3 Missae breves
Additional material
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text (without music) for download, html file, Singing text, originalhtml file, Singing text, original (Sample)Kyrie (Coro)Kyrie eleison.
Gloria (Coro)
Christe eleison.
Kyrie eleison.B: Et in terra pax hominibus bonae voluntatis.
Laudamus te, benedicimus te, adoramus te, glorificamus te.
Quoniam tu solus Sanctus,
tu solus Dominus, tu solus Altissimus, Jesu Christe.
S: Gratias agimus tibi propter magnam gloriam tuam.
Domine Deus, Rex coelestis, Deus Pater omnipotens.
A: Domine Fili unigenite, Jesu Christe.
Qui tollis peccata mundi.
Suscipe deprecationem nostram,
qui sedes ad dexteram Patris, miserere nobis. T: Domine Deus, Agnus Dei, Filius Patris. Qui tollis peccata mundi, miserere nobis.SATB: Cum Sancto Spiritu, in gloria Dei Patris. Amen.
Credo (Coro)...
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text (without music) for download, html file, Introductory text, Englishhtml file, Introductory text, English (Sample)Abridged Foreword of Edition Carus 40.600
Willi Schulze
Translation: E. D. EcholsWhereas the last six high masses are considered the crowning works of all his church compositions, Haydn’s early masses have met with widely differing appraisals, some complaining of imbalances in the voice leading while others claimed that there are weaknesses in the musical settings of the texts3. Five of the eight masses composed between 1750 and 1782 fall into the category of the missa brevis. They are extremely short and force even the extensive texts of the Gloria and Credo into a compact mold through the simultaneous declamation of certain text passages. The missae solemnes (the Great Organ Solo Mass, the Missa St. Caecilia and the Missa Cellensis or Mariazeller Messe), on the other hand, are broader in form and richer in the use of voices and instruments. In these works Haydn followed the traditional pattern for large-scale masses: formally with clear sectional divisions within the individual numbers; stylistically in the use of richly ornamented solo passages in connection with extended contrapuntal sections which in the respective concluding fugues of the Gloria and Credo reach their climax.
With the Missa Sancti
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text (without music) for download, html file, Introductory text, Germanhtml file, Introductory text, German (Sample)Gekürztes Vorwort der Ausgabe Carus 40.600
Willi Schulze
Gegenüber Haydns Instrumentalschaffen wurde seine Kirchenmusik lange Zeit als weniger bedeutend angesehen. Selbst die späten Messen, die einzigen, die zu Haydns Lebzeiten gedruckt wurden, fanden, vielfach aus liturgischen Bedenken, nur langsam den Weg in die musikalische Praxis. Die frühen Messen, bis ins 19. Jahrhundert in zahlreichen Abschriften verbreitet, erfuhren erst in den vergangenen Jahrzehnten, vor allem durch die seit 1950 erscheinende Gesamtausgabe, allgemeine Beachtung.
Mit den beiden letzten Missae breves, der Missa Sancti Nicolai und der Missa Sancti Joannis de Deo, hat Haydn auch in dieser Gattung Meisterwerke geschaffen, die bereits zu seinen Lebzeiten zu den beliebtesten zählten – das zeigen ihre zahlreichen Abschriften. Besonders die Missa Sancti Joannis de Deo erlangte als sogenannte „Kleine Orgelsolomesse“ unter Haydns frühen Messen die weiteste Verbreitung. Als einzige unter den Missae breves ist sie vollständig in Haydns Eigenschrift erhalten. Der Name verweist auf den portugiesischen Mönch Johannes Ciudad (1495–1550) – Johannes von Gott nannte ihn der Bischof von Tuy – aus dessen Krankenfürsorge die
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text (without music) for download, html file, Singing text, originalhtml file, Singing text, original (Sample)Kyrie (Soli S1, S2, Coro)
Kyrie eleison,
Gloria (Coro)
Christe eleison.
Kyrie eleison.Et in terra pax hominibus bonae voluntatis.
Laudamus te, benedicimus te, adoramus te, glorificamus te.
Gratias agimus tibi propter magnam gloriam tuam.
Domine Deus, Rex coelestis, Deus Pater omnipotens.
