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