Hermann Max, Das Kleine Konzert - Hasse: Messe in d & Heinichen: Requiem (1998)
Hermann Max, Das Kleine Konzert - Hasse: Messe in d & Heinichen: Requiem (1998)
EAC | FLAC | Tracks (Cue & Log) ~ 304 Mb | Total time: 67:10 | Scans included
Classical | Label: Capriccio | # 10 570 | Recorded: 1995
EAC | FLAC | Tracks (Cue & Log) ~ 304 Mb | Total time: 67:10 | Scans included
Classical | Label: Capriccio | # 10 570 | Recorded: 1995
Hasse was 52 when he composed the Mass in D minor recorded here, but in every way – in form, affect, and aesthetics – Hasse belongs more to the generation of the much younger Haydn than to that of Bach. His Mass in D minor is thoroughly a work of the Enlightenment: symmetrical, lucidly rational, celebratory rather than penitent, 'public' rather than personal, a concert of elegant music rather than an outpouring of spiritual energy. It's not as great a work as Bach's – let us not be unclear about that – but it's a wonderful composition in its own way. If you have heard and appreciated the Haydn and Mozart masses, you'll find this mass quite as excellent as those. In fact, Hasse's mass sounds very much like Haydn at his best, in the masses that Haydn wrote 40-some years later for Esterhazy occasions.
Johann David Heinichen (1683-1729) was two years OLDER than Bach, and his Requiem in E flat major was composed in 1726, but it also has more in common with Hasse and Haydn, in style and structure, than with Bach. It's as 'optimistic' in affect and galante in style as any later Enlightenment sacred music. Once again, it's public and celebratory rather than anguished and personal; even the "Dies Irae - Day of Wrath" sections sound elegantly cheerful. I don't mean that the music is shallow. It's not; it's profoundly mathematical and adventurous in harmonic structure. It belonged to an era of more Faith in Man and Man's Reason than Fear of God's Judgment.
Possibly it was the Italian influence that separated Hasse and Heinichen from Bach and Zelenka. Or perhaps it was the outcome of the Catholic Counter-Reformation, though Heinichen was himself a Protestant. Hasse and Heinichen both worked in Saxony, in the Electoral Court in Dresden, for large portions of their lives. But then, so did Zelenka, whose music remained as dark, dense, and conservative as Bach's. If you can project yourself back to the year 1726, to listen to works by Heinichen and Hasse, Zelenka and Bach with the ears of their contemporaries, you'll grasp why most people heard the former as the innovators and the latter as the stubborn old-timers.
Hermann Max and the Rheinische Kantorei / Kleine Konzert perform this repertoire with all the symmetry and clarity it demands. The soloists are soprano Maria Zadori, alto Lena Susanne Norin, tenor Hans Jörg Mammel, and bass Klaus Mertens, all deservedly 'super stars' in the world of Historically Informed Performance. The original instruments include eight violins, four violas, contrabass, two flutes, three oboes, two horns, two trombones, bassoon, percussion and cembalo – robust forces that would have been of the highest skill in the Court of Dresden, and are equally skilled now.
Performer:
Mária Zádori, soprano
Lena Susanne Norin, mezzo-soprano
Hans Jörg Mammel, tenot
Klaus Mertens, bass
Rheinische Kantorei
Das Kleine Konzert
Hermann Max, conductor
Tracklist:
Johann Adolf Hasse (1699-1783)
Messe in d (1751)
01. Kyrie 1
02. Christe eleison
03. Kyrie 2
04. Gloria in excelsis
05. Domine Deus
06. Qui tollis
07. Quoniam tu solus Sanctus
08. Cum Sancto Spiritu
09. Credo in unum Deum
10. Et in carnatus est - Crucifixus
11. Et resurrexit
12. Sanctus
13. Benedictus
14. Hosanna
15. Agnus Dei
16. Dona nobis pacem
Johann David Heinichen (1683-1729)
Requiem Es-dur (1726)
17. Introitus
18. Te decet hymnus
19. Kyrie 1
20. Christe eleison
21. Kyrie 2
22. Dies irae
23. Quid sum miser tunc dicturus
24. Recordare Jesu pie
25. Qui Maria absolvisti
26. Oro supplex
27. Lacrimosa dies illa
28. Domine Jesu Christe
29. Hostias et preces tibi
30. Tu suscipe
31. Sanctus
32. Benedictus
33. Osanna
34. Agnus Dei
35. Lux aeterna
36. Intonatio
Exact Audio Copy V1.1 from 23. June 2015
EAC extraction logfile from 11. August 2021, 11:08
Hermann Max, Das Kleine Konzert / Hasse - Messe in d & Heinichen - Requiem
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==== Log checksum 960FDA8741EA50E8EEE565B3279D2D31CC1979E36875F143986674284F6B53CD ====
Hermann Max, Das Kleine Konzert - Hasse: Messe in d & Heinichen: Requiem (1998)
Thanks to the original releaser