and Poulenc’s Gloria (CHAN 9341). including one for the most distinguished (Albert Herring), Hansel (Hansel and Gretel ) at English National Opera she sang Pamina student of the year. She won fi rst prize in the and Madame Popova (The Bear). In concert (Die Zauberfl öte), Nannetta (Falstaff ) and the Nancy Argenta made her professional 1984 Peter Pears and Royal Overseas League she has performed such works as The Dream Vixen in The Cunning Little Vixen, among debut in 1983. With a repertoire spanning Competitions and in 1986 in Aldeburgh she of Gerontius, Les Chants d’Auvergne, Britten’s other roles. Her latest recordings for Chandos three centuries she has been hailed for her won the Purcell-Britten Prize for Concert Spring Symphony and Phaedra, Berlioz’s include The Hummel Mass Edition, the fi rst performances of works by Handel and Singers. Lorna Anderson has appeared in opera, L’Enfance du Christ and Les Nuits d’été, volume of which won a 2003 Gramophone composers as diverse as Mahler, Mozart, concert and recital with major orchestras and in Rossini’s Stabat Mater and Mozart’s Requiem. Award. Schubert and Schoenberg. Her ability to festivals throughout Europe including the BBC Among many Chandos recordings are Peter adapt from large-scale orchestral works to Orchestras, the London Mozart Players and the Grimes, The Saint of Bleeker Street, Albert Janice Watson studied at the Guildhall chamber music and recitals has earned her Royal Liverpool Philharmonic Orchestra, and Herring and The Poisoned Kiss. School of Music and Drama and fi rst came great recognition and respect. She works abroad with Ensemble InterContemporain, to prominence as a winner of the Kathleen closely with many distinguished conductors Residentie Orchestra The Hague and the Catherine Denley has devoted most of her Ferrier Memorial Prize. In addition to being a including Trevor Pinnock, Christopher Stuttgarter Kammerchor. She has also appeared career to the oratorio repertoire, with numerous

32 33 successful broadcasts and recordings to her in recital and concert with orchestras such by Hahn, Chabrier, Finzi, Gurney, Stanford, Music and . In name. She grew up in Northamptonshire, as the BBC Symphony Orchestra, City of Stravinsky, Schoenberg, Schubert, Nigel addition he has featured on many fi lm sound- graduated from Trinity College of Music, and Birmingham Symphony Orchestra, BBC Osborne and Thea Musgrave and John Tavener, tracks, such as Amadeus, Mr Holland’s Opus, after a brief time in the BBC Singers, embarked National Orchestra of Wales, Royal Scottish and has joined Richard Hickox for numerous Death and the Maiden as well as playing cameo on a solo career which has taken her all over National Orchestra, Philharmonia Orchestra releases of Haydn, Beethoven, Vaughan- roles in The Madness of King George and John the world. She has recorded a wide repertoire and Montreal Symphony Orchestra. Williams, Grainger and Britten on Chandos. Osborne’s England My England. of music including many works by Handel, On the concert platform, Stephen has appeared most recently the title role in ; London-born Mark Padmore has won acclaim with orchestras in the UK, Scandinavia, Collegium Musicum 90, jointly founded by also Mozart’s Die Zauberfl öte, Copland’s In The throughout the world for the musicality and Europe, Japan and North America, working Simon Standage and Richard Hickox, is a well- Beginning, Bruckner’s Requiem, Schubert songs intelligence of his singing. He is particularly with conductors including Brüggen, Christie, established name