Haydn's Call for Peace: the Agnus Dei Movements of Missa in Tempore

Total Page:16

File Type:pdf, Size:1020Kb

Haydn's Call for Peace: the Agnus Dei Movements of Missa in Tempore Haydn’s Call for Peace: The Agnus Dei Movements of Missa in tempore belli and Missa in angustiis by Rena-Marie Roussin Thesis submitted in partial fulfillment of the requirements for the Degree of Bachelor of Arts with Honours in Music Acadia University April, 2014 © Copyright by Rena-Marie Roussin, 2014 ii This thesis by Rena-Marie Roussin is accepted in its present form by the School of Music as satisfying the thesis requirements for the degree of Bachelor of Arts in Music with Honours Approved by the Thesis Supervisor __________________________ ____________________ Dr. Gordon Callon Date Approved by the Head of the Department __________________________ ____________________ Prof. John Hansen Date Approved by the Honours Committee __________________________ ____________________ Dr. Matthew Lukeman Date iii I, Rena-Marie Roussin, grant permission to the University Librarian at Acadia University to reproduce, loan or distribute copies of my thesis in microform, paper or electronic formats on a non-profit basis. I, however, retain the copyright in my thesis. _________________________________ Signature of Author _________________________________ Date iv Acknowledgements What a paradox that academic research, so often considered a solitary process, is only truly made possible by a large community of scholars and supporters. My own research is indebted to innumerable people. First and foremost, I would like to thank the members of my thesis committee, especially my supervisor, Dr. Gordon J. Callon. From our earliest meeting, when I was a second-year student at Acadia, to the final draft of this thesis, his involvement in my scholastic development has been nothing short of inspiring, and I am certain that the fullness of his influence will reveal itself to me for years to come. I thank him for sharing his time, wisdom, sense of humour, and incredible generosity of spirit as a scholar and educator. Likewise, I thank my second reader, Dr. Michelle Boyd. Her enthusiasm, unending kindness, and sharp intelligence have improved not only this thesis, but all three of my years at Acadia. I owe a profuse debt of gratitude to Dr. Michelle Fillion, of the University of Victoria, whose research has inspired much of my own, and whose music history classes first lit the flame of my love for musicology. I am deeply grateful for her kindness, impassioned teaching, and her faith in the quiet students. I also thank Dr. Tom Beghin and Dr. Caryl Clark, of McGill University and the University of Toronto, both of whom generously shared insights and ideas with me, encouraging this thesis in its earliest stages. Many thanks to the Acadia University Research Office, who supported my work with an Honours Summer Research Award, allowing me to devote the Summer of 2013 to full-time research and writing. I also thank Barbara Jordan, administrative assistant of the School of Music, the staff of Vaughan Memorial Library, and innumerable baristas at varying coffee shops, all of whom have made this thesis possible. I thank my friends at Acadia University and the University of Victoria who have shared this journey with me. I will forever cherish the music and memories they have filled my life with. In particular, I thank Liam Elliot, Angela Forbes, and Ceileigh Mangalam, who have read multiple thesis drafts, offered moral support, and graciously shared of their wine and cookie stash in the harder moments of our academic lives. I also thank Kaitlyn Southgate, Astrid Sidaway-Wolf, and Chelsey Ternes for love, laughs, and hugs, as well as Annalise Smith, my big sister in all matters musicological. Last, but not least, I thank Tyler Martin, for reminding me that, whatever the future may hold, Haydn is “a pretty cool dude to have studied.” My parents, Melody Gagnon and Brandon Roussin, have made this thesis possible. I thank them for their love and support, for listening to my musicology monologues, and for filling their respective homes with music and books. But ultimately, I thank them for jumping on board, unceasingly declaring their pride that their only child, raised on rock and bluegrass, instead focused her attention on Rigoletto and Beethoven. v Table of Contents Approval Page…………………………………………………………………………….iii Permission for Duplication Page………………………………………………………….iv Acknowledgements………………………………………………………………………..v List of Musical Examples………………………………………………………………...vii Abstract………………………………………………………………………………….viii Introduction………………………………………………………………………………..1 Chapter I: Of Church and State: Haydn in Historical Context…………………………….6 Chapter II: De-Dichotomizing Haydn: Closing the Catholic-Enlightenment Divide……18 Chapter III: The Symphonic, the Search for Meaning, and the Long Silence: Haydn’s Masses in