User:Opus33/sandbox

This is my sandbox, used to work on drafts and to store material for future editing. My sandbox is not part of the real Wikipedia and you read it at your peril. :=)

Sample scores

Planning

Lots of semi-done stuff.

• Haydn reception history
• Beethoven reception history (talk page promises)
• Last bits of Nannerl
• Symphony 28: source the bio details
• Beethoven portraits, push a move toward realism
• Maybe other Haydn works could benefit from incipits now that I remember how to do them.

Little Masonic Cantata Little masonic cantata Laut verkünde uns're Freude Laut verkünde unsre Freude

The 'Laut verkünde' premiere as related to Mozart's death

Of the numerous theories have been put forward for how Mozart died (for background see Stafford (1991) and Death of Mozart) one theory, from Davies (1983), mentions the premiere of 'Laut verkünde' as a possible cause, namely as likely venue for the spread of an infectious disease. Here is the relevant background. The physician xxx Lobes, writing in 18xx, recalled that an infectious illness was circulating in Vienna around the time of Mozart's death: "'This malady attacked at this time a great many of the inhabitants of Vienna and for not a few of them it had the same fatal conclusion and the same symptoms as in the case of Mozart". The hypothesis that an epidemic was responsible for Mozart's death was later supported by Zegers et al. (2009), who inspected all death records in Vienna around at the time of Mozart's death, using the records of 1790 and 1792 as a control, and found a spike in the number of younger males dying with edema, the dying Mozart's most conspicuous symptom. It was Davies's suggestion that the 'Laut verkünde' premiere, three days before Mozart took seriously ill, was a likely venue at which the composer might have contracted his illness.

• Davies, P. J. (1983) Mozart's illnesses and death. Journal of the Royal Society of Medicine 76:776-85.
• Wheater, M. (1990) Mozart's last illness - a medical diagnosis. Journal of the Royal Society of Medicine 83:xxxx
• Stafford, William (1991). The Mozart Myths: A critical reassessment. Stanford, California: Stanford University Press.
• Zegers, Richard H. C.; Weigl, Andreas; Steptoe, Andrew (2009) The death of Wolfgang Amadeus Mozart: An epidemiologic perspective. Annals of Internal Medicine 151 (4): 274–8, W96-7.

Joseph Haydn: Reception history

Joseph Haydn in 1785. Detail of a portrait by Ludwig Seehas, in the Staatliches Museum Schwerin

[ This is the big article; a brief summary should go into the Haydn article itself, with cross reference. ]

The reception history for the music of Joseph Haydn (1732-1809) is a topic widely addressed in modern Haydn scholarship. Notably, his music was highly valued in his lifetime, sank in esteem over the 19th century, and has recovered somewhat since then. Sutcliffe notes a widespread view of this history:

[Haydn's] was a classic case of the rise, fall, and rise again of an artistic reputation—[which] tells us something of the extent to which musical quality and significance lie contingently in the ear of the listener, determined by the assumptions and priorities of an age.

Haydn's rise to fame

For Joseph Haydn's life history see Joseph Haydn. The key aspect of it for purposes of reception history is that Haydn spent most of the central decades of his career in locations where hardly anyone could hear him as a performer. (Haydn was a singer, pianist, and violinist, but above all the leader of the orchestra maintained by his employers, the Esterházy family). The Esterházy orchestra premiered dozens of Haydn symphonies, but to a usually very small audience in one of the two family palaces at Eisenstadt and Esterháza, both located some distance from the great European musical center of Vienna. Haydn's widespread fame was made possible solely because, by the time of his mature career, a strong music publishing industry had developed in Europe. Even in Vienna, which trailed other capitals in the field music publishing, the industry eventually came to flourish with the efforts of Artaria and other firms.

The dissemination of Haydn's work began early in his career in the 1750s, when his pioneering string quartets (later numbered Opus 1 and 2) were printed and achieved wide popularity. But even works that were not printed achieved considerable dissemination, as the older system of distributing music in hand copies still persisted. A number of European monasteries kept a great deal of Haydn's music, not all of it secular, in their libraries for enjoyment of their membership. [ xxx ref from reception history article ]

Haydn's ability to project his music beyond his own geographical location was greatly increased in 1779, when his patron Nikolaus Esterházy approved a revised contract in which Haydn was free to pursue publication of his work. Haydn was soon dealing with Artaria as well as with other other publishers in Vienna and in foreign countries, arranging for publication of his works. The works evidently sold well, part of the evidence being the great number of pieces by other composers that were marketed by unscrupulous publishers as being by Haydn. In addition, legitimately-published works often called forth unauthorized editions from rival publishers.

