Important tenets of Enlightenment thought, specifically natural theology and philosophical naturalism, mark both the libretto and certain aspects of the music of Haydn's Creation. The opening chapters of the dissertation establish the philosophical, historical, literary, and musical milieu as shaped by leading thinkers of the period. Influences of important precursors are discussed, including Milton's Paradise Lost and earlier "creation" oratorios. The libretto of Creation, through its revisionist treatment of the biblical account of creation, reflects a shift from the orthodox Christian, apologetic perspective of Handelian oratorio toward a deistic representation of biblical truth. Paralleling this shift away from theological orthodoxy is The Creation's departure from the contrapuntal textures of Baroque oratorio--associated by James Webster and Hermann Danuser with the element of the musical "sublime"--to a pluralistic musical palette including elements from secular genres such as opera and symphony. These parallel shifts move the work toward naturalism. The Creation's ultimate message is one of Enlightenment optimism produced by the oratorio's religious tolerance--demonstrated by the omission of the Fall narrative--and musical eclecticism. Musical inclusivity is conveyed by a mixture of styles and conventions that cross normative standards for setting sacred texts. The analysis of text-music relationships in Creation builds on theoretical constructs of Danuser and Kramer, focusing on smaller- to larger-level musical sections that demonstrate the contrast in style and values represented by the sublime and idyllic. Both texts and music of The Creation elevate values of naturalism while simultaneously "rescinding" the sublime element into the beautiful or "idyllic." Concluding chapters focus on reception history of The Creation in both Austria and England, Haydn's two target audiences for the work.

Examensarbete (30 p). Bilaga: 1 CD. Dubblett finns.

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Haydn wrote approximately forty-five keyboard Trios between 1760 and 1796. About fifteen of them date from his youth and the rest from the later part of his creative life. This study traces the changes in the Minuet-type movements in these Trios, commencing with the early Minuet and trio da capo works in which the Minuet and trio each conform to a binary structure; continuing with the sophisticated composite tri-partite structures of the Tempo di Menuetto movements of the middle-period works; and ending with the late period and the eventual demise of movements with Minuet indications in their titles. As background to the above, the study traces the Minuet from its origins in the dance through to its place in the newly emerging Sonata plan. An investigation into the beginnings of the keyboard Trio assesses the position of the Minuet movement within the Trio genre. Background material also draws on Haydn's socio-musical environment, and the relation of his social and psychological circumstances to his composition of keyboard Trios and, more specifically, to the Minuet-type movement within the Trio. The study raises a number of questions during the course of the investigation, the most important of which relate to the morphological changes in Minuet-type movements and to their gradually declining presence in the Trios. In conclusion, the findings show that although the Minuet movement is generally considered to be the least complex of the movements of the Sonata plan, these movements reflect many aspects of the newly born Sonata form. Additionally, a number of style-characteristics occur with such regularity that they may well be regarded as reliable indications of Haydn's "Minuet style". / Thesis (M.Mus.)-University of Natal, Durban, 1991.

Diss.--Heidelberg, 1992. / Bibliogr. p. 367-383. Index.

Zugl.: Saarbrücken, Univ., Diss., 2008

The main purpose of this study is to assemble in one source as much of the historical data pertinent to the D Major Cello Concerto of Joseph Haydn as is possible in such a work. Many articles have been written over the years concerning this concerto. The major concern of these articles has been whether or not Haydn actually composed the D Major Cello Concerto. All of the known arguments will be approached and discussed and some conclusions will be drawn. It is interesting to note that all such arguments were published before the whereabouts of the autograph manuscript was widely known. The present author was able to obtain a microfilm copy of the autograph from the Austrian National Library in Vienna to whom he is deeply indebted. This microfilm has proven itself invaluable in this study. Many references to the autograph will be made throughout this work, especially in Chapters Three and Four, dealing with the Gevaert changes and the current editions of the concerto. This leads to a second purpose of this paper. That purpose is to determine which of the current editions of the D Major Cello Concerto follows the manuscript most accurately. There have been many published editions of this concerto and presently there are more than eight to choose from. The decision of which edition to use when studying this piece is largely a matter of personal taste, but one should take into consideration whether or not the edition used is authentic. At this time there is an appalling lack of critical editions in the cello repertiore, with only the Bach Suites and the Beethoven and Brahms Sonatas available in such editions. Critical editions do not always contain the most effective bowing and fingering indications, but a well-schooled player can reach his own conclusions concerning correct notes, dynamics, phrases and articulations. Authentic scores eliminate the questionable indications of ill-informed and misguided editions; the serious music student will try to determine what the composer really wanted. It is the real concern of this author that in the forthcoming years there will be more critical editions of the cello repertoire made available to both students and teachers. Just a note concerning translations. Translations on page 10 and 14 are by Josef Marx. All others, unless otherwise noted in the footnotes, are mine.

