Haydn: Mass, Hob. XXII:12 in B flat major 'Theresienmesse' - CD

“Another fine performance. True to form, Gardiner exults more fiercely than anyone in Gloria, with hungry rhythms and extreme dynamic contracts, and brings a unique hushed tension to the 'Crucifixus'.” BBC Music Magazine, February 2008

“Dating respectively from 1798 and 1799, the Nelsonmesse and the Theresienmesse are the third and fourth of the six masses written for the nameday of the Princess Esterházy. That was a period during the Napoleonic wars when Prince Esterházy, Nikolaus II had economised by dismissing his Harmonie or windband. Even so, in 1798 for the Nelsonmesse, Haydn, seeking to reflect the mood of the times (hence the official title, Missa in angustiis – 'Mass in straitened times'), brought in three trumpets and timpani, and their impact is all the greater when set against strings and organ alone.
That heightened contrast is a point which comes out with thrilling attack in Gardiner's performance at the very opening of the Kyrie.
This vigorous Allegro, typical of Haydn but totally untypical of Mass-settings, introduces martial fanfares, which recur through the whole work. Though Haydn composed the Mass in a mere 53 days in the summer of 1798, just when Nelson was winning the Battle of Aboukir, Haydn knew nothing of that victory till later, and the Nelson association dates from two years later when the admiral visited Eisenstadt, and the Mass was given in his honour.
Gardiner's treatment of the fanfares offers only the first of dozens of examples where his crisp, incisive manner highlights the extraordi- nary originality of this work. The Theresienmesse brings similar revelations. Here, in addition to trumpets and timpani, Haydn scored for two clarinets, and though this is a less sharply dramatic, more lyrical work, a martial flavour is again introduced. There are surprises aplenty, as in the sudden silence of the orchestra in the setting of the word 'miserere' at the end of the 'Gratias agimus tibi', or the setting of 'Et incarnatus' in the Credo in the rare key (in this context) of B flat minor, and 'Et vitam venturi' set in a galloping 6/8 time or the bold, square opening of Agnus Dei in bare octaves at an unapologetic forte. Such points must have startled early listeners, and Gardiner's treatment makes one appreciate that with new ears.
In this respect he even outshines Richard Hickox, whose prize-winning Mass series for Chandos brings equally enjoyable performances of both these works, just as energetic and a degree warmer, thanks in part to the recording acoustic. Gardiner's team, on the other hand, has markedly cleaner separation of textures, with soloists and chorus more sharply defined.
Gardiner's Monteverdi Choir as ever sings with passion, brilliance and fine precision, and his soloists are all outstanding, fresh and youthfulsounding with firm clear voices.
As a splendid, very apt bonus there's a superb account of the magnificent ceremonial C major Te Deum.” Gramophone Classical Music Guide, 2010

“Hickox and Collegium Musicum 90 are especially fine in the exultant, springing Gloria and the rough-hewn vigour of the Credo… Led by the sweet toned Janice Watson, the soloists sing with a chamber-musical grace and intimacy in the 'Et incarnatus est' and the Benedictus, while their supplicatory tenderness in the 'Dorna nobis pacem' contrasts with the choir's urgent demands for peace.” BBC Music Magazine, February 2008

“Hickox generates the physical and spiritual elation essential to this music, calling to mind Haydn's own much-quoted remark that whenever he praised God his heart leapt with joy. In the glorious Theresienmesse of 1799 Hickox's manner is particularly fine in the exultant, springing Gloria and the rough-hewn vigour of the Credo. He understands, too, the Mass's dramatic and symphonic impetus, bringing a powerful cumulative momentum to the sonataform 'Dona nobis pacem' and thrillingly tightening the screws in the closing pages. The choir is placed forward, though never at the expense of orchestral detail, keenly observed by Hickox. His uncommonly well-integrated solo quartet framed by the sweet-toned Janice Watson and the gentle, mellifluous Stephen Varcoe, sings with a chamber-musical grace and refinement in the 'Et incarnatus est' and the Benedictus. And their supplicatory tenderness in the 'Dona nobis pacem' contrasts arrestingly with the choir's urgent demands for peace.
Hickox also captures the peculiar serenity and innocence of the much earlier Missa brevis SanctiJohannis de Deo, or Little Organ Mass, its intimacy enhanced here by the use of solo strings. A disc guaranteed to refresh the spirit.” Gramophone Classical Music Guide, 2010

“He seizes zestfully on the overt picture of an advancing army, and rises to the optimism of an imassioned "Dona nobis pacem". ” Gramophone Magazine, June 2008

“Although the chorus has less presence than on Hickox's recordings, Trevor Pinnock brings a sense of awe to the Kyrie and Agnus Dei. Elsewhere there is energy aplenty.” BBC Music Magazine, February 2008

“The choir sings with accuracy, musicality and fervour which it would be hard to beat. The orchestra, sometimes listed as the REBEL Baroque Orchestra are a period instrument group who play with real character.” MusicWeb International