For this, the 50th essay in this series, I would like to diverge from the tyranny of linear chronology for an hour or two and explore an interesting idea that has paid handsome dividends to me, and might do so for you, also.
1764, which we have now got to, produced one of Haydn's more interesting symphonies, No. 22, 'The Philosopher'. It is a Sinfonia da Chiesa, which, as we discussed previously, is a form, not a required venue. That said, there is no reason that a Sinfonia da Chiesa cannot be used in church, and in fact many of them were. There are a couple of features of this work that make it particularly appropriate for this context: for example, it is the only symphony known to exist by any composer which eliminates the oboes and replaces them with English Horns. For those who aren't familiar with the Cor Anglais, it is a tenor oboe which is pitched in F instead of C, so it sounds a perfect 5th lower than an oboe. Of course, this instrument is neither a horn nor is it English, but we are stuck with it, since it has been so-called since before Haydn's time! The instrument was truly an Austrian specialty, receiving more attention and use there than practically anywhere else. We have already seen it being used by Haydn in chamber music and divertimentos. It has been said that the Cor Anglais was to Haydn what the Basset Horn was to Mozart. The symphony #22 is written in E flat Major. This was a very usual key for works using Cors Anglais since it fits their range perfectly.
Now to the non-linear part. In 1767, after the death of Werner, Haydn, now responsible for masses and other sacred music too, composed a Mass that today we call the Great Organ Solo Mass, or in German, Grosse Orgelsolomesse. It is a beautiful piece of work, named for its main feature of obbligato organ solos throughout, played by Haydn himself in the original. It is mainly in E flat Major. Instead of the usual two oboes, Haydn uses two Cors Anglais. Seriously, do you think I could resist putting these two works together towards making a complete Mass? I think not! There are a variety of other works involved in choreographing a full Mass, and since Haydn didn't write in several of these genres, I reverted to some other composers. This is certainly not inauthentic, the music director in that time would have done exactly the same thing. Sacred music was freely circulated between abbeys, and between them and the various churches in the region there was no shortage of choices. And as I mentioned at one time, styles ranging from Baroque to 'Modern' were used side-by-side with no one being the least upset. So now I will make a listing of what I chose for my own, personal Missa longa of circa 1768.
Composer Work
Hasse Concerto #2 in G for Solo Organ - Allegro
Altenburg Concerto in C for 7 Trumpets & Timpani – Allegro
Haydn Hob XXII: 04 Mass in Eb 'Grosse Orgelsolomesse'
Kyrie Kyrie eleison
Gloria Gloria in excelsis Deo
Gratias agimus tibi
Quoniam tu solus sanctus
Haydn Hob I: 22 Symphony in Eb - Adagio
Hasse Concerto#2 in G for Solo Organ - Grave
Altenburg Concerto in C for 7 Trumpets & Timpani - Andante
Haydn
Credo Credo in unum Deum
Et incarnatus est
Et resurrexit
Haydn Hob I: 22 Symphony in Eb - Presto
Haydn Sanctus
Haydn Benedictus
Agnus Dei Agnus Dei
Dona nobis pacem
Communion
Haydn Hob I: 22 Symphony in Eb - Finale: Presto
Altenburg Concerto in C for 7 Trumpets & Timpani - Vivace
Hasse Concerto #2 in G for Solo Organ - Allegro assai
This could have been played/performed at any of the great abbeys or larger churches. The seven trumpets (Clarini) is an admitted extravagance which I used to please myself. Possibly the Empress was there for a visit. One can use any of several pieces for clarini & timpani, or none at all if it suits. As for the recordings used, they are pictured below. I had a variety of personal reasons for choosing just these, the only one relevant to performance is that the Hogwood symphony doesn't use harpsichord continuo, and in this case that is a good thing although not a deal breaker. Any recording you have will work. The vital pairing for the success of this listening adventure is the Mass and the Symphony.
Please give this idea a try. If you like Mass music, and you want to branch out beyond the Ordinary, this could certainly give you something interesting to think about. This music was not static, it was alive and lively, and listening to it in ways that are closer to its roots presents it in just that way.
Thanks for reading!