Gaetano DONIZETTI & Johann Simon MAYR

Messa di Gloria and Credo in D Thornhill • Pollak • Papenmeyer • Adler • Berner

Simon Mayr Chorus • Members of the Bavarian State Opera Chorus Concerto de Bassus

Franz Hauk

Gaetano Donizetti (1797-1848) and Johann Simon Mayr (1763-1845)

Messa di Gloria and Credo in D 1

Kyrie Kyrie eleison ........................................................................................................................ 12:34 (SKT • MSP • MA • MB • Chorus • Orchestra)

2 3 4 5 6 7

Gloria Gloria in excelsis Deo ........................................................................................................... 6:12 (SKT • MP • MA • MB • Chorus • Orchestra) Laudamus te / Gratias agimus tibi ....................................................................................... 4:53 (SKT • Orchestra) Domine Deus, Rex cælestis ............................................................................................... 11:47 (MB • Orchestra) Qui tollis peccata mundi ....................................................................................................... 8:40 (SKT • Orchestra) Qui sedes ad dexteram Patris / Quoniam tu solus sanctus ............................................ 12:49 (MA • Violin Solo • Orchestra – Violin Solo part written for Pietro Rovelli, 1793-1838) Cum Sancto Spiritu ............................................................................................................... 3:24 (SKT • MP • MA • MB • Chorus • Orchestra)

8 9 0

Credo Credo in unum Deum ............................................................................................................ 2:57 Et incarnatus est ................................................................................................................... 2:59 Et resurrexit tertia die ........................................................................................................... 6:48 (MSP • MP • MA • MB • Chorus • Orchestra)

Gaetano Donizetti !

Ave Maria, gratia plena ......................................................................................................... 3:34 (MSP • SKT • MP • MA • MB • Orchestra)

@ #

Sanctus Sanctus Dominus Deus ........................................................................................................ 1:56 Benedictus qui venit in nomine Domini .............................................................................. 2:43 (MSP • MP • MA • MB • Chorus • Orchestra)

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Agnus Dei ............................................................................................................................. 4:55 (MSP • MP • MA • MB • Chorus • Orchestra)

Johann Simon Mayr

Johann Simon Mayr

(SKT) Siri Karoline Thornhill, Soprano I • (MSP) Marie-Sophie Pollak, Soprano II (MP) Marie-Sande Papenmeyer, Alto (MA) Mark Adler, Tenor • (MB) Martin Berner, Bass

Simon Mayr Choir • Members of the Bavarian State Opera Chorus (Theona Gubba-Chkheidze, Concertmaster and Solo-Violin 6 )

Concerto de Bassus Franz Hauk

Gaetano Donizetti (1797-1848) and Johann Simon Mayr (1763-1845) Messa di Gloria and Credo in D Donizetti and Church Music Since the early 19th century, German church music has typically observed a strict distinction between sacred and secular styles. A piece of music written for liturgical use should sound austere and digniied and eschew pleasing melodies, let alone operatic-sounding ones. This attitude is due to the Cecilian movement, which took its name from the third-century martyr Saint Cecilia, patron saint of sacred music. From the beginning of the 19th century onwards, this Catholic reform movement advocated a return to Gregorian chant and an approach oriented towards the liturgical style of Palestrina and early vocal polyphony. By contrast, with the exception of the closing fugue, which harks back to more rigorous liturgical methods of composition, listening to a Mass by an Italian composer of the same period feels like attending an operatic performance. Both the orchestration and the melodies reinforce this impression, regardless of whether the composer happens to be Rossini, Bellini or Donizetti. Individual movements are just like short scenes in an opera: instrumental ritornelli lead into solo or choral cantilenas that are not substantially different in style from contemporaneous music for the stage and are developed quite operatically in the form of arioso or, more generally, fullblown arias or duets. Thus particularly in Italy in the late eighteenth and early nineteenth centuries no stylistic distinction was made between the musical genres; the declamatory, arioso or emotional nature of secular opera was equally characteristic of sacred music. Many individual works were youthful productions – student exercises in composition cobbled together at a later date to form a complete Mass. Reproaches along these lines by the Cecilian movement consigned bel canto composers’ church music to oblivion, heaping contempt on their sacred music when they were already being discredited as the purveyors of mass-produced goods in the secular arena. The German musicologist Hermann Kretschmar even presumed to note “a period of amazing decline in religious music in the Latin countries”. The controversy “church music versus opera” was immediately built up into a contrast between North and South. That Pergolesi and Mozart were readily forgiven the debt their sacred works owed to the opera of the period is, of course, signiicant in terms of the history of musical reception.

