Joseph HAYDN (1732 – 1809)
Missa Brevis in F major (1749) [11.41] (1)
Missa, Harmoniemesse (1802) [40.30] (2)
Ann Hoyt (soprano) (1)
Julie Liston (soprano) (1)
Nacole Palmer (soprano) (2)
Nina Faia (soprano) (2)
Kirsten Sollek (alto) (2)
Daniel Mutlu (tenor) (2)
Richard Lippold (bass) (1)
Matthew Hensrud (bass) (2)
Andrew Nolen (bass) (2)
Trinity Choir
Rebel Baroque Orchestra/J. Owen Burdick (conductor) (1); Jane Glover (conductor)
(2)
rec. Trinity Church New York, 23-24 May 2001 (1), 5-6 September 2008 (2)
NAXOS 8.572126 [52.28]
On this delightful new disc Haydn’s first and last masses, Naxos further their
relationship with Trinity Choir, which is a professional outfit based at Trinity
Church in New York. In addition to services, they have a significant concert
presence.
Haydn’s Missa Brevis is his earliest authenticated mass; the earlier Mass
in G is probably spurious. Haydn wrote the work whilst still a student in
Vienna. There are six concise movements, with texts from the Gloria and Credo
being set simultaneously thus speeding up the movements but destroying comprehension.
The soloists are used more like a semi-chorus, to punctuate and decorate the
choral lines rather than being given solo movements in their own right.
Under their conductor, James Owen Burdick, Trinity Choir gives a charming
and infectious account. Burdick’s speeds are perhaps on the steady side, but
things never plod and soloists, chorus and orchestra deliver crisp, nicely
articulated music.
Haydn’s HarmonieMesse is an altogether more meaty proposition. Written in
1802 for Princess Esterhazy’s name-day festivities, Haydn seems to have found
the composition process difficult and wearisome, though this does not show
in the music. After composing the mass, Haydn complained of fatigue and depression
and finally resigned from his Esterhazy in 1804. He wrote no major pieces
after the HarmonieMesse.
The name HarmonieMesse comes from the German Harmonie which refers to a wind
band. This does not mean the mass is accompanied by just a wind band - which
would have been interesting - but that the orchestra includes a full complement
of wind rather than just a few instruments in addition to the strings.
Haydn makes the most of the possibilities for colour that this brings and
the work is a charming delight. It is difficult to believe that this life-affirming
music was written with such difficulty by a tired man.
For this mass the choir are directed by guest conductor Jane Glover. Glover
seems to bring something extra to the performance, inspiring such joyous and
infectious music-making from choir and orchestra. Though speeds never feel
rushed, there is a liveliness and rhythmic delight in these performances missing
from the Missa Brevis.
As with the Missa Brevis, Haydn uses his soloists rather akin to a semi-chorus.
Trinity’s soloists are a young-sounding clear-voiced bunch who blend nicely
with the choir and sound appealing on their own.
In both masses the choir make a fine, clear sound. They use female altos and
sopranos and but with a clarity and fine texture which adds a suitable sophistication
to the music.
The Rebel Baroque Orchestra accompanies both masses in an infectiously crisp
fashion. My only complaint was in the matter of balance, when I felt that
in the HarmonieMesse the wind section could have been a little more prominent.
Sometimes their contribution is a little too discreet.
A fine disc particularly the wonderfully joyous account of the HarmonieMesse
from Jane Glover. I certainly hope that she and Trinity Choir will be giving
us more Haydn masses.
Robert Hugill
A fine disc particularly the wonderfully joyous account of the HarmonieMesse.