Existen unas convenciones interpretativas que afectan de manera directa a los diferentes estilos musicales. La música de los distintos periodos o etapas en las que clasificamos la historia de la música generan una manera de escribir por parte del compositor que plantea numerosas dudas a la hora de una interpretación fiel al estilo de la obra. Se pueden observar distintas maneras de escribir que han ido evolucionando hasta llegar en la actualidad a un grado de concreción en cierto modo extenuante, que viene determinado por algunas tendencias que surgieron a partir de la segunda mitad del siglo XX. Las partituras de la primera mitad del siglo XVIII, barroco tardío, son en cierto modo imprecisas por la ausencia o carencia de indicaciones respecto a la dinámica o signos de expresión y articulación. Por otra parte, las partituras de la segunda mitad del siglo XVIII, clasicismo, contienen signos de articulación y dinámicas mucho más concretas, así como ciertos signos de expresión (rinforzando, crescendo, diminuendo, fortepiano, etc). Esto se puede observar fácilmente al comparar manuscritos de estas dos etapas tan distintas en cuanto a la interpretación musical. Si tomamos como modelos dos grandes de la historia de la música como J. S. Bach y W. A. Mozart, podemos comprobar que, pese a observar algunas diferencias significativas, se supone van dirigidas a músicos que no necesitan indicaciones para saber cómo se han de interpretar estas obras, cada una en su época y con su estilo. No obstante, la manera de articular o dar una cierta duración a los sonidos, por ejemplo a las corcheas delante de semicorcheas, o a las corcheas cuando van por grados conjuntos o por saltos que corresponden a intervalos mayores, suponen en la práctica musical unos aspectos que determinan el estilo. La tecnología actual permite medir la duración de todos estos sonidos a partir de registros sonoros y nos capacita para ofrecer una serie de criterios que determinen un estilo determinado. En esta investigación nos interesa de manera especial el estilo clásico aplicado a la trompeta, instrumento al que nos dedicamos de manera profesional desde hace más de 27 años. La interpretación de la trompeta en el clasicismo, tanto como parte de la orquesta como en la función de solista, recoge en gran medida el estilo interpretativo heredado del barroco. / There are interpretative conventions that directly affect the various musical styles. The various ages or periods whereby we classify the history of music influence the composer to write in a way that brings up many questions when we want to play a version according to the accurate style of the work. It is possible to observe various composing styles that have evolved up to a somehow extenuating degree of specification, which is determined by some trends that appeared during the second half of the 20th century. Scores of the first half of the 18th c. -late Baroque- are somehow imprecise due to the absence or lack of instructions regarding dynamics or articulation and expression. On the other hand, scores of the second half of the 18th c. -Classicism- include much more precise signs for articulation and dynamics, as well as some signs for expression (rinforzando, crescendo, diminuendo, fortepiano, etc.). This can easily be noticed when comparing manuscripts of these two periods that are so different in terms of music interpretation. If we take J. S. Bach and W. A. Mozart, who are two relevant figures in history of music, as models, we realize that they wrote for musicians that do not need directions to know how to play these works -each of them in their own period and style- despite some significant differences. Nevertheless, some aspects that determine the style in music performance are the tonguing fashion or the length given to particular sounds, such as quavers that are before semiquavers or quavers that evolve stepwise or by a greater leap. Current technologies allow us to measure the length of these sounds by using sound records and to offer a series of criteria to determine a particular style. The particular focus of this research is the Classical period applied to the trumpet, the instrument to which I have professionally devoted more than 27 years. Trumpet playing in the Classical era, both