Despite all of its folk-line simplicity of melody, Haydn's first mass contains a pious note that, just like its youthful verve, still was to hold fascination for him in his late years when, in 1805, he re-orchestrated his first work. The first version of the mass is considered to have been composed in 1749 or 1750. It was around the same time that Pope Benedict XIV treated questions concerning church music in his encyclical "Annus qui" in which he condemned the frequently operatic style of church music and demanded liturgical music that revealed an awareness of its religious purpose and that sought to fulfill it with simple means of musical expression. In its liturgical attitude Haydn's first mass is anchorded in this point of view (that to a great extent corresponded to the general standpoint of the churches of the eighteenth century).
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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,
Christe eleison.
Kyrie eleison.Gloria (Coro)
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.... -
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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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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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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Editor
Willi Schulze
| 1909-2005
Reviews
Eine echte Überraschung. Von der ersten Messe Haydns hatte ich ein unbedeutendes Frühwerk erwartet. Dabei hat diese Messe insbesondere durch die originelle Besetzung einen großen Seltenheitswert. Die wichtigsten Akteure sind die beiden Sopransolisten (sonst gibt es keine Soli). Sie singen durchweg und den ganzen Text. Oft gemeinsam und wenn, dann nur unisono mit dem Chor, der dadurch bestärkende Wirkung erhält. Dann wieder in virtuosen und schnellen Koloraturen, teilweise terzelnd, teilweise in verschiedener Bewegung sich die Bälle zuwerfend. Das macht Spaß! Wenn Sie also zwei gute Sopranistinnen haben, die gut miteinander harmonieren und Freude am Duett haben: Führen Sie diese Messe auf!
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