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 2012-07-29T00:28:47Z
dc.date.available 2012-07-29T00:28:47Z
dc.date.issued 2012-07-28
dc.identifier.uri http://hdl.handle.net/123456789/1507
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 CD72-- Anna (Hob XXXIa: 93-bis)-- Nancy’s to the greenwood gane (Hob XXXIa: 185-bis)-- The maid in Bedlam (Hob XXXIa: 13-ter)-- Maggy Lawder (Hob XXXIa: 35-ter)-- The bush aboon Traquair (Hob XXXIa: 204)-- The flowers of the forest (Hob XXXIa: 212)-- My Nannie O (Hob XXXIa: 37-bis)-- Corn riggs (Hob XXXIa: 216)-- My apron dearie (Hob XXXIa: 189-bis)-- The siller crown (Hob XXXIa: 260)-- The shepherd’s son (Hob XXXIa: 106-bis)-- Sae merry as we ha’e been (Hob XXXIa: 223)-- She rose and loot me in (Hob XXXIa: 219)-- The braes of Yarrow (Hob XXXIa: 207)-- The silken snood (Hob XXXIa: 208)-- From thee Eliza I must go. Donald (Hob XXXIa: 217)-- Gilderoy (Hob XXXIa: 225)-- Saw ye my father (Hob XXXIa: 5-ter)-- Katharine Ogie (Hob XXXIa: 220)-- Donald and Flora (Hob XXXIa: 139-bis)-- My ain kind deary O! (Hob XXXIa: 31-ter)-- O poortith cauld. I had a horse (Hob XXXIa: 17-bis)-- es
dc.format.medium 1 CD Rom (76 min., 45 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 Folk songs Scotland, Folk music Scotland es
dc.title Haydn Edition es
dc.title.alternative Scottish Songs for WIlliam Whyte 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. Anna (Hob XXXIa 93-bis).wav 3:15 32.79Mb WAV audio wav
2. Nancy’s to t ... ne (Hob XXXIa 185-bis).wav 4:19 43.62Mb WAV audio wav
3. The maid in Bedlam (Hob XXXIa 13-ter).wav 4:31 45.67Mb WAV audio wav
4. Maggy Lawder (Hob XXXIa 35-ter).wav 3:04 31.04Mb WAV audio wav
5. The bush aboon Traquair (Hob XXXIa 204).wav 2:52 28.92Mb WAV audio wav
6. The flowers of the forest (Hob XXXIa 212).wav 3:28 34.97Mb WAV audio wav
7. My Nannie O (Hob XXXIa 37-bis).wav 3:47 38.12Mb WAV audio wav
8. Corn riggs (Hob XXXIa 216).wav 1:50 18.52Mb WAV audio wav
9. My apron dearie (Hob XXXIa 189-bis).wav 3:35 36.25Mb WAV audio wav
10. The siller crown (Hob XXXIa 260).wav 3:52 39.11Mb WAV audio wav
11. The shepherd’s son (Hob XXXIa 106-bis).wav 2:06 21.20Mb WAV audio wav
12. Sae merry as we ha’e been (Hob XXXIa 223).wav 3:08 31.55Mb WAV audio wav
13. She rose and loot me in (Hob XXXIa 219).wav 4:06 41.38Mb WAV audio wav
14. The braes of Yarrow (Hob XXXIa 207).wav 3:29 35.12Mb WAV audio wav
15. The silken snood (Hob XXXIa 208).wav 3:32 35.64Mb WAV audio wav
16. From thee E ... Donald (Hob XXXIa 217).wav 3:50 38.69Mb WAV audio wav
17. Gilderoy (Hob XXXIa 225).wav 2:10 21.89Mb WAV audio wav
18. Saw ye my father (Hob XXXIa 5-ter).wav 1:49 18.30Mb WAV audio wav
19. Katharine Ogie (Hob XXXIa 220).wav 2:53 29.06Mb WAV audio wav
20. Donald and Flora (Hob XXXIa 139-bis).wav 3:59 40.21Mb WAV audio wav
21. My ain kind deary O! (Hob XXXIa 31-ter).wav 2:30 25.19Mb WAV audio wav
22. O poortith ... rse (Hob XXXIa 17-bis).wav 5:16 53.16Mb WAV audio wav

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