Johann Michael Haydn (1737-1806) - Missa pro defuncto Archiepiscopo Sigismundo (1771)
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Composer: Johann Michael Haydn (1737-1806)
Work: Missa pro defuncto Archiepiscopo Sigismundo (1771), MH 155
Performers: Siglinde Damisch (soprano); Gabriele Schreckenbach (alto); Chris Merrit (tenor); Hartmut Müller (bass);
Salzburger Rundfunk und Mozarteumchor; Mozarteum Orchester; Ernst Hinreiner (1920-1999, conductor)
Missa pro defuncto Archiepiscopo Sigismundo (1771)
1. Introitus 0:00
2. Sequenz 6:54
3. Domine Jesu 17:38
4. Hostias 21:45
5. Sanctus 24:40
6. Benedictus 26:25
7. Agnus Dei 30:09
Painting: Johann Fischbach (1797-1871) - Salzburg, a View of St. Peter’s Cemetery (1841)
HD image: flic.kr/p/2q22Wmn
Further info: www.discogs.com/sell/release/...
Listen free: No available
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The year 1771 was decisive in Haydn’s life. In January, the composer was stunned by the death of his infant daughter, the only child to be born to his marriage. The loss plunged Haydn into a despair that, according to later testimony of his friends, never entirely lifted and cast a lasting shadow over his genial nature. For months he was unable to compose. He scarcely had begun to regain his equanimity when, in mid-December, his patron, Sigismund Count Schrattenbach, Prince- Archbishop of Salzburg, also died. For many years Salzburg had been settling on hard times, and the passing of the province's ruler was cause to everyone for grave concern. Haydn set about at once to write a Requiem Mass to honor his Prince’s memory. The work was written in a feverish rush of creative power. Haydn completed his Requiem in two weeks’ time; at the end of the autograph score is the date, Salzburg, 31 December 1771. It cannot be doubted that Haydn was deeply moved by the death of his late employer; the Prince had been a connoisseur of the arts and a liberal patron of music. But it must be equally true that in composing the Requiem Haydn was also compelled by the memory of his own recent bereavement, for nothing else can adequately explain the passionate intensity that informs this work. The Missa pro defuncto Archiepiscopo Sigismundo proclaimed Haydn’s genius more clearly than had any of his previous compositions. It was, in fact, the first work of his maturity. At one stroke, he established his right to be counted among the great composers of his age. The Requiem was widely performed and admired during Haydn's lifetime. Wolfgang Mozart in particular was profoundly affected by the work and later used several parts of Haydn's score in his own compositions. The Vesperae Solennes de Confessore (K.339) from 1780, for example, reworks Haydn's fugue Cum sanctis tuis to provide the movement Laudate pueri, and Mozart's own tragic Requiem reflects in a general way the pervasive influence of Haydn's work.
Source: Charles H. Sherman (Columbia, 1966) - Hudba
A marvelous performance of this absolute outstanding and deep moving masterwork. Michael Haydn is indeed one of the great composers of his and of any age. Thank you sincerely !!
Merci pour toutes vos magnifiques publications! Mention particulière pour celle-ci. Magistrale interprétation.
Sublime!
Astonishing in every which way ; from the start with deep sorrow and solemness until redemptive finish. As a chorister, I would absolutely love to sing this masterpiece someday. 💝💝💝
PS : I love the painting too. The contrast of the graveyard and the blue sky perfectly match this sublime music.
Actually is the cemetery in Salzburg where Michael Haydn is buried. Lux Aeterna Michael Haydn!
It's a beautiful cemetery. And his grave is in the communal vault. Mozart's sister Marianne lies there as well.
You can hear his pain! 😢
🥀🙏🙏💔 D I V I N E ....💎....💔🙏🙏🥀💐💜💐💜💐💜💐💜💐💜 Big Heartfelt THANK YOU for this very great video and beautiful picture! 🥀🇦🇹🇦🇹🇦🇹❤️🔥🇩🇪🇩🇪🇩🇪🍃🍷🎻A GENIUS masterpiece .......⚘️
animae pulchritudo necessitatem mortis iustificat ... simplicitate