Haydn Edition

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Haydn Edition

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dc.contributor.other Joseph Haydn es
dc.contributor.other Lorna Anderson es
dc.contributor.other Jaime MacDougall es
dc.contributor.other Haydn Trio Eisenstadt es
dc.contributor.other Harald Kosik es
dc.contributor.other Verena Stourzh es
dc.contributor.other Hannes Gradwohl es
dc.coverage.spatial Eisenstadt, Austria es
dc.date.accessioned 2012-07-29T00:26:12Z
dc.date.available 2012-07-29T00:26:12Z
dc.date.issued 2012-07-28
dc.identifier.uri http://hdl.handle.net/123456789/1498
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 CD62-- Scottish Songs for George Thomson II-- Peggy I must love thee (Hob XXXIa: 167)-- The bonny grey-ey’d morn (Hob XXXIa: 101-bis)-- The minstrel (Hob XXXIa:115-bis)-- Deil tak’ the wars (Hob XXXIa: 115-bis)-- Gramachree (hob XXXIa: 13-bis)-- Up and war them a’ Willy (Hob XXXIa: 233)-- I canna come ilka day to woo (Hob XXXIa:140-bis)-- Langolee (Hob XXXIa: 235)-- Hey tutti taiti (Hob XXXIa:174)-- Kellyburn braes (Hob XXXIa: 148-bis)-- The Poet’s ain Jean (Hob XXXIa: 230)-- Gil Morris (Hob XXXIa: 196)-- The last time I came o’er the muir (Hob XXXIa: 199)-- The mucking o’ Geordie’s byre (Hob XXXIa: 51-bis)-- The happy trio (Hob XXXIa: 243)-- The wish (Hob XXXIa: 245)-- Killiecrankie (Hob XXXIa: 169)-- My apron deary (Hob XXXIa:189)-- The brisk young lad (Hob XXXIa: 46-bis)-- Whistle o’re the lave o’t (Hob XXXIa: 76-bis)-- Fy gar rub her 0’er wi strae (Hob XXXIa: 7-bis)-- My Love she’s but a lassie yet (Hob XXXIa: 194)-- My Nanie O (Hob XXXIa: 37-quarter)-- es
dc.format.medium 1 CD Rom (73 min., 14 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 Songs Scotland, Songs with instrumental ensemble es
dc.title Haydn Edition es
dc.title.alternative Scottish Songs for George Thomson II es
dc.title.alternative Folk Songs (complete) es
dc.title.alternative Canciones Folklóricas (Completo) es
dc.language.rfc3066 eng es
dc.identifier.classification 5028421937823 es
dc.subject.cdu Ha.30 es


Files in this item

Files Length Size Format View Description
1. Peggy I must love thee (Hob XXXIa 167).wav 2:46 27.84Mb WAV audio wav
2. The bonny gr ... rn (Hob XXXIa 101-bis).wav 1:27 14.69Mb WAV audio wav
3. The minstrel (Hob XXXIa115-bis).wav 2:59 30.15Mb WAV audio wav
4. Deil tak’ the wars (Hob XXXIa 115-bis).wav 2:44 27.64Mb WAV audio wav
5. Gramachree (Hob XXXIa 13-bis).wav 2:56 29.61Mb WAV audio wav
6. Up and war them a’ Willy (Hob XXXIa 233).wav 3:57 39.85Mb WAV audio wav
7. I canna come ... oo (Hob XXXIa 140-bis).wav 1:55 19.41Mb WAV audio wav
8. Langolee (Hob XXXIa 235).wav 3:36 36.31Mb WAV audio wav
9. Hey tutti taiti (Hob XXXIa 174).wav 2:57 29.82Mb WAV audio wav
10. Kellyburn braes (Hob XXXIa 148-bis).wav 4:34 46.04Mb WAV audio wav
11. The Poet’s ain Jean (Hob XXXIa 230).wav 2:08 21.55Mb WAV audio wav
12. Gil Morris (Hob XXXIa 196).wav 4:59 50.38Mb WAV audio wav
13. The last ti ... e muir (Hob XXXIa 199).wav 4:35 46.33Mb WAV audio wav
14. The mucking ... yre (Hob XXXIa 51-bis).wav 3:27 34.85Mb WAV audio wav
15. The happy trio (Hob XXXIa 243).wav 4:20 43.71Mb WAV audio wav
16. The wish (Hob XXXIa 245).wav 2:19 23.44Mb WAV audio wav
17. Killiecrankie (Hob XXXIa 169).wav 3:43 37.54Mb WAV audio wav
18. My apron deary (Hob XXXIa 189).wav 3:45 37.85Mb WAV audio wav
19. The brisk young lad (Hob XXXIa 46-bis).wav 3:57 39.89Mb WAV audio wav
20. Whistle o’r ... o’t (Hob XXXIa 76-bis).wav 1:51 18.64Mb WAV audio wav
21. Fy gar rub ... trae (Hob XXXIa 7-bis).wav 4:18 43.46Mb WAV audio wav
22. My Love she ... ie yet (Hob XXXIa 194).wav 1:23 13.94Mb WAV audio wav
23. My Nanie O (Hob XXXIa 37-quarter).wav 2:39 26.76Mb WAV audio wav

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