HAYDN Missa Brevis (1805 Revision) Creation Mass Schöpfungsmesse Trinity Choir • REBEL Baroque Orchestra J

HAYDN Missa brevis (1805 revision) Creation Mass Schöpfungsmesse Trinity Choir • REBEL Baroque Orchestra J. Owen Burdick • Jane Glover 8.572127 Haydn Masses-Missa brevis 1805 booklet.indd 1 16/11/10 10:24:09 Joseph HAYDN (1732–1809) Missa brevis (1805 revision) 11:56 in F major (Hob.XXII:1; 1749, revised 1805) Kyrie 1:06 Gloria 1:38 Credo 2:42 Sanctus 1:03 Benedictus 2:57 Agnus Dei 1:24 Dona nobis pacem 1:06 Ann Hoyt, soprano 1 • Julie Liston, soprano 2 Richard Lippold, bass Trinity Choir Rebel Baroque Orchestra Jörg Michael Schwarz, leader J. Owen Burdick 8.572127 2 8.572127 Haydn Masses-Missa brevis 1805 booklet.indd 2 16/11/10 10:24:09 Joseph HAYDN (1732–1809) Missa brevis (1805 revision) 11:56 Missa, ‘Schöpfungsmesse’ (‘Creation Mass’) 41:01 in F major in B flat major (Hob.XXII:1; 1749, revised 1805) (Hob.XXII:13; 1801) Kyrie 1:06 Kyrie 6:17 Gloria 1:38 Gloria 6:47 Credo 2:42 Quoniam tu solus sanctus 1 2 3:25 Sanctus 1:03 Credo 2:01 Benedictus 2:57 Et incarnatus est 3:11 Agnus Dei 1:24 Et resurrexit 2:44 Dona nobis pacem 1:06 Et vitam venturi 1:21 Sanctus 3:00 Ann Hoyt, soprano 1 • Julie Liston, soprano 2 5 Benedictus 5:30 Richard Lippold, bass Agnus Dei 3:29 Trinity Choir Dona nobis pacem 3:16 Rebel Baroque Orchestra Jörg Michael Schwarz, leader Nacole Palmer, soprano • Nina Faia, soprano 1 J. Owen Burdick 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 8.572127 8.572127 Haydn Masses-Missa brevis 1805 booklet.indd 3 16/11/10 10:24:09 Haydn’s Masses The ‘father of the symphony’ and master of part setting.’3 Reutter’s instruction was predominantly conversational wit in the string quartet, [Franz] Joseph practical in nature; although Haydn remembered only Haydn is viewed today principally in the light of his two formal lessons, Griesinger writes that ‘Reutter did instrumental music. According to his nineteenth-century encourage him to make whatever variations he liked on biographer Georg August Griesinger, however, Haydn the motets and the Salves that he had to sing in church, sometimes wondered if ‘instead of so many quartets, and this practice early led him to ideas of his own, sonatas, and symphonies, he should have written more which Reutter corrected’4. Haydn was forced to leave vocal music’1. While our modern image of Haydn tends the school when his voice broke, and at the juncture of to neglect his vocal compositions, they comprise a large this important transition composed his first authenticated part of his oeuvre – and sacred music in particular played Mass, the Missa brevis in F major (1749). After leaving a unique role in his musical development. Haydn’s St Stephen’s, Haydn moved into the Michaelerhaus near formative musical experiences were as a choirboy, and St Michael’s Cathedral – coincidentally several floors his first and last compositions were Mass settings. His above the famous librettist Metastasio. Through the poet Masses were popular during his lifetime, travelling to he met the Italian composer Nicola Porpora, whom he Catholic countries all along the Danube and making credited with teaching him the Italian singing style and their way into concert halls after Breitkopf and Härtel manner of composition. As Haydn said in 1766, ‘I wrote published seven of them in the first part of the nineteenth diligently, but not entirely correctly, until I had the good century. Sacred music also figured prominently in the fortune to learn the true fundamentals of composition composer’s musical philosophy; in Haydn’s mind, from the celebrated Porpora’5. compositional process and even artistic inspiration were As with most composers of his era, Haydn’s indelibly linked to spirituality. Griesinger reports: ‘“If, musical output was closely linked to the needs of when I am composing, things don’t go quite right,” I patrons. In 1761 he was hired as an assistant to the heard him say, “I walk up and down the room with my Esterházy court’s aging Kapellmeister Gregor Werner rosary in my hand, say several