Quonium Tu Solus (Nelson Mass)

Basic overview of the piece (not complete) as I created this for my mock.

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  • Quonium tu Solus (Nelson Mass) - Haydn
    • Background
      • 1798
      • Choral Mass: Uses Latin words of the Catholic service
      • Haydn composed for the Esterhazy family
    • Tonality
      • D major - this movement in tonic major to lighten mood
      • Tonality of overall mass is D minor
      • Fugue Section: B minor (bar 35), A major (bar 38), E minor (bar 45) & G major (bar45)
    • Resources
      • SATB chorus and soloists, 3 trumpets, timpani, strings & organ
      • Orchestra condensed dramatically - financial issues
      • No woodwind - would've been added in later versions
    • Harmony
      • Mainly perfect cadences
        • Interrupted cadence (bars 44&45)
      • Pedal notes particularly in 'amen' section (tonic pedal)
      • Diatonic & Functional - typically classical harmony
      • Inversions: V7b & V7d (bar5) + diminished chord 1 (bar7)
      • Bar 37 hints at circle of 5ths
    • Structure
      • From a Mass - final part of the 'Gloria' an uplifting movement
        • MASS: Kyrie, Gloria, Credo, Sanctus & Benedictus, Agnus Dei
      • Ternary Form
      • Instruments determine structure (see full notes & score)
    • Metre
      • 4/4
    • Rhythm
      • Quavers & semiquavers give energy & movement
      • Anacrusis (bars 4,5,16+17)
      • Tonic pedal quavers (bar15) drive piece forward & establish tonality
        • Contrast: long tied semibreves in bar 61 onwards
      • Syncopation: orchestration bar 17
      • Dotted rhythms in voice parts (bar 1&4)
      • Tied notes over barline in sop&alto (bar 57&58)
    • Texture
      • Antiphonal responses between solo & choir at opening
        • Solo accompanied by homophonic accompaniment: MDH
      • Imitation: sop&alto (bar39+40), 'stretto' tenor&bass (bar44+45)
      • Homophonic chorus at start until fugue (bar22)
      • Parts are polyphonic in last 'amen' until bar 80
      • Orchestral parts double voice parts (fugue section - 37 onwards)
      • Changes in texture create dynamic structure
    • Melody
      • Lots of sequence (counter subject, 1st occurs bar24 in bass)
      • Many repeated notes, also many leaps (8ve leap bar 55 sop part)
      • Bar 6 heterophonic texture: Violin 1 semiquavers based on melody in sop 1
      • Melodic material mainly based around scales
      • Fugue
        • 2 bar fugue subject, 1st occurs in bass (bars 22+23)
          • subject built on triads & is descending
            • Counter subject accompanies at the same time as fugue enters
        • Counter subject, full of quavers, also occurs in bass (bars 24&25)- also descending sequence

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