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Missa Brevis Harmoniemesse HAYDN Missa brevis (1749) Harmoniemesse Trinity Choir • REBEL Baroque Orchestra J. Owen Burdick • Jane Glover 8.572126 Haydn masses-Missa brevis 1749 booklet.indd 1 23/09/2010 13:54 Joseph HAYDN (1732–1809) Missa brevis 11:41 in F major (Hob.XXII:1; 1749) 1 Kyrie 1:03 2 Gloria 1:34 3 Credo 2:39 4 Sanctus 0:59 5 Benedictus 2:55 6 Agnus Dei 1:27 7 Dona nobis pacem 1:04 Ann Hoyt, soprano 1 • Julie Liston, soprano 2 Richard Lippold, bass Trinity Choir Rebel Baroque Orchestra Jörg Michael Schwarz, leader J. Owen Burdick 8.572126 2 8.572126 Haydn masses-Missa brevis 1749 booklet.indd 2 23/09/2010 13:54 Joseph HAYDN (1732–1809) Missa brevis 11:41 Missa, ‘Harmoniemesse’ 40:30 in F major in B flat major (Hob.XXII:1; 1749) (Hob.XXII:14; 1802) 1 Kyrie 1:03 8 Kyrie 7:09 2 Gloria 1:34 9 Gloria 1:59 3 Credo 2:39 0 Gratias agimus tibi 5:16 4 Sanctus 0:59 ! Quoniam tu solus sanctus 3:17 5 Benedictus 2:55 @ Credo 2:44 6 Agnus Dei 1:27 # Et incarnatus est 3:04 7 Dona nobis pacem 1:04 $ Et resurrexit 2:44 % Et vitam venturi 1 2 1:45 Ann Hoyt, soprano 1 • Julie Liston, soprano 2 ^ Sanctus 2:45 Richard Lippold, bass & Benedictus 4:08 Trinity Choir * Agnus Dei 2:37 Rebel Baroque Orchestra ( Dona nobis pacem 3:02 Jörg Michael Schwarz, leader J. Owen Burdick Nacole Palmer, soprano • Nina Faia, soprano 1 Kirsten Sollek, alto • Daniel Mutlu, tenor Matthew Hensrud, tenor 2 • Andrew Nolen, bass Trinity Choir Rebel Baroque Orchestra Jörg Michael Schwarz, leader Jane Glover 3 8.572126 8.572126 Haydn masses-Missa brevis 1749 booklet.indd 3 23/09/2010 13:54 Haydn’s Masses The ‘father of the symphony’ and master of for composing in sixteen parts before I understood two- conversational wit in the string quartet, [Franz] Joseph part setting.’3 Reutter’s instruction was predominantly Haydn is viewed today principally in the light of his practical in nature; although Haydn remembered only instrumental music. According to his nineteenth-century two formal lessons, Griesinger writes that ‘Reutter did biographer Georg August Griesinger, however, Haydn encourage him to make whatever variations he liked on sometimes wondered if ‘instead of so many quartets, the motets and the Salves that he had to sing in church, sonatas, and symphonies, he should have written more and this practice early led him to ideas of his own, which vocal music’1. While our modern image of Haydn tends Reutter corrected’4. Haydn was forced to leave the to neglect his vocal compositions, they comprise a school when his voice broke, and at the juncture of this large part of his oeuvre – and sacred music in particular important transition composed his first authenticated played a unique role in his musical development. Mass, the Missa brevis in F major (1749). After leaving Haydn’s formative musical experiences were as a St Stephen’s, Haydn moved into the Michaelerhaus near choirboy, and his first and last compositions were Mass St Michael’s Cathedral – coincidentally several floors settings. His Masses were popular during his lifetime, above the famous librettist Metastasio. Through the travelling to Catholic countries all along the Danube poet he met the Italian composer Nicola Porpora, whom and making their way into concert halls after Breitkopf he credited with teaching him the Italian singing style and Härtel published seven of them in the first part and manner of composition. As Haydn said in 1766, of the nineteenth century. Sacred music also figured ‘I wrote diligently, but not entirely correctly, until I prominently in the composer’s musical philosophy; had the good fortune to learn the true fundamentals of in Haydn’s mind, compositional process and even composition from the celebrated Porpora’5. artistic inspiration were indelibly linked to spirituality. As with most composers of his era, Haydn’s Griesinger reports: ‘“If, when I am composing, things musical output was closely linked to the needs of don’t go quite right,” I heard him say, “I walk up and patrons. In 1761 he was hired as an assistant to the down the room with my rosary in my hand, say several Esterházy court’s aging Kapellmeister Gregor Werner Aves, and then the ideas come again.”’2 While his and was put in charge of all musical activities with the instrumental music is clearly inspired, perhaps Haydn’s exception of sacred music, a responsibility that was sacred music – in particular, his twelve complete and added after Werner’s death in 1766. In spite of Prince authenticated Mass settings – brings us closest to the Nicolaus Esterházy’s reported lack of interest in church source of his artistic inspiration. music, Haydn composed a number of sacred works Haydn showed vocal talent at an early age. Around between 1766 and 1772 that showcase his facility with 1740, the Kapellmeister at St Stephen’s in Vienna, the