Joan Catoni Conlon
     Professor and Director of Graduate Choral Research
     University of Colorado

    Allen C. Crowell
     Mildred Goodrum Heyward Professor of Choral Music 

     and Director of Choral Studies, University of Georgia
     Retired Director of The United States Army Chorus

Moses and Demaree have done it again.  This comprehensive study is filled with pertinent information perfect for the professional musician, conductor, graduate student, and Haydn enthusiast. . . . Their love for these Masses is clear, and their work provides important guidance on performance practice:  personnel, tempi, text, dynamics, etc., plus a fine summary for each Mass movement.  Do the right thing and purchase for yourself, your colleagues, and friends.

I can imagine using this as a resource for preparing and teaching [high school students].  I think students (of any age) will find a more human connection armed with the knowledge that so many of the characteristics of the mass were derived from folk traditions.

Revisiting these marvelous works by way of this monograph has been satisfying, thought-provoking, and illuminating. It is an important work of scholarship by two of this country's most knowledgeable Haydn scholar-performers.  No library should be without it, and no serious conductor should attempt a performance of one of Haydn's masses without consulting it.

. . . the writing is both substantive and elegant.  It is the kind of scholarly writing that does not have to gild itself, because of its solid basis in knowledge. . . . [It] seems to achieve the perfect balance of describing larger essentials and noting the necessary details to flesh out the grand picture.  How refreshing to be taken into the “workshop” of fine conductors.

     E. Wayne Abercrombie
      Past President, ACDA Eastern Division
      Professor Emeritus, Univ. of Massachusetts Amherst

This is a massive undertaking, but (the authors) are just the ones to do it.  The chapter on the Nikolaimesse is terrific. . . . The balance of narrative and analysis seems just right.  (Their) solution to the “symphonic mass” controversy is utterly brilliant! 

     Vance Y. George, conductor
      Director Emeritus of the San Francisco Symphony

      Chorus 

The analysis is terrific because it is the result of (the authors’) joint and continuous asking “Why?” with respect to the compositional process, (sharing) with the reader the effect of Haydn’s choices for the listener.

     Aimee Beckmann-Collier
      President-Elect, ACDA North Central Division
      Director of Choral Studies and Professor of     

      Conducting, Drake University

     David Rayl
      Director of Choral Programs and Associate  Dean 

      for Graduate Studies in Music
      Michigan State University

I love the [discussion of] the three different types of silences.  (It is a) great service to the reader always to get the reader’s attention turned to the details of the actual notation.

Copyright © 2009 Don V Moses and Robert W. Demaree

​​Early Praise for
The Masses of Joseph Haydn: 

History, Style, Performance

     Matthew Wanner
     Director of Choirs
     Muskego (WI) High School