Booklet - Haydn - The Complete Mass Edition - Hickox

8/11/2019 Booklet - Haydn - The Complete Mass Edition - Hickox

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COMPACT DISC TWO

Missa solemnis (Hob. XXII:13) 43:42 in B flat major in B-Dur en si bmol majeur

Schpfungsmesse(Creation Mass)1 I Kyrie 6:202 II Gloria: Gloria in excelsis Deo 7:123 Quoniam tu solus sanctus 3:474

III Credo: Credo in unum Deum 2:065 Et incarnatus est 2:586 Et resurrexit 2:487 Et vitam venturi saeculi 1:358 IV Sanctus 3:059 V Benedictus 6:3610 VI Agnus Dei: Agnus Dei 3:2111 Dona nobis pacem 3:41 Susan Gritton Pamela Helen Stephen

Mark Padmore Stephen Varcoe soloists

Missa rorate coeli desuper (Hob. XXII:3) 6:49 in G major in G-Dur en sol majeur

12 I Kyrie 0:4913 II Gloria 0:4114 III Credo 2:0015 IV Sanctus 0:4216 V Benedictus 0:4917 VI Agnus Dei 1:48

Gloria from Sch Haydns alternative 18 II Gloria: Gloria in ex19 Quoniam tu solus s

COMPACT DISC THRE Mass (Hob. XXII in B flat major in B

Harmoniemesse1 I Kyrie2 II Gloria: Gloria in ex3 Gratias agimus 4 Quoniam tu solus s5 III Credo: Credo in un6 Et incarnatus est 7 Et resurrexit8 IV Sanctus9 V Benedictus10 VI Agnus Dei: Agnus 11 Dona nobis pacem


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Salve Regina(Hob. XXIIIb:1) 15:07 in E major in E-Dur en mi majeur12 I Salve Regina 5:2013 II Ad te clamamus 3:0614 III Eia ergo, advocata nostra 2:1815 IV Et Jesum 0:5216 V O clemens, o pia 3:30 Nancy Argentasoloist

TT 58:32

COMPACT DISC FOUR

1 Te Deum (Hob. XXIIIc:1) 6:50 in C major in C-Dur en ut majeur Nancy Argenta Catherine Denley


Missa in tempore belli (Hob. XXII:9) 38:44 in C major in C-Dur en ut majeur

Paukenmesse2 I Kyrie 4:453 II Gloria: Gloria in excelsis Deo 2:414 Qui tollis peccata mundi 5:295 Quoniam tu solus sanctus 2:196 III Credo: Credo in unum Deum 1:117 Et incarnatus est 4:108 Et resurrexit 4:259 IV Sanctus 2:1010 V Benedictus 5:45

11 VI Agnus Dei: Agnus 12 Dona nobis pacem Nancy Argenta Cath

Mark Padmore Step

Incidental music Alfred, Knig de13 Aria des Schutzgeis (The Guardian Spi Jacqueline Fox speaker Nancy Argenta soloist14 Chor der Dnen (H (Chorus of the Dan

15 Te Deum (Hob. in C major in C-Du

COMPACT DISC FIVE

Mass (Hob. XXII in D minor in d-Mo

Nelsonmesse(Nelso1 I Kyrie2 II Gloria: Gloria in ex3 Qui tollis peccata m4 Quoniam tu solus 5 III Credo: Credo in un6 Et incarnatus est


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7 Et resurrexit 3:348 IV Sanctus 2:309 V Benedictus 5:5910 VI Agnus Dei: Agnus Dei 3:0011 Dona nobis pacem 2:33 Susan Gritton Pamela Helen Stephen


Ave Regina (Hob. XXIIIb:3) 11:46 in A major in A-Dur en la majeur12 Ave Regina coelorum 5:4113 Gaude Virgo gloriosa 1:1514 Valde, o valde 4:50 Susan Grittonsoloist

Missa brevis (Hob. XXII:1) 12:27 in F major in F-Dur en fa majeur15 I Kyrie 1:1516 II Gloria 1:3717 III Credo 2:4218 IV Sanctus 1:0319 V Benedictus 3:1120 V I Agnus Dei 2:40 Susan Gritton Pamela Helen Stephen soloists

TT 63:15

COMPACT DISC SIX

Missa Sancti Ber in B flat major in B

Heiligmesse1 I Kyrie2 II Gloria: Gloria in ex3 Gratias agimus tibi4 Quoniam tu solus 5 III Credo: Credo in un6 Et incarnatus est 7 Et resurrexit 8 Et vitam venturi sa9 IV Sanctus10 V Benedictus11 VI Agnus Dei: Agnus 12 Dona nobis pacem

Missa Sancti Nic in G major in G-Du

Nikolaimesse13 I Kyrie14 II Gloria: Gloria in ex15 Quoniam tu solus 16 III Credo: Credo in un17 Et incarnatus est


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18 Et resurrexit 1:1919 IV Sanctus: Sanctus, sanctus, sanctus 1:3620 Pleni sunt coeli 0:4821 V Benedictus 5:3922 VI Agnus Dei: Agnus Dei 3:1323 Dona nobis pacem 3:29

TT 62:23

COMPACT DISC SEVEN

Missa Cellensis(Hob. XXII:5) 64:10 in C major in C-Dur en ut majeur

Missa Sanctae Caeciliae1 I Kyrie: Kyrie eleison 2:522 Christ e eleison 3:213 Kyrie eleison 3:024 II Gloria: Gloria in excelsis Deo 2:555 Laudamus te 4:266 Gratias agimus tibi 2:327 Domine Deus, Rex coelestis 6:048

Qui tollis peccata mundi 5:029 Quoniam tu solus sanctus 3:2310 Cum Sancto Spiritu 0:2711 In gloria Dei Patris 2:5012 III Credo: Credo in unum Deum 3:4113 Et incarnatus est 7:27

14 Et resurrexit15 IV Sanctus16 V Benedictus17 VI Agnus Dei: Agnus 18 Dona nobis pacem

Missa sunt bona

in D minor in d-Mo19 I Kyrie20 II Gloria

COMPACT DISC EIGH

Missa in honorem in E flat major in E

Groe Orgelmesse1 I Kyrie2 II Gloria: Gloria in ex3 Gratias agimus tibi4 Quoniam tu solus 5 III Credo: Credo in un6 Et incarnatus est 7 Et resurrexit8 IV Sanctus9 V Benedictus10 V I Agnus Dei