for the historical performance with the Songmakers’ Almanac, Monteverdi’s known for his committed performances of the Herreweghe, Knussen, Leonhardt, Norrington, of baroque and classical repertoire which ranges L’incoronazione di Poppea and Bach’s B minor Evangelist in Bach’s Passions. His many operatic Rifkin, Kuijken, Marriner and Malgoire. He from music for chamber ensemble to large-scale Mass with Richard Hickox, and three highly performances include Orfeo in Haydn’s Orfeo has regularly taken part in the BBC Proms and works for choir and orchestra. It has recorded acclaimed volumes of Sacred Music by Vivaldi, ed Euridice for the Opéra de Lausanne, Don festivals throughout the world and appears in more than fi fty CDs under its exclusive contract with the King’s Consort. Ottavio in Don Giovanni at Aix-en-Provence, recital with Roger Vignoles, Graham Johnson, with Chandos Records, has broadcast on BBC and for The Royal Opera, Covent Garden he Julius Drake and Ian Burnside. Stephen Radio 3 and appeared at European and UK Mezzo-soprano Louise Winter was born in has performed the roles of Thespis and Mercure Varcoe’s opera engagements have taken him to festivals. Highlights of recent seasons have Preston, Lancashire, and trained at Chetham’s in Rameau’s Platée, Interpreter in Vaughan Antwerp, Lisbon, Drottningholm (Stockholm) included appearances at the Cheltenham School of Music and the Royal Northern Williams’s The Pilgrim’s Progress and Hot Biscuit and Tokyo where he has appeared in works by International Festival and the BBC Proms as College of Music. She has performed with Slim in Britten’s Paul Bunyan. He has appeared Monteverdi, Haydn, Debussy, Holst, Britten well as performances in Poland, at the Lucerne opera companies such as Glyndebourne at many of the world’s most prestigious festivals, and Taverner. Easter Festival and at the International Haydn Touring Opera, The Royal Opera, Covent including Edinburgh, Salzburg, Spoleto and Festival in Eisenstadt, Austria. Garden and English National Opera, as well the BBC Proms, and recently made his BBC Ian Watson has made prestigious appearances as in venues in Toronto, Berlin and Barcelona. Voices debut with Roger Vignoles in a and recordings not only as an organist and One of Britain’s most gifted and versatile Among the roles she has sung are those of programme of lieder by Beethoven and pianist, but also harpsichordist and conductor. conductors, Richard Hickox CBE is Music Rosina (Il barbiere di Siviglia), Marguerite (La Schubert. He has been a Principal with the City of Director of Opera Australia, and was Damnation de Faust), Sextus (La clemenza di London Sinfonia, English Chamber Orchestra Principal Conductor of the BBC National Tito), Béatrice (Béatrice et Bénédict), Octavian Stephen Varcoe has established a reputation and Academy of St. Martin in the Fields, as Orchestra of Wales from 2000 until 2006 (Der Rosenkavalier) and the title roles in as one of Britain’s most versatile baritones. He well as working with many period instrument when he became Conductor Emeritus. He and Carmen. Louise Winter also performs has made over 125 recordings including works ensembles such as The Academy of Ancient founded the City of London Sinfonia, of

