Here's a score video with the manuscript (same recording), from TheOneAndOnlyZeno ➡️ ruclips.net/video/U3KnZ0GdD4I/видео.html Did you like this video? Please consider to support my channel! 🎶 SUBSCRIBE to my PATREON! → patreon.com/spscorevideos 🎶 PAYPAL for free donations! → paypal.me/stepaparozzi I. Requiem aeternam - Kyrie [0:00] II. Dies irae [6:26] III. Domine Jesu Christe [13:40] IV. Quam olim Abrahae [16:05] V. Hostias [17:19] VI. Sanctus [20:04] VII. Benedictus [21:54] VIII. Agnus Dei [25:00] IX. Cum sanctis tuis in aeternum [29:18]
Undeniably the DNA for Mozart's Requiem. It's amazing how much of this was used by Mozart. Michael Haydn is a highly underappreciated composer. Even the final fugue is magnificient 32:40 Mozart didn't get a chance to finish his Amen fugue which was meant to go here .. 12:29 I'm sure those who have heard the Mozart requiem a few times will recognize this 16:05
Merci pour partage ! Je ne connaissais que le tenebrae facte sunt de Michael Hadn . Michael Haydn compose ce requiem pour la mort du comte archevêque Sigismund von Schrattenbach à Salzbourg le 16 décembre 1771. Haydn termine le Requiem avant la fin de l'année, le signant « S[oli] D[eo] H[onus] et G[loria.] Salisburgi 31 Dicembre 1771 ». Sa fille Aloisia Josefa1 était morte début 1771. Les historiens pensent que son propre deuil a motivé cette composition2. De ce requiem existent encore une partition signée découverte à Berlin, un jeu de pages copiées avec de nombreuses corrections de la main de Haydn découvert à Salzbourg, un autre jeu découvert au château Esterházy à Eisenstadt et une partition, préparée par le copiste de Salzbourg Nikolaus Lang, trouvée à Munich3. Leopold et son fils Wolfgang Amadeus Mozart sont présents aux trois premières représentations du requiem de Haydn en janvier 17724,5, et Wolfgang est influencé par ce requiem lors de la composition de son propre Requiem en ré mineur, K. 6266. Le requiem de Michael Haydn est « un modèle important pour Mozart » et suggère fortement que l'achèvement du requiem de Mozart par Franz Xaver Süssmayr ne s'écarte « en aucune manière des plans de Mozart. »
La obra extraordinaria de Michael Haydn es un caso de injusticia histórica, debería figurar en los repertorios habituales y tener la consideración que su gran calidad merece. No es un caso único porque parece que fuera de Bach, Beethoven o Mozart no hay nada.
Mozart followed Haydn's footsteps for the structuring of the mass of the dead. Had Mozart lived to complete it, would have been the culmination of the classical mass tradition.
Requiems are something of a musical cul-de-sac rather than a culmination of anything; whatever, the Requiems of both Michael Haydn and Mozart are both astonishing works. The culmination of the Classical Mass tradition is really the late final six masses of Joseph Haydn, a position confirmed by Beethoven no less who after one attempt to emulate a Haydn-style mass (his Mass in C), did what he did best, which was to learn from his two greatest predecessors, and then do his *own* thing, and write something completely different.
Es colosal! Qué lástima que la tragedia personal afectó tanto a Michael. No olvidemos que Mozart usó una de sus sinfonías, a la que agregó un preludio, para satisfacer un encargo. Es la 37 KV 444. Hoy se la retiró del catálogo Köchel al comprobarse que la sinfonía era de Michael, y queda el primer movimiento, que sí compuso Mozart, como KV 444a.
I thought exactly the same. I'm listening now the Introit and it is reminding me a lot of Mozart's Requiem (I know this was composed first). The necadant descending idea in the Domine Jesu is the same as in Mozart. The opening Quam Olim Abrahae theme has the same rhythm.
And Pergolesi's Stabat Mater takes a lot of music from his teacher Francesco Durante. ;) It's more interesting how much this Michael Haydn's work influenced Mozart.