The success of Haydn's publication program led to his symphonies appearing frequently on concert programs in both London and Paris. It also led to commissions for new work, notable that for The Seven Last Words from Seville in Spain, and the Paris Symphonies (plus three more) commissioned from Paris. Haydn's work was sufficiently popular in London in the 1780's that newspapers began to agitate for him to visit,: including a facetious proposal to abduct him from his home in Hungary.

This wonderful man, who is the Shakespeare of music, and the triumph of the age in which we live, is doomed to reside in the court of a miserable German [sic] Prince, who is at one incapable of rewarding him, and unworthy of the honour ... Would it not be an achievement equal to a pilgrimage, for some aspiring youths to rescue him from his fortune and transplant him to Great Britain, the country for whom his music is made?

Haydn's music for smaller forces also spread widely, aided by the fact that at the time, educated people often learned to become musicians, and many households included the talent needed to creditably perform a Haydn quartet, piano trio, or song. Thus these works sold well.

With time, Haydn's increasing fame led to opportunities for live performances -- during the rare times that his Prince would let him take time off -- before large audiences. A conspicuous case occurred in 1775, when Haydn premiered his (now obscure) oratorio Il ritorno di Tobia with mass forces, before large audiences, at the semiannual performances of the Tonkünstler-Societät in Vienna. With the death of his patron Nikolaus Esterhazy in 1790, Haydn became free to travel. He made the most of the opportunity, with two visits (1791-1792, 1793-1795) to London, a major center of music which attracted many outstanding musicians from the Continent. These visits were greatly successful and augmented Haydn's fame. On his return, he settled in Vienna and, at long last, achieved renown even there, notably with the composition and premieres of his two great oratorios, The Creation and The Seasons. The oratorios both came to be performed throughout the musical centers of Europe. By all accounts, the audiences that heard Haydn in performances of his mature works were very enthusiastic.

In light of all this, multiple scholars have described Haydn as the most admired composer of his time, even though his long life overlapped that of two composers now more famous, i.e. Mozart and Beethoven. Indeed, xxx suggests that no composer, throughout history, was ever esteemed in his lifetime by the public more than Haydn was.

The fall from preeminence, ca. 1800-1900

This performance of The Creation took place in Vienna in 1808, celebrating Haydn's 76th birthday. It was a final chance for public and peers to say goodbye to the composer, by then elderly and frail. The figures portrayed paying their respects include Salieri and Beethoven.

Wigmore suggests that the pinnacle of esteem for Haydn's work might sensibly be assigned to 1799, the year that his oratorio The Creation had its public premiere in Vienna to great acclaim. But already by the composer's death in 1809, full preeminence had been lost, as Beethoven entered the peak of his career and Mozart (dead since 1791) continued to rise in posthumous esteem. With the onset of the Romantic movement in music, musical tastes changed greatly: the music of the Romantics often depicted anguish, despair, and uncontrolled passion; and in this context the sheer joyfulness of much of Haydn's music (admired, for instance, by Geiringer (1982:xxx) became a liability rather than an asset. Indeed, Haydn's music came to be heard as outright "childish"; e.g. xxx.

Beyond these changes in taste, there was a purely practical issue. Roughly in Haydn's own time, the idea of a "classical canon" took root, and audiences, instead of expecting new music at every concert, began the practice of savoring particularly valued older compositions. Handel's Messiah, and indeed Haydn's Creation, were important compositions in the new trend toward a canon. But the composers of the Romantic generation were themselves creating significant new work, using a new musical language that was not always familiar to their listeners. Naturally, the Romantics sought their own place on the concert stage, and for them the still-widespread veneration of Haydn was a kind of career barrier.

