Oregon Bach Festival Discovery Series Haydn Theresienmesse, Kyrie and Gloria 2007 Today we are going to discuss one of the late Masses of Franz Joseph Haydn. Haydn was a prolific composer, writing more than one hundred symphonies, twelve operas, much chamber music and sacred music. The Theresienmesse was composed in 1799, and was the fourth of six masses written for the Name Day of Princess Maria Josepha Hermenegild, the wife of Haydn s employer, Prince Nikolaus Esterhazy II. In keeping with the celebration for which it was written, the Masses are festive works. Imagine the Princess with her husband sitting in the first row of the beautiful Bergkirche in Eisenstadt, Austria, surrounded by nobility. The Mass is written for four soloists, chorus, and full orchestra. Haydn begins the Kyrie in a simple and subdued way. The first violins have a melody that seems to be lifting up our souls to God. The chorus sings Kyrie with a melody in the style of Gregorian chant. 1
The music continues in the same way as the soloists join the ensemble. There is a sudden dynamic change when the chorus basses sing Kyrie eleison, and the expressive value of the Lord s mercy comes to the foreground. 2
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The chorus soon begins a fugue with the text Kyrie eleison. The fugue subject is a short but joyous theme that appears in the tenors and is then taken up by the other sections of the chorus. 4
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The harmonies begin to change and there is increased chromaticism in the voice leadings of the choir. The orchestra, which had been playing colla parte with the chorus, is now independent. Repeated fast notes in the strings increase the intensity and expressiveness. Haydn is using the full sound of his chorus and orchestra. 6
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The next text is Christe eleison, and Haydn gives it to the solo quartet. The joyous mood reappears with the prevalence of exuberant rhythms. The chorus returns with Kyrie eleison and the fugal architecture heard at the end of the first Kyrie. 8
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In the second part of the fugue we observe that Haydn again retreats from the joyous mood and becomes more expressive. The text eleison is led from a low range to high range, the repeated notes in the strings reappear, and the music becomes more intense. 11
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At the end Haydn returns to the musical material of the beginning. He ends this first movement with a strong contrast between forte and piano in the chorus and orchestra. 14
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The Gloria is the second movement of the Mass. The chorus sings Gloria in excelsis Deo with strong forte chords. At the same time the violins have fast figurations that surround the sound of the chorus, giving it a glorious festive atmosphere. 16
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This will continue for some time, all with the text Gloria. Then comes the textual contrast et in terra pax, which is piano. And now comes something that I find quite special: above the chorus there is a beautiful sweeping melody in the first violins. 18
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The long text of the Gloria continues laudamus te, benedicimus te, adoramus te, glorificamus te. Haydn composes the text twice. The second time he alters the emphasis of the text. That is, instead of laudamus te, the emphasis is on the downbeat, te laudamus. The clarinet, trumpet and timpani have a short conversation with the choir before Haydn leads the chorus to high range and the instruments play enthusiastic figurations. Gloria is clearly the theme of this movement. 21
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The text Gratias agimus tibi is next. Haydn perceives this text in a different way. He unfolds a beautiful C-major melody in the first violins, which is then taken up by the alto solo, accompanied by the strings. 25
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The other soloists will take up this theme with variations, unfolding beautiful and thoughtful music. Haydn will go into a different direction at the text qui tollis peccata mundi, misere nobis. The serene C-major section goes into minor tonality, the violins play fast triplets, and the chorus comes in with forte imitations. When we come to misere nobis the music has an urgent plea for mercy. 27
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At the text qui sedes ad dexteram Patris, Haydn continues with the same energy: repeated notes, minor tonality, and forte imitations in the chorus. But this time the music of the misere nobis is quite different. The soloists sing miserere with expressive intervals coming in one after the other. Then the chorus takes up the solo parts, repeat it, and finish a cappella. The orchestra is silent as the chorus murmurs miserere nobis. 29
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The text which follows is Quoniam tu solus Sanctus [for You are the Holy One]. This text seems to demand music that is majestic, holy, and grand. But Haydn thinks otherwise. He composes an introduction for the orchestra that is, simply put, a happy melody. The solo quartet sings the catchy tune twice, making the movement full of joy and even wit. 34
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For the end of the Gloria, the soloists are accompanied with joyous figurations in the first violins. Haydn finishes the movement with strong chords in the chorus, orchestra, and the soloists. 36
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