Alongside numerous smaller sacred pieces, Donizetti’s Messa di Gloria e Credo in C minor (1837) and his Messa di Requiem in morte di Vincenzo Bellini in D minor (written in 1835) are widely known. Almost all of his sacred works date from his student years. Like all opera composers at that time, Donizetti had learned his craft to a signiicant extent in the schoolroom of sacred music. His most important teacher was Johann Simon Mayr, who set up the Lezioni Caritatevoli at the cathedral in Bergamo c.1805, giving musical instruction on a charitable basis. Donizetti, who was born in Bergamo and went on to compose around 70 operas, then rounded off his musical education c.1815 with the famous music theorist and pedagogue Padre Stanislao Mattei at the Liceo Filarmonico in Bologna, where Rossini had also concluded his studies. It must be said straight away that for Donizetti, who, under Mayr’s patronage, set his sights mainly on writing church music and composed numerous religious pieces up until 1822, as for his slightly older colleague Rossini, the church didn’t remain a schoolroom. Right up to the end of his life he continued to compose sacred works and arranged larger units, including a full Mass, out of separate component parts that he had written earlier. The catalogue of his works lists around 150 items under sacred music. It was not for nothing that, when already a mature opera composer, he wrote in a letter dated March 1842 telling his elderly teacher and mentor Simon Mayr, through Antonio Dolci, about the Ave Maria that he had dedicated to Emperor Ferdinand I of Austria: “It is always good for His Majesty to know that even among the opera composers there is a good Christian who knows a thing or two about sacred music.” Thomas Lindner The Messa di Gloria e Credo in D for soloists, chorus and orchestra Hitherto only one Mass by Gaetano Donizetti has been known. The Messa di Gloria e Credo in C minor mentioned above was irst heard on 27th November 1837 in the church of Santa Maria la Nova in Naples and has since been published in several editions. This work is, of course, based on individual movements which Donizetti composed around 1820 and later combined to form a Messa di Gloria, probably also arranging some of them. Two versions of this work have come down to us.

Only the Kyrie, Gloria in excelsis and Qui sedes are identical; the remaining movements contain disparities. Donizetti was here following a practice that was then widespread in Italy and was also common in the operatic sphere: works were assembled in an ad hoc manner from individual movements, sometimes by several composers and sometimes adapted to suit different forces. It seems reasonable to make use of this so-called pasticcio technique again in our own day to create another Messa di Gloria out of individual pieces by Donizetti that have not hitherto been used. Cecilia in Bergamo, which took place on 24th November that year, transposing it to D major. The only curious thing is that Donizetti’s original score seems to have been lost, and Mayr himself produced the lion’s share of the extensive orchestral material, including the full score, which Massinelli prefaced with this comment among others: “N.B. Questa partitura non è di Donizetti, ma bensi trascritta del celebre G. S. Mayr. Ridotta per piccola Orchestra in Bergamo” (“N.B. This score is not by Donizetti, but transcribed by the famous G.S. Mayr. Adapted and reduced for small orchestra in Bergamo”). One can hardly describe the orchestra as small, however – after all, it includes 3 trombones and a serpent. Mayr used excerpts of this Credo, with modiications and reduced forces, for the Mass in C minor he composed in 1826 for the primis, or irst Holy Mass, celebrated by P. Gall Morel after his dedication at the monastery of Einsiedeln. The violin solo in the expansive Qui sedes was written for Pietro Rovelli (1793-1838), one of the most famous virtuoso violinists of his day. Rovelli studied with Rodolphe Kreutzer and was irst violinist in the royal Hofkapelle in Munich from 1815 to 1818. In 1819 he took on the direction of various orchestras in his home town of Bergamo, teaching at the school of music that Mayr had founded there. Rovelli played a Guarneri del Gesù violin, which Paganini later sought to purchase.

