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COMPOSERHAYDN, JOSEPH
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ORCHESTRA / ENSEMBLETrinity Choir, Rebel Baroque Orchestra
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PERFORMERBurdick, Glover, Hoyt, Liston, Lippold, Palmer, Faia, Sollek
Haydn: Masses, Vol. 6 / Burdick, Glover, Rebel, Trinity Choir
Regular price
$13.99
Sale price
$19.99
Unit price
per
- Naxos
- December 14, 2010
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RELEASE DATEDecember 14, 2010
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UPC747313212675
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CATALOG NUMBER8572126
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LABELNaxos
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NUMBER OF DISCS1
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GENRE
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Kyrie
Composer: Franz Joseph Haydn
Ensemble: New York Trinity Church Choir, REBEL Baroque Orchestra
Performer: Ann Hoyt, Julie Liston
Conductor: Owen Burdick
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Gloria
Composer: Franz Joseph Haydn
Ensemble: New York Trinity Church Choir, REBEL Baroque Orchestra
Performer: Ann Hoyt, Julie Liston, Richard Lippold
Conductor: Owen Burdick
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Credo
Composer: Franz Joseph Haydn
Ensemble: New York Trinity Church Choir, REBEL Baroque Orchestra
Performer: Richard Lippold
Conductor: Owen Burdick
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Sanctus
Composer: Franz Joseph Haydn
Ensemble: New York Trinity Church Choir, REBEL Baroque Orchestra
Performer: Ann Hoyt, Julie Liston
Conductor: Owen Burdick
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Benedictus
Composer: Franz Joseph Haydn
Ensemble: New York Trinity Church Choir, REBEL Baroque Orchestra
Performer: Ann Hoyt, Julie Liston
Conductor: Owen Burdick
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Agnus Dei: Agnus Dei
Composer: Franz Joseph Haydn
Ensemble: New York Trinity Church Choir, REBEL Baroque Orchestra
Conductor: Owen Burdick
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Agnus Dei: Dona nobis pacem
Composer: Franz Joseph Haydn
Ensemble: New York Trinity Church Choir, REBEL Baroque Orchestra
Performer: Ann Hoyt, Julie Liston
Conductor: Owen Burdick
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Kyrie
Composer: Franz Joseph Haydn
Ensemble: New York Trinity Church Choir, REBEL Baroque Orchestra
Performer: Nacole Palmer, Kirsten Sollek, Daniel Mutlu, Andrew Nolen
Conductor: Jane Glover
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Gloria: Gloria in excelsis Deo
Composer: Franz Joseph Haydn
Ensemble: New York Trinity Church Choir, REBEL Baroque Orchestra
Performer: Nacole Palmer
Conductor: Jane Glover
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Gloria: Gratias agimus tibi
Composer: Franz Joseph Haydn
Ensemble: New York Trinity Church Choir, REBEL Baroque Orchestra
Performer: Nacole Palmer, Kirsten Sollek, Daniel Mutlu, Andrew Nolen
Conductor: Jane Glover
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Gloria: Quoniam tu solus sanctus
Composer: Franz Joseph Haydn
Ensemble: New York Trinity Church Choir, REBEL Baroque Orchestra
Performer: Nacole Palmer, Kirsten Sollek, Daniel Mutlu, Andrew Nolen
Conductor: Jane Glover
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Credo: Credo in unum Deum
Composer: Franz Joseph Haydn
Ensemble: New York Trinity Church Choir, REBEL Baroque Orchestra
Performer: Daniel Mutlu, Andrew Nolen
Conductor: Jane Glover
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Credo: Et incarnatus est
Composer: Franz Joseph Haydn
Ensemble: New York Trinity Church Choir, REBEL Baroque Orchestra
Performer: Nacole Palmer, Kirsten Sollek, Daniel Mutlu, Andrew Nolen
Conductor: Jane Glover
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Credo: Et resurrexit
Composer: Franz Joseph Haydn
Ensemble: New York Trinity Church Choir, REBEL Baroque Orchestra
Conductor: Jane Glover
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Credo: Et vitam venturi
Composer: Franz Joseph Haydn
Ensemble: New York Trinity Church Choir, REBEL Baroque Orchestra
Performer: Nacole Palmer, Nina Faia, Kirsten Sollek, Matthew Hensrud, Daniel Mutlu, Andrew Nolen
Conductor: Jane Glover
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Sanctus
Composer: Franz Joseph Haydn
Ensemble: New York Trinity Church Choir, REBEL Baroque Orchestra
Performer: Nacole Palmer, Kirsten Sollek, Daniel Mutlu, Andrew Nolen
Conductor: Jane Glover
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Benedictus
Composer: Franz Joseph Haydn
Ensemble: New York Trinity Church Choir, REBEL Baroque Orchestra
Performer: Nacole Palmer, Kirsten Sollek, Daniel Mutlu, Andrew Nolen
Conductor: Jane Glover
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Agnus Dei: Agnus Dei
Composer: Franz Joseph Haydn
Ensemble: REBEL Baroque Orchestra
Performer: Nacole Palmer, Kirsten Sollek, Daniel Mutlu, Andrew Nolen
Conductor: Jane Glover
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Agnus Dei: Dona nobis pacem
Composer: Franz Joseph Haydn
Ensemble: New York Trinity Church Choir, REBEL Baroque Orchestra
Performer: Nacole Palmer, Kirsten Sollek, Daniel Mutlu, Andrew Nolen
Conductor: Jane Glover
Featuring ⌄
Product Details ⌄
Works ⌄
Exceptionally elegant performances from a first rate band of musicians.