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In comparison with his contribution to tquartet, the symphony, opera and manyother genres, Haydns tally of fourteen mis a small one. His musical upbringing inRohrau, Hainburg and, especially, Vienn

was almost entirely within the confines oCatholic Church with its rich tradition operformance and composition. A career achurch musician would have been a perfenatural development for the young HaydIn the 1750s, however, he became esteemas an innovative composer of instrumentmusic, and at the Esterhzy court from 1onwards circumstances ensured that he ndeveloped a continuing career as a compoof church music. Although from 1766 Hwas nominally in charge of church musicat the court, Prince Nicolaus Esterhzy w

not particularly interested in promoting preferring instrumental music and opera(unlike his grandson, also Nicolaus, whoto be associated with the six late masses).Nevertheless, between 1766 and 1772 Hdid manage to compose four masses, largit seems, because he wanted to rather thabecause he was required to do so: the firs

Missa Cellensis (No. 2) (Hob. XXII:8) 32:37 in C major in C-Dur en ut majeur

Mariazeller Messe11 I Kyrie 4:2012 II Gloria: Gloria in excelsis Deo 1:3513 Gratias agimus tibi 5:0914 Quoniam tu solus sanctus 1:5115 III Credo: Credo in unum Deum 1:3516

Et incarnatus est 4:1317 Et resurrexit 2:1318 IV Sanctus 2:0619 V Benedictus 5:0720 V I Agnus Dei 4:22

TT 70:56

Susan Gritton soprano (CD 2, 5, 7 & 8) Janice Watson soprano (CD 1) Nancy Argenta soprano (CD 3 & 4) Lorna Andersonsoprano (CD 6) Pamela Helen Stephen mezzo-soprano (CDs 1, 2, 3, 5, 6 & 7) Catherine Denley mezzo-soprano (CD 4)

Louise Winter mezzo-soprano (CD 8) Mark Padmoretenor Stephen Varcoebaritone Ian Watson organ (CD 8) Collegium Musicum 90 Richard Hickox

Haydn: The


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forces could well have consisted of theminimum of two violins, one cello, onedouble bass and organ; the vocal forcesare unlikely to have numbered more thantwo or three per part . It is a Missa brevis,a work designed not for an important holyday or to celebrate a nameday of a secula rpatron, but for routine services. Thelengthier portions of the text, the Gloria

and Credo, are set polytextually, that is,several clauses are sung simultaneously so asto proceed through the text in approximatelya quarter of the time. This was a commoncharacteristic of such masses, but Haydnbalances such apparent perfunctoriness withmore expansive treatment of other parts ofthe text. The opening and closing movementsof the mass are in a slow tempo throughout,providing a contemplative frame for thework. But it is the Benedictus that offersthe spiritual and musical highlight of thesetting. It is a luxurious aria for solo soprano,

accompanied by solo organ and strings. Thecomposer may well have played the organhimself in early performances in Eisenstadtand almost certainly he would have broughta singer from the Eszterhzy court for thisaria, simultaneously a celebration of a life inChrist and Haydns tribute to the work of theHospitallers of St John of God.

COMPACT DISC TWOThe Schpfungsmesse(Creation Mass)is the fifth of the six late masses. By thetime of its composition Haydn was aninternational figure whose symphonies,quartets and, most sensationally, theoratorio The Creationdominated musicaltaste, but he was still also the dutifulKapellmeisterat the Esterhzy court. He

began work on the latest nameday mass on28 July 1801, completing it in just underseven weeks in readiness for performanceon 13 September at the Bergkirche inEisenstadt.

As there was no longer a steady and fullyconstituted orchestra available at the court,many players had to be engaged on an ad hocbasis. From 1800 onwards a reasonably fullcomplement of wind players was availableand so the Schpfungsmessewas scored foroboes, clarinets, bassoons, horns, trumpets,timpani, strings and organ. In the section of

the Credo dealing with the mystery of theVirgin Birth, the Et incarnatus est, Haydnhad it in mind to depict the Holy Spiritin the centuries-old manner, as a dove. Inmusic such an image is often represented bya flute. Since Haydn did not have a playerat his disposal he gave the line to the organ,indicating that it should be played on a flute

stop, the only time in his career that thecomposer indicated an organ registrationAccording to one anecdote Haydn dartelike a weasel to the organ to play the parhimself, much to the amusement of theperformers.

The vocal forces are the customary SAchoir and four soloists (the latter sometimbriefly expanded to six). Instruments and

voices are integrated into one seamlesstexture: the instruments are as much vocdeclaiming the text as the singers areinstrumentalists projecting a complemenmusical argument. As well as unconscioumanipulation of forces, Haydn shows, tohow easily his mature language can movebetween melody with accompaniment anthe most intricate contrapuntal writing.The latter never sounds stolid or spuriouauthoritative, the fugue at the end of theGloria, for instance, featuring a delightfuunorthodox chromatic theme.

Haydn had always enjoyed a reputatias a humorist in music, providing anythfrom witty manipulation of language toopen guffaws. The nickname of this maCreation Mass, draws attention to one Haydns most incautious musical prankIn the Gloria, listeners and performerssteeped in Austrian church music would


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vision. This is the overwhelming impressionthat the mass leaves.

For nearly forty years Haydn had kepta draft catalogue of his compositions, theso-called Entwurf-Katalog. Sometimes in hisold age Haydn rediscovered a work from hisyouth and added it to the catalogue. Oneof the most problematical of these very lateentries is the one described as Missa rorate

coeli desuper in G; Haydn noted too a veryshort musical incipit. The work remainedlost until the twentieth century when itwas discovered as work ascribed to Haydnsteacher, Georg Reutter, a respected composerof church music. Later, a source attributed toHaydn was discovered, several further sourcesnaming it as a work of Reutter, and twoclaiming it as the work of a certain FerdinandArbesser. To aggravate an already complicatedsituation, the musical beginning recorded byHaydn in his catalogue is not quite the sameas that in these rediscovered sources. In his

old age Haydn had an imperfect memoryof what he had composed, most infamouslysanctioning the publication of the so-calledOp. 3 quartets under his name, works thatare undoubtedly spurious. One plausibleexplanation is that the mass represents thejoint work of master and pupil, Reutter andHaydn, dating from the late 1740s when

Haydn was still a choirboy at the Hofkapellein Vienna.

