Haydn Edition

DSpace Repository

Haydn Edition

Show simple item record

dc.contributor.other Joseph Haydn es
dc.contributor.other Helen Donath es
dc.contributor.other Adalbert Kraus es
dc.contributor.other Kurt Widmer es
dc.contributor.other Süddeutsches Madrigalchor es
dc.contributor.other Orchester der Ludwigsburger Festspiele es
dc.contributor.other Wolfgang Gönnenwein es
dc.date.accessioned 2012-07-29T00:15:58Z
dc.date.available 2012-07-29T00:15:58Z
dc.date.issued 2012-07-28
dc.identifier.uri http://hdl.handle.net/123456789/1460
dc.description.abstract Franz Joseph Haydn is the composer who, more than any other, epitomizes the aims and achievements of the Classical era. Perhaps his most important achievement was that he developed and evolved in countless subtle ways the most influential structural principle in the history of music: his perfection of the set of expectations known as sonata form made an epochal impact. In hundreds of instrumental sonatas, string quartets, and symphonies, Haydn both broke new ground and provided durable models; indeed, he was among the creators of these fundamental genres of classical music. His influence upon later composers is immeasurable; Haydn's most illustrious pupil, Beethoven, was the direct beneficiary of the elder master's musical imagination, and Haydn's shadow lurks within (and sometimes looms over) the music of composers like Schubert, Mendelssohn, and Brahms. Part and parcel of Haydn's formal mastery was his famous sense of humor, his feeling for the unpredictable, elegant twist. In the Symphony No. 94 ("Surprise") (1791), the composer tweaks those audience members who typically fall asleep during slow movements with the sudden, completely unexpected intrusion of a fortissimo chord during a passage of quietude. Haydn's pictorial sense is much in evidence works like his epic oratorio The Creation (1796-1798), in which images of the cosmos taking shape are thrillingly, movingly portrayed in tones. By one estimate, Haydn produced some 340 hours of music, more than Bach or Handel, Mozart or Beethoven. Few of them lack some unexpected detail or clever solution to a formal problem. Haydn was prolific not just because he was a tireless worker with an inexhaustible musical imagination, but also because of the circumstances of his musical career: he was the last prominent beneficiary of the system of noble patronage that had nourished European musical composition since the Renaissance. Born in the small Austrian village of Rohrau, he became a choirboy at St. Stephen's cathedral in Vienna when he was eight. After his voice broke and he was turned out of the choir, he eked out a precarious living as a teenage freelance musician in Vienna. His fortunes began to turn in the late 1750s as members of Vienna's noble families became aware of his music, and on May 1, 1761, he went to work for the Esterházy family. He remained in their employ for the next 30 years, writing many of his instrumental compositions and operas for performance at their vast summer palace, Esterháza. Musical creativity may often, it is true, meet a tragic end, but Haydn lived long enough to reap the rewards of his own imagination and toil. The Esterházys curtailed their musical activities in 1790, but by that time Haydn was known all over Europe and widely considered the greatest living composer. (He himself deferred to Mozart in that regard, and the friendly competition between the two composers deepened the music of both.) Two trips to London during the 1790s resulted in two sets of six symphonies each (among them the "Surprise" symphony) that remain centerpieces of the orchestral repertoire. Haydn's final masterpieces included powerful choral works: the Creation and Seasons oratorios and a group of six masses. Haydn stopped composing in 1803, after which he prefaced his correspondence with a little musical quotation (from one of his part-songs) bearing the text "Gone is all my strength; I am old and weak." He died in Vienna on May 31, 1809. © AMG, All Music Guide es
dc.description.tableofcontents CD49-- Die Schöpfung Oratorio for three soloists chorus and orchestra Words after Milton’s Paradise Lost by Gottfried van Swieten Part II (continuation) ; Recitative (Raphael) ’Und Gott sprach es bringe die Erde hervor’, Recitative (Raphael) ‘Gleich öffnet sich der Erde Schoss’, Aria (Raphael) ‘Nun scheint in vollem Glanze der Himmel’, Recitative (Uriel) ‘Und Gott schuf den Menschen’, Aria (Uriel) ‘Mit Würd und Hoheit angetan’, Recitative (Raphael) ‘Und Gott sah jedes Ding’, Chorus ‘Vollendet ist das grosse Werk’, Trio (Gabriel, Uriel, Raphael) ‘Zur dir o Herr blickt aller auf’, Chorus ‘Vollendet ist das große Werk’-- Part III ; Recitative (Uriel) ‘Aus Rosenwolken bricht’, Duet (Eve, Adam) with chorus ‘Von deiner Güt o Herr und Gott’, Recitative (Adam, Eve) ‘Nun ist die erste Pflicht erfüllt’, Duet (Adam, Eve) ‘Holde Gattin! Dir zur Seite’, Recitative (Uriel) ‘O glücklich Parr! Und glücklich immerfort’, Chorus with soloists ‘Singt dem Herrn alle Stimmen’-- es
dc.format.medium 1 CD Rom (49 min., 03 seg) : Stereo 4 3/4 plg es
dc.language.iso en_US es
dc.rights Uninorte F.M Estéreo es
dc.subject.lcc 635107684 es
dc.subject.lcsh Oratorios es
dc.title Haydn Edition es
dc.title.alternative Die Shöpfung Part 2 (Conclusion) Part 3 es
dc.language.rfc3066 eng es
dc.rights.holder Vox es
dc.identifier.classification 5028421937823 es
dc.subject.cdu Ha.30 es


Files in this item

Files Length Size Format View Description
Die Schöpfung O ... van Swieten - Part III.wav 28:24 286.6Mb WAV audio wav

This item appears in the following Collection(s)

Show simple item record