The Mass No.2 (Missa Brevis) was written when Haydn was only 17 years old and exists on the border between the Baroque and Classical periods. The version heard here is the composer’s revision of 1805 adding several wind and brass instruments. It follows the old models in terms of musical formulae and in the choral phrasing and the actual sound owes more to the Baroque than the Classical. But much of the vocal writing and certainly the rhythmic elements belong to the Classical style and remind us of Haydn as we know him best.

The Creation Mass shows Haydn as a complete master of choral writing (the title comes from the use of a theme from his famous oratorio in the Gloria at the “Qui tollis peccata mundi”). In this work as in the other late masses, individual themes appear in multiple movements, lending both structural reinforcement and dramatic emphasis. At the same time, the orchestra is an integral part of the whole rather than merely accompanying the vocal/choral parts. The Kyrie in this work is notable for the contrast between its slow introduction and the joyousness of the sung music that follows. The Gloria is full of touching solo parts, especially those given to the bass. Also impressive is the fugal passage on “Gloria Dei Patris” that is quickly developed symphonically. The Credo is perhaps the most beautiful section of the mass with wonderful writing for the basses and interesting antiphonal passages between the organ and the winds. In the Sanctus Haydn has written the most serious music in the work, although there are also passages reminiscent of eighteenth century dance music. The serious side of the composer’s nature is also evident in the Agnus Dei, which seems almost strained emotionally before leading to the joyous conclusion.

There are so many soloists on this disc that one cannot discuss them all. But especially worthy of mention are Ann Hoyt in the Missa Brevis and Andrew Nolen in the Creation Mass. The Trinity Choir is quite expert rhythmically and in terms of pronunciation, but they are sometimes defeated by the rather cavernous sound of Trinity Church. As always, the Rebel Baroque orchestra, based in New York, brings clean lines and incisive style to their performance.

In the “Creation Mass” (Schöpfungsmesse), so-called because of its inclusion of a thematic reference to Haydn’s famous oratorio, the composer employs devices of structure and development associated with symphonic form, while offering plenty of appealing tunes, catchy rhythms, striking manipulations of tempo and mood, and compelling choral and solo movements (including a delightful, chromatic-themed fugue in the conclusion of the Gloria movement). The scoring is rich and often powerful, with a masterful attention to color—and even the key of B-flat is consciously chosen for its particular sonorous character, aided by the use of B-flat trumpets.

The Missa brevis performed here is Haydn’s 1805 revision of a score he composed as a teenager in 1749, among the earliest of his surviving compositions. More than 50 years later he revisited this work, appreciating in it a “certain youthful fire”—and proceeded to expand its orchestration in view of offering it for sale to his publishers along with some other works. Again, it would be difficult to find a more immediately appealing setting, from any century or composer, and the performers here, proven experts in this repertoire in their authoritative, highly recommended traversal of the complete Haydn Masses for Naxos, give listeners a guaranteed first-rate sampling from a genre that interested and fruitfully occupied Haydn throughout his long creative career.

Conductors Owen Burdick and Jane Glover give full measure to the special character of each work, relishing every rhythmic twist, melodic turn, and point of clever illustrative detail. This is exemplary Haydn—that it happens to be church music only serves to remind us that here is a composer who could not only make sacred music cheerful, but cheerful music sacred.