In 1818 Donizetti returned from Bologna, where he had been studying with Stanislao Mattei since 1815, to his home town of Bergamo and to his former teacher and mentor Johann Simon Mayr. In the years that followed, at least from time to time, Donizetti acted as Mayr’s musical assistant, and Mayr repeatedly incorporated contributions by his former pupil into his own works. The Credo of the Mass presented here is a prime example of this collaboration. Donizetti wrote it, probably c.1820, in a version in E lat major. According to Mayr’s son-in-law Luigi Massinelli, Donizetti reworked this version in 1824 for performance at the festival of Saint

Pieralberto Cattaneo’s catalogue of works offers the original dates of composition for the remainder of the movements assembled here: Kyrie in D minor “20.5.1820”, Gloria in excelsis in C major “28.5.1818”, Laudamus e Gratias “3.7.1819”, Domine Deus in E lat major “1820”, Qui sedes and Quoniam “3.7.1820”. In addition there are some estimates: Qui tollis in E major “[1820/21]” and Cum sancto spiritu in C minor “[1816/18]”. Donizetti did not set any movements from the Ordinary after the Credo. By way of completion we have therefore added three compositions by Johann Simon Mayr that are linked in the autograph. The Sanctus, Benedictus and Agnus Dei probably also date from around 1820, judging by the handwriting in the autograph. Variants of the Sanctus und Benedictus can be identiied among Mayr’s complete works. The harmonic structure of the closing Agnus Dei in D minor is reminiscent of the opening of the Allegretto from Ludwig van Beethoven’s Symphony No.7, Op. 92. Beethoven was a composer whom Mayr revered and quoted repeatedly in his own works. Franz Hauk Translation: Susan Baxter

Siri Karoline Thornhill

Martin Berner

Siri Karoline Thornhill studied irst in her Norwegian home city of Stavanger, continuing at the Royal Conservatorium of The Hague. She has collaborated with ensembles, including the Freiburg Baroque Orchestra Consort, the Balthasar Neumann Ensemble, and the Amsterdam Baroque Orchestra. She has participated in recordings of Bach Cantatas with La Petite Bande and the Cologne Chamber Orchestra, as well as in the St Matthew Passion under Jos van Veldhoven and Buxtehude Cantatas with Ton Koopman. Guest appearances include the Handel Festival in Göttingen and Halle, the Rheingau Music Festival, the Oslo Chamber Music Festival, the Feldkirch Festival, the Festivals for Early Music in Bruges and Utrecht and Les Rencontres musicales de Vézelay.

Born in Hamburg, Martin Berner studied irst at the Hamburg Musikhochschule, continuing at the Mannheim Musikhochschule. He holds awards from the Richard Wagner Association, the Steans Institute for Young Artists (Ravinia Festival Chicago) and the Stuttgart International Bach Academy in Leipzig, and has been a prize-winner in various competitions, including the International Bach Competition in Leipzig, the Robert Stolz Competition, and the German Schubert Society. As a member of the Aachen Theatre and the Nuremberg State Theatre he has sung Mozart rôles and other French and Italian repertoire. His guest appearances include opera houses in Hamburg, Cologne, Basle, Bremen and Munich.

Marie-Sophie Pollak Born in 1988, Marie-Sophie Pollak graduated with distinction from the Munich Music and Theatre Hochschule in 2012. She made her début in 2011 as Vespetta in Telemann‘s Pimpinone at the Innsbruck Festival of Early Music. Further opera engagements later took her to festivals in Turin, Potsdam, Linz, and to the Théâtre du Châtelet in Paris. There she made her début in 2015 as Tamiri in Mozart’s Il re pastore. She was a regional prize-winner in 2006 in the Jugend Musiziert Competition and a inalist in the Pietro Antonio Cesti International Baroque Opera Competition. Awards include support from the Christie and Klaus Haack Foundation.

