Post by erik on Jan 27, 2024 18:30:08 GMT -5
The "father of the symphony", Franz Joseph Haydn, is in this week's Classical Albums Spotlight with a 1973 recording of his final setting of the Latin Mass.
Haydn: MASS NO. 14 IN B FLAT MAJOR (HARMONIEMESSE)
Soprano: JUDITH BLEGGEN
Mezzo-Soprano: FREDERICA VON STADE
Tenor: KENNETH RIEGEL
Bass: SIMON ESTES
Westminster Choir
New York Philharmonic Orchestra/LEONARD BERNSTEIN (CBS)
The last twelve years of the compositional career of Franz Joseph Haydn were about as productive as that of any composer who ever lived. Between 1790 and 1802, the “Father Of The Symphony” composed all of his final twelve symphonies, for the impresario Johann Peter von Solomon’s London concerts, the ultra-popular Trumpet Concerto, and the Sinfonia-Concertante for cello, violin, oboe, and bassoon. He then proceeded to work on two massive oratorios, “The Seasons” and “The Creation”, whose scope might have killed any other composer. But he also fulfilled his obligations to his old employers at the Esterhazy court with his final six settings of the Latin Mass.
The most popular of these final six settings is the very last one, the Mass No. 14 In B Flat Major. At a length of 45 minutes, it is a fairly imposing setting, with some of the most elaborate orchestral writing of Haydn’s career, as well as occasional modulations from B Flat Major to G Flat Major in the Kyrie section. The vocal soloists and choir also have some fairly challenging passages on their own parts in each of the sections. In German-speaking lands, the Mass is known as the Harmoniemesse, or “Harmony Mass”, and also the “Wind Band Mass”, because Haydn placed a far greater emphasis on the wind instruments than on any of his other Latin Mass settings. And the final “Agnus Dei” section plays homage to the Adagio of Haydn’s Symphony No. 98, and the Coronation Mass (#16) of the composer’s dearly departed contemporary Mozart.
Leonard Bernstein was arguably the most wide-ranging conductor in music history, known for his interpretations of Beethoven, Mahler, and his contemporary Aaron Copland. He was also very keen on Haydn, and this extended to his choral works. This is best exemplified by the recording he made in February 1973 with his New York Philharmonic, the Westminster Choir, and a quartet of soloists that included the soon-to-be superstar mezzo-soprano Frederica von Stade. The huge solemn opening Kyrie, in particular, is rendered quite well by all concerned; and that, to my mind, makes this version of the Harmony Mass the one to own (the 1992 Bernstein Royal Edition CD includes this work on a 2-CD set that includes Bernstein’s 1966 recording of “The Creation”).
Haydn: MASS NO. 14 IN B FLAT MAJOR (HARMONIEMESSE)
Soprano: JUDITH BLEGGEN
Mezzo-Soprano: FREDERICA VON STADE
Tenor: KENNETH RIEGEL
Bass: SIMON ESTES
Westminster Choir
New York Philharmonic Orchestra/LEONARD BERNSTEIN (CBS)
The last twelve years of the compositional career of Franz Joseph Haydn were about as productive as that of any composer who ever lived. Between 1790 and 1802, the “Father Of The Symphony” composed all of his final twelve symphonies, for the impresario Johann Peter von Solomon’s London concerts, the ultra-popular Trumpet Concerto, and the Sinfonia-Concertante for cello, violin, oboe, and bassoon. He then proceeded to work on two massive oratorios, “The Seasons” and “The Creation”, whose scope might have killed any other composer. But he also fulfilled his obligations to his old employers at the Esterhazy court with his final six settings of the Latin Mass.
The most popular of these final six settings is the very last one, the Mass No. 14 In B Flat Major. At a length of 45 minutes, it is a fairly imposing setting, with some of the most elaborate orchestral writing of Haydn’s career, as well as occasional modulations from B Flat Major to G Flat Major in the Kyrie section. The vocal soloists and choir also have some fairly challenging passages on their own parts in each of the sections. In German-speaking lands, the Mass is known as the Harmoniemesse, or “Harmony Mass”, and also the “Wind Band Mass”, because Haydn placed a far greater emphasis on the wind instruments than on any of his other Latin Mass settings. And the final “Agnus Dei” section plays homage to the Adagio of Haydn’s Symphony No. 98, and the Coronation Mass (#16) of the composer’s dearly departed contemporary Mozart.
Leonard Bernstein was arguably the most wide-ranging conductor in music history, known for his interpretations of Beethoven, Mahler, and his contemporary Aaron Copland. He was also very keen on Haydn, and this extended to his choral works. This is best exemplified by the recording he made in February 1973 with his New York Philharmonic, the Westminster Choir, and a quartet of soloists that included the soon-to-be superstar mezzo-soprano Frederica von Stade. The huge solemn opening Kyrie, in particular, is rendered quite well by all concerned; and that, to my mind, makes this version of the Harmony Mass the one to own (the 1992 Bernstein Royal Edition CD includes this work on a 2-CD set that includes Bernstein’s 1966 recording of “The Creation”).