34 35 I. Kyrie I. Kyrie which he is Music Director, in 1971. He State Opera and Washington Opera among Kyrie eleison. Lord have mercy. is also Associate Guest Conductor of the others. He has guest conducted such world- Christe eleison. Christ have mercy. London Symphony Orchestra, Conductor renowned orchestras as the Pittsburgh Kyrie eleison. Lord have mercy. Emeritus of the Northern Sinfonia, and co- Symphony Orchestra, Orchestre de Paris founder of Collegium Musicum 90. and Bavarian Radio Symphony Orchestra II. Gloria II. Gloria He regularly conducts the major orchestras and is soon to appear with the New York Gloria in excelsis Deo Glory to God in the highest in the UK and has appeared many times at the Philharmonic. Et in terra pax hominibus bonae voluntatis. And on earth peace to men of good will. BBC Proms and at the Aldeburgh, Bath and His phenomenal success in the recording Laudamus te, benedicimus te, adoramus te, We praise you, we bless you, we adore you, we glorifi camus te. glorify you. Cheltenham festivals among others. With the studio has resulted in more than 280 Gratias agimus tibi propter magnam gloriam tuam. We give you thanks for your great glory, London Symphony Orchestra at the Barbican recordings, including most recently cycles of Domine Deus, Rex coelestis, Deus Pater omnipotens. Lord God, heavenly King, God the Father almighty. Centre he has conducted a number of semi- orchestral works by Sir Lennox and Michael Domine Fili unigenite, Jesu Christe, Lord, only-begotten Son, Jesus Christ, staged operas, including Billy Budd, Hänsel und Berkeley and Frank Bridge with the BBC Domine Deus, Agnus Dei, Filius Patris, Lord God, Lamb of God, Son of the Father, Gretel and Salome. With the Bournemouth National Orchestra of Wales, the symphonies Qui tollis peccata mundi, miserere nobis. You take away the sins of the world, have mercy Symphony Orchestra he gave the fi rst by Vaughan Williams with the London Qui tollis peccata mundi, suscipe deprecationem on us. ever complete cycle of Vaughan Williams’s Symphony Orchestra, and a series of operas nostram. You take away the sins of the world, receive our symphonies in London. In the course of an by Britten with the City of London Sinfonia. Qui sedes ad dexteram Patris, miserere nobis. prayer. ongoing relationship with the Philharmonia He has received a Grammy (for Peter Grimes) Quoniam tu solus sanctus, tu solus Dominus, tu You sit at the right hand of the Father, have mercy solus Altissimus, Jesu Christe. on us. Orchestra he has conducted Elgar, Walton and fi ve Gramophone Awards. Richard Cum Sancto Spiritu, in gloria Dei Patris, For you alone are holy, you alone are the Lord, you and Britten festivals at the South Bank and a Hickox was awarded a CBE in the Queen’s Amen. alone are the Most High, Jesus Christ, semi-staged performance of Gloriana at the Jubilee Honours List in 2002, and has With the Holy Spirit, in the glory of God the Father. Aldeburgh Festival. received many other awards, including two Amen. Apart from his activities at the Sydney Royal Philharmonic Society Music Awards, Opera House, he has enjoyed recent the fi rst ever Sir Charles Groves Award, the III. Credo III. Credo engagements with The Royal Opera, Covent Evening Standard Opera Award, and the Credo in unum Deum. I believe in one God. Garden, English National Opera, Vienna Association of British Orchestras Award. Patrem omnipotentem, factorem coeli et terrae, The Father almighty, maker of heaven and earth, of visibilium omnium et invisibilium. all things visible and invisible. Et in unum Dominum Jesum Christum, Filium And in one Lord Jesus Christ, the only-begotten Dei unigenitum. Son of God, Et ex patre natum ante omnia saecula. Born of the Father before all worlds. Deum de Deo, lumen et lumine, Deum verum de God from God, light from light, true God from Deo vero. true God.