As the 19th century unfolded, a fairly standard view developed out of the work of critics such as E. T. A. Hoffmann, Bernard Marx, and Eduard Hanslick. First, Haydn's music was child-like, excessively cheerful, and devoid of deep emotion. Second, that Haydn should be respected not for his own work, but for serving as a precursor, opening up the genres of string quartet and symphony, as well as the possibilities of sonata form, to the later and more important Mozart and Beethoven. Third, Haydn lost credit for political reasons: for much of his life he served the system of hereditary aristocracy as a liveried servant, in contrast to the careers of Beethoven and Mozart, spent mostly as freelancers. Since the struggle against hereditary aristocracy was a major theme of politics in 19th century Europe, it was natural for progressives to see Haydn as having served on the wrong side.

This late-19th century "portrait" of Haydn looks nothing like the images made of him during his lifetime. It emphasizes his wig, an item that become something of a symbol of Haydn-denigration at the time xxx refs.

A curiosity with respect to this political connection is the establishment of Haydn's powdered wig as a symbol of his old-fashionedness and servility (wigs had gradually gone out of style during Haydn's lifetime, though throughout the 19th century they continued to be worn by servants). To this day, the term "bewigged" is used as a pejorative, to characterize forms of art music as old fashioned.

The composers' views

The great composers of the 19th century all knew Haydn's music and had greatly varying opinions about it. Berlioz's views were sharply negative, and he expressed them with characteristic vividness:

xxx

Wagner, and Liszt, who both felt they were composing the "music of the future", unsurprisingly were unenthusiastic about Haydn. Robert and Clara Schumann also denigrated Haydn's music, [ xxx add the quote about the tedious visitor ] but, interestingly, they shifted their views to a more positive stance after studying the music more closely (they played through the string quartets as four-hand piano music).

Johannes Brahms, himself widely viewed as a neoclassicist, was naturally prone to appreciate Haydn, and sought out original manuscripts and first editions by Haydn to add to his own music collection. He used a theme that (he thought was) by Haydn as the basis of one of his most famous orchestral works, the Haydn Variations. Brahms once commented to his friend Eusebius Mandyczewski as follows:

xxx

Brahms's critical views were private, however; he never shared them in print and, per Proksch, cannot be considered as any kind of impetus for the later Haydn revival.

Camille Saint-Saens, likewise a classicist, was a Brahms enthusiast, and did make his views known in print.

Another source of support was the general public: both Proksch and Wigmore suggest that in the 19th-century, concert-goers did not necessarily share the distaste for Haydn held by critics and scholars; they continued to enjoy the later symphonies and the oratorios in concert halls, and to play the quartets in their homes. Nevertheless, Haydn's reputation, and the public's exposure to his music, continued to decline, reaching bottom, per Proksch, around the end of the 19th century. Wigmore suggests that the nadir can be aligned with the appearance in 1897 of a a book by Cuthbert Hadden, who wrote a Haydn biography that thoroughly denigrated the composer's music, particularly works written before xxx 1790.

Towards the end of the century, Haydn came close to the fate of becoming a forgotten composer. Proksch suggests that his music was so little played that it became difficult even to have an informed critical opinion, based on hearing more than a fraction of the music.

Revival: ca. 1900-present

The turnaround in Haydn's reputation began in the early 20th century. This was, perhaps, a time at which revival might have been expected; the great trend of Romanticism had begun to expend itself, and there was now more room for new and distinctly un-Romantic forms of music, as composers like Ravel, Debussy, and Stravinsky established themselves.

The re-appreciation of Haydn was gradual and driven by various scholars and critics, among them Donald Francis Tovey, Vincent d'Indy, and Heinrich Schenker xxx. [[ xxx more needed -- and what did these people actually say? Try the vigorous quote from Tovey in Wigmore's book. ] [ xxx Hearing Haydn on his own rather than as precursor ] The death-centennial in 1909 was the occasion for a scholarly conference in Vienna covering Haydn, with tours to Haydn's old career bases at Eisenstadt and Esterháza. These piqued the interest of qualified scholars, who began to research and write more on Haydn.