Aves, and then the ideas and was put in charge of all musical activities with the come again.”’2 While his instrumental music is clearly exception of sacred music, a responsibility that was inspired, perhaps Haydn’s sacred music – in particular, added after Werner’s death in 1766. In spite of Prince his twelve complete and authenticated Mass settings – Nicolaus Esterházy’s reported lack of interest in church brings us closest to the source of his artistic inspiration. music, Haydn composed a number of sacred works Haydn showed vocal talent at an early age. Around between 1766 and 1772 that showcase his facility with 1740, the Kapellmeister at St Stephen’s in Vienna, the various styles and traditions associated with Austrian Georg Reutter, recruited him as a choirboy. Haydn church music, including the first Missa Cellensis (or received a well-rounded musical education at the Cäcilienmesse), the Stabat Mater, the Missa in honorem church, learning keyboard, violin and composition in BVM (or Grosse Orgelsolomesse) and the Missa Sancti addition to singing. In his autobiographical writings, Nicolai (or Nikolaimesse). After the construction Haydn gives a light-hearted description of his early of an Italian opera house and marionette theatre at attempts to compose: ‘I used to think then that it was all Eszterháza, the Prince’s new summer residence, Haydn right if only the paper were pretty full. Reutter laughed transferred his focus from sacred to secular vocal at my immature output, at measures that no throat and music, composing only two Mass settings between no instrument could have executed, and he scolded me 1772 and 1782: the Missa brevis Sancti Joannis de Deo for composing in sixteen parts before I understood two- (or Kleine Orgelsolomesse) in the mid 1770s, and the 8.572127 4 8.572127 Haydn Masses-Missa brevis 1805 booklet.indd 4 16/11/10 10:24:10 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 (1805 revision) 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, revised 1805) Paukenmesse, Nelsonmesse, Theresienmesse, Schöpfungsmesse and Harmoniemesse. Haydn’s In 1789 the German music-publishing firm of Breitkopf relationship with Nicolaus II was sometimes rocky, but and Härtel wrote to Haydn requesting music to publish, the Princess was much friendlier than her notoriously and it subsequently issued a two-movement keyboard difficult husband and reportedly made sure that Haydn’s sonata (Hob.XIV:48) as part of a continuing series favourite wine (Málaga) was served to him on a regular Musikalischer Pot-Pourri – or as Haydn sarcastically basis. While some of Haydn’s contemporaries criticised called it, the ‘Musical Vegetable Pot’9. Despite Haydn’s his late Masses as ‘too cheerful to be sacred’, their seeming disdain for their initial collaboration, the exuberance is perhaps due at least in part to his warm firm became Haydn’s principal publisher after 1796. relationship with the Princess. Although at first they were not interested in any of Haydn’s association with the Esterházy family may Haydn’s sacred music, they re-evaluated their decision have provided the impetus for most of his Mass settings, after the success of The Creation and The Seasons, but his ideas about faith in general gave them their publishing five of the six late Masses after 1802 (with unique spirit. Haydn’s biographer Griesinger writes of the exception of the Theresienmesse, which Haydn the composer’s approach to religion: ‘Altogether his curiously did not offer the firm). Breitkopf and Härtel’s devotion was not of a sort which is gloomy and forever new interest in his vocal music led Haydn to revisit some in penance but rather cheerful, reconciled, trusting – of his more youthful works, among them the early Missa and in this mould his church music, too, is composed.’6 brevis in F. In 1805 one of Haydn’s visitors wrote, ‘By This optimistic quality caused a certain amount of chance he had found one of his earliest works, a small consternation, particularly in regard to Haydn’s late Mass..

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