Day 45: The Sorrows of Mary

HaydnCD45Today’s CD is one 70-minute composition called Stabat Mater (Hob XX:BIS). It was composed in 1767. Haydn was 35.

The phrase “Stabat Mater,” according to its entry on Wiki,

Of two hymns, Stabat Mater Dolorosa (about the Sorrows of Mary) and Stabat Mater Speciosa (joyfully referring to the Nativity of Jesus), Stabat Mater usually refers to the first, a 13th-century Catholic hymn to Mary, variously attributed to the Franciscan Jacopone da Todi and to Innocent III.

The title of the sorrowful hymn is an incipit of the first line, Stabat mater dolorosa (“The sorrowful mother stood”). The Dolorosa hymn, one of the most powerful and immediate of extant medieval poems, meditates on the suffering of Mary, Jesus Christ’s mother, during his crucifixion.

By the way, there’s an entire page on Wikipedia devoted to Marian devotions, if you’re so inclined. From the Wiki article:

There are many Marian devotions, ranging from multi-day prayers such as Catholics’ Novenas, the veneration of icons in Eastern Christianity, and activities which do not involve prayers, such as the wearing of scapulars or maintaining a Mary garden.

Devotion to the Virgin Mary does not, however, amount to worship – which is reserved for God; e.g. both Catholics and the Eastern Orthodox view Mary as subordinate to Christ, but uniquely so, in that she is seen as above all other creatures.

So this was the world in which Franz Joseph Haydn walked. He was a devout Catholic.

I’m not fond of masses, as a general rule. Not even Haydn’s. They’re good, perhaps great. But I most often enjoy Continue reading

Day 44: That’s Just Große

HaydnCD44I can’t even pronounce the title of today’s CD.

It’s a German word that uses a symbol (or a letter) I don’t recognize: Große.

After a bit of Googling, I discovered that the word means grosse, which means — I suppose — “great.” Orgelmesse is a compound word that means “organ mass.”

So, Große Orgelmesse in E Flat is the Great Organ Mass.

In E Flat.

Great.

Except it’s not.

Not to my ears, anyway.

It’s a mass, all right. With a bit of organ thrown in. But it all just sort of lies there. Nothing grabs me by the lapels and shakes me from my stupor.

Here. Listen for yourself:

Große Orgelmesse in E Flat Hob XXII:4 was composed in 1770. Haydn was 38. Continue reading

Day 43: Big

HaydnCD43There’s an exchange in an early episode of The Andy Griffith Show in which Barney tells Andy about something “big” happening in Mayberry.

“Oh, this is big Andy, big big, really big, biggest thing ever happened in Mayberry,” he says.

After a bit of banter, Andy says something like, “There’s only one word to describe it — big.”

That’s how I describe Missa Sanctae Caeciliae in C HOB XXII:5: big.

So big, in fact, that the running time for Haydn CD 43 is an hour and 10 minutes. Just for this one mass.

There’s not really much else I can say about it. Its entry on Wikipedia does a good job of providing pertinent details:

[It] was originally written in 1766, after Haydn was promoted to Kapellmeister at Eszterháza following the death of Gregor Joseph Werner. The original title as it appears on the only surviving fragment of Haydn’s autograph score, that has been discovered around 1970 in Budapest, clearly assigns the mass to the pilgrimage cult of Mariazell, Styria. Until that discovery, the work was formerly known as Missa Sanctae Caeciliae, or in German Cäcilienmesse, a title probably attributed to the mass in the 19th century. Whether the alternative title refers to a performance of the piece by the St. Cecilia’s Congregation, a Viennese musician’s fraternity, on some St. Cecilia’s day (22 November), as has been suggested, remains speculation.

It is believed that the original manuscript was lost in the Eisenstadt fire of 1768, and that when Haydn rewrote the piece from memory, he may also have expanded it. It may have originally consisted of only Kyrie and Gloria, with the other parts added later. This Mass was known to Anton Bruckner.

Haydn was 34 in 1766. Who knows how old he was when he supposedly rewrote it from memory?

What I do know is that this is a very fine mass, with noteworthy performances by soprano Krisztina Laki, tenor Aldo Baldin, and the Kammerchor Stuttgart (chamber choir).

If you’d like to hear what I’m listening to this morning, click on the YouTube clip below. It’s the exact same performance.

I’m sure after you finish you’ll only have one word to describe this 70-minute composition.

Big.

Day 42: A Herd of Turtles

HaydnCD42Back at Denny’s this morning. I’m seeing the sames faces here. Just like at Mr. Burger, my usual breakfast hangout.

Well, usual when I eat breakfast with my wife. Not my usual when I write my blogs.

That spot is reserved for Panera Bread.

Seeing the same faces is comforting, no matter where those faces may be.

I guess the theme song to Cheers was right.

I really do want to go where everybody knows my name.

Another benefit to hanging out in places like this: I get to hear old timers say stuff my dad used to say. For example, the guy leaving just now said his good byes and, over his shoulder on his way out the door, said, “I’m off like a herd of turtles.” Continue reading

Day 41: God In Time of War

HaydnCD41My day started early, even by my standards – somewhere around 4:30am.

I don’t know why.

Once up, it’s always tough for me to return to my previous state of slumber. So, I made the best of it.

I watched Sons of Anarchy, Season One, Episodes 1 and 2. I read the latest issue of Tricycle magazine. And then, around 6:30, I headed to Denny’s, where I now sit…listening to Haydn’s Mass in Time of War (Missa “In Tempora Belli”) while watching people who bear a scary resemblance to a Far Side comic.

531901_609303722468316_1408418453_nI don’t know which is worse.

Opera has not been a favorite of mine. It’s not that I don’t appreciate the talent – especially the vocal talent – required to master this art form. I do appreciate it. Deeply. (Well, maybe not deeply. But at least superficially. Earnestly superficially.)

Just between you and me, I gained deep appreciation for two opera singers when I listened to everything Mozart composed: Nicolai Gedda and Pilar Lorengar, especially their electrifying performance of the Love Duet from Madame Butterfly.

The notes they hit…

Well, watch them hit said notes Continue reading