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Missa Tempore Quadragesimae, MH 553
for choir and basso continuo
1] Kyrie
2] Credo
3] Sanctus
4] Agnus Dei
Sinfonia in E flat Major, MH 340 (P17)
for orchestra
5] Allegro spirituoso
6] Adagietto affettuoso
7] Presto
8] Ave Regina, MH 140
for double choir
Divertimento in A major, MH 299 (P121)
for string quartet
9] Presto
10] Menuetto (moderato)
11] Andante grazioso (con Var.)
12] Rondo (allegro molto)
Responsoria ad Matutinum in Nativitate Domini, MH 639
for choir, violins, organo
13] Hodie nobis coelorum Rex
14] Hodie nobis de caelo pax
15] Quem vidistis pastores?
16] O magnum mysterium
17] Beata Dei genitrix Maria
18] Sancta et immaculata virginitas
19] Beata viscera Maria virginis 20] Verbum caro factum est related items
ALESSANDRO, FRANCESCO E DOMENICO
Polyphonic Music of the Scarlatti Family
Missa Quator Vocum, Miserere Mei, Magnificat, Salve Regina
Ex Tempore, Florian Heyerick
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This recording offers us a close look into Michael Haydn’s musical activities for the church, the court and its surroundings. The Missa is perfectly in accord with the then current ideals for reform in the Catholic Church: functional, short, simple, modest and linked to the Gregorian tradition. It is amazing how Haydn was able to compose such varied, lively and attractive music within these strict guidelines. Even the simple setting of the Et incarnatus est is striking. In the Christmas Responses we hear the real “Salzburg” Haydn: a fluent setting of the text, animated motion in the violins, hurtling words and brief intimate moments. We can also hear a clear echo of the liturgical motets composed by the young Mozart. In the Ave Regina MH 140 he chooses a masterfully manipulated stilo antico in the best Venetian poly-choral tradition and was easily able to fill the immense Salzburg cathedral with the full lines of this strict polyphony. The Sinfonia in E flat and the lively Divertimento in A major are jewels that display all the carefree and inventive melodic, harmonic and structural strength of Michael Haydn - one good idea follows another and reveals Haydn’s mischievous but masterful hand.
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