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[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. / [CA] 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]. Universitat Politècnica de València. https://doi.org/10.4995/Thesis/10251/59242

Entre 1750 et 1810, l’entrée du soliste dans les premiers mouvements de concerto est un événement théâtral et musical. Examinant le corpus de Johann Christian Bach, Haydn, Mozart, Viotti et Beethoven, cette thèse distingue les stratégies compositionnelles récurrentes, constituant la norme de l’époque étudiée. Elle analyse les procédés rhétoriques à l’œuvre en évaluant l’effet produit par chacun par rapport à la norme attendue.La première partie concerne la construction de l’attente du soliste. Elle évalue la fonction introductive du premier tutti, distinguant les « tuttis-cadre » des « tuttis-narratifs » et examinant l’impact de la présence d’une modulation. La deuxième partie étudie les stratégies de clôture de l’exposition orchestrale et l’existence d’une rupture lors de l’entrée du soliste. La troisième partie montre la manière de donner la parole au soliste par le choix de son thème d’entrée, d’une ornementation éventuelle ou l’ajout d’une section introductive virtuose autonome. / Between 1750 and 1810, the entry of the soloist in the first movement of a concerto is a musical and theatrical event. Going through the corpus of Johann Christian Bach, Haydn, Mozart, Beethoven, and Viotti, this thesis distinguishes personal strategies from recurring compositional techniques that are standard in the period under review. It analyzes the rhetorical techniques used through assessing the effect of each technique compared to that of the expected standard.The first part concerns the construction of the expectation of the soloist. It evaluates the introductive function of the first tutti, creating a disctinction between “frame-tuttis” and “narrative tuttis”, and examinating the impact of the presence of a modulation. The second part focusses on the closing strategies of the orchestral exposition and the existence of a break for the soloist’s entry. The third part shows the hand over to the soloist through the choice of the entry theme, the eventual ornementation, and the adding of an autonomous virtuoso introductive section.

The relationship between Lowell Mason (1792–1872) and the Boston Handel and Haydn Society (est. 1815) has long been recognized as a crucial development in the history of American music. In 1821, Mason and the HHS contracted to publish a collection of church music that Mason had edited. While living in Savannah, GA, Mason had imported several recent British collections that adapted for church tunes works by Franz Joseph Haydn, Wolfgang Amadeus Mozart, Ludwig van Beethoven, and Ignaz Pleyel. His study with German émigré Frederick L. Abel allowed him to harmonize older tunes in standard counterpoint. In the historiography of American music, the collection has ever since been named as one of the chief forces establishing standard counterpoint in the mainstream of American music. The collection’s profits also helped the HHS survive the next several years, and the prestige of eventually being known as the collection’s editor helped launch Mason’s influential career in church music, music education, and music publishing. In 1827, that career took a dramatic turn when Mason returned to Boston to assume the presidency of the HHS and the care of music in several churches. This project shows that the social ties between Mason and the HHS begin earlier and are far more indebted to Calvinist orthodox Christianity than previous studies have shown. With special attention to Mason’s personal papers housed at Yale University, to the HHS records held at the Boston Public Library, and to newly indexed Savannah newspapers, it shows that Mason’s relationship with the Society grew from relationships begun before he left his native Massachusetts in 1812. The depth of the relationship grew steadily until 1827, marked at first by indirect contact and in 1821 by Mason’s trip to Boston. Mason’s 1827 return to Boston, often surprising to scholars, appears here as a logical consequence of the support given by the Society’s previous president, Amasa Winchester, for Mason’s work in church music. Mason’s departure from the Society seems to be based on his zeal, closely related to his evangelical goals, for universal music education.

Thesis (Ph. D.)--Ohio State University, 2007. / Title from first page of PDF file. Includes bibliographical references (p. 64-65).

The Haydn Trumpet Concerto and the Hummel Trumpet Concerto are two of the most important concertos in the solo trumpet repertoire and the cadenza reflects the performer's personality and technical abilities. There have been numerous recordings of the two concertos and they are consistently used in performance and as a pedagogical tool. This document contains both published cadenzas and transcriptions of recorded cadenzas from the first and last movements of the Haydn Trumpet Concerto and the Hummel Trumpet Concerto.This study begins with an investigation of the concepts and historical information related to the keyed trumpet and classical cadenzas. It includes a discussion of the historical significance of the keyed trumpet, brief biographies of Anton Weidinger, Joseph Haydn and Johann Hummel, and a study of the stylistic traits of cadenzas of other brass instruments from the classical period.Following the introductory five chapters, chapter six contains the compilation of transcribed and published cadenzas. The cadenzas are cross-referenced in a table located at the beginning of the chapter. Each cadenza includes information about the recording and/or publisher from whom the cadenza is available. The cadenzas were transcribed from recordings, transposed for Trumpet in E-flat and entered into Finale 98.This study is meant to be a reference tool that performers and instructors can employ for the study and performance of various cadenzas. The writer hopes that this collection will provide inspiration and will serve as a guide for those who wish to compose a personal cadenza that highlights their own strengths and preferences. / School of Music

This thesis, which is intended for inclusion in "The Piano Sonatas of the 18th century in Austria" (Vol.3 in the publication series "Contributions the the development of the Piano Sonata") aims to evaluate Haydn's position within the history of the piano sonata. In spite of the widespread popularity of Haydn's sonatas among professional musicians and amateurs, surprisingly little has yet been published regarding the compositional aspects of these works. The main contributions of musicological value were written by Hermann Abert, Karl Geiringer, Walter Georgii and William S.Newman. The recent studies, published as Vol.l and Vol.2 in the above mentioned series, made it possible to trace in much greater detail the various formative factors that influenced the form and style of Haydn's piano sonatas. Moreover, it proved the composer's personal merits not only in the development of this specific genre but also in the creation of 'The International Viennese Language of the High-Classical Period'. The newly gained insight, in turn, should lead to an even higher appreciation of the great master, who utilized the achievements of his predecessors and contemporaries in an original and individual manner and thereby gained a position far superior to that of many other composers.