Marie-Sande Papenmeyer The mezzo-soprano Marie-Sande Papenmeyer irst studied singing and vocal pedagogy at the Dresden Carl Maria von Weber Musikhochschule. From 2010 she continued her study at the Hanover Music, Theatre and Media Hochschule under Peter Anton Ling and in the Lieder class of Jan Philip Schulze. She proited further from lessons with Cheryl Studer, Christian Immler, Juliane Banse and Olaf Bär, among others. In 2009 she was awarded the Development Prize of the city of Perleberg during the Lotte Lehmann Week. She has appeared in various opera productions and as a concert singer. Since the 2014-15 season she has been a member of the Hanover Young Opera Ensemble.

Mark Adler Mark Adler studied at the Hochschule der Künste in his home city of Berlin, and in 1997 continued at the Hanns Eisler Musikhochschule. In 1999 he made his début as Tamino at the Aix-en-Provence Festival, repeating the rôle at Lausanne, La Fenice, Opéra Lyon, the Edinburgh Festival and the Opéra de Rouen. From 1999 to 2005 he worked with the Musiktheater im Revier in Gelsenkirchen, and from 2005 to 2010 with the Darmstadt State Theatre. He sang at La Monnaie, Brussels in Monteverdi’s Il ritorno d’Ulisse, and at the Lincoln Center in New York, the theatres in Caen and Luxembourg and at the Melbourne Festival.

Theona Gubba-Chkheidze Theona Gubba-Chkheidze, the daughter of a violinist and an internationally distinguished theatre director, was born in Georgia and as a child enjoyed performing at home and abroad. A pupil of Konstantin Vardeli and Liana Isakadze, from 1995 she studied at the Munich Music and Theatre Hochschule. Since 2006 she has been a mamber of the Georgian Chamber Orchestra in Ingolstadt and leader of the Simon Mayr Ensemble. She is co-founder of Concerto de Bassus and Trio Con Moto.

Chorus of the Bavarian State Opera The Chorus of the Bavarian State Opera can count on a long and distinguished history, sharing with the Bavarian State Orchestra and Bavarian State Ballet a repertoire of some 350 opera and ballet performances annually at the Munich National Theatre, the Prince Regent Theatre and the Cuvilliés Theatre. Since 2003-2004 the chorusmaster has been Andrés Maspéro, with Stellario Fagone as deputy and Anna Hauer as répétiteur.

Simon Mayr Choir The Simon Mayr Choir was established by Franz Hauk in 2003. The repertoire of the choir includes works from the sixteenth to the twentieth century. A special stress is laid on authentic historical performance and on the promotion of music by Simon Mayr at the highest cultural level. Members of the choir are vocal students from the Munich Hochschule für Music und Theater and singers selected from Ingolstadt and the region.

Franz Hauk Born in Neuburg an der Donau in 1955, Franz Hauk studied church and school music, with piano and organ, at the Munich Musikhochschule and in Salzburg. In 1988 he took his doctorate with a thesis on church music in Munich at the beginning of the nineteenth century. Since 1982 he has served as organist at Ingolstadt Minster, and since 1995 also as choirmaster. He has given concerts in Europe and the United States and made a number of recordings. Since October 2002 he has taught in the historical performance and church music department of the Munich Music and Theatre Hochschule. He founded the Simon Mayr Choir in 2003.