Setting aside the comparisons to Mozart: it's still a marvelous work. It has been criticized as "academic sounding" to which I strongly disagree. Young Haydn has a sense of formality and structure, which is actually a good thing. This particular Dies irae remains as one of my favorite settings of the text.
Michael Haydn also seems to borrow from Mozart ; listen to the adagio movement of Michael's string quintet in F major, MH367 and the benedictus from Mozart's Spatzenmesse in C major, K.220. Mozart Missa Longa (1775): ruclips.net/video/SfbwNRKuVRo/видео.html Michael Haydn Missa Sancti Hieronymi (1777): ruclips.net/video/Zm3tZfyFjwE/видео.html Mozart Missa brevis in B flat major, K.275 (1777): ruclips.net/video/JmsH1kRfl3g/видео.html Michael Haydn Missa Tempore Quadragesimae, MH 553 (1794): ruclips.net/video/4H0snyrvuo8/видео.html
these fast counterpoint sections and some interruptions to bring a totally different texture inbetween makes clear for me the composer wants to give more and more for the piece, idk if this is clear for everyone but maybe many people can just feel it. I don´t know the behind the scenes but it is definetely a work beyond what it was paid for. Unfortunely the historicists of the romanticism saw the sturm and drang and the presto style as just a "transition to", i don´t see only in this way, i think it is something INTERRUPTED by the mature classic style and other ideals
Wow, beautiful! Thanks for posting! Where I can find this vocal score? There's no more in CPDL... And in IMSLP only the manuscript for full orchestra. Thanks,
If you're willing to be patient, I'm working on a full orchestral score on MuseScore 4. I'm going to try to have it finished by the end of summer and will post it either at IMSLP or the Muse forums.
Ezequiel Stepanenko You haven’t been listening to the wrong Haydn - both are worthy of a lifetime’s study, though only the older brother is a truly ‘A’ list composer. That said, Michael Haydn’s music is never less than than attractive and is always professionally composed; he has a very individual voice that appealed to Mozart, and in terms of religious music, was admired by his brother, Salzburg colleague (though not the father), and almost everyone else in Catholic Austria and South Germany.
Wow, Mozart had to have known this piece, as it was written in 1771 for his(Mozart's) employer! He was definitely influenced by this piece when he wrote his Requiem(which i think is better, but no denying this is a great piece that Mozart borrowed stylistically from)
Mozart and M Haydn worked together at times, swapped their scores with each other, and Mozart said M Haydn was "the greatest composer ever". He was more than 'influenced' by - he absolutely stole many of M Haydn's musical ideas. Whether M Haydn was ok with this or not I don't know.
@@0308frank Have a little listen to the Andante of Anfossi’s Sinfonia Venezia written in 1775, isn’t the Confutatis one of the ‘great parts’ ? (but it’s not by Mozart).
@@rl-181 Of course it is, but that’s not the point; Mozart has clearly borrowed Anfossi’s idea, but then done his own thing. My reply was directed at the comment that ‘…Mozart wrote all the great parts,’ which he did - but with my significant qualification.
@@SPscorevideos from the first to second its only a pause, although at the beginning is maybe good to do attaca. I would give 5 secs at least for long major works in movements to assimilate the movements. Even in concerts there is this rush anyway, mostly piano
basically the longer the movement is the more space is needed, but also other factors, depends on the score also. But the point is that many many cds just ignore this and put the pieces in rush after other, then it sounds like another part of the previous movment.
a lot of people saying mozart's kyrie from his famous requiem is based of this quam olim abrahae but it's actually much more likely that it was based from the kyrie of this requiem by zelenka ruclips.net/video/27OtHTPdJhY/видео.html
The Kyrie eleison from Mozart's Requiem is usually said to have been loosely based on works by Händel (e.g. And with his stripes from the Messiah oratorio). I am unaware how well Zelenka was known outside of Saxony in the late 18th century.
Furthermore, there is no resemblance between Zelenka' s Kyrie and Mozart' s Kyrie apart from the key and the fact both are fugues; Zelenka' s theme lacks the distinctive diminished seventh jump or any of the jumps in the theme by Mozart; there is no upwards moving melismatic countersubject... On the other hand, there is a bafflingly identical element in the Dies irae of both works and this is the whole tone modulating arpeggio - F > F7 > G > G7 > A minor. You can hear it in the choir and in the oboes while in Mozart, it is set on Quantus tremor et futurus. I have no information whether the two works have some sort of connection.
