https://wiki.ccarh.org/index.php?title=Franz_Joseph_Haydn&feed=atom&action=historyFranz Joseph Haydn - Revision history2024-03-29T10:13:40ZRevision history for this page on the wikiMediaWiki 1.33.0https://wiki.ccarh.org/index.php?title=Franz_Joseph_Haydn&diff=12325&oldid=prevEsfield: /* Music publishers of Haydn's time */2023-05-18T19:58:18Z<p><span dir="auto"><span class="autocomment">Music publishers of Haydn's time</span></span></p>
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<tr><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"></td><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div><b>Robert Bremner</b> (<i>c</i>1713-1789) was a publisher of music in Edinburgh. His main interest was in bringing out primers on how to play specific instruments and mastering techniques such as vibrato.These were occasionally issued together with new issues of string quartets. The collection of plates and copyrights he acquired over his lifetime became an enviable one. </div></td><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div><b>Robert Bremner</b> (<i>c</i>1713-1789) was a publisher of music in Edinburgh. His main interest was in bringing out primers on how to play specific instruments and mastering techniques such as vibrato.These were occasionally issued together with new issues of string quartets. The collection of plates and copyrights he acquired over his lifetime became an enviable one. </div></td></tr>
<tr><td class='diff-marker'>−</td><td style="color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div>[[File:Pleyel-cat.PNG|thumb|left|1500px|<small>Pleyel's multitiered system of identifying Haydn string quartets. Here we see incipits for the quartets Op. 5, Nos. 1-6, with their through-numbered indications (25-30), and the starting page (<i>Violino primo</i>) of each.</small>]]</div></td><td class='diff-marker'>+</td><td style="color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div>[[File:Pleyel-cat.PNG|thumb|left|1500px|<small>Pleyel's multitiered system of identifying Haydn string quartets. Here we see incipits for the quartets Op. 5, Nos. 1-6, with their through-numbered indications (25-30), and the starting page (<i>Violino primo</i>) of each <ins class="diffchange diffchange-inline">(96-116) of the "second book"</ins>.</small>]]</div></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div><b>Ignace Joseph Pleyel</b> (1757-1831) was born near Vienna with the name Ignaz Pleyl. Naturalized in France, he pursued a musical education, studying from the age of twelve with Jean-Baptiste Vanhal (1739-1815), then securing support from the count Ladislaus Erdödy to study with Haydn at [https://en.wikipedia.org/wiki/Eisenstadt Eisenstadt]. In 1777 Pleyel was named director of music at the court of his benefactor and, soon after, director of the orchestra of Prince Esterhazy at </div></td><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div><b>Ignace Joseph Pleyel</b> (1757-1831) was born near Vienna with the name Ignaz Pleyl. Naturalized in France, he pursued a musical education, studying from the age of twelve with Jean-Baptiste Vanhal (1739-1815), then securing support from the count Ladislaus Erdödy to study with Haydn at [https://en.wikipedia.org/wiki/Eisenstadt Eisenstadt]. In 1777 Pleyel was named director of music at the court of his benefactor and, soon after, director of the orchestra of Prince Esterhazy at </div></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>Eisenstadt.</div></td><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>Eisenstadt.</div></td></tr>
</table>Esfieldhttps://wiki.ccarh.org/index.php?title=Franz_Joseph_Haydn&diff=12324&oldid=prevEsfield: /* Music publishers of Haydn's time */2023-05-18T19:56:30Z<p><span dir="auto"><span class="autocomment">Music publishers of Haydn's time</span></span></p>
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<td colspan="2" style="background-color: #fff; color: #222; text-align: center;">Revision as of 19:56, 18 May 2023</td>
</tr><tr><td colspan="2" class="diff-lineno" id="mw-diff-left-l12" >Line 12:</td>
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<tr><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"></td><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div><b>Robert Bremner</b> (<i>c</i>1713-1789) was a publisher of music in Edinburgh. His main interest was in bringing out primers on how to play specific instruments and mastering techniques such as vibrato.These were occasionally issued together with new issues of string quartets. The collection of plates and copyrights he acquired over his lifetime became an enviable one. </div></td><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div><b>Robert Bremner</b> (<i>c</i>1713-1789) was a publisher of music in Edinburgh. His main interest was in bringing out primers on how to play specific instruments and mastering techniques such as vibrato.These were occasionally issued together with new issues of string quartets. The collection of plates and copyrights he acquired over his lifetime became an enviable one. </div></td></tr>
<tr><td class='diff-marker'>−</td><td style="color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div>[[File:Pleyel-cat.PNG|thumb|left|1500px|<small>Pleyel's multitiered system of identifying Haydn string quartets. Here we see incipits for the quartets Op. 5, Nos. 1-6, with their through-numbered indications, and the starting page (<i>Violino primo</i>) of each.</small>]]</div></td><td class='diff-marker'>+</td><td style="color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div>[[File:Pleyel-cat.PNG|thumb|left|1500px|<small>Pleyel's multitiered system of identifying Haydn string quartets. Here we see incipits for the quartets Op. 5, Nos. 1-6, with their through-numbered indications <ins class="diffchange diffchange-inline">(25-30)</ins>, and the starting page (<i>Violino primo</i>) of each.</small>]]</div></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div><b>Ignace Joseph Pleyel</b> (1757-1831) was born near Vienna with the name Ignaz Pleyl. Naturalized in France, he pursued a musical education, studying from the age of twelve with Jean-Baptiste Vanhal (1739-1815), then securing support from the count Ladislaus Erdödy to study with Haydn at [https://en.wikipedia.org/wiki/Eisenstadt Eisenstadt]. In 1777 Pleyel was named director of music at the court of his benefactor and, soon after, director of the orchestra of Prince Esterhazy at </div></td><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div><b>Ignace Joseph Pleyel</b> (1757-1831) was born near Vienna with the name Ignaz Pleyl. Naturalized in France, he pursued a musical education, studying from the age of twelve with Jean-Baptiste Vanhal (1739-1815), then securing support from the count Ladislaus Erdödy to study with Haydn at [https://en.wikipedia.org/wiki/Eisenstadt Eisenstadt]. In 1777 Pleyel was named director of music at the court of his benefactor and, soon after, director of the orchestra of Prince Esterhazy at </div></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>Eisenstadt.</div></td><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>Eisenstadt.</div></td></tr>