36 37 Genitum, non factum, consubstantialem Patri: per Begotten, not made, of one being with the Father VI. Agnus Dei VI. Agnus Dei quem omnia facta sunt. through whom all things were made. Agnus Dei qui tollis peccata mundi, miserere nobis. Lamb of God, who takes away the sins of the world, Qui propter nos homines, et propter nostram For us men and for our salvation he came down Dona nobis pacem. have mercy upon us. salutem descendit de coelis. from heaven. Grant us peace. Et incarnatus est de Spiritu Sancto ex Maria Virgine And took fl esh by the Holy Spirit from the Virgin et homo factus est. Mary, and became man. Crucifi xus etiam pro nobis, sub Pontio Pilato, He was crucifi ed also for us; under Pontius Pilate he Salve Regina (CD 3, tracks 12–16) Salve Regina (CD 3, tracks 12–16) passus et sepultus est. suffered and was buried. I. Salve Regina, Mater misericordiae: vita, dulcedo, I. Hail Queen, Mother of mercy: our life, joy and Et resurrexit tertia die, secundum scripturas. And he rose again on the third day, according to et spes nostra, salve! hope, hail! Et ascendit in coelum: sedet ad dexteram Patris, the scriptures. Et iterum venturus est cum gloria, judicare vivos et And ascended into heaven; and sits at the right hand II. Ad te clamamus, exules fi lii Evae. Ad te suspiramus, II. We, the banished sons of Eve, cry to thee. We, mortuos, cujus regni non erit fi nis. of the Father. gementes et fl entes in hac lacrimarum valle. groaning and weeping in this vale of tears, long Et in Spiritum Sanctum, Dominum, et vivifi cantem He will come again in glory to judge the living and for thee. qui ex Patre Filioque procedit. the dead, and his kingdom will have no end. Qui cum Patre et Filio simul adoratur et And I believe in the Holy Spirit, the Lord and giver III. Eia ergo, advocata nostra, illos tuos misericordes III. So, as our intercessor, turn those merciful eyes conglorifi catur qui locutus est per Prophetas. of life, who proceeds from the Father and the oculos ad nos converte. of thine to us. Et unam sanctam catholicam et apostolicam Son; who with the Father and the Son is adored Ecclesiam. and glorifi ed, who has spoken through the IV. Et Jesum, benedictum fructum ventris tui, nobis IV. And after this exile show to us Jesus, the blessed Confi teor unum baptisma in remissionem prophets. post hoc exilium ostende. fruit of thy womb. peccatorum. And in one holy, catholic and apostolic Church. Et exspecto resurrectionem mortuorum, I confess one baptism for the remission of sins. V. O clemens, o pia, o dulcis Virgo Maria! V. O gentle one, O holy one, O sweet Virgin Mary! Et vitam venturi saeculi, And I look forward to the resurrection of the dead, Amen. and the life of the world to come, Amen. Te Deum (CD 4, tracks 1 & 15) Te Deum (CD 4, tracks 1 & 15) Te Deum laudamus: te Dominum confi temur. We praise you, O God, we acknowledge you to be IV. Sanctus IV. Sanctus Te aeternum Patrem omnis terra veneratur. the Lord. Sanctus, sanctus, sanctus, Dominus Deus Sabaoth. Holy, holy, holy Lord God of power. Tibi omnes Angeli, tibi caeli et universae potestates: All the earth doth worship you, the Father everlasting. Pleni sunt coeli et terra gloria tua. Heaven and earth are full of your glory. Tibi Cherubim et Seraphim incessabili voce To you all Angels cry aloud, the Heav’ns and all the Osanna in excelsis. Osanna in the highest. proclamant: Pow’rs therein. Sanctus, Sanctus, Sanctus, Dominus Deus Sabaoth. To you Cherubim and Seraphim continually do cry, V. Benedictus V. Benedictus Pleni sunt caeli et terra majestatis gloriae tuae. Holy, Holy, Holy, Lord God of Sabaoth! Benedictus qui venit in nomine Domini. Blessed is he who comes in the name of the Lord. Te gloriosus Apostolorum chorus: te Prophetarum Heav’n and earth are full of the Majesty of your Glory. Osanna in excelsis. Osanna in the highest. laudabilis numerus: The glorious company of the Apostles praises you: the goodly fellowship of the Prophets praises you.

