Modern music and musicians : [Encyclopedic] . rld of music. IV HAYDNS RELIGIOUS CREATIONS The religious compositions of Haydn formsuch a considerable ensemble that they oc-cupy more than two columns in the Fetiscatalogue. It is better to put the churchmusic properly so called by itself. Thereare masses in great number — low masses,masses for war-time, solemn high masses;also many Stabats of which the scores forfour voices and orchestra are published inLeipsic; a grand and a short Te Deum ;four offertories; two Salve Reginas andone Salve Redemptor ; German hymns;a Lauda Sion for four voices; fi
Modern music and musicians : [Encyclopedic] . rld of music. IV HAYDNS RELIGIOUS CREATIONS The religious compositions of Haydn formsuch a considerable ensemble that they oc-cupy more than two columns in the Fetiscatalogue. It is better to put the churchmusic properly so called by itself. Thereare masses in great number — low masses,masses for war-time, solemn high masses;also many Stabats of which the scores forfour voices and orchestra are published inLeipsic; a grand and a short Te Deum ;four offertories; two Salve Reginas andone Salve Redemptor ; German hymns;a Lauda Sion for four voices; fiftv-sixgraduals; and motets, choruses, The Com-mandments, and ten canons for manyvoices. All this part of the masters workappears to have been relatively neglected,even by his contemporaries. Haydn, without making innovations wherehe would encounter formidable rivals, showedin these various productions a tranquilauthority and a majestic power which neverleft him. His church music conformed tothe ideas of the time; it has more style than do. THE a painting by Jean Francois Millet. Engraved by T. V<<\r. character, more manner than originality;and the idealized flights, the mystical sense,are almost completely wanting. From point of view, Haydn is below Pales-trina and Marcello, and far removed fromHandel and Bach. A romantic breath nevertraverses these placid compositions, so noblein arrangement, so broadly and masterfullywritten, but so deliberately thought , motets, offertories could have disap-peared, victims of a neglect which has de-prived us of so many of the productions of 96 the old masters, without leaving anythingwanting in the history of the evolution of re-ligious music in the nineteenth century. In the domain of oratorio and cantata weshall find the true Haydn again, equal, ifnot superior, to the greatest. ? 11 ritorno diTobia should be regarded as a youthfulattempt, almost a school exercise. It wascommenced in 1763, put asid
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