</table>Esfieldhttps://wiki.ccarh.org/index.php?title=Franz_Joseph_Haydn&diff=12323&oldid=prevEsfield: /* Music publishers of Haydn's time */2023-05-18T19:43:49Z<p><span dir="auto"><span class="autocomment">Music publishers of Haydn's time</span></span></p>
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<td colspan="2" style="background-color: #fff; color: #222; text-align: center;">Revision as of 19:43, 18 May 2023</td>
</tr><tr><td colspan="2" class="diff-lineno" id="mw-diff-left-l17" >Line 17:</td>
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<tr><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>Pleyel's first string quartet appeared in 1782, but two years later he was appointed director of music at the Strasbourg Cathedral. Rising revolutionary sentiments in France in 1791 forced him to go to London, where he joined Haydn in the Salomon concerts. Upon his return to Frence Pleyel was stripped of his position in Strasbourg. Les éditions de la Maison Pleyel began to appear in 1797. They published more than 4,000 chamber works in slightly less than 40 years. In 1802 the Maison published a complete edition of Haydn string quartets in performing parts. Dedicated to Napoleon Bonaparte, it is fully reproduced [https://searchworks.stanford.edu/view/10551832 here]. In 1807 the first Pleyel pianos began to appear. Ultimately popularity of Pleyel pianos eclipsed the importance of its Haydn (and other) prints. The small score edition of the quartets of Haydn's popular "Op. 20" reproduced here must come from the period 1815-1830. Pleyel was also involved in the distribution of Haydn symphonies in miniature editions.</div></td><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>Pleyel's first string quartet appeared in 1782, but two years later he was appointed director of music at the Strasbourg Cathedral. Rising revolutionary sentiments in France in 1791 forced him to go to London, where he joined Haydn in the Salomon concerts. Upon his return to Frence Pleyel was stripped of his position in Strasbourg. Les éditions de la Maison Pleyel began to appear in 1797. They published more than 4,000 chamber works in slightly less than 40 years. In 1802 the Maison published a complete edition of Haydn string quartets in performing parts. Dedicated to Napoleon Bonaparte, it is fully reproduced [https://searchworks.stanford.edu/view/10551832 here]. In 1807 the first Pleyel pianos began to appear. Ultimately popularity of Pleyel pianos eclipsed the importance of its Haydn (and other) prints. The small score edition of the quartets of Haydn's popular "Op. 20" reproduced here must come from the period 1815-1830. Pleyel was also involved in the distribution of Haydn symphonies in miniature editions.</div></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"></td><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"></td></tr>
<tr><td class='diff-marker'>−</td><td style="color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div>[[File:Q1-m2_1802.PNG|thumb|right|<del class="diffchange diffchange-inline">400px</del>|<small>Snippet from the second movement of Haydn's Quartet No. 1 (Pleyel, 1802). Stanford University Libraries. Used by permission.</small>]]</div></td><td class='diff-marker'>+</td><td style="color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div>[[File:Q1-m2_1802.PNG|thumb|right|<ins class="diffchange diffchange-inline">500px</ins>|<small>Snippet from the second movement of Haydn's Quartet No. 1 (Pleyel, 1802). Stanford University Libraries. Used by permission.</small>]]</div></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"></td><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div><b>Pleyel's numbering systems </b> were multiple. He provided a straight-through numbering (Nos. 1-74), a sectionalized series of <i>livraisons</i> termed <i>oeuvres</i> (Nos. 1-14), and work numbers (starting from 1) within each <i>oeuvre</i>. The passage of Haydn's works through other hands resulted in several variations on the original models. The [https://gallica.bnf.fr/ark:/12148/btv1b530592620/f9.item thematic index] in the 1802 print helps to clarify various numbering systems.</div></td><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div><b>Pleyel's numbering systems </b> were multiple. He provided a straight-through numbering (Nos. 1-74), a sectionalized series of <i>livraisons</i> termed <i>oeuvres</i> (Nos. 1-14), and work numbers (starting from 1) within each <i>oeuvre</i>. The passage of Haydn's works through other hands resulted in several variations on the original models. The [https://gallica.bnf.fr/ark:/12148/btv1b530592620/f9.item thematic index] in the 1802 print helps to clarify various numbering systems.</div></td></tr>
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</table>Esfieldhttps://wiki.ccarh.org/index.php?title=Franz_Joseph_Haydn&diff=12322&oldid=prevEsfield: /* Music publishers of Haydn's time */2023-05-18T19:41:30Z<p><span dir="auto"><span class="autocomment">Music publishers of Haydn's time</span></span></p>
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<td colspan="2" style="background-color: #fff; color: #222; text-align: center;">Revision as of 19:41, 18 May 2023</td>
</tr><tr><td colspan="2" class="diff-lineno" id="mw-diff-left-l12" >Line 12:</td>
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<tr><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"></td><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div><b>Robert Bremner</b> (<i>c</i>1713-1789) was a publisher of music in Edinburgh. His main interest was in bringing out primers on how to play specific instruments and mastering techniques such as vibrato.These were occasionally issued together with new issues of string quartets. The collection of plates and copyrights he acquired over his lifetime became an enviable one. </div></td><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div><b>Robert Bremner</b> (<i>c</i>1713-1789) was a publisher of music in Edinburgh. His main interest was in bringing out primers on how to play specific instruments and mastering techniques such as vibrato.These were occasionally issued together with new issues of string quartets. The collection of plates and copyrights he acquired over his lifetime became an enviable one. </div></td></tr>
