Joseph Haydn’s final oratorio, The Seasons (1801), has consistently been neglected in performance and scholarship, particularly when compared to its earlier, more successful counterpart, The Creation (1798). A number of factors contribute to this neglect, central among them the belief that The Seasons lacked the musical innovation of Haydn’s setting of the Judeo-Christian creation story, a thought that would gain further momentum as aesthetic and musical tastes changed throughout the nineteenth century. Yet Haydn’s final oratorio is a work of remarkable musical artistry and insight, especially when considered in the context of the eighteenth-century culture of sensibility and the rise of sentimental opera, conventions with which Haydn’s would have been intimately aware given his work in opera composition and production from 1762 to 1790. By examining the ways in which Hanne, one of the three central characters in The Seasons, is constructed as sentimental in van Swieten’s libretto and Haydn’s score, I demonstrate how the librettist and composer engage the trope of the sentimental heroine. Hanne features many of the expected qualities: she is chaste, virtuous, and possesses refined sensibility and sensitivity. Furthermore, her singing style is firmly rooted in sentimental traditions. Yet her music is also imbued with coloratura and musical markers of nobility. Through these musical choices and by textually defining Hanne through joy rather than suffering and pathos, Haydn and van Swieten depart from typical constructions to rethink the sentimental heroine. Therefore, in his final major musico-dramatic work, Haydn experiments with one of the central operatic tropes of the eighteenth century. In being aware of this feature, we might simultaneously arrive at a renewed appreciation for The Seasons and of Haydn’s abilities as a musical dramatist. / Graduate

[EN] As far as I know, no research has been done so far on the reception of Joseph Haydn's music, particularly that concerning the liturgical repertoire, in Latin, in the main centres of production of church music in the Valencian Community. The first source with music by Haydn, dated in Valencia in 1789, when the musician's composing activity was at its best -the organ part of the "Grosse Orgelsolomesse" ("Great Organ Solo Mass")-, appears n Valencia only three years after he composed Die sieben letzten Worte unseres Erlösers am Kreuze ("The Seven Last Words of our Saviour on the Cross") commissioned to Haydn by the Hermandad of the Santa Cueva in Cadiz. On the other hand, the number of compositions wrongly attributed to Joseph Haydn is, in all probability, much higher when it comes to church music than any other genre, which offers a wide and interesting field to study. / [ES] Hasta donde conozco, no se ha realizado hasta la fecha un estudio sobre la recepción de la música, particularmente en lo referido al repertorio litúrgico -en latín- de Joseph Haydn, en los principales centros de producción musical eclesiástica de la Comunidad Valenciana. La primera fuente con música de Haydn datada en Valencia, en 1789, en plena actividad compositiva del músico de Rohrau -la parte para el órgano de la "Grosse Orgelsolomesse" ("Gran misa para solo de órgano")-, aparece en Valencia sólo tres años después de la composición de Die sieben letzten Worte unseres Erlösers am Kreuze ("Las siete últimas palabras de nuestro salvador en la cruz"), fruto del encargo que hiciera la iglesia de la Santa Cueva de Cádiz al compositor. Por lo demás, el número de atribuciones de composiciones, equivocadamente adjudicadas a Joseph Haydn es, seguramente en el campo de la música de iglesia, mucho mayor que en otros géneros, lo que ofrece un amplio e interesante campo sobre el cual poder investigar. / [CAT] Fins hui, no s'ha fet cap estudi sobre la recepció de la música, en particular el cas referit al repertori litúrgic -en llatí- de Joseph Haydn, en els principals centres de producció musical eclesiàstica de la Comunitat Valenciana. La primera font amb música de Haydn datada en València, en 1789, en plena activitat compositiva del músic de Rohrau -la part per a l'orgue de la "Grosse Orgelsolomesse" ("Gran Missa per a solo d'orgue")-, apareix en València només tres anys després de la composició de Die sieben letzten Worte unseres Erlösers am Kreuze ("Les set paraules de nostre Salvador en la Creu"), fruit del encàrrec que fera la cofraria de la Santa Cova de Cádiz al compositor. A banda d'això, el nombre d'atribucions de composicions, adjudicades per equivocació a Joseph Haydn és, segurament en el camp de la música d'església, molt més gran que en altres gèneres, la qual cosa oferix un ampli i interessant camp sobre el que poder investigar. / Aparisi Aparisi, J. (2015). Recepción de la música eclesiática de Joseph Haydn en los archivos catedralicios de la Comunidad Valenciana: sus fuentes [Tesis doctoral no publicada]. Universitat Politècnica de València. https://doi.org/10.4995/Thesis/10251/59242 / TESIS

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Formal handelt es sich bei 'Variationen²' um Variationen über Variationen eines berühmten klassischen Streichquartettsatzes. Die Komposition ist dem Minguet Quartett gewidmet und wurde von diesem 2009 beim Festival für zeitgenössische Musik „Spinnerei VI“ in der ehemaligen Baumwollspinnerei in Leipzig uraufgeführt.

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