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Haydn - Missa in tempore belli | Manfred Honeck | WDR Symphony Orchestra
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- Опубликовано: 14 авг 2024
- Joseph Haydn's Missa in tempore belli (Mass in time of war / Timpani Mass) in C major Hob XXII:9 with vocal soloists Jeanine De Bique, Anna Lucia Richter, Patrick Grahl and Paul Armin Edelmann, the WDR Radio Choir and the WDR Symphony Orchestra under the baton of Manfred Honeck. Recorded live at the Kölner Philharmonie on March 11, 2022.
Joseph Haydn - Missa in tempore belli (Mass in time of war / Timpani Mass) in C major Hob XXII:9
00:00:00 I. Kyrie
00:05:00 II. Gloria
00:15:36 III Credo
00:25:50 IV Sanctus
00:28:25 V. Benedictus
00:34:00 VI. Agnus Dei
Jeanine De Bique, soprano
Anna Lucia Richter, mezzo-soprano
Patrick Grahl, tenor
Paul Armin Edelmann, bass
WDR Radio Choir
Patrick Cellnik, rehearsal
WDR Symphony Orchestra
Cristian Măcelaru, conductor
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o Introduction to the work
Joseph Haydn's last symphony - No. 104 in D major - was composed in 1795, after which he occupied himself mainly with string quartets and choral compositions, of which the two oratorios "The Creation" and "The Seasons" immediately became immensely popular, while the six masses met with the fiercest opposition. Of these settings of the Catholic Ordinary, the "Missa in Tempore Belli" - under the title "Timpani Mass" - achieved the greatest, albeit rather odd, fame.
Through the use of the timpani, Haydn allowed a penetration of the disdainful worldliness into the holiest of all arts, church music. The spheres of the sublime were closed to him, according to the criticism voiced by Protestants; true piety sounded different. A renowned researcher still claimed at the end of the 19th century that the orchestral part of this mass betrays "more inspirations of the comic opera and probably also of the dance hall than those of an ecclesiastical fantasy". It is true that there is nothing of pietistic contrition in the work. The sinfulness of man is not castigated, it is - according to Catholic understanding - always already in the horizon of divine grace. Which is why, in Haydn's work, jubilation drowns out lamentation.
It was not until 1892 that a young Viennese musicologist dared to expose the prejudices about Haydn's masses that had been accepted without contradiction until then. However, even the admirers overshot the mark when they denied the tone paintings in the "Paukenmesse". They are certainly there, though more symbolic than illustrative in character. The title chosen by Haydn for the C major work is not Kriegs-Messe, but 'Messe in Kriegszeiten', which covers a much wider radius. Unlike Haydn's "Nelson Mass" in D minor from 1798, it does not deal with concrete warlike events; rather, psychological, visionary moments are decisive. The "Missa in Tempore Belli" was written as a commission for the name day of Princess Esterházy, and it was first performed in September 1796, so it is by no means directly connected with Bonaparte's advance into Styria, as is so often claimed - that did not occur until months later.
Text: Volker Tarnow
Haydn is everywhere nowadays - and justly so. Delightful music and astonishing inventiveness
I love this music 🎶 ,..bravo for all musical moments !
Danke, Gracias, Merci,..Thank You for sharing this magical performance ✨️!
Our pleasure!
We're happy that you like our performance! 🥰
@WDRKlassik /🌸💓❤️ I like very much musical moments and classical 🎶 music!
Mass in the time of war. The Mass was first performed on 26 December 1796, in the Piarist Church of Maria Treu in Vienna. Haydn was a deeply religious man who appended the words “Praise be to God” at the end of every completed score.
True, but the all-pervading spirit of this particular work is clear from the title (= Mass in Time of War).
At the end you can Hear the Drums of the aproaching french Army.
Profondo e spirituale l'assolo del basso; il violoncello ha proprio la voce dell'anima oppure sembra la voce di un angelo che assiste chi prega. Stupenda invocazione, bellissima solenne musica. Grazie per la condivisione.
Es ist die beste Aufnahme dieser wunderbaren Messe. Sie verdient den Titel einer Referenzaufnahme! Grandios Solisten, Chor und Orchester unter der inspirierenden Leitung Manfred Honecks. Wunderbar!
Vielen herzlichen Dank für dieses Lob! Das geben wir gerne an die Beteiligten weiter.
Incroyable Papa Haydn, respect et bravo à tout l'orchestre, solistes et chef d'orchestre ! Danke Grazie Gratias Merci!
Merci beaucoup! 🥰
Incroyable *Joseph* Haydn…
Fantastic! Perfect for what is going on in the world. May God grant peace!
