126 research outputs found
J.C. Bach's London keyboard sonatas : style and context
No full textJ. C. Bach's keyboard works include several sets of accompanied sonatas, a genre that enjoyed a wide popularity during the Classical era, but never
found its way into the concert repertoire. The accompanied sonata was a genre meant for domestic performance; the solo keyboard sonata, on
the other hand, was adopted in due course by concert audiences. J. C. Bach composed works within both genres during most of his productive years, and his output constitutes a corpus of remarkable consistency. J. C. Bach's removal to London in 1762 coincided with his clear adoption of a galant style, marked by the Italianate influence, and the abandonment of most Baroque traits. The British milieu provided additional factors: the rise of the pianoforte, a thriving music-publishing market, and a great interest in domestic music making among the affluent classes. These factors marked J. C. Bach's output at various levels. Keyboard works had to conform to the proficiency of the amateur performer, a
fact reflected in the accompanied output mostly. The number of movements, their length, and the inclusion of particular technical devices are readily observable differences between the two genres. The most remarkable
distinction lies perhaps in the preference for binary sonata format in the accompanied. sonatas from the mid 1760s to the 1770s, in spite of a later tendency for tripartite designs in both genres. J. C. Bach's lifelong preference for motivic phrase structure conditioned his keyboard production and partly explains the gap in quality between some of his works and sonatas composed around the same time by Haydn and Mozart, who developed more effective means to connect the melodic material
to higher structural units. J. C. Bach's influence, however, endured in Mozart's handling of melody, and his keyboard production constitutes, in spite of some flaws, a noteworthy example of elegance and craftsmanship
E se fosse Haydn...
No full textUn'intensa e personale riflessione sul valore della musica di Franz Joseph Haydn, sulle esecuzioni note all'autore e sull'influenza di Haydn su Mozart e Beethoven, ancor più profonda - contrariamente alla consueta vulgata - nella loro tarda produzione che nel loro periodo di apprendistato.A deep and personal meditation on the value of FJ Haydn's music, on the performances known by the author and on Haydn's influence on Mozart and Beethoven - an influence that, contrarily to common opinion, even deeper in their late production than in their apprenticeship
Haydn biography by a Milanese musician from the time of the Napoleonic wars
No full textThe article discusses the German translation of Giuseppe Carpani’s Haydn biography of 1812. While notes on Haydn by the two German biographers Dies and Griesinger are regularly quoted and considered authentic despite the fact that their authors were good observers but not musicians, musicology pays little attention to the third contemporary Haydn biography by the musician Carpani (1752[?]–1825). He was looked upon with distrust and it reflected on him in intellectual circles that his book on Haydn was plagiarized under a pseudonym right after its publication by an author who later acquired world fame as Stendhal
Composing Authority in Six Forged “Haydn” Sonatas
No full textIn December 1993 news broke that six keyboard sonatas whose rediscovery was being hailed as “The Haydn Scoop of the Century” were, in fact, not by Haydn at all. It soon emerged that the compositions—initially believed to be the lost Hob. XVI:2a–e and 2g—were not simple misattributions, but rather something that has rarely been discussed in the music world: modern forgeries deliberately constructed to deceive scholars and listeners.
Adapting philosophical and art-historical writing on forgery to music, this article examines the six “Haydn” sonatas in the context of contemporary debates about expertise, postmodernism, and the author concept. Analyzing the stylistic content of the works in question sheds new light on musical forgeries as artifacts of aesthetic prejudice and anti-academic critique. More broadly, it suggests that the long-overlooked phenomenon of forgery poses questions about authorship, authority, and truth itself that have an important place in our shared history as musicologists.
Should our standards of evidence be rooted in historical sources, musical style, or some combination of the two? What kind of relationship do we believe exists between composers and their works? And is there any inherent reason—cultural, ethical, or otherwise—that we cannot write music like Haydn’s today? In posing such questions, the story of the forged Haydn sonatas provides us with a unique opportunity to reflect on the values and future of the field.</jats:p
The Australian Musical News and Musical Digest. volume 47 issue 8, 1957
No full textAlfred K. Allan (Allan, Alfred K.); Arthur Unwin (Unwin, Arthur); Biddy Allen (Allen, Biddy); Eileen Joyce (Joyce, Eileen, 1908-1991.); Haydn Morgan (Morgan, Haydn); Jeffreys Scherek (Scherek, Jeffreys); Joan Bazeley (Bazeley, Joan); Lance Ingram (Ingram, Lance); Leonard Hungerford (Hungerford, Leonard); Linda Phillips (Phillips, Linda, 1899-2002); Lindley Evans (Evans, Lindley, 1895-1982); Noel L. Masey (Masey, Noel L.); Noel L. Mosey (Mosey, Noel L.); Toscanini (Toscanini, Arturo, 1867-1957); Walter Stiasny (Stiasny, Walter
Dr. W. Haydn Ambrose Is the Author of a New Book
No full text1 p.In 1968, W. Haydn Ambrose, an administrator at Kalamazoo College, published his book "The Church in the University.
