The following pages have been designed for you to print, cut, and insert into standard CD jewel cases. Simply cut along the crop lines. Be sure to print using your printer’s highest possible resolution, and use paper that’s designed for high-quality printing. The cover art deserves it, and so do you!

Important tip: In the Print dialogue of Adobe Reader or Acrobat, under “Page Handling”set “Page Scaling” to “None”select “Auto-Rotate and Center”deselect “Choose Paper Source by PDF page size”

For the cover insert, after cutting, fold down the middle and slide behind the clear plastic front surface. For the tray card, remove the front of the jewel case, and then carefully separate the CD holder from the clear plastic back surface. It’s a little tricky, but you’ll get the hang of it. Suggestion: use a fingernail to separate the two parts by inserting your nail between the clear and black plastic along the right (back) spine of the jewel case. Press the clear part down and away from the black. Then, after cutting the tray card insert, fold it along the two black lines to create the spine panels, drop it into the clear plastic back, and replace the black plastic CD holder. Reposition the front of the jewel case, being careful not to break the hinges, and voilà!

Finally, the last pages of this document offer program notes, texts, and translations.

1.2.3.

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JOSEPH HAYDN (1732-1809): MASSESTamara Matthews soprano - Zoila Muñoz altoBenjamin Butterfield tenor - David Arnold bass

AMERICAN BACH SOLOISTSAMERICAN BACH CHOIR • PACIFIC MOZART ENSEMBLE

Jeffrey Thomas, conductor

AMERICAN BACH SOLOISTS

Missa in Angustiis

Violin

Elizabeth Blumenstock (leader)

Cynthia AlbersJoseph EdelbergPeter KupferIngrid MatthewsCarla MooreSandra SchwarzRobert SeletskyJoliane von EinemLisa Weiss

Viola

David Daniel BowesKatherine KymeAnthony MartinGeorge Thomson

Violoncello

Sarah FreibergClaire GarabedianElisabeth Le GuinBrent Wissick

contrabasso

Edmond GnekowSteven LehningKristin Zoernig

trumpet

Fred HolmgrenBarry BauguessAdam Gordon

timpani

John Grimes

organ

Jonathan Dimmock

Missa brevis Sancti Joannis de Deo

ViolinElizabeth Blumenstock

(leader)Joseph EdelbergKatherine KymeAnthony MartinIngrid MatthewsCarla MooreSandra SchwarzJolianne von EinemLisa Weiss

VioloncelloSarah FreibergElisabeth Le GuinBrent Wissick

contrabassoSteven LehningKristin Zoernig

organJeffrey Thomas

AMERICAN BACH CHOIR

sopranoKristi Brown-

MontesanoElisabeth EnganRuth EscherClaire KelmAnnette Rossi

altoJulie CompariniLinda LiebschutzAlexandra IvanoffSuzanne Elder

Wallace

tenorEd BettsChris J. N. McCrumJonathan NadelJohn Rouse

bassDarren ChaseCharles FidlarKurt-Owen RichardsDavid VarnumBrannon Wiles

PACIFIC MOZART ENSEMBLE

Richard Grant, director

Lynne Morrow, assistant director

sopranoJennifer AshworthJanet CorahEliza O’MalleyDonna Warrington

altoElisabeth EliassenLynne MorrowLisa SargentLark SchumacherBarbara Tusé

tenorScott HaberJim HaleMark MuellerTom Warrington

bassSteve BenvenueFred HoseaPaul KeatonTom MugglestoneJeff Watts

conducted byJeffrey Thomas

recording engineer & editor

Peter Nothnagle

producers

John Miner & Jeffrey Thomas

recorded may 15-16, 1995

St. Stephen’s Church, Belvedere, CA

THE MUSICIANS

JEFFREY THOMASmusic director

JOSEPH HAYDNMASSES

Missa in Angustiis“Lord Nelson Mass”

Missa brevis Sancti Joannis de Deo“Little Organ-Mass”

Tamara Matthews, soprano - Zoila Muñoz, altoBenjamin Butterfield, tenor - David Arnold, bassAmerican Bach Choir - Pacific Mozart Ensemble

MASTERWORKS SERIES

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Missa in Angustiis (36:58)“Lord Nelson Mass”

1 Kyrie* - Allegro Moderato (4:46)2 Gloria - Allegro (3:31)3 Qui tollis - Adagio (4:20)4 Quoniam tu solus sanctus - Allegro (2:41)5 Credo - Allegro con spirito (1:45)6 Et incarnatus - Largo (3:49)7 Et resurrexit - Vivace (3:37)8 Sanctus - Adagio-Allegro (2:30)9 Benedictus - Allgro moderato (5:37)bl Osanna - Allegro (0:44)bm Agnus Dei - Adagio (2:54)bn Dona nobis - Allegro vivace (2:37)