What a wonderful performance. The choir is otherworldly good, and audio people are champs. Would love to see this same crew attack the Angustiis! Can imagine Jeanine singing the Kyrie...
Thank you so much!
Ein besonderer musikalischer Genuß, insbesondere, wenn man diese Messe als Chorsänger selbst schon einige Male mitgesungen hat und sich dann wieder an fast jeden Ton und jeden Tempowechsel erinnert.
Meine Hochachtung gilt den Solisten, insbesondere der strahlenden Janine de Bique.
Manfred Honeck akzentuiert den an sich von Haydn bereits vorgegebenen dramatischen Duktus in höchst beeindruckender Weise, sodass für den Zuhörer und die Zuhörerin ein bleibender Eindruck entsteht, der einen nicht mehr loslässt: Ein Meisterwerk des Dirigats, das von den Mitwirkenden willig mitgetragen wird. Ihnen allen sei dafür große Dankbarkeit geschuldet!
Vielen lieben Dank!
Es freut uns, dass es Ihnen gefällt.
🙏🏻✨️🎼Amazing music🌺 🎶🎧 of the Great Hayden!
Nice voices and singers,.I am impressed about! !
Thank you! 🤗
Vielen Dank für dieses wunderschöne Video. Die Missa in tempore belli und die Missa in angustiis spiegeln wider was und wie sich auch jetzt wieder viele Menschen fühlen dürften.
Schön, dass es Ihnen so gefällt.
Großartige Aufnahme. Da paßt einfach alles.
Und das Zitronencrèmebällchen auf dem Kosakenzipfel (um hier mal völlig unpassend Loriot zu zitieren!): gleich zwei meiner Lieblingssolistinnen😍!
Großes Lob an alle Mitwirkenden!
Vielen Dank! Das freut uns sehr, dass es Ihnen so gut gefällt! 😃
It's just insane how brilliant Haydn's masses are. I'm baffled that they aren't more commonly enjoyed and known.
I think that probably depends on where you live.
Here in England for example they are in the repertoire of all the Anglican cathedrals, chapels and larger churches and are used regularly - Haydn’s mass settings work brilliantly in the proper liturgical setting with the sublime language of the service of Holy Communion from the Book of Common Prayer (1549/1662); they are not difficult to come by in concert performances either.
Magnifique ça donne envie de la chanter cette messe. Nous (je fais partie d'un chœur - ténor) chantons le cycle du printemps de Haydn
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Ganz hervorragende Aufführung mit sehr gut gewählten Tempi.
Geniale Sopranistin!! Bravissima!
Wunderschönes Cello-Solo im Qui tollis!
Dankeschön 🤗
Mr. Cellnik prepared the choir extremely well. Seeing and hearing only 43 voices defies belief.
The harmonies, ostinato rhythm and cello solo create a magical effect in the Gloria at the last Deprecationem nostram. The forgiveness prayed for is actually made present.
Perfect. you will get bigger versions but this does it all with style and economy. I am sure Joseph would approve. When Beethoven was asked to write a mass he asked if anyone had heard of Haydn, backhanded compliment. and never a better time for it. Donna nobis pacem - give us peace. Wonderful!
It’s important to be accurate when retailing tittle-tattle about Haydn because he’s stuck with a baggage of spurious, inaccurate and apocryphal nonsense to a degree greater than any composer I know.
When asked to write the annual Eszterhazy mass in 1807 (Haydn’s last one before he retired was the Harmoniemesse of 1802), Beethoven accepted, but wrote to the Prince that he would hand it over with ‘…trepidation’, as the family were accustomed the ‘…inimitable masterpieces’ of Haydn.
Usually any comments about Haydn from Beethoven are the lazy clickbait ones (‘I learned nothing from Haydn’ et cetera), but in this case, apart from the words in the letter to Prince Nicholas, Beethoven was studying Haydn’s masses very carefully anyway, and that included copying out parts of the Creation Mass (1801) for study purposes.
The compliment to Haydn was not back-handed; it was open, genuine, and sincere; in short, a statement of the bleeding obvious.
I love the soprano! It's always nice to see someone who looks like me singing classical music!
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No gemütlich persona mask here; truly a missa in tempore belli performed with fire and introspection. Thank you so much for this wonderful experience.
Adorei esta peça de Haydn, pois não a conhecia. Simplesmente magnifica. Vielen Danke!
Brilliant performance!
With pleasure! 😊
Great to watch this live performance over RUclips from Korea!!!
