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DISCID=7c121718
DTITLE=Rundfunkchor Leipzig, Staatskapelle Dresden, Sir Neville Marrin
DTITLE=er / Haydn: Masses (CD 1)
DYEAR=1995
DGENRE=Classical
TTITLE0=Missa Sancti Bernardi de Offida ("Heiligmesse") - 1. Kyrie
TTITLE1=Missa Sancti Bernardi de Offida ("Heiligmesse") - 2. Gloria in
TTITLE1= excelsis Deo
TTITLE2=Missa Sancti Bernardi de Offida ("Heiligmesse") - 3. Gratias a
TTITLE2=gimus tibi
TTITLE3=Missa Sancti Bernardi de Offida ("Heiligmesse") - 4. Quoniam t
TTITLE3=u solus sanctus
TTITLE4=Missa Sancti Bernardi de Offida ("Heiligmesse") - 5. Credo in 
TTITLE4=unum Deum
TTITLE5=Missa Sancti Bernardi de Offida ("Heiligmesse") - 6. Et incarn
TTITLE5=atus est
TTITLE6=Missa Sancti Bernardi de Offida ("Heiligmesse") - 7. Et resurr
TTITLE6=exit
TTITLE7=Missa Sancti Bernardi de Offida ("Heiligmesse") - 8. Et vitam 
TTITLE7=venturi saeculi
TTITLE8=Missa Sancti Bernardi de Offida ("Heiligmesse") - 9. Sanctus
TTITLE9=Missa Sancti Bernardi de Offida ("Heiligmesse") - 10. Benedict
TTITLE9=us
TTITLE10=Missa Sancti Bernardi de Offida ("Heiligmesse") - 11. Agnus D
TTITLE10=ei
TTITLE11=Missa Sancti Bernardi de Offida ("Heiligmesse") - 12. Dona no
TTITLE11=bis pacem
TTITLE12=Missa in angustiis "Nelson-messe" - 1. Kyrie
TTITLE13=Missa in angustiis "Nelson-messe" - 2. Gloria in excelsis
TTITLE14=Missa in angustiis "Nelson-messe" - 3. Qui tollis
TTITLE15=Missa in angustiis "Nelson-messe" - 4. Quonium tu solus santu
TTITLE15=s
TTITLE16=Missa in angustiis "Nelson-messe" - 5. Credo in unum Deum
TTITLE17=Missa in angustiis "Nelson-messe" - 6. Et incarnatus est
TTITLE18=Missa in angustiis "Nelson-messe" - 7. Et resurrexit
TTITLE19=Missa in angustiis "Nelson-messe" - 8. Sanctus
TTITLE20=Missa in angustiis "Nelson-messe" - 9. Benedictus
TTITLE21=Missa in angustiis "Nelson-messe" - 10. Hosanna
TTITLE22=Missa in angustiis "Nelson-messe" - 11. Agnus Dei
TTITLE23=Missa in angustiis "Nelson-messe" - 12. Dona nobis pacem
EXTD=Liner Text:\n\nHaydn\nMasses\n\nThough Haydn's prescribed duties 
EXTD=during his long years at the Esterhzy court (1761-90) included t
EXTD=he direction of ecclesiastical music, Prince Nicolaus Esterhzy h
EXTD=ad far more of a taste for instrumental music and opera buffa. No
EXTD=t surprisingly, given Haydn's phenomenal activity in these fields
EXTD=, he composed relatively few liturgical works in this period. Mos
EXTD=t of those he did write have their origins beyond the Esterhzy c
EXTD=ourt; and these include the smallest and most intimate of his mas
EXTD=ses, the Missa brevis Sancti Joannis de Deo, whose florid organ o
EXTD=bbligato in the Benedictus has spawned the nickname 'Little Organ
EXTD= Solo Mass'.  Haydn composed it some time in the mid 1770s for th
EXTD=e Brothers of Mercy, who ran the hospital in Eisenstadt, seat of 
EXTD=the Esterhzys' winter residence, and whose patron was St John of
EXTD= God - hence the mass's dedication. The minimal orchestral forces
EXTD= (two violins, organ and bass continuo) were evidently dictated b
EXTD=y the tiny size of the chapel's organ loft.\n\nDespite the offici
EXTD=al disapproval of the church, Austrian short masses of this perio
EXTD=d often telescoped the texts of the Gloria and Credo, setting dif
EXTD=ferent clauses simultaneously. Even so, Haydn's drastic compressi
EXTD=on of the Gloria into 30 bars of bustling Allegro must be a recor
EXTD=d. In the Credo, though, he does find space for a deeply expressi
EXTD=ve Et incarnatus/crucifixus, and later expands in the delicate, r
EXTD=ococo Benedictus. But the most original sections are the gravely 
EXTD=tender Kyrie and the Agnus Dei/Dona nobis pacem which, exceptiona
EXTD=lly in Haydn's masses, remains in the same Adagio tempo throughou
EXTD=t - Haydn's truest, most touching expression of this supplicatory
EXTD= text and a testimony to his devout, instinctive religious faith.