Franz Joseph Haydn and the Five-Octave Classical Keyboard: Registral Extremes, Formal Emphases and Tonal Strategies
No full textThe Classical keyboard in its various forms (harpsichord, clavichord and fortepiano) typically had a modest five-octave range (FF–f3) prior to ca. 1800. This essay examines how this range influenced the tonal shape of Joseph Haydn's keyboard music written after 1765. The author explores how Haydn used registral extremes to emphasize major formal junctures, cadences and modulations. Finally, he explores how the presence or absence of the keyboard's extreme pitches contributes to key character, examining the different contexts in which Haydn uses them in three tonalities: D minor, C major and A major.Avant environ 1800, les différentes formes d’instruments à clavier classiques (clavecin, clavicorde et pianoforte) comportaient un modeste ambitus de cinq octaves (de deux octaves et demie sous le do central à fa deux octaves et demie au-dessus du do central). Le présent essai analyse comment cet ambitus influe sur le contour tonal de la musique pour clavier de Joseph Haydn, écrite après 1765. L’auteur démontre comment Haydn utilisait les extrémités du registre pour mettre en relief les principaux points de jonction formels, les cadences et les modulations importantes. Enfin, il signale comment la présence ou l’absence des hauteurs extrêmement graves ou aiguës du clavier contribue à accentuer le caractère de la tonalité. Pour ce faire, il étudie différents contextes dans lesquels Haydn les emploie : ré mineur, do majeur et la majeur
Folk Song in the Wind Band Music of Haydn Wood: Mannin Veen and a New Performing Edition of the Seafarer
No full textNestled between England and Ireland, one can find a tiny island called the Isle of Man, or more simply, Mann. One of its most famous musical representatives is composer and violinist Haydn Wood. In an effort to preserve and promote the fine music and culture of the Isle of Man in general, and the work of Haydn Wood in particular, the author analyzed two wind band works written by the composer. Mannin Veen draws directly on the musical heritage of Mann. The Seafarer, which has been out of print for many years, does not use Manx musical traditions directly, but is inspired by songs of the sea. It should briefly be noted here that the word ?Manx? is a reference to the linguistic and cultural traditions of Mann in the same way that ?Welsh? refers to the language and culture of Wales. As an island, the sea is a constant presence and influence in the life of its people. As such, the songs used by sailors in their work form an important element of Manx culture and tradition. Haydn Wood incorporated several traditional sea songs in The Seafarer. Therefore, through these two works, one can see the influence of folk music on Haydn Wood?s body of work. Finally, as part of an effort to bring The Seafarer back to recognition, if not prominence, the author has created a new performing edition in the hopes that it might once again be published and made available to the repertoire of wind bands everywhere
Production of Polyhydroxyalkanoate Copolymers by Cupriavidus necator using Spent Coffee Grounds as a Sustainable Feedstock
No full textMetric manipulations in Haydn and Mozart: chamber music for strings, 1787-1791
No full textPlaying with Meter makes a significant contribution to music theory and to the growing conversation on metric perception and musical composition. Focusing on the chamber music of Haydn and Mozart produced during the years 1787 to 1791, the period of most intense metric experimentation in the output of both composers, author Danuta Mirka presents a systematic discussion of metric manipulations in music of the late 18th-century. By bringing together historical and present-day theoretical approaches to rhythm and meter on the basis of their shared cognitive orientations, the book places the ideas of 18th-century theorists such as Riepe, Sulzer, Kirnberger and Koch into dialogue with modern concepts in cognitive musicology, particularly those of Fred Lerdahl and Ray Jackendoff, David Temperley, and Justin London. In addition, the book puts considerations of subtle and complex meter found in 18th-century musical handbooks and lexicons into point-by-point contact with Harald Krebs's recent theory of metrical dissonance. The result is an innovative and illuminating reinterpretation of late 18th-century music and music perception which will have resonance in scholarship and in analytical teaching and practice. Playing with Meter will appeal to students and scholars in music theory and cognition/perception, and will also have appeal to musicologists studying Haydn and Mozart
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