In 1772, Charles Burney was particularly impressed by the abundance of church music in Vienna. Almost every church and monastery hosted daily masses with instrumental accompaniment and singing. This musical commitment was, then as now, an essential part of Viennese musical life. Friedrich Nicolai later also noted the wide range of masses offered on Sundays and holidays, as services were held at various times. This gave freelance musicians like Joseph Haydn the opportunity to accept several church engagements in succession and perform in different locations. The tradition of figurative church music cultivated by Haydn had its roots in the 17th century.
Around 1600, composers in northern Italy began using instrumental parts independently of the vocal parts—an innovation that continued to develop and was also appreciated in Catholic countries north of the Alps. Haydn was able to draw on this tradition, shaped by masters like Vivaldi, in his early compositions. Haydn composed his Missa Brevis in F major at the age of about 17, intended for busy Sunday mornings. Later works included the Missa Sancti Joannis de Deo, which he wrote specifically for the Brothers Hospitallers of St. John of God in Eisenstadt.
The changes between Haydn's early and late sacred works reflect a transformation in Austrian sacred music: concertante masses replaced older forms. Interventions and reforms by rulers such as Maria Theresa and her son Joseph II shaped how music was used in worship. With the late masses, such as the Harmoniemesse, an era of Austrian church music came to an end. Haydn's innovative formal design and compositional style significantly influenced composers like Hummel, Beethoven, and Schubert. Despite all these changes, Haydn's role in church music remains undisputed.