Missa brevis in F major (Hob 22:1)
The other earliest work, along with the previously discussed Missa 'Rorate coeli desuper', is this little Mass in F major. Unlike the Mass in G, though, this one was apparently popular from the very beginning, and parts were distributed widely throughout German-speaking Catholic countries. Haydn, himself, apparently forgot about it soon after entering it into the Entwurf Katalog, and didn’t rediscover it for himself until nearly 40 years later when he was going through the stacks of personal papers accumulated during his lifetime and ran across the autograph!
In mid 1750, Haydn joined in a longstanding Viennese tradition of a pilgrimage to a shrine to Mary at Mariazell. It is highly likely that he was in company of a group from St Stephens, since according to both Griesinger and Dies he introduced himself to the Choirmaster as ‘Haydn from the Capellhaus…’. Apparently he sang with the choir there and made a good impression, since he was asked to stay on for a week. One of the compositions that he showed and which was probably played was this Mass in F. It is a very agreeable work that could be performed by most church ensembles of the time, having parts for a 4 part choir and the typical instrumental group of 2 violins, basso (cello etc) and organ. The one thing that sets it apart in this regard is that there are also parts for 2 soloists, both sopranos. It is very generally believed that Haydn composed this work the year previous for his brother, Michael, as first soprano and himself as second.
Fifty years later, when Haydn rediscovered it, one would like to suppose what made him prepare it for publication. Was it nostalgia for the wonderful times he spent as a chorister with his brother in the magnificent church? Or the recognition of the actual piece that seemed to have many of the characteristics that would make him famous? In any case, he did add winds, more strings and voices, and essentially attempt to bring it up-to-date. But the original, somewhat naïve 11 minute mass is great just as it is. There are a few recordings of the original version, the Hickox set noted above has it, and so does this one with the Academy of Ancient Music led by Simon Preston.
But I like this recording by the Rebel Baroque Orchestra / Burdick because it is wonderfully done, and also because it contains the only recording that I’ve found of the 1805 orchestrated version. A great chance to compare the two and draw your own conclusions.
Next time, I would like to talk a bit about a topic of great interest to me, one which goes along very nicely with Haydn, but is not specifically about him. Yet.
Thanks for reading!