<tr><td class='diff-marker'>−</td><td style="color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div>[[File:Pleyel-cat.PNG|thumb|left|1500px|<small>Pleyel's multitiered system of identifying Haydn string quartets. Here we see incipits for the quartets Op. 5, Nos. 1-6, with their through-numbered indications, and the starting page <del class="diffchange diffchange-inline">[for first violin] </del>of each.</small>]]</div></td><td class='diff-marker'>+</td><td style="color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div>[[File:Pleyel-cat.PNG|thumb|left|1500px|<small>Pleyel's multitiered system of identifying Haydn string quartets. Here we see incipits for the quartets Op. 5, Nos. 1-6, with their through-numbered indications, and the starting page <ins class="diffchange diffchange-inline">(<i>Violino primo</i>) </ins>of each.</small>]]</div></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div><b>Ignace Joseph Pleyel</b> (1757-1831) was born near Vienna with the name Ignaz Pleyl. Naturalized in France, he pursued a musical education, studying from the age of twelve with Jean-Baptiste Vanhal (1739-1815), then securing support from the count Ladislaus Erdödy to study with Haydn at [https://en.wikipedia.org/wiki/Eisenstadt Eisenstadt]. In 1777 Pleyel was named director of music at the court of his benefactor and, soon after, director of the orchestra of Prince Esterhazy at </div></td><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div><b>Ignace Joseph Pleyel</b> (1757-1831) was born near Vienna with the name Ignaz Pleyl. Naturalized in France, he pursued a musical education, studying from the age of twelve with Jean-Baptiste Vanhal (1739-1815), then securing support from the count Ladislaus Erdödy to study with Haydn at [https://en.wikipedia.org/wiki/Eisenstadt Eisenstadt]. In 1777 Pleyel was named director of music at the court of his benefactor and, soon after, director of the orchestra of Prince Esterhazy at </div></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>Eisenstadt.</div></td><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>Eisenstadt.</div></td></tr>
</table>Esfieldhttps://wiki.ccarh.org/index.php?title=Franz_Joseph_Haydn&diff=12321&oldid=prevEsfield: /* Music publishers of Haydn's time */2023-05-18T19:40:36Z<p><span dir="auto"><span class="autocomment">Music publishers of Haydn's time</span></span></p>
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<td colspan="2" style="background-color: #fff; color: #222; text-align: center;">Revision as of 19:40, 18 May 2023</td>
</tr><tr><td colspan="2" class="diff-lineno" id="mw-diff-left-l12" >Line 12:</td>
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<tr><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"></td><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div><b>Robert Bremner</b> (<i>c</i>1713-1789) was a publisher of music in Edinburgh. His main interest was in bringing out primers on how to play specific instruments and mastering techniques such as vibrato.These were occasionally issued together with new issues of string quartets. The collection of plates and copyrights he acquired over his lifetime became an enviable one. </div></td><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div><b>Robert Bremner</b> (<i>c</i>1713-1789) was a publisher of music in Edinburgh. His main interest was in bringing out primers on how to play specific instruments and mastering techniques such as vibrato.These were occasionally issued together with new issues of string quartets. The collection of plates and copyrights he acquired over his lifetime became an enviable one. </div></td></tr>
<tr><td class='diff-marker'>−</td><td style="color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div>[[File:Pleyel-cat.PNG|thumb|left|<del class="diffchange diffchange-inline">1200px</del>|<small>Pleyel's multitiered system of identifying Haydn string quartets. Here we see incipits for the quartets Op. 5, Nos. 1-6, with their through-numbered indications, and the starting page [for first violin] of each.</small>]]</div></td><td class='diff-marker'>+</td><td style="color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div>[[File:Pleyel-cat.PNG|thumb|left|<ins class="diffchange diffchange-inline">1500px</ins>|<small>Pleyel's multitiered system of identifying Haydn string quartets. Here we see incipits for the quartets Op. 5, Nos. 1-6, with their through-numbered indications, and the starting page [for first violin] of each.</small>]]</div></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div><b>Ignace Joseph Pleyel</b> (1757-1831) was born near Vienna with the name Ignaz Pleyl. Naturalized in France, he pursued a musical education, studying from the age of twelve with Jean-Baptiste Vanhal (1739-1815), then securing support from the count Ladislaus Erdödy to study with Haydn at [https://en.wikipedia.org/wiki/Eisenstadt Eisenstadt]. In 1777 Pleyel was named director of music at the court of his benefactor and, soon after, director of the orchestra of Prince Esterhazy at </div></td><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div><b>Ignace Joseph Pleyel</b> (1757-1831) was born near Vienna with the name Ignaz Pleyl. Naturalized in France, he pursued a musical education, studying from the age of twelve with Jean-Baptiste Vanhal (1739-1815), then securing support from the count Ladislaus Erdödy to study with Haydn at [https://en.wikipedia.org/wiki/Eisenstadt Eisenstadt]. In 1777 Pleyel was named director of music at the court of his benefactor and, soon after, director of the orchestra of Prince Esterhazy at </div></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>Eisenstadt.</div></td><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>Eisenstadt.</div></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>Pleyel's first string quartet appeared in 1782, but two years later he was appointed director of music at the Strasbourg Cathedral. Rising revolutionary sentiments in France in 1791 forced him to go to London, where he joined Haydn in the Salomon concerts. Upon his return to Frence Pleyel was stripped of his position in Strasbourg. Les éditions de la Maison Pleyel began to appear in 1797. They published more than 4,000 chamber works in slightly less than 40 years. In 1802 the Maison published a complete edition of Haydn string quartets in performing parts. Dedicated to Napoleon Bonaparte, it is fully reproduced [https://searchworks.stanford.edu/view/10551832 here]. In 1807 the first Pleyel pianos began to appear. Ultimately popularity of Pleyel pianos eclipsed the importance of its Haydn (and other) prints. The small score edition of the quartets of Haydn's popular "Op. 20" reproduced here must come from the period 1815-1830. Pleyel was also involved in the distribution of Haydn symphonies in miniature editions.