Scholarly Literature…………………………………………………………...27 Chapter IV: Setting the Stage: The Agnus Dei in Liturgical and Musical Context…………………………………………………………………………………...39 Chapter V: Wars of Borders and Thoughts: Peace and Reconciliation in the Agnus Dei Sections of Missa in tempore belli and Missa in angustiis…………………………………………………………………………………..46 Conclusion………………………………………………………………………………..59 Bibliography……………………………………………………………………………...62 vi List of Musical Examples Musical Example 1, mm. 13-25 of “Adagio,” Missa in tempore belli Agnus Dei……….48 Musical Example 2, mm. 32-56 of “Adagio” and “Allegro con spirito” sections of Missa in tempore belli Agnus Dei…………………………………………………………...52-53 Musical Example 3, mm. 28-49 of “Adagio” and “Vivace” sections of Missa in angustiis Agnus Dei……………………………………………………………………………..56-57 vii Abstract Scholarship has long suggested a need to examine Haydn’s six late Masses within the context of the Enlightenment. By arguing for a paired reading of the Agnus Dei movements of Missa in tempore belli (Mass in Time of War) and Missa in angustiis (Mass in Difficult Circumstances), this thesis seeks to begin such a discussion. Haydn’s musical interpretation of the identical text of the two Agnus Dei movements seem to call for bipartite peace. Missa in tempore belli focuses on physical peace from warfare, while Missa in angustiis focuses on metaphysical peace from warring ideas. This call for peace is especially pertinent within the context of Haydn’s changing world and socio-historical culture. In response to the Age of the Enlightenment, Catholicism in the Holy Roman Empire was in a period of transition from external to internalized acts of piety. At the same time, the Enlightenment diffused ideas of humanism which were not entirely inconsistent with Catholic spirituality. Haydn seems to have reconciled in his life what he sought to reconcile in music: the secular and the sacred, which is musically apparent in Haydn’s conflation of symphonic, operatic, and sacred music conventions. It is further apparent in where and how Haydn uses those conventions in the musical realization of the Agnus Dei. Ultimately, the two movements come together to form a holistic call for peace and reconciliation in Haydn’s time. viii Introduction Franz Joseph Haydn’s impact upon music history is nothing short of towering. As a major innovator of the symphony and string quartet, his influence upon the development of Western art music is challenging to gauge, and is perhaps beyond measurement. When such a legacy is considered, scholarship’s extensive focus on those two main genres is understandable, though disadvantageous. Haydn’s contributions spanned a number of genres. Chief among them are his sacred compositions, which formed both his earliest and final compositions. Though Haydn research continually moves toward examination and analysis of all elements of Haydn’s life and music alike, much remains to be explored in this under-represented genre, particularly in regard to the six late Masses. Missa in tempore belli (Mass in Time of War, composed 1796) and Missa in angustiis (Mass in Difficult Circumstances, composed 1798), the second and third of the six late Masses, especially cry out for further examination.1 Though the two Masses are the subject of a handful of studies, especially surrounding musical form and genre, little has been done to consider them in the context of Haydn’s world and worldview, something Haydn scholarship has long suggested a need for, as I shall discuss in Chapter Three. The chief goal of this thesis is to examine the discipline’s knowledge of form and genre in Haydn’s masses, and to examine the Masses for meaning by synthesizing them with cultural and biographical study. In order to adequately cover such a diffuse topic, analysis will be limited to the Agnus Dei movements of the two Masses. 1 Both masses are often referred to by their programmatic nicknames of ‘Paukenmesse’ for Missa in tempore belli or Mass in Time of War and ‘Nelsonmesse’ for Missa in angustiis. Because these nicknames 1 In analyzing those two movements, I should like to build upon a current trend in Haydn scholarship: the suggestion of a paired reading of two of Haydn’s musical works. In his 2005 article, “The Sublime and the Pastoral in The Creation and The Seasons,” James Webster argues that for reasons of harmonic analysis and dramatic function, Haydn’s two late oratorios might be understood as a paired musical work.2 Caryl Clark’s 2012 “Revolution, Rebirth, and the Sublime in Haydn’s L’anima del filosofo and The Creation” posits a similar understanding of those two works, turning Webster’s initial foray into a scholarly pattern.3 I shall argue that the Agnus Dei movements in Missa in tempore belli and Missa in angustiis would similarly benefit from such a linked understanding
Recommended publications
  • 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.
