Haydn Saint Cecilia Mass
Haydn wrote two versions of this stunning mass and both have a connection to the pilgrimage Mariazell shrine in Styria (Austria). He marks both works with ‘Zell’ - meaning 'for Mariazell'. The first version was penned in 1766 and the second in 1782. The first version of the work is known as Missa cellensis, Hob. XXII:5, the full title is Missa cellensis in honorem Beatissimae Virginis Mariae (Zell Mass in honour of the most Blessed Virgin Mary) but it is also known as the Cäcilien-Messe.
Haydn wrote two versions of this stunning mass and both have a connection to the pilgrimage Mariazell shrine in Styria (Austria). He marks both works with ‘Zell’ - meaning 'for Mariazell'. The first version was penned in 1766 and the second in 1782. The first version of the work is known as Missa cellensis, Hob. XXII:5, the full title is Missa cellensis in honorem Beatissimae Virginis Mariae (Zell Mass in honour of the most Blessed Virgin Mary) but it is also known as the Cäcilien-Messe. The second version, Missa cellensis, Hob. XXII:8, (full name Zell Missa cellensis fatta per il Signor Liebe de Kreutzner - Zell Mass made for Sir Liebe of Kreutzner), is often identified by the German name Mariazeller-Messe. It was commissioned by the officer Anton Liebe von Kreutzner on the occasion of his ennoblement for a 1782 performance at Mariazell.
The original 1766 score was lost in a fire and so Haydn recomposed the work from memory in 1773. This, no doubt, gave him a chance to reflect on his initial setting and make some alterations and expansions. Both works are in the key of C major and have the overall same instrumentation: strings, 2 oboes, 2 bassoons, and continuo. The entire mass is quite beautiful and moving. The spirit of this music is so bright, that one cannot help but feel uplifted by it! Listen and enjoy! Note that I have included two recordings here as the Lucy Crowe recording of the ‘Quonium’ is particularly beautiful. But please also enjoy the complete Richard Hickox recording of the work.
Things to listen for:
The opening ‘Kyrie’ - Note how Haydn begins the work without an orchestral introduction. He starts immediately with a canonic theme on Kyrie that builds from the basses. This is underpinned with a pulsing orchestral accompaniment which builds in his favourite ‘sunrise’ way to around [0:14]. Note how this is a somewhat similar to the opening of his Symphony No. 6 ‘Le Matin’. Listen to how with each different ‘Kyrie’ he takes the listener to a different height or emotion.
The piece really then ‘begins’ after this at [0:48] where the soprano soloist is introduced. The orchestral texture changes and a faster tempo is taken up. The music really takes off at [1:04] where Haydn brings back the full choir and adds the timpani and trumpets to dramatic effect.
In the ‘Quonium’ [Listen to second recording listed for this], we are treated to arguably some of Haydn’s most stunning vocal writing. I have chosen a separate recording of Lucy Crowe to listen to for this movement as it is so stunningly executed. We hear some quite challenging vocal gymnastics throughout with many beautiful ornaments [Note 2:43]. She is also a wonderful performer to watch.
LISTEN HERE:
Recording 1: Full Mass (Version 2) Performers: Susan Gritton, soprano; Louise Winter, alto; Mark Padmore, tenor; Stephen Varcoe, bass; Collegium Musicum 90 conducted by Richard Hickox.