Joseph Haydn Missa brevis Sancti Joannis de Deo

Little organ mass Hob. XXII:7, 1778 (?) (terminus ante quem)

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With the Missa Sancti Nicolai and the Missa Sancti Joannis de Deo, his last to "missae breves", Haydn also achieved masterworks in this category, and during his lifetime they numbered among his most popular works. This so called Little Organ Solo Mass has never been accused of being unsuitable for church use despite the text stratification in the Gloria and Credo. Inspite of the unusual brevity of the Gloria (31 bars), the text setting still shows musical differentation. The strength of the composition lies in its expressive ability to force the listener under its spell with magic power.

The full score contains at the same time the organ part.

In addition, there is also a verstion for choir & organ (Carus 40.600/45) available.

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  • Kyrie (Coro)

    Kyrie eleison.
    Christe eleison.
    Kyrie eleison.

    Gloria (Coro)

    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)

    ...
  • Abridged Foreword of Edition Carus 40.600

    Willi Schulze
    Translation: E. D. Echols

    Whereas 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

    ...
  • 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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full score Carus 40.600/00, ISMN 979-0-007-07277-3 36 pages, DIN A4, paperback
available
18,95 € / copy
vocal score Carus 40.600/03, ISMN 979-0-007-07278-0 28 pages, paperback
available
9,50 € / copy
vocal score, XL in large print Carus 40.600/04, ISMN 979-0-007-24096-7 28 pages, DIN A4, paperback
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13,50 € / copy
choral score Carus 40.600/05, ISMN 979-0-007-07279-7 12 pages, DIN A4, without cover Minimum order quantity: 20 copies
available
from 20 copies 4,80 € / copy
from 40 copies 4,32 € / copy
from 60 copies 3,84 € / copy
set of parts, complete orchestral parts Carus 40.600/19, ISMN 979-0-007-13802-8 23 x 32 cm, without cover
available
86,00 € / copy
  • 5 x individual part, violin 1 (40.600/11)
    each: 5,60 €
    5 x individual part, violin 2 (40.600/12)
    each: 5,60 €
    5 x individual part, violoncello/double bass (40.600/13)
    each: 5,60 €
    1 x individual part, organ (40.600/49)
    each: 16,80 €
individual part, organ Carus 40.600/49, ISMN 979-0-007-24512-2 16 pages, 23 x 32 cm, without cover
available
16,80 € / copy
full score digital (download), pdf file Carus 40.600/00-010-000, ISMN 979-0-007-26049-1 36 pages, DIN A4
available
17,10 € / copy
text (without music) for download, html file, Introductory text, German Carus 40.600/00-310-000
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25,00 € / copy
text (without music) for download, html file, Introductory text, English Carus 40.600/00-320-000
available
25,00 € / copy
text (without music) for download, html file, Singing text, original Carus 40.600/00-380-000
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Additional product information
  • As 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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