</div></td><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>Pleyel's first string quartet appeared in 1782, but two years later he was appointed director of music at the Strasbourg Cathedral. Rising revolutionary sentiments in France in 1791 forced him to go to London, where he joined Haydn in the Salomon concerts. Upon his return to Frence Pleyel was stripped of his position in Strasbourg. Les éditions de la Maison Pleyel began to appear in 1797. They published more than 4,000 chamber works in slightly less than 40 years. In 1802 the Maison published a complete edition of Haydn string quartets in performing parts. Dedicated to Napoleon Bonaparte, it is fully reproduced [https://searchworks.stanford.edu/view/10551832 here]. In 1807 the first Pleyel pianos began to appear. Ultimately popularity of Pleyel pianos eclipsed the importance of its Haydn (and other) prints. The small score edition of the quartets of Haydn's popular "Op. 20" reproduced here must come from the period 1815-1830. Pleyel was also involved in the distribution of Haydn symphonies in miniature editions.</div></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"></td><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"></td></tr>
<tr><td class='diff-marker'>−</td><td style="color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div>[[File:Q1-m2_1802.PNG|thumb|right|<del class="diffchange diffchange-inline">500px</del>|<small>Snippet from the second movement of Haydn's Quartet No. 1 (Pleyel, 1802). Stanford University Libraries. Used by permission.</small>]]</div></td><td class='diff-marker'>+</td><td style="color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div>[[File:Q1-m2_1802.PNG|thumb|right|<ins class="diffchange diffchange-inline">400px</ins>|<small>Snippet from the second movement of Haydn's Quartet No. 1 (Pleyel, 1802). Stanford University Libraries. Used by permission.</small>]]</div></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"></td><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div><b>Pleyel's numbering systems </b> were multiple. He provided a straight-through numbering (Nos. 1-74), a sectionalized series of <i>livraisons</i> termed <i>oeuvres</i> (Nos. 1-14), and work numbers (starting from 1) within each <i>oeuvre</i>. The passage of Haydn's works through other hands resulted in several variations on the original models. The [https://gallica.bnf.fr/ark:/12148/btv1b530592620/f9.item thematic index] in the 1802 print helps to clarify various numbering systems.</div></td><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div><b>Pleyel's numbering systems </b> were multiple. He provided a straight-through numbering (Nos. 1-74), a sectionalized series of <i>livraisons</i> termed <i>oeuvres</i> (Nos. 1-14), and work numbers (starting from 1) within each <i>oeuvre</i>. The passage of Haydn's works through other hands resulted in several variations on the original models. The [https://gallica.bnf.fr/ark:/12148/btv1b530592620/f9.item thematic index] in the 1802 print helps to clarify various numbering systems.</div></td></tr>
</table>Esfieldhttps://wiki.ccarh.org/index.php?title=Franz_Joseph_Haydn&diff=12308&oldid=prevEsfield: /* Music publishers of Haydn's time */2023-05-16T22:03:20Z<p><span dir="auto"><span class="autocomment">Music publishers of Haydn's time</span></span></p>
<table class="diff diff-contentalign-left" data-mw="interface">
<col class="diff-marker" />
<col class="diff-content" />
<col class="diff-marker" />
<col class="diff-content" />
<tr class="diff-title" lang="en">
<td colspan="2" style="background-color: #fff; color: #222; text-align: center;">← Older revision</td>
<td colspan="2" style="background-color: #fff; color: #222; text-align: center;">Revision as of 22:03, 16 May 2023</td>
</tr><tr><td colspan="2" class="diff-lineno" id="mw-diff-left-l12" >Line 12:</td>
<td colspan="2" class="diff-lineno">Line 12:</td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"></td><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div><b>Robert Bremner</b> (<i>c</i>1713-1789) was a publisher of music in Edinburgh. His main interest was in bringing out primers on how to play specific instruments and mastering techniques such as vibrato.These were occasionally issued together with new issues of string quartets. The collection of plates and copyrights he acquired over his lifetime became an enviable one. </div></td><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div><b>Robert Bremner</b> (<i>c</i>1713-1789) was a publisher of music in Edinburgh. His main interest was in bringing out primers on how to play specific instruments and mastering techniques such as vibrato.These were occasionally issued together with new issues of string quartets. The collection of plates and copyrights he acquired over his lifetime became an enviable one. </div></td></tr>
<tr><td class='diff-marker'>−</td><td style="color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div>[[File:Pleyel-cat.PNG|thumb|left|<del class="diffchange diffchange-inline">1000px</del>|<small>Pleyel's multitiered system of identifying Haydn string quartets. Here we see incipits for the quartets Op. 5, Nos. 1-6, with their through-numbered indications, and the starting page [for first violin] of each.</small>]]</div></td><td class='diff-marker'>+</td><td style="color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div>[[File:Pleyel-cat.PNG|thumb|left|<ins class="diffchange diffchange-inline">1200px</ins>|<small>Pleyel's multitiered system of identifying Haydn string quartets. Here we see incipits for the quartets Op. 5, Nos. 1-6, with their through-numbered indications, and the starting page [for first violin] of each.</small>]]</div></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div><b>Ignace Joseph Pleyel</b> (1757-1831) was born near Vienna with the name Ignaz Pleyl. Naturalized in France, he pursued a musical education, studying from the age of twelve with Jean-Baptiste Vanhal (1739-1815), then securing support from the count Ladislaus Erdödy to study with Haydn at [https://en.wikipedia.org/wiki/Eisenstadt Eisenstadt]. In 1777 Pleyel was named director of music at the court of his benefactor and, soon after, director of the orchestra of Prince Esterhazy at </div></td><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div><b>Ignace Joseph Pleyel</b> (1757-1831) was born near Vienna with the name Ignaz Pleyl. Naturalized in France, he pursued a musical education, studying from the age of twelve with Jean-Baptiste Vanhal (1739-1815), then securing support from the count Ladislaus Erdödy to study with Haydn at [https://en.wikipedia.org/wiki/Eisenstadt Eisenstadt]. In 1777 Pleyel was named director of music at the court of his benefactor and, soon after, director of the orchestra of Prince Esterhazy at </div></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>Eisenstadt.</div></td><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>Eisenstadt.</div></td></tr>
