Missa Sancti Bernardi von Offida, for soloists, chorus, organ & orchestra in B flat major ('Heiligmesse'), H. 22/10: Kyrie
Missa Sancti Bernardi von Offida, for soloists, chorus, organ & orchestra in B flat major ('Heiligmesse'), H. 22/10: Gloria
Missa Sancti Bernardi von Offida, for soloists, chorus, organ & orchestra in B flat major ('Heiligmesse'), H. 22/10: Credo
Missa Sancti Bernardi von Offida, for soloists, chorus, organ & orchestra in B flat major ('Heiligmesse'), H. 22/10: Sanctus
Missa Sancti Bernardi von Offida, for soloists, chorus, organ & orchestra in B flat major ('Heiligmesse'), H. 22/10: Benedictus
Missa Sancti Bernardi von Offida, for soloists, chorus, organ & orchestra in B flat major ('Heiligmesse'), H. 22/10: Agnus Dei
Invocation of Neptune ('Nor can I think...Thy great endeavors'), for bass, chorus & orchestra, H. 24a/9: Aria. Nor can I think my sui
Invocation of Neptune ('Nor can I think...Thy great endeavors'), for bass, chorus & orchestra, H. 24a/9: Chorus. Thy great endeavours
Insanae et Vanae Curae, motet for chorus & orchestra, Becker-Glauch B/8 (adapted from 'Il Ritornio di Tobia,' no. 13c)
Lauda Sion (Motetto de venerabili sacramento), for 4 voices, 2 oboes, 2 trumpets, strings & organ, H. 23c/5: Lauda Sion
Lauda Sion (Motetto de venerabili sacramento), for 4 voices, 2 oboes, 2 trumpets, strings & organ, H. 23c/5: Ecce panis
Lauda Sion (Motetto de venerabili sacramento), for 4 voices, 2 oboes, 2 trumpets, strings & organ, H. 23c/5: In figuris
Lauda Sion (Motetto de venerabili sacramento), for 4 voices, 2 oboes, 2 trumpets, strings & organ, H. 23c/5: Bone pastor
Grosses Te Deum, for chorus, orchestra & organ in C major, H. 23c/2
Haydn's last six Masses were all composed to celebrate the name day of his patron's wife, the Princess Esterhazy. They represented a revolution in the application of symphonic principles to choral composition. Instead of w... more »riting individual "numbers"--arias, duets, and choruses--Haydn treated each section of the Mass as a unified single movement, as in a symphony, grouping them in such a way as to present a dramatic contrast. They are tremendously grateful both to play and to sing. Bruno Weil's authentic instrument performances are vivacious and exciting, and this disc also contains the magnificent "Te Deum" from 1800--a terrific short piece with a killer tune at the beginning. --David Hurwitz« less
Haydn's last six Masses were all composed to celebrate the name day of his patron's wife, the Princess Esterhazy. They represented a revolution in the application of symphonic principles to choral composition. Instead of writing individual "numbers"--arias, duets, and choruses--Haydn treated each section of the Mass as a unified single movement, as in a symphony, grouping them in such a way as to present a dramatic contrast. They are tremendously grateful both to play and to sing. Bruno Weil's authentic instrument performances are vivacious and exciting, and this disc also contains the magnificent "Te Deum" from 1800--a terrific short piece with a killer tune at the beginning. --David Hurwitz
CD Reviews
Masterly Choral Works at a Bargain Price
07/31/2002
(5 out of 5 stars)
"Lovers of Haydn's great choral music can rejoice in the fact that Sony has reduced the price of Weil's generously filled CDs featuring the masses. Here we have the Heiligmesse ("Holy Mass," not a very descriptive title), one of the six great, late masses of Haydn; in the Classical era, only Beethoven's Missa Solemnis matches Haydn's achievement in these works. Compared with the better-known Paukenmesse and Nielsenmesse, works that reflect Haydn's agitation over Napoleon's actions against Austria and her allies, the Heiligmesse is a sunny work, but one bustling with energy and brimful of arresting choral and instrumental writing, not to mention melodies!Weil also includes some pleasant Haydn rareties, the late Mare Clausum and the very early Motetti de Venerabili Sacramento, and the more potent Insanae et vanae curae and Te Deum, the last a genuine masterwork. If you don't know the Te Deum, it is Haydn at his most potent; the end with its insistent repetitions of "non confundar in eternum" sound like a command to God, capped as it is by a blazing cadence dominated by trumpets and drums. Wonderful stuff!In the Te Deum, Weil comes into competition with Pinnock on Archiv, whose disc also includes a wonderful performance of the Nelsonmesse. Both performances have their strengths, and it's hard to choose between them, but I think Weil's recording is a little more natural. Certainly in the Heiligmesse and the other pieces, though, I find Weil very compelling. His orchestra is first rate, the Tolz Boys' Choir sings with both beauty and feeling, and Weil keeps the excitement levels high. Some reviewers claim that Weil doesn't let the music breathe enough, skating over the more reflective moments in Haydn's masses. I don't see this, though. I find he does full justice to Haydn's great music. At any rate, you can't go wrong, given the many attractions of Weil's recording--including price."
Track Listings (14) - Disc #1