The general neglect of Haydn's six late Masses of 1798-1802 is quite a mystery. The final object of their sexagenarian composer's still potent creative energies, they took the place previously occupied by the symphony at the forefront of his inspiration, yet the Nelson Mass is the only one of them to have become well known. The others seem somehow to have evaded general recognition, including the one known as the Harmoniemesse because of its prominent use of a relatively large wind section (in German, Harmonie). It's the last of the series—indeed, Haydn's last major composition before old age overtook him—yet it bespeaks a deep and unquestioning religious conviction with all the vigour of a great composer at the height of his powers.
Although this is the first recording to make use of period instruments, the reverberance of Winchester Cathedral minimizes any novel effects this might have allowed. True, David Hill directs a pleasantly buoyant account, but there are many places where a clearer texture and a more incisive edge to the sound might have been expected, especially from the wind. It's all rather murky, and I found that I kept wanting to turn the volume up in order to try and give the whole thing more immediacy. That's a pity, because there is a good performance in there, certainly one not lacking in grandeur, given by a choir who obviously possess considerable expressive potential and a stock of strong, confident voices. The solo quartet's contributions, too, are sound (though Catherine Wyn-Rogers is a little wobbly for my taste).
This disc also offers Haydn's Kleine Orgelmesse of 1778, a charming and deservedly popular work, notable for a 55-second Gloria (the text is conveniently telescoped), a beautiful, valedictory Agnus Dei, and an enchanting Benedictus for soprano and obbligato organ performed with great warmth by Lynda Russell and A. N. Other. For these movements alone the disc is worth hearing.'