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
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.
President-Elect, ACDA North Central Division
Director of Choral Studies and Professor of
Conducting, Drake University
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
Director of Choirs
Muskego (WI) High School