The unambitious nature of the workitself is not necessarily a reflection ofHaydns inexperience. Short settings of themass in which the Gloria and Credo areset polytextually (here four different linesof the text are sung simultaneously) andwith the minimum of accompaniment (two

violin lines plus continuo) are frequentlyencountered in the period. Rorate coelidesuper refers to the Introitus in the LiberUsualis used for the fourth Sunday in Advent,indicating that at least one performancetook place on that date. Advent and Lentwere two seasons in the church calendarwhen the musical ambition of masses wasseverely curtailed. This mass may well be anintriguing piece of juvenilia by Haydn, but itis also a useful reminder of how perfunctorychurch music in eighteenth-century Austriacould be.

COMPACT DISC THREEHaydns Harmoniemessewas the composerslast major work, written at the age of seventyin 1802. Although he was to live for a furtherseven years and was able to invent manypromising musical ideas, the increasinglyfrail old man lacked the physical and mental

stamina to attend to their potential. TheHarmoniemesse, however, is certainly not work of a weary composer; neither is it aintroverted, spiritually reclusive work. This no such thing as third period Haydn:the enquiring and confident optimism thhad sustained him in over half a century composition is as keenly felt here as in anhis output.

The mass is scored for one flute, two otwo clarinets, two bassoons, two horns, twtrumpets, timpani, strings and organ. It wstill comparatively unusual for a mass tobe accompanied by an orchestra with a fuwind section a Harmonie; the nicknam(mass with the wind band) reflects this farather than implying consistent solo use owind instruments. The vocal forces were customary SATB choir and soloists, the laaugmented by an extra soprano and tenora few bars near the end of the Credo.

In the opening Kyrie, the typical frankn

of the main melodic statement is undermiby the chromatic note that begins the secophrase, and throughout this commandinmovement soloists and choir enhance thifeeling of a supplication made in the hopknowledge of a response; the literal meanof Haydns tempo marking, Poco adagio,seems very appropriate here a little at ea


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that is granted but a victory that transcendsthe tempore belli: a secure vision deliveredwith irresistible joy.

While the mass had an appeal that wasvividly contemporary, it also tapped into afirm tradition of Catholic church music inAustria in that its key, C major, was inevitablyassociated with the sound of trumpets andtimpani, projecting the overlapping qualities

of praise, celebration and triumph. Three ofthe remaining items on this disc explore thesame idiom.

The first Te Deum in Cwas composed inthe early 1760s when Haydn had just enteredthe service of the Esterhzy family. The precisecircumstances of its composition are notunknown; most likely it was first performedas part of the wedding celebrations in January1763 that marked the marriage of CountAnton Esterhzy and Countess Marie ThereseErddy. As well as the sound of C majorcoloured by trumpets and timpani, the work

has the typical three-part design common insettings of the Te Deum at the time: briskouter sections framing a contrasting slowsection for the words Te ergo quaesumus(We therefore pray).

A few months before the first performanceof theMissa in tempore belliin 1796, Haydnwas in Eisenstadt taking part in the festivities

to celebrate the nameday of the Princess. Aswell as a church service with a new mass (theMissa Sancti Bernardi), there was a visit froma travelling theatre company, who performedover two dozen operas and plays during asix-week stay. On 9 September, the actualnameday, the play wasAlfred, Knig derAngelsachsen(Alfred, King of the Anglo-Saxons), a free adaptation of an English play

by Alexander Bicknell. Haydn provided threeitems of incidental music: an aria, a chorusand a duet, the last of which is incomplete.The aria is sung by the Guardian Spirit whocomforts the imprisoned Queen Elvida. It isaccompanied by a wind sextet of clarinets,horns and bassoons, and Queen Elvidasresponses are spoken against this wonderfullyevocative background. The chorus is sung bythe victorious Danes, celebrating a particularlybloodthirsty victory over the Anglo-Saxons. Inmood and technique it foreshadows theMissain tempore belliwhich was to occupy Haydns

energies in the next few months; at the wordsTrompeten und Pauken verknden den Sieg(Trumpets and drums herald the victory)there is even an anticipation of the beginningof the Dona nobis pacem from the Mass.This is the first recording of the chorus.

The second Te Deum in Cwascommissioned by the Empress Marie Therese,

probably in 1799. As an avid admirerof Haydns music she organised privateconcerts at the Imperial and Royal Couto explore his music. While sharing mangeneric features in common with the e aTe Deum C major, trumpets and timpand a three-part design its colossal r awenergy seems to sum up not only Haydnlong experience as a composer but the

whole heritage of such music. A lthough was commissioned by the Empress, its fiknown performance took place in Eisenin September 1800 as part of that yearsnameday celebrations.

COMPACT DISC FIVEThe year 1798 was one of the mostremarkable in Haydns long life. He hadrecently completed his oratorio, The Creaan ambitious work that had consumed hienergy and imagination for over two yearThe first few months of the year were tak

up with the less fulfilling, but equally timconsuming task of supervising the copyinof the scores and the parts in readiness foseries of four semi-public performances othe work that took place in late April/earMay. As someone who was now lauded aAustrias leading artistic figure, Haydn aldirected two charity performances in Ap


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The mass was first performed at theMartinkirche in Eisenstadt on 23 September.It must have been about this time thatHaydn entered the work in his catalogue ofcomposition, calling it Missa in angustiis,that is, Mass in straitened times. This wasnever the formal title of the work Haydnstitle was missa and it may well have beena wry reference to the limited time in which

he had composed it, and to its restrictedinstrumental forces. Two years later, whenNelson visited Eisenstadt, the mass wasperformed in his presence, giving rise tothe much more familiar nickname, theNelsonmesse. Later commentators lookingfor Nelson-like qualities in the work seizedon the coincidence that in the summer of1798, while Haydn was working on the mass,the British fleet under Nelsons leadershipachieved a stunning victory over NapoleonsMediterranean fleet in the Battle of Aboukir.But the news of this victory did not reach

Haydn until after he had finished the mass.It is a mistake, therefore, to make a directlink between the mass and Nelson, and toassociate straitened times with specific eventsin contemporary European history.

Nobody, however, would wish to deny theextraordinary tension that informs certainmovements of this mass, one that makes

the final resolution into unalloyed joy souplifting. The first movement is in D minor,the only time in an orchestral mass thatHaydn sets the text in a minor key. Theunusual orchestral forces make t heir impactimmediately, joined later by the chorusand a particularly flamboyant part for thesolo soprano. D minor is next heard in theBenedictus which, rather than having the

customary grace and lyr icism, is a nervousmovement, simmering with a latent powerthat is finally unleashed when the t hreetrumpets play an insistent fanfare aga instthe contradictory text of Blessed is he whocomes in the name of the Lord. In a waythat Beethoven would have admired, thiselement of fear associated with D minor isjuxtaposed with, a nd ultimately overcomeby, radiant music in D major.

