Michael Haydn: Requiem Pro defuncto Archiepiscopo Sigismundo Missa Sancti Hieronymi The Choir of Gonville & Caius College, Cambridge, Academy of Ancient Music & Matthew Martin

• Michael Haydn (1737 - 1806): Requiem in C Minor, MH 155 "Pro defuncto Archiepiscopo Sigismundo":
• 1 Haydn: Requiem in C Minor, MH 155 "Pro defuncto Archiepiscopo Sigismundo": I. Introitus. Requiem aeternam - Kyrie eleison 06:17
• 2 Haydn: Requiem in C Minor, MH 155 "Pro defuncto Archiepiscopo Sigismundo": II. Sequentia. Dies irae 08:12
• 3 Haydn: Requiem in C Minor, MH 155 "Pro defuncto Archiepiscopo Sigismundo": III. Offertorium. Domine Jesu Christe 04:01
• 4 Haydn: Requiem in C Minor, MH 155 "Pro defuncto Archiepiscopo Sigismundo": IV. Versus. Hostias et preces tibi 02:42
• 5 Haydn: Requiem in C Minor, MH 155 "Pro defuncto Archiepiscopo Sigismundo": V. Sanctus 01:38
• 6 Haydn: Requiem in C Minor, MH 155 "Pro defuncto Archiepiscopo Sigismundo": VI. Benedictus 03:13
• 7 Haydn: Requiem in C Minor, MH 155 "Pro defuncto Archiepiscopo Sigismundo": VII. Agnus Dei - Lux aeterna 04:23
• 8 Haydn: Requiem in C Minor, MH 155 "Pro defuncto Archiepiscopo Sigismundo": VIII. Cum sanctis tuis 02:02
• 9 Haydn: Requiem in C Minor, MH 155 "Pro defuncto Archiepiscopo Sigismundo": IX. Requiem aeternam - Cum sanctis tuis 03:10
• Missa Sancti Hieronymi, MH 254:
• 10 Haydn: Missa Sancti Hieronymi, MH 254: I. Kyrie 03:58
• 11 Haydn: Missa Sancti Hieronymi, MH 254: II. Gloria: No. 1, Et in terra pax 04:52
• 12 Haydn: Missa Sancti Hieronymi, MH 254: III. Gloria: No. 2, Quoniam tu solus Sanctus 03:37
• 13 Haydn: Missa Sancti Hieronymi, MH 254: IV. Credo: No. 1, Patrem omnipotentem 04:07
• 14 Haydn: Missa Sancti Hieronymi, MH 254: V. Credo: No. 2, Et resurrexit tertia die 05:06
• 15 Haydn: Missa Sancti Hieronymi, MH 254: VI. Sanctus 02:24
• 16 Haydn: Missa Sancti Hieronymi, MH 254: VII. Benedictus 03:28
• 17 Haydn: Missa Sancti Hieronymi, MH 254: VIII. Agnus Dei: No. 1, Agnus Dei 02:56
• 18 Haydn: Missa Sancti Hieronymi, MH 254: IX. Agnus Dei: No. 2, Dona nobis pacem 04:11
• Total Runtime 01:10:17

Info for Michael Haydn: Requiem Pro defuncto Archiepiscopo Sigismundo Missa Sancti Hieronymi

Led by its Director Matthew Martin, The Choir of Gonville & Caius College, Cambridge, joins forces with the Academy of Ancient Music in Michael Haydn’s rarely heard masterpieces: the Requiem and Missa Sancti Hieronymi. The four soloists are all ex-choral scholars of Caius Choir, showcasing the distinguished musical tradition of this student group. Unjustly neglected, Joseph Haydn’s younger brother was a talented composer in his own right. Written after the death of his infant daughter and his patron, the deeply emotional Requiem is a masterpiece that combines complex colourful textures and forms with imaginative orchestration and vocal writing. Mozart was a great admirer and it is thought that Haydn’s Requiem formed the prototype for his own better known masterpiece. In contrast, the later Missa Sancti Hieronymi is lighter and more optimistic. Unusually scored for oboes, bassoons, trombones and continuo (with no upper strings), it exudes transparency and joyful energy. This recording will undoubtedly put these neglected works back into mainstream repertoire.

