Related Research Articles
The Cello Concerto No. 1 in C major, Hob. VIIb/1, by Joseph Haydn was composed around 1761-65 for longtime friend Joseph Franz Weigl, then the principal cellist of Prince Nicolaus's Esterházy Orchestra.
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Symphony No. 93 in D major, Hoboken I/93, one of the twelve London symphonies written by Joseph Haydn.
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Joseph Haydn composed the Concerto per il Clarino in 1796 for the trumpet virtuoso Anton Weidinger. Joseph Haydn was 64 years of age. A favourite of the trumpet repertoire, it has been cited as "possibly Haydn's most popular concerto". Although written in 1796, Weidinger first performed the concerto four years later on March 28, 1800.
The Symphony No. 6 in D major is an early symphony written in 1761 by Joseph Haydn and the first written after Haydn had joined the Esterházy court. It is the first of three that are characterised by unusual virtuoso writing across the orchestral ensemble. It is popularly known as Le matin (Morning).
The Violin Concerto No. 1 in C major by Joseph Haydn, fatto per il luigi, was written in the 1760s for a well-known violinist of the time, Luigi Tomasini, who was just back from Italy and soon became the concertmaster of the Esterházy orchestra.
The Piano Sonata in E-flat major, Hob. XVI/52, L. 62, was written in 1794 by Joseph Haydn. It is the last of Haydn's piano sonatas, and is widely considered his greatest. It has been the subject of extensive analysis by distinguished musicological personages such as Heinrich Schenker and Sir Donald Tovey, largely because of its expansive length, unusual harmonies and interesting development. The sonata is sometimes referred to as number 62 based on the numbering of Landon instead of the numbering of Hoboken.
An organ concerto is a piece of music, an instrumental concerto for a pipe organ soloist with an orchestra. The form first evolved in the 18th century, when composers including Antonio Vivaldi, George Frideric Handel and Johann Sebastian Bach wrote organ concertos with small orchestras, and with solo parts which rarely call for the organ pedal board. During the Classical period the organ concerto became popular in many places, especially in Bavaria, Austria and Bohemia, reaching a position of being almost an integral part of the church music tradition of jubilus character. From the Romantic era fewer works are known. Finally, there are some 20th- and 21st-century examples, of which the concerto by Francis Poulenc has entered the basic repertoire, and is quite frequently played.
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The Mass No. 13 in B-flat major, Hob. XXII/13, was composed by Joseph Haydn in 1801. It is known as the Schöpfungsmesse or Creation Mass because of the words "qui tollis peccata mundi" in the Gloria. He recycled music from Adam and Eve's final duet in The Creation, a fact which scandalized Empress Maria Theresa so much that she ordered Haydn to recompose that passage for her own copy.
The Sinfonia Concertante in B flat major, by Joseph Haydn was composed in London between February and March 1792. The work is a sinfonia concertante with four instruments in the solo group: violin, cello, oboe and bassoon. It is believed to be a response to similar works composed by Ignaz Pleyel, a former student of Haydn's who London newspapers were promoting as a 'rival' to Haydn. In addition to the solo group the Sinfonia Concertante is scored for flute, 2 oboes, 2 bassoons, 2 horns, 2 trumpets, timpani and strings.
Joseph Haydn wrote Symphony No. 24 in D major, Hoboken I/24, in 1764.
The Symphony No. 5 in A major, Hoboken I/5, by Joseph Haydn, is believed to have been written between 1760 and 1762, while he was employed either by Count Morzin or, Prince Paul II Anton Esterházy.
The Harmoniemesse in B-flat major by Joseph Haydn, Hob. XXII:14, Novello 6, was written in 1802. It was Haydn's last major work. It is because of the prominence of the winds in this mass and "the German terminology for a kind of wind ensemble, Harmonie," that this mass setting is called "Harmoniemesse" or "Wind Band Mass". Besides flute, 2 oboes, 2 clarinets, 2 bassoons, 2 horns in B-flat, 2 trumpets in B-flat, the mass also calls for choir, timpani, strings, and organ, the latter supplying figured bass for most of the duration.
The Missa Cellensis in honorem Beatissimae Virginis Mariae in C major by Joseph Haydn, Hob. XXII:5, Novello 3, was originally written in 1766, after Haydn was promoted to Kapellmeister at Eszterháza following the death of Gregor Joseph Werner. The original title as it appears on the only surviving fragment of Haydn's autograph score, that has been discovered around 1970 in Budapest, clearly assigns the mass to the pilgrimage cult of Mariazell, Styria. Until that discovery, the work was known as Missa Sanctae Caeciliae, or in German Cäcilienmesse, a title probably attributed to the mass in the 19th century. Whether the alternative title refers to a performance of the piece by the St. Cecilia's Congregation, a Viennese musician's fraternity, on some St. Cecilia's day, as has been suggested, remains speculation.
Joseph Haydn's Cello Concerto No. 2 in D Major is a cello concerto, Hob. VIIb/2, Op. 101, was for many years thought to have been composed in 1783 for Antonín Kraft, a cellist of Prince Nikolaus's Esterházy Orchestra. New research, published in 2019 by Thomas Tolley and building on discoveries of Simon McVeigh, shows it was neither written for nor debuted by Kraft, an assertion that was made by Kraft's son to musicologist Gustav Schilling, and later repeated in Schilling's influential musical encyclopedias. However, original advertisements in the London press announced that ‘A new Concerto, Violoncello, Mr Cervetto, composed by Haydn’ had its premier on March 24, 1784 at Hannover Square. A second performance was advertised a week later as being a ‘Concerto Violoncello, Mr Cervetto, composed by Haydn’. The C major concerto, Haydn's only other violoncello concerto, was, at this point, more than twenty years old. The soloist of the premiere, James Cervetto was the principal cellist of the Italian Opera in London and one of England’s leading solo cellists.
The Oboe Concerto in C major, Hoboken number (VIIg:C1), commonly attributed to Joseph Haydn, was most likely composed around 1790. However, modern musicologists agree that Haydn did not write the concerto.
References
- Notes
- ↑ Humphries 2000 , p. 83
- ↑ Lorenz 2013
- Sources
- Humphries, John (2000). The Early Horn: A Practical Guide. Cambridge University Press. ISBN 0-521-63210-2.
- Lorenz, Michael (2013-04-08). "A Little Leitgeb Research". Musicological Trifles and Biographical Paralipomena (Blog). Retrieved 2017-02-19.