One of the most telling aspects of Haydnsstatus at the end of the eighteenth centuryis that music originally composed for the

Catholic liturgy was performed extensivelyas concert music in Protestant Europe. Thepublishing firm of Breitkopf & Hrtel inLeipzig issued five of the six late masses inprint (including the Nelson Mass) andcontinually pressed Haydn for further itemsof sacred music. In his old age Haydn had thetouching experience of re-discovering some

long-forgotten works and selling them toBreitkopf & Hrtel, sometimes amendininstrumentation. One of these rediscoverwas the Missa brevis in F major, probablHaydns first mass and originally composwhen he was seventeen or eighteen. Whspecially pleases me in this little work, hetold one of his biographers, is the melodand a certa in youthful fire. The mass

is scored for chorus, strings and organ,with two de lightfully florid pa rts for solsopranos. Its neat, unambitious natureshould not be taken as the inexperience youthful composer; rather the reverse, fowas a very skilf ul sett ing of the tex t desito further Haydns career as a c omposerchurch music in mid-century Vienna. Tneatness is partly due to the composersdecision to follow the frequent practiceof setting the Dona nobis pacem to thesame music as the Kyrie. Equally t ypicaof contemporary practice is the Credo,

in which several lines of the text are sunsimultaneously, and the Benedictus, whadopts the opposite approach: a high ratmusic to words.

Also from the early part of Haydns cais theAve Regina. While nothing is knowabout the circumstances of its compositioit is likely to date from the mid-1750s wh


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at the beginning of the Sanctus he wrote inthe margin next to the tenor line Heilig,drawing gentle attention to a well-knownGerman hymn tune Heilig, Heilig (Holy,Holy) which is concealed, like a favouredkeepsake, in the middle of the texture.This musical reference occasioned the laternickname for the mass, Heiligmesse. Morepoignant is the Et incarnatus sect ion inthe Credo, where yet another simple melodyis developed as a three-part canon forsolo voices. But, as throughout this ma ss,simplicity of utterance is only the preludeto something much more probing; in thispassage Haydn uses his unrivalled masteryof orchestral colour as he explores theresonances of the text, high treble sounds,pizzicato strings and the sound of cla rinetsfor the mystery of the Virgin Birth (Etincarnatus est de Spiritu Sancto, ex MariaVirgine, et homo factus est), male voicesand low, bowed strings for a minor-key

version of the same melody when the textturns to the death of Christ (Crucifixusetiam pro nobis, sub Pontio Pilato).

A second distinctive feature of this mass certainly in comparison with a work like theNelson Mass (1798) is the comparativelysmall role given to the vocal soloists. Most ofthe setting is led by the choir, and it is they

who usually transform the tunefulne ss into aradiant energy that is equally c aptivating.

A more familiar saint is commemoratedin the Missa Sancti Nicolai (Nikolaimesse),from 1772. St Nicolauss day falls on6 December, the beginning of Advent,and the work was probably performedto celebrate the nameday of the thenPrince Esterhzy, another Nicolaus, thegrandfather of Nicolaus II. Although he wasby far the most supportive of the Esterhzyprinces, that particular yea r, 1772, was adifficult one for Kapellmeisterand patron.Because of financial str ingency there weresuggestions that the musical retinue mighthave to be cut back, and the lengthy stayin the summer palace of Eszterhz a provedunpopular with the players who had beenforced to leave their families in Eisenstadt.Haydn, who was always a master diplomaton behalf of his musicians, composed theFarewell Symphony in which the players

leave the stage one by one until only twoviolins are playing; the prince took t hehint and immediately allowed the courtto return to Eisenstadt. The Missa Sanct iNicolaimay well have been the second stageof Haydns diplomacy; he was certainly notrequired to compose church music as partof his duties as that traditional side of the

courts activities had gone into decline athe expense of opera and instrumental mNicolaus would have been surprised as wdelighted that his Kapellmeisterhad compa mass especially for his nameday.

The work belongs to a distinct typeof mass a ssociated with Advent, oftenseparately catalogued in eighteenth-censources as missae pastorales(pastoral maTraditional musical techniques designedto conjure up the familiar intermingledimages of the loving Shepherd, the birthChrist in a stable, and the shepherds in field characterise this mass, as they do anumber of contemporary pastoral ma ssegently lilting metres (the opening andclosing movements are in 6 /4, an unusumetre in the Cla ssical period), simplemelodies and a propensity for the top oftexture to move in parallel thirds, especdownwards, as if in obeisance. Even thechoice of key, G major, is characteristic;

was often favoured for pa storal masses tdistinguish them in sonority from the lanumber of masses in C. Since the main is to comfort rather than to uplift, Hayduses the frequently encountered device orepeating the music of the Kyrie for theDona nobis pacem. The final impressiotherefore, is the same as the initial one.


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so-called Musical Congregation to honourthe patron saint of music.

That the original occasion for whichthe mass was composed was a particularlysplendid one is suggested by the ambition ofHaydns work. It is by far the longest settingof the liturgical text by the composer, onethat was clearly intended to take its placealongside the grandest masses of the Viennesetradition by Fux, Reutter and others. Haydnhad not composed a mass since the end ofthe 1740s and there is a palpable sense ofrevelling in the challenge, in much the sameway as Mozart was to do when writing theMass in C minor (K427). Like that workHaydns mass is an example of what is todayusually called a cantata mass, that is thesingle movements of the Ordinary dividedinto several, musically complete numbers,so that instead of the typical six movementsfound in most Haydn masses, theMissaCellensishas eighteen. The text Laudamus

te, for instance, would normally be presentedas part of the fast opening section of theGloria, accounting typically for about thirtyseconds or so of music; here, it is set apartas a complete aria for solo soprano, with alengthy orchestral introduction and a gooddeal of ostentatious vocal decoration. In mostsettings of the mass in Haydns Austria the

chorus would expect to have to master twofugues, at the end of the Gloria and theend of the Credo. TheMissa Cellensishasfive fugues in total: a complete movementfor the second Kyrie eleison, a gravelybeautiful setting of Gratias agimus tibi,the customary In gloria Dei Patris and Etvitam venturi, and, to end the work, a nintricate double fugue setting the text Donanobis pacem. To bind together the longestsection of the mass, the Credo, Haydn usesa well-established procedure in eighteenth-century settings, that of reiterating theinitial affirmative word Credo (I believe)several times, always sung by a sopranosoloist in florid semiquavers in a choralcontext that is predominantly syllabic.Apart f rom the scope of t he work, a fina llasting memory of theMissa Cellensisis thesplendour of its sonority: C major colouredby energetic figuration from trumpets a ndtimpani. Again, this association of key

and sonority for Haydn, his musicians andthe Mariazell pilgrims was a familia r one,celebrated repeatedly in the church musicof the Viennese tradition. Few works,however, reveal the same verve and sense ofcommitment as HaydnsMissa Cellensis.

