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.

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.

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Sections of Haydn's piano sonatas chosen for study have been analyzed to determine the composer's technique in modulation and the key schemes resulting from these modulations, and to discover the consistent patterns and exceptional patterns in these sonata movements as a group. As revealed in this analysis, Haydn is consistent in that the key scheme patterns of several development sections are identical. Also modulations, as categorized according to key relationships, are often accomplished by the same or similar procedures. However, there are important and interesting exceptions to these consistent practices which add variety and seem to contribute to Haydn's growth as a composer

The tonal organization of the first-movement development sections of ten Haydn symphonies (nos. 1, 4, 6, 10, 13, 15, 19, 24, 31 and 72), all in D major composed between 1758 and 1765, is directly linked to eighteenth-century theories of modulation. The recent theoretical or musicological literature, with the exception of H. C. Robbins Landon's Haydn: Chronical and Works (1976--1980), has concentrated on Haydn's later high classical style generally ignoring these earlier works composed during his largely self-didactic, most formative years. After evaluating the analytical procedures established by Webster (1991), Wheelock (1992), Sisman (1993) and Haimo (1995) in chapter one, chapter two reviews tonal theories of some eighteenth-century writers. Chapter three presents analytical observations on the Morzin Symphonies (nos. 1, 15, 4, 10). Chapter four extends the discussion of chapter two and focuses on theoretical concepts that determine rank ordering of scale-steps in relation to the tonic. Chapter five focuses on tonal procedures employed in the developments of early Esterhazy symphonies (nos. 6, 13, 72, 24, 31) all of which feature cadentially-confirmed tonicizations of scale-step vi paired with recapitulatory from the main theme. (Abstract shortened by UMI.)

In 1909, the Revue musicale mensuelle de la Societe lnternationale de Musique (RSIM) asked six French composers (Debussy, Dukas, Hahn, d’Indy, Ravel and Wid or) to commemorate Haydn’s centennial anniversary of death by each creating a piano piece that incorporated a theme built with a letter-note correspondence on the word “Haydn”. In the context of the French fin-de-siecle search for musical identity, this collective tombeau represents a unique opportunity to discover what characteristics were important to them. My analysis of the pieces reveals five common elements: enharmonic reinterpretation as a means of exploration of foreign keys, large scale registral connections, dissonant chords for colour, ingenious means of creating unity, and use of past genres and form. The influence of Italian and German culture, as well as French music history and politics are also evaluated. The tom beaux reveal how central the concept of the music of the past was to French composers at the tum of the century and how it pointed the way to post-war neoclassicism. / En 1909, la Revue musicale mensuelle de la Société Internationale de Musique (RSIM) demanda à six compositeurs français (Debussy, Dukas, Hahn, d’Indy, Ravel et Widor) d’écrire chacun une pièce pour piano dans le but de commémorer le centième anniversaire de la mort d’Haydn. Leurs pièces devaient incorporer un thème imposé bâti via une correspondance entre des notes et les lettres du mot “Haydn”. Dans le contexte de la quête d’identité des Français de la fin du 1ge siècle, ce tombeau collectif représente une occasion unique de découvrir quelles caractéristiques musicales leur étaient importantes. L’analyse de ces pièces a permis d’isoler cinq éléments communs: réinterprétation enharmonique comme moyen d’exploration de tons éloignés, liaison de registres à grande échelle, utilisation d’accords dissonants dans le but d’obtenir une certaine couleur, moyens ingénieux de créer l’unité et usage de formes et de genres issus du passé. L’influence des cultures allemande et italienne ainsi que celle de l’histoire musicale de la France et de sa politique sont également évaluées. Les tombeaux révèlent l’importance qu’occupe la musique du passé pour les compositeurs français au tournant du 20e siècle et comment cette musique prépare l’avènement du néoclassicisme d’après-guerre.

From Introduction: In the middle of the eighteenth century, when Haydn began composing his first string quartets, violin writing was highly advanced and the violin an established solo instrument, its supremacy already firmly endorsed by the Italian Violin Schools of the seventeenth and early eighteenth centuries. The pace of development of the cello, however, was not comparable to that of the violin, despite the fact that the first cello known to us was made in 1572.

Orientador: Helena Jank / Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-07T07:32:51Z (GMT). No. of bitstreams: 1 Lucas_MonicaIsabel_D.pdf: 12185228 bytes, checksum: e3248f11886182b6eafa8d6f127e446e (MD5) Previous issue date: 2005 / Resumo: Esta investigação propõe o estudo do contexto teórico que envolve a produção do compositor Joseph Haydn (1732-1809), concentrando-se nas idéias de humor e agudeza [Witz], que têm sido freqüentemente relacionadas à produção deste compositor, desde sua própria época. Para isto, selecionamos críticas de jornais e revistas do século XVIII que discorrem sobre esses aspectos da produção haydniana. No sentido de possibilitar a melhor compreensão do sentido setecentista desses termos, é necessário tratar também de outros conceitos relacionados a eles: a idéia de cômico e as visões setecentistas sobre o riso. Estas informações estão contidas em obras teóricas sobre as artes do século XVIII, como a enciclopédia sobre as artes de Sulzer (1771-74) e a estética musical de Schubart (1784). A recuperação destas noções é utilizada para obter uma melhor compreensão das críticas escritas a Haydn em sua própria época. Elas apresentam visões negativas ou positivas de Haydn, e, com os fundamentos teóricos, é possível atribuir seus conteúdos a premissas conservadoras, de orientação retórica, ou que seguiam as tendências da disciplina então recém surgida, a estética. Assim, as críticas a Haydn permitem criar subsídios para estudar o humor e a agudeza em obras que indubitavelmente representam o estilo maduro destes compositor: os quartetos de cordas op. 33 (1781) / Abstract: This investigation proposes a study of the theoretical context that involves the works of Joseph Haydn (1732-1809), concentrating in the ideas of humor and wit [Witz]. This ideas have been related to the music of Haydn since his own time. Therefore, we selected some eighteenth century journal and magazine critics that involves these aspects of his production. In order to have a better comprehension of the eighteenth century meaning of these concepts, it is necessary to handle also other related notions: the idea of comic and the Eighteenth-Century visions about laughter, contained in works like the arts encyclopedia by Sulzer (1771-74) and the music aesthetic by Schubart (1784). These notions enables us to have a better comprehension of the eighteenth century critics involving the music of Haydn. They contain negative or positive visions about his music, and it is possible to attribute this visions to conservative, rhetorically oriented, or to aesthetic (then a recently created discipline) premises. These critics allow us to create subsidies to observe how humor and wit occur in works that undoubtedly represent Haydn¿s mature style: the string quartets op. 33 (1781) / Doutorado / Doutor em Música

The problem undertaken in this paper is a study of sonata form in regard to the number, types, and key schemes of movements in the pre-Haydn sonatas and a comparison of these with the sonata form as Haydn established it. Finally, a detailed analysis of the Haydn E-Flat Major sonata is presented showing typical formal characteristics. The history of the sonata form does not begin simultaneously with the advent of the sonata itself, for the sonata as we know it today is the result of many stages of experimentation. Its growth and development were a gradual process which lasted the better part of three centuries. Many composers contributed to this growth, but the sonata form itself cannot be ascribed to any particular composer.