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Volume 1. Haydn: the early years 1732-1765. The Austrian scene before and at the time of Haydn's birth -- The Haydn family's background. Haydn's birth -- Chronicle 1732-1756. Chronicle 1732-1749 ; Chronicle 1750-1756 -- The Viennese musical situation, c. 1750, and Haydn's works, c. 1749-1756 (and partly beyond). The Viennese musical situation, c. 1750-. Vocal music. The cantata ; Church music ; Italian opera ; German opera (Singspiel) -- Orchestral music. The symphony ; The concerto -- Haydn's works, c. 1749-1756 (and partly beyond). Church music. The masses ; Smaller church music ; Mottetto I-IV de Venerabili Sacramento ; Salve Regina in E ; Ave Regina in A ; The Eibiswald contrafactum: duetto, "jam cordi" -- Instrumental music. Divertimenti and cassatios ; Dance music ("Seitenstetten" minutes (IX:I) and twenty-four minuets (IX:23) ; Concertos for organ (harpsichord) and orchestra ; The early string trios ; The early keyboard sonatas -- Chronicle 1757-1760. Furnberg and Weinzierl -- The Viennese musical scene. Haydn's Der neue krumme Teufel -- Morzin and Lukavec -- The Furnberg-Morzin legacy -- Haydn's marriage -- Haydn's works 1757-1760 (and beyond). The music for the Furnberg family: the authentic copyists ; The string quartets (opp. I and II) ; Divertimenti (cassatios) for two horns and strings ; The string trios -- The music for the Morzin family: piano (harpsichord) trios ; Divertimenti (concertini) for harpsichord and strings ; Divertimento for harpsichord, two horns, violin and bass ; Divertimento (Feld-Parthie) in F ; Pastorella, 'Ey, wer hat ihn das Ding gedenkt' ; Symphonies -- The first Haydn school -- Eisenstadt and the Esterhazys: a short historical survey -- Chronicle 1761-1765 -- Haydn's works 1761-1765. Operas and Comedie: La Marchesa Nespola (Il Marchese) ; Acide ; Italian cantatas: "Destatevi, o miei fidi" ; "Da qual gioja improviso" ; 'Qual dubbio' ; Church music: Te Deum ; Contrafacta church music: Motetto di Sancta Thecla ; Aria, 'Ego virtus' ; Motetto de Beata ; Aria, 'Maria, Jungfrau rein' ; Recitative, 'Quid hostem times' and Aria de B.V.M. 'Verbo fata portalata ; Concertos. For horn and orchestra ; For violin and orchestra ; For violoncello and orchestra ; Lost and doubtful works ; For harpsichord and orchestra -- Chamber music. Divertimenti for strings and wind instruments ; Divertimenti for wind instruments ; Baryton trios ; Divertimenti (concertini) for harpsichord and strings ; Solo works for harpsichord (20 Variazioni in G and Capriccio,'Acht Sauschneider') ; Symphonies -- The Dissemination of Haydn's early works. Austria. The copyists and the princely houses ; The monasteries -- Germany. The Breitkopf offices ; Sigmaringen castle ; The frist editions of Haydn's music: Paris, Amsterdam, England -- Appendices. Haydn at Eszterhaza 1766-1790 ; Haydn in England 1791-1795 ; Haydn: the years of "the Creation" 1796-1800 ; Haydn: the late years 1801-1809 ; Summary of documentary evidence (1761-70) in the Esterhazy archives, first published in Haydn-Studien (May 1980).' |
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Volume 2. Haydn at Eszterhaza 1766-1790. The organization of Eszterhaza. Castle at Eszterhaza (1766-1790) -- The Esterhazy family "Fideikommiss" -- Haydn and the musicians. The agents abroad: procuring the music ; The opera troupe at Eisenstadt and Eszterhaza (1766-1790). Female singers ; Male singers ; Theatrical personnel - administration etc. ; Some theatrical procedures -- The orchestra at Eisenstadt and Eszterhaza (1766-1790). The Eisenstadt castle church choir and orchestra ; The Eisenstadt 'Thurnermeister' ; The Grenadiers' Banda ; The Princely uniforms ; The Princely musical instruments ; Some conclusions -- Some characteristic documents on Eszterhaza. The Spielplan of the year 1778 ; The description of Baron Riesbeck (1784) ; The description of Johann Friedel (1784) ; The 'Excursion a Esterhaz en Hongrie' (1784) -- Summing