    [Show full text]
  • 4474134-09A1a4-Booklet-CD98.626
    2.K ach intensiver Auseinandersetzung mit dem er „kritische Bericht“, dieser Inbegriff Symbole werden zu Akteuren eines unserer Nsinfonischen Werk Mozarts und Beethovens Dgeduldigsten Forscherfleißes, begegnet Imagination entspringenden Theaters und habe ich meine Liebe zu Haydns Musik zugege- abseits seines Fachbezirks vielfachem Unver- treten, vielleicht auch nur für ein paar Minu- benermaßen erst relativ spät entdeckt. Seither ist ständnis. All diese Hieroglyphen und Linea- ten, wieder ins Rampenlicht einstiger Pracht es mir ein Anliegen, „Papa Haydn“ den Zopf abzu- mente, die vom Schreiber X zur Quelle Y, & Herrlichkeit. Wer war denn wohl der Ko- schneiden, den ihm das 19. und 20. Jahrhundert von zweifelhaften Wasserzeichen zu unech- pist, wer waren die fleißigen Leute, die dem haben wachsen lassen. Die Gesamteinspielung der ten Tintensorten führen – diese kryptischen Hofkapellmeister des Fürsten Nikolaus von Haydn-Sinfonien ist für meine Musiker und mich Überlieferungsnachweise und Stammbäume, Eszterházy bei seiner unablässigen Produkti- eine höchst interessante Aufgabe und eine große fachlich korrekter als „Stemmata“ bezeich- on zur Hand gingen? Für wen notierte Herausforderung, bietet sich doch mit diesem ehr- net: Müssen wir uns wirklich jede noch so „Schreiber F“, wenn ihm noch ein paar geizigen Projekt die einmalige Chance, die Ent- hypothetische Frage stellen lassen, ehe uns Nachtstunden blieben, einen zweiten Stim- wicklung der klassischen Sinfonie hautnah nachzu- die Kontaktaufnahme mit dem eigentlichen mensatz? Wie viele Kreutzer mag er dafür erleben. In Zeiten musikalischen (und gesellschaft- Notentext gestattet wird? bekommen, wen davon möglicherweise er- DEUTSCH lichen) Wandels war Haydn Stürmer, Dränger, Das hängt von der eigenen Art der Be- nährt haben? War’s seine Fehlsichtigkeit, Sucher und Finder zugleich.
    [Show full text]
  • Joseph Haydn (1732–1809) Missa in Angustiis – Nelsonmesse (Hob
    Joseph Haydn (1732–1809) Missa in Angustiis – Nelsonmesse (Hob. XXII:11) Kirchenmusikalische Kompositionen für liturgische Zwecke, insbesondere zur Ausgestaltung der römisch-katholischen Messe, erscheinen in allen Schaffensphasen von Joseph Haydn: Die Missa brevis in F (Hob. XXII:1) schrieb der junge Haydn um 1749 – das Jahr, in dem er infolge des Stimmbruchs Abschied als Chorknabe am Wiener Stephansdom nehmen musste und in dem für ihn eine beschwerliche Phase als freischaffender Musiker begann. Am Ende dieser Reihe steht die Harmoniemesse (Hob. XXII:14), die erstmals 1802 in der Eisenstädter Bergkirche erklang. Danach war es dem mittlerweile 70-jährigen Haydn körperlich nicht mehr möglich, zu komponieren oder öffentlich aufzutreten. Auffällig sind zwei Lücken (zwischen 1750 und 1766 sowie zwischen 1782 und 1796), in denen kein größeres geistliches Werk entstand. Die zweite Lücke war eine Folge der kirchlichen Reformen von Kaiser Joseph II., die nicht nur zur Auflösung der meisten Klöster in den Ländern der Habsburgermonarchie führten, sondern die Liturgie auch von als überflüssig empfundenen Prunk befreiten. Es wurden zahlreiche Verordnungen erlassen, die unter anderem den Einsatz von orchestraler Musik im Gottesdienst regelten und im Ergebnis einschränkten. Aufträge für solche Kompositionen gingen daher erheblich zurück. Erst als Franz II. 1792 die österreichische Regentschaft übernommen hatte, lockerten sich die Vorschriften wieder. In diese Phase fällt die Entstehung von Haydns sechs späten Messen (die sogenannten Hochämter), darunter die der Nelsonmesse. Sie gehören zu den letzten Werken des Komponisten. Die erwähnte kirchenmusikalische Pause, in die auch die beiden Londoner Aufenthalte fielen, hatte Haydn indes zur Erprobung neuer kompositorischer Techniken in Sinfonien und Kammermusik genutzt. Dies zeigte sich nun beispielsweise in „souveräner Beherrschung der Formgestaltung‟, der Hinwendung zur liedhaften Thematik, der „Verfeinerung des Orchestersatzes‟ sowie im „Trend zu einer deutlichen Individualisierung des Einzelwerks‟.
