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Composed by Michael Haydn. Edited by Armin Kircher. This edition: urtext. Stuttgart Urtext Edition: Johann Michael Haydn. German title: Karwochen-Responsorien Mh 276. Sacred vocal music, Holy Week. Full score. 88 pages. Carus Verlag #CV 54.276/00. Published by Carus Verlag (CA.5427600).
ISBN 9790007091446.
The 27 (3 x 9) Responsories for the Triduum sacrum, the last three days of the Holy Week before Easter Sunday, are classic examples of Haydn's manner of composing, as influenced by the "stile antico". With these homophonic pieces, which are directed inwards and which concentrate on the expressive presentation of the text, Haydn stands in a long tradition of these multi-voice settings: this tradition ranges from Victoria and Ingegneri at the end of the 16th century via Zelenka and Jomelli in the middle of the 18th through the composers of the Viennese classical school. According to his autograph of the completed cycle, dated 4 April 1778, Haydn provided three different ways in which to perform the work: for choir a cappella, choir with organ accompaniment, or choir with organ and an additional violone (as a "16'-register").
Composed by Michael Haydn. Edited by Armin Kircher. This edition: urtext. Stuttgart Urtext Edition: Johann Michael Haydn. German title: Karwochen-Responsorien Mh 276. Sacred vocal music, Holy Week. Full score. 88 pages. Carus Verlag #CV 54.276/00. Published by Carus Verlag (CA.5427600).
ISBN 9790007091446.
The 27 (3 x 9) Responsories for the Triduum sacrum, the last three days of the Holy Week before Easter Sunday, are classic examples of Haydn's manner of composing, as influenced by the "stile antico". With these homophonic pieces, which are directed inwards and which concentrate on the expressive presentation of the text, Haydn stands in a long tradition of these multi-voice settings: this tradition ranges from Victoria and Ingegneri at the end of the 16th century via Zelenka and Jomelli in the middle of the 18th through the composers of the Viennese classical school. According to his autograph of the completed cycle, dated 4 April 1778, Haydn provided three different ways in which to perform the work: for choir a cappella, choir with organ accompaniment, or choir with organ and an additional violone (as a "16'-register").
In monte Oliveti, MH 276,1 - B-Dur/B-flat major
Tristis est anima mea, MH 2762 - Dorisch/Dorian
Ecce vidimus eum, MH 2763 - Es-Dur/Eb major
Amicus meus, MH 2764 - Dorisch/Dorian
Judas mercator pessimus, MH 2765 - Dorisch/Dorian
Una hora, MH 2768 - Dorisch/Dorian
Unus ex discipulis meis, MH 2766 - Dorisch/Dorian
Eram quasi agnus innocens, MH 2767 - Dorisch/Dorian
Seniores populi, MH 2769 - B-Dur/B-flat major
Omnes amici mei, MH 277,1 - F-Dur/F major
Velum templi scissum est, MH 2772 - Dorisch/Dorian
Vinea mea electa, MH 2773 - a-Moll/A minor
Tamquam ad latronem existis, MH 2774 - Dorisch/Dorian
Tenebrae factae sunt, MH 2775 - Es-Dur/Eb major
Animam meam dilectam, MH 2776 - As-Dur/Ab major
Tradiderunt me, MH 2777 - B-Dur/B-flat major
Jesum tradidit impius, MH 2778 - Dorisch/Dorian
Caligaverunt oculi mei, MH 2779 - F-Dur/F major
Sicut ovis, MH 2781 - C-Dur/C major
Jerusalem surge, MH 2782 - a-Moll/A minor
Aestimatus sum, MH 2788 - F-Dur/F major
Plange quasi virgo, MH 2783 - e-Moll/E minor
Recessit pastor noster, MH 2784 - G-Dur/G major
O vos omnes, MH 278,5 - F-Dur/F major
Astiterunt reges terrae, MH 2787 - B-Dur/B-flat major
Ecce quomodo moritur justus, MH 2786 - Dorisch/Dorian
Sepulto Domino, MH 2789 - C-Dur/C major
Preview: Responsoria pro Hebdomada Sancta
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