as an orchestral part and a soloist role, largely comprises the style inherited from Baroque. / Existeixen unes convencions interpretatives que afecten de manera directa als diferents estils musicals. La música dels diferents períodes o etapes en què classifiquem la història de la música generen una manera d¿escriure per part del compositor que planteja nombrosos dubtes a l¿hora d¿una interpretació fidel a l¿estil de l¿obra. Es poden observar diferents maneres d¿escriure que han anat evolucionant fins arribar en l¿actualitat a un grau de concreció en certa manera extenuant, que ve determinat per algunes tendències que van sorgir a partir de la segona mitat del segle XX. Les partitures de la primera mitat del segle XVIII, barroc tardà, són en certa manera imprecises per l¿absència o manca d¿indicacions respecte a la dinàmica o signes d¿expressió i articulació. D'altra banda, les partitures de la segona meitat del segle XVIII, classicisme, contenen signes d'articulació i dinàmiques molt més concretes, així com certs signes d'expressió (rinforzando, crescendo, diminuendo, fortepiano, etc). Això es pot observar fàcilment al comparar manuscrits d'estes dos etapes tan diferents pel que fa a la interpretació musical. Si prenem com a models dos grans de la història de la música com J. S. Bach i W. A. Mozart, podem comprovar que, malgrat observar algunes diferències significatives, se suposa que van dirigides a músics que no necessiten indicacions per a saber com s'han d'interpretar estes obres, cadascuna en la seua època i amb el seu estil. No obstant això, la manera d'articular o donar una certa duració als sons, per exemple a les corxeres davant de semicorxeres, o a les corxeres quan van per graus conjunts o per salts que corresponen a intervals majors, suposen en la pràctica musical uns aspectes que determinen l'estil. La tecnologia actual permet mesurar la durada de aquests estos sons a partir de registres sonors i ens capacita per a oferir una sèrie de criteris que determinen un estil determinat. En esta investigació ens interessa de manera especial l'estil clàssic aplicat a la trompeta, instrument al qual ens dediquem de manera professional des de fa més de 27 anys. La interpretació de la trompeta en el classicisme, tant com part de l'orquestra com en la funció de solista, recull en gran manera l'estil interpretatiu heretat del barroc. / García Sevilla, JA. (2018). Propuesta de una fórmula de interpretación para la práctica instrumental históricamente informada del repertorio clásico para trompeta. Aplicación performativa al Concierto para Trompeta y Orquesta en Mi Bemol Mayor de Franz Joseph Haydn [Tesis doctoral no publicada]. Universitat Politècnica de València. https://doi.org/10.4995/Thesis/10251/103685 / TESIS

No description available.

Joseph Haydn was born in 1732 and died in 1809, a period spanning the lifetimes of the elder Bach and Beethoven. During his seventy-seven years he wrote at least fifty-two keyboard sonatas, eighty-three string quartets, one hundred-eight symphonies, many masses, divertimenti for instrumental ensembles, operas, cantatas, concert!, oratorios, songs, instrumental trios, and almost as many works in other categories. It was only in 1957, after this present project had begun, that a complete catalogue of Haydn's works began to appear in print. At this writing the first of three volumes by Anthony van Hoboken has been published. Considering that Kochel 's comparable work on Mozart has been available for ninety-seven years, it is apparent that research about Haydn's work has been impaired by the lack of such a reference. This paper deals with some of the aspects of one of the major contributions ascribed to Haydn—the Sonata allegro form. For reasons to be explained later, the analysis is concentrated on the so-called second or subordinate subject. A thorough survey of the literature was undertaken, and such materials as were pertinent are quoted at the appropriate points in the thesis. To the writer's knowledge, no other work exists which deals explicitly with the problem of the second subject in Haydn's sonata-allegro form. However, he has drawn upon the studies of scholars who have investigated related problems. The sonata-allegro form is worthy of continuing investigation.