Haydn Masses Vol. 2

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Another fine performance. True to form, Gardiner exults more fiercely than anyone in Gloria, with hungry rhythms and extreme dynamic contracts, and brings a unique hushed tension to the 'Crucifixus'. — BBC Music Magazine, February 2008 More…

Release Date: 18th Oct 2002
Catalogue No: E4702862
Label: Philips
Length: 89 minutes

Gramophone Magazine

January 2003

Disc of the Month

Haydn: Mass, Hob. XXII:11 in D minor 'Nelsonmesse'

Work length38:49

$12.10

$16.50

Donna Brown (soprano), Sally Bruce-Payne (mezzo-soprano), Peter Butterfield (tenor), Gerald Finley (bass (vocal))
Monteverdi Choir, English Baroque Soloists
Sir John Eliot Gardiner
Recorded: 1997-11
Recording Venue: The Colosseum, Watford

Kyrie

Track length4:39

$1.10

$1.50

Gloria: Gloria in excelsis Deo

Track length3:30

$1.10

$1.50

Gloria: Qui tollis

Track length4:27

$1.10

$1.50

Gloria: Quoniam

Track length2:46

$1.10

$1.50

Credo: Credo in unum Deum

Track length1:41

$1.10

$1.50

Credo: Et incarnatus est

Track length4:05

$1.10

$1.50

Credo: Et resurrexit

Track length3:36

$1.10

$1.50

Sanctus

Track length2:26

$1.10

$1.50

Benedictus

Track length6:12

$1.10

$1.50

Agnus Dei: Agnus Dei qui tollis

Track length2:48

$1.10

$1.50

Agnus Dei: Dona nobis pacem

Track length2:39

$1.10

$1.50

Haydn: Te Deum in C major - Hob.XXIIIc:2 - Ed. H.C.Robbins Landon

Work length8:03

$1.10

$1.50

Monteverdi Choir, English Baroque Soloists
Sir John Eliot Gardiner
Recorded: 2001-11
Recording Venue: The Colosseum, Watford

Haydn: Mass, Hob. XXII:12 in B flat major 'Theresienmesse'

Work length42:14

$12.10

$16.50

Donna Brown (soprano), Sally Bruce-Payne (mezzo-soprano), Peter Butterfield (tenor), Gerald Finley (bass (vocal))
Monteverdi Choir, English Baroque Soloists
Sir John Eliot Gardiner
Recorded: 1997-11
Recording Venue: The Colosseum, Watford

Kyrie

Track length5:03

$1.10

$1.50

Gloria

Track length2:35

$1.10

$1.50

Gratias

Track length6:52

$1.10

$1.50

Quoniam

Track length2:51

$1.10

$1.50

Credo

Track length1:51

$1.10

$1.50

Et incarnatus

Track length3:44

$1.10

$1.50

Et resurrexit

Track length4:03

$1.10

$1.50

Sanctus

Track length2:16

$1.10

$1.50

Benedictus

Track length6:17

$1.10

$1.50

Agnus Dei

Track length2:30

$1.10

$1.50

Dona nobis pacem

Track length4:12

$1.10

$1.50

Reviews
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Reviews

February 2008

Another fine performance. True to form, Gardiner exults more fiercely than anyone in Gloria, with hungry rhythms and extreme dynamic contracts, and brings a unique hushed tension to the 'Crucifixus'.

2010

Dating respectively from 1798 and 1799, the Nelsonmesse and the Theresienmesse are the third and fourth of the six masses written for the nameday of the Princess Esterházy. That was a period during the Napoleonic wars when Prince Esterházy, Nikolaus II had economised by dismissing his Harmonie or windband. Even so, in 1798 for the Nelsonmesse, Haydn, seeking to reflect the mood of the times (hence the official title, Missa in angustiis – 'Mass in straitened times'), brought in three trumpets and timpani, and their impact is all the greater when set against strings and organ alone.
That heightened contrast is a point which comes out with thrilling attack in Gardiner's performance at the very opening of the Kyrie.
This vigorous Allegro, typical of Haydn but totally untypical of Mass-settings, introduces martial fanfares, which recur through the whole work. Though Haydn composed the Mass in a mere 53 days in the summer of 1798, just when Nelson was winning the Battle of Aboukir, Haydn knew nothing of that victory till later, and the Nelson association dates from two years later when the admiral visited Eisenstadt, and the Mass was given in his honour.
Gardiner's treatment of the fanfares offers only the first of dozens of examples where his crisp, incisive manner highlights the extraordi- nary originality of this work. The Theresienmesse brings similar revelations. Here, in addition to trumpets and timpani, Haydn scored for two clarinets, and though this is a less sharply dramatic, more lyrical work, a martial flavour is again introduced. There are surprises aplenty, as in the sudden silence of the orchestra in the setting of the word 'miserere' at the end of the 'Gratias agimus tibi', or the setting of 'Et incarnatus' in the Credo in the rare key (in this context) of B flat minor, and 'Et vitam venturi' set in a galloping 6/8 time or the bold, square opening of Agnus Dei in bare octaves at an unapologetic forte. Such points must have startled early listeners, and Gardiner's treatment makes one appreciate that with new ears.
In this respect he even outshines Richard Hickox, whose prize-winning Mass series for Chandos brings equally enjoyable performances of both these works, just as energetic and a degree warmer, thanks in part to the recording acoustic. Gardiner's team, on the other hand, has markedly cleaner separation of textures, with soloists and chorus more sharply defined.
Gardiner's Monteverdi Choir as ever sings with passion, brilliance and fine precision, and his soloists are all outstanding, fresh and youthfulsounding with firm clear voices.
As a splendid, very apt bonus there's a superb account of the magnificent ceremonial C major Te Deum.

Haydn Masses Vol. 2

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