up: Haydn at Eszterhaza -- Chronicle 1766-1775 -- Haydn as full Capellmeister: his new role as composer of vocal music. Missa Cellensis in honorem B.V.M. ; La canterina ; Stabat Mater ; Cantata 'Applausus' ; Lo speziale ; Missa 'Sunt bona mixta malis' ; Missa in honorem B.V.M. ; Some smaller church music (Cantilenae pro Adventu; Responsoria; Motetto 'Ens aeternum'; Offertorium 'Agite properate') ; Le pescatrici ; Salve Regina ; Missa Sancti Nicolai ; Acide (second version) ; L'infedelta delusa ; Philemon und Baucis (marionette opera and Singspiel) ; Il ritorno di Tobia ; L'incontro improvviso -- Crisis years: Sturm und Drang and the Austrian musical crisis. The German literary movement leading to the Sturm und Drang -- The Austrian musica crisis: Haydn's instrumental works (1766-1775). Symphonies. Chronology ; Notes on individual works -- String quartets (opp. 9, 17 and 20). Piano sonatas and variations ; Piano concerto in G and 'Il maestro e il scolare' ; Duets for violin and viola ; Baryton trios ; Various divertimenti -- The Austrian musical crisis: other composers. Haydn's pupils, notably Pleyel ; Haydn's seguaci - Vanhal, d'Ordonez, Mozart -- Chronicle 1776-1784 -- Haydn and Viennese society; the salons; Freemasonry; Mozart -- Haydn's works 1776-1784. Operas. Die Feuersbrunst (Das abgebrannte Haus) and lost works (Der Grossprecher and Der krumme Teufel) ; Il mondo della luna ; La vera costanza ; L'isola disabitata ; La fedelta premiata ; Orlando Paladino ; Armida ; Insertion arias -- Masses. Missa brevis S. Joannis de Deo ; Missa Cellensis ("Mariazellermesse") -- Orchestral works. Symphonies (nos. 61, 53, .63, 70, 75, 71, 62, 74,73) ; "English" symphonies (Nos. 76-78) ; Works of 1783-4 (nos. 79-81) ; "Concert" overtures ; Concertos (for vc. In D; for harpsichord or fortepiano in D) ; Dances and marches -- Chamber works. String quartets (op. 33) ; Piano trios (nos. 17-19) ; Piano sonatas ; Flute trios (op. 38) ; Lieder -- The grand dissemination: Haydn's music abroad. Spain ; France ; England ; Copyists, plagiarism etc. -- The musical results of Haydn's internationalism: works of 1785-1790. "Paris" symphonies (nos. 82-87) ; The Seven Words for Cadiz ; Concertos for the King of Naples ; String quartets: (op. 42, op. 50) ; Symphonies (no. 88, 89, 90, 92) ; String quartets for Johann Tost (first series, opp. 54, 55) ; Piano trios (nos. 20-30) for Vienna and London ; Piano sonatas (nos. 57-59), fantasia in C and VI variations ; Vocal works: "Deutschlands Klage"; cantatas "Arianna a Naxos" and "Miseri noi" ; Insertion arias ; Pieces for musical clock ; Notturni for the king of Naples ; String quartets for Johann Tost (second series, op. 64) ; Farewell song, "Trachten will ich nicht auf Erden" -- The third Haydn school. Pietrowski ; Wsranizky ; Gyrowetz ; Haydn -- Chronicle 1785-1790 -- Appendix. Framery's "Notice sur Joseph Haydn" (1810). |
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Volume 3. Haydn in England 1791-1795. Part I. Chronicle 1791-1795 -- Part II. London works. Vocal music. L'anima del filosofo (Orfeo ed Euridice) ; Madrigal: 'The storm' ; Oratorio fragment: Mare Clausum ; Coro; 'Su, cantiamo' ; The Ten Commandments and other canons ; Occasional works for several voices ; Twelve sentimental catches and glees ; Psalms ; Arias with orchestra ; Arias (duets) with orchestra, of doubtful authenticity ; Songs ; First set of canzonettas ; Second set of canzonettas ; Separate English songs ; Scottish songs ; Dr Harington's compliment - 'What art expresses' -- Instrumental music: chamber works. Trios. The so called 'London trios' for two flutes and violoncello ; Piano trios -- Works for pianoforte solo ; Sonata - andante con variazioni in F minor ; Three sonatas for Therese Jansen ; Lost chamber music ; Notturni for the King of Naples (1790 - adapted fro Salomon's concertos of 1791-92) ; The 'Salomon' quartets of 1793 (known as opp. 71 and 74) -- Instrumental music: orchestral works. Overture to an English opera ; Dance music ; Twelve Deutsche Tanze - the redoutensaal dances ; Marches ; The 'Salomon' symphonies and concertante ; Catalogue ; Chronology ; Textual problems and their consequence in interpretation ; Position in Haydn's oeuvre and in music history -- No. 96 in D ('Miracle') ; No. 95 in C minor ; No. 93 in D ; No. 94 in G ('Surprise') ; No. 98 in B flat ; Concertante in B flat ; No. 97 in C ; No. 99 in E flat ; No. 100 in G ('Military') ; No. 101 in D ('Clock') ; No. 102 in C flat ; No. 103 in E flat ('Drum roll') ; No. 104 in D ('London'/'Salomon'). |