</table>Esfieldhttps://wiki.ccarh.org/index.php?title=Franz_Joseph_Haydn&diff=12307&oldid=prevEsfield: /* Music publishers of Haydn's time */2023-05-16T22:02:28Z<p><span dir="auto"><span class="autocomment">Music publishers of Haydn's time</span></span></p>
<table class="diff diff-contentalign-left" data-mw="interface">
<col class="diff-marker" />
<col class="diff-content" />
<col class="diff-marker" />
<col class="diff-content" />
<tr class="diff-title" lang="en">
<td colspan="2" style="background-color: #fff; color: #222; text-align: center;">← Older revision</td>
<td colspan="2" style="background-color: #fff; color: #222; text-align: center;">Revision as of 22:02, 16 May 2023</td>
</tr><tr><td colspan="2" class="diff-lineno" id="mw-diff-left-l12" >Line 12:</td>
<td colspan="2" class="diff-lineno">Line 12:</td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"></td><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div><b>Robert Bremner</b> (<i>c</i>1713-1789) was a publisher of music in Edinburgh. His main interest was in bringing out primers on how to play specific instruments and mastering techniques such as vibrato.These were occasionally issued together with new issues of string quartets. The collection of plates and copyrights he acquired over his lifetime became an enviable one. </div></td><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div><b>Robert Bremner</b> (<i>c</i>1713-1789) was a publisher of music in Edinburgh. His main interest was in bringing out primers on how to play specific instruments and mastering techniques such as vibrato.These were occasionally issued together with new issues of string quartets. The collection of plates and copyrights he acquired over his lifetime became an enviable one. </div></td></tr>
<tr><td class='diff-marker'>−</td><td style="color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div>[[File:Pleyel-cat.PNG|thumb|<del class="diffchange diffchange-inline">right</del>|1000px|<small>Pleyel's multitiered system of identifying Haydn string quartets. Here we see incipits for the quartets Op. 5, Nos. 1-6, with their through-numbered indications, and the starting page [for first violin] of each.</small>]]</div></td><td class='diff-marker'>+</td><td style="color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div>[[File:Pleyel-cat.PNG|thumb|<ins class="diffchange diffchange-inline">left</ins>|1000px|<small>Pleyel's multitiered system of identifying Haydn string quartets. Here we see incipits for the quartets Op. 5, Nos. 1-6, with their through-numbered indications, and the starting page [for first violin] of each.</small>]]</div></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div><b>Ignace Joseph Pleyel</b> (1757-1831) was born near Vienna with the name Ignaz Pleyl. Naturalized in France, he pursued a musical education, studying from the age of twelve with Jean-Baptiste Vanhal (1739-1815), then securing support from the count Ladislaus Erdödy to study with Haydn at [https://en.wikipedia.org/wiki/Eisenstadt Eisenstadt]. In 1777 Pleyel was named director of music at the court of his benefactor and, soon after, director of the orchestra of Prince Esterhazy at </div></td><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div><b>Ignace Joseph Pleyel</b> (1757-1831) was born near Vienna with the name Ignaz Pleyl. Naturalized in France, he pursued a musical education, studying from the age of twelve with Jean-Baptiste Vanhal (1739-1815), then securing support from the count Ladislaus Erdödy to study with Haydn at [https://en.wikipedia.org/wiki/Eisenstadt Eisenstadt]. In 1777 Pleyel was named director of music at the court of his benefactor and, soon after, director of the orchestra of Prince Esterhazy at </div></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>Eisenstadt.</div></td><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>Eisenstadt.</div></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>Pleyel's first string quartet appeared in 1782, but two years later he was appointed director of music at the Strasbourg Cathedral. Rising revolutionary sentiments in France in 1791 forced him to go to London, where he joined Haydn in the Salomon concerts. Upon his return to Frence Pleyel was stripped of his position in Strasbourg. Les éditions de la Maison Pleyel began to appear in 1797. They published more than 4,000 chamber works in slightly less than 40 years. In 1802 the Maison published a complete edition of Haydn string quartets in performing parts. Dedicated to Napoleon Bonaparte, it is fully reproduced [https://searchworks.stanford.edu/view/10551832 here]. In 1807 the first Pleyel pianos began to appear. Ultimately popularity of Pleyel pianos eclipsed the importance of its Haydn (and other) prints. The small score edition of the quartets of Haydn's popular "Op. 20" reproduced here must come from the period 1815-1830. Pleyel was also involved in the distribution of Haydn symphonies in miniature editions.</div></td><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>Pleyel's first string quartet appeared in 1782, but two years later he was appointed director of music at the Strasbourg Cathedral. Rising revolutionary sentiments in France in 1791 forced him to go to London, where he joined Haydn in the Salomon concerts. Upon his return to Frence Pleyel was stripped of his position in Strasbourg. Les éditions de la Maison Pleyel began to appear in 1797. They published more than 4,000 chamber works in slightly less than 40 years. In 1802 the Maison published a complete edition of Haydn string quartets in performing parts. Dedicated to Napoleon Bonaparte, it is fully reproduced [https://searchworks.stanford.edu/view/10551832 here]. In 1807 the first Pleyel pianos began to appear. Ultimately popularity of Pleyel pianos eclipsed the importance of its Haydn (and other) prints. The small score edition of the quartets of Haydn's popular "Op. 20" reproduced here must come from the period 1815-1830. Pleyel was also involved in the distribution of Haydn symphonies in miniature editions.</div></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"></td><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"></td></tr>