EXTD= \n\nAfter the so-called 'Mariazell' Mass of 1782, Haydn's sporad
EXTD=ic production of religious works ceased completely for many years
EXTD=, partly because of the Emperor Joseph II's decree restricting th
EXTD=e performance of instrumentally accompanied music in church. But 
EXTD=liturgical music was to play a central role in Haydn's final crea
EXTD=tive phase. After returning from his second triumphant visit to L
EXTD=ondon in 1795 he resumed service with Prince Nicolaus Esterhzy's
EXTD= grandson, Nicolaus II, who shared none of his grandfather's pass
EXTD=ion for music. Haydn's duties to the Prince entailed little more 
EXTD=than the provision of an annual mass for the name-day of his wife
EXTD=, Princess Marie Hermenegild, whose warm, lively personality was 
EXTD=a direct contrast to her husband's arrogant remoteness. Between 1
EXTD=796 and 1802 Haydn wrote six masses for the Princess, magnificent
EXTD=, splicing works in which his choral and contrapuntal mastery, fu
EXTD=rther spurred by his contact with Handel's oratorios in London, i
EXTD=s fused with the dramatic power, orchestral imagination and exhil
EXTD=arating structural freedom of his ripest symphonic style.\n\nThe 
EXTD=chronology of the first two masses in the series, the Missa in te
EXTD=mpore belli and the Missa Sancti Bernardi de Offida, is uncertain
EXTD=, though it is likely that the Missa Sancti Bernardi was composed
EXTD= first, during the summer of 1796 and performed in the Bergkirche
EXTD=, Eisenstadt, that September. As the title suggests, it was writt
EXTD=en to honour not only the Princess but also Bernard of Offida (16
EXTD=04-1694), a Capuchin monk canonized in 1795 for his devotion to t
EXTD=he poor. In Austria and Germany the work is known as the 'Heiligm
EXTD=esse' because Haydn conceals in the inner voices of the Sanctus a
EXTD=n old chorale 'Heilig, heilig, heilig! ('Heilig' is the German tr
EXTD=anslation of 'Sanctus'). As in all the late masses, the choral wr
EXTD=iting in the Heiligmesse moves with masterly ease between fugal, 
EXTD=freely imitative and homophobic textures, between boldly placed u
EXTD=nisons and passages like the Et in terra pax in the Gloria which 
EXTD=have the refinement of a string quartet. But alone among these wo
EXTD=rks it does not integrate the solo voices in the choral numbers. 
EXTD=The soloists appear in only two sections, both of unusual fervour
EXTD=: the Gratias and the Et incarnates est, which opens with an exqu
EXTD=isite canon for three female voices that Haydn had originally set
EXTD= to a text about the joys of a good wife - the kind of blurring b
EXTD=etween sacred and secular which inevitably offended puritanical n
EXTD=ineteenth-century critics.\n\nThe third arid most famous of Haydn
EXTD='s last six masses, the D minor Missa in Angustiis ('Mass in Time
EXTD= of Anxiety' is an approximate translation), was composed in July
EXTD= and August 1798, and first performed in Eisenstadt parish church
EXTD= the following month. The title by which the work is usually know
EXTD=n dates from 1800, when Nelson, having routed the French at Abouk
EXTD=ir, visited Prince Esterhzy on his return journey to England and
EXTD= attended a performance of the Missa in Angustiis in his honour. 