In Britain, the Haydn revival took a curious turn: the musicologist William Hadow came to adopt a theory (from of the Croatian ethnomusicologist Franjo Kuhaxxxc, that Haydn was ethnically Croatian and repeatedly incorporated Croatian folk melodies into his music. (At least the first of these hypotheses has since been discredited; see Joseph Haydn's ethnicity, also Haydn and folk music.) Hadow had no particular interest in matters Croatian as such, but like Kuhac he was a fervent nationalist, and he adopted "Croatian Haydn" as an inspirational role model for the idea of founding a music based on the folk tunes of a country; in his case England. This was indeed an important trend in English in Hadow's time; it inspired composers such as Ralph Vaughan Williams and xxx. Later on, the famous English critic Donald Francis Tovey had little use for Hadow's speculations, but in the end he also proved a more powerful force behind the Haydn revival, through conspicuous advocacy and intensive musical analysis of Haydn's works from the xx's to the xx's.

In the United States, the work of critics such as xxx and yyy, along with the advocacy and programming choices of the conductor Arturo Toscanini, led to a modest Haydn revival starting in the 1920s and 1930s. xxx suggested

[ xxx cover the American critic, reported in Proksch, who notes that readers need to open their ears and be attentive both for Haydn/Mozart and for modern music. ]

The composers who advocated for Haydn include the elderly Camille Saint-Saens (who had taken Haydn as a model for his own career), [[Paul Dukas] [[ xxx more needed -- and what did these people actually say? ] The modernist composer Arnold Schoenberg , who was a strong advocate of Haydn's music, saw in Haydn's role in the transition from Baroque to Classical idioms an inspiration for his own effort to found a new way of writing music, the 12-tone system.

As interest in Haydn's music increased, scholars turned to the task of locating all of the music he wrote that had been lost, as well as identifying a considerable number of works (e.g. the so-called "Opus 3" quartets) that had been ascribed to Haydn, but were not by him. Antony van Hoboken, a student and friend of Schoenberg, prepared a monumental catalog of the works, and much of the music came to be available in printed editions. The development of sound recording enabled interested listeners to broaden their exposure to Haydn, to the point of listening to the complete series of 105 symphonies (first recording xxx, xxx) and 68 quartets (first recording xxx, xxx) in their entirety. Writing in 2009, Wigmore observed "we can hear on CD over ninety percent of Haydn's music, more than anyone bar the composer himself could have heard during his own lifetime." Haydn biographies were written with a much deeper and more sympathetic appreciation of Haydn's music: Hughes (1950), xxx, xxx, Webster and Feder (19xx), and later Jones (2009a, 2009b). Charles Rosen's highly influential book The Classical Style (first ed. 1971), while directed to Mozart and Beethoven as well, places Haydn at the center of the presentation and deepened listeners' understanding of Haydn's compositional procedure.

Haydn and HIP

The Orchestra of the Age of Enlightenment has performed and recorded Haydn symphonies on period instruments. The image shows horns and an oboe of the type used in Haydn's day.

Wigmore suggests that a key development was the emergence of historically informed performance, in which the performers adopt instruments modeled on those of the composer's time, and consult old reference works (e.g. Leopold Mozart's violin textbook) for guidance on performance practice. He writes (2009:14):

Like Mozart, [Haydn] has benefited enormously from historically aware performances, often on 'period' instruments, that aim to recreate the colours, balances and articulations of the late eighteenth century. The results have been to make Haydn's works sound even more fiercely original, certainly less comfortable, with the un-Mozartian rough edges in his music relished rather than planed.

Historically informed performance had made it possible to hear for the first time the music Haydn wrote for baryton (an instrument that had dropped out of use), and to hear the piano trios with the sort of balance between parts that Haydn would have imagined.

The present and future

In the end, though, it seems unlikely that Haydn will ever reclaim the public esteem he held as of 1799. Scholars [ xxx who ] suggest that for modern classical listeners, whose ears are exposed to such a variety of idioms, it may be that an appreciation of Haydn's music may be something acquired only after extended listening. Being familiar with other Classical composers like Mozart does not necessarily prepare the ear to take in the music of Haydn (see remark by xxx Guy) above. Some even suggest that Haydn's music, once accused of being music for children, is now the province of connoisseurs (xxxx references).

find and cite properly.