Gaetano Donizetti (1797-1848) und Johann Simon Mayr (1763-1845) Messa di Gloria und Credo in D für Soli, Chor und Orchester Donizetti und die Kirchenmusik Die strikte Trennung der sakralen Tonkunst vom profanen Musikstil ist für die deutsche Kirchenmusik seit dem frühen 19. Jahrhundert charakteristisch: Ein musikalisches Werk für die Liturgie hat streng und würdevoll zu klingen und ist fernab von vergnüglicher, gar opernhafter Melodik anzusiedeln. Diese Attitüde ist dem Cäcilianismus geschuldet, jener nach der Hl. Cäcilia, Patronin der Kirchenmusik und Märtyrerin des 3. Jahrhunderts n. Chr., benannten katholischen Reformbewegung, die seit dem Beginn des 19. Jahrhunderts eine Rückbesinnung auf den Gregorianischen Choral und eine Orientierung am liturgischen Stil von Palestrina und der alten Vokalpolyphonie propagierte. Wenn man sich hingegen etwa eine Messe eines italienischen Opernkomponisten aus jener Zeit anhört, hat man – mit Ausnahme der an die strengere liturgische Kompositionsweise gemahnenden Schlußfuge – das Gefühl, einer Opernaufführung beizuwohnen; sowohl von der Orchestrierung als auch von der melodischen Gestaltung bestätigt sich dieser Eindruck, gleichgültig, ob der Komponist nun Rossini, Bellini oder Donizetti heißt. Die einzelnen Sätze ähneln durchaus kleinen Opernszenen: Instrumentale Ritornelle begleiten die solistischen oder chorischen Kantilenen ein, die sich recht opernhaft in Form eines Ariosos, meistens aber einer vollwertigen Arie oder eines Duetts entfalten und vom musikdramatischen Zeitstil nicht wesentlich unterscheiden. Gerade im Italien des späteren Sette- und frühen Ottocento gab es also jene musikstilistische Abgrenzung nicht; der deklamatorische, arienhafte oder auch sentimentale Charakter der profanen Oper eignete in vergleichbarer Weise auch der sakralen Musik. Vielfach handelte es sich bei den einzelnen Stücken um Jugendwerke, die zumeist noch in der Studienzeit gewissermaßen als Fingerübung komponiert und

späterhin gleichsam als Flickwerk zu einer kompletten Messe zusammengefaßt wurden: Vorwürfe solcherart vonseiten jener Restaurationsbewegung ließen die Kirchenmusik der Belcanto-Komponisten in Vergessenheit geraten, nachdem insbesondere diese im Profanbereich als Verfertiger von Massenware diskreditiert und mithin in kirchenmusikalischer Hinsicht mit äußerster Geringschätzung bedacht worden waren. Hermann Kretzschmar verstieg sich sogar zur Konstatierung „einer Periode wunderlichen Verfalls religiöser Tonkunst in romanischen Landen“; die Kontroverse Kirchenmusik versus Oper wurde geradewegs zu einem Gegensatz zwischen Nord und Süd hochstilisiert. Rezeptionsgeschichtlich bezeichnend bleibt freilich die Tatsache, daß man einem Pergolesi oder gar einem Mozart bereitwillig verzieh, was deren kirchenmusikalische Werke der Oper ihrer Zeit verdanken. Allgemein bekannt sind, neben zahlreichen kleineren geistlichen Kompositionen, vor allem Donizettis Messa di Gloria e Credo in c-Moll (1837) und seine Messa di Requiem in morte di Vincenzo Bellini in d-Moll (komponiert 1835). Fast alle Sakralkompositionen datieren freilich aus seiner Studienzeit. Wie alle anderen Opernkomponisten dieser Epoche hatte auch Donizetti seine kompositorische Ausbildung zu einem nicht geringen Teil in der Schule der geistlichen Musik bekommen. Sein wichtigster Lehrer war Johann Simon Mayr, der in Bergamo an der dortigen Kathedrale um 1805 die Lezioni caritatevoli gründete und somit karitativen Musikunterricht erteilte. Diese musikalische Grundschule komplettierte der spätere Bergamasker Meister und Komponist von etwa 70 Opern bei dem berühmten Musiktheoretiker und -pädagogen Padre Stanislao Mattei um 1815 am Liceo Filarmonico in Bologna, wo auch Rossini seine Ausbildung vervollkomnen konnte. Man muß indes sogleich festhalten, daß wie bei seinem

