The popular “Nicolai Mass” by Haydn is both diverse and traditional. Haydn conveys this exhilarating jubilance through numerous wide leaps, in particular sixths and octaves, that the chorister has to hear well in order to reach the high notes correctly (the soprano has to sing up to B2). With its syncopated counterpoint, the short, virtuosic Amen fugue in the "Gloria" requires a firm sense of rhythm – good that one can hear this slowly using the app!
Simply practice. Anytime. Everywhere.
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Performers: Ann Hoyt (soprano), Luthien Brackett (alto), Stephen Sands (tenore), Richard Lippold (basso) – Trinity 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
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