Julia Doyle, soprano
Kate Symonds-Joy, mezzo-soprano
James Robinson, tenor
Malachy Frame, bass
The Choir of Gonville and Caius College, Cambridge
Academy of Ancient Music
Matthew Martin, director

Gonville & Caius College Choir
is a mixed choir of 24 voices. It is one of the UK’s leading collegiate choirs, with an international reputation for performances of exceptional quality but also for innovative and adventurous recordings. It tours regularly in the UK and around the world.

The College’s musical tradition began at the end of the nineteenth century with a choir of men and boys, founded by the celebrated composer of Anglican church music Charles Wood, and later became an exclusively undergraduate male choir under Wood’s successor the composer Patrick Hadley. Hadley was succeeded by Peter Tranchell, under whose direction the choir became mixed in 1979, and Geoffrey Webber directed the choir from 1989 until 2019. The current Director of Music (Precentor) is Matthew Martin.

“Impressively well–trained choir and skilled organists … crack Cambridge choristers.” — THE INDEPENDENT

Academy of Ancient Music
is an orchestra with a worldwide reputation for excellence in baroque and classical music. Using historically informed techniques, period-specific instruments and original sources, we bring music vividly to life in committed, vibrant performances.

Beyond the concert hall, AAM is committed to nurturing the audiences, artists and arts managers of the future through our innovative education initiative AAMplify. Working with music colleges and universities across the UK, we engage the next generation of period instrumentalists with side-by-side sessions, masterclasses and other opportunities designed to bridge the gap between the conservatoire and the profession, safeguarding the future of historical performance.

AAM proudly holds the position of Associate Ensemble at London’s Barbican Centre and the Teatro San Cassiano, Venice, and Orchestra-in-Residence at the University of Cambridge, Milton Abbey International Summer Music Festival and The Apex, Bury St Edmunds.

Established 50 years ago by Christopher Hogwood to make the first British recordings of orchestral works using original instruments, AAM has released more than 300 albums to date, collecting countless accolades including Classic BRIT, Gramophone and Edison awards.

We now record on our own label and are proud to be the most listened-to period-instrument orchestra online, with over one million monthly listeners on streaming platforms.

With Music Director Laurence Cummings, AAM celebrated the orchestra’s Golden Anniversary in 2023-24 with the completion of a landmark project to record Mozart’s complete works for keyboard and orchestra, the publication of a new book by Richard Bratby detailing the history of the organization, and celebratory performances across the UK and internationally.

Matthew Martin
Commissioned by the Genesis Foundation, Matthew Martin’s new Stabat Mater was premiered by The Sixteen and Harry Christophers at two separate concerts on 4 June 2014. The work forms part of the Genesis Foundation’s Stabat Mater 2014: Spirit, Strength and Sorrow project where The Sixteen and Harry Christophers performed the world premieres of three new Stabat Maters by Alissa Firsova, Tõnu Kõrvits and Matthew Martin at a free lunchtime concert at LSO St Luke’s and at a private event hosted by the Genesis Foundation at the Victoria and Albert Museum.

The three composers bring three very distinct voices to the traditional Stabat Mater text. Matthew Martin’s work as Organist of Brompton oratory has produced a detailed composition harking back to previous traditions of Stabat Maters.

The new commissions are part of a long-standing partnership with The Sixteen and Harry Christophers to commission and record new sacred choral music. In 2011, the Foundation commissioned Ruth Byrchmore, Tarik O’Regan and Roderick Williams to write music to poetry of the Spanish Mystics and in 2008, James Macmillan, Roxanna Panufnik and Will Todd wrote music to settings of Padre Pio’s Prayer. The three new Stabat Maters were recorded for release on The Sixteen’s own label CORO in 2015.

Matthew Martin studied at Magdalen College, Oxford and the Royal Academy of Music. He is one of the UK’s leading choral composers and is frequently commissioned to write for prominent ensembles, most recently BBC Singers, the choirs of Westminster Abbey, St Paul’s Cathedral, Chester Cathedral, St John’s College, Cambridge, and Magdalen College, Oxford. Upcoming projects include new works for the Sixteen, the Gabrieli Consort and the American Guild of Organsts. His work is now published exclusively by Faber Music.

Booklet for Michael Haydn: Requiem Pro defuncto Archiepiscopo Sigismundo Missa Sancti Hieronymi