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Monday 16 November 2020

Johann Adolf Hasse - Requiem in C Major; Miserere in E Minor


"'Few artists enjoyed such success and acquired such a remarkable reputation as Hasse; few have been forgotten more completely than he is now.' These words were written in 1844 by one of the fathers of musicology, François Joseph Fétis, in his monumental 'Biographie universelle des musiciens'. His opinion is, alas, just as valid today: little of Hasse's music is performed and even less is recorded. Yet Hasse's friend and contemporary, the historian Charles Burney (1726-1814) described him as 'the most skillful and elegant of all the composers of his time.'

"On account of his quite exceptional and lengthy career, coupled with the abundance, diversity and quality of his output, Adolf Hasse (1699-1783) was one of the most important influential personalities of the late baroque period. He was born at Bergedorf, near Hamburg, into a family of musicians, and very early in his career he turned to the world of opera, firstly as a singer, then as a composer. He wrote his first 'drama per musica', 'Antioco', at the age of twenty. So-called 'modern' Italian opera was at the time entirely under the sway of Neopolitan ideas; it was therefore entirely natural that Hasse should make his way to this new capital of operatic art in order to study with such prestigious musicians as Antonio Porpora and Alessandro Scarlatti. His first important works date from 1726 and they enjoyed outstanding success. From that time on, Hasse was nickname in the friendliest of fashions 'il caro Sassoni' ('the dear Saxon') and he was known as such until the end of his life. During this period, he divided his time between Naples and Venice, in which latter city he became 'maestro di cappella' of the Ospedale degli Incurabili and married of the most famous sopranos of the day, Faustina Bordoni (1700-1781), more generally known as 'la nuova Sirena'.

"In 1737, he was invited to the Dresden Court. It was there that he wrote one of his most famous 'opera seria' works, 'Cleofide'. The piece enjoyed triumphal success and it led to Hasse's appointment as 'Kapellmeister' to the Prince Elector and King of Poland. He thereupon settled down in the Saxon capital for what turned out to be a fertile creative period of no less than thirty years, interspersed with a great many journeys throughout Europe. Commissions flowed to Hasse continually, including those from royal courts, and many were the invitations he received for periods of residence. He developed a close friendship with Metastasio, the famous 'poeta caesarea' (poet laureate of the Viennese Imperial Court) who was thoroughly imbued with the spirit of classicism. Hasse shared Metastasio's views on the theatre, views inspired by the Age of Enlightenment, and he set to music virtually all of the poet's libretti.

"This memorable period in Hasse's life came to a sudden end with the death of Prince Augustus II on 5 October 1763. Hasse's 'Requiem' in C major for the Prince was performed on 22 November of the same year. The new prince, Friedrich Christian, was confronted with enormous financial problems occasioned by the years of war preceding his accession and by his late father's unlimited generosity to a host of beneficiaries including the 'Kapellmeister' and his wife, who enjoyed unheard-of salaries. Friedrich Christian decided to dismiss the Hasses without even awarding them a pension. The couple made their way to Vienna where they were received with all the honours due to their fame. They eventually lived out their lives peacefully in Venice.

"Hasse's output of religious music was prodigious. His 'Miserere' was hailed as a masterpiece in his time, as was the astonishing 'Requiem' in C major. The latter work, one of a number of Masses for the Dead (including a 'Requiem' in E-flat and another in the same key attributed to Hasse by the musicologist Müller, as well as various fragments of requiem masses) is by far the best known. This is borne out by the fact that throughout Europe, many copies of the work are to be found, including one, carefully preserved, in the Bibliothèque Nationale in Paris (upon which these notes are based).

"The orchestral forces required for the 'Requiem' in C major are impressive: pairs of flutes, oboes, bassoons, horn and trumpets with tympani. All these wind instruments appear as soloists in brilliant concertante style. Nevertheless, the bulk of the musical discourse is supplied by the strings, reinforced by bass continuo (the organ is specifically mentioned as an essential constituant).

"Much of the music shines out by its sheer originality. It is, for example, highly unusual for a requiem mass to open with a brilliant introit in a major key, heightened by the use of trumpets and drums. The atmosphere is far removed from the traditional picture of death as portrayed by baroque and earlier masters who expressed fear, serene submission, even penitence, and is quite the reverse of the later settings of Mozart and Fauré. The tone adopted by Hasse was in fact perfectly suited to the personality of Augustus II, who generosity and splendour could only be adequately celebrated with a thoroughly triumphant funeral ceremony.

