Haydn's Masses. Nos. XIII. &XIVSource: The Musical Times and Singing Class Circular, Vol. 8, No. 188 (Oct. 1, 1858), pp. 315-316Published by: Musical Times Publications Ltd.Stable URL: http://www.jstor.org/stable/3370017 .

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THE MUSICAL TIMES.-OCTOBER 1, 1858.

THE MUSICAL TIMES, aitn? lgOiinTg lElass Eircular.

OCTOBER Ist, 1858.

HAYDN'S MASSES. Nos. XIII. & XIV.

Contributed by E. HOLMES.

IN the Masses of Haydn we meet fewer of those works which indicate limited resources of per- formance, and peculiar circumstances in their origin, than those of Mozart. The orchestras of the former are generally better appointed, and the instruments play, in his church music, a more studied and conspicuous part; now and then, however, Haydn has to contend with narrow means,-few instruments, and even unskilful per- formers,-but the spirit of music still supports him, and his genius does not succumb. The Mass in C, No. 13, for four voices and stringed instruments (without wind parts), certainly bears no signs of the pomp of festive ceremony in its style. As a service for the aid of some poor shrine, or convent not rich in performers-and these less skilled in the practice, than sensible of the feeling of music-we may probably read the true history of its humble and pious origin. Without a note of symphony, the Kyrie begins tutti piano, voices and instruments in unison :-

RAndant Ky - r- e e - lei - - son Treble. cL 4J r Alto. I , f r-- -r-f^ 1---: =

Tutti. ^ J- 1 Tenor. f' - r _ Bass. P.4/ .i f . I

T.. PKy - ri - e e - lei- - - son.

Such an opening shows at once the character of the music; devotional simplicity and elegant melody are instantly recognized by the refined ear. Thefortes of the chorus and orchestra on the same theme, with the violins accompanying in the higher octave, make an effective and even grand contrast. At the first change into G, we have, twice over, this beautiful passage piano answering aforte of four bars-

( n CS- s .

I m- -- - -_ r ,i __J- ,. ' .. i E

i y ,, . r-D ,L ml-

To our mind, this must ever remain music; it is the natural growth and development of the leading idea of the Mass-simple yet powerful, and fully enough for the interest of the hearer. The constant minuet movement of the voices is relieved from monotony by groups of triplets in the first violin, which alternate in the symphony with light and pretty bow passages in semi- quavers. There is little modulation, and no re- search of difficulty, in the composition. It seems to have been written for a young choir and or- chestra, with the special object of making the most of their powers. It will serve the same purpose still; its flowing voice parts form an ex- cellent study in taste for choirs and orchestras advancing in music.

The Gloria, in 3, Allegro, is in its kind of a more common character than the KIyrie. Con- trasts are not wanting in it-pianos and fortes are not unfrequent, but they are all choral,-no solos intervene to prolong the articulation of the words; the text moves off currently, and within moderate limits. Church style like the following may excite the smile of the connoisseur; but in its time, a century ago, probably it resounded with grandeur in many ears as the model of an imposing and brilliant chorus:-

Vio. 1.

Vio. 2.

Coro.

Viola. Bassi.

Allegro. -1p I I w 4 C do- 'O~C

1 1

Gl_- -.

(U ,1 -- [

Glo - - ri -

_v.4w .-.r. r _i- f !I -1 - I -I---I

. 1I r

~--a,dl r r r -

- -a lo - - i , =_ _

- ,Lt _L.--t I_. i 1 'J i l--- N

Coro. r - r - r b P * I ^s. @ -?^r Q ^^. =-ou

'* wi e - - lei - - son.

un and introducing, in the following forte, a melo- cu dious climax of splendid effect:- sc;

Ky - - ri- e e - lei - - son. so r'd&-~-_L~i--- -.i-- -- 1 7 ---.

! F---_ t --- o-- Coro. - -( . i - - ,- en,

I _;- _ t- 1 1 ris an Ky - - ri- e -lei - - son. th,

j his motion continued with symmetry through- it the Gloria, forms the music which aspiring nateurs delight to execute. Broad and massive, th a powerful rhythm which renders it easily iderstood, and a never-failing melody, it is cal- lated to lead on to better things. The echoing ales of the doughty first and second violins und as if in emulation, and remind us of the rd of music which in Belgian churches, on a inday morning, makes High Mass vigorous and livening. Simple chords in the voice parts, of sy intonation and melodious succession, go to

accompaniment like the following, which, ough it asks neither a Sivori nor an Ernst,

I -

F /'__ 1 -3 - I

__ a . _;

I

~

"I

r

315

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THE MUSICAL TIMES.--OcToBER 1, 1858.

orms good orchestra practice for time and pre- cision, the passages being somewhat long -

A llegro. .

