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Home Classical Haydn Franz Josef Haydn – Heiligmesse (Marriner) [1986]

Haydn – Heiligmesse (Marriner) [1986]

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Haydn – Heiligmesse (Marriner) [1986]

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1.	"Kyrie" Adagio - Allegro moderato, B-flat major, 3/4
2.	"Gloria" Vivace, B-flat major, common time 
—"Gratias agimus tibi" 	Allegretto, 3/4
	—"Qui tollis peccata mundi" Più allegro, 3/4
	—"Quoniam tu solus sanctus" 	Vivace, common time
3.	"Credo" Allegro, B-flat major, cut time 
—"Et incarnatus est" Adagio, E-flat major, 3/4
	—"Et resurrexit" Allegro, B-flat major, 3/4
	—"Et vitam venturi" Vivace assai, 3/4
4.	"Sanctus" Adagio, B-flat major, cut time 
—"Pleni sunt coeli" Allegro, 3/4
5.	"Benedictus" Moderato, E-flat major, 2/4
6.	"Agnus Dei" Adagio, B-flat minor, 3/4 
—"Dona nobis pacem" Allegro, B-flat major, ¾

Carol Vaness, Dagmar Schellenberger – soprano
Doris Soffel – alto
Keith Lewis – tenor
Hermann Christian Polster, Peteri Salomaa – bass

Hansjürgen Scholze – organ
Rundfunkchor Leipzig
Staatskapelle Dresden
Neville Marriner - conductor


The Missa sancti Bernardi von Offida in B-flat major by Joseph Haydn, Hob. XXII:10, Novello 1, was written the same year as the Missa in tempore belli, and it may have been the first mass Haydn wrote after his return from England. Yet it may also have been the second. It is usually given as Haydn's ninth setting of the mass, though it's Hoboken number is XXII:10. This work was written in honor of St. Bernard of Offida, a Capuchin monk who devoted himself to helping the poor; a century after the monk's death, he was beatified by Pope Pius VI.

Scored for choir, 2 oboes, clarinets (a later revision expanded their part), 2 bassoons, 2 trumpets in B-flat, timpani, strings and organ, the latter supplying figured bass for most of the duration. The 'Sanctus' section of the mass is a setting of a then-popular Austrian tune to the German translation of Sanctus, Heilig. The Mass takes its popular German title, Heiligmesse, from this section. The mass includes what are, for the time, unexpected modulations and innovative use of third relations that would influence later mass settings by nineteenth century composers. The Quoniam in Anton Bruckner's Missa Solemnis in B-flat minor quotes this mass.

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