The , Hob. XXII:7, Novello 8, is a mass in B-flat major by Joseph Haydn. The (short mass) was written around 1774 for the order of the (Brothers Hospitallers) in Eisenstadt, whose patron saint was John of God. Scored modestly for soprano, four-part mixed choir, two violins, organ and bass, it is known as the Kleine Orgelmesse (Little Organ Mass) due to an extended organ solo in the Benedictus movement. History Haydn composed four or five short masses, depending on the Missa brevis Rorate coeli desuper being composed by him or not. The Missa brevis Sancti Joannis de Deo is his last . All these short masses share a modest orchestra. The mass was written for the order of the , also called Brothers of Mercy, in Eisenstadt, Hungarian Kingdom (now Austria), whose founder and patron saint was St. John of God. Haydn lived in Eisenstadt, working for the court of Nikolaus II, Prince Esterházy. The composition was written in 1774. Because of an extensive Organ solo in the Benedictus, it is known as the Kleine Orgelmesse (Little Organ Mass), referring to the (Great Organ Mass), a colloquial name for the Missa in honorem Beatissimae Virginis Mariae, Haydn's fourth mass in E-flat major. An organ solo in the Benedictus was common practice at the time. Haydn played the organ in the first performance, in the hospital chapel of the Brethren in Eisenstadt. "Kleine" (little) may refer to the organ as well as to the composition, because the instrument there was a positive with six stops without pedal. Scoring and structure The setting of the Latin mass is structured in six movements. It was originally scored for a solo soprano, a four-part choir (SATB), the so-called (Vienna church trio) of two violins and bass, with an organ which has a solo function in the Benedictus. In the following table of the movements, the voices, markings, keys and time signatures are taken from the choral score. Music The movements Gloria and Credo are kept extremely short by the technique of (multiple texts): "several clauses of the text [are set] simultaneously in different voices." The texts from the order of mass are repeated in every mass and thus well known. The setting of different passages assigned to the different parts, heard simultaneously, does justice to the liturgy but keeps the music short. This setting does, however, take this practice to the extreme, by