When Haydn wrote the Nelson Mass ("Missa in Angustiis") in less than eight weeks in 1798, he had written no masses in the preceding 14 years, but instead, had composed numerous symphonies and chamber music works. In the Nelson Mass, which was written in the same period as The Creation and The Seasons, a great deal is on offer musically, as might be expected: powerful choral sections alternate with virtuosic solo parts. So performances are always thrilling for audience and musicians alike, and always an experience.
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 separate Audio or MP3 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: Letizia Scherrer (soprano), Roxana Constantinescu (alto), Maximilian Schmitt (tenore), Michael Nagy (basso) – Gächinger Kantorei Stuttgart, Bach-Collegium Stuttgart – Helmuth Rilling
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text (without music) for download, html file, Singing text, originalhtml file, Singing text, original (Sample)Kyrie 1 Kyrie (Soli SAT, Coro)Kyrie eleison,
Gloria 2 Gloria in excelsis Deo (Soli SATB, Coro)
Christe eleison.
Kyrie eleison.Gloria in excelsis Deo. Et in terra pax hominibus bonae voluntatis.
3 Qui tollis (Solo SB, Coro)
Laudamus te. Benedicimus te. Adoramus te. Glorificamus te.
Gratias agimus tibi propter magnam gloriam tuam.
Domine Deus, Rex coelestis, Deus Pater omnipotens.
Domine Fili unigenite, Jesu Christe.
Domine Deus, Agnus Dei, Filius Patris.Qui tollis peccata mundi, miserere nobis,
4 Quoniam tu solus Sanctus (Soli SATB, Coro)
suscipe deprecationem nostram.
Qui sedes ad dexteram Patris, miserere nobis.Quoniam tu solus Sanctus, tu solus Dominus,
tu solus Altissimus, Jesu Christe....
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text (without music) for download, html file, Introductory text, Englishhtml file, Introductory text, English (Sample)Foreword of the edition Carus 40.609
Wolfgang Hochstein
Translation: John CoombsAfter the completion of his Mariazell Mass in 1782, Joseph Haydn wrote no further works in this class for 14 years. One reason for this long interruption of his composing of masses was the reform of religious services in Austria ordered by the Emperor Joseph II, which had an effect on church music. The number of services at which music with orchestral accompaniment was permitted was greatly reduced, with the result that fewer new works of this kind were commissioned. Only after the reform decrees were partially repealed following the death of Joseph II did Haydn, along with other composers, return to the composition of sacred works. In the meantime he had explored and adopted new compositional procedures in symphonies and chamber music; these led him to sovereign mastery of formal construction, to the use of songlike themes, to great profundity of expression, to increased subtlety in orchestration, and to the clear individualizing of each work. The two periods which Haydn spent in London during the early 1790s led to a further clarification and consolidation of his personal style. That is the background to the composition of his six great settings of the
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text (without music) for download, html file, Introductory text, Germanhtml file, Introductory text, German (Sample)Vorwort der Ausgabe Carus 40.609
Wolfgang Hochstein
Nach der Vollendung seiner Mariazeller Messe von 1782 schrieb Joseph Haydn über 14 Jahre kein weiteres Werk desselben Genres. Eine Ursache dieser langen Unterbrechung lag in den von Kaiser Joseph II. für Österreich angeordneten Gottesdienstreformen, die auch Auswirkungen auf die Kirchenmusik hatten. Die Zahl der Gottesdienste, bei denen orchesterbegleitete Kirchenmusik gestattet war, wurde deutlich reduziert, was zur Folge hatte, dass die Aufträge zur Komposition derartiger Werke ebenfalls zurückgingen. Erst als nach dem Tode Josephs II. ein Teil der Reformvorschriften wieder aufgehoben wurde, kehrte auch Haydn zur Komposition sakraler Werke zurück. Mittlerweile hatte er in Sinfonie und Kammermusik aber neue kompositorische Errungenschaften erprobt und zur Anwendung gebracht; diese äußerten sich in souveräner Beherrschung der Formgestaltung, in liedhafter Thematik ebenso wie in großer Ausdruckstiefe, in der Verfeinerung des Orchestersatzes oder im Trend zu einer deutlichen Individualisierung des Einzelwerkes. Nicht zuletzt die beiden Londoner Aufenthalte vom Anfang der 1790er Jahre brachten für Haydns Stil eine Abklärung und Konsolidierung mit sich. Vor diesem Hintergrund
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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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