etwas älteren Komponistenkollegen Rossini auch bei Donizetti – der ja unter der Ägide Mayrs vornehmlich mit der kirchlichen Tonkunst liebäugelte und bis 1822 zahlreiche religiöse Kompositionen schuf – die Kirche nicht nur Schule geblieben ist: Er sollte im Lauf seines Lebens bis zuletzt auch geistliche Werke komponieren und größere Einheiten, etwa eine gesamte Messe, aus bereits separat komponierten Teilen arrangieren; sein kirchenmusikalisches Œuvre umfaßt im Werkkatalog etwa 150 Titel. Nicht umsonst schreibt der schon gereifte Opernkomponist in einem Brief vom März 1842, in welchem er via Antonio Dolci dem greisen Lehrer und Mentor Simon Mayr über sein Kaiser Ferdinand I. von Österreich gewidmetes Ave Maria berichtet: „Es ist immer gut, wenn Seine Majestät weiß, daß es selbst unter den Opernkomponisten einen guten Christen gibt, der sich ein wenig mit der geistlichen Musik auskennt“. Thomas Lindner Messa di Gloria und Credo in D Nur eine Messe aus der Feder von Gaetano Donizetti war bislang bekannt: Die erwähnte Messa di Gloria e Credo in c-Moll erklang erstmals am 27. November 1837 in der Kirche Santa Maria la Nova zu Neapel und erschien mittlerweile mehrfach im Druck. Dieses Werk basiert freilich auf Einzelsätzen, die Donizetti um 1820 komponierte und später zu einer Messa di Gloria zusammenstellte, wohl auch teilweise arrangierte. Dieses Werk ist in zwei Versionen überliefert: Nur Kyrie, Gloria in excelsis und Qui sedes sind jeweils identisch, die übrigen Sätze unterschiedlich. Donizetti huldigt hier einer Praxis, die in Italien seinerzeit weit verbreitet und auch im Bereich der Oper üblich war: Werke wurden aus Einzelsätzen, bisweilen auch mehrerer Komponisten, ad hoc zusammengestellt, mitunter in der Besetzung angepaßt. Es liegt nahe, heute dieses zeitübliche sogenannte Pasticcio-Verfahren erneut anzuwenden und aus bislang nicht genutzten Einzelstücken Donizettis eine weitere Messa di Gloria zu formen. 1818 kehrte Donizetti aus Bologna, wo er seit 1815 bei Stanislao Mattei studiert hatte, in seine Heimatstadt Bergamo zu seinem ehemaligen Lehrer und Mentor Johann Simon Mayr zurück. In den folgenden Jahren wirkte Donizetti zumindest zeitweilig als dessen musikalischer Assistent, immer wieder griff Mayr Beiträge des früheren Schülers auch in seinen eigenen Werken auf. Das Credo der vorliegenden Messe dokumentiert diese Zusammenarbeit beispielhaft: Donizetti schrieb es, wohl

um 1820, in einer Es-Dur-Fassung, die er 1824 nach Ausweis von Mayrs Schwiegersohn Luigi Massinelli für die Aufführung beim am 24. November des Jahres in Bergamo stattindenden Cäcilienfest überarbeitete und nach D-Dur transponierte. Merkwürdig ist nur, daß Donizettis Originalpartitur verschollen scheint, Mayr selbst einen Großteil des umfangreichen Orchestermaterials samt der Partitur fertigte und Massinelli derselben unter anderem voransetzte: „N.B. Questa partitura non è di Donizetti, ma bensi trascritta del celebre G. S. Mayr. Ridotta per piccola Orchestra.“ Von einem kleinen Orchester kann allerdings keine Rede sein, immerhin sind auch drei Posaunen und Serpent besetzt. Mayr benutzte dieses Credo, in reduzierter Besetzung, in Ausschnitten und mit Ergänzungen, für seine 1826 komponierte Messe in c-Moll, die der Primiz von P. Gall Morel im Kloster Einsiedeln gewidmet war. Das Violinsolo im ausgedehnten Qui sedes war für Pietro Rovelli (1793–1838) bestimmt, einen der bekanntesten Geigenvirtuosen seiner Zeit. Rovelli studierte bei Rodolphe Kreutzer und war von 1815 bis 1818 Konzertmeister der königlichen Hofkapelle in München. 1819 übernahm er in seiner Heimatstadt Bergamo die Leitung diverser Orchester und unterrichtete an der von Mayr gegründeten Musikschule. Rovelli spielte eine Violine von Guernieri del Gesù, die später Paganini zu kaufen suchte. Pieralberto Cattaneo bietet in seinem Werkkatalog die originalen Kompositionsdaten der übrigen hier zusammengefügten Sätze: Kyrie d-Moll „20.5.1820“, Gloria in excelsis C-Dur „28.5.1818“, Laudamus e Gratias „3.7.1819“, Domine Deus Es-Dur „1820“, Qui sedes und Quoniam „3.7.1820“. Dazu kommen Schätzungen: Qui tollis E-Dur „[1820/21]“ und Cum sancto spiritu c-Moll „[1816/18]“. Donizetti hat über das Credo hinaus keine weiteren Ordinariumssätze hinterlassen. Als Ergänzung haben wir deshalb drei in der autographen Handschrift zusammenhängende Kompositionen von Johann Simon Mayr angefügt. Sanctus, Benedictus und Agnus Dei dürften, nach den autographen Schriftzügen zu urteilen, ebenfalls in der Zeit um 1820 anzusiedeln sein. Für Sanctus und Benedictus lassen sich Varianten im Gesamtwerk ausmachen. Das abschließende Agnus Dei in d-Moll erinnert in seiner harmonischen Struktur an den Beginn des Allegretto aus der 7. Symphonie op. 92 von Ludwig van Beethoven – ein Meister, den Mayr verehrte und immer wieder in den eigenen Werken zitierte. Franz Hauk

