Te Deum in C
„Zum Nahmensfest des Bonapart producirt“ MH deest. (Hob. XXI
For the first time this work ascribed earlier to Joseph Haydn will be edited here under the name of his brother, Johann Michael Haydn, and based on the most reliable source from 1765 from the Benedictine monastery Göttwieg. There, in the course of a century the work was heard forty times for opening of the solemn High Mass, as also in 1809 on the name day of Emperor Napoleon, who spent a short time at the monastery following the battle of Aspern and Eßling.
According to late baroque custom, the scoring consists of a soprano, alto, tenor, bass (each soli and tutti), two violins, two trumpets with timpani (ad libitum, corresponding to the purpose of the particular performance) and basso continuo.
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Composer
Johann Michael Haydn
| 1737-1806Johann Michael Haydn worked at the renowned ecclesiastical princely court in Salzburg from 1763. Stylistically, he bridged the gap between the early classical period and the Biedermeier period during his 43 years there. In accordance with his official duties, Haydn contributed to practically all the genres cultivated in the Catholic liturgy: Haydn's church music is characterised by his knowledge of the liturgical function and the musical interpretation of religious texts. Johann Michael Haydn was initially regarded by his contemporaries as equal to Joseph Haydn. It was only the rapid rise of his elder brother to become the most important instrumental composer of the time that pushed Johann Michael Haydn into the shadows, from which the joy of musical discovery in recent years has increasingly brought him out. Personal details
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Composer (formerly ascribed to)
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
Hans Ryschawy
| 1953-2022
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Preface writer
Friedrich W. Riedel
Reviews
Dieses Te Deum des so produktiven Salzburger Haydn-Bruders Michael ist nicht nur von dieser Besetzung her sehr praxis-, respektive gottesdienstfreundlich, es dauert ... nur sieben Minuten...
Gottesdienst und Kirche 05/06. 2015
Das Werk – außer mit Trompeten und Pauken nur mit zwei Violinen besetzt – ist sehr wirkungsvoll, hat aber keinen allzu hohen Schwierigkeitsgrad.
Birger Petersen, Forum Kirchenmusik, Januar/Februar 2014, Nr. 1
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