Wigmore concludes his reception history by inviting his readers to open their ears to Haydn, suggesting this might actually increase their happiness:

Perhaps this supremely companionable yet at times (especially in some of the string quartets, of all periods) curiously ascetic composer, rarely as straightforward as he seems, sometime eccentric to the point of perversity and only 'naive' when it suits him, will never quite match the popular appeal of Mozart and Beethoven. Yet in our fractured and neurotic age, his humane, life-affirming vision, expressed with consummate mastery of the sonata style he did more than anyone to perfect, has a unique power to refresh and uplift the spirit.

References

• Proksch, Bryan (2014) Reviving Haydn: New appreciations in the 20th century. Rochester, New York: University of Rochester Press.
• Wigmore, Richard (2009) Haydn. London: Faber.
• Jones, David Wyn (2009b) Oxford Composer Companions: Haydn. Oxford: Oxford University Press.

xxx Check this out:

Haydn is unpredictable; avoids symmetrical antecedent-consequent https://kennethwoods.net/blog1/2009/06/01/haydn-more-talented-than-mozart/comment-page-1/

Historically informed performance

• "We think it's better"
  • https://www.sohipboston.org/what-is-hip

You get to hear all the musical lines

• HH Society person, Gardiner:
• Rosen on violins and pianos
• Something on Brahm's piano
• The instruments are played at their max
  • Gardiner, whoever on the Moonlight Sonata
• Tonal beauty
  • singers, instruments
• Articulation of the notes
  • Stanley Ritchie

Sorting the negatives:

• Recordings (Rosen)
• Who knows what is authentic?
• Haters -- what makes them so angry? Pinchas Zukerman quote, Scruton

Haydn's parrot

Hmm..., I thought this might be charming/revealing of character, but the pickings seem to be thing.

• This link says he brought it with him on visits to Eisenstadt:
  • https://books.google.com/books?id=UiWxNx2XGQ4C&pg=PT399&dq=haydn+parrot&hl=en&newbks=1&newbks_redir=0&sa=X&ved=2ahUKEwj3nb3B89CMAxWePkQIHdnFMeQ4MhDoAXoECA0QAw#v=onepage&q=haydn%20parrot&f=false
• In fiction: Louisa of Prussia
• They all seems to be quoting the same source -- is it Silverstolpe? Or perhaps Dies and Griesinger -- get these from library, as well as Hughes bio.
• In the eighteenth century, parrots were rare and expensive pets. Prized for their colorful plumage, they were imported from Asia, Africa, and South America together with other luxury goods such as sugar, silk, and spices.10 Symbols of wealth and exotic taste, parrots also became objects of philosophical and linguistic curiosity, especially for their ability to mimic human speech. Papageno thus drew on the allure of the palavering bird, an allure shared by both Mozart and Joseph Haydn, both of whom kept birds as pets.
  • Source: hayoung heidi lee https://academic.oup.com/oq/article/28/1-2/72/1558671
• Lee cites something that looks good:
  • Also, Haydn had a parrot who could sing the first line of Haydn’s song, “Gott erhalte Franz den Kaiser,” written in 1797 as a birthday anthem for Emperor Franz II.
  • Vernon Gotwals, “Joseph Haydn’s Last Will and Testament,” The Musical Quarterly 47, no. 3 (July 1961): 337–341.
• Gupfinger:
  • Another historically known African grey parrot was the pet of the composer Joseph Haydn. Haydn had bought the exotic bird during a stay in London in 1791, and back in Vienna, he became his longtime housemate. The exotic bird aroused much attention in Viennese society due to his talent for speech and music. The grey parrot was able to whistle several tunes that Haydn composed.
  • It is said that when a toast to the Austrian Emperor was pronounced and the glass was raised, the parrot whistled the melody of “Gott erhalte Franz den Kaiser”, which was composed by Haydn in 1797. When Joseph Haydn died in 1809, the grey parrot was part of his legacy. The composer’s parrot was finally auctioned off and was bought by Prince Johann of Lichtenstein for a huge price at the time. The taxidermy of the grey parrot is now on display as part of an exhibition in the Haydn Room at the House of Music in Vienna.

