The sonata/fugue in Haydn's sacred choral music

Franz Joseph Haydn's large-scale church music has been praised for the way that it amalgamates long-established formal requirements for liturgical music with the instrumental, symphonic nature of late eighteenth-century secular music. Haydn found ingenious ways to combine fugal texture, the style most closely associated with church music, with the most fashionable instrumental type of his day, the sonata form. This study examines all instances of this combination found in his larger choral works.;The introduction seeks to (1) define both fugue and sonata in a historical context, (2) identify possible sources of influence on Haydn's fugal writing, and (3) describe a context for understanding this juxtaposition of style and form. The definitions of these terms are broad, to allow for the inclusion of as many movements as possible. The context is based on H. C. Robbins Landon's claim that "the late Haydn masses are in their fundamental construction symphonies for voices and orchestra using the mass text" and Martin Chusid's later expansion of this idea which proposed that each of these masses are divided into separate "symphonies".;The analysis of these movements follows, presenting them chronologically, divided into two groups. Chapter II discusses works written before the 1780s: the Cacelienmesse "Gratias", the Stabat Mater "Virgo virginum praeclara" and "Paradisi gloria", and the Grosse Orgelmesse Kyrie and "Dona nobis pacem". Chapter III covers examples in the late works: the Heiligmesse Kyrie, the Paukenmesse "Et vitam venturi", the Kyrie and "Dona nobis pacem" from the Nelsonmesse, the Theresienmesse Kyrie, and the "In gloria Dei Patris" and "Dona nobis pacem" from the Schopfungsmesse. The analysis reveals the variety of ways in which Haydn juxtaposed fugue and sonata--placing fugatos in various sections of the sonata, creating the sonata in different formations, and sometimes permeating the sonata with fugal texture. Significantly, all but one of the movements studied occur at the beginning or the end of works or important sections of works, i.e. the very places in a symphony where a sonata form would be expected, thus reinforcing the Landon/Chusid description of these choral works as symphonic.