Haydn: 107 Symphonies

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Geiringer, Karl; Geiringer, Irene (1982). Haydn: A Creative Life in Music (3rded.). University of California. ISBN 978-0-520-04316-9. The first edition was published in 1946 with Karl Geiringer as the sole author.

The Basel Chamber Orchestra is deeply rooted in the city of Basel - with its two subscription series in the Stadtcasino Basel as well as its own rehearsal and performance venue, Don Bosco Basel. With world tours and more than 60 concerts per season, the Basel Chamber Orchestra is a popular guest at international festivals and in Europe’s most important concert halls.Of Haydn's plight, Rosen (1997) wrote, "The last years of Haydn's life, with all his success, comfort, and celebrity, are among the saddest in music. More moving than the false pathos of a pauper's grave for Mozart ... is the figure of Haydn filled with musical ideas which were struggling to escape, as he himself said; he was too old and weak to go to the piano and submit to the discipline of working them out." Some of the lead-ins at the start of the symphonies on many of the CDs are pretty long; you need to be aware that Yes your player is working and the CD is about to start; but you have to wait. The acoustic is good and works well with the scale and dynamic of the symphonies, though was obviously tempered as the project progressed – and became less resonant. Each CD comes in its own sturdy cardboard sleeve within the substantial box and a useful booklet detailing all the symphonies. The choirmaster at St Stephen's Cathedral suggested Haydn become a castrato, but his father objected and the operation never went ahead, Haydn's voice broke the following year. He has performed with many prestigious artists including Cecilia Bartoli, Kristian Bezuidenhout, Giuliano Carmignola, Isabelle Faust, Sol Gabetta, Sumi Jo, Viktoria Mullova, Katia and Marielle Labèque, Emmanuel Pahud and Giovanni Sollima. Renowned for his refined and innovative interpretation of the classical and baroque repertoire, Antonini is also a regular guest with Berliner Philharmoniker, Concertgebouworkest, Tonhalle Orchester, Mozarteum Orchester, Leipzig Gewandhausorchester, London Symphony Orchestra and Chicago Symphony Orchestra.

Various individuals bore the title "Countess Thun" over time. Candidates for the countess who engaged Haydn are (a) "the elder Countess Maria Christine Thun", ( Webster 2002); (b) Maria Wilhelmine Thun (later a famous salon hostess and patroness of Mozart), ( Volkmar Braunbehrens, 1990, Mozart in Vienna). An " Anton Walter in Wien" fortepiano used by the composer is now on display in Haydn-Haus in Eisenstadt [ de]. [75] In Vienna in 1788 Haydn bought himself a fortepiano made by Wenzel Schantz. When the composer was visiting London for the first time, an English piano builder, John Broadwood, supplied him with a concert grand. [76] See also [ edit ] Extensive booklet featuring an index of symphonies, and a new note by Haydn expert David Threasher in English, French and German Tolley, Thomas (2017). " 'Divorce a la mode': The Schwellenberg Affair and Haydn's Engagement with English Caricature". Music in Art: International Journal for Music Iconography. 42 (1–2): 273–307. ISSN 1522-7464. Symphonies nos.1-49 and A (H. I, 107) and B (H. I, 108) were issued in the series Diletto musicale as nos. 50, 167, and 201-249. The scores for symphonies 50-104 and the Sinfonia concertante (H. I, 105) are issued by Haydn-Mozart Presse. Symphonies 50-104 and the Sinfonia concertante (Hob.I:105) were issued with the numbers 25-36 (scores odd, parts even numbers); 40-41 (score 40, parts 41); 55-80 (scores odd, parts even numbers); 84-99, 138-147, 152-189 (scores even, parts odd numbers); 193-196 (scores odd, parts even numbers)The remoteness of Eszterháza, which was farther from Vienna than Eisenstadt, led Haydn gradually to feel more isolated and lonely. [32] He longed to visit Vienna because of his friendships there. [33] Of these, a particularly important one was with Maria Anna von Genzinger (1754–1793), the wife of Prince Nikolaus's personal physician in Vienna, who began a close, platonic relationship with the composer in 1789. Haydn wrote to Mrs. Genzinger often, expressing his loneliness at Esterháza and his happiness for the few occasions on which he was able to visit her in Vienna. Later on, Haydn wrote to her frequently from London. Her premature death in 1793 was a blow to Haydn, and his F minor variations for piano, Hob. XVII:6, may have been written in response to her death. [34] Landon, H. C. Robbins; Jones, David Wyn (1988). Haydn: His Life and Music. Indiana University Press. ISBN 978-0-253-37265-9. Biography chapters by Robbins Landon, excerpted from Landon 1976–1980 and rich in original source documents. Analysis and appreciation of the works by Jones. Anthony van Hoboken prepared a comprehensive catalogue of Haydn's works. The Hoboken catalogue assigns a catalog number to each work, called its Hoboken number (abbreviated H. or Hob.). These Hoboken numbers are often used in identifying Haydn's compositions.

There is reason to think that Haydn's singing impressed those who heard him, because in 1739 [e] he was brought to the attention of Georg Reutter the Younger, the director of music in St. Stephen's Cathedral in Vienna, who happened to be visiting Hainburg and was looking for new choirboys. Haydn passed his audition with Reutter, and after several months of further training moved to Vienna (1740), where he worked for the next nine years as a chorister. It is also popularly believed that Haydn sang at the funeral of Antonio Vivaldi in 1741. [ citation needed] Among the oldest sources for this are the “Entwurf Katalog” (ca. 1765) and the “Haydnverzeichnis” (1805), which originate partly from Haydn’s own hand or were revised by him. Unfortunately, a categorisation of the works according to their origin was hardly a priority for him. It seems he was only interested in the completeness of the indexes. This circumstance as well as the fact that Haydn often dated his handwritten works (to the extent they still exist) using only the year have led to difficulties in determining the exact sequence (quite apart from the self-conception of publishers and collectors at that time who numbered works in accordance with their own needs). An important attempt was undertaken to come up with a universally valid notation system by Eusebius Mandyczewski in his first complete critical edition published in 1908 by Breitkopf und Härtel. Anthony van Hoboken largely adopted this numbering system for his index of symphonies which appeared in 1957, after he made several additions. And in many cases he already took into account the studies by H. C. Robbins Landon, who had developed a chronology himself. Landon’s Chronicle did not appear before 1976, 1978 and 1980, however, and deviates considerably from the sequence of Mandyczewski and Hoboken.Haydn was a devout Catholic who often turned to his rosary when he had trouble composing, a practice that he usually found to be effective. [59] He normally began the manuscript of each composition with In nomine Domini [in the name of the Lord] and ended with Laus Deo [praise be to God]. [60] He retained this practice even in his secular works; he frequently only uses the initials "L. D.", "S. D. G." [ soli Deo gloria], or Laus Deo et B. V. M.[... and to Beatae Virigine Mariae] and sometimes adds, "et om s si s" ( et omnibus sanctis – and all saints) [61]