Haydn Studies (Cambridge Composer Studies)

Haydn experiences bargains with many new points of a composer who's perennially clean. It concentrates mostly on concerns of reception, kind and aesthetics and provides many radical new readings of the composer's paintings. Contributions through either demonstrated Haydn students and others who're new to the sphere mix to provide a far better experience than is usually understood of the composer's large value.

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Extra resources for Haydn Studies (Cambridge Composer Studies)

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For a detailed survey of the sources see Irmgard Becker-Glauch, ‘Neue Forschungen zu Haydns Kirchenmusik’, HaydnStudien 2 (1969–70), 167–241; see also Landon, Chronicle and Works I: Haydn: The Early Years, 1732–1765 (London: Thames and Hudson, 1980), pp. 147–79, 275–9, 494–514 (with extensive musical examples); Chronicle and Works II, 234–51 passim; Marianne Helms, ‘Joseph Haydns “Kleinere Geistliche Werke”’, Haydn-Studien, forthcoming. 1, as are liturgical contrafacta; for the latter, see Becker-Glauch, ‘Neue Forschungen’, 177–92, 233–5.

By this he meant that the example of Haydn’s command of musical form might well have a larger influence on future generations than it seemed to exert on contemporary composers. Picking up on a similar theme struck fifty years earlier by Schumann, Schmidt lamented the contemporary circumstance in which music is ‘freed from old traditions’, yet strives in confused ways to ‘unclear objectives’. As he put it, ‘the pressure for originality, which is not based on historical evolution or transcendent creative talent, too quickly takes on the symptoms of the sickly.

147. Musikalisches Skizzenbuch (Munich: Merhoff, 1866), pp. 150–1. 34 Like the great Greek tragedians, he transformed the simple into the profound. Kretzschmar’s association of Haydn with Aeschylus and Sophocles was a rare perception. Though nineteenth-century music critics were obsessed with the relationship between formal procedures and narration and representation, the ‘master’of form, Haydn, was excluded from the discussion. Mozart, Beethoven and Schubert were seen as using Haydn’s strategies, and in the process achieving a narrative-through-music that appeared compelling.

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