@@sdzhchannel Bach, Handel, Mozart, and Haydn all used the ‘And With His Stripes’ motif; like so many such ideas* used multiple times by different composers, its origins are not really known. * The well-known do-re-fa-mi motif (or slight variant) was to my knowledge used five times by Mozart and four times by Haydn.
Diciamo che fra l'accusare di plagio e dire che non c'è neanche una nota in comune ci sono comunque dei gradi intermedi da prendere in considerazione. :)
@@SPscorevideos Siete gentile, ma rimango al mio parere: neppure una nota, neppure un accordo. Ed accusare Mozart di plagio è calunnia corrente per i geni unici in tutti i rami, perfino per Gesù Cristo, ma si tratta di ignoranti o pagati apposta.....
![[Baroque ornamentation and improvisation] G. F. Händel - Passacaille in G Minor - HWV 432](/img/1.gif)
Here's a score video with the manuscript (same recording), from TheOneAndOnlyZeno ➡️ ruclips.net/video/U3KnZ0GdD4I/видео.html
Did you like this video? Please consider to support my channel!
🎶 SUBSCRIBE to my PATREON! → patreon.com/spscorevideos
🎶 PAYPAL for free donations! → paypal.me/stepaparozzi
I. Requiem aeternam - Kyrie [0:00]
II. Dies irae [6:26]
III. Domine Jesu Christe [13:40]
IV. Quam olim Abrahae [16:05]
V. Hostias [17:19]
VI. Sanctus [20:04]
VII. Benedictus [21:54]
VIII. Agnus Dei [25:00]
IX. Cum sanctis tuis in aeternum [29:18]
Undeniably the DNA for Mozart's Requiem. It's amazing how much of this was used by Mozart. Michael Haydn is a highly underappreciated composer. Even the final fugue is magnificient 32:40 Mozart didn't get a chance to finish his Amen fugue which was meant to go here .. 12:29 I'm sure those who have heard the Mozart requiem a few times will recognize this 16:05
that's really true
Absolutely.
@Kacper Skonieczny The quom olim abrahae fugue for sure is strongly evoked by mozart in setting style and rhythm.
@Kacper Skonieczny that's true👍
this is wild. near plagiarism at points.
to my way of thinking Michael Haydn is really underrated today - we ought to perform his genius music more in concerts
I totally agree❤👏👍
Wolfgang A. and Leopold Mozart played at the premiere of this Requiem in Salzburg with the Hofkapelle.
Yep I read three performances; Leopold on one of the violin parts and Wolfgang on viola.
This is wonderful. Mozart clearly borrowed some of these ideas for his own requiem.
Merci pour partage ! Je ne connaissais que le tenebrae facte sunt de Michael Hadn . Michael Haydn compose ce requiem pour la mort du comte archevêque Sigismund von Schrattenbach à Salzbourg le 16 décembre 1771. Haydn termine le Requiem avant la fin de l'année, le signant « S[oli] D[eo] H[onus] et G[loria.] Salisburgi 31 Dicembre 1771 ». Sa fille Aloisia Josefa1 était morte début 1771. Les historiens pensent que son propre deuil a motivé cette composition2. De ce requiem existent encore une partition signée découverte à Berlin, un jeu de pages copiées avec de nombreuses corrections de la main de Haydn découvert à Salzbourg, un autre jeu découvert au château Esterházy à Eisenstadt et une partition, préparée par le copiste de Salzbourg Nikolaus Lang, trouvée à Munich3.
Leopold et son fils Wolfgang Amadeus Mozart sont présents aux trois premières représentations du requiem de Haydn en janvier 17724,5, et Wolfgang est influencé par ce requiem lors de la composition de son propre Requiem en ré mineur, K. 6266. Le requiem de Michael Haydn est « un modèle important pour Mozart » et suggère fortement que l'achèvement du requiem de Mozart par Franz Xaver Süssmayr ne s'écarte « en aucune manière des plans de Mozart. »
The intro is a clear tribute to Pergolesi
So true, can't believe I didn't catch it myself until your comment.
absolutely colossal and underrated masterpiece, so as the composer. He is one of the best vocal composers, no comparation
that's really true!
