oseph Haydn: Mass in B-flat Major, Theresienmesse

 After returning to Vienna from his second trip to England, Haydn turned to writing vocal music, including the oratorios The Creation and The Seasons. He composed less as he grew older, but his music remained an important part of concert life in Europe and America. Haydn’s Theresienmesse was first performed in 1799, probably on September 8, the Feast of Our Lady. The occasion was the name day of Princess Maria Hermenegild, the wife of the reigning Esterházy prince, Nikolaus II. This work was one of six masses Haydn composed between 1796 and 1802. The exact origin of the nickname Theresienmesse is not known; Haydn titled the work “Missa.”

The opening of the Kyrie, beginning with the chorus and continuing with the soloists, is tranquil except for one unexpected interruption. Then, almost without our realizing it, Haydn moves through multiple emotional states before returning to the opening music, restoring the initial calm.

Although Haydn sets the parts of the Gloria text for different combinations of voices, the sections are elided so that the integrity of the whole is maintained. The opening of the Gloria features intricately shaped lines that emphasize different syllables (both stressed and unstressed) in the text. A graceful line with a straightforward harmonic accompaniment introduces the alto solo (“Gratias agimus tibi”) later joined by the bass (“Domine Deus”).As the movement continues, soprano and tenor soloists enter and, almost imperceptibly, the harmony becomes more complex. At “Qui tollis,” the chorus enters; from this point to the close of the movement, soloists and chorus alternate. The first statement of the Amen is sung simply, but this is only the beginning of an extended section (about one fifth of the whole movement).

Like the Gloria, Haydn constructs the Credo as a continuous movement while highlighting specific sections of the text. Haydn’s setting of the “Et incarnatus” for soloists begins with a haunting quality that becomes more comforting as the section continues. The setting of the “Crucifixus” is riveting with the text sung by soprano, tenor, and bass, while the alto repeats“sub Pontio Pilato.” The entrance of the chorus at “Et resurrexit” is restrained until “judicare vivos.” Even here, however, the emotional intensity continues to build, reaching its full momentum at "Et vitam venturi saeculi," set imitatively in the chorus.

The gentle opening of the Sanctus expands quickly before the soloists reestablish some sense of calm. The sudden exclamation in the chorus at “Pleni sunt caeli” sets the exultant tone of the rest of the movement. The Agnus Dei opens portentously with the chorus and orchestra together. This strident opening is an introduction for the “Dona nobis pacem.” Beginning with the soloists, this section flows in triple meter, counterbalancing the earlier section with graceful lines and joyous exclamations.