Der dritte Band der musik.theorien der gegenwart widmet sich einer multiperspektivischen Annäherung an das Thema »Passage«. Dabei wird von einem grundsätzlichen Übergangscharakter musikalischer Zeitgestalten ausgegangen, der eine Teilung in substantielle strukturelle Pole und »überleitende« Abschnitte – wie sie durch herkömmliche Topoi der Formenlehre vermittelt wird – problematisch erscheinen lässt. Ansätze, die mit »Passagen« der musikalischen Struktur ein mithin langezeit marginalisiertes Phänomen vom Rand ins Zentrum der Betrachtung rücken, erzeugen einen Konflikt mit herkömmlichen Lesarten und treffen sich mit vergleichbaren Ansätzen in der musikalischen Historiographie, der Literatur-, Kunst- und Filmtheorie. Der Band verbindet vier Beiträge, die anlässlich des Internationalen Kongresses der IMS (International Musicological Society) 2007 entstanden, mit fünf speziell für diese Publikation verfassten Texten. Dabei reicht das Spektrum von einer umfassenden kulturwissenschaftlichen Theorie der Passage und dem Entwurf einer post­strukturellen Historiographie zur »Kunst des Übergangs« bei Liszt und Wagner und zu räumlichen wie zeitlichen Passagen im Film. Aus – im engeren Sinn – musiktheoretischer Sicht werden eine Systematik der Sequenz (als prototypische Technik des Übergangs) entwickelt und ein »dezentristischer« Blick auf die »Überleitung« im klassischen Stil geworfen. Untersuchungen zur Werkgenese und ästhetischen Relevanz des »Passagenwerks« bei Mendelssohn Bartholdy und Conlon Nancarrow sowie ein analytisch-systematischen Beitrag zu inter­kulturellen Passagen zwischen Sprechstimme und Gesang in traditioneller und neuer Vokalmusik komplettieren das breite Feld an untersuchten »Passagen«.

Lo que se conoce acerca de fray Cipriano Aguilar, perteneciente a la Orden de Ermitaños de San Agustín, son algunos datos sobre su vida que constan en los documentos de la orden religiosa a la que perteneció y que aparecieron luego en dos publicaciones de carácter documental. Además, se sabe que participó en el concurso para la elección del Himno Nacional y que José Bernardo Alzedo lo reconoce, en el prologo de su libro Filosofía Elemental de la Música, como su maestro de música durante su infancia. El presente trabajo pretende mostrar evidencias de que fray Cipriano Aguilar, maestro de Capilla del Convento de San Agustín, está empleando la estética de Franz Joseph Haydn para la composición de música litúrgica, dentro del periodo de transición entre el virreinato del Perú y la República. Esto significaría que el estilo clásico austro/alemán fue asimilado en el Perú al igual como lo fue en Cuba, Venezuela y México / Tesis

Bien qu’une vaste littérature musicologique porte sur Joseph Haydn (1732-1809), aucune ne comprend une étude exhaustive de l’ensemble de ses sonates pour clavier, incluant les premières oeuvres composées dans la décennie 1750. La présente recherche se propose de combler en partie cette lacune par le biais d’une analyse des 52 premiers mouvements Hoboken (Hob.) XVI. Basée sur des outils empruntés principalement à William E. Caplin, Brian Alegant et Don McLean, cette étude constitue un premier pas vers une typologie du premier mouvement de sonate chez Haydn, permettant par le fait même de refléter l’évolution de la forme sonate, en mutation tout au long de la vie créative du compositeur. Dans un premier temps, une série d’analyse capliniennes permet d’effectuer un survol des différentes formes qui composent le corpus à l’étude afin d’en dégager certains procédés spécifiques, nommément l’exploitation de techniques formelles à des fins de développement thématique, ainsi que l’emploi marqué d’ambiguïtés formelles et fonctionnelles. Dans un second temps, une analyse de la disposition du matériau suggère une conception du premier mouvement en forme sonate basée sur le développement thématique d’un nombre réduit d’idées musicales, dont la répétition est compensée par plusieurs procédés dont les principaux sont la variation structurelle dans la section de réexposition et l’emploi de différentes fonctions formelles à chaque itération. Prises dans leur ensemble, ces analyses démontrent que l’ensemble des premiers mouvements de sonate pour clavier Hob. XVI sont liées par une certaine imprévisibilité créée spécifiquement au moyen de la réutilisation thématique et des fonctions formelles. / Although there is a vast musicological literature on Joseph Haydn (1732-1809), none includes an exhaustive study of all his keyboard sonatas, including the first works composed in the 1750s. The present research aims to fill this gap through an analysis of the 52 first movements of the keyboard sonatas Hoboken (Hob.) XVI. This study constitutes a first step towards a typology of Haydn’s sonata first movement, thereby making it possible to look at the evolution of the sonata form, under development throughout the composer's creative life. Initially, a first series of Caplinian analysis allows an overview of the different forms that make up the corpus under study in order to identify certain specific procedures, namely the use of formal techniques for thematic development purposes as well as the marked use of formal and functional ambiguities. Secondly, an analysis of the arrangement of the material suggests the conception of the sonata form’s first movement to be based on the thematic development of a reduced number of ideas, the repetition of which is compensated for by several processes, the main ones of which are structural variation in the recapitulation section as well as the use of various formal functions for each iteration. Taken as a whole, these analysis show that the 52 first movements Hob. XVI are linked by the expression of a certain unpredictability caused specifically by thematic restatement and the use of various formal functions.