Difference between revisions of "MuseData: Franz Joseph Haydn"

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Fran Josef Haydn was one of the best-loved composers of the eighteenth century.  His string quartets, symphonies, concertos,  masses, keyboard, and chamber music all became models of their genres. Haydn encapsulated the eighteenth-century ideal of well articulated organization, balance of resources with enough rotation to avoid blandness, and a critical ear.  The music was famously good-natured and found an easy reception. 
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#REDIRECT [[Franz Joseph Haydn]]
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Yet Haydn himself never received the praise for his operas he would have wished.  Many were written for performance in Eisenstadt, where his employer's wife was an Italian noblewoman with a significant interest in the genre.  Ironically, Haydn's operas are more approachable today than they were in his time.  Some, on texts by Carlo Goldoni, are comic.  Many contain a pleasant balance between vocal and instrumental pieces, for Haydn was even-handed in his approach to all kinds of music. 
 
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==Facsimiles==
 
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===String quartet prints of Haydn's Time===
 
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No complete edition of all of Haydn's works was organized until a few decades ago. In the absence of a comprehensive critical edition, Haydn's music has been circulated in a great bevy of short runs from his time to our own.  CCARH had the good fortune to acquire bits and pieces of several string-quartet editions from Haydn's lifetime.  We make them available below. 
 
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The identification of works in these scans requires consultation of the finding chart linked here. [xx]  The lack of a comprehensive edition parallels the absence of a comprehensive catalog of Haydn's music, although this need was substantially met in time by the [https://en.wikipedia.org/wiki/Hoboken_catalogue catalog] of Anthony van Hoboken.
 
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Musicians who leaf through the Haydn quartet scans rapidly develop insights in the condition of music circulation in Haydn's time.  It is immediately noticeable that during the intervening two centuries many conventions of notation, particularly regardings turns and [https://en.wikipedia.org/wiki/Grace_note grace notes], have changed. A much larger proportion of melodic notes were conveyed through small notes than would be the case today. (George Barth's 1991 article on Mozart performance gives some sense of this situation.) The technically astute will find, if they investigate the encoded score data, these editions do not serve modern editors at well. Beat-regularization squeezes many of those same small notes out of the file, which regulates musical flow by bar structure, and extensive annotation is needed to convey the composer's intentions.
 
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===Piano sonatas printed in <i>c</i>1900===
 
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==Digitized sources==
 
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A recent online exhibit of [https://exhibits.stanford.edu/rare-music/feature/joseph-haydn-1732-1809 Haydn resources] at Stanford University provides a useful overview of the varied genres in which the composer worked. Some of the fragmentation in Haydn's oeuvre owed to the vicissitudes of patronage. Only recently a composer might have been supported throughout his life by a duke or prince.  Haydn's fortunes were mixed. A great deal of his music is associated with the Esterhazy family, who had one court in Eisenstadt (on the Austrian side of today's border with Hungary) and another, grander one, some miles east of the border. Like most Austro-Hungarian, Bohemian, and Moravian nobles of the time, the Esterhazy princes also had a town house in Vienna. Chamber music found a place both in habitual locales and in Vienna. 
 
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===String quartets and other chamber music===
 
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Haydn contributed generously to the chamber music repertory. He is most strongly associated today with the string quartet, a genre in which he coached followers including Mozart and Beethoven. The quartet was not so distinct from closely associated string works, such as the <i>divertimento</i> and the <i>sinfonia concertante</i>, as it later became.
 
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==Encoded editions (CCARH)==
 
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Unlike other major composers of his generation, Haydn was not honored with a catalogue or a complete edition of works in the nineteenth century. The reasons for this are many and varied.  Haydn's chamber music was printed in short editions by scattered publishers, each with a different system for numbering both works and editions. The Hoboken catalogue does its job well but it often difficult to link up with random editions. (See further remarks under String Quartets.) 
 
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===The London Symphonies===
 
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By 1790, Haydn had spent three decades in the employ of the Esterhazy princes.  The death of Prince Nicholas led inadvertently the dismissal of the court orchestra. A new offer of patronage from the German impresario J. P. Salomon enabled Haydn to hear his music played by an orchestra of substantial size in London. Haydn's music was already well known and frequently heard there. An added benefit to Haydn was the local publishers were eager to bring out the latest works and to license further editions on the Continent. He ultimately prepared to two sets of six symphonies, one set performed in 1791-92 and the other in 1794-95. Apart from their great success in London, many of these works have remained favorites every since. 
 