1

Kyrie eleison Christe eleison Kyrie eleison

Lord, have mercy upon us Christ have mercy upon us Lord, have mercy upon us

2

Gloria in excelsis Deo, et in terra pax hominibus bonae voluntatis.

Glory be to God on high, and peace on earth to men of good will.

3

Laudamus te, benedicimus te, adoramus te, gloriicamus te. Gratias agimus tibi propter magnam gloriam tuam.

We praise Thee, we bless Thee, we adore Thee, we glorify Thee we give Thee thanks for Thy great glory.

4

Domine Deus, Rex cælestis, Deus Pater omnipotens, Domine, Fili unigenite, Jesu Christe. Domine Deus. Agnus Dei. Filius Patris.

Lord God, heavenly King, God, the Father Almighty. Lord Jesus Christ, the only-begotten Son, Lord God, Lamb of God, Son of the Father,

5

Qui tollis peccata mundi, miserere nobis; suscipe deprecationem nostram.

Thou, who takest away the sins of the world, have mercy upon us; receive our prayer.

6

Qui sedes ad dexteram Patris, miserere nobis. Quoniam tu solus sanctus, tu solus Dominus, tu solus altissimus, Jesu Christe,

O Thou, who sittest at the right hand of the Father, have mercy on us. For Thou alone art holy, Thou alone art Lord, Thou alone art most high, Jesus Christ.

7

cum Sancto Spiritu in gloria Dei Patris. Amen.

Together with the Holy Ghost, in the glory of God the Father. Amen.

8

Credo in unum Deum, patrem omnipotentem, factorem cæli et terræ visibilium omnium et invisibilium. Credo in unum Dominum Jesum Christum, Filium Dei unigenitum; et ex Patre natum ante omnia sæcula. Deum de Deo, Lumen de Lumine: Deum verum de Deo vero; Genitum, non factum; consubstantialem Patri, per quem omnia facta sunt; Qui propter nos homines, et propter nostram salutem, descendit de cælis,

I believe in one God, the Father Almighty, maker of heaven and earth, of all things visible and invisible. I believe in one Lord Jesus Christ, the only-begotten Son of God; and born of the Father before all ages. God of Gods, Light of Light, true God of true God; begotten, not made; consubstantial with the Father, by Whom all things were made; Who for us men and for our salvation, came down from heaven,

9

Et incarnatus est de Spiritu Sancto ex Maria Virgine, et homo factus est. Cruciixus etiam pro nobis; sub Pontio Pilato passus et sepultus est,

and became incarnate by the Holy Ghost of the Virgin Mary, and was made man. He was cruciied also for us; suffered under Pontius Pilate and was buried,

0

Et resurrexit tertia die, secundum Scripturas. Et ascendit in cælum, sedet ad dexteram Patris. Et iterum venturus est cum gloria judicare vivos et mortuos; Cujus regni non erit inis. Credo in Spiritum Sanctum, Dominum et viviicantem, qui ex Patre Filioque procedit; qui cum Patre et Filio simul adoratur et congloriicatur; qui locutus est per prophetas. Credo in unam sanctam Catholicam et Apostolicam Ecclesiam. Coniteor unum Baptisma in remissionem peccatorum. Et expecto resurrectionem mortuorum, et vitam venturi sæculi. Amen.

