Joseph Haydn: Missa Cellensis - Sheet music | Carus-Verlag

Joseph Haydn Missa Cellensis

Cecilia Mass Hob. XXII:5, 1766

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When Joseph Haydn assumed the position as music director of the Court of Esterházy in 1766, following the death of his predecessor, Gregor Joseph Werner, he began by composing his first and most extensive Missa solemnis. The title "Missa Cellensis" (later also known as the "St. Cecilia Mass") and the date of an autograph score suggest that this work was probably commissioned by Prince Nicolaus Esterházy for the 600th anniversary of the pilgrimage church Mariazell located in Styria. With regard to the scoring as well as form, this Mass is still in the tradition of the late baroque"“number mass." In contrast to previous "mixed" versions based on various sources, the Carus edition follows the authentic (original) version using the most reliable sources.

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  • Kyrie I (Coro SATB)
  • Christe eleison (Solo Tenore e Coro)
  • Kyrie II (Coro)
  • Gloria in excelsis Deo (Coro)
  • Laudamus te (Solo Soprano)
  • Gratias agimus tibi (Coro)
  • Domine Deus (Soli ATB)
  • Qui tollis (Soli SA e Coro)
  • Quoniam (Solo Soprano)
  • Cum Sancto Spiritu (Coro)
  • Credo in unum Deum (Solo S e Coro)
  • Et incarnatus est (Soli ATB)
  • Et resurrexit (Soli ST e Coro)
  • Sanctus (Coro)
  • Benedictus (Coro)
  • Agnus Dei (Solo Basso e Coro)
  • Dona nobis pacem (Coro)
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Additional material
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  • Kyrie

    1. Kyrie eleison I (Coro SATB)

    Kyrie eleison.

    2. Christe eleison (Solo T, Coro)

    Christe eleison.

    3. Kyrie eleison II (Coro)

    Kyrie eleison.

    Gloria

    4. Gloria in excelsis Deo (Coro)

    Gloria in excelsis Deo.
    Et in terra pax hominibus bonae voluntatis.

    5. Laudamus te (Solo S)

    Laudamus te, benedicimus te, adoramus te, glorificamus te.

    6. Gratias agimus tibi (Coro)

    Gratias agimus tibi propter magnam gloriam tuam.

    7. Domine Deus (Soli ATB)

    ...
  • Kyrie

    1. Kyrie eleison I (Coro SATB)

    Lord, have mercy on us.

    2. Christe eleison (Solo T, Coro)

    Christ, have mercy on us.

    3. Kyrie eleison II (Coro)

    Lord, have mercy on us.

    Gloria

    4. Gloria in excelsis Deo (Coro)

    Glory be to God on high
    and on earth peace to men of good will.

    5. Laudamus te (Solo S)

    We praise Thee;
    we bless Thee;
    we adore Thee;
    we glorify Thee.

    6. Gratias agimus tibi (Coro)

    We give Thee thanks for Thy great glory.

    ...
  • Kyrie

    1. Kyrie eleison I (Coro SATB)

    Herr, erbarme dich unser.

    2. Christe eleison (Solo T, Coro)

    Christus, erbarme dich unser.

    3. Kyrie eleison II (Coro)

    Herr, erbarme dich unser.

    Gloria

    4. Gloria in excelsis Deo (Coro)

    Ehre sei Gott in der Höhe
    und Friede auf Erden den Menschen, die guten Willens sind.

    5. Laudamus te (Solo S)

    Wir loben Dich,
    Wir preisen Dich,
    Wir beten Dich an,
    Wir rühmen Dich.

    6. Gratias agimus tibi (Coro)

    Wir danken Dir, denn groß ist Deine Herrlichkeit.