<tr><td class='diff-marker'>−</td><td style="color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div>[[File:Q1-m2_1802.PNG|thumb|<del class="diffchange diffchange-inline">left</del>|500px|<small>Snippet from the second movement of Haydn's Quartet No. 1 (Pleyel, 1802). Stanford University Libraries. Used by permission.</small>]]</div></td><td class='diff-marker'>+</td><td style="color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div>[[File:Q1-m2_1802.PNG|thumb|<ins class="diffchange diffchange-inline">right</ins>|500px|<small>Snippet from the second movement of Haydn's Quartet No. 1 (Pleyel, 1802). Stanford University Libraries. Used by permission.</small>]]</div></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"></td><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div><b>Pleyel's numbering systems </b> were multiple. He provided a straight-through numbering (Nos. 1-74), a sectionalized series of <i>livraisons</i> termed <i>oeuvres</i> (Nos. 1-14), and work numbers (starting from 1) within each <i>oeuvre</i>. The passage of Haydn's works through other hands resulted in several variations on the original models. The [https://gallica.bnf.fr/ark:/12148/btv1b530592620/f9.item thematic index] in the 1802 print helps to clarify various numbering systems.</div></td><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div><b>Pleyel's numbering systems </b> were multiple. He provided a straight-through numbering (Nos. 1-74), a sectionalized series of <i>livraisons</i> termed <i>oeuvres</i> (Nos. 1-14), and work numbers (starting from 1) within each <i>oeuvre</i>. The passage of Haydn's works through other hands resulted in several variations on the original models. The [https://gallica.bnf.fr/ark:/12148/btv1b530592620/f9.item thematic index] in the 1802 print helps to clarify various numbering systems.</div></td></tr>
</table>Esfieldhttps://wiki.ccarh.org/index.php?title=Franz_Joseph_Haydn&diff=12306&oldid=prevEsfield: /* Music publishers of Haydn's time */2023-05-16T22:01:47Z<p><span dir="auto"><span class="autocomment">Music publishers of Haydn's time</span></span></p>
<table class="diff diff-contentalign-left" data-mw="interface">
<col class="diff-marker" />
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<tr class="diff-title" lang="en">
<td colspan="2" style="background-color: #fff; color: #222; text-align: center;">← Older revision</td>
<td colspan="2" style="background-color: #fff; color: #222; text-align: center;">Revision as of 22:01, 16 May 2023</td>
</tr><tr><td colspan="2" class="diff-lineno" id="mw-diff-left-l12" >Line 12:</td>
<td colspan="2" class="diff-lineno">Line 12:</td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"></td><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div><b>Robert Bremner</b> (<i>c</i>1713-1789) was a publisher of music in Edinburgh. His main interest was in bringing out primers on how to play specific instruments and mastering techniques such as vibrato.These were occasionally issued together with new issues of string quartets. The collection of plates and copyrights he acquired over his lifetime became an enviable one. </div></td><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div><b>Robert Bremner</b> (<i>c</i>1713-1789) was a publisher of music in Edinburgh. His main interest was in bringing out primers on how to play specific instruments and mastering techniques such as vibrato.These were occasionally issued together with new issues of string quartets. The collection of plates and copyrights he acquired over his lifetime became an enviable one. </div></td></tr>
<tr><td class='diff-marker'>−</td><td style="color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div> </div></td><td class='diff-marker'>+</td><td style="color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div><ins class="diffchange diffchange-inline">[[File:Pleyel-cat.PNG|thumb|right|1000px|<small>Pleyel's multitiered system of identifying Haydn string quartets. Here we see incipits for the quartets Op. 5, Nos. 1-6, with their through-numbered indications, and the starting page [for first violin] of each.</small>]]</ins></div></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div><b>Ignace Joseph Pleyel</b> (1757-1831) was born near Vienna with the name Ignaz Pleyl. Naturalized in France, he pursued a musical education, studying from the age of twelve with Jean-Baptiste Vanhal (1739-1815), then securing support from the count Ladislaus Erdödy to study with Haydn at [https://en.wikipedia.org/wiki/Eisenstadt Eisenstadt]. In 1777 Pleyel was named director of music at the court of his benefactor and, soon after, director of the orchestra of Prince Esterhazy at </div></td><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div><b>Ignace Joseph Pleyel</b> (1757-1831) was born near Vienna with the name Ignaz Pleyl. Naturalized in France, he pursued a musical education, studying from the age of twelve with Jean-Baptiste Vanhal (1739-1815), then securing support from the count Ladislaus Erdödy to study with Haydn at [https://en.wikipedia.org/wiki/Eisenstadt Eisenstadt]. In 1777 Pleyel was named director of music at the court of his benefactor and, soon after, director of the orchestra of Prince Esterhazy at </div></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>Eisenstadt.</div></td><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>Eisenstadt.</div></td></tr>
<tr><td class='diff-marker'>−</td><td style="color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div><del style="font-weight: bold; text-decoration: none;">[[File:Pleyel-cat.PNG|thumb|right|1000px|<small>Pleyel's multitiered system of identifying Haydn string quartets. Here we see incipits for the quartets Op. 5, Nos. 1-6, with their through-numbered indications, and the starting page [for first violin] of each.</small>]]</del></div></td><td colspan="2"> </td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>Pleyel's first string quartet appeared in 1782, but two years later he was appointed director of music at the Strasbourg Cathedral. Rising revolutionary sentiments in France in 1791 forced him to go to London, where he joined Haydn in the Salomon concerts. Upon his return to Frence Pleyel was stripped of his position in Strasbourg. Les éditions de la Maison Pleyel began to appear in 1797. They published more than 4,000 chamber works in slightly less than 40 years. In 1802 the Maison published a complete edition of Haydn string quartets in performing parts. Dedicated to Napoleon Bonaparte, it is fully reproduced [https://searchworks.stanford.edu/view/10551832 here]. In 1807 the first Pleyel pianos began to appear. Ultimately popularity of Pleyel pianos eclipsed the importance of its Haydn (and other) prints. The small score edition of the quartets of Haydn's popular "Op. 20" reproduced here must come from the period 1815-1830. Pleyel was also involved in the distribution of Haydn symphonies in miniature editions.