ClassicsOnline Home » HAYDN, J.: Masses, Vol. 4 - Masses Nos. 8, "Mariazellermesse" and 10, "Paukenmesse" (Trinity Choir, Rebel Baroque Orchestra, Burdick) > Review List



HAYDN, J.: Masses, Vol. 4 - Masses Nos. 8, "Mariazellermesse" and 10, "Paukenmesse" (Trinity Choir, Rebel Baroque Orchestra, Burdick)

Composer(s):Haydn, Franz Joseph
Artist(s)
Period(s) Classical (1750-1830)
Genre Classical Music
Category Choral - Sacred
Catalogue 8.572124
Label Naxos
Quality   320kbps
Album Price
 
MP3
USD 6.99
 

 


As Haydn scholar H.C. Landon explains, ‘it is clear that with this Missa Cellensis…he reached, and reached with panache and astonishing vigour, the popular style for which he had been so long and so diligently searching.’ For this reason, the Mariazellermesse ‘is both the precursor to Haydn’s late Masses as well as the culmination of his early efforts in the genre.’ Fourteen years elapsed before Haydn’s setting of the Mass in Time of War, also known as the Paukenmesse because of his evocative use of the timpani; the work demonstrates Haydn’s new approach to the Mass, including dramatic extremes and more frequent integration of solo and chorus.


   




Review By Greg Keane,Limelight Magazine,November 2010

The excellent sleeve note on this CD says Haydn’s approach to religion was never gloomy or penitential but rather “cheerful reconciled and trusting”. Much of his church music, admittedly, lacks any more than a hint of retrospection, spirituality or light and shade. One always has the impression that in Haydn’s take on Catholicism a good time was had by all. Even the supposedly darker Missa in tempore belli, nicknamed the “Timpani Mass”, really becomes ominous only with the menacing timpani figures in the Agnus Dei depicting Napoleon’s army besieging south-east Austria. Otherwise, only the unsettled minor key mood of the Benedictus undermines the otherwise joyful mood. Interestingly, the man whom Beethoven a few years

more....


Review By Greg Keane,Limelight Magazine,November 2010

The excellent sleeve note on this CD says Haydn’s approach to religion was never gloomy or penitential but rather “cheerful reconciled and trusting”. Much of his church music, admittedly, lacks any more than a hint of retrospection, spirituality or light and shade. One always has the impression that in Haydn’s take on Catholicism a good time was had by all. Even the supposedly darker Missa in tempore belli, nicknamed the “Timpani Mass”, really becomes ominous only with the menacing timpani figures in the Agnus Dei depicting Napoleon’s army besieging south-east Austria. Otherwise, only the unsettled minor key mood of the Benedictus undermines the otherwise joyful mood. Interestingly, the man whom Beethoven a few years

more....






 

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