Track Listing

1. Kyrie
2. Gloria: Gloria in excelsis Deo
3. Gloria: Qui tollis
4. Gloria: Quoniam
5. Credo: Credo in unum Deum
6. Credo: Et incarnatus est
7. Credo: Et resurrexit
8. Sanctus
9. Benedictus
10. Agnus Dei: Agnus Dei qui tollis
11. Agnus Dei: Dona nobis pacem
12. "Te Deum laudamus" Allegro - The English Concert, Trevor Pinnock, The English Concert Choir, Nicholas Parle
13. "Te ergo quaesumus" Adagio - The English Concert, Trevor Pinnock, The English Concert Choir, Nicholas Parle
14. "Aeterna fac cum Sanctis tuis -...Allegro moderato "Aet - The English Concert, Trevor Pinnock, The English Concert Choir, Nicholas Parle

Product Details

• Amazon Sales Rank: #5796 in Music
• Released on: 1987-12-02
• Number of discs: 1
• Dimensions: .25 pounds
• Running time: 50 minutes

Amazon.co.uk Review
As a servant of the old aristocracy, Haydn shared its anxiety about the progress of the wars with Revolutionary France; this Mass, with its anxious "Kyrie" and "Benedictus", has always been associated with the relief felt at Nelson's victory in the Battle of the Nile. Like the Te Deum recorded with it here, it was probably performed for him when, two years later, he and Lady Hamilton visited the Esterhazys at Eisenstadt and Nelson and Haydn exchanged gifts. The Esterhazy orchestra had been reduced in size and Haydn wrote this mass for strings, trumpets, drums and organ--the darker passages are memorably bleak and the more joyful and spirited sections always have a grim undertone, in which soloists and chorus often sound as if they are going a good job of keeping their spirits up in the trying times of the work's title. The vocal stars here are Lott and Watkinson, whose solos often help define the mood of particular sections, but the singing is uniformly remarkable. Pinnock and the English Concert help remind us that period performance is not just pedantry, but a way of making well-known scores sound fresh and new. --Roz Kaveney

Customer Reviews

An old favourite
This was my first recording of the Nelson Mass, and it has a peculiarly English grace to it, typical of Trevor Pinnock. I love it absolutely, and even now I am still torn between this and the new Sir John Eliot Gardiner recording. As lovely as Richard Hickox's version is, it lacks that male-alto tone to bring through that particular line, most obvious at the third part of the Creed with their top D 'NON!' - a very favourite moment.

Pinnock's recording is full of class, grace, excitement and is beautifully performed. The production quality again is excellent as one would expect from Archiv.

Still the "Flagship", even after all these years.
If you are fairly new to classical music you might easily pick up the notion that the "Nelson" Mass is the only one of Haydn's efforts in the genre worth your while in collecting.Certainly, that's the impression,that most of the beginner's guides and critical overviews seem to give.But let me tell you now,that essential listening though it is,Haydn's other 13 settings of the ordinary of the mass,are for the main part just as desirable,and when it comes to the astonishing "late" masses,of which the Nelson is one,they quite often match,and sometimes even surpass it for sheer beauty of interpretation and expression.So take my advice,and after you've bought this particular disc-as you surely must-go on to order the complete masses,which are still available in a nifty 7CD boxset,courtesy of the Decca label.The Nelson mass there is musically very good but the recording is impossible to live with.However,there are plenty other treasures to feast your ears on,and I'm sure that once you've listened to them,you will wonder how you've survived so long in the world without them in your possession.

Anyway,to the matter at hand.From the ominous opening bars of the"Kyrie",with it's menacing trumpets and timpani,it's clear that we are in for a stormy musical sea-passage,and indeed the outer movements are as turbulent and anxious as anything Haydn wrote.In fact,the actual name of the mass i.e."Missa in Angustiis",or "Mass in straitened times" comes to seem singularly appropriate. Yet for all it's fury and flying spray,we do emerge at times into calmer waters,and I'm thinking especially of the "Qui tollis" section of the Gloria,where the bass is accompanied by some lovely scoring for the strings and organ.Then there is the emotional and gravitational centre of the whole piece,the "Et incarnatus" in the Credo.It takes the form of a quite gorgeous aria for the soprano (Felicity Lott on great form)and is my favourite section of the whole mass.It's followed by the tragic descent to the "et sepultus est",and here I must make mention of the glorious contribution of the English Concert choir.Their superb word-painting is a distinctive feature of this recording in general,but the heart-rending emotion they draw out of the "Crucifixus" is absolutely wonderful.My hat is off to you ladies and gentlemen should you ever pass this review in you travels

The "Benedictus" here is a world away from the serene,prayerful setting that you may have come to expect at this point in the proceedings,and it's interesting to compare this forceful and downright violent interpretation with the corresponding section in the "Heiligmesse".Talk about "chalk and cheese"! If you haven't heard the latter yet;then boy, are you in for a treat as it's one of the most exquisite creations in all music.

The "Agnus Dei" gives us a little respite and time to collect our shattered nerves before launching us once more into the crashing waves of the "Dona nobis pacem" which catagorically demands peace,rather than petitioning God for it on bended knee.But it is the only possible way Haydn could have concluded such an unsettling journey through the liturgy,and if we are cast ashore slightly battered and bruised by it all,at least we had the privilege of glimpsing true beauty in the midst of the tempest.

It was a brilliant notion of whoever chose the programme for this CD to conclude it with the marvellous "Te Deum".It has comparable sonorities and orchestration to the main item,but is much more celebratory as a whole,and gives our excellent choir a golden opportunity to bawl their lungs out in certain places! By the way,is it just me,or does the opening figure for the strings,sound just like the Jerome Moross score for the western,"The Big Country"? I've never heard any critic refer to it,but surely it has that same sweeping impetus that conjures up images of the praries and high Sierra.Perhaps it's entirely my imagination,but check it out for yourself and tell me I'm not crazy!

Haydn's Nelson Mass
Although not the very latest, this is still a very good recording. I do recommend it.