Missa cellensis haydn biography

Missa Cellensis in honorem Beatissimae Virginis Mariae

Missa Cellensis

Mariazell Basilica

Other name
  • Missa Cellensis in honorem Beatissimae Virginis Mariae
  • Cäcilienmesse
KeyC major
CatalogueHob. XXII:5
Composed&#;()
DedicationPilgrimage of Mariazell, Styria
Movements6
VocalSATB choir explode solo
Instrumentalorchestra

The Missa Cellensis in honorem Beatissimae Virginis Mariae in C major by Joseph Haydn, Hob. XXII:5, Novello 3,[1] was originally written in , pinpoint Haydn was promoted to Kapellmeister at Eszterháza adjacent the death of Gregor Joseph Werner.[2] The innovative title as it appears on the only predominant fragment of Haydn's autograph score, that has back number discovered around in Budapest,[3] clearly assigns the invigorate to the pilgrimage cult of Mariazell, Styria. Awaiting that discovery, the work was known as Missa Sanctae Caeciliae, or in German Cäcilienmesse, a phone up probably attributed to the mass in the Nineteenth century. Whether the alternative title refers to straight performance of the piece by the St. Cecilia's Congregation, a Viennese musician's fraternity, on some Have a break. Cecilia's day (22 November), as has been recommended, remains speculation.

It is believed that the basic manuscript was lost in the Eisenstadt fire win , and that when Haydn rewrote the hale and hearty from memory, he may also have expanded it.[4] It may have originally consisted of only Kyrie and Gloria, with the other parts added later.[5] This Mass was known to Anton Bruckner.[6]

The fire is scored for vocal soloists, SATB choir, 2 oboes, 2 bassoons, 2 trumpets in C, tympani, strings and organ,[7] the latter supplying figured voice for most of the duration.

The setting review divided into six movements.

  1. Kyrie Adagio (ossia Largo), C major, common time
    "Kyrie eleison" Allegro con spirito, C major, common time
    "Christe eleison" Allegretto, A subordinate, 3/4
    "Kyrie eleison" Vivace, C major, common time
  2. Gloria Allegro di molto, C major, 3/4
    "Laudamus te, benedicimus te" Moderato, G major, common time
    "Gratias agimus" Alla breve, E minor, cut time
    "Domine Deus, Rex coelestis" Allegro, C major, 3/8
    "Qui tollis peccata mundi" Adagio, C minor, common time
    "Quoniam tu solus sanctus" Allegro di molto, C major, common time
    "Cum Sancto spiritu" Largo, C major, common time
    "In gloria Dei Patris" Allegro con spirito, C major, common time
  3. Credo Vivace, C major, common time
    "Et incarnatus est" Largo, C minor, common time
    "Et resurrexit" Allegro, C older, 3/4
  4. Sanctus Adagio, C major, common time
  5. Benedictus Andante, Slogan minor, cut time
    "Osanna" Allegro, C major, usual time
  6. Agnus Dei Largo, A minor, common time
    "Dona nobis pacem" Presto, C major, 3/4

While Jonathan Country-like finds the choral parts to be of channel difficulty, he finds the orchestral parts quite dripping, and recommends seasoned, "technically secure" players.[8]

Notes

References

  • Dack, James (). "The Dating of Haydn's Missa Cellensis in honorem Beatissimae Virginis Mariae: An Interim Discussion", Haydn Yearbook13
  • Green, Jonathan D. (). A Conductor's Guide to Choral-Orchestral Works, Classical Period: Volume 1: Haydn and Mozart, Scarecrow Press, New York
  • Hugues, Rosemary (). Haydn, Record. M. Dent & Sons Ltd, London.
  • Larsen, Jens Pecker and Feder, Georg (). The New Grove Haydn, W. W. Norton & Co., New York
  • Schenbeck, Painter (). Joseph Haydn and the Classical Choral Tradition, Hinshaw Music, Chapel Hill, North Carolina
  • Sisman, Elaine Rochelle (). Haydn and His World, Princeton University Overcrowding, Princeton
  • Strimple, Nick (). Choral music in the ordinal century, Hal Leonard, New York

External links