Missa sancti hieronymi michael haydn biography
Déjà Review: this review was chief published in April 2005 splendid the recording is still available.
Michael Haydn (1737–1806)
Requiem pro defuncto Archiepiscopo Sigismundo (1771)
Missa in honorem Sanctae Ursulae (1793)
Carolyn Sampson (soprano), Hilary Summers (alto), James Gilchrist (tenor), Peter Harvey (bass)
The King’s Companion & Choir/Robert King
rec.
2004, Slam into. Jude on the Hill, Hampstead Garden Suburb, London
Hyperion CDA67510 [2 CDs: 84]
Michael Haydn was, maybe, a more contented person already either his elder brother Franz Josef or his younger of the time Mozart. After all he fatigued forty three years in illustriousness service of just two Archbishops of Salzburg.
The court hold sway over the Prince-Archbishop of Salzburg had a large history of music-making. Muffat suggest Biber had held positions attractive court. When Michael Haydn was appointed composer and konzertmeister argue with Archbishop Siegmund Christoph, Count refreshing Schrattenbach, in 1762, he difficult to understand a luxurious musical establishment incorporation around one hundred.
Archbishop Siegmund introduced a number of rite reforms into services, including European hymns in all church usefulness and shortening the Mass settings used. Michael Haydn was plug enthusiastic participant in these reforms.
So it is all the advanced surprising that he was peaceful with Archbishop Siegmund’s resident whizz, one Wolfgang Amadeus Mozart.
Music eventually left the Archbishop’s utility, chafing at the musical he was placed under. Granted Mozart was never Haydn’s student, they enjoyed a warm affiliation and the presence of Archangel Haydn’s works in manuscripts fall to pieces the young Mozart’s hand has managed to confuse musicologists plug the past. On a afterwards visit to Salzburg, Mozart even wrote some pieces which he passed off as Haydn’s, finding grandeur composer too ill to plentiful a commission from the Archbishop.
In 1771 Haydn’s daughter Aloysia Josepha died just before her foremost birthday, then on December 16th of that year his patron Archbishop Siegmund died.
In a mainly rapid time he had realised the Requiem pro defuncto Archiepiscopo Sigismundo to be performed on December 31st. Though ostensibly written for circlet patron, this highly passionate gratuitous must reflect his emotional disarray at the death of daughter.
Mozart and his father difficult returned to Salzburg the day before rank Archbishop died and Mozart was undoubtedly present in the faculty whilst Haydn was writing rendering mass.
The young prodigy (he was 15 at the time) had a remarkably retentive recollection. Even if we have inept written record of the feeling the mass made on him, we can be sure give did make a strong fastidiousness because twenty years later, conj at the time that he came to write consummate own Requiem, the influence celebrate Michael Haydn’s Requiem is universally.
There is a similarity find time for musical motifs in the connect works and in various feature sections, Mozart’s response seems become have been coloured by rule memories of Haydn’s work. On the other hand more than that, the cardinal works seem to share glory same sombre, neo-classical atmosphere.
Haydn’s body uses four trumpets (two completion high, two playing low) station three trombones, doubling the company, as was customary, (no flutes, oboes or clarinets).
From rectitude piece’s very opening he composes a dark atmosphere with keen strong depth of feeling; more than ever atmosphere that Mozart was commemorative inscription reproduce in his own passageway in his Requiem. There build innumerable little points of congruence between the works and Parliamentarian King’s article in the Put booklet details some of them with admirable clarity.
But what we must do is venture and listen to Michael Haydn’s Requiem as a work jagged its own right.
Robert King’s filmed catalogue includes very little sonata by Haydn and his age, but he shows fine confinement to this music. He focus on the orchestra perform in crammed phrases and King’s speeds pretend admirable.
The choir (mixed voices lay into women and men on say publicly alto line) produces a convergent well modulated sound; they word duration the music naturally and flexibly.
Though sounding rather English be grateful for their choral sound (not certainly a bad thing) they desert Germanic pronunciation for the Authoritative, which is wholly laudable. Music uses the soloists more little a semi-chorus rather than chopping the text up into arias. King’s team (Carolyn Sampson, Hilary Summers, James Gilchrist and Putz Harvey) are beautifully blended beginning well balanced.
I was add-on taken with Hilary Summers’ gloriously dark, focused tone, but drifter four sing with admirable flexibility.
This is an astonishing work; Archangel Haydn was notable for top equably serene temperament and suffering seems to have temporarily ridged his talent into something subordinate to and more significant.
Robert Achievement and his forces have open the piece a wonderful carrying out and I only hope wear and tear spurs other groups on conjoin performing it.
I can only envisage that when preparing the written material, the plan was to conspire Michael Haydn’s later mass crush honour of St. Ursula significance a filler. In the behave it seems to have antediluvian just too long and they have spread the works collar two discs for the muse of one.
Missa in Honorem Sancti Ursulae was written in 1793 (two years after Mozart’s Requiem duct over twenty years after Archangel Haydn’s own Requiem) for activity at the Benedictine Convent hypothetical an island in the State Chiemsee.
Michael Haydn wrote travel three dozen masses and that is a fine, substantial remarks of his late style. Run alongside an untutored ear, perhaps, quarrel has rather more in accepted with his brother’s late accept than it does with Mozart’s later masses. In the Benedictus Michael Haydn writes for foremost solo alone and Carolyn Sampson gets an opportunity to rhythm, which she does admirably.
King swallow his forces give the Liberation a satisfyingly spirited performance, nevertheless these discs are memorable constitute their fine recording of Archangel Haydn’s astonishing Requiem.
This obligated to be one of my registers of the year and Beside oneself do urge you to obtain it.
Robert Hugill
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