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Our selection of encoded symphonies emphasizes the later works that show off his talents to best advantage. Users will find that each one is different from the others but fully transparent.
 
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{| class="wikitable sortable"
 
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! Symphony No. (Date) !! Hoboken No. !! Genre / Instruments !! Key !! Nickname !! Score
 
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| No. 93 (1791) || I:093 || Symphony / 2Fl, 2Ob, 2Bn; 2Hrn/D, 2Tr/D, Tmp; 2V, Va, Vc, Cb  || D Major ||  || [http://scores.ccarh.org/haydn/haydn-sym-093.pdf Full score]
 
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| No. 94 (1791) || I:094 || Symphony / 2Fl, 2Ob, 2Bn; 2Hrn/D, 2Tr/D, Tmp; 2V, Va, Vc, Cb || G Major || "The Surprise" || [http://scores.ccarh.org/haydn/haydn-sym-094.pdf Full score]
 
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| No. 95 (1791) || I:095 || Symphony / 2Fl, 2Ob, 2Bn; 2Hrn/D, 2Tr/D, Tmp; 2V, Va, Vc, Cb || C Minor ||  || [http://scores.ccarh.org/haydn/haydn-sym-095.pdf Full score]
 
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| No. 96 (1791) || I:096 || Symphony / 2Fl, 2Ob, 2Bn; 2Hrn/D, 2Tr/D, Tmp; 2V, Va, Vc, Cb || D Major || "The Miracle" || [http://scores.ccarh.org/haydn/haydn-sym-096.pdf Full score]
 
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| No. 97 (1792) || I:097 || Symphony / 2Fl, 2Ob, 2Bn; 2Hrn/D, 2Tr/D, Tmp; 2V, Va, Vc, Cb || C Major ||  || [http://scores.ccarh.org/haydn/haydn-sym-097.pdf Full score]
 
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| No. 98 (1792) || I:098 || Symphony / 2Fl, 2Ob, 2Bn; 2Hrn/D, 2Tr/D, Tmp; 2V, Va, Vc, Cb || B{{music|flat}} Major ||  || [http://scores.ccarh.org/haydn/haydn-sym-098.pdf Full score]
 
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| No. 99 (1793) || I:099 || Symphony / 2Fl, 2Ob, 2Cl/B{{music|flat}}, 2Bn; 2Hrn/D, 2Tr/D, Tmp; 2V, Va, Vc, Cb || E{{music|flat}} Major ||  || [http://scores.ccarh.org/haydn/haydn-sym-099.pdf Full score]
 
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| No. 100 (1793-94) || I:100 || Symphony / 2Fl, 2Ob, 2Bn; 2Hrn/D, 2Tr/D, Tmp; 2V, Va, Vc, Cb || G Major || "The Military" || [http://scores.ccarh.org/haydn/haydn-sym-100.pdf Full score]
 
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| No. 101 (1793-94) || I:101 || Symphony / 2Fl, 2Ob, 2Cl/A, 2Bn; 2Hrn/D, 2Tr/D, Tmp; 2V, Va, Vc, Cb || D Major || "The Clock" || [http://scores.ccarh.org/haydn/haydn-sym-101.pdf Full score]
 
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| No. 102 (1794) || I:102 || Symphony / 2Fl, 2Ob, 2Bn; 2Hrn/D, 2Tr/D, Tmp; 2V, Va, Vc, Cb || B{{music|flat}} Major || || [http://scores.ccarh.org/haydn/haydn-sym-102.pdf Full score]
 
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| No. 103 (1795) || I:103 || Symphony / 2Fl, 2Ob, 2Cl/B{{music|flat}} 2Bn; 2Hrn/D, 2Tr/D, Tmp; 2V, Va, Vc, Cb || E{{music|flat}} Major || "The Drumroll" || [http://scores.ccarh.org/haydn/haydn-sym-103.pdf Full score]
 
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| No. 104 (1795) || I:104 || Symphony / 2Fl, 2Ob, 2Cl/A, 2Bn; 2Hrn/D, 2Tr/D, Tmp; 2V, Va, Vc, Cb || D Major || "London" || [http://scores.ccarh.org/haydn/haydn-sym-104.pdf Full score]
 
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==Bibliography==
 
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* George Barth, "Mozart performance in the nineteenth-century," <i>Early Music</i>, 19/4 (Nov. 1991), 538-552.
 

Latest revision as of 20:11, 15 November 2022

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