Mass in time of war Missa in tempore belli

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MISSA IN TEMPORE HEL Ul

conductor

haps of the accumulation os very reat worloly humanexperiences out of which the composer fashions his personal and osten his affectionate understanding of the traditional prayers. During any given period of music history. externat factors may inhibit or enco age the influx of such secularigation, set limits to the degree. or conditions to the manner in whichil mahes itself manifest. During the l8th century the impaci upon churci, music os forms and styles developeu in. and associateo with. the concert hall. the opera home. and even with informat forms of sociat music making clance anu divertimento , wasespeciali v pronounced. in Flaydn's case, beneath an accommodati nil exterior, we find a man who ownecl. developed and maintained one of the most independent and experimental minos of the century. When he came to thesemasses. it was through a lifetime of experience asa symphonisi. The symphonic mass is haroly his invention: hut it is with no espectat surprise that onerecogniges in these works enormous symphonic structures, on the texi of the mass. for chorus, soloisis and Orchestra. And. as in his symphontes, elements fromopera. concerto and serenacle are incorporaled con

ouilines of symphonic sonata-form structure withslow introduction, exposition, development and recapitulation. NOr do our ears play us false when the

solo cello opens the Otii foliis of the Gloria with whatis patently sOme Viennese serenade music. perhAps of the informat garden party variety. Is the choice of such an idiom is to he wondereti at, especialty fortius portion of the text. the greater wonder as themusic unsolos is the deeply moving tenderness and pathos with which, via transformations of this idiom, Flaydn searches out his understanding of the worus

tion Missa in rempore belli Mass in Time os war)

nearly every writer dealing with elther work. Beemoven's treaiment is more overwhelmingly dramatio in iis sheer ferocity and anguish: Haydn's approach is steadier and perhaps more deeply patient However different their approaches to this momentos the mass. hoth are nevertheless agreed to conclude the dono nohis pocem in a tone os supreme confidence The setting os a traditional text is always a specialchallenge to a composer. For one thing. the worosare rich in associations drawn from hoth private and communalty inherited experience. For another. thetexi is comparatively intractabie. in that associationwith rituat has locked the woros more or less firmiyinto place: and the freedoms the composer may feelare his right in altering to his convenience the woros of an opera libretto. are not his prerogative here However, the sectioning of the text within the accepted order of the worus. the separation of certain

sentences clauses Or woros for special treaiment

these. and many other similar devices. enahle thecomposer to hui id a patiern os emphasis. and to make explicit his understandi nil of the experience that he

can he convenient ly marked. There a re some. like suscipe in the phrase suscipe deprecarionem nostram in the GJoria. or non in the phrase civitis regni non

erit finis in the Credo. whicli the listener will have tolocate On his own. Likewise. word repetitions are notindicated where brevi ty of texi s for example, Grie eleison or Amen) invites endless repetitions simplyto fili out the climensions of the musical design: Thesuli explication of Haydn's understandi nil of the textis leti then where it most properi y helongs-with thelistener. For. however public the texi of the mass and the institutional meanings attached thereio, one man's meditation on this texi and anotheris understandingos this meditation are. in the last analysis matteria that are both personal and private Notes h* Abraham Veintis.

SYRACUSE UNIVERSITYAho ut the Performance

I. s Vivace Gloria in excelsis Deo. Repeatecl)Et in terra pax hominibus honae

voluntatis. honiae voluntatis repeated Laudamus te Benedicamus te. Adoramus te.

Glorificamus te. Repeateo Gratias. agimus tibi propter

magnum gloriam tuam . Domine Deus. Rex caelestis, Deus Pater Omnipotens.

Domini Fili unigenite. Iesu Christe. Domine Dem, Agnus Dei, Filius Patris.

solo Qui tollis peccata mundi.

miserere nobis. chorus Miserere nobis

solo Qui tollis peccata mundi,

chorus suscipe deprecationem nostram. solo Qui sedes ad dexteram Patris, chorus miserere nohis. solo Miserere nobis.

Quoniam tu solus sanctus. Tu solus Dominus. Tu solus altissimus.

Iesu Christe. Repeat sFaster Cum Sancto Spiritu. in gloria Dei Patris

Amen.

Credo in unum Deum, Patrem omnipotentem. factorem caeli et terrae, visibilium omnium et imvisibilium. Et in unum Dominum Iesum Christum. Filium Dei u

genitum. Et ex Patre natum ante omnia saecula. Deum de Deo. lumen de lumine. Deum verum de Deo ero. Genitum. non factum, consubstantialem Patri: per quem omnia facta sunt Qui propter nos homines, et propter no tram salutem descendit de caelis

Bass solo Et incarnatus est de spiritu Sanctos prano solo ex Maria Virgine

Tenor solo ET HOMO FACTUS EST Alto solo ET HOMO FACTUS EST Soprano solo ET HOMO FACTUS EST. iee)Chorus ET HOMO FACTUS EST.

Chorus Crucifixus etiam pro nobis sub Sol cluet SA) Pontio Pilato: passus ice Chorus passus, et sepultus est Repeated

Amen

and was mode mari.

Chorus Et resurrexit tertia me, secundum scripturas.soprano solo Et ascendit in caelum: Solo quartei sedet ad dexteram Patris Chorus Et iterum venturus est cum gloria iudicare vivos et mortuos: cuius

regni non erit finis. Et in Spiritum Sanctum Dominum, et vivificantem: qui locutus est per Prophetas. Et unum, sAnctam. catholicam et apostolicam Ecclesiam. Confiteor unum baptisma in remissionem peccatorum. Et exspecto resurrectionem

mortuorum.

Vivace

Et vitam venturi saeculi. Amen.

Alto solo Sanctus, Sanctus. Sanctus Dominus Deus Sabaoth Chorus Sanctus. sanctus. Sanctus Dominus Deus Sabaoth. Alleno eon spirito Chorus Pleni sunt caeli et terra gloria tua.

Tenor solo Hosanna. Hosanna, Hosanna in excelsis. Chorus Hosanna. Hosanna. Hosanna in excelsis.

Solo quartet Benedictus qui venit in nomine Domini. Hosanna in excelsis. Chorus Hosanna in excelsis

Agnus Dei qui tollis peccata mundi

miserere nohis.

Agnus Dei qui tollis peccata munda

miserere nohis

Agnus Dei qui tollis peccata mundi:

dona nobis pacem.

Allegro con spirito)clona nobis pacem. And the rhird da, Me rose agam accordine to the Scriptines Anti ascended into heaven

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Missa in tempore selli