Joseph Haydn: Theresienmesse in B - Sheet music | Carus-Verlag

Joseph Haydn Theresienmesse in B

Missa in B Hob. XXII:12

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The Mass in B flat major by Joseph Haydn is known under the name “Theresienmesse.” The reason for this epithet has to this day not been clarified, but it could have to do with a performance of this Mass in Vienna in May 1800, probably in the presence of the Empress Marie Therese. Compared with Haydn’s last two masses and the large oratorios, the relatively modest orchestral scoring of the Theresienmesse is notable (for two clarinets, two trumpets with timpani, strings and organ continuo). Thus the Mass is also easily performable in those churches where music programs have only modest means at their disposal - and at the same they can have this treasure from the late Viennese classical period.
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  • Gekürztes Vorwort der Ausgabe Carus 40.610

    Wolfgang Hochstein

    Als Fürst Nikolaus von Esterházy im Jahre 1790 starb, hatte Haydn ihm fast 30 Jahre lang als Kapellmeister gedient. Der neue Fürst Anton Paul löste die Hofkapelle auf und beließ Haydn formal im Amt, ohne dessen Dienste jedoch zu beanspruchen. Dieser verlegte seinen Hauptwohnsitz nach Wien und trat bald darauf seine beiden Reisen nach England an. Anton Paul verstarb bereits 1794, und Fürst Nikolaus II. bat Haydn um die Reorganisation der Hofkapelle. Neben deren Wiederaufbau bestand Haydns wesentliche Aufgabe darin, zum Namenstag der Fürstengattin Maria Josepha Hermenegilda alljährlich eine Messe zu schreiben und die Aufführungen selbst zu leiten. Da der Rufname der Fürstin Maria lautete, wurde ihr Namenstag jeweils im September begangen – und zwar nach damaliger Gepflogenheit meistens an dem auf das Fest Mariä Geburt (8. September) folgenden Sonntag. 1799, im Entstehungsjahr der Messe, fiel das Fest auf einen Sonntag, sodass die Theresienmesse genau am Fest Mariä Geburt in der Eisenstädter Bergkirche uraufgeführt wurde.

    Auf den authentischen Quellen lautet der Titel des vorliegenden Werkes lediglich „Missa“. Wieso es bei dem vorliegenden Werk zu

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  • Kyrie

    1 Kyrie eleison (Soli SATB, Coro)

    Kyrie eleison.
    Christe eleison.
    Kyrie eleison.

    Gloria

    2 Gloria in excelsis Deo (Coro)

    Gloria in excelsis Deo.
    Et in terra pax hominibus bonae voluntatis.
    Laudamus te. Benedicimus te. Adoramus te.
    Glorificamus te.

    3 Gratias agimus tibi (Soli SATB, Coro)

    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,
    suscipe deprecationem nostram.
    Qui sedes ad dexteram Patris, miserere nobis.

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full score Carus 40.610/00, ISMN 979-0-007-09089-0 192 pages, paperback
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vocal score Carus 40.610/03, ISMN 979-0-007-09209-2 80 pages, paperback
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set of parts, complete orchestral parts Carus 40.610/19, ISMN 979-0-007-13326-9 23 x 32 cm, without cover
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full score digital (download), pdf file Carus 40.610/00-010-000, ISMN 979-0-007-26059-0 192 pages
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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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