A Musical-Theological Analysis of the Lord Nelson Mass "Credo"
In this article, I defended the use of the orchestral Mass in the Catholic Church. In that article and this one, I discussed how composers of the Western high art musical tradition have demonstrated total care, control and intentionality over each moment of their work. Here, I seek to walk through what I think are some of the most musically and theologically compelling moments in one what I think is one of the most successful Classical-era Credo’s ever written - the Credo movement of Joseph Haydn’s “Missa in angustiis” (“Mass in troubled times” - how fitting for our current moment!), also known as the Lord Nelson Mass.
The first part of the movement (the very beginning up through 1:31 in the above recording - “Credo in unum Deum” through “descendit de caelis”) is triumphal and confident. In terms of its tune and affect, this section calls to mind popular drinking songs from that time period. (This is an excellent example of the Western musical tradition of taking secular material and transforming it for sacred use, which I defended extensively in my above linked article.) The confidence that the believer has in the Catholic faith is truly conveyed by this section, which flies through the first third of the entire Credo movement text with excitement and strength.
The next section (1:31-2:58 - “et incarnatus est” through “et homo factus est”) is a sweet, sensitive solo aria, calling to mind the sweetness and the beauty of God’s Incarnation in the Virgin Mary. In the following section (2:58-3:39), the texture fills out into an opera-chorus-style repetition of this same text that truly helps the listener to reflect more deeply upon this theological concept.
The next section text-paints the words “crucifixus etiam pro nobis” (3:39-3:53) with uneasy chromaticism. The words “sub Pontio Pilato” (3:53-4:10) are text-painted with ominous D minor musical activity. After musically expressing the darkness of Jesus’ Crucifixion under Pontius Pilate, the music repeats the text “crucifixus etiam pro nobis sub Pontio Pilato” (4:13-4:28) now in D major, reflecting the hope that the Crucifixion has given to mankind. The choir’s reentry on the last interation is “crucifixus” (4:28-4:36) is heavily emotive, as the event of the Crucifixion was.
The first “et sepultus est” (4:36) is a cappella, suspending the event of Jesus’ burial in middair. The opera-chorus-style texture returns (4:52-5:43) with a repetition of “sub Pontio Pilato, passus et sepultus est”, which induces the listener into a prayerful reflection on Jesus’ suffering and burial.
The final section (at 5:48) begins with the choir’s explosive, energetic “Et resurrexit”, emphasizing the power of the Resurrection. “Ascendit” is text-painted (5:57) with very fun upward melodic motion. Haydn plows through more of the Credo text in the confident, drinking-song-style manner that he did in the first section of the movement. At 6:15, we have somber chromaticism on “et mortuos”, reflecting the sadness of Christ’s death.
At 6:24, we have an utterly musically-triumphant imitation between the tenors, sopranos and basses at “cujus regni.” This indeed reflects Christ’s triumphant reign over the world from Heaven. At 6:25, the alto’s “non!” rings out like a bell, emphasizing that this reign does NOT have an end! The repetition of “non erit finis” from 6:27-6:33 comes off like a sophisticated, 18th-century Classical music version of “na-na-na-na boo-boo” - indeed, Haydn is nearly taunting the listener that Christ’s kingdom indeed will not end. At 6:33-6:39, we have an emphatic “non, non, non! non! non erit finis”, driving this point home one final time.
At 6:41, we have a unison “et”, for the story is not over! At 6:43-6:53, we have a unison, chant-like “et in Spiritum Sanctum Dominum, et vivificanctem, qui cum Patre et Filio.” “Adoretur” and “conglorificatur” (6:56-7:00), which take place on another chant-like soprano line, are text-painted by the raging tympani.
From 7:01-7:05, we have a very peaceful and assured-sounding “qui locutus est per prophetas"; its tidy, conclusive cadence in F major reflects the restful conclusion of the prophets having spoken. From 7:06-7:16, we have a lighthearted, playful musical interlude, reflecting the joy of the prophecies having been fulfilled in Christ.
At 7:17, we have another unison “et” - the story is still not over! From 7:19-7:27, we have a another chant-like treatment of “et unam Sanctam Catholicam et apostolicam ecclesiam”, the unison note reflecting the unity of the Church. At 7:36, the minor-key treatment of “peccatorum” reflects the sadness that human sin causes. The sad, minor-key treatment of the word “mortuorum” (7:44-7:46) reflects the sorrow of human death. But at 7:49, we have yet another unison “et” - indeed, the Christian story does not end with death! At 7:53, a solo soprano rings out on “et vitam venturi saeculi”, calling special attention indeed to the life of the world to come.