Two years later, in 1768, Haydn beganwork on a very dif ferent kind of mass,

described in his thematic catalogue asMsunt bona mixta malis. For over 200 yethe work was lost, until it was discovereda farmhouse in Northern Ireland in 198is an incomplete work, consisting of a Kmovement and the Gloria as fa r as the clGratias agimus tibi. Scored only for SAvoices with the support of continuo, it isexample of the so-called stylus a cappellaliturgical music composed for performaduring Lent and Advent when orchestraaccompaniment was deemed inapproprThis is a sizeable, forgotten repertoire ineighteenth-century Austr ia that includemusic by Haydns contemporaries as weby composers from the Italian Renaissanespecially Palestrina who was celebratedthe begetter of the style. But, as Haydnmass reveals almost immediately, it is nopastiche Palestrina; instead, the vocaltexture is invariably mixed with featuresof eighteenth-century style, including

sequence, chromatic harmony, pedal poand a firm sense of key r ather than modThe significance of the title must be vieagainst this hybrid stylistic back ground

Sunt bona mixta malis (the good mixwith the bad) was a saying in commonuse at the time. Late in his life, Haydn,with typical self-deprecation, said that hi


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COMPACT DISC EIGHTHaydn composed the Missa in honoremBVM (Mass in honour of the Blessed VirginMary) in 1768 or 1769 (the latter is morelikely), its title indicating that it was initiallyperformed on one of the many Marianfeastdays in the church calendar, thoughprecise details are unknown. When, at a laterstage, the composer entered the mass in a draftcatalogue that he kept of his works, he gave itanother title,Missa Sancti Josephi, suggestingthat another performance had been on StJosephs day, 19 March, easily remembered bythe composer since it was his own nameday.

It is a very individual work, quite unlikeany other mass by the composer. It is set in thevery unusual key for a mass from this periodof E flat major, and instead of the expectedoboes, has parts for two cors anglais. Thiswas a favourite, if occasional, tone colour ofHaydns in the 1760s and 1770s, found infour operas (Acide, La canterina, Le pescatrici

and Lincontro improvviso), SymphonyNo. 22 (Philosopher) and the Stabat Mater.The cor anglais parts in the mass are notespecially soloistic but the doleful sound ofthe instrument provides an earnestness thatpervades the whole work. Haydns use ofthe organ as an occasional solo instrument,which reflected a distinct tradition in Austrian

church music, also gave rise to the appropriatenickname Groe Orgelmesse(Great OrganMass) distinguishing it from the KleineOrgelmesse(Small Organ Mass). The organsappearance at the beginning of the work istypically decorative, a careful counterpoise tothe simplicity of the Kyrie as a whole. In theBenedictus it dominates the score, with anextended concertantepart that accompaniesthe quartet of solo singers and creates theperfect aural complement to the ornaterococo decoration found in many churchesin Haydns Austria. After the Benedictus, theorgan reverts to its basic role as a continuoinstrument providing background support.Then, suddenly, at the end of Dona nobispacem (a jaunty movement in 6/ 8 markedPresto) it interjects a couple of passages ofnervous frivolity, a very typical touch bya composer for whom the Catholic faithembraced the full range of human emotions.

The Missa Cellensisdates from 1782 and,

again, very little of certainty is known aboutthe circumstances of its composition. Haydnsautograph has the title Missa Cellensis. Fattaper il Signor Liebe de Kreutzner which couldbe idiomatically translated as A Cellensismass. Composed for Mr Liebe de Kreutzner.Kreutzner, who was a retired military officer,had been ennobled in 1781 and, traditionally,

it has been assumed that the new masswas associated with a pilgrimage of thankand celebration undertaken by Kreutzner.An alternative interpretation of Haydnsannotation has been put forward, howeverKreutzner may have been a member of theViennese brotherhood that honoured andsupported Mariazell pilgrimages, and the could have been commissioned by him onbehalf of the brotherhood.

Unlike the Groe Orgelmesse, this workis firmly in the broad tradition of Austrianmass composition, most obviously reflectin the choice of C major, with its associatresplendent use of trumpets and timpaniAs a solitary work that stands approximatmidway between the four masses of 176and the six masses of 17961802, the secMissa Cellensishas features in commonwith both groups of works. As in the GroOrgelmesse, the Et incarnatus est in the Cis set as a tenor solo in the minor key, but

theMissa Cellensisit begins in A minor bemodulating in a very unorthodox manneC minor, the kind of challenge that Haydliked to pose in his quartets and symphonIn both works the chorus re-enters for theensuing Crucifixus, singing appropriateltortuous chromatic lines followed bymeasured repeated notes for sepultus est


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Winner of the 1994 Kathleen FerrierMemorial Prize, Susan Grittonappearsregularly in recital throughout Britain andworldwide, at venues such as the AmsterdamConcertgebouw and the Lincoln Center, NewYork. Her concert experience is extensiveand includes performances at the WienerKonzerthaus and the Berlin Philharmonie, aswell as at the BBC Proms, Edinburgh Festivaland Salzburg Mozartwoche. On the operaticstage she has appeared as Marenka (TheBartered Bride) at The Royal Opera, CoventGarden; in the title role of Theodoraat theGlyndebourne Festival; as Cleopatra (GiulioCesare) at Bayerische Staatsoper, Munich;Belinda (Dido and Aeneas) at DeutscheStaatsoper, Berlin; and Marzelline (Fidelio) atRome Opera. Whilst a Company Principalat English National Opera she sang Pamina(Die Zauberflte), Nannetta (Falstaff) and theVixen in The Cunning Little Vixen, amongother roles. Her latest recordings for Chandos

include The Hummel Mass Edition, the firstvolume of which won a 2003 GramophoneAward.