Love the bit at 12:52, gives me chills absolutely every time!
Amen part
This is truly the most moving Requiem I have ever listened to... Truly amazing 😭
Then please listen to that Requiem which even surpasses this: ruclips.net/video/PB8N9cpWEUQ/видео.htmlsi=CnnlLeACIz7cO4K-
La obra extraordinaria de Michael Haydn es un caso de injusticia histórica, debería figurar en los repertorios habituales y tener la consideración que su gran calidad merece. No es un caso único porque parece que fuera de Bach, Beethoven o Mozart no hay nada.
Если взять более позднюю эпоху, то там к примеру одним из самых недооценённых композиторов является Макс Брух
Puissant, solemnel, émouvant, superbe!!!!!!!!!!!!!!!!!
Sono rimasto sbalordito del genio di Michael Haydn che, a mio avviso, non ha nulla invidiare a quello del fratello, Joseph!
La vedo allo stesso modo perché Joseph Haydn ha detto che le sue opere corali sono migliori delle sue
Mozart followed Haydn's footsteps for the structuring of the mass of the dead. Had Mozart lived to complete it, would have been the culmination of the classical mass tradition.
Requiems are something of a musical cul-de-sac rather than a culmination of anything; whatever, the Requiems of both Michael Haydn and Mozart are both astonishing works.
The culmination of the Classical Mass tradition is really the late final six masses of Joseph Haydn, a position confirmed by Beethoven no less who after one attempt to emulate a Haydn-style mass (his Mass in C), did what he did best, which was to learn from his two greatest predecessors, and then do his *own* thing, and write something completely different.
Sono rimasto vivamente impressionato dalla somiglianza dell'Introitus del Requiem di M. Haydn con quello di Mozart!!!!
The melody at 2:15 for "Te decet hymnus Deus in Sion" is exactly same as the E-flat major theme in Mozart's Maurerische Trauermusik in C minor K.477
It's a Gregorian chant. :)
@@SPscorevideos didn't know that. Thanks for letting me know!!
Una obra cumbre. Es una injusticia que el compositor no figure entre los mejores.
Once again, I`ve heard something divine and more than just brilliant. Thank you S.P`s score videos for these brilliant pieces!
Es colosal! Qué lástima que la tragedia personal afectó tanto a Michael. No olvidemos que Mozart usó una de sus sinfonías, a la que agregó un preludio, para satisfacer un encargo. Es la 37 KV 444. Hoy se la retiró del catálogo Köchel al comprobarse que la sinfonía era de Michael, y queda el primer movimiento, que sí compuso Mozart, como KV 444a.
the beginning was apparently inspired by Perolesi's STABAT MATER
It would certainly appear that way. Pergolesi unwittingly established a paradigm shift with that one.
I thought exactly the same. I'm listening now the Introit and it is reminding me a lot of Mozart's Requiem (I know this was composed first). The necadant descending idea in the Domine Jesu is the same as in Mozart. The opening Quam Olim Abrahae theme has the same rhythm.
And Pergolesi's Stabat Mater takes a lot of music from his teacher Francesco Durante. ;)
It's more interesting how much this Michael Haydn's work influenced Mozart.
That was my first thought
@@SPscorevideos Mozart probably worked off this score to save time because there are too many detail similarities in wording and intonation.
What a splendid and beautiful requiem!!
The subject of the 'Quam olim' fugue sounds a lot like Mozart's.
Elias That might be a little difficult as it was written 20 years before Mozart’s.
It's quite known that Mozart took that as direct inspiration.
Ya mean Mozart's sounds like M Haydn's. Cos Mozart nicked it!
Up there with the very best Kyries and Dies Iraes ever.
Best opening of ANY Requiem IMO. And I know quite a few of them.
very moving piece!👍❤
mozart opening is better
@@discojudas See K A Nesiah's comment below. Mozart's Requiem wouldn't exist without this.
Mozart opening is better.
Kozlozvky opening is better.