various styles and traditions associated with Austrian Georg Reutter, recruited him as a choirboy. Haydn church music, including the first Missa Cellensis (or received a well-rounded musical education at the Cäcilienmesse), the Stabat Mater, the Missa in honorem church, learning keyboard, violin and composition in BVM (or Grosse Orgelsolomesse) and the Missa Sancti addition to singing. In his autobiographical writings, Nicolai (or Nikolaimesse). After the construction Haydn gives a light-hearted description of his early of an Italian opera house and marionette theatre at attempts to compose: ‘I used to think then that it was all Eszterháza, the Prince’s new summer residence, Haydn right if only the paper were pretty full. Reutter laughed transferred his focus from sacred to secular vocal at my immature output, at measures that no throat and music, composing only two Mass settings between no instrument could have executed, and he scolded me 1772 and 1782: the Missa brevis Sancti Joannis de Deo 8.572126 4 8.572126 Haydn masses-Missa brevis 1749 booklet.indd 4 23/09/2010 13:54 (or Kleine Orgelsolomesse) in the mid 1770s, and the that some listeners found Haydn’s lively tempos and second Missa Cellensis (the Mariazellermesse) in 1782. frequent use of waltz-like metres more suitable for With Prince Nicolaus’s preference for opera, his the dance hall than the church, while the theatrical successor Prince Anton’s complete lack of interest arias ‘with their exaggeratedly sensual and superficial in music, and the emperor Joseph II’s church music performances... can very easily banish devotion but reforms of the 1780s all working against him, Haydn can never awaken it’8. As these criticisms illustrate, didn’t return to the Mass text for fourteen years. After listeners had particular expectations when it came to Prince Anton’s death in 1794, however, the new prince, sacred music, and Haydn’s settings depend upon an Nicolaus II, called his Kapellmeister back into service. intimate acquaintance with these established Viennese Whereas Prince Nicolaus I had preferred the isolation traditions. At the same time that the works illustrate his of Eszterháza in Hungary, Nicolaus II enjoyed the fluency with the vernacular of sacred music, however, more urban setting of Vienna, and Haydn stayed in the Masses display an inspiration and an originality that the city until his death in 1809 (with the exception of belong to Haydn alone. summers, when he travelled with the Esterházy court to Eisenstadt). As part of his duties, Haydn was required to write a Mass each year to celebrate the nameday of Missa brevis Princess Marie Hermenegild, Nicolaus II’s wife, and between 1796 and 1802 Haydn composed six Masses in F major in fulfilment of this responsibility: the Heiligmesse, (Hob.XXII:1; 1749) Paukenmesse, Nelsonmesse, Theresienmesse, Schöpfungsmesse and Harmoniemesse. Haydn’s In his personal catalogue, Haydn wrote of the Missa relationship with Nicolaus II was sometimes rocky, but brevis in F a due soprani, ‘This was the first Mass the Princess was much friendlier than her notoriously that Herr Haydn wrote while still a student’9. While difficult husband and reportedly made sure that Haydn’s there is some disagreement about the statement’s favourite wine (Málaga) was served to him on a regular truth, due to the existence of an earlier Mass in G that basis. While some of Haydn’s contemporaries criticised is probably spurious, the Missa brevis is indeed the his late Masses as ‘too cheerful to be sacred’, their composer’s earliest authenticated work. Written shortly exuberance is perhaps due at least in part to his warm before Haydn’s departure from St Stephen’s, the Mass relationship with the Princess. features only two solo parts; both are for soprano – an Haydn’s association with the Esterházy family may unusual arrangement that has given rise to the theory have provided the impetus for most of his Mass settings, that Haydn wrote the work as a vehicle for himself but his ideas about faith in general gave them their and his brother Michael. In many respects, the piece unique spirit. Haydn’s biographer Griesinger writes of is a traditional missa brevis (‘short Mass’): each part the composer’s approach to religion: ‘Altogether his of the Ordinary corresponds to a single movement; devotion was not of a sort which is gloomy and forever Haydn sets several lines of text simultaneously in the in penance but rather cheerful, reconciled, trusting – Gloria and Credo, thereby moving rapidly through and in this mould his church music, too, is composed.’6 the lengthy sections; and the music of the Kyrie is This optimistic quality caused a certain amount of repeated at the ‘Dona nobis pacem’ in accordance consternation, particularly in regard to Haydn’s late with standard practice.
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