Janice Watson studied at the GuildhallSchool of Music and Drama and first cameto prominence as a winner of the KathleenFerrier Memorial Prize. In addition to being a

regular guest with both Welsh National Operaand English National Opera, she has sungin opera houses all round the world in suchroles as Musetta, Pamina, Countess Almaviva;Vitellia, Arabella and Elettra (Idomeneo),Daphne, Arabella and Eva (Die Meistersingervon Nrnberg), Ellen Orford, Micaela andthe Marschallin. In her worldwide concertappearances she has worked with conductorsRoger Norrington, Andr Previn, MichaelTilson-Thomas, Sir Colin Davis, RiccardoChailly, Frans Brggen, Sir Neville Marrinerand Bernard Haitink. In her Chandosdiscography are Janc eksJenufa (CHAN3106), Vaughan Williams The PoisonedKiss(CHAN 10120), the award-winningrecording of Brittens Peter Grimes (CHAN9447) and Poulencs Gloria(CHAN 9341).

Nancy Argenta made her professionaldebut in 1983. With a repertoire spanningthree centuries she has been hailed for her

performances of works by Handel andcomposers as diverse as Mahler, Mozart,Schubert and Schoenberg. Her ability toadapt from large-scale orchestral works tochamber music and recitals has earned hergreat recognition and respect. She worksclosely with many distinguished conductorsincluding Trevor Pinnock, Christopher

Hogwood, Sir John Eliot Gardiner and SRoger Norrington, and has sung with thePhilharmonia Orchestra, City of BirmingSymphony Orchestra, Dsseldorf SymphOrchestra, Orchestra of St Lukes, NewYork, the Toronto and Montreal, Sydneyand Melbourne Symphony Orchestras anthe NACO Orchestra. In opera, concertand recital she has appeared at many leadfestivals including Aix-en-Provence, MostMozart, Schleswig-Holstein and the BBCProms. Born and raised in Canada, NancArgenta now lives in England.

Lorna Andersonstudied at the Royal ScotAcademy of Music and Drama duringwhich time she was awarded several prizesincluding one for the most distinguishedstudent of the year. She won first prize in t1984 Peter Pears and Royal Overseas LeaguCompetitions and in 1986 in Aldeburgh swon the Purcell-Britten Prize for Concert

Singers. Lorna Anderson has appeared in opconcert and recital with major orchestras anfestivals throughout Europe including the BOrchestras, the London Mozart Players andRoyal Liverpool Philharmonic Orchestra, aabroad with Ensemble InterContemporainResidentie Orchestra The Hague and theStuttgarter Kammerchor. She has also app


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successful broadcasts and recordings to hername. She grew up in Northamptonshire,graduated from Trinity College of Music, andafter a brief time in the BBC Singers, embarkedon a solo career which has taken her all overthe world. She has recorded a wide repertoireof music including many works by Handel,most recently the title role inAlexander Balus;also Mozarts Die Zauberflte, Coplands In TheBeginning, Bruckners Requiem, Schubert songswith the Songmakers Almanac, MonteverdisLincoronazione di Poppeaand Bachs B minorMass with Richard Hickox, and three highlyacclaimed volumes of Sacred Music by Vivaldi,with the Kings Consort.

Mezzo-soprano Louise Winterwas born inPreston, Lancashire, and trained at ChethamsSchool of Music and the Royal NorthernCollege of Music. She has performed withopera companies such as GlyndebourneTouring Opera, The Royal Opera, Covent

Garden and English National Opera, as wellas in venues in Toronto, Berlin and Barcelona.Among the roles she has sung are those ofRosina (Il barbiere di Siviglia), Marguerite (LaDamnation de Faust), Sextus (La clemenza diTito), Batrice (Batrice et Bndict), Octavian(Der Rosenkavalier)and the title roles in Serseand Carmen. Louise Winter also performs

in recital and concert with orchestras suchas the BBC Symphony Orchestra, City ofBirmingham Symphony Orchestra, BBCNational Orchestra of Wales, Royal ScottishNational Orchestra, Philharmonia Orchestraand Montreal Symphony Orchestra.

London-born Mark Padmorehas won acclaimthroughout the world for the musicality andintelligence ofhis singing. He is particularlyknown for his committed performances of theEvangelist in Bachs Passions. His many operaticperformances include Orfeo in Haydns Orfeoed Euridicefor the Opra de Lausanne, DonOttavio in Don Giovanniat Aix-en-Provence,and for The Royal Opera, Covent Garden hehas performed the roles of Thespis and Mercurein Rameaus Plate, Interpreter in VaughanWilliamssThePilgrims Progressand Hot BiscuitSlim in Brittens Paul Bunyan. He has appearedat many of the worlds most prestigious festivals,including Edinburgh, Salzburg, Spoleto and

the BBC Proms, and recently made his BBCVoices debut with Roger Vignoles in aprogramme of lieder by Beethoven andSchubert.

Stephen Varcoehas established a reputationas one of Britains most versatile baritones. Hehas made over 125 recordings including works

by Hahn, Chabrier, Finzi, Gurney, StanforStravinsky, Schoenberg, Schubert, NigelOsborne and Thea Musgrave and John Taand has joined Richard Hickox for numeroreleases of Haydn, Beethoven, Vaughan-Williams, Grainger and Britten on ChandOn the concert platform, Stephen has appwith orchestras in the UK, Scandinavia,Europe, Japan and North America, workinwith conductors including Brggen, ChrisHerreweghe, Knussen, Leonhardt, NorrinRifkin, Kuijken, Marriner and Malgoire. Hhas regularly taken part in the BBC Promsfestivals throughout the world and appearsrecital with Roger Vignoles, Graham JohnJulius Drake and Ian Burnside. StephenVarcoes opera engagements have taken himAntwerp, Lisbon, Drottningholm (Stockhand Tokyo where he has appeared in worksMonteverdi, Haydn, Debussy, Holst, Brittand Taverner.

Ian Watsonhas made prestigious appearanand recordings not only as an organist andpianist, but also harpsichordist and conduHe has been a Principal with the City ofLondon Sinfonia, English Chamber Orchand Academy of St. Martin in the Fields, well as working with many period instrumensembles such as The Academy of Ancien


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which he is Music Director, in 1971. Heis also Associate Guest Conductor of theLondon Symphony Orchestra, ConductorEmeritus of the Northern Sinfonia, and co-founder of Collegium Musicum 90.