Tamara Matthews, soprano*with Claire Kelm, soprano IIZoila Muñoz, altoBenjamin Butterfield, tenorDavid Arnold, bassJonathan Dimmock, organAmerican Bach ChoirPacific Mozart Ensemble

Missa brevis Sancti Joannis de Deo (16:39)“Little Organ Mass”

bo Kyrie - Adagio (2:03)bp Gloria - Allegro (di molto) (1:01) bq Credo - Allegro-Adagio-Allegro (3:06)br Sanctus - Allegro (1:01)bs Benedictus - Moderato-Allegro (6:07)bt Agnus Dei - Adagio (3:18)

Tamara Matthews, sopranoJeffrey Thomas, organAmerican Bach Choir

JOSEPH HAYDN (1732-1809): MASSESTamara Matthews soprano - Zoila Muñoz altoBenjamin Butterfield tenor - David Arnold bass

AMERICAN BACH SOLOISTSAMERICAN BACH CHOIR • PACIFIC MOZART ENSEMBLE

Jeffrey Thomas, conductor

© 2006 American Bach SoloistsCover Art: Detail from Allegory of the State of France before the Return from Egypt by Jean-Pierre Franque

americanbach.orgTexts, translations, and notes for this recording are available online at: americanbach.org/magnatune

page � © 2006 American Bach Soloists

JEFFREY THOMASmusic director

support materials for our recording of

JOSEPH HAYDN (�732-�809): MASSESTamara Matthews soprano - Zoila Muñoz altoBenjamin Butterfield tenor - David Arnold bass

AMERICAN BACH SOLOISTSAMERICAN BACH CHOIR • PACIFIC MOZART ENSEMBLE

Jeffrey Thomas, conductor

Missa in Angustiis — “Lord Nelson Mass”

Following the extraordinary success of his two so-journs in London, Haydn returned in 1795 to his work as Kapellmeister for Prince Nikolas Esterházy the younger. The Prince wanted Haydn to re-establish the Esterházy orchestra, disbanded by his unmusical father, Prince Anton. Haydn’s re-turn to active duty for the Esterházy family did not, however, signify a return to the isolated and static atmosphere of the relatively remote Esterházy palace, which had been given up after the elder Prince Nikolas’s death in 1790. Haydn was now able to work at the Prince’s residence in Vienna for most of the year, retiring to the courtly lodgings at Eisenstadt during the summer. His duties were light, the most important being the composition of a new mass each year in honor of Princess Marie Hermenegild’s name day (8 September) for perfor-mance at Eisenstadt. Of the resultant Masses, the Nelson Mass (1798) is perhaps the most popular. Written during an especially intense moment of the Napoleonic Wars—namely the battle of the Nile—the piece is listed in Haydn’s own cata-logue as Missa in angustiis (“Mass in Time of Distress”); news of Lord Nelson’s victory over Napoleon, however, was electri-fying Allied Europe, and from its first performance, the piece came to be known by its present title. In his biography of the composer, Karl Geiringer notes that a chart of the battle of the Nile was found among Haydn’s papers. Legend has further strengthened the connection: upon meeting Haydn in 1800, Admiral Nelson is said to have asked for the pen with which the composer wrote the Mass in exchange for a gold watch.

Written in dark D minor (it is Haydn’s only extant Mass in a minor key), the work displays an intensity reminis-cent of Haydn’s Sturm und Drang works partnered with the technical brilliance of the London symphonies. The opening forgoes the Adagio introduction so common in the sympho-nies and several other Masses and launches directly into the Allegro tempo with a fierceness well meriting the choral in-vocation, “Kyrie eleison” (“Lord have mercy”). Indeed this movement is infused with a sense of desperation: the growing intensity of the descending chromatics “sighs” in the second Kyrie culminates with the return of the original Kyrie music, now made more heartrending by the soprano soloist’s florid cries. Following the true spirit of the text, painfully relevant in a time of war, Haydn infuses the music here with a prayerful urgency. The sounds of entreaty, both individual and congre-gational, pervade the Mass; they are united with stunning perfection in the “Qui tollis” section of the Gloria, where the

soprano soloist’s petition “Suscipe” (“Receive”) is followed by the unison choral response “deprecationem nostram” (“our prayer”).