    [Show full text]
  • Sacred Music, 136.4, Winter 2009
    SACRED MUSIC Winter 2009 Volume 136, Number 4 EDITORIAL Viennese Classical Masses? | William Mahrt 3 ARTICLES Between Tradition and Innovation: Sacred Intersections and the Symphonic Impulse in Haydn’s Late Masses | Eftychia Papanikolaou 6 “Requiem per me”: Antonio Salieri’s Plans for His Funeral | Jane Schatkin Hettrick 17 Haydn’s “Nelson” Mass in Recorded Performance: Text and Context | Nancy November 26 Sunday Vespers in the Parish Church | Fr. Eric M. Andersen 33 REPERTORY The Masses of William Byrd | William Mahrt 42 COMMENTARY Seeking the Living: Why Composers Have a Responsibility to be Accessible to the World | Mark Nowakowski 49 The Role of Beauty in the Liturgy | Fr. Franklyn M. McAfee, D.D. 51 Singing in Unison? Selling Chant to the Reluctant Choir | Mary Jane Ballou 54 ARCHIVE The Lost Collection of Chant Cylinders | Fr. Jerome F. Weber 57 The Ageless Story | Jennifer Gregory Miller 62 REVIEWS A Gift to Priests | Rosalind Mohnsen 66 A Collection of Wisdom and Delight | William Tortolano 68 The Fire Burned Hot | Jeffrey Tucker 70 NEWS The Chant Pilgrimage: A Report 74 THE LAST WORD Musical Instruments and the Mass | Kurt Poterack 76 POSTSCRIPT Gregorian Chant: Invention or Restoration? | William Mahrt SACRED MUSIC Formed as a continuation of Caecilia, published by the Society of St. Caecilia since 1874, and The Catholic Choirmaster, published by the Society of St. Gre- gory of America since 1915. Published quarterly by the Church Music Associ- ation of America. Office of Publication: 12421 New Point Drive, Harbour Cove, Richmond, VA 23233. E-mail: [email protected]; Website: www.musicasacra.com Editor: William Mahrt Managing Editor: Jeffrey Tucker Editor-at-Large: Kurt Poterack Editorial Assistance: Janet Gorbitz and David Sullivan.
    [Show full text]
  • Program Notes
    Program Notes for kids Romeo & Juliet Saturday, October 8, 2016 8:00 p.m. Michigan Theater Brahms Tragic Overture Haydn Sinfonia Concertante, Op. 84 Intermission Prokofiev Romeo & Juliet Tragic Overture by Johannes Brahms What kind of piece is this? This piece is a concert overture, similar to the overture of an opera. An opera overture is the opening instrumental movement that signals to the audience that the perfor- mance is about to begin. Similarily, a concert overture is a short and lively introduction to an instrumental con- cert. When was it written? Brahms wrote this piece in the summer of 1880 while on vacation. Brahms at the Piano What is it about? Brahms was a quiet and sad person, and really wanted to compose a piece about a tragedy. With no particular tragedy in mind, he created this overture as a contrast to his much happier Academic Festival Overture, which he completed in the same summer. When describing the two overtures to a friend, Brahms said “One of them weeps, the other laughs.” About the Composer Fun Facts Johannes Brahms | Born May 7, 1833 in Hamburg, Ger- Brahms never really grew up. He didn’t many | Died April 3, 1897 in Vienna, Austria care much about how he looked, he left his clothes lying all over the floor Family & Carfeer of his house, he loved merry-go-rounds and circus sideshows, and he continued Brahms’ father, Johann Jakob Brahms, was a bierfiedler: playing with his childhood toys until he literally, a “beer fiddler” who played in small bands at was almost 30 years old.