</div></td><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>Pleyel's first string quartet appeared in 1782, but two years later he was appointed director of music at the Strasbourg Cathedral. Rising revolutionary sentiments in France in 1791 forced him to go to London, where he joined Haydn in the Salomon concerts. Upon his return to Frence Pleyel was stripped of his position in Strasbourg. Les éditions de la Maison Pleyel began to appear in 1797. They published more than 4,000 chamber works in slightly less than 40 years. In 1802 the Maison published a complete edition of Haydn string quartets in performing parts. Dedicated to Napoleon Bonaparte, it is fully reproduced [https://searchworks.stanford.edu/view/10551832 here]. In 1807 the first Pleyel pianos began to appear. Ultimately popularity of Pleyel pianos eclipsed the importance of its Haydn (and other) prints. The small score edition of the quartets of Haydn's popular "Op. 20" reproduced here must come from the period 1815-1830. Pleyel was also involved in the distribution of Haydn symphonies in miniature editions.</div></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"></td><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"></td></tr>
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</table>Esfieldhttps://wiki.ccarh.org/index.php?title=Franz_Joseph_Haydn&diff=12305&oldid=prevEsfield: /* Music publishers of Haydn's time */2023-05-16T22:01:03Z<p><span dir="auto"><span class="autocomment">Music publishers of Haydn's time</span></span></p>
<table class="diff diff-contentalign-left" data-mw="interface">
<col class="diff-marker" />
<col class="diff-content" />
<col class="diff-marker" />
<col class="diff-content" />
<tr class="diff-title" lang="en">
<td colspan="2" style="background-color: #fff; color: #222; text-align: center;">← Older revision</td>
<td colspan="2" style="background-color: #fff; color: #222; text-align: center;">Revision as of 22:01, 16 May 2023</td>
</tr><tr><td colspan="2" class="diff-lineno" id="mw-diff-left-l15" >Line 15:</td>
<td colspan="2" class="diff-lineno">Line 15:</td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div><b>Ignace Joseph Pleyel</b> (1757-1831) was born near Vienna with the name Ignaz Pleyl. Naturalized in France, he pursued a musical education, studying from the age of twelve with Jean-Baptiste Vanhal (1739-1815), then securing support from the count Ladislaus Erdödy to study with Haydn at [https://en.wikipedia.org/wiki/Eisenstadt Eisenstadt]. In 1777 Pleyel was named director of music at the court of his benefactor and, soon after, director of the orchestra of Prince Esterhazy at </div></td><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div><b>Ignace Joseph Pleyel</b> (1757-1831) was born near Vienna with the name Ignaz Pleyl. Naturalized in France, he pursued a musical education, studying from the age of twelve with Jean-Baptiste Vanhal (1739-1815), then securing support from the count Ladislaus Erdödy to study with Haydn at [https://en.wikipedia.org/wiki/Eisenstadt Eisenstadt]. In 1777 Pleyel was named director of music at the court of his benefactor and, soon after, director of the orchestra of Prince Esterhazy at </div></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>Eisenstadt.</div></td><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>Eisenstadt.</div></td></tr>
<tr><td class='diff-marker'>−</td><td style="color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div>[[File:Pleyel-cat.PNG|thumb|right|<del class="diffchange diffchange-inline">900px</del>|<small>Pleyel's multitiered system of identifying Haydn string quartets. Here we see incipits for the quartets Op. 5, Nos. 1-6, with their through-numbered indications, and the starting page [for first violin] of each.</small>]]</div></td><td class='diff-marker'>+</td><td style="color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div>[[File:Pleyel-cat.PNG|thumb|right|<ins class="diffchange diffchange-inline">1000px</ins>|<small>Pleyel's multitiered system of identifying Haydn string quartets. Here we see incipits for the quartets Op. 5, Nos. 1-6, with their through-numbered indications, and the starting page [for first violin] of each.</small>]]</div></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>Pleyel's first string quartet appeared in 1782, but two years later he was appointed director of music at the Strasbourg Cathedral. Rising revolutionary sentiments in France in 1791 forced him to go to London, where he joined Haydn in the Salomon concerts. Upon his return to Frence Pleyel was stripped of his position in Strasbourg. Les éditions de la Maison Pleyel began to appear in 1797. They published more than 4,000 chamber works in slightly less than 40 years. In 1802 the Maison published a complete edition of Haydn string quartets in performing parts. Dedicated to Napoleon Bonaparte, it is fully reproduced [https://searchworks.stanford.edu/view/10551832 here]. In 1807 the first Pleyel pianos began to appear. Ultimately popularity of Pleyel pianos eclipsed the importance of its Haydn (and other) prints. The small score edition of the quartets of Haydn's popular "Op. 20" reproduced here must come from the period 1815-1830. Pleyel was also involved in the distribution of Haydn symphonies in miniature editions.</div></td><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>Pleyel's first string quartet appeared in 1782, but two years later he was appointed director of music at the Strasbourg Cathedral. Rising revolutionary sentiments in France in 1791 forced him to go to London, where he joined Haydn in the Salomon concerts. Upon his return to Frence Pleyel was stripped of his position in Strasbourg. Les éditions de la Maison Pleyel began to appear in 1797. They published more than 4,000 chamber works in slightly less than 40 years. In 1802 the Maison published a complete edition of Haydn string quartets in performing parts. Dedicated to Napoleon Bonaparte, it is fully reproduced [https://searchworks.stanford.edu/view/10551832 here]. In 1807 the first Pleyel pianos began to appear. Ultimately popularity of Pleyel pianos eclipsed the importance of its Haydn (and other) prints. The small score edition of the quartets of Haydn's popular "Op. 20" reproduced here must come from the period 1815-1830. Pleyel was also involved in the distribution of Haydn symphonies in miniature editions.</div></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"></td><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"></td></tr>