EXTD=Each of the late masses is scored for different forces, depending
EXTD= on the instruments available in the Prince's establishment. In 1
EXTD=798 Haydn had no woodwind instruments at his disposal, but charac
EXTD=teristically turns this to superb account in the Missa in Angusti
EXTD=is: the work is scored for three trumpets, timpani, strings and o
EXTD=rgan, a quite original combination that lends it a lean, transpar
EXTD=ent brilliance, stark and acerbic in the D minor movements - the 
EXTD=tense, intricately worked Kyrie and the grave Benedictus, with it
EXTD=s awesome trumpet fanfares near the close - and fiercely exultant
EXTD= in the D major sections. Haydn uses the soloists, both individua
EXTD=lly and as a quartet, far more freely than in the Heiligmesse. Th
EXTD=ere is a noble bass solo at 'Qui tollis' in the Gloria, later und
EXTD=erpinned by hushed unison chanting from the chorus, while the sol
EXTD=o soprano part is the richest and most demanding in all these lat
EXTD=e masses, ranging from urgent supplicatory coloratura in the Kyri
EXTD=e to the tender, luminous meditation of Et incarnates est.\n\nThe
EXTD= title of the fourth of Haydn's late masses, the so-called Theres
EXTD=ienmesse ('Theresa Mass'), derives from the work's (doubtful) ass
EXTD=ociation with Marie Therese, wife of the Emperor Francis II, who 
EXTD=sang the soprano solos in The Creation and The Seasons. One featu
EXTD=re that immediately sets the Theresienmesse apart from the other 
EXTD=masses is its scoring. In 1799 Prince Nicolaus's orchestra was re
EXTD=duced to strings, trumpets, timpani and organ, and the work is de
EXTD=signed only for these instruments, plus a pair of clarinets impor
EXTD=ted from Vienna.  These relatively subdued orchestral forces infl
EXTD=uence Haydn's treatment of the soloists, who as a closely-woven q
EXTD=uartet have almost as much prominence as the choir. A consequence
EXTD= of this is the unusually private chamber-musical tone of many pa
EXTD=rts of the work: the Adagio outer sections of the Kyrie, for inst
EXTD=ance, framing livelier music subtly based on the same material; t
EXTD=he gentle, meditative Sanctus; or the Crucifixus, which has none 
EXTD=of the anguished drama found in the other late masses at this poi
EXTD=nt but quietly and searchingly develops the music first heard at 
EXTD='Et homo factus est'.\n RICHARD WIGMORE, 1995\n\n\n\n\n\n\n
EXTT0=Kyrie Eleison\nChriste Eleison\nKyrie Eleison\n
EXTT1=Gloria in excelsis Deo; et in terra pax hominibus bon voluntati
EXTT1=s. Laudamus te; benedicimus te; adoramus te; glorificamus te.\n
EXTT2=Gratias agimus tibi propter magnam gloriam tuam. Domine Deus, Re
EXTT2=x coelestis, Deus pater omnipotens. Domine Fili unigenite, Jesu 
EXTT2=Christe: Domine Deus, Agnus Dei, Filius Patris, qui tollis pecca
EXTT2=ta mundi, miserre nobis: qui tollis peccata mundi, suscipe depr
EXTT2=ecationem nostram: qui sedes ad dexteram Patris, miserere nobis.
EXTT2=\n
EXTT3=Quoniam tu solus sanctus: tu solus Dominus: tu solus altissimus,
EXTT3= Jesu Christe, cum Sancto Spiritu, in gloria Dei Patris.\nAmen.\n
EXTT4=Credo in unum Deum, Patrem omnipotentem, factorem coeli et terra
EXTT4=e, visibilium omnium et invisibilium. Et in unum Dominum Jesum C
EXTT4=hristum, Filium Dei unigenitum, et ex Patre natum ante omnia sae
EXTT4=cula. Deum de Deo; Lumen de Lumine; Deum verum de Deo vero; geni
EXTT4=tum non factum; consubstantialem Patri, per quem omnia facta sun
EXTT4=t. Qui propter nos hominess, et propter nostram salutem, descend
