One of his later works, Haydn’s Missa in tempore belli, composed in 1796, is also referred to as the “Paukenmesse” (Kettledrum Mass) through the use of timpani in the Agnus Dei. For the Vienna premiere, Haydn added flutes, clarinets and horns to the score, so that in terms of sound the soloists and the chorus have to hold their own against a truly large orchestral apparatus. In this case, practicing with the Carus Choir Coach is of course recommended for a good vocal presence.
The Carus Choir Coach offers choir singers the unique opportunity to study and learn their own, individual choral parts within the context of the sound of the entire choir and orchestra. For every vocal range a download containing each choir part is available. The Carus Choir Coach is based on recorded interpretations by renowned artists who have performed the work from carefully prepared Carus Urtext editions. Each choir part is presented in three different versions:
- Original recording
- Coach: each part is accompanied by the piano, with the original recording sounding in the background
- Coach in slow mode: the tempo of the coach slows down to 70% of the original version – through this reduction passages can be learned more effectively.
Performers: Ann Hoyt (soprano), Kirsten Sollek (alto), Daniel Neer (tenore), Richard Lippold (basso) – Trinity Church Choir, Rebel Baroque Orchestra – J. Owen Burdick
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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