Even in the traditionally upbeat sections of the liturgy, the frequent turns to minor harmonies invoke the upheaval wrought by war and disallow a sense of emotional—and au-ditory—complacency. After the optimistic D-major opening of the Gloria, for example, the music slips into E minor at the words “et in terra pax hominibus” (“and peace to His people on earth”); throughout the section, D-minor inflections cloud the laudatory mood of the first theme and the text in general. The Benedictus is even more startling. Rejecting the serene musical language commonly associated with this text, Haydn returns to D minor and the martial character of the Kyrie in a lengthy instrumental introduction complete with trum-pets and timpani. Yet however overwhelming the brutalities and despair of war, the final section of the Mass focuses on peace. As entreaty is intrinsically an act of hope, the “Dona nobis pacem” (“Grant us peace”) shines bright with possibil-ity. Reaffirming again and again the final key of D major, the music sweeps past any lingering chromatic passages, invigo-rated to the end by the shifting dynamics, broad choral lines, and energetic, even merry, violin accompaniment.

Missa Brevis Sancti Joannis de Deo — “Little Organ-Mass”

Haydn composed this “Kleine Orgelmesse” (“Little Organ-Mass”) for the Eisenstadt house of the Order of the Brothers of Mercy, with whom he had an abiding friendly re-lationship. (One of his first jobs as a musician was playing first violin for the Brothers of Mercy at Leopoldstadt near Vienna) Indeed, Haydn dedicated a number of small sacred pieces to Saint John of God, a sixteenth-century Portuguese monk and the founder of the Order. Although the exact date of this Mass is unknown, it is generally thought to have been written in the mid-1770s.

The missa brevis, with its compact form and smaller performing forces, was especially popular in mid-eighteenth century Austria. As in his short Masses, Haydn employs here an orchestra of two violins and continuo and a four-voice chorus. (The addition of the obbligato organ and soprano solo in the Benedictus endow the movement with a welcome luxuriance and mark it as the musical highlight of the work; such broad treatment of this particular movement is not un-common in the missa brevis settings.) The abbreviated musical

page 2 © 2006 American Bach Soloists

forms and polytextual settings in the missa brevis format allow for a relatively expedient presentation of the liturgical text. In the Gloria, for example, each vocal part sings simultaneously a different part of the text, coming together only at the final “cum Sancto Spiritu in gloria Dei Patris. Amen” (“with the Holy Spirit in the glory of God the Father. Amen”).

While the conventions of the missa brevis undoubted-ly placed limits on dramatic possibilities, Haydn nevertheless treats us in this Mass to moments of the keenest expression. Following the allegro opening of the Credo, with its chaotic jumble of texts, the music slows to an adagio tempo and lin-gers on the words so central to the belief of the faithful: “Et incarnatus est de Spiritu Sancto ex Maria Virgine, et homo factus est” (“By the power of the Holy Spirit, He was born of the Virgin Mary, and became man”). The simple, chordal style of

the choral writing allows for the most eloquent declamation of the text, culminating in the sublime unison at “et homo factus est.” The subsequent C-minor Crucifixus also displays this ex-pressive simplicity. The mysteries of birth and death form the dramatic focus of this section. Haydn makes clear their inex-tricable relationship, recalling—at the words “et sepultus est” (“and was buried”)—the oscillating violin accompaniment which first appeared at “et homo factus est.” The solemn, ear-nest mood and musical language of the “Et incarnatus” return with the Agnus Dei. In the final “Dona nobis pacem” (“grant us peace”), Haydn eschews the traditional exuberance of this section and indicates instead a gradual dying away, an ethe-real conclusion to the final request for peace.

- Kristi Brown-Montesano

Missa in Angustiis (Lord Nelson Mass)

Missa Sti Joannis de Deo(Little Organ-Mass)

1 KyrieAllegro ModeratoSoprano solo, solo quartet, chorus / organ, strings, trumpets, timpani

bn KyrieAdagioChorus / strings, continuo

Kyrie eleison. Christe eleison. Kyrie eleison.Lord, have mercy. Christ, have mercy. Lord, have mercy.

