INSANAE ET VANAE CURAE PDF

The beginnings of Haydn’s motet Insanae et vanae curae (Insane and stupid worries flood our mind) began in with the composition of his. Although not, in my opinion, the finest of Haydn’s late half-dozen Masses (that accolade goes to the Theresienmesse), the so-called Nelson Mass – composed in. Find composition details, parts / movement information and albums that contain performances of Insanae et Vanae Curae, motet for on AllMusic.

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Insaae Artist Credits Mass No. Insanae et vanae curae Composer: Review This Title Share on Facebook. This performance is a team effort, and that gives it a great amount of coherence. Latin text Insanae et vanae curae invadunt mentes nostras, saepe furore replent corda, privata spe, Quid prodest O mortalis conari pro mundanis, si coelos negligas, Sunt fausta tibi cuncta, si Deus est pro te.

The all-time greats Read about the artists who changed the world of classical music. This is now one of my favorite choral pieces of all time.

Although this threat was repelled when the British admiral Lord Nelson won the Battle of the Nile August Edward Higginbottom, in his liner-notes, points out that this news probably only reached Vienna after the completion of this mass. Insanae et vanae curae. English translation Vnaae and raging cares invade our minds, Madness often fills the heart, robbed of hope, O mortal man, what does it profit to endeavour at worldly things, if you should neglect the heavens?

The incorporation of the stormy D minor ferment which ihsanae Insanae et vanae curae as the offertory motet is a masterstroke. Today this mass is best-known as Nelson Mass. What a thrill it would be to sing this with a choir!

Musical Musings: Haydn – Motet ‘Insanae et vanae curae’

Some suggest that the dramatic character of this mass, and especially the extended role of the trumpets and timpani in the Kyrie and the latter part of the Sanctus gave food for this connection. However, Haydn himself seems to have had a rather ‘liberal’ approach to the way his music was treated as can be concluded from, for instance, his attitude towards various arrangements of the Sieben Worte.

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Skip to main content. The choir is excellent, and so is the orchestra. Each voice is clearly etched and the music dispatched in a businesslike manner. That comes to the fore, for instance, in ‘Qui tollis peccata mundi’ Gloria where Haydn juxtaposes a bass solo and the choir.

This seems to be partly compensated for by the part for an organ whose chords in the right hand may be meant as a substitute for the woodwind. Whether in its present form it is from Haydn’s pen is not known, but Higginbottom believes that stylistically it fits the Mass well and its content is also suitable.

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This is a recording well worth having if, as I you love the final six of Haydn’s fourteen known settings of the Latin mass. Web page content is available under the CPDL copyright curas ; please see individual editions for their copyright terms.

His singing is nothing short of miraculous but at the same time he is very much part of a whole. I don’t believe that there is any evidence that Haydn intended vajae to be included either. Haydn played this part himself in the first performance. The role of the trumpets and timpani is even more striking because of the lack of woodwind insannae horns.

Many excellent recordings abound but none has such a particular drawing point as on the disc released here, which features the treble Jonty Ward singing the soprano solos.

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Edward Higginbottom Number of Discs: Always On Watch July 23, at 4: That is vanxe here as the four soloists are all members of the choir.

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In between the Credo and the Sanctus Higginbottom has inserted the chorus Insanae et vanae curae, where in the liturgy the Offertory is performed.

However, throughout the mass its role is rather limited. Robbins Landon, is “arguably Haydn’s greatest work.

Haydn: Nelson Mass; Insanae et Vanae Curae / Higginbottom

Privacy policy About ChoralWiki Disclaimers. So, setting aside the historical considerations mentioned above, this is a very good recording of one of Haydn’s masterworks. The soloists all do a very good job; only on a couple of occasions did I find Tom Vane a bit weak on the lowest notes of his solo in ‘Qui tollis’.

A composer adapting his score to different circumstances is one thing, insana modern interpreter doing the same another. Here the soprano has been given a virtuosic role, not unlike that of an opera star. The Mass was originally called Missa in Angustiis e can be translated as Mass in times of trouble or fear.

Yes, Haydn’s other works are perhaps more famous, but this is the one that really stirs my heart. As far as the performance is concerned, there is hardly anything to complain about. In some performances that is exposed by a very operatic way of singing, with heavy vibrato and all.

I recently discovered this marvelous piece on a recording by St.

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