|
Hob. # |
Genre |
Key |
Name |
Instruments |
|
22:8 |
Catholic Mass Missa solemnis |
C |
Second Missa Cellensis or Mariazellermesse |
S-A-T-B, Chorus, 2 Oboes, Bassoon, 2 Trumpets, Timpani, Strings & Continuo (Organ) |
In 1781, as you recall, we saw a few letters from Haydn to Artaria concerning the Twelve Lieder. Something I left out of that exchange at the time was a conversation concerning dedicating the songs to a certain 'Mademoiselle Elisabeth Clair' who was, in fact, the Prince's mistress, something which made everyone just a bit squeamish about the dedication, most especially with the Prince's wife still healthy and vigorous! In the event, the dedication went to Francisca, daughter of Anton Liebe Von Kreutzner, a military officer and well known social figure.
One can hardly appreciate the importance of Mariazeller to Viennese history without having some idea of the major position which religion played in the lives of everyone, small to great, under the rule of the Holy Roman Empire. One of the major events, which we have already seen in Haydn's earliest years, was the Pilgrimage, undertaken by nearly every Viennese, in some cases every year. Haydn took it in 1750, probably with devotional motives, but also with the aim of making friends and influencing people. Both of which he accomplished. According to Wiki, pilgrims were already making their way to the Marian sanctuary in the 12th century. Larger numbers of pilgrims are documented beginning around 1330, when a secular court imposed a Zellfahrt (Zell journey) as a means of atonement for its criminals. In the following years increasing numbers of pilgrims came from neighboring lands. After the Counter-Reformation, the Habsburgs made Mariazell a national sanctuary. However, in 1783, Emperor Joseph II dissolved the monastery in Mariazell, and in 1787, he completely banned pilgrimages there. Once again scoring a hit with the people in his particular, Josephinian way. He wasn't cold in his grave before that edict went begging, you can be assured!
Why were people pilgrimaging to this little town in the countryside? Because of a small wooden statue of Mary which is attributed with miraculous powers. Called the Magna Mater Austriae, it was (is) believed to have caused miraculous happenings ranging from simply curing disease to the more complicated granting of victory in battle. Thus, an object of devotion and hope.
So, how does the father of the dedicatee of the 12 Lieder (the one who wasn't Nicholas' mistress) tie into all this, and bring Haydn along with him? Kreutzner was approached by representatives of pilgrim groups (professional pilgrims? Why not?) and asked to arrange a mass to be composed as an offering at the Basilica. Since Kreutzner knew Haydn, may even have been friends with him, it seems natural to ask him if he wanted the commission. As we have seen already with Haydn, even the faintest whisper of a commission to write a Mass, especially one dedicated to the Blessed Virgin, was like catnip.
We saw the first mass which Haydn probably wrote as a dedication to Mary, possibly as a gift to Mariazell, although too big to perform there, the so-called First Missa Cellensis. It would be an error in judgment, however, to compare this mass to that one. The first was a Neapolitan style cantata mass. It is huge and magnificent, with arias, recitatives, big orchestra, the whole nine yards, so to speak. A much more apt comparison here would be to the nearly concurrent Missa solemnis, the Große Orgelsolomesse (Great Organ Solo Mass) of 1768. Although Haydn didn't name his masses by genus, these are both Missa solemnis, or as it was more commonly called then, Missa longa. There is no telescoping of the text of the Gloria or the Credo such as we recently saw in the Missa brevis of 1775, the Kleine Orgelsolomesse, no scrimping of the instruments either. However, one thing we see in the time period from 1768 to 1782 is the progress Haydn has made in composition. Despite being expansive, the Mariazellermesse has no fat on the bones, just meat. The orchestration is generous, but entirely appropriate to the generally vigorous and even forceful choral writing that dominates the work. The buoyant sense of celebration which typifies Haydn's Six Late Masses is structured into the fugues which conclude the Gloria, Credo and Agnus Dei. The future is hinted at most strongly with a sonata (Vivace) in the Kyrie. There is an extended aria for the soprano in the Gratias episode of the Gloria. The Benedictus has a lovely sequential phrase which brings to mind the Emperor's Hymn, written in 1797 and subsequently the Austrian (and later German) national anthem.
The Mass was first performed (is that the right word?) at the Basilica at Mariazell, and it went on to become yet another of Haydn's Greatest Hits. There is scarcely a church in Europe, even many Protestant ones, which didn't have it in their repertoire. Let us jump on the rails of the Time Train for a moment to 1790, when Haydn was embarking upon his first London journey with Salomon at his side. They stopped in Bonn, Salomon's home town, and went to Sunday mass. To Haydn's surprise, the Elector's musicians were playing none other than this selfsame Mariazellermesse. It will be noted in passing here that this was the occasion, after the mass when he was introduced to the musicians, when Haydn met Beethoven, the Elector's violist and part-time organist, for the first time. So, no ephemeral thing then, this mass. Eight years later it was still considered ideal fare at the Elector's cathedral.
As you know, I enjoy constructing plausible Mass performances from the necessary music to go with an Ordinary like this one. In closing, here is a nice playlist which provides a fuller picture of what the original performance might have been like. So much music to choose from!
Gottlieb Muffat - Toccata #5 in C
Haydn Missa Cellensis
Part 1 – Kyrie
Part 2 - Gloria
Part 3 - Credo
Mozart - Epistle Sonata #13 K. 317c in C (we can't use 317a because Haydn didn't provide us with horns)
Michael Haydn - Motet in F - Ave Maria
Haydn Missa Cellensis
Part 4 – Sanctus
Part 5 - Benedictus
Part 6 – Agnus Dei
Communion
Eberlin Toccata & Fugue #5 in C
Michael Haydn – Te Deum
Of course, this agenda is based on music I have in my library, although I tried to pick things a music lover of this genre and era would be likely to have. Look for things dedicated to Mary, or celebratory in nature, they will probably fit well together.
In any case, Haydn took good care of us yet again. You should have a listen to his masses before the Great Six, you might find something very much to your taste!
Thanks for reading!