18‘Et resurrexit’ – 1:1919IV Sanctus: ‘Sanctus, sanctus, sanctus’ – 1:3620‘Pleni sunt coeli’ 0:4821V Benedictus 5:3922VI Agnus Dei: ‘Agnus Dei’ – 3:1323‘Dona nobis pacem’ 3:29TT 62:23COMPACT DISC SEVENMissa Cellensis (Hob. XXII:5) 64:10in C major • in C-Dur • en ut majeurMissa Sanctae Caeciliae1I Kyrie: ‘Kyrie eleison’ – 2:522‘Christe eleison’ – 3:213‘Kyrie eleison’ 3:024II Gloria: ‘Gloria in excelsis Deo’ – 2:555‘Laudamus te’ – 4:266‘Gratias agimus tibi’ – 2:327‘Domine Deus, Rex coelestis’ – 6:048‘Qui tollis peccata mundi’ – 5:029‘Quoniam tu solus sanctus’ – 3:2310‘Cum Sancto Spiritu’ – 0:2711‘In gloria Dei Patris’ 2:5012III Credo: ‘Credo in unum Deum’ – 3:4113‘Et incarnatus est’ – 7:2714‘Et resurrexit’ 5:0215IV Sanctus 1:3016V Benedictus 5:1317VI Agnus Dei: ‘Agnus Dei’ – 1:5918‘Dona nobis pacem’ 2:16Missa sunt bona mixta malis (Hob. XXII:2) 6:17in D minor • in d-Moll • en ré mineur19I Kyrie 2:3920II Gloria 3:37TT 70:29COMPACT DISC EIGHTMissa in honorem BVM (Hob. XXII:4) 38:17in E fl at major • in Es-Dur • en mi bémol majeurGroße Orgelmesse1I Kyrie 5:412II Gloria: ‘Gloria in excelsis Deo’ – 1:063‘Gratias agimus tibi’ – 6:044‘Quoniam tu solus sanctus’ 1:495III Credo: ‘Credo in unum Deum’ – 2:046‘Et incarnatus est’ – 4:067‘Et resurrexit’ 3:398IV Sanctus 1:569V Benedictus 6:0310VI Agnus Dei 5:4510 11
Missa Cellensis (No. 2) (Hob. XXII:8) 32:37in C major • in C-Dur • en ut majeurMariazeller Messe11I Kyrie 4:2012II Gloria: ‘Gloria in excelsis Deo’ – 1:3513‘Gratias agimus tibi’ – 5:0914‘Quoniam tu solus sanctus’ 1:5115III Credo: ‘Credo in unum Deum’ – 1:3516‘Et incarnatus est’ – 4:1317‘Et resurrexit’ 2:1318IV Sanctus 2:0619V Benedictus 5:0720VI Agnus Dei 4:22TT 70:56Susan Gritton soprano (CD 2, 5, 7 & 8)Janice Watson soprano (CD 1)Nancy Argenta soprano (CD 3 & 4)Lorna Anderson soprano (CD 6)Pamela Helen Stephen mezzo-soprano (CDs 1, 2, 3, 5, 6 & 7)Catherine Denley mezzo-soprano (CD 4)Louise Winter mezzo-soprano (CD 8)Mark Padmore tenorStephen Varcoe baritoneIan Watson organ (CD 8)Collegium Musicum 90Richard HickoxIn comparison with his contribution to thequartet, the symphony, opera and manyother genres, Haydn’s tally of fourteen massesis a small one. His musical upbringing inRohrau, Hainburg and, especially, Viennawas almost entirely within the confines of theCatholic Church with its rich tradition ofperformance and composition. A career as achurch musician would have been a perfectlynatural development for the young Haydn.In the 1750s, however, he became esteemedas an innovative composer of instrumentalmusic, and at the Esterházy court from 1761onwards circumstances ensured that he neverdeveloped a continuing career as a composerof church music. Although from 1766 Haydnwas nominally in charge of church musicat the court, Prince Nicolaus Esterházy wasnot particularly interested in promoting it,preferring instrumental music and opera(unlike his grandson, also Nicolaus, who wasto be associated with the six late masses).Nevertheless, between 1766 and 1772 Haydndid manage to compose four masses, largely,it seems, because he wanted to rather thanbecause he was required to do so: the firstHaydn: The Complete Mass EditionMissa Cellensis, the Missa sunt bona mixtamalis, the Große Orgelmesse and the MissaSancti Nicolai.When Haydn returned to Vienna in 1795from the second of his two visits to London,he resumed his duties as Kapellmeister to theEsterházy family. By 1802 he had servedthe Esterházy court for forty-one years, andthe reigning prince, Nicolaus II, was hisfourth master. Musical life of the court hadbeen at a low ebb since 1790, and becauseof the diminished interest of his employers,the court had lost its position as a leadingcultural centre in the Austrian Monarchy. Theresident opera company had been disbanded,the summer palace at Eszterháza was nolonger in use, and there was no permanentlyconstituted orchestra. Haydn was retainedas Kapellmeister, mainly out of loyalty, butalso because the Esterházy family couldrightly claim some of the glory that this nowworld-famous figure had earned. The Prince’smain cultural interest lay in amassing a largecollection of paintings (later displayed to thepublic), but he was also interested in churchmusic and re-activated the musical life of the12 13