Insanae et Vanae Curae - Joseph Haydn (1732 - 1809)

Although written sometime between 1805 and his death, the origin of Haydn's motet Insanae et vanae curae lies many years earlier. In 1774-5, Haydn wrote his first oratorio, Il Ritorno di Tobia, in order to raise money for poor musicians and their families. Unfortunately, Haydn was in breach of the terms of his contract with Prince Esterhazy, his patron, which forbade the performance of any work outside of the palace. The work was diplomatically shelved, but would not have survived intact anyway because it was too long and lacked a sense of direction. In 1795, The Tonkünstler Societät of Vienna wanted to revive the work, presumably with the Prince's blessing. For the occasion, Haydn cut several arias and added two new choruses. In spite of this, the work seemed to show its age and was soon forgotten. Not by the composer, however. The 'storm' chorus which he had added for the revival seemed just 'too good to waste', and it was this which became the short motet we are performing this evening.

Haydn had used trumpets and percussion to great effect in his Missa in tempore belli of 1796 ('Mass in a time of war') and for Insanae he substituted trumpets for two of the horns and added timpani. Small changes perhaps, but their dramatic impact was considerable.

Surprisingly, Insanae did not immediately become an 'old favourite', as it is today. Its strengths were, however, recognised by other composers. Mozart, for instance drew heavily on this and Haydn's Non Nobis Domine for his own Requiem, and Pizzaro's aria in Beethoven's Fidelio, also in D minor, is clearly stimulated by the work.

The piece is in two sections. Both are repeated, but with subtle differences. The opening has been called 'elementally powerful' and calls to mind the Storm in The Seasons. The raging cares which seize our minds are symbolised by the starkness of the orchestral texture contrasting with clashes in the vocal parts. This disorder is a consequence of the lack of hope resulting from an insufficient acknowledgement of the place of the divine. Calmness and order is established in the lyrical second section. The soprano and alto parts interweave mellifluously reminding us that hope is heavenly in origin. The reprise now has a purpose: we now know why the cares afflict us and await confirmation that salvation is possible. The return of the upper voices is now seen as optimistic. The piece ends with the reassurance that all will be well, with God on our side. Although the dramatic contrasts are operatic in nature, the text and the aural symbolism point strongly to the work's conception in oratorio: this work is profoundly religious and inviting contemplation.

© ACS, December 2003

[Note to other societies: you are welcome to use the whole or parts of this text in your own programmes, but if you do please (i) let us know, and (ii) include an acknowledgement to the Aylesbury Choral Society and this website in your programme.]

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Amazon.co.uk advertised two CDs in December 2003 that include recordings of the Insanae:

	Haydn: Heiligmesse / Paukenmesse Decca 4708192
(no image)	Haydn: Missa Sancti Bernardi von Offida Classical SK66260

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