And the third day He arose again according to the Scriptures. And ascended into heaven, and sitteth at the right hand of the Father. And He is to come again, with glory, to judge both the living and the dead; Of whose kingdom there shall be no end. I believe in the Holy Ghost, the Lord and Giver of life, Who proceedeth from the Father and the Son; Who, together with the Father and the Son, is adored and gloriied; Who spoke by the prophets. I believe in one holy Catholic and Apostolic Church. I confess one baptism for the remission of sins. And I expect the resurrection of the dead, and the life of the world to come. Amen.

!

Ave Maria, gratia plena, Dominus tecum, benedicta tu in mulieribus , et benedictus fructus ventri tui, Jesus. Sancta Maria, Mater Dei, ora pro nobis peccatoribus nunc et in hora mortis nostrae. Amen.

Hail Mary, full of grace, the Lord is with thee, blessed art thou amongst women and blessed is the fruit of thy womb, Jesus. Holy Mary, Mother of God, pray for us sinners, now and at the hour of our death. Amen.

@

Sanctus Dominus Deus Sabaoth. Pleni sunt cæli et terra gloria tua. Osanna in excelsis.

Holy, holy, holy Lord God of Sabaoth. Heaven and earth are full of Thy Glory Hosanna in the highest.

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Benedictus qui venit in nomine Domini. Osanna in excelsis.

Blessed is he who cometh in the name of the Lord. Hosanna in the highest.

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Agnus Dei, qui tollis peccata mundi, miserere nobis. Agnus Dei, qui tollis peccata mundi, miserere nobis. Agnus Dei, qui tollis peccata mundi, dona nobis pacem.

Lamb of God, that takest away the sins of the world, have mercy upon us. Lamb of God, that takest away the sins of the world, have mercy upon us. Lamb of God, that takest away the sins of the world, grant us peace.

While the German tradition observes a strict distinction between sacred and secular styles, the 19th-century Italian Mass can feel more akin to attending an operatic performance. Donizetti’s church music, consisting of at least a hundred items, has hardly been explored. Individual movements were often later recycled by the composer, in cantata-like fashion, to form a complete Mass, and it is this ad hoc technique that Franz Hauk has used to create a new work, the Messa di Gloria and Credo in D. This includes an expansive Qui sedes with its violin solo written for the famous violinist-composer Pietro Rovelli, and is completed with movements by Johann Simon Mayr from whom Donizetti learned his compositional craft in settings of sacred texts.

Gaetano

Johann Simon

Playing Time

DONIZETTI & MAYR (1797-1848) (1763-1845)

1:26:19

Messa di Gloria and Credo in D 1 2-7 8-0

Kyrie Gloria Credo

12:42 47:45 12:44

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Gaetano Donizetti Ave Maria, gratia plena

3:34

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Johann Simon Mayr Sanctus

4:39

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Johann Simon Mayr Agnus Dei

4:55

Siri Karoline Thornhill, Soprano I • Marie-Sophie Pollak, Soprano II Marie-Sande Papenmeyer, Alto Mark Adler, Tenor • Martin Berner, Bass Simon Mayr Choir • Members of the Bavarian State Opera Chorus Concerto de Bassus Theona Gubba-Chkheidze, Concertmaster

Franz Hauk Recorded in the Asamkirche Maria de Victoria, Ingolstadt, Germany, 22-26 September 2014 Producer, Engineer and Editor: Sebastian Riederer • Booklet notes: Franz Hauk & Thomas Lindner Edition: Franz Hauk and Manfred Hößl • Cover Photo: Paolo Zeccara (Church of San Dionigi, Vigevano, Italy) Sponsors: Margarete Baronin de Bassus; Bezirk Oberbayern; Kulturfonds Bayern