Although it is for his instrumental music, primarily symphonies, string quartets and works for solo piano that Josef Haydn is most known, he was quite given to writing for voices and left behind a sizeable output of operas, twelve authenticated masses and numerous other settings of sacred texts for choir, soloists and orchestra. This program gives us his first and last words in the mass genre, one by an exuberant boy of seventeen the other by a tired and weary old man, although one could never discern the composer’s fatigue by listening to the music.
The Missa Brevis in F is a little gem of economy, with Haydn sailing through the wordy Credo in under three minutes, a feat he accomplished by stacking phrases of the text on top of one another and distributing them throughout the voice parts. The unusual scoring for only two solo voices, both sopranos might have been a vehicle for he and his brother Michael, though it does stretch belief a bit to think of a seventeen year old with an unchanged voice.
The Harmoniemesse is one of Haydn’s final works, written for the birthday celebrations of the Esterhazy Princess in 1802. The composer soon took his leave of the Esterhazy family after decades of service and although he lived another seven years, he did little composing after this period. There is no evidence in this joyful and exuberant mass that Haydn was at all ill. In fact, his later masses have been criticized over the years for their joyous optimism, and sometimes overly upbeat settings of the more reflective and serious parts of the texts. Be that as it may, this is a masterpiece, beautifully augmented by the full complement of wind instruments that give the mass its nickname of “harmonie.”
These are performances of divinely understated elegance. Singing from the choir is dead in tune and beautifully balanced. Phrases are splendidly shaped and tempo choices are spot on. The Trinity Choir is full of fine soloists, and there is some magnificent singing from sopranos Ann Hoyt and Julie Liston is the Missa Brevis. The Rebel Baroque Orchestra is a tight band of precision players. The clarity of their playing, especially in fast passages is without flaw. The one and only defect in this production is the lack of texts and translations in the booklet. The program notes are informative and interesting and not loaded with blow by blow descriptions of the music.
These are performances of almost text-book perfection and will be a delight to any lover of choral music. With really nothing to criticize, I can say nothing more but go add this fine recording to your library.
-- Kevin Sutton, MusicWeb International
Although it is for his instrumental music, primarily symphonies, string quartets and works for solo piano that Josef Haydn is most known, he was quite given to writing for voices and left behind a sizeable output of operas, twelve authenticated masses and numerous other settings of sacred texts for choir, soloists and orchestra. This program gives us his first and last words in the mass genre, one by an exuberant boy of seventeen the other by a tired and weary old man, although one could never discern the composer’s fatigue by listening to the music.
The Missa Brevis in F is a little gem of economy, with Haydn sailing through the wordy Credo in under three minutes, a feat he accomplished by stacking phrases of the text on top of one another and distributing them throughout the voice parts. The unusual scoring for only two solo voices, both sopranos might have been a vehicle for he and his brother Michael, though it does stretch belief a bit to think of a seventeen year old with an unchanged voice.
The Harmoniemesse is one of Haydn’s final works, written for the birthday celebrations of the Esterhazy Princess in 1802. The composer soon took his leave of the Esterhazy family after decades of service and although he lived another seven years, he did little composing after this period. There is no evidence in this joyful and exuberant mass that Haydn was at all ill. In fact, his later masses have been criticized over the years for their joyous optimism, and sometimes overly upbeat settings of the more reflective and serious parts of the texts. Be that as it may, this is a masterpiece, beautifully augmented by the full complement of wind instruments that give the mass its nickname of “harmonie.”
These are performances of divinely understated elegance. Singing from the choir is dead in tune and beautifully balanced. Phrases are splendidly shaped and tempo choices are spot on. The Trinity Choir is full of fine soloists, and there is some magnificent singing from sopranos Ann Hoyt and Julie Liston is the Missa Brevis. The Rebel Baroque Orchestra is a tight band of precision players. The clarity of their playing, especially in fast passages is without flaw. The one and only defect in this production is the lack of texts and translations in the booklet. The program notes are informative and interesting and not loaded with blow by blow descriptions of the music.
These are performances of almost text-book perfection and will be a delight to any lover of choral music. With really nothing to criticize, I can say nothing more but go add this fine recording to your library.
-- Kevin Sutton, MusicWeb International
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