Setting aside the comparisons to Mozart: it's still a marvelous work. It has been criticized as "academic sounding" to which I strongly disagree. Young Haydn has a sense of formality and structure, which is actually a good thing. This particular Dies irae remains as one of my favorite settings of the text.
Solemn and beautiful....
gut und danke
Thank you a lot! This is amazing music!
👏👏👏👏👏👏congrats to the interprets!
it reminds a lot to KV 477, particullary the first movement
the man knew his stuff
Best requiem aeternam in history
that's true
Michael Haydn touches me more than Mozart - whereby Mozart wrote a genius requiem
Michael also wrote genius chamber music and symphonies - a true master 😎❤🙏👍👍
@@just4sax 👍
And best Dies Irae
I agree
Michael Haydn, the Joseph Haydn's Brother
1:00❤❤❤🙏😎👍🙏🙏
Now my fav requiem
Michael Haydn also seems to borrow from Mozart ; listen to the adagio movement of Michael's string quintet in F major, MH367 and the benedictus from Mozart's Spatzenmesse in C major, K.220.
Mozart Missa Longa (1775): ruclips.net/video/SfbwNRKuVRo/видео.html
Michael Haydn Missa Sancti Hieronymi (1777): ruclips.net/video/Zm3tZfyFjwE/видео.html
Mozart Missa brevis in B flat major, K.275 (1777): ruclips.net/video/JmsH1kRfl3g/видео.html
Michael Haydn Missa Tempore Quadragesimae, MH 553 (1794): ruclips.net/video/4H0snyrvuo8/видео.html
Fair point
Both composeres were good friends :)
Sembra che Mozart si sia ispirato da questa Messa per il suo Requiem
these fast counterpoint sections and some interruptions to bring a totally different texture inbetween makes clear for me the composer wants to give more and more for the piece, idk if this is clear for everyone but maybe many people can just feel it. I don´t know the behind the scenes but it is definetely a work beyond what it was paid for. Unfortunely the historicists of the romanticism saw the sturm and drang and the presto style as just a "transition to", i don´t see only in this way, i think it is something INTERRUPTED by the mature classic style and other ideals
Magnificent
it meet my needs
29:18
Wow, beautiful! Thanks for posting! Where I can find this vocal score? There's no more in CPDL... And in IMSLP only the manuscript for full orchestra. Thanks,
It's still on CPDL: www.cpdl.org/wiki/index.php/Missa_pro_defuncto_Archiepiscopo_Sigismundo_(Johann_Michael_Haydn)
@@SPscorevideos Wow, thank you so much!
If you're willing to be patient, I'm working on a full orchestral score on MuseScore 4. I'm going to try to have it finished by the end of summer and will post it either at IMSLP or the Muse forums.
Le requiem aeternam me donne envie d'apprendre la musique.
I will begin with latin language.
I feel like I've been listening to the wrong Haydn all these years
I also think so, Michael Haydn was even more genius than Joseph ❤👍
👍👍
Michael Haydn encouraged Mozart to compose fuges in loads symphonies; his sacred works, symphonies and chamber had lots of impact on Mozart 👍😎
👍
Ezequiel Stepanenko
You haven’t been listening to the wrong Haydn - both are worthy of a lifetime’s study, though only the older brother is a truly ‘A’ list composer.
That said, Michael Haydn’s music is never less than than attractive and is always professionally composed; he has a very individual voice that appealed to Mozart, and in terms of religious music, was admired by his brother, Salzburg colleague (though not the father), and almost everyone else in Catholic Austria and South Germany.
Wow, Mozart had to have known this piece, as it was written in 1771 for his(Mozart's) employer! He was definitely influenced by this piece when he wrote his Requiem(which i think is better, but no denying this is a great piece that Mozart borrowed stylistically from)
Mozart and M Haydn worked together at times, swapped their scores with each other, and Mozart said M Haydn was "the greatest composer ever". He was more than 'influenced' by - he absolutely stole many of M Haydn's musical ideas. Whether M Haydn was ok with this or not I don't know.
@@hellfirepictures
A highly original manipulation of misinformation and nonsense to come to a conclusion worthy of something from Alice in Wonderland.