He regularly conducts the major orchestrasin the UK and has appeared many times at theBBC Proms and at the Aldeburgh, Bath andCheltenham festivals among others. With theLondon Symphony Orchestra at the BarbicanCentre he has conducted a number of semi-staged operas, including Billy Budd, Hnsel undGreteland Salome. With the BournemouthSymphony Orchestra he gave the firstever complete cycle of Vaughan Williamsssymphonies in London. In the course of anongoing relationship with the PhilharmoniaOrchestra he has conducted Elgar, Waltonand Britten festivals at the South Bank and asemi-staged performance of Glorianaat theAldeburgh Festival.

Apart from his activities at the Sydney

Opera House, he has enjoyed recentengagements with The Royal Opera, CoventGarden, English National Opera, Vienna

State Opera and Washington Opera amongothers. He has guest conducted such world-renowned orchestras a s the PittsburghSymphony Orchestra, Orchestre de Parisand Bavarian Ra dio Symphony Orchestraand is soon to appear with the New YorkPhilharmonic.

His phenomenal success in the recordingstudio has resulted in more than 280recordings, including most recently cycles oforchestral works by Sir Lennox and MichaelBerkeley and Frank Bridge with the BBCNational Orchestra of Wales, the symphoniesby Vaughan Williams with the LondonSymphony Orchestra, and a series of operasby Britten with the City of London Sinfonia.He has received a Grammy(for Peter Grimes)and five GramophoneAwards. RichardHickox was awarded a CBE in the QueensJubilee Honours List in 2002, and hasreceived many other awards, including twoRoyal Philharmonic Society Music Awards,

the first ever Sir Charles Groves Award, theEvening StandardOpera Award, and theAssociation of British Orchestras Award.

I. KyrieKyrie eleison.Christe eleison.Kyrie eleison.

II. GloriaGloria in excelsis DeoEt in terra pax hominibus bonae voluntatis.Laudamus te, benedicimus te, adoramus te, glorificamus te.Gratias agimus tibi propter magnam gloriam tu

Domine Deus, Rex coelestis, Deus Pater omnipDomine Fili unigenite, Jesu Christe,Domine Deus, Agnus Dei, Filius Patris,Qui tollis peccata mundi, miserere nobis.Qui tollis peccata mundi, suscipe deprecatione nostram.Qui sedes ad dexteram Patris, miserere nobis.Quoniam tu solus sanctus, tu solus Dominus, solus Altissimus, Jesu Christe.Cum Sancto Spiritu, in gloria Dei Patris,

Amen.

III. CredoCredo in unum Deum.Patrem omnipotentem, factorem coeli et terrae visibilium omnium et invisibilium.Et in unum Dominum Jesum Christum, Filium Dei unigenitum.Et ex patre natum ante omnia saecula.Deum de Deo, lumen et lumine, Deum verum Deo vero.


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Genitum, non factum, consubstantialem Patri: per quem omnia facta sunt.Qui propter nos homines, et propter nostram salutem descendit de coelis.Et incarnatus est de Spiritu Sancto ex Maria Virgine et homo factus est.Crucifixus etiam pro nobis, sub Pontio Pilato, passus et sepultus est.Et resurrexit tertia die, secundum scripturas.Et ascendit in coelum: sedet ad dexteram Patris,Et iterum venturus est cum gloria, judicare vivos et

mortuos, cujus regni non erit finis.Et in Spiritum Sanctum, Dominum, et vivificantem qui ex Patre Filioque procedit.Qui cum Patre et Filio simul adoratur e t conglorificatur qui locutus est per Prophetas.Et unam sanctam catholicam et apostolicam Ecclesiam.Confiteor unum baptisma in remissionem peccatorum.Et exspecto resurrectionem mortuorum,Et vitam venturi saeculi,

Amen.

IV. SanctusSanctus, sanctus, sanctus, Dominus Deus Sabaoth.Pleni sunt coeli et terra gloria tua.Osanna in excelsis.

V. BenedictusBenedictus qui venit in nomine Domini.Osanna in excelsis.

Begotten, not made, of one being with the Father through whom all things were made.For us men and for our salvation he came down from heaven.

And took flesh by the Holy Spirit from the Virgin Mary, and became man.He was crucified also for us; under Pontius Pilate he suffered and was buried.

And he rose again on the third day, according to the scriptures.

And ascended into heaven; and sits at the right hand

of the Father.He will come again in glory to judge the living and the dead, and his kingdom will have no end.

And I believe in the Holy Spirit, the Lord and giver of life, who proceeds from the Father and the Son; who with the Father and the Son is adored and glorified, who has spoken through the prophets.

And in one holy, catholic and apostolic Church.I confess one baptism for the remission of sins.

And I look forward to the resurrection of the dead, and the life of the world to come,

Amen.

IV. SanctusHoly, holy, holy Lord God of power.Heaven and earth are full of your glory.Osanna in the highest.

V. BenedictusBlessed is he who comes in the name of the Lord.Osanna in the highest.

VI. Agnus DeiAgnus Dei qui tollis peccata mundi, miserere nDona nobis pacem.

Salve Regina (CD 3, tracks 1216)I. Salve Regina, Mater misericordiae: vita, dulc et spes nostra, salve!

II.Ad te clamamus, exules filii Evae. Ad te suspir

gementes et flentes in hac lacrimarum valle.

III. Eia ergo, advocata nostra, illos tuos miseric oculos ad nos converte.

IV. Et Jesum, benedictum fructum ventris tui, post hoc exilium ostende.

V. O clemens, o pia, o dulcis Virgo Maria!

Te Deum (CD 4, tracks 1 & 15)Te Deum laudamus: te Dominum confitemurTe aeternum Patrem omnis terra veneratur.Tibi omnes Angeli, tibi caeli et universae potesTibi Cherubim et Seraphim incessabili voce proclamant:Sanctus, Sanctus, Sanctus, Dominus Deus SabPleni sunt caeli et terra majestatis gloriae tuae.Te gloriosus Apostolorum chorus: te Propheta laudabilis numerus:


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Te Martyrum candidatus laudat exercitus.Te per orbem terrarum sancta confitetur Ecclesia, Patrem immensae majestatis;Venerandum tuum verum, et unicum Filium: Sanctum quoque Paraclitum Spiritum.Tu Rex Gloriae, Christe: tu Patris sempiternus es Filius.Tu ad liberandum suscepturus hominem, non horruisti Virginis uterum.Tu devicto mortis aculeo, aperuisti credentibus regna caelorum.Tu ad dexteram Dei sedes, in gloria Patris.

