ABSTRACT
Haydn was not the first to reveal the potential of the mass form to be both worshipful and artistic. From Dufay to Palestrina to Mozart, many composers had created finely executed masses that honoured the Church yet permitted the full gamut of contemporary musical possibilities to be displayed also. Structural unity is important in determining whether a mass is concertised or a concert mass. In medieval times the notion of a unified mass cycle was motivated by a desire to establish consistent worship across Christendom, as much as it was a function of musical concerns. When the possibilities of polyphony began to be explored, it took some time for composers to develop their skills to the extent that they could create sustainable longer works. Initially, the polyphonic music heard during the Eucharist comprised single movements that would be brought together from disparate sources in accordance with the needs of the service.