EXTT4=it de coelis,\n
EXTT5=et incarnatus est de Spiritu Sancto, ex Maria Virgine: ET HOMO F
EXTT5=ACTUS EST. Crucifixus etiam pro nobis: sub Pontio Pilato passus 
EXTT5=et sepultus est.\n
EXTT6=Et resurrexit tertia die secundum Scripturas; et ascendit in coe
EXTT6=lum, sedet ad dexteram Patris: et iterum venturus est cum gloria
EXTT6= iudicare vivos et mortuos: cuius regni non erit finis.\nEt in S
EXTT6=piritum Sanctum, Dominum et vivificantem, qui ex Patre Filioque 
EXTT6=procedit: qui cum Patre et Filio simul adoratur et conglorificat
EXTT6=ur; qui locutus est per prophetas. Et unam sanctam Catholicam et
EXTT6= Apostolicam Ecclesiam. Confiteor unum baptisma in remissionem p
EXTT6=eccatorum. Et expecto resurrectionem mortuorum, \n
EXTT7=et vitam venturi saeculi.\nAmen.\n
EXTT8=Sanctus, sanctus, sanctus, Dominus Deus Sabaoth. Pleni sunt coel
EXTT8=i et terra gloria tua. Hosanna in excelsis.\n
EXTT9=Benedictus qui venit in nomine Domini. Hosanna in excelsis.\n
EXTT10=Agnus Dei, qui tollis peccata mundi, miserere nobis.\nAgnus Dei
EXTT10=, qui tollis peccata mundi, miserere nobis.\n
EXTT11=Agnus Dei, qui tollis peccata mundi, Dona nobis pacem.\n
EXTT12=Kyrie Eleison\nChriste Eleison\nKyrie Eleison\n
EXTT13=Gloria in excelsis Deo; et in terra pax hominibus bon voluntat
EXTT13=is. Laudamus te; benedicimus te; adoramus te; glorificamus te. 
EXTT13=Gratias agimus tibi propter magnam gloriam tuam. Domine Deus, R
EXTT13=ex coelestis, Deus pater omnipotens. Domine Fili unigenite, Jes
EXTT13=u Christe: Domine Deus, Agnus Dei, Filius Patris,\n
EXTT14=qui tollis peccata mundi, miserre nobis: qui tollis peccata mu
EXTT14=ndi, suscipe deprecationem nostram: qui sedes ad dexteram Patri
EXTT14=s, miserere nobis.\n
EXTT15=Quoniam tu solus sanctus: tu solus Dominus: tu solus altissimus
EXTT15=, Jesu Christe, cum Sancto Spiritu, in gloria Dei Patris.\nAmen
EXTT15=.\n
EXTT16=Credo in unum Deum, Patrem omnipotentem, factorem coeli et terr
EXTT16=ae, visibilium omnium et invisibilium. Et in unum Dominum Jesum
EXTT16= Christum, Filium Dei unigenitum, et ex Patre natum ante omnia 
EXTT16=saecula. Deum de Deo; Lumen de Lumine; Deum verum de Deo vero; 
EXTT16=genitum non factum; consubstantialem Patri, per quem omnia fact
EXTT16=a sunt. Qui propter nos hominess, et propter nostram salutem, d
EXTT16=escendit de coelis,\n
EXTT17=et incarnatus est de Spiritu Sancto, ex Maria Virgine: ET HOMO 
EXTT17=FACTUS EST. Crucifixus etiam pro nobis: sub Pontio Pilato passu
EXTT17=s et sepultus est.\n
EXTT18=Et resurrexit tertia die secundum Scripturas; et ascendit in co
EXTT18=elum, sedet ad dexteram Patris: et iterum venturus est cum glor
EXTT18=ia iudicare vivos et mortuos: cuius regni non erit finis.\nEt i
EXTT18=n Spiritum Sanctum, Dominum et vivificantem, qui ex Patre Filio
EXTT18=que procedit: qui cum Patre et Filio simul adoratur et conglori
EXTT18=ficatur; qui locutus est per prophetas. Et unam sanctam Catholi
EXTT18=cam et Apostolicam Ecclesiam. Confiteor unum baptisma in remiss
EXTT18=ionem peccatorum. Et expecto resurrectionem mortuorum, et vitam
EXTT18= venturi saeculi.\nAmen.\n
EXTT19=Sanctus, sanctus, sanctus, Dominus Deus Sabaoth. Pleni sunt coe
EXTT19=li et terra gloria tua. Hosanna in excelsis.\n
EXTT20=Benedictus qui venit in nomine Domini.\n
EXTT21=Hosanna in excelsis.\n
EXTT22=Agnus Dei, qui tollis peccata mundi, miserere nobis.\nAgnus Dei
EXTT22=, qui tollis peccata mundi, miserere nobis.\n
EXTT23=Agnus Dei, qui tollis peccata mundi, Dona nobis pacem.\n
PLAYORDER=