38 39 Te Martyrum candidatus laudat exercitus. The noble army of Martyrs praises you. Ave Regina (CD 5, tracks 12–14) Hail, Queen of Heaven (CD 5, tracks 12–14) Te per orbem terrarum sancta confi tetur Ecclesia, The Holy Church thro’out all the world does Ave Regina coelorum, Hail, Queen of Heaven, Patrem immensae majestatis; acknowledge you, the Father of an infi nite Majesty. Ave Domina Angelorum, Hail, Lady of the Angels, Venerandum tuum verum, et unicum Filium: Your honourable, true, and only Son; also the Holy Salve radix, salve porta, Hail, the source, the way, Sanctum quoque Paraclitum Spiritum. Ghost, the Comforter. Ex qua mundo lux est orta. From which light came forth for the world. Tu Rex Gloriae, Christe: tu Patris sempiternus es Filius. You are the King of Glory, O Christ: you are the Tu ad liberandum suscepturus hominem, non everlasting Son of the Father. Gaude Virgo gloriosa, Rejoice, O glorious Maiden, horruisti Virginis uterum. When you tookest upon yourself to deliver man, Super omnes speciosa. Splendid above all others. Tu devicto mortis aculeo, aperuisti credentibus you did not abhor the Virgin’s womb. Valde, o valde, o valde decora Farewell, O Thou most seemly, regna caelorum. When you had overcome the sharpness of death, Et pro nobis Christum exora. And intercede with Christ on our behalf. Tu ad dexteram Dei sedes, in gloria Patris. you did open the Kingdom of Heav’n to all Judex crederis esse venturus. believers. Te ergo quaesumus, tuis famulis subveni, quos You sit at the right hand of God in the Glory of ‘Alfred, König der Angelsachsen’ ‘Alfred, King of the Anglo-Saxons’ pretioso sanguine redemisti. the Father. (CD 4, tracks 13 & 14) (CD 4, tracks 13 & 14) Aeterna fac cum Sanctis tuis in Gloria numerari. We believe that you shall come to be our judge. Arie des Schutzgeistes The Guardian Spirit’s Aria Salvum fac populum tuum Domine, et benedic We therefore pray you help your servants who you Die Schutzgeisterin Guardian Spirit hereditati tuae, et rege eos, et extolle illos usque have redeemed with your precious blood. Ausgesandt vom Strahlenthrone Directed by the throne of glory in aeternum. Make them to be number’d with your Saints in Atm’ ich Tröstung in dein Herz. I breathe comfort into your heart. Per singulos dies, benedicimus te et laudamus glory everlasting. Trau der Tugend hohem Lohne, Trust the lofty reward of virtue nomen tuum in saeculum, et in saeculum saeculi. O Lord save your people and bless your heritage: Trage standhaft deinen Schmerz. Bear your grief with courage high. Dignare Domine die isto sine peccato nos custodire. govern them and lift them up forever. Miserere nostri Domine. Day by day we magnify your name and we worship Elvida Elvida Fiat misericordia tua, Domine super nos, ever world without end. Bote des Himmels! Lebt mein Alfred? Lebt Edgar? Messenger of Heaven! Lives my Alfred? Lives Edgar? quemadmodum speravimus in te. Vouchsafe, O Lord, to keep us this day without sin. In te Domine speravi: non confundar in aeternum. O Lord have mercy upon us. Die Schutzgeisterin Guardian Spirit O Lord let your mercy lighten upon us, as our trust Hoff’, Elvida! Bange Sorgen Hope, Elvida! Anxious cares is in you. Machen oft dies Leben schwer; Often make a troubled life; O Lord in you have I trusted: let me never be Doch der Zukunft heit’rer Morgen But the future’s joyous morning confounded. Schwebt aus dunkler Ferne her. Floats before us from afar. Wag’ es nicht, sie zu durchschauen Do not seek to see beyond it Bis der Vorsicht Vaterhand Till the guiding hand of prudence Durch den Dornenpfad voll Grauen Through the thorny path of horror Wege deiner Rettung fand. Finds for you salvation’s way.

