Haydn's Choral Works

Missa Brevis

• early 1750's
• Hob. XXII:1
• written for:
• two boy-soprano soloists
• four-part choir
• orchestra
• two violins
• basso continuo
• organ
• cellos
• basses
• the melodic writing for the strings shows a florid quality similar to that in many of the trios
• no orchestral preludes or postludes
• in the Gloria and Credo the soloists and choir sing as many as three different texts simultaneously
• only in the Benedictus is any musical expansion allowed
• the conclusion, Dona nobis pacem, uses the same material as the opening Kyrie

Missa Cellensis

• 1766
• Hob. XXII:5
• written to show gratitude to Prince Nikolaus Esterházy when Haydn succeeded Werner
• long "number" mass
• the three parts of the Kyrie use the same material
• Haydn borrowed material from one of his own operas
• various phrases of the text of the Credo and Gloria are set as separate musical movements
• composed in a variety of styles
• a "learned" fugue in the Gratias
• the operatic-style aria for soprano in the Laudamus Te

Applausus

• 1768
• a cantata on the Latin text "Applausus"
• written in celebration of the 50th anniversary of the Abbot of Zwettl's taking his vows
• consists of elaborate arias and recitatives in the "long-winded" style of the most formal opera or oratorio

Il ritorno di Tobia

• 1775
• oratorio
• completely in the Metastasio libretto tradition
• reducing action in favor of moralizing
• placing whatever action there was in accompanied recitative.
• the Italian oratorio tradition dictated that
• the work consist of a sequence of arias and recitatives
• with a chorus to open and close
• nine years later Haydn revised the work
• shortening some numbers
• adding choruses
• there is little difference in this work and the old opera seria
• immensely long arias
• vocal coloratura
• rich in orchestration
• introductory ritornellos are in proportion

The Creation

• 1798
• oratorio
• libretto adapted by Baron van Swieten
• probably the greatest oratorio of the last half of the 18th century
• in many ways Haydn's single most significant work
• the music cost Haydn much pain-staking planning and work
• the opening "Chaos" scene constitutes some of the most original and powerful pages in the history of Western music
• extends the reach of 18th-century harmony
• extension of nonharmonic tones
• constant chromatic movement in the voices
• interruption of movement to cadence
• diminished harmony

The Seasons (Die Jahreszeiten)

• 1801
• oratorio
• a libretto by Baron van Swieten
• a very frustrating collaboration for Haydn
• matches "The Creation" in every respect
• probably Haydn's richest score
• it is about people
• affected by the weather
• the ploughing
• the harvest
• the drinking and dancing
• the hunt and the kill
• all the activities that measure the span of man's life in full touch with nature
• the sounds of nature which Haydn incorporates are evoked by musical means
• as natural and significant as any trick of counterpoint, any shade of harmony, or any device of structure

Haydn's Late Masses

In his old age, his active reemployment by his fourth prince (Esterházy) required him to write a Mass for the nameday of the Princess Marie Hermenegild.  Six works resulted from this duty which display varying enthusiasm on the part of Haydn.  There are pages in these works which seem to go through the motions with little inspiration evident.

Mass in Time of War (Missa in tempore belli)

• 1796
• also known as "Paukenmesse" because of the prominent part for timpani

Heiligmesse (Missa St. Bernardi von Offida)

• 1796

Mass for Troubled Times (Missa in angustiis - "Nelson" Mass)

• 1798
• it is evident from the outset that the composer is completely involved with strikingly original results
• the setting of the solo soprano against the choir in the Kyrie is shockingly brilliant
• the orchestration of strings and brass, without woodwinds, contributes to its effectiveness
• it is believed that the unexpected fanfare of trumpets in the Benedictus was inserted when Haydn heard of Nelson's victory over Napoleon in the Battle of the Nile

Theresienmesse

• 1799
• The empress of Austria, Maria Theresa, may have sung this work in performance
• this mass steps back from the brilliance of the "Nelson" to be quiet and introspective

The Creation Mass (Schöpfungsmesse)

• 1801
• so called because of a quotation from "The Creation"
• his last two masses both contain melodic material that is original and strikingly beautiful and the textures are carefully worked out to the last detail

Wind-Band Mass (Harmoniemesse)

• 1802
• so called because of the importance of the wind writing in it
• contains melodic material that is original and strikingly beautiful
• and the textures are carefully worked out to the last detail