    [Show full text]
  • Read Michael Driscoll's Progam Notes
    FROM THE MUSIC DIRECTOR The idea for this program began with Haydn’s Missa in angustiis, which roughly translates as “Mass for Troubled Times.” The exact reasons why Haydn titled this Mass as being for “troubled times” are not known for sure, but scholars have suggested several possible reasons for this particular title. One is that Haydn, by then in his mid‐ 60s, had recently been quite ill. Another is that he had to compose the Mass in a short six‐week period. A third possibility is that the usual orchestral forces available to him were restricted because his patron, Nikolaus II, was experiencing financial troubles as a result of political and financial instability in Europe. Related to that, Napoleon and the French were threatening Austria yet again. Perhaps it was a combination of all of these factors that prompted Haydn to label the work “in angustiis.” (The work later also became popularly known as the “Lord Nelson Mass,” though the reason for this association is not entirely clear.) Once I settled on the Haydn Mass, I began thinking about other works which might complement it. I eventually discovered David Conte’s September Sun, a work written in memory of those who perished on September 11, 2001. September Sun depicts the chaos of that dreadful day before concluding on an elegiac tone. Given the conflict inherent in both the Haydn and Conte works, I wanted to end the concert on a more optimistic note, and so I added Mack Wilberg’s arrangement of the African‐American spiritual Peace Like a River.
    [Show full text]
  • A Form-Functional Approach to Haydn's Theresienmesse
    HAYDN: The Online Journal of the Haydn Society of North America Volume 10 Number 1 Spring 2020 Article 2 March 2020 The Kyrie as Sonata Form: A Form-Functional Approach to Haydn's Theresienmesse Halvor K. Hosar Follow this and additional works at: https://remix.berklee.edu/haydn-journal Recommended Citation Hosar, Halvor K. (2020) "The Kyrie as Sonata Form: A Form-Functional Approach to Haydn's Theresienmesse," HAYDN: The Online Journal of the Haydn Society of North America: Vol. 10 : No. 1 , Article 2. Available at: https://remix.berklee.edu/haydn-journal/vol10/iss1/2 This Article is brought to you for free and open access by Research Media and Information Exchange. It has been accepted for inclusion in HAYDN: The Online Journal of the Haydn Society of North America by an authorized editor of Research Media and Information Exchange. For more information, please contact [email protected]. 1 Hosar, Halvor K. “The Kyrie as Sonata Form: A Form-Functional Approach to Haydn’s Theresienmesse.” HAYDN: Online Journal of the Haydn Society of North America 10.1 (Spring 2020), http://haydnjournal.org. © RIT Press and Haydn Society of North America, 2020. Duplication without the express permission of the author, RIT Press, and/or the Haydn Society of North America is prohibited. The Kyrie as Sonata Form: A Form-Functional Approach to Haydn’s Theresienmesse1 By Halvor K. Hosar I. Introduction The theories of William Caplin, James Hepokoski and Warren Darcy have done much to revitalize the dormant Formenlehre tradition, by devising new analytical
    [Show full text]
  • Mariazellermesse Paukenmesse
    HAYDN Mariazellermesse Missa Cellensis Paukenmesse Missa in tempore belli (‘Mass in Time of War’) Trinity Choir • REBEL Baroque Orchestra J. Owen Burdick 8.572124 Haydn masses-Mariazellermesse booklet.indd 1 15/2/10 15:57:27 Joseph HAYDN (1732–1809) Missa Cellensis, ‘Mariazellermesse’ 34:03 in C major (Hob.XXII:8; 1782) 1 Kyrie 1 4:24 2 Gloria 1:44 3 Gratias agimus tibi 2 5:14 4 Quoniam tu solus sanctus 1:53 5 Credo 1:35 6 Et incarnatus est 4:29 7 Et resurrexit 0:57 8 Et vitam venturi 1:20 9 Sanctus 2:29 0 Benedictus 1 5:15 ! Agnus Dei 2:28 @ Dona nobis pacem 2:15 Ann Hoyt, soprano 1 • Sharla Nafziger, soprano 2 Kirsten Sollek, alto • Nathan Davis, tenor Richard Lippold, bass Trinity Choir Rebel Baroque Orchestra Jörg Michael Schwarz, leader J. Owen Burdick 8.572124 2 8.572124 Haydn masses-Mariazellermesse booklet.indd 2 15/2/10 15:57:28 Joseph HAYDN (1732–1809) Missa Cellensis, ‘Mariazellermesse’ 34:03 Missa in tempore belli, ‘Paukenmesse’ 37:34 in C major in C major (Hob.XXII:8; 1782) (Hob.XXII:9; 1796) 1 1 Kyrie 4:24 # Kyrie 4:29 2 $ Gloria 1:44 Gloria 2:49 2 3 Gratias agimus tibi 5:14 % Qui tollis peccata mundi 4:46 4 Quoniam tu solus sanctus 1:53 ^ Quoniam tu solus sanctus 2:26 5 Credo 1:35 & Credo 1:13 6 Et incarnatus est 4:29 * Et incarnatus est 3:31 7 Et resurrexit 0:57 ( Et resurrexit 2:04 8 Et vitam venturi 1:20 ) Et vitam venturi 2:25 9 ¡ Sanctus 2:29 Sanctus 2:05 1 0 Benedictus 5:15 ™ Benedictus 5:56 ! Agnus Dei 2:28 £ Agnus Dei 2:47 @ Dona nobis pacem 2:15 ¢ Dona nobis pacem 3:03 Ann Hoyt, soprano 1 • Sharla Nafziger, soprano 2 Ann Hoyt, soprano • Kirsten Sollek, alto Kirsten Sollek, alto • Nathan Davis, tenor Daniel Neer, tenor • Richard Lippold, bass Richard Lippold, bass Trinity Choir Trinity Choir Rebel Baroque Orchestra Rebel Baroque Orchestra Jörg Michael Schwarz, leader Jörg Michael Schwarz, leader J.
    [Show full text]
  • JEFFREY THOMAS Music Director
    support materials for our recording of JOSEPH HAYDN (732-809): MASSES Tamara Matthews soprano - Zoila Muñoz alto Benjamin Butterfield tenor - David Arnold bass AMERICAN BACH SOLOISTS AMERICAN BACH CHOIR • PACIFIC MOZART ENSEMBLE Jeffrey Thomas, conductor JEFFREY THOMAS music director Missa in Angustiis — “Lord Nelson Mass” soprano soloist’s petition “Suscipe” (“Receive”) is followed by the unison choral response “deprecationem nostram” (“our Following the extraordinary success of his two so- prayer”). journs in London, Haydn returned in 1795 to his work as Kapellmeister for Prince Nikolas Esterházy the younger. The Even in the traditionally upbeat sections of the liturgy, Prince wanted Haydn to re-establish the Esterházy orchestra, the frequent turns to minor harmonies invoke the upheaval disbanded by his unmusical father, Prince Anton. Haydn’s re- wrought by war and disallow a sense of emotional—and au- turn to active duty for the Esterházy family did not, however, ditory—complacency. After the optimistic D-major opening signify a return to the isolated and static atmosphere of the of the Gloria, for example, the music slips into E minor at the relatively remote Esterházy palace, which had been given up words “et in terra pax hominibus” (“and peace to His people after the elder Prince Nikolas’s death in 1790. Haydn was now on earth”); throughout the section, D-minor inflections cloud able to work at the Prince’s residence in Vienna for most of the laudatory mood of the first theme and the text in general. the year, retiring to the courtly lodgings at Eisenstadt during The Benedictus is even more startling.
    [Show full text]
  • Accepted Faculty of Graduate Studies
    ACCEPTED FACULTY OF GRADUATE STUDIES JOSEPH HAYDN AND THE DRAMMA GIOCOSO by Patricia Anne Debly Mus.Bac., University of Western Ontario, 1978 M.Mus., Catholic University of America, 1980 M.A., University of Victoria, 1985 A Dissertation Submitted in Partial Fulfillment of the Requirements for the Degree of DOCTOR OF PHILOSOPHY in the School of Music We accept this dissertation as conforming to the required standard I^an G. Lazarevich, Supervisor (Faculty of Graduate Studies) Dr. E. Schwandt, Departmental Member (School of Music] Dr. A. Q^fghes, Outside Member (Theatre Department) Dr. J. ..ujiey-r-Outside (History Department) Dr. M. Tér^-Smith, External Examiner (Music Department, Western Washington University) © PATRICIA ANNE DEBLY, 1993 University of Victoria All rights reserved. Dissertation may not be reproduced in whole or in part, by photocopying or other means, without the permission of the author. 11 Supervisor; Dean Gordana Lazarevich ABSTRACT Haydn's thirteen extant Esterhdzy operas, composed from 1762-85, represent a microcosm of the various trends in Italian opera during the eighteenth century'. His early operas illustrate his understanding and mastery of the opera seria, the intermezzo and the opera buffa traditions which he would utilize in his later draimi giocosi. In addition to his role as Kapellmeister Haydn adcpted and conducted over eighty-one operas by the leading Italian composers of his day, resulting in over 1,026 operatic performances for the period between 1780-90 alone and furthering his knowledge of the latest styles in Italian opera. This dissertation examines the five draimi giocosi which Haydn wrote, beginning with Le pescatrici {1769) through to La fedelta preiniata (1780), within the context of the draima giocoso tradition.