2 GloriaAllegroSolo quartet, chorus / organ, strings, trumpets, timpani

bo GloriaAllegro (di molto)Chorus / strings, continuo

Gloria in excelsis Deo. Et in terra pax hominibus bonae voluntatis. Laudamus te; benedicimus te; adoramus te; glorificamus te. Gratias agimus tibi propter magnam gloriam tuam. Domine Deus, Rex coelestis, Deus Pater omnipotens. Domine Fili unigenite Jesu Christe altissime: Domine Deus, Agnus Dei, Filius Patris: Glory be to God in the highest. And in earth peace to men of good will. We praise thee; we bless thee, we worship thee; we glorify thee. We give thanks to thee for thy great glory. Lord God, heavenly King, God the Father almighty. O Lord, the only-begotten Son Jesus Christ most high: Lord God, Lamb of God, Son of the Father:

3 Qui tollisAdagioBass solo, soprano solo, chorus / organ, strings

Qui tollis peccata mundi, miserere nobis: Qui tollis peccata mundi, suscipe deprecationem nostram: Qui sedes ad dextram Patris, miserere nobis:Thou that takest away the sins of the world, have mercy upon us: Thou that takest away the sins of the world, receive our prayer: Thou that sittest at the right hand of the Father, have mercy upon us:

4 Quoniam tu solusAllegroSolo quartet, chorus / organ, strings, trumpets, timpani

Quoniam tu solus sanctus, Tu solus Dominus, Tu solus altissimus, Jesu Christe: Cum Sancto Spiritu in gloria Dei Patris. Amen.For thou only art holy, thou only art the Lord, thou only art the most high, Jesus Christ: With the Holy Ghost in the glory of God the Father. Amen.

5 CredoAllegro con spiritoChorus / organ, strings, trumpets, timpani

bp CredoAllegroChorus / strings, continuo

Credo in unum Deum. Patrem omnipotentem, Creator 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 de Lumine, Deum verum de Deo vero, Genitum non factum, consubstantialem Patri, per quem omnia facta sunt: Qui Propter nos homines et propter nostram salutem descendit de coelis:I believe in one God, the Father almighty, Creator of heaven and earth, and of all things visible and invisible: And in one Lord Jesus Christ, the only-begotten Son of God, begotten of the Father before all worlds: God of God, Light of Light, very God of very God; begotten not made; being of one substance with the Father, by whom all things were made: who for us men and for our salvation came down from heaven:

page 3 © 2006 American Bach Soloists

6 Et incarnatusLargoSolo quartet, chorus / organ, strings, trumpets, timpani

Adagio Chorus / strings, continuo

Et incarnatus est de Spiritu Sancto ex Maria virgine, et homo factus est. Crucifixus etiam pro nobis sub Pontio Pilato, passus et sepultus est.And was incarnate by the Holy Ghost of the virgin Mary, and was made man. He was crucified also for us under Pontius Pilate, he suffered and was buried.

7 Et resurrexitVivaceSoprano solo, chorus / organ, strings, trumpets, timpani

Allegro Chorus / strings, continuo

Et resurrexit tertia die, secundum scripturas: Et ascendit in coelum. Sedet ad dextram Dei 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 et conglorificatur: qui locutus est per prophetas. Et unam sanctam catholicam et apostolicam ecclesiam. Confiteor unum baptisma in remissionem peccatorum. Et expecto resurrectionem mortuorum et vitam venturi saeculi. Amen.And the third day he rose again according to the scriptures; and ascended into heaven. He sitteth at the right hand of God the Father. And he shall come again with glory to judge both the quick and the dead; whose kingdom shall have no end. And in the Holy Ghost the Lord and giver of life, who proceedeth from the Father and the Son; who with the Father and the Son together is worshipped and glorified; who spake by the prophets. And in one holy, catholic and apostolic church. I acknowledge one baptism for the remission of sins, and I look for the resurrection of the dead and the life of the world to come. Amen.

8 SanctusAdagio - (Allegro)Chorus / organ, strings, trumpets, timpani

bq SanctusAllegroChorus / strings, continuo

Sanctus, sanctus, Dominus Deus Sabaoth. Pleni sunt coeli et terra gloria ejus. Osanna in excelsis.Holy, holy is the Lord God of Hosts. Heaven and earth are full of his glory. Hosanna in the highest.

9 BenedictusAllegrettoSolo quartet, chorus / organ, strings, trumpets, timpani

br BenedictusModeratoSoprano aria / organ solo, strings, continuo

Benedictus qui venit in nomine Domini.Blessed is he that cometh in the name of the Lord.

OsannaAllegrochorus / organ, strings, trumpets, timpani

AllegroChorus / strings, continuo

Osanna in excelsis.Hosanna in the highest.

bl Agnus DeiAdagiosolo quartet / organ, strings

bs Agnus DeiAdagiochorus / strings, continuo

Agnus Dei qui tollis peccata mundi, miserere nobis. Agnus Dei qui tollis peccata mundi, miserere nobis.Lamb of God, that takest away the sins of the world, have mercy upon us. Lamb of God, that takest away the sins of the world, have mercy upon us.

bm Dona nobisVivacechorus / organ, strings, trumpets, timpani

Dona nobis pacem.Grant us peace.

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