Haydn: Mass, Hob. XXII: 7 in B flat major ‘Kleine Orgelmesse’
Elly Ameling (soprano)
Wiener Staatsoper, Wiener Philharmoniker
Karl Münchinger
Haydn: The Creation (Die Schöpfung), H.XI / II / Part 1 (Sung in German)
Elly Ameling (soprano), Werner Krenn (tenor), Tom Krause (baritone)
Wiener Philharmoniker, Wiener Staatsoper
Karl Münchinger
The Creation is Haydn’s masterpiece, based on a lifetime of experience and reflecting the happy confidence of the eighteenth century. Although there are moments that presage the nineteenth century, it has none of the agonizing of the Romantic period. Three years from the end of the eighteenth century it is a summation and celebration of that century’s ideals by one of it’s greatest figures. The story is unfolded by three soloists, whose names, taken from Milton, were supplied by the Baron Van Swieten: Gabriel (soprano), Uriel (tenor) and Raphael (bass). Haydn’s Missa brevis Sancti Joannis de Deo is a short mass in the Viennese tradition, although it is thought that it was composed for the Convent Chapel of the Eisenstadt Chapter Haydn’s Missa brevis Sancti Joannis de Deo is a short mass in the Viennese tradition, although it is thought that it was composed for the Convent Chapel of the Eisenstadt Chapter of the Brothers of Mercy (Barmherzige Br der), with which order Haydn had long been.
A splendid recording. Chorus and orchestra both sound large, which is what Haydn wanted, and both are in superb form, while the soloists are as good as in any other version and better than most. […]The playing of the Vienna Philharmonic Orchestra is superlative. This music is in their blood and no praise can be too high for the glorious playing they give us all through … Tom Krause has never done anything so good as this … Werner Krenn is a most sensitive and poetic Uriel. He has a voice of beautiful lyrical quality, and phrases most musically. … Fresh and youthful also is Elly Ameling’s beautifully sung Gabriel. … The Vienna State Opera Chorus sing superbly and with admirable enunciation of the words, and the balance of parts is excellent. They are obviously as much in love with their task as the rest. The highest praise must go to Münchinger for his inspired direction of the score. – GRAMOPHONE
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