Haydn: Mass, Hob. XXII:14 in B flat major 'Harmoniemesse' (Wind-band Mass)

“A gripping version of the composer's last Mass.” BBC Music Magazine, August 2009

“Harnoncourt's recent Seasons was no flash in the pan as this 1998 Harmoniemesse with the same choir and orchestra shows. He marries symphonic sweep with Austrian religious pomp and circumstance.” BBC Music Magazine, October 2009 *****

“…the performances are strong, with Rilling's own measured pacing articulating the sizable structures of individual movements capably and pointing up many of the clever and effective touches Haydn includes to enliven familiar texts. Soloists in each instance form accurate and well-balanced quartets and the choirs are solid and neat. Haydn's sincere and unquestioning faith - he could say that when he thought of God, it made him feel cheerful - shines through.” BBC Music Magazine, July 2009 ****

“…impressive indeed was Haydn's scoring of his last complete composition, the Harmoniemesse. Helmuth Rilling recognises its greatness, balancing the wind band (Harmonie) to make its presence felt, with trumpets and timpani prominently emphasising the dramatic thrust of the music. Yet the tender episodes are not underplayed. ..."Gratias agimus tibi"... has an ethereal beauty; and the pathos of "Et incarnatus est"... through to Christ's Crucifixion and burial, is most tactfully handled. This is an excellent interpretation...” Gramophone Magazine, June 2009

“With a 55-second Gloria for the Kleine Orgelmesse Hill certainly puts the 'brevis' into Missa Brevis. The late Harmoniemesse is thoughtful, Winchester's collegiate polish underpinned by instrumental punch and top drawer soloists.” BBC Music Magazine, October 2005

“Haydn's first major work, the Salve regina of 1756, is here juxtaposed with his last, the Harmoniemesse of 1802, so-called because of its exceptionally full scoring for woodwind. The gulf between the two works, in sophistication, mastery and emotional range, is predictably vast. Yet, in their very different ways, both reconcile the formal liturgical conventions of their era with the expression of Haydn's own lifeaffirming religious faith. Hickox and his forces ideally capture this sense of celebratory spiritual energy. Tempos are lively, rhythms alert and vital. In the Mass Hickox generates an exhilarating symphonic momentum in, say, the opening sections of the Gloria and Credo, and, aided by an outstandingly clear, well-balanced recording, realises to the full such dramatic coups as the sudden swerve into A flat in the recapitulation of the 'Benedictus' and the martial fanfares that slew the music from D major to B flat at the start of the 'Dona nobis pacem'. The steely edged valveless trumpets are thrilling here; and elsewhere the wind players do rich justice to Haydn's glorious writing, nicely balancing rusticity and refinement.
Nancy Argenta's innocent, bell-like tones and graceful sense of line are heard to touching effect in the 'Et incarnatus est' of the Mass. In the Salve regina, she also reveals her deft, fluent coloratura technique. No great depths in this youthful work, but Haydn's setting of the Marian antiphon is elegant and affecting, with a command of shapely, Italianate melody and a feeling for dramatic contrast. This is certainly the most memorable work of Haydn's from the 1750s and aptly complements Hickox's fervent, inspiring reading of the Harmoniemesse.” Gramophone Classical Music Guide, 2010