    ...
  • Text du livret du CD Carus 83.247

    Dorothea Schröder
    Traduction : Sylvie Coquillat

    Comme la plupart des messes de Haydn, la Missa Cellensis est plus connue sous un autre titre que sous sa désignation originale : depuis 1820 environ, elle porte le nom de « Cäcilienmesse », car d’après les sources, elle dut être composée pour la confrérie viennoise de Sainte-Cécile. Le fait que Haydn ait consigné l’œuvre sous le titre de « Missa Cellensis » dans son catalogue d’ébauches a été interprété comme une confusion avec la Missa Cellensis (« Mariazeller Messe », Hob. XXII: 8) de 1782. Lorsqu’en 1969 fut retrouvée une partie de la partition autographe disparue intitulée « Missa Cellensis In honorem Beatissimae Virginis Mariae del Giuseppe Haydn [1]766 », on ne put cependant plus mettre en doute la justesse de la mention du catalogue. Depuis, il s’agit de faire la distinction entre deux messes homonymes : la « Große Mariazeller Messe » plus importante de 1766 et la « Kleine Mariazeller Messe » écrite 16 ans plus tard.

    Haydn compose la plus récente des deux messes à la commande d’un mélomane ; par contre, on ne peut émettre que des suppositions sur les raisons qui l’amenèrent à composer la

    ...
  • Text from the CD Carus 83.247

    Dorothea Schröder
    Translation: Elizabeth Robinson

    As with most of Haydn’s masses, the Missa Cellensis is better known under its pseudonym than under its original title: it has been called the “Cecilia Mass” since about 1820 as, according to the surviving copies, it was said to have been composed for the Cecilian Brotherhood in Vienna. Because Haydn included the work as “Missa Cellensis” in his ‘Entwurfkatalog’ (Catalog of Compositions), this was confused with the Missa Cellensis (“Mariazeller Messe”, Hob. XXII: 8) from 1782 onwards. When a part of the missing autograph score with the inscription “Missa Cellensis In honorem Beatissimae Virginis Mariae del Giuseppe Haydn [1]766” came to light in 1969, there could no longer be any doubt about the accuracy of the catalog entry. Since that discovery, it has been necessary to distinguish between the two masses of the same name: the larger-scale “Große Mariazeller Messe” of 1766 and the “Kleine Mariazeller Messe” composed 16 years later.

    Haydn was commissioned by a music lover to compose the later of the two mass settings; in contrast, the occasion for the 1766 setting of the Missa Cellensis remains a matter of

    ...
  • Booklet-Text der CD Carus 83.247

    Dorothea Schröder

    Wie die meisten Haydn-Messen ist die Missa Cellensis unter einem Alias-Titel bekannter als unter ihrer originalen Bezeichnung: Seit etwa 1820 wird sie „Cäcilienmesse“ genannt, da sie der Überlieferung nach für die Wiener Cäcilien-Bruderschaft entstanden sein soll. Dass Haydn das Werk als „Missa Cellensis“ in seinen Entwurf-Katalog aufnahm, wurde als Verwechselung mit der Missa Cellensis („Mariazeller Messe“, Hob. XXII: 8) von 1782 interpretiert. Als 1969 ein Teil der verschollenen autographen Partitur mit der Aufschrift „Missa Cellensis In honorem Beatissimae Virginis Mariae del Giuseppe Haydn [1]766“ ans Licht kam, konnte an der Richtigkeit des Katalogeintrags jedoch kein Zweifel mehr bestehen. Seitdem gilt es, zwei gleichnamige Messen auseinanderzuhalten: die umfangreichere „Große Mariazeller Messe“ von 1766 und die 16 Jahre später entstandene „Kleine Mariazeller Messe“.

    Haydn komponierte die jüngere der beiden Messen im Auftrag eines Musikliebhabers; zum Entstehungsanlass der Missa Cellensis von 1766 können dagegen nur Vermutungen angestellt werden. Obwohl sie zu den bekanntesten Kirchenmusikwerken des 18. Jahrhunderts zählt, gibt ihre

    ...
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  • 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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