Domine Deus, Agnus Dei, Filius Patris,
Domine Fili unigenite, Jesu Christe.
Qui tollis peccata mundi, miserere nobis,
suscipe deprecationem nostram.
Qui sedes ad dexteram Patris, miserere nobis.
Quoniam tu solus Sanctus.
Tu solus Dominus. Tu solus Altissimus.
Jesu Christe.
Cum Sancto Spiritu, in gloria Dei Patris.
Amen....
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text (without music) for download, html file, Introductory text, Englishhtml file, Introductory text, English (Sample)Abridged foreword of the Edition Carus 40.601
Willi Schulze
Translation: E. D. EcholsConcerning the mass presented on this record “The Inventory and Estimation of the Artistic Articles Left by Mr Joseph Haydn Who Died on March 31, 1809” (Inventur und Schätzung der hinterlassenen Kunstsachen des am 31. März 1809 verstorbenen Herrn Joseph Haydn) notes “This was, his first mass, composed while Mr Haydn was still a student.” Thirteen more were to follow. Of the total fourteen masses included in the catalogue of Haydn’s works that J. Elßler (together with the composer) compiled, the Missa Sunt bona mixta malis is listed as being lost. H. C. Robbins Landon considers the Missa rorate coeli desuper, that has come down to us anonymously, to be another lost mass by Haydn. The last six of the remaining number were written after Haydn’s return from his second trip to England and were all commissioned for anniversaries of the name’s day of Princess Maria Josepha Hermenegild, that at the wish of Nikolaus II was to be celebrated each year with a “solemn” mass. These six last masses are formally related to Haydn’s earlier type of “missa solemnis” but go far
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text (without music) for download, html file, Introductory text, Germanhtml file, Introductory text, German (Sample)Gekürztes Vorwort der Ausgabe Carus 40.601
Willi Schulze
„Diese war die erste Messe, welche Herr Haydn noch als Student komponierte“, heißt es zur hier herausgegebenen Messe in der Inventur und Schätzung „der hinterlassenen Kunstsachen des am 31. März 1809 verstorbenen Herrn Joseph Haydn“: Dreizehn weitere sollten folgen. Von den insgesamt vierzehn Messen, die das von J. Elßler in Zusammenarbeit mit Haydn angefertigte Werkeverzeichnis aufführt, gilt die Missa Sunt bona mixta malis als verschollen. Eine weitere als verloren angesehene glaubt H. C. Robbins Landon in der anonym überlieferten Missa Rorate Coeli desuper entdeckt zu haben. Von den übrigen wurden die letzten sechs nach Haydns Rückkehr von seiner zweiten englischen Reise geschrieben. Sie sind Auftragswerke für die Namensfeste der Fürstin Maria Josepha Hermenegild, die auf Wunsch Nikolaus II. Esterhazy alljährlich mit einer „solennen“ Messe begangen werden sollten. Die sechs letzten Messen Haydns knüpfen in der Form an den Typ der Missa solemnis seiner frühen Werke an, führen aber in Ausdruck und Gehalt weit über sie hinaus. Entstanden nach dem
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Contents
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Composer
Joseph Haydn
| 1732-1809As Kapellmeister to Prince Esterházy, Haydn composed numerous instrumental works and various operas, as well as making important contributions to the genre of church music, including fourteen Latin masses, of which only twelve are authentic or complete; these are complemented by motets and offertories, two important Te Deum settings, two Salve Reginas, a Stabat Mater, and the different versions of the Sieben Worte des Erlösers am Kreuze. The masses were composed continually between 1749 and 1802, except for the years 1783–1795, and therefore constitute the genre with which Haydn was occupied over the longest period of time. The six (authentic or complete) masses composed before 1782 are stylistically very different, and as well as short Missae breves there are more extended masses with rich orchestral scoring; by contrast the six so-called late masses, written from 1796 onwards, form a comparatively homogeneous group of more extensive works scored for large forces. With his two great oratorios Die Schöpfung (The Creation) (1798) and Die Jahreszeiten (The Seasons) (1801) Haydn established the tradition of the German oratorio for middle-class music making. Personal details
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