Vio. 1. ' IO- - -_ -.- --., r

vio. 2. l

Viola. r - ' Bassi. Fr

a phrase of chief interest in the composition, re- peated in fresh keys with constantly increased effect. Another passage, which in its day must have been a discovery in instrumental effect-the iterated and holding notes of violins, with melo- dies beneath in contrary motion in the violoncello and viola parts-

Vio2. 1. 'r'T-- -t' ' l - I Vio. 2. o ,- - -r

vi:la. ^ r i r ri '. r _^? Bassi. L| _ - t

has been continually imitated without detriment to its beauty. The extracts here given are pro- minent features of the composition, and are treated vocally, as well as in symphony, with certain pleasure, also, to the singers, so smooth and elegant is the flow of voice parts. This Benedictus will not be easily overlooked among what is familiar in the rest of the Mass.

The .Agnus Dei, quartett, solo, and chorus, in C minor, 3, is based upon a sequence which has become of common use; but the parts are ar- ranged with art, and the whole is adapted to the solemnity of the theme. An old progression is heard with pleasure in the first tutti-

Haydn gratified the joyous spirit of youth in these sprightly excursions; he knew how essential it is to a composer to please players as well as hearers.

The Credo, in the same time and key, con- tinues the music much in the same style, tending to show that the work was expeditiously written for performance at short notice. One slow choral movement, " Et incarnatus," in A minor, is in- terposed: voices and instruments are here found in unison, and the pen of the composer scarcely stops for what is called a design; the modulation, however, is grateful, and the slow chords of the organ with the voices bring to this movement welcome repose. The " Crucifixus," in E minor, is its best part: it possesses ecclesiastical solem- nity, and a grandeur in its simplicity; while, from the little modulation hitherto heard, the changes of harmony are telling and effective. At " Et resurrexit" the theme of the Gloria is resumed.

The Sanctus, Adagio, 4, is comprised in five bars only, but of solemn choral harmony rendered admirably effective and majestic by a syncopated accompaniment of the violins. The half-close on the dominant is particularly fine, and must always excite solemn feelings.

The Pleni, Allegro, 3, is a beautiful chorus, with the melody of inspiration in its charming voice parts, and the unison shout " Hosanna," is a stroke of genius. So few notes and so much character are hardly elsewhere united, even in Haydn's happy conceptions of the musical ex- pression of this subject. From hence to the close, the music is of peculiar excellence. The quartett, Benedictus, is exquisite in its kind. Artless simplicity and tender grace pervade the melodies,ad and animate the fine voice and stringed parts of this composition; of the true music of which, the pianoforte, or even the organ, conveys but an imperfect idea. One of its chief beauties consists in the tone of the stringed instruments their dispersions of harmony and melodious pro- gression. The symphony begins in minuet time:

Vio. 1.

I e r-r r.- '. -- Viola,> /o l F; , U , t T Basso.

L - --

After the next four bars, which conclude the period, we have tils beautiful movement of parts-

Treble.

Alto.

Tenor.

Bass.

Bassi.

Mi - - se - - re -

r. Tb- J- f I t - I Ii gl:o .q [ . v". ^

I I

--v l J/ ! '- t ,.t I I I I

Mi VI- - , - - - _

t I /

' I ~ t I _t_

but the inversion in the octave,-the instrumental bass and the soprano changing places at the bass solo,-imparts to it a character of novelty. This sequence, the commonplace of Handel and Corelli in the last century, is the one idea of the piece; but each entrance of the chorus is marked by a good modulation and a strikingly-effective chord. 'The beautiful Kyrie serves again as Dona nobis, and brings the work to a close.

No. 14 is a fragment consisting only of Kyrie and Gloria, in the old Italian taste, and so an- tique that it might be the work of Pergolesi or Hasse. There are no indications in it of the German style of Haydn. However, the music is not only curious from its unconventional cha- racter, but is really good. Its choral features are often grand, and there is much agreeable melody in the frequent solos. Three movements

316 -1

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