    [Show full text]
  • Joseph Haydn, Op 76 No 5 in D Major Transcript
    Joseph Haydn, Op 76 No 5 in D major Transcript Date: Thursday, 18 March 2010 - 12:00AM Location: Museum of London Haydn: Quartet Op. 76 No. 5 Professor Roger Parker 18/3/2010 Today's lecture is about Haydn's Op. 76 No. 5, and with it we come to the last of our three Haydn string quartets, all of them from the Op. 76 collection. In the last lecture, on Op. 76 No. 2, I mentioned something about how Haydn had fared in the two centuries since he wrote these marvellous quartets: how writers and listeners had, during those two centuries, tried to come to terms with him and his music; and also how that coming-to-terms changed with the changing times. For the nineteenth century, that great age of biography, the efforts were hampered by difficulties over what we might (anachronistically) call Haydn's "personality", an area that proved hard to grasp for Romantic sensibilities. While it was easy to paint seductive pictures of bewigged Mozart as the eternal child-genius, and of bad-hair-day Beethoven as titanic and sublime, Haydn seemed, in this period at least, close to being a Man Without Qualities. It was already well known, after all, that for most of his life he had been little more than a loyal servant in an aristocratic household (that of the fabulously wealthy Esterhazy family). When public fame came in the 1790s of Paris and London, he was elderly by the standards of the day...almost a relic from another age. And so the figure emerged of "Papa" Haydn: not a stern patriarch, but something much more homely: the composer of repertoire choral works and a few symphonies and quartets; the man who made the eternal Mozart and the sublime Beethoven possible, but who in the process seemed to fade into the shadows.
    [Show full text]
  • Sacred Music Volume 109 Number 4
    SACRED MUSIC Volume 109, Number 4, 1982 Eisenstadt Palace, garden front. SACRED MUSIC Volume 109, Number 4, 1982 FROM THE EDITORS Haydn in Vienna: the Late Years (1795-1809) Archbishop Weakland Cardinal Bernadin Music in our Church Schools WHY HAYDN WROTE HIS CHURCH MUSIC Otto Biba A LATIN HIGH MASS IN UPPER MICHIGAN Milton Olsson 11 Charles Nelson A CHRONICLE OF THE REFORM Part IV: Musicam sacrum 15 Monsignor Richard ). Schuler REVIEWS 22 NEWS 25 EDITORIAL NOTES 26 CONTRIBUTORS 27 INDEX TO VOLUME 109 28 SACRED MUSIC Continuation of Caecilia, published by the Society of St. Caecilia since 1874, and The Catholic Choirmaster, published by the Society of St. Gregory of America since 1915. Published quarterly by the Church Music Association of America. Office of publications: 548 Lafond Avenue, Saint Paul, Minnesota 55103. Editorial Board: Rev. Msgr. Richard J. Schuler, Editor Rev. Ralph S. March, S.O. Cist. Rev. John Buchanan Harold Hughesdon William P. Mahrt Virginia A. Schubert Cal Stepan Rev. Richard M. Hogan Mary Ellen Strapp Judy Labon News: Rev. Msgr. Richard J. Schuler 548 Lafond Avenue, Saint Paul, Minnesota 55103 Music for Review: Paul Salamunovich, 10828 Valley Spring Lane, N. Hollywood, Calif. 91602 Rev. Ralph S. March, S.O. Cist., Eintrachstrasse 166, D-5000 Koln 1, West Germany Paul Manz, 7204 Schey Drive, Edina, Minnesota 55435 Membership, Circulation and Advertising: 548 Lafond Avenue, Saint Paul, Minnesota 55103 CHURCH MUSIC ASSOCIATION OF AMERICA Officers and Board of Directors President Monsignor Richard J. Schuler Vice-President Gerhard Track General Secretary Virginia A. Schubert Treasurer Earl D. Hogan Directors Mrs.
    [Show full text]