Nikolaus Harnoncourt, Concentus musicus Wien, Arnold Schoenberg Chor - Haydn: Missa in tempore belli, Salve regina (1997)
Nikolaus Harnoncourt, Concentus musicus Wien, Arnold Schoenberg Chor - Joseph Haydn: Missa in tempore belli, Salve regina (1997)
EAC | FLAC | Image (Cue & Log) ~ 268 Mb | Total time: 57:44 | Scans included
Classical | Label: Teldec | # 0630-13146-2 | Recorded: 1996
EAC | FLAC | Image (Cue & Log) ~ 268 Mb | Total time: 57:44 | Scans included
Classical | Label: Teldec | # 0630-13146-2 | Recorded: 1996
Haydn's Paukenmesse, Hob.XXII:9 from 1796, was the first work he composed to honour the name day (8th September) of the Princess Maria Hermenegild. The name of Paukenmesse’ (Kettledrum Mass) stems from the employment of timpani in the Agnus Dei; evocative of hearing the advance of the enemy. At the time of composition the French armies had occupied the state of Styria in southeast Austria.
In the Kyrie I loved the menacing introduction that Harnoncourt extorts from the trumpets and timpani. The creamy voice of soprano Dorothea Röschmann offers splendid piety and humility. At 5:16 the soloists Röschmann; Elisabeth von Magnus; Herbert Lippert and Oliver Widmer provide a particularly fine and moving ensemble. In the Gloria the Schoenberg Choir communicate gratitude and supplication with radiance and energy. From 2:54 the splendidly toned cello soloist is joined by bass-baritone Oliver Widmer in “Qui tollis peccata mundi, miserere nobis.” In the Credo all four soloists and the Schoenberg Choir provide deep feeling and introspection in the “Et in unum dominum.” The brief Sanctus is urgently performed by Harnoncourt and in the Benedictus the superb soprano of Dorothea Röschmann stands out in this genial and humane declaration. The Agnus Dei is notable for the famous timpani solo together with prominent trumpet parts. The Concentus musicus Wien and the Schoenberg Choir powerfully communicate the climax with an ardently appealing “Dona nobis pacem.”
Scored for soloists, organ and strings Haydn’s three movement Salve Regina, Hob.XXIIIb:2 was composed in 1771. The Salve Regina is intended to be sung at the end of evening prayers between the period of Trinity Sunday and Advent.
I especially enjoyed the extended opening of the Salve Regina a movement permeated with strength and deep sincerity of feeling from Harnoncourt. Noticeable is Haydn’s employment of the concertante organ that adds additional colour and atmosphere. The final section Et Jesum provides a potency of spiritual character with the voices blending together marvellously.– Michael Cookson
Performer:
Dorothea Röschmann, soprano
Elisabeth von Magnus, mezzo-soprano
Herbert Lippert, tenor
Oliver Widmer, baritone
Arnold Schoenberg Choir
Vienna Concentus Musicus
Nikolaus Harnoncourt, conductor
Track List:
Joseph Haydn (1732-1809)
Missa in tempore belli, H 22 no 9 "Paukenmesse"
01. Kirie
02. Gloria
03. Credo
04. Sanctus
05. Benedictus
06. Agnus Dei
Salve Regina in G minor, H 23b no 2 "Organ solo"
07. Salve regina
08. Eja ergo, advocata nostra
09. Et Jesum
Exact Audio Copy V1.6 from 23. October 2020
EAC extraction logfile from 29. September 2022, 20:05
Nikolaus Harnoncourt, Concentus musicus Wien, Arnold Schoenberg Chor / Haydn - Missa in tempore belli, Salve regina
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