Utterly transcendent. This is a piece I’ve hoped that somebody would perform since 2020 - and boy have you delivered. Thank you.
Soli Deo gloria
Thank you very much! ❤
We are glad that you llike it.
Der Dirigent ist Manfred Honeck (nicht Cristian Măcelaru, Leitung) Vielen Dank für diesen musikalischen Genuss😍💗!
Danke für den Hinweis, wir werden den Fehler sofort korrigieren.
Bravissimo!! So beautiful performance!! Thank you!! :)
I will take your recommendation and listen to it now, Claudia.
@@harryarmitage6056 Hello Harry!! :) Oh, Yes!! What great voices!! It was so beautiful!! :) Many greetings!! :) Have a beautiful Easter Night! :)
Super! Classic Music 🎶 Vibes!! ❤️🔥
Thank you!
No conocía esta obra de Hayden. Maravillosa. El Kirie... todo un grito de auxilio de la humanidad pidiendo paz.
Jeanine! 💟
Thankyou for the stream.
Manfred Honeck ist ein Genius!
소리가 너무좋아요. 더 세련된 느낌의 연주네요
Thank you!
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Bonjour quelles belles fleurs
Jeanine!!!!!!!!!!!!!
That is really good the audience has covered it's mouths and nouses only, but not the ears...
They could miss the masterpiece.
You are joking...
It's marveleous
You always enjoy the performance you hear first the best. But this one is especially good. Lots of emphasis on percussion. Tempo a bit faster here. Greater emphasis on the separation of vocal parts. This miserere is SUPERIOR however!
BRAVO!
Salut salve
"Qui tollis" pour basse avec violoncelle solo est une des plus belles pages jamais écrites...
.Lovely concertBrilliant soloists,,But did the conductor not shake the Soprano soloist hand ??.she is such a magnificent singer..!!!!! In whatever she sings.
He shook her hand first.
Kann mich der allg Begeisterung für diese Interpretation nicht anschließen. Bei allem berechtigten Lob für die Solisten wirkt die ganze Performance dem heutigen unverständlichen " alles so schnell wie möglich" Trend folgend, an etlichen Stellen unausgewogen und gehetzt. Die langsamen Passagen mit den Instrumentalsoli für mich fast romantisch überdehnt, zu langsam. Wenn man die früheren Aufführungen dieser Messe unter Joh.Hogenschurz mit dem Deutzer Heribertschor kennt, waren diese wesentlich stimmiger und ausgewogener! So ganz nebenbei bin ich der Meinung, dass diese Musik immer noch ihren Platz im Gottesdienst hat und "als Konzert" nicht annähernd mit einer vergleichbaren Ausstrahlung aufwarten kann.
Qui tollis movement....can the singer SLOW DOWN anymore WHILE he is singing??????????? Its a different tempo every time he comes in then he again he SLOWS down when singing..
Violin soprano register
Cello alto register
Ich find es immer schade, dass Haydn's Werke mit so vielen apokryphen Namen belegt werden. Vor allem dann, wenn er wie hier, einen eigenen, gänzlich anderen Titel vergeben hat.
Daher fände ich es gut, wenn sich Konzertveranstalter und Verlage mal darauf verlegen würden, sich von diesen falschen Namen zu lösen.
Dieses Werk sollte "Messe in Zeiten des Krieges" genannt werden, nicht "Paukenmesse". Denn so hat Haydn sie selber betitelt.
In der Videobeschreibung haben wir auch nochmal den vollen korrekten Titel stehen!
Für den Titel haben wir uns aber für die bekanntere und kürzere Variante "Paukenmesse" entschieden.
@@WDRKlassik Ich kann das ja teilweise verstehen.
Es wird ja öfter so argumentiert:
Die Leute kennen bestimmte Werke eben unter Namen, auch wenn diese gar nicht von den Komponisten stammen. Und danach suchen sie dann. Beispiel "Mondscheinsonate".
Ich würde dem entgegenhalten, dass der Rundfunk einen Bildungsauftrag hat. Und da gehört es, finde ich dazu, falsche, apokryphe Werktitel nicht im Bewusstsein der Leute zu etablieren.
Das ist nämlich das Gegenteil von Bildung. ;)
Im Dona nobis lässt Haydn seine Angst um Österreich spüren, Angst vor der heranrückenden Armee Napoleons.
@@maxfochtmann7002 Bitte unbedingt den einleitenden Begleittext des WDR komplett lesen!
This mass in English is only ever known by its correct Latin title, or the English translation - Mass in Time of War; I have never heard of ‘Timpani mass’ is that just a German name ?
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