Customer Reviews

Haydn: Missa in Angustiis "Nelson Mass" - Te Deum / Lott, Watkinson, M. Davies, Wilson-Johnson; Pinnock

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Everyone who knows some classical music knows Haydn for symphonies and maybe string quartets. Most singers know him for his 2 big oratorios (The Creation and The Seasons). Then there are those who have been blessed to know Haydn's late masses and especially the "Missa in Angustiis".

Here is a very mature, but piquantly creative work by Haydn. His orchestral forces (for whatever reason--it does not matter) were limited to strings, trumpets, organ and timpani. A slightly odd combination by standards of his day, where strings and woodwinds would have been more commonly used for the bulk of the orchestration. This limitation does not hinder Haydn. In fact, it seems to have stimulated his genius.

The timpani and trumpets are used deftly to add to the moods of insistence (Kyrie), rejoicing (Gloria), heraldry (Credo) and awe (Sanctus). The strings declaim, support, shout and whisper the many moods of this work. The organ appears as light breaking though clouds at climatic moments in the mass.

The scoring for chorus and soloists is ingenius in its variety. In the Kyrie the Soprano soloist and chorus bombard the heavens with pleas for mercy. The Gloria shifts moods (but not shockingly so) to a bouyant and simpler song of praise. Haydn dramatically changes keys and moods for the "Qui tollis." The opening of the Credo displays Haydn's contrapuntal skill as it is an extended Canon in 4ths. Now with the "Et incarnatus" and "Et Resurrexit" Haydn allows Romantic word-painting to direct the course of the music. The "Et Resurrexit" begins with a "rocket" (ascending up) theme that is neither trite nor expected. The Credo section completes with spirituality that is confident, graceful and genuine.

The Sanctus hearkens back to the Renaissance, yet with a hint of the martial timpani and trumpets to make it an emotionally complex movement. By the time we have arrived at the "dona nobis pacem" we have been on a musical and spiritual tour de force.

The work has many moods, operatic solos, excellent choruses, orchestral fireworks, counterpoint that a baroque master would be proud of, AND yet it all flows with the unity of a river.

I have performed this work several times (as a bass in the chorus) and listened to it many more. I have yet to tire of it. I think this is the greatest of his late masses and that is equal to the oratorios in quality. It certainly is one of Haydn's most emotionally revealing works.

The "Te Deum" is a festive and celebratory, yet sophisticated composition. It is a fitting piece to round out the recording.

The orchestral playing, and choral work are stunning. The Soprano soloist is perfectly suited to the aerial acrobatics Haydn has given her. The other soloists are fine, as well (though their parts are not as demanding as those for the soprano). Pinnock keeps everything classically balanced, while allowing the hints of the early romanticism of the time to blossom. The tempos are right. The dynamics are expressive, yet controlled. An exquisite recording of an exquisite work.

To know Haydn even partially you must hear this mass. Buy this recording of it. And if you ever have the opportunity to hear it live, do not let it pass.

This is a superb performance of the Nelsonmesse. The soloists are talented and expressive, and the choir sings with passion and precision. One can hear Haydn's understanding of the war in relation to Austria's position, but with his hope for ultimate victory. The "dona nobis pacem" is one of Haydn's best, matched by the "dona nobis pacem" of the Missa in tempore belli. The performance exploits many of the characteristics of Haydn's music that no doubt influenced Beethoven...beginning with the powerful declamatory motive of the Kyrie.

Contrary to what one reviewer said, there is nothing wrong with the Latin pronunciation on this recording. The performers use the German style of Latin pronunciation, which is appropriate for Haydn. Most historically informed performers use the German style of pronunciation for works originally performed in Germany or Austria.

I sang this work in a choir about 5 years ago, and at that time listened to all available recordings of it. In my judgement, the Pinnock is easily the best available version, though the recordings by Willcox and Marriner are also good.

Composed to celebrate Horatio Nelson's victory over Napoleon's fleet at the Battle of the Nile in 1798, this wonderful Mass is one of Haydn's greatest works -- one which places him squarely beside Mozart and Beethoven as a giant of his time.

I grew up with Bernstein's monumental, superb version of the Nelson Mass, which of course featured the full-scale New York Philharmonic. So it took me a while to adjust to Pinnock's relatively small orchestra using the scale and instruments of the Classical period.

That said, this is an incredibly thrilling disc, with terrific performances from all concerned, and is undoubtedly THE Nelson Mass to acquire and enjoy repeatedly.

Trevor Pinnock surely is one of the greatest living conductors -- everything he touches turns to gold. Even someone like me, who primarily is devoted to the sound world of Richard Strauss, Hector Berlioz and the titanic Wagner, acknowledges his immense talent and only wishes that his range extended beyond the Baroque and Classical into the Romantic and post-Romantic repertoire.

But I won't quibble with what he already has given us -- not a bit!

If you love Haydn or great choral music, buy this CD NOW.