I like this mass very much - except the parts for the brass.
you see where Mozart got inspiration, too.
23:18
00:56
Это произведение посильнее будет Фауста Гёте.
12:50
Woflgang Mozart and his father heard this piece--perhaps that's why it sounds a bit like Mozart's Requiem in D minor?
Mozart himself didn’t even write half of his requiem as he died in the process
@@thesuperintendentoffugues1144 To be fair, Mozart wrote all the great parts (at least sketchwise).
@@0308frank
Have a little listen to the Andante of Anfossi’s Sinfonia Venezia written in 1775, isn’t the Confutatis one of the ‘great parts’ ?
(but it’s not by Mozart).
@@elaineblackhurst1509the exposition and progression are completely different from Mozart's "Confutatis".
@@rl-181
Of course it is, but that’s not the point; Mozart has clearly borrowed Anfossi’s idea, but then done his own thing.
My reply was directed at the comment that ‘…Mozart wrote all the great parts,’ which he did - but with my significant qualification.
and this reminds me Joseph Haydn last seven words of Christ .... but Monteverdi is not far , too
Interesting but Sussmayr's completion of Mozart's unfinished Requiem is much more inspired.
pls space between the moviments, they are moviments of a mass btw
There's space between movements...
@@SPscorevideos from the first to second its only a pause, although at the beginning is maybe good to do attaca. I would give 5 secs at least for long major works in movements to assimilate the movements. Even in concerts there is this rush anyway, mostly piano
basically the longer the movement is the more space is needed, but also other factors, depends on the score also. But the point is that many many cds just ignore this and put the pieces in rush after other, then it sounds like another part of the previous movment.
A totally grandiose work. With Mozart´s inspiration, of course.
Mozart was 15 years old when Michael Haydn wrote this...
Is it very difficult to make these videos?
Well, it become easier every time. ;)
@@SPscorevideos i see. Good luck forward!
That sounds like Gilbert and Sullivan at times, in danger of preferring it, on the whole, to Mozart s.
The requiem aeternam is better than mozarts but mozarts dies irae cant be beat
a lot of people saying mozart's kyrie from his famous requiem is based of this quam olim abrahae but it's actually much more likely that it was based from the kyrie of this requiem by zelenka
ruclips.net/video/27OtHTPdJhY/видео.html
The Kyrie eleison from Mozart's Requiem is usually said to have been loosely based on works by Händel (e.g. And with his stripes from the Messiah oratorio). I am unaware how well Zelenka was known outside of Saxony in the late 18th century.
Furthermore, there is no resemblance between Zelenka' s Kyrie and Mozart' s Kyrie apart from the key and the fact both are fugues; Zelenka' s theme lacks the distinctive diminished seventh jump or any of the jumps in the theme by Mozart; there is no upwards moving melismatic countersubject...
On the other hand, there is a bafflingly identical element in the Dies irae of both works and this is the whole tone modulating arpeggio - F > F7 > G > G7 > A minor. You can hear it in the choir and in the oboes while in Mozart, it is set on Quantus tremor et futurus. I have no information whether the two works have some sort of connection.
@@sdzhchannel
Bach, Handel, Mozart, and Haydn all used the ‘And With His Stripes’ motif; like so many such ideas* used multiple times by different composers, its origins are not really known.
* The well-known do-re-fa-mi motif (or slight variant) was to my knowledge used five times by Mozart and four times by Haydn.
non ha nulla a che fare con Mozart, neppure una nota, tanto meno un accordo. e bello, comunque,....
Diciamo che fra l'accusare di plagio e dire che non c'è neanche una nota in comune ci sono comunque dei gradi intermedi da prendere in considerazione. :)
@@SPscorevideos Siete gentile, ma rimango al mio parere: neppure una nota, neppure un accordo. Ed accusare Mozart di plagio è calunnia corrente per i geni unici in tutti i rami, perfino per Gesù Cristo, ma si tratta di ignoranti o pagati apposta.....
@@costicapopian
Pasquale Anfossi
Sinfonia Venezia (1775)
Il secondo movimento - Andante.
Buon ascolto.
32:29
11:15
10:43