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Volume 4. The years of 'The creation' 1796-1800 -- Chronicle of 1795 -- Works of 1795. Piano trio no. 41 in E flat minor ; Offertorium: 'Non nobis, domine' ; Twenty-four minuets for orchestra -- Chronicle of 1796 -- Works of 1796. The masses. Missa sancti Bernardi de Offida ; Missa in tempore belli ; The seven words (choral version) -- Works for the stage. Incidental music to Alfred ; Aria ; 'Fatal amour' -- Mehrstimmige gesange (part songs) ; The canons ; Two Italians duets for soprano, tenor and pianoforte ; Piano trios (1796) ; No. 42 in E flat ; No. 43 in C major ; No. 44 in E major ; No. 45 in E flat ; Trumpet concerto -- Chronicle 1797 -- Works of 1797. Volkslied: 'Gott erhalte' ; String quartets, op. 76, dedicated to Count Erdody ; No. 1 in G ; No. 2 in D minor ; No. 3 in C ; No. 4 in B flat ; No. 5 in D ; No. 6 in E flat -- Chronicle 1798 -- Works of 1798. The Creation ; Libretto ; Haydn's sketches ; The music ; Missa in angustiis/'Nelson' mass ; Aria da 'Il Canzoniere' (Petrarch) -- Chronicle 1799 -- Works of 1799. String quartets, op. 77, dedicated to Prince Lobkowitz ; No. 1 in G ; No. 2 in F ; Mass in B flat / Theresienmesse -- Chronicle of 1800 -- Works of 1800. Cantata: 'lines from The Battle of the Nile' ; Te Deum in C -- Appendix. Haydn's list of subscribers to the first edition of The Creation. |
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Volume 5. Haydn: the late years 1801-1809. Chronicle 1801. Haydn's first will -- Works of 1801. The Seasons. Libretto ; Sketches ; Music: list of numbers and their orchestration ; Sources ; General form and style ; General key structure and problems of tonality ; Orchestration ; Analytical notes ; The progress of The Seasons ; Schopfungsmesse -- Chronicle 1802 -- Works of 1802. Hungarischer national marsch ; Harmoniemesse -- Chronicle 1803 -- Works of 1803. The unfinished string quartet in D minor (op. 103) -- Chronicle 1804. Catalogues (c. 1804-1805): Elssler's catalogue of Haydn's music library ; Haydn's catalogue of his libretto collection ; Summary catalogues ; Haydn's ; Elssler's -- Chronicle 1805 -- Chronicle 1806 -- Chronicle 1807 -- Chronicle 1808 -- Chronicle 1809. Haydn's last will ; Catalogue of Haydn's artistic effects -- Appendix. Haydn and posterity: a study in changing values. |
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Volume two covers the very productive middle years of Haydn's career, the period in which the composer was full Kapellmeister to Prince Nicolaus I Esterhazy. The central figure of this book, apart from Haydn is his extraordinary patron, a complicated man of enormous wealth and power. The recent discovery of documents from the Esterhazy archives now makes it possible to reconstruct daily life in the princely household and Haydn's position and duties there. In addition to writing suitable compositions or procuring scores by other composers, Haydn was responsible for engaging and supervising the musicians, seeing that the instruments were maintained, playing the organ, and producing the musical evidence required by the prince. The author quotes such documents as the contract between Haydn and the prince, yearly calendars of the theatrical and musical presentations, bills from copyists and instrument makers, and a complete record of the production of one of Haydn's operas (L'incontro improvviso). He devotes part of