Items for Nannerl

• DONE Performances before 1781 in Salzburg -- see Solomon chapter. Wolfgang insisting that she charge two ducats.
• Dissing Constanze -- the friendly letter, then the sad one. From Solomon. Done, but add Halliwell's opinion
• DONE verify works Wolfgang wrote for her
• Find the article about authenticity of portraits; deal with the one that NeoGaze sent. Not easy to find the main, German-language source.
• The marriage to Berchtold wasn't entirely unhappy: give his and her testimony
• Find the place where she tells visitors that Wolfgang is better -- Deutsch?
• DONE Perhaps other female pianists of the time who were forced to stay amateur: Martines, Ployer, Auenbrugger ... was Bartolozzi an amateur? xxx not promising so far; hard to tell what their status was.
• source lots of things

Draft: Genre of Adelaide

As with other genres of Western art music, the label attached to "Adelaide" has not always been the same. For instance, on the title page, the work is called a cantata (German Kantate). The work was also included in Deutsche Grammophon's collection of Beethoven's solo music in the volume labeled Lieder, implying that its genre is described by the singular of this work, namely "Lied". The latter word basically means just "song," but over time it acquired a specialist meaning, "German art song performed by a vocal soloist with (usually) piano accompaniment". The latter meaning became more prominent after Beethoven's lifetime, as what we now call the "lieder canon" expanded with the work of Schubert, Schumann, Brahms, Wolf, Mahler, and other composers. But in Beethoven's day, the lied genre was not a firm concept yet, and so his songs could appear under different labels. Whojee Whatsee explains as follows:

While today Adelaide is found in the Lieder und Gesänge volume of Beethoven's complete works and is colloquially considered to be a German lied, across the nineteenth century its generic identity was far less clear. Beethoven referred to the work as a 'cantata'; other labels soon emerged in editions and reviews, including Gesang, ballade, romance, elegy, and lied, and often the work was published with no generic designation whatsoever.

The genre "cantata," given by Beethoven (or perhaps, his publisher) has also evolved in usage: the rediscovery of Bach's extraordinary series of cantatas, which took place after Beethoven's time, led to a widespread sense that the canonical sense of "cantata" denotes a work, usually with orchestra, chorus, and vocal soloists; and written in several movements. The Italian word says little in itself, meaning simply "work that is sung". — Preceding unsigned comment added by Opus33 (talk • contribs) 20:47, 10 October 2024 (UTC)

Haydn and Mozart

Some of the shortenings were just drive-by, but others need to be checked before restoring, notably, whence Mozart got his first copy of Fux, Gradus ad Parnassum.

Luigia Polzelli

Read Lorenz's article and mine it.

Fix when things have calmed down a bit

• Haydn and folk music -- massive unexplained deletions, Sept. 1, 2024 -- should any be restored now that I have expanded?
• Wolfgang Amadeus Mozart‎ -- editor is confused about verb tenses, Sept. 15, 2024
• On top of old smokey -- explain what Kuwohi is Sept. 21, 2024
• Pop culture stuff on Moonlight Sonata, Sept. 22, 2024. More generally, work at enforcing the new ban.
• Restore greed as blot on Haydn's character
• Confluences, put back the Gallery
• Stranded participle in Beethoven article
• Sonata rondo form was turned into a horrible mess. It needs a real source to be put right.

In progress

• User:Opus33/Mozart: geographic key -- quite a large project, hmm...
• User:Opus33/Mozart: concert performances -- quite a large project, hmm...
• User:Opus33/Haydn's London journeys Should this be a satellite?
• User:Opus33/Sacred Harp: music structure Way too ambitious and hard to source, forget it.
• User:Opus33/The spread of Sacred Harp singing Ditto
• User:Opus33/The origin of the songs in The Sacred Harp Vastly ambitious, and now a new book to deal with without help of Steele.
• User:Opus33/Sacred Harp conventions Way too ambitious and hard to source, forget it.
• User:Opus33/Secondary development This exists, and needs TLC.
• User:Opus33/Karl van Beethoven This exists now, maybe not high priority.
• User:Opus33/Mozart's ancestors This exists now, so just fold in anything useful.
• User:Opus33/Joseph Haydn's years as a freelance musician Maybe. I like the park bench bit.
• User:Opus33/The 1808 performance of "The Creation" in honor of Joseph Haydn
• User:Opus33/Joseph Haydn: reception history Fold into above, or vice versa. Sigh.

