Customer Reviews

Haydn: Six Great Masses

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I am not an unabashed supporter of John Gardiner and his period style with choral music from the Baroque, Classical and Romantic periods. I enjoyed his versions of the Beethoven "Missa Solemnis" and Verdi "Requiem Mass" but did not enjoy his traversal of the Bach cantatas or Haydn's "Creation". This split decision left me wondering if purchasing this set would be wise.

Turns out it was very wise, indeed, for these are startlingly good performances of Haydn's "Big Six" masses -- the Harmony, Helig, Nelson, Creation, Theresa and Pauken (or kettledrum) masses. In these three disks, Gardiner, a group of now well-known soloists, the Monteverdi Choir and English Baroque Soloists acquit themselves well across the board.

There is no mention in the notes or on the sleeve whether or not the soloists use period inmstruments. The strings sound good, not wiry as is often the case with period instruments. The singers consistently use vibrato.

The English notes to this set describe the history of creation of each mass and describe their musical progressions. There are no notes about the performers and arty pictures of Gardiner grace the front panel of cover of the booklet.

I think it is reasonable to call this a new millennium update of the famous Decca-London set from the 1960s by performers including Simon Preston and George Guest. Spiritually, the newer set is a natural upgrade informed by period style -- if not always performed in same -- and produced in 21st century DDD sound. The singers and orchestral members all perform wonderfully and Gardiner's direction is always appropriate with that little bit of reserve always apparent that separates the temperament of Haydn from that of Beethoven.

While there is no question this is a five star offering, I nevertheless have a few minor quibbles with it. The recordings are tastefully produced in modern natural style, which places the singers and chorus equidistant. I would have appreciated a bit more forward placement for the singers.

In addition, I would argue that the pronunciation of the Latin words suscipe and excelsis are incorrect. There are several ways to say suscipe and Gardiner apparently has chosen su-she-pay. I would argue su-see-pay is correct. The choristers and solosits regularly say eck-shell-sis instead of the correct eck-sell-sis, also. Finally, I would have appreciated a bit more embellishment of the timpani in the closing pages of the "kettledrum" mass. It is, after all, named after the instrument!

But these are minor reservations in a set that has all the qualities to be a classic for this age and hold steadfast in the top rung of Haydn masses for another quarter-century. Compared to the version I have heard by Richard Hickox, I would say this set is clearly superior in all ways. I heartily recommend this nicely-priced three disk set to anyone that wants to discover -- or rediscover -- the glories of Haydn's late masses.

Your ideas concerning the pronunciation of the latin refer to the German pronunciation of the text. Gardiner chose to utilize the Italianate pronunciation, which is certainly not "incorrect." The Italianate pronunciation is typically used in the Roman Catholic Mass, and these are most certainly Masses. Just wanted to clear that up.

In terms of the recording, I too shared some reservations, as I've been enamoured with Gardiner's rendition of the Verdi Requiem (though I think Abbado, on EMI, is more intense, and his soloists are superb), and extremely disappointed with his "performance" of Bach's St. Matthew Passion (that one seemed like he really had to use the bathroom, and wanted to wrap things up ASAP). However, this is quite a fine recording. The soloists are excellent, tempi are nice and brisk (though not rushed, as has often been the case in other Gardiner recordings), and it's great to have these six wonderful Masses together in one set. Though Bach's B minor Mass is THE supreme liturgical work, these Haydn creations are nothing short of extraordinary.

Returning to these masses after nearly a five year gap, I was astounded at how wonderful they are - this is trully ecstatic music but also at the same time playful joyful and just full of the joy of being. And, Gardiner simply attacks the music bringing out the wonderful orchestration. In my view, Haydn surpasses Mozart in this music (leaving aside the Da Ponte operas, of course). I used to have favourites of these masses and to some extent some I love more than others but they all musically spell out the joys and giftedness of being. What an extraordinary way for Haydn to end his career, right at the top!

True story: as soon as I started to listen to the Kyrie of the Paukenmesse, I leapt over to the box and checked the date: it said 2002. I was mystified. I had thought I was back in the mid-1980s listening to Period Practice Gen I in all of its bloodless horror. The English Baroque Soloists - such as they are - can't seem to get that 'squeeze-box' style out of their heads - or perhaps the time-lag should be attributed to the conductor. When combined with the near vibrato-less timbre of the soprano Joanne Lunn, it makes for thin gruel indeed. Round the period-practice mulberry bush we go again - for the good times and the big hair-dos.

These masterpieces have been performed elsewhere with more humanity and better alignment to the liturgy itself than these brightly arid recordings. All conductors, being human - and there are exceptions to this maxim - have limitations. In Gardiner's case, humour is not his forte, hence his near unlistenable performance of the Seasons Joseph Haydn: Die Jahreszeiten; if you look above your head at night, you might see my old copy - the Aussie Sputnik - floating around aimlessly as space-junk. To be fair, Jeggy's etherealisation of the six masses is subtly done but ethereal all the same. In doing so, he effectively castrates these works since humour and a feel for "the good earth" are wellsprings of Haydn's faith. And is it too much to ask for a Mass to be somewhat . . . . numinous? Percy Grainger it ain't (so take off that terry towelling suit, Jeggy).

For instance, compare Gardiner's version of the Benedictus & the Agnus Dei in the Schopfungsmesse with the classic account with Guest (Masses). If you restrict your analysis to energy, (clipped) phrasing and bounce, Jeggy works fine enough: just don't expect anything more of it, let alone 'dona nobis pacem'.

If you are a 1985 Die Hard, emotionally reticent or you prefer a choral work not to invoke "other domains" these could be the performances for you. Accordingly stay away from the Guest above or the Weil Six Late Masses.

Haydn: 6 Great Masses

In Japan there are limited selections of Haydn's Masses CDs available at CD shop. As a member of a choir now practicing Nelson Mass, I wanted to have Garniner's one, since I have enjoyed Gardiner's performance with Monteverdi Choir of Beethoven's C major Mass. I'm satisfied with my selection.

I've listened to these particular performances of Haydns masses many times, at first I loved it. The masses sound grand and while it's fun at first it gets old. Many of the masses just sound the same, grand with trumpets, drums, yelling and lots of energy. There is not very many beautiful moments that you hear in other masses by other composers. Also, there is just too many weird surprises and changes in the music, one moment it will sound beautiful then there is a sudden change and it sounds grand and you lose the beatiful melody forever. I don't think it's the performers fault but the composers. I have other performances of music by Gardiner and they're good. I guess you will enjoy this better if you just take it one mass at a time, too much will just wear you out.

If you're just looking for lots of energy and a grand experiance you will like this. If you want something beautiful stay away, you're better off just buying a couple of the masses. Now you have another opinion.