one chapter to biographical sketches of the vocalists and instrumentalists in the prince's employ and the works in which each took part. In 17847 Haydn made a list of 73 operas, 11 of them his own, that had been performed at Eszterhaza castle during his tenure. The number of opera performances alone usually ran to around a hundred per year; in 1786, and again in 1788, Haydn conducted 125 of them in addition to arranging other concerts and composing. The author has written a chronicle for each year of Haydn's stay in Hungary and has analyzed selected composition in a great variety of forms: masses, operas, symphonies, concertos, piano sonatas, lieder, chamber music including duets for violin and viola, baryton trios, flute trios, piano trios, string quartets. A number of Haydn's works in minor keys seem to reflect the emotional crisis in Austrian music that preceded the literary Sturm und Drang movement. Landon also reports on the friendship between Haydn and Mozart, both of whom were freemasons, and on some of Haydn's pupils and followers, particularly Pleyel, Vanhal, and Ordonez. During the years Haydn served at Esterhaza his fame was spreading to other countries. His compositions were being published in Vienna, Paris, and London, and in some cases manuscript copies were circulated to subscribers. He received notable commissions from abroad, among them The Seven Words for performance in Cadiz. When Prince Nicolaus died in 1790, Haydn was released from his duties at the castle. |
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The fifth volume traces the political and social events affecting Vienna in the first decade of the nineteenth century and examines in detail the musical works of Joseph Haydn's last years. The Treaty of Luneville (1801) brought temporary respite to the hard-pressed Austrian armies in their struggle against Napoleon, but in 1805 and again in 1809 Vienna was occupied by the French. During this period, Haydn, who had been Europe's most celebrated composer, ceased to be a public figure and lived in quiet retirement. The central feature of this volume is Haydn's oratorio The Seasons, with a libretto by Baron Gottfried van Swieten based on the epic poem by the eighteenth-century Scottish poet James Thomson. Landon provides a history of the development of The Seasons along with many musical examples and analyses of the various numbers in the oratorio. Drawing on contemporary documents and newspapers, he also recreates the public's impressions of the first performance of this work and the later general realization that it was to be Haydn's last major composition for public performance. In 1801-1802 Haydn completed the last two in his series of Masses - the Schopfungsmesse and the Harmoniemesse - for the annual name-day ceremonies at Eisenstadt for Princess Marie Hermenegild Esterhazy (on the feast of the birth of the virgin). The author includes excerpts from and analyses of both these works; the Harmoniemesse has always been highly regarded, but the monumental stature of the Schopfungsmesse (so-called because it contains quotation from The Creation) has only recently been organized. With advancing age, Haydn's creative output declined, but he continued to compose until, in 1803, he realized that he was physically incapable of completing his last quartet. Although Haydn had been highly revered an lovingly called "Father Haydn" by many younger composers, it was inevitable that the interest of the musical world would shift to its new star, Beethoven. In the section entitled "Haydn and posterity" the author quotes extensively from nineteenth and twentieth century sources to document the changing tastes that were responsible for Haydn?s loss of popularity even before his death, the patronizing attitude of many later critics, and the neglect, until recent years, of the great bulk of his music. |
| Bibliography note | Includes bibliographical references and indexes. |
| LCCN | 76014630 |
| ISBN | 0253370035 |
