Johann Adolf HASSE (1699 – 1783)
Te Deum (1751) [14.37]
Litaniae Laurentanae (1750) [22.29]
Sub tuum praesidium (1750) [2.35]
Tantum ergo in E flat (1780) [10.33]
Tantum ergo in C (1753) [7.01]
Regina Coeli in D [10.47]
Barbara Christina Steude (soprano); Susanne Langner (alto); Georg Poplutz
(tenor); Matthias Lutze (bass); Sächsisches Vocalensemble; Batzdorfer Hofkapelle/Matthias
Jung
rec. Lukaskirche, Dresden, 9-11 January 2009
CPO 777 462-2 [68.24]
Like Handel before him, Hasse worked at Hamburg opera and then travelled to
Italy. In the 1730s he came to rest in Dresden where he composed and performed
opera as well as sharing responsibility for sacred music in the Royal chapel.
Hasse's operas are being rediscovered on disc, but this programme from the
Sächisches Vocalensemble, the Batzdorfer Hofkapelle and Matthias Jung showcases
some of his major sacred music.
Hasse's Te Deum was written for the dedication of the new court church
on the Feast of Saint Peter and Saint Paul in 1751. It was originally performed
with Hasse's Mass in D minor. In Dresden the celebrant alone traditionally
sang the verse Salvum fac populum tuum; accordingly Hasse later added
a soprano solo setting of this verse, so that other churches could perform
it. The text employed is quite substantial. For the ceremonial performance
Hasse added an instrumental introduction and the setting of the words is quite
brisk. The work has a galant grace and a lively melodic attractiveness, which
must have made it highly suitable for court performance. It became one of
Hasse's best known sacred works.
The Laurentine Litany was written in 1750 for an entirely smaller-scale
performance at Saturday afternoon devotions. It wasn't normally Hasse's role
to provide music for these lesser services, but there must have been some
reason for him deciding to write the setting. The litany comes from Loreto,
a central Italian Marian pilgrimage site. Whilst not as grand as the Te
Deum it still has an elegant charm and mixes solo moments with choral
items.
Sub tuum praesidium is a short piece. It was originally the antiphon
to the Nunc Dimittis at Compline, but in Germany the text was expanded
into a Marian prayer. This form is the one set by Hasse in 1750, also for
Saturday afternoon services. Two Tantum Ergo settings are
included, both quite substantial. A short hymn used for sacramental devotions
dates from the mid-1750s (Tantum Ergo in C minor) and from around 1780
comes the Tantum Ergo in E flat major. This latter Tantum Ergo was
written by Hasse when in retirement in Vienna. He sent the manuscript to Dresden
but it does not seem to have been taken up. The programme concludes
with the earliest piece on the disc, a setting of the Regina Coeli.
This seems to have been in use since 1710 and remained in use by the Dresden
Jesuits until the 20th century. Hasse's music is fluent
and graceful with all the galant qualities of the period. It doesn't dig beneath
the surface, but must have made an attractive backdrop to court or church
ceremonial. The Sächsiches Vocalensemble makes a nice bright sound
with a focused line and good sense of style. The Batzdorfer Hofkapelle make
a clean lithe sound. Both choir and orchestra are relatively small, as was
probably the case at the original performances. Soloists Barbara
Christina Steude, Susanne Langner, Georg Poplutz and Matthias Lutze do not
have great voices, but they are young and bright, without overly-intrusive
vibrato and they blend nicely. Matthias Jung conducts with precision and keeps
the music moving without pressing. The CD booklet includes a full
article about Hasse and the music, plus texts and translations. This
isn't great music, but it is well crafted and attractive and is presented
in persuasive performances.
Robert Hugill
This isn't great music, but it is well crafted and attractive and is presented
in persuasive performances.