<tr><td class='diff-marker'>−</td><td style="color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div>[[File:Q1-m2_1802.PNG|thumb|left|<del class="diffchange diffchange-inline">540px</del>|<small>Snippet from the second movement of Haydn's Quartet No. 1 (Pleyel, 1802). Stanford University Libraries. Used by permission.</small>]]</div></td><td class='diff-marker'>+</td><td style="color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div>[[File:Q1-m2_1802.PNG|thumb|left|<ins class="diffchange diffchange-inline">500px</ins>|<small>Snippet from the second movement of Haydn's Quartet No. 1 (Pleyel, 1802). Stanford University Libraries. Used by permission.</small>]]</div></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"></td><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div><b>Pleyel's numbering systems </b> were multiple. He provided a straight-through numbering (Nos. 1-74), a sectionalized series of <i>livraisons</i> termed <i>oeuvres</i> (Nos. 1-14), and work numbers (starting from 1) within each <i>oeuvre</i>. The passage of Haydn's works through other hands resulted in several variations on the original models. The [https://gallica.bnf.fr/ark:/12148/btv1b530592620/f9.item thematic index] in the 1802 print helps to clarify various numbering systems.</div></td><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div><b>Pleyel's numbering systems </b> were multiple. He provided a straight-through numbering (Nos. 1-74), a sectionalized series of <i>livraisons</i> termed <i>oeuvres</i> (Nos. 1-14), and work numbers (starting from 1) within each <i>oeuvre</i>. The passage of Haydn's works through other hands resulted in several variations on the original models. The [https://gallica.bnf.fr/ark:/12148/btv1b530592620/f9.item thematic index] in the 1802 print helps to clarify various numbering systems.</div></td></tr>
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</table>Esfieldhttps://wiki.ccarh.org/index.php?title=Franz_Joseph_Haydn&diff=12304&oldid=prevEsfield: /* Music publishers of Haydn's time */2023-05-16T21:59:40Z<p><span dir="auto"><span class="autocomment">Music publishers of Haydn's time</span></span></p>
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<td colspan="2" style="background-color: #fff; color: #222; text-align: center;">← Older revision</td>
<td colspan="2" style="background-color: #fff; color: #222; text-align: center;">Revision as of 21:59, 16 May 2023</td>
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<tr><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div><b>Ignace Joseph Pleyel</b> (1757-1831) was born near Vienna with the name Ignaz Pleyl. Naturalized in France, he pursued a musical education, studying from the age of twelve with Jean-Baptiste Vanhal (1739-1815), then securing support from the count Ladislaus Erdödy to study with Haydn at [https://en.wikipedia.org/wiki/Eisenstadt Eisenstadt]. In 1777 Pleyel was named director of music at the court of his benefactor and, soon after, director of the orchestra of Prince Esterhazy at </div></td><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div><b>Ignace Joseph Pleyel</b> (1757-1831) was born near Vienna with the name Ignaz Pleyl. Naturalized in France, he pursued a musical education, studying from the age of twelve with Jean-Baptiste Vanhal (1739-1815), then securing support from the count Ladislaus Erdödy to study with Haydn at [https://en.wikipedia.org/wiki/Eisenstadt Eisenstadt]. In 1777 Pleyel was named director of music at the court of his benefactor and, soon after, director of the orchestra of Prince Esterhazy at </div></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>Eisenstadt.</div></td><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>Eisenstadt.</div></td></tr>
<tr><td class='diff-marker'>−</td><td style="color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div>[[File:Pleyel-cat.PNG|thumb|right|<del class="diffchange diffchange-inline">600px</del>|<small>Pleyel's multitiered system of identifying Haydn string quartets. Here we see incipits for the quartets Op. 5, Nos. 1-6, with their through-numbered indications, and the starting page [for first violin] of each.</small>]]</div></td><td class='diff-marker'>+</td><td style="color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div>[[File:Pleyel-cat.PNG|thumb|right|<ins class="diffchange diffchange-inline">900px</ins>|<small>Pleyel's multitiered system of identifying Haydn string quartets. Here we see incipits for the quartets Op. 5, Nos. 1-6, with their through-numbered indications, and the starting page [for first violin] of each.</small>]]</div></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>Pleyel's first string quartet appeared in 1782, but two years later he was appointed director of music at the Strasbourg Cathedral. Rising revolutionary sentiments in France in 1791 forced him to go to London, where he joined Haydn in the Salomon concerts. Upon his return to Frence Pleyel was stripped of his position in Strasbourg. Les éditions de la Maison Pleyel began to appear in 1797. They published more than 4,000 chamber works in slightly less than 40 years. In 1802 the Maison published a complete edition of Haydn string quartets in performing parts. Dedicated to Napoleon Bonaparte, it is fully reproduced [https://searchworks.stanford.edu/view/10551832 here]. In 1807 the first Pleyel pianos began to appear. Ultimately popularity of Pleyel pianos eclipsed the importance of its Haydn (and other) prints. The small score edition of the quartets of Haydn's popular "Op. 20" reproduced here must come from the period 1815-1830. Pleyel was also involved in the distribution of Haydn symphonies in miniature editions.</div></td><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>Pleyel's first string quartet appeared in 1782, but two years later he was appointed director of music at the Strasbourg Cathedral. Rising revolutionary sentiments in France in 1791 forced him to go to London, where he joined Haydn in the Salomon concerts. Upon his return to Frence Pleyel was stripped of his position in Strasbourg. Les éditions de la Maison Pleyel began to appear in 1797. They published more than 4,000 chamber works in slightly less than 40 years. In 1802 the Maison published a complete edition of Haydn string quartets in performing parts. Dedicated to Napoleon Bonaparte, it is fully reproduced [https://searchworks.stanford.edu/view/10551832 here]. In 1807 the first Pleyel pianos began to appear. Ultimately popularity of Pleyel pianos eclipsed the importance of its Haydn (and other) prints. The small score edition of the quartets of Haydn's popular "Op. 20" reproduced here must come from the period 1815-1830. Pleyel was also involved in the distribution of Haydn symphonies in miniature editions.</div></td></tr>
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