HAYDN: Saint Nicholas Mass; Nelson Mass – Ann Hoyt, soprano/ Luthien Brackett, alto/Kirsten Sollek, alto/ Stephen Sands, tenor/ Daniel Mutlu, tenor/ Richard Lippold, bass/ Andrew Nolen, bass/ Trinity Choir/ Rebel Baroque Orchestra/ J. Owen Burdick – Naxos

by | Jun 23, 2010 | Classical CD Reviews | 0 comments

HAYDN: Saint Nicholas Mass; Nelson Mass – Ann Hoyt, soprano/ Luthien Brackett, alto/ Kirsten Sollek, alto/ Stephen Sands, tenor/ Daniel Mutlu, tenor/ Richard Lippold, bass/ Andrew Nolen, bass/ Trinity Choir/ Rebel Baroque Orchestra/ J. Owen Burdick, conductor – Naxos 8.572123, 64:46 ****:

Haydn’s masses were nearly always conceived with the name day of Princess Marie Hermenegild in mind, mostly because it was a yearly requirement imposed on the composer by his employer, Prince Nicolaus of Esterhazy. Six of his greatest masses he composed over a six-year period until 1802. This after a long drought from religious music generally though religion was always first and foremost on the composer’s mind, even saying the rosary when inspiration was lacking. But the last masses—he composed twelve that we know of—breathe the same air as the “London” symphonies, complete with sonata-form imitations that add a consistency to the works that you do not find in other mass settings.

The so-called “Nelson” mass, named this way after it was composed (Haydn called it “Missa in augustiis”, or “Mass in time of affliction”) was the third of the great six to be written, though it is hard to find any connections with the Princess’s name day in this one. We don’t know what Haydn’s title is referring to, though there were certainly enough distressing things happening at the time to apply to it. Lord Nelson actually visited Esterhazy a few years after the mass was written, and it is possible that the name stuck because of that. Whatever the case, the work is a masterpiece of the first order, rigorously difficult for the soloists and gloriously sublime in its finally positive ending.

The Nicholas Mass was written 27 years earlier, but no one will regret making its acquaintance. It’s a fine example of a “pastoral” mass, a work that uses musical techniques to portray the birth of Christ. The musical logic is organic and simple to follow in the work, the soloist passages still somewhat tricky, and the choral passages eminently tuneful and easy to follow.

This is a cut from the Naxos complete Haydn masses box that contains performances by J. Owen Burdick and Jane Glover. I did some comparison with the John Eliot Gardiner reading of the “Nelson” mass, and even though his is a more star-studded cast, this one is easily is equal—in fact, I think I prefer it among period performances. I have not heard the lauded Chandos issues with the late Richard Hickox, though as I say they have been praised quite heavily. What I do know is that this one is cheaper, and in fact the complete set is $20 less than Chandos, which would have to be really good to top this one and its comrades. Easily recommended then as a prime choice for period instruments and this mass in particular. I won’t be shedding my sentimental favorite, Willcocks and the King’s College Choir and LSO on London (boy’s voices, for those allergic), but this is an outstanding effort by the Trinity Choir and REBEL Baroque Orchestra in wonderful acoustics.

— Steven Ritter 

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