40 41 Elvida Elvida Rettung, Rettung für mich und Alfred! Salvation, Salvation for me and Alfred! O Dank dir, liebender Geist, ich will ihn fassen, Oh thank you, loving spirit, I will fasten upon this diesen Gedanken, will ihn denken, bis ich nicht thought, I will think it until I can think no longer. You can now purchase Chandos CDs online at our website: www.chandos.net mehr zu denken vermag. For mail order enquiries contact Liz: 0845 370 4994 Die Schutzgeisterin Guardian Spirit Any requests to license tracks from this CD or any other Chandos discs should be made direct Schützend will ich dich umschweben, I will surround you with protection Wenn dir Wut und Rache droht; When beset by rage and vengeance; to the Finance Director, Chandos Records Ltd, at the address below. Stärkend deinen Mut beleben; I will revive your strengthened courage; Harr’ auf Gott in deiner Not! In your peril wait for God! Chandos Records Ltd, Chandos House, 1 Commerce Park, Commerce Way, Colchester, Essex CO2 8HX, UK. E-mail: [email protected] Chor der Dänen Chorus of the Danes Telephone: + 44 (0)1206 225 200 Fax: + 44 (0)1206 225 201 Triumph, Triumph, Triumph dir, Haldane. Triumph, triumph, triumph to you, Haldane. Die Schlacht ist gekämpft, The battle has been fought, Recording producer Nicholas Anderson Der Angel-Sachsen Trotz gedämpft. Anglo-Saxon defi ance is vanquished. Sound engineer Ralph Couzens Wir schreiten auf Leichen ins Lager hinab, We descend to the camp over corpses, Assistant engineers Richard Smoker, David O’Carroll (CD 7 only), Christopher Brooke (CD 8 only) Das weite Schlachtfeld ein schauerndes Grab. The vast battlefi eld is an awesome grave. Editors Jonathan Cooper (CDs 1, 4, 5), Rachel Smith (CDs 6, 7, 8), Peter Newble (CDs 2, 3) Wie sind uns’re Schwerter vom Blute so rot. How red with blood are our swords. Recording venue Blackheath Concert Halls, London; 28-30 June 1995 (CD 1), 22 & 23 December Wir spotteten Gefahr und Tod. We scorned danger and death. 1995 (CD 2), 27–29 November 1996 (CD 3), 20–22 October 1997 (CD 4), 22–24 September 1998 Wir lachten des Feindes ohnmächtiger Wut, We defi ed the foe’s impotent rage. (CD 5), 16 –18 April 1998 (CD 6), 18 –20 July 2000 (CD 7), 3 –5 January 2001 (CD 8) Sein Todesröcheln befeuert uns’ren Mut. His death rattle fi red our courage. Back cover Richard Hickox by Greg Barrett Mit Beute beladen, mit Lorbeern gekrönt Laden with booty and crowned with laurels Design, artwork and typesetting Cassidy Rayne Creative Zieh’n wir daher, die Erde dröhnt, We march past and the earth rumbles, Copyright Anton Böhm & Sohn, Augsburg (Ave Regina), Carus Verlag, Stuttgart (Missa brevis, Hob. Trompeten und Pauken verkünden den Sieg. Trumpets and drums herald the victory. XXII:I), Faber Music Ltd (Nikolaimesse), Editions Mario Bois, Paris (Missa sunt bona mixta malis) Die Götterführten uns selbst in den Krieg. The gods themselves led us into war. Triumph, Triumph, Triumph dir, Haldane. Triumph, triumph to you, Haldane. Publishers Universal Edition AG (Missa Cellensis, Hob. XXII:5), Alkor Edition Kassel (Missa Die Schlacht ist gekämpft. The battle has been fought, Cellensis (No. 2), Hob. XXII:8) p Der Angel-Sachsen Trotz gedämpft. Anglo-Saxon defi ance is vanquished. 1996–2002 Chandos Records Ltd p Wir schreiten auf Leichen ins Lager hinab, We descend to the camp over corpses, This compilation 2006 Chandos Records Ltd Das weite Schlachtfeld ein schauderndes Grab. The vast battlefi eld is an awesome grave. Digital remastering p 2006 Chandos Records Ltd © 2006 Chandos Records Ltd Translation from German: Gery Bramall Chandos Records Ltd, Colchester, Essex CO2 8HX, England Printed in the EU

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