From its omnious introduction to the raw emotional thrill at the openeing of the Gloria one is always amazed at how extraordinary is this piece of music, and how exquisitely powerful is its rendering by Mr. Pinnock. The variety of moods and musical constructs, the emotional power, the refined craft of Haydn, his zest for life, his faith, it is all there. Let us not doubt why this is perhaps the most "famous" of Haydn's mass. To this listener, this mass "in angustiis" together with the Creation and the London Symphonies represent the summits of Haydn's work. A must have recording, or one of the desert island recording that a co-reviewer suggested. To be objective, I was not as impressed with the "te deum", but then again, I cannot think of any opus that would not have suffered from trailing this excellent and excellently performed mass.

This is simply THE BEST recording of the astonishing Lord Nelson Mass ( Haydn's best one ! ) and one of the best performances of Trevor Pinock I've seen so far !!! A must-have for any sacred-music fan !

Few works in the composer's canon belie the stereotyped image of "genial Papa Haydn" than this scorchingly intense "Mass in Times of Fear" (as it is more properly known by its Latin title). It is as if all the angst Haydn seemingly worked through in his *Sturm und Drang* period revisited him with redoubled fury in his old age. Few settings of the Mass convey abject terror as effectively as this most remarkable of Haydn's sacred works. Even the scoring is unusual--strings, trumpets, timpani and organ, minus woodwind--and affords Haydn opportunities to unsettle the nerves of his listeners with unexpected outbursts of Judgment Day fury giving way suddenly to ecstatic foretastes of heavenly joy.

Given that *Missa in Angustiis* has always been one of Haydn's most celebrated works (and ever popular with amateur choirs), it is not surprising that there have been numerous recordings, many of them excellent. I still hold in affection the old monaural Vanguard recording, passionately conducted by Mario Rossi and featuring the incomparable Teresa Stich-Randall in the soaring soprano solos. Though that venerable relic has long since vanished from the scene, the vigorous and incisive Wilcocks/King's College version (originally on Argo, now available in various configurations from Decca/Universal) is still around, and worth every listener's consideration. Nor have we wanted latterly for period instrument versions: among them, either Hickox or Gardiner will prove eminently satisfactory.

One version, however, stands head and shoulders above the rest, and that is Pinnock's Archiv recording, which, after nearly two decades in circulation, continues to garner accolades from critics. Pinnock rightly keeps textures lean, rhythms mobile, motivic cells cleanly articulated. Not for an instant does he let the tension sag, even in the more meditative sections. And in the dramatic sections, with which this work abounds--such as the opening "Kyrie" with its vaulting soprano solos, the apocalyptic "Et Vitam Venturi," or the lowering "Benedictus," he throws caution to the winds and provides just that much more adrenaline than his rivals to make the experience unforgettably compelling.

It helps that Pinnock has a superb lineup of soloists (Felicity Lott nearly outshines Stich-Randall in this work --and no praise could be higher), a crack ensemble (sounding more leonine here than in its many recordings of Baroque repertoire), and an extraordinarily vivid and well-balanced recording. But the credit, in the end, must go to the conductor who energizes his forces to respond at the highest pitch of involvement throughout.

As if this were not enough, we are also given a similarly riveting account of Hadyn's late *Te Deum* setting, one of the composer's most neglected masterpieces. Its compactness tends to count against its being programmed as a major choral work. Yet it is by no means a trifle, either. Indeed, in its own way it aims as high as *Die Schöpfung*. If you have never heard this setting of the *Te Deum* you are in for a treat: not only is the piece a sublime example of Haydn's mature style, its exuberant vitality are perfectly conveyed by Pinnock and his period-instrument forces.

If this sounds like something of a rave review, then so be it. This is one of the finest recordings of sacred vocal repertoire to have come my way in a long time. Don't miss it.

Using original instruments and the original scoring though with the organ underlined with a bassoon in the tutti of the Nelson, Pinnock produces glorious performances of both works. The soloists are particularly fine in the Nelson which has both drive, beat and radiance though never over poweringly so.

Should be on your desert island list if you like vocal works of any genre.

Highly recommended!

I like this record very much. I think is a good version of the Nelson Mass with very good msicians, like Trevor Pinnock; for me, one of the bests conductors for barroque music. The singers are perfect, the orchestra too. But, I think that the choir needs more bright because we can't listening to it in some parts of the CD. Moreover, I will put a 10 to this beautiful CD.

This is musical finery: expertly tuned with tenaciously held tension, supremely well-coordinated, and incomparably beautiful from start to finish.

Haydn manages to hearken back to ancient times more than once while ensuring that the form and style remain Classical (in the 18th century sense). For instance, there are quite a few passages that are sung by the heavenly choir in octaves, including octave jumps in the melody itself.

Furthermore, these are period instruments. I have often said that I don't mind music from the Classical Era being played on modern instruments, as long as they are kept light and swift. This is one more recording that is waking up the 18th century for me using authentic instruments and techniques. For someone as picky as I am, this will only serve to complicate things. Luckily, I'm stumbling on more and more recordings that show the listener how marvelous authenticity can be.

I honestly don't want to hear any other ensemble tackle these masterpieces. Perfection.