"The verse 'Te decet' provides the first startling contrast: a chorus of male voices in unison sing out the original Gregorian melody, providing a cantus firmus sustained by a lively, flowing basso continuo in the best Italian style. The second verse, 'Exaudi', provides another surprise, since it is a gracious 'air tendre' for alto (this is the voice which is used more than any other throughout the oratorio). The ornamentation is discreet, yet thoroughly 'bel canto', as is the case with much of the writing in this work.

"All these arias are melodious and florid in a pure 'galant', thoroughly Italian style. It has to be said that the boundary between the world of the 'opera seria' and that of religious music is very narrow in Hasse's music, as is indeed the case with Verdi who had the same sort of reproach levelled at him when he composed his own 'Requiem'. Nevertheless, the generally ornate style and impressive virtuosity of 'opera seria' has to be contrasted with the relative economy of style in the solo passages, even though certain arias, such as the jubilant 'Inter oves locum praesta' in the 'Dies Irae' are full of roulades, vocalises and other ornaments taken from operatic style.

"The choruses are essentially declamatory and aim above all at bringing out the meaning of the text. There is a monumental 'Christe eleison', and the strict contrapuntal, 'alla breve' writing of the 'Kyrie' is in the purest 'stilo antico' (Bach himself resorted to this 'early style' in the 'Christe' of his Mass in B minor).

"Finally, the conclusion of the 'Requiem' reveals Hasse as a composer concerned with construction and symmetry. The communion antiphon takes up again the music of the introit, although the sequence is reversed (nos. 20 and 21 are repeated of nos. 2 and 1). The result is an unusual switch of traditional liturgical form. The antiphon proper (no. 20, 'Lux aeterna') is treated as straightforward psalmody whereas its verse (no. 21, 'Requiem aeternam') is set in a brilliant and majestic concertante style; this is in direct contrast with Gregorian tradition in which the antiphon is ornate and the psalm verse is of the utmost simplicity.

"This festive and powerful piece of writing reveals to the full the imposing stature of a composer who is far too little known. Perhaps the most salient feature is that he was quite manifestly a master of a great variety of styles. At the same time, it illustrates the accuracy of the observation made by Charles Burney: 'Hasse was the most skilful and the most elegant of the composers of his time.' And there can be no doubt that his 'Requiem' was one of the greatest masterpieces in his mature output. (Denis Morrier, tr. John Sidgwick. From the liner notes.)

Performers: Il Fondamento, Paul Dombrecht

1. Requiem In C Major, Introitus: Requiem
2. Requiem In C Major, Introitus: Te Decet
3. Requiem In C Major, Introitus: Exaudi
4. Requiem In C Major, Kyrie: Kyrie
5. Requiem In C Major, Kyrie: Christe - Kyrie
6. Requiem In C Major, Sequentia: Dies Irae
7. Requiem In C Major, Sequentia: Tuba Mirum
8. Requiem In C Major, Sequentia: Mors Stupebit
9. Requiem In C Major, Sequentia: Recordare
10. Requiem In C Major, Sequentia: Quaerens Me
11. Requiem In C Major, Sequentia: Juste Judex
12. Requiem In C Major, Sequentia: Inter Over Locum Praesto
13. Requiem In C Major, Sequentia: Lacrimosa
14. Requiem In C Major, Offertorium: Domine Jesu Christe
15. Requiem In C Major, Offertorium: Hostias
16. Requiem In C Major, Sanctus: Sanctus
17. Requiem In C Major, Benedictus: Benedictus
18. Requiem In C Major, Benedictus: Osanna
19. Requiem In C Major, Agnus Dei: Agnus Dei
20. Requiem In C Major, Communio: Lux Aeterna
21. Requiem In C Major, Communio: Da Capo Il Primo Requiem
22. Miserere In E Minor: Miserere Mei Deus
23. Miserere In E Minor: Tibi Soli Peccavi
24. Miserere In E Minor: Ecce Enim
25. Miserere In E Minor: Libera Me
26. Miserere In E Minor: Quoniam Si Voluisses
27. Miserere In E Minor: Benigne Fac
28. Miserere In E Minor: Gloria Patri
29. Miserere In E Minor: Sicut Erat

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