To do

For Haydn:

was an Austrian composer of the Classical period. He composed prolifically in many genres, but especially in two genres that were new in his time: the symphony and string quartet. His works in these domains were influential and widely performed, establishing both genres as central for Western classical music, even to the present time; hence Haydn is often called the "Father of the Symphony" and "Father of the String quartet". His piano trios were also pioneering and critically admired, as were his two mature oratorios The Creation and The Seasons

Haydn's earliest works, naturally enough, are in genres that were accessible to him for purposes of performance. Thus the Missa brevis of 1750, his earliest surviving work, seems likely to have been composed for the musical forces of St. Stephen's Cathedral during Haydn's service there; perhaps with the composer and his younger brother taking the two parts for soprano solo. In the period of struggle after leaving St. Stephen's, Haydn wrote serenades for small ensemble gigs, as well as easy keyboard sonatas with which to teach his students. A serenading job led to a chance encounter with the actor and librettist Joseph Felix von Kurz and the opportunity to compose a comic opera; see Der krumme Teufel. The first string quartets are said to have been written for the players that happened to be on hand in the household of Haydn's patron, Baron Fürnberg.

Once Haydn became a Kapellmeister with his own orchestra, he composed symphonies in profusion; of these early symphonies, the ones most performed today are probably include the "time of day" symphonies that initiated his service for the Esterhazy family, No. 6, "Le Matin", "No. 7, "Le Midi", and "No. 8, "Le Soir" (morning-midday-evening; the numbering is unlikely to be accurate); another fairly well-known work is Symphony No. 22, called "The Philosopher".

The recruitment drive by Prince Paul Anton that obtained Haydn as leader also sought out top virtuosi to play in the orchestra. This was reflected in the large number of solo passages in the early Esterházy symphonies, as well as in the composition of concertos. Of the latter, the best known today is the Cello Concerto in C, written for Joseph Franz Weigl,. This work was rediscovered in 1961 and is now highly popular among cellists.

• Repair
  • Masonry and Magic Flute: mention it, but don't allow the total garbage stuff
  • Mozart's composition method: K. 309, channel Konrad and quote the letter
  • Urtext edition: Rosen, web guy for editor-created error

• Books you are mining
  • Cambridge Mozart Encyclopedia
  • Jones 2009a The Life of Haydn
  • Jones 2009b Oxford composer companions: Haydn
  • Heartz Haydn Mozart Beethoven -- see pencil marks, there are helpful ones
  • Stafford, Mozart Myths
  • Wolff, Mozart at the Gateway to his Fortune

• Haydn
  • The missing bio section: 2nd visit to London

• Mozart
  • Where did people say his operas are difficult? Deutsch p. 315, the Emperor felt this way.

• Gottfried van Swieten
  • Haydn wanted to switch librettists for his next oratorio, The Last Judgment
  • His symphony performed in the Augarten.
  • His taking care of Mozart's kids after their father died. To what extent? Did he renege?

• Emanuel Schikaneder
  • 1789: His secret depravity in Regensburg and possibly covert departure. His reply to the censuring masons. See the book about the published MF libretto for this.
  • His skill as singer

• Bartolomeo Cristofori and fortepiano
  • Go back to Pollens and use it to source things more thoroughly.
  • Pollens seems to think that Maffei's diagram was accurate for the time
  • Write an article on the piano before Cristofori. Difficult to title it without committing POV! Source: Pollens's book.
  • Cristofori was part of the Prince's crew of musicians, it would appear - Pollens
  • Pollens has a whole book written since I worked on this -- find and mine

• Double variation
  • add incipits?
  • Find and read Sisman's book on the topic.

• article on Rondo variations?
  • e.g. as in Haydn's Gypsy Rondo trio
  • There are quite a few of these, I think.

Links to Neue Mozart Ausgabe

"The basic instructions are at {{NMA}}. In this case, I obtained the volume and page numbers for the scores and the critical reports by a) expanding the list for "Serie IV Orchesterwerke" at NMA; b) opening the scores and critical reports for numbers 62 & 63 (Tänze · Band 1 & 2); c) navigating to their respective title page: the page number is then shown in the browser's address box." -- From Michael Bednarek, 10 March 2009

Other

• User:Opus33/Luchese stuff Bleah.