Title: Missa in tempore belli
Content:  Missa in tempore belli (Mass in Time of War), Hob. XXII/9, is a setting of the mass by Joseph Haydn. It is catalogued Mass No. 10 in C major, (H. XXII:9). Known also as the Paukenmesse due to the dramatic use of timpani, it is one of the most popular of his fourteen mass settings. The autograph manuscript contains the title "Missa in tempore belli" in Haydn's handwriting.
Title: Missa in tempore belli
Content:  period of his life, beginning in 1796, was the composition of an annual mass to honour the name day of Prince Nicholas’ wife, Princess Maria Hermenegild, 8 September, the birth of the Blessed Virgin. In a final flowering of his genius, he faithfully completed six magnificent masses (with increasingly larger orchestras) for this occasion. Thus Missa in Tempore Belli was performed at the family church, the Bergkirche, at Eisenstadt on 29 September 1797. Haydn also composed his oratorio The Creation around the same time and the two great works share some of his signature vitality and tone-painting. This piece has been long thought to express an anti-war sentiment, even though there is no explicit message 
Title: Missa in tempore belli
Content:  chorus joining in antiphonally. The Sanctus opens slowly, but builds to a rather ominous forte on the text "Pleni sunt coeli" before moving to a brief, more genteel "Hosanna in Excelsis". The In Tempore Belli first suggests itself in the Benedictus. This is set mostly in short nervous phrases for the solo quartet, with the three lower voices singing detached notes below the soprano melody reminiscent of pizzicato strings. The sense of anxiety and foreboding continues with ominous drumbeats and wind fanfares in the Agnus Dei, which opens with minor-key timpani strokes (hence the German nickname, Paukenmesse), perhaps fate itself, knocking seemingly from the depths. This foreshadows the timpani-catalysed drama of the Agnus Dei in Beethoven's Missa Solemnis. The music brightens with trumpet fanfares, ending with an almost dance-like entreaty and celebration of peace, "Dona nobis pacem" (Give us peace).
Title: Missa in tempore belli
Content:  The vocal parts of the mass are performed by four soloists (soprano, alto, tenor and bass) and a four-part choir. The soloists often appear as an ensemble, without arias. Haydn scored the mass for a large orchestra, even adding instruments for a performance in Vienna. In the following table of the movements, the markings, keys and time signatures are taken from the choral score, using the symbols for common time and alla breve. The choir and orchestra are present in all movements.
Title: Missa in tempore belli
Content:  Haydn composed this mass at Eisenstadt in August 1796, at the time of Austria’s general mobilisation into war. Four years into the European war that followed the French Revolution, Austrian troops were doing badly against the French in Italy and Germany, and Austria feared invasion. Reflecting the troubled mood of his time, Haydn integrated references to battle in the Benedictus and Agnus Dei movements. The Mass was first performed on 26 December 1796, in the Piarist Church of Maria Treu in Vienna. Haydn was a deeply religious man who appended the words “Praise be to God” at the end of every completed score. As Kapellmeister to Prince Nikolaus II Esterházy, Haydn’s principal duty in the 
Title: Piarist Church, Vienna
Content:  Commissioned by the Piarists, Haydn's Missa in Tempore Belli (Mass in Time of War, sometimes known as the Paukenmesse or Kettledrum Mass) was first performed on 26 December 1796.
Title: Missa in tempore belli
Content:  the text itself, and no clear indication from Haydn that this was his intention. What is found in the score is a very unsettled nature to the music, not normally associated with Haydn, which has led scholars to the conclusion that it is anti-war in nature. This is especially noticed in the Benedictus and Agnus Dei. During the time of the composition of the Mass, the Austrian government had issued a decree in 1796, that "no Austrian should speak of peace until the enemy is driven back to its customary borders." Whether this is enough to call it anti-war in nature is certainly debatable because most of the mass is of a lyrically joyful nature.
Title: Missa tempore Quadragesimae (Michael Haydn)
Content: Johann Michael Haydn: Missa Tempore Quadragesimae Carus-Verlag ; Missa tempore Quadragesimae : MH 553 (1794) : à 4 voci in pieno, col'organo : per coro SATB, organo e violone / Michael Haydn ; herausgegeben von Charles H. Sherman. franklin.library.upenn.edu Missa tempore Quadragesimae : MH 553 (1794) : à 4 voci in pieno, col'organo : per coro SATB, organo e violone / Michael Haydn ; herausgegeben von Charles H. Sherman. franklin.library.upenn.edu 
Title: Missa tempore Quadragesimae (Michael Haydn)
Content:  The Missa tempore Quadragesimae (Mass for the time of Lent), Klafsky 1:19, MH 553, is a mass without a Gloria by Michael Haydn. The work in D minor was written in 1794 in Salzburg, scored for a four-part choir and organ. It is suitable also for Advent.
Title: Missa tempore Quadragesimae (Michael Haydn)
Content:  The mass was recorded in 2006 by the Ex Tempore choir, conducted by Florian Heyerick, together with other works by the composer. A review notes its "beautiful, concise soberness unlike anything in the Mozart oeuvre or that of anyone else", pointing at the section "Et incarnatus est" which is free in tempo, similar to harmonized chant. The mass was recorded in 2008 by the Purcell Choir, conducted by György Vashegyi, combined with other lenten music by the composer, titled Sacred music for the season of Lent. A reviewer notes the homophonic setting and simple rhythm, resulting in a floating meditative sound.

Question: Who was the composer of Missa in tempore belli?
Answer: Joseph Haydn.
Franz Joseph Haydn.
Haydn.
Franciscus Joseph Haydn.
Franciscus Josephus Haydn.