|Mass by Joseph Haydn|
|Vocal||SATB choir and soloists|
The Harmoniemesse in B-flat major by Joseph Haydn, Hob. XXII:14, Novello 6, was written in 1802. It was Haydn's last major work. It is because of the prominence of the winds in this mass and "the German terminology for a kind of wind ensemble, Harmonie," that this mass setting is called "Harmoniemesse" or "Wind Band Mass". Besides flute, 2 oboes, 2 clarinets, 2 bassoons, 2 horns in B-flat, 2 trumpets in B-flat, the mass also calls for choir, timpani, strings, and organ, the latter supplying figured bass for most of the duration.
The setting is divided into six movements.
- Kyrie Poco Adagio, B-flat major, 3/4
- Gloria Vivace assai, B-flat major, common time
- "Gratias agimus" Allegretto, E-flat major, 3/8
- "Quoniam tu solus sanctus" Allegro spiritoso, common time, B-flat major
- Credo Vivace, B-flat major, common time
- "Et incarnatus est" Adagio, E-flat major, 3/4
- "Et resurrexit" Vivace, B-flat major, common time
- "Et vitam venturi" Vivace, 6/8
- Sanctus Adagio, B-flat major, 3/4
- Benedictus Molto Allegro, F major, common time
- "Osanna" 3/4, B-flat major
- Agnus Dei Adagio, G major, 3/4
- "Dona nobis pacem" Allegro con spirito, B-flat major, cut time
The Kyrie has "the most striking 'introductory' shock in Haydn's late vocal music ... a rather long orchestral introduction ... [with] unceasing contrasts between soft and loud, and the unexpected entry of G-flat, the flat submediant, in the fifth bar." The Agnus Dei makes reference both to the Adagio of Symphony No. 98 and to Mozart's Coronation Mass.
|Soloists||Chorus and Orchestra||Conductor||Label||Year|
|Wilma Lipp, Margarita Kenney, Waldemar Kmentt, Keith Engen||Chor und Orchester der Wiener Staatsoper||Jonathan Sternberg||Nixa||1956|
|Erna Spoorenberg, Helen Watts, Alexander Young, Joseph Rouleau||Choir Of St. John's College, Cambridge, Academy of St. Martin in the Fields||George Guest||Decca||1966|
|Judith Blegen, Frederica von State, Kenneth Riegel, Simon Estes||Westminster Choir, New York Philharmonic||Leonard Bernstein||Sony||1973|
|Gundula Janowitz, Christa Ludwig, Jess Thomas, Walter Berry||Konzertvereinigung Wiener Staatsopernchor, Vienna Philharmonic||Karl Böhm||Deutsche Grammophon||1974|
|Barbara Martig-Tüller, Ria Bollen, Adalbert Kraus, Kurt Widmer||Bachchor Mainz, Sinfonieorchester des Südwestfunks||Diethard Hellmann||Calig||1981|
|Joanne Lunn, Sara Mingardo, Topi Lehtipuu, Brindley Sherratt||Monteverdi Choir, English Baroque Soloists||John Eliot Gardiner||Philips||2001|
|Mireille Asselin, Catherine Wyn-Rogers, Jermy Budd, Sumner Thompson,||Handel and Haydn Society||Harry Christophers||CORO||2019|
- p. 265 (1974) Hugues
- Strimple (2008) p. 19
- Sisman (1997) p. 73
- Heartz (2008) p. 662
- Heartz, Daniel (2009). Mozart, Haydn and Early Beethoven: 1781 — 1802 W. W. Norton & Co. New York.
- Hughes, Rosemary (1974). Haydn. J. M. Dent & Sons Ltd. London.
- Larsen, Jans Peter; Feder, Georg (1997). The New Grove Haydn W. W. Norton & Co. New York.
- Schenbeck, Lawrence (1996). Joseph Haydn and the Classical Choral Tradition. Hinshaw Music. Chapel Hill, North Carolina.
- Sisman, Elaine Rochelle (1997). Haydn and His World. Princeton University Press. Princeton.
- Strimple, Nick (2008). Choral music in the nineteenth century. Hal Leonard. New York.