Judex crederis esse venturus.Te ergo quaesumus, tuis famulis subveni, quos pretioso sanguine redemisti.

Aeterna fac cum Sanctis tuis in Gloria numerari.Salvum fac populum tuum Domine, et benedic hereditati tuae, et rege eos, et extolle illos usque in aeternum.Per singulos dies, benedicimus te et laudamus nomen tuum in saeculum, et in saeculum saeculi.Dignare Domine die isto sine peccato nos custodire.Miserere nostri Domine.Fiat misericordia tua, Domine super nos, quemadmodum speravimus in te.In te Domine speravi: non confundar in aeternum.

The noble army of Martyrs praises you.The Holy Church throout all the world does acknowledge you, the Father of an infinite Majesty.

Your honourable, true, and only Son; also the Holy Ghost, the Comforter.

You are the King of Glory, O Christ: you are the everlasting Son of the Father.

When you tookest upon yourself to deliver man, you did not abhor the Virgins womb.

When you had overcome the sharpness of death, you did open the Kingdom of Heavn to all

believers.You sit at the right hand of God in the Glory of the Father.

We believe that you shall come to be our judge.We therefore pray you help your servants who you have redeemed with your precious blood.Make them to be numberd with your Saints in glory everlasting.O Lord save your people and bless your heritage: govern them and lift them up forever.Day by day we magnify your name and we worship ever world without end.Vouchsafe, O Lord, to keep us this day without sin.O Lord have mercy upon us.O Lord let your mercy lighten upon us, as our trust is in you.O Lord in you have I trusted: let me never be confounded.

Ave Regina (CD 5, tracks 1214)Ave Regina coelorum,Ave Domina Angelorum,Salve radix, salve porta,Ex qua mundo lux est orta.

Gaude Virgo gloriosa,Super omnes speciosa.Valde, o valde, o valde decoraEt pro nobis Christum exora.

Alfred, Knig der A ngelsachsen(CD 4, tracks 13 & 14)

Arie des SchutzgeistesDie Schutzgeisterin

Ausgesandt vom StrahlenthroneAtm ich Trstung in dein Herz.Trau der Tugend hohem Lohne,Trage standhaft deinen Schmerz.

ElvidaBote des Himmels! Lebt mein Alfred? Lebt Ed

Die SchutzgeisterinHoff, Elvida! Bange SorgenMachen oft dies Leben schwer;Doch der Zukunft heitrer MorgenSchwebt aus dunkler Ferne her.

Wag es nicht, sie zu durchschauenBis der Vorsicht VaterhandDurch den Dornenpfad voll Grauen

Wege deiner Rettung fand.


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ElvidaRettung, Rettung fr mich und Alfred!O Dank dir, liebender Geist, ich will ihn fassen,diesen Gedanken, will ihn denken, bis ich nichtmehr zu denken vermag.

Die SchutzgeisterinSchtzend will ich dich umschweben,

Wenn dir Wut und Rache droht;Strkend deinen Mut beleben;Harr auf Gott in deiner Not!

Chor der DnenTriumph, Triumph, Triumph dir, Haldane.Die Schlacht ist gekmpft,Der Angel-Sachsen Trotz gedmpft.

Wir schreiten auf Leichen ins Lager hinab,Das weite Schlachtfeld ein schauerndes Grab.

Wie sind unsre Schwerter vom Blute so rot.Wir spotteten Gefahr und Tod.Wir lachten des Feindes ohnmchtiger Wut,Sein Todesrcheln befeuert unsren Mut.Mit Beute beladen, mit Lorbeern gekrntZiehn wir daher, die Erde drhnt,Trompeten und Pauken verknden den Sieg.Die Gtterfhrten uns selbst in den Krieg.Triumph, Triumph, Triumph dir, Haldane.Die Schlacht ist gekmpft.Der Angel-Sachsen Trotz gedmpft.

Wir schreiten auf Leichen ins Lager hinab,Das weite Schlachtfeld ein schauderndes Grab.

ElvidaSalvation, Salvation for me and Alfred!Oh thank you, loving spirit, I will fasten upon thisthought, I will think it until I can think no longer.

Guardian SpiritI will surround you with protection

When beset by rage and vengeance;I will revive your strengthened courage;In your peril wait for God!

Chorus of the DanesTriumph, triumph, triumph to you, Haldane.The battle has been fought,

Anglo-Saxon defiance is vanquished.We descend to the camp over corpses,The vast battlefield is an awesome grave.How red with blood are our swords.

We scorned danger and death.We defied the foes impotent rage.His death rattle fired our courage.Laden with booty and crowned with laurels

We march past and the earth rumbles,Trumpets and drums herald the victory.The gods themselves led us into war.Triumph, triumph to you, Haldane.The battle has been fought,

Anglo-Saxon defiance is vanquished.We descend to the camp over corpses,The vast battlefield is an awesome grave.

Translation from German: Gery Bramall

You can now purcha se Chandos CDs on linFor mail order enquiries contact Liz: 0845

Any request s to licens e track s from th is CDto the Finance Director, Chandos Records

Chandos Records Ltd, Chandos House, 1 Essex CO2 8HX, UK. E-mail: enquiries@Telephone: + 44 (0)1206 225 200 Fax: +

Recording producerNicholas AndersonSound engineerRalph Couzens

Assist ant engineersRichard Smoker, DavEditorsJonathan Cooper (CDs 1, 4, 5), RRecording venue Blackheath Concert Hall1995 (CD 2), 27 29 November 1996 (CD(CD 5), 1618 April 1998 (CD 6), 18 20Back cover Richard Hickox by Greg BarreDesign, artwork and typesetting CassidyCopyrightAnton Bhm & Sohn, AugsbuXXII:I ), Faber Mus ic Ltd (Nikolaimesse), E

PublishersUniversal Edition AG (Missa CCellensis(No. 2), Hob. XXII:8)p 19962002 Chandos Records LtdThis c ompilationp2006 Chandos RecordDigital remasteringp2006 Chandos Rec 2006 Chandos Records LtdChandos Records Ltd, Colchester, Essex CPrinted in the EU

Documents

Booklet - Haydn - The Complete Mass Edition - Hickox