published: 14 Oct 2007
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![Joseph Haydn: Piano Sonata no. 46 in E major, Hob XVI:31 [by Vadim Chaimovich]](http://web.archive.org./web/20121025054643im_/http://i.ytimg.com/vi/9cvLOGrH9Xk/0.jpg "Franz Joseph Haydn (1732 - 1809) Piano sonata no. 46 in E major / E-Dur, Hob. XVI:31 1. Moderato 2. Allegretto 3. Presto Vadim Chaimovich, piano (LIVE PREFORMANCE) PS: Please support the artist by purchasing his recordings on CD! For more information please visit the profile. Thank you!")
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Archduchy of Austria
The Archduchy of Austria (), one of the most important states within the Holy Roman Empire, was the nucleus of the Habsburg Monarchy and the predecessor of the Austrian Empire. Over nearly 700 years, it evolved from a margraviate to the center of an empire. With its capital at Vienna, the archduchy was centered in the area of the current Austrian federal state of Lower Austria and included most of what is now Upper Austria as well.
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Austria
Austria or (), officially the Republic of Austria (German: ), is a landlocked country of roughly 8.3 million people in Central Europe. It is bordered by Germany and the Czech Republic to the north, Slovakia and Hungary to the east, Slovenia and Italy to the south, and Switzerland and Liechtenstein to the west. The territory of Austria covers and has a temperate and alpine climate. Austria's terrain is highly mountainous due to the presence of the Alps; only 32% of the country is below , and its highest point is . The majority of the population speaks German, which is also the country's official language. Other local official languages are Croatian, Hungarian and Slovene.
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Gresham College is an institution of higher learning located at Barnard's Inn Hall off Holborn in central London, England. it enrols no students and grants no degrees; instead, its eight appointed professors—of
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Antonio Salieri (18 August 1750 - 7 May 1825) was an Italian classical composer, conductor and teacher born in the Republic of Venice, but who spent his adult life and career as a faithful subject of the Habsburg Monarchy.
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Antony Hopkins
Antony Hopkins CBE (born 21 March 1921) is an English composer, pianist, conductor, and radio broadcaster.
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Austria
Austria or (), officially the Republic of Austria (German: ), is a landlocked country of roughly 8.3 million people in Central Europe. It is bordered by Germany and the Czech Republic to the north, Slovakia and Hungary to the east, Slovenia and Italy to the south, and Switzerland and Liechtenstein to the west. The territory of Austria covers and has a temperate and alpine climate. Austria's terrain is highly mountainous due to the presence of the Alps; only 32% of the country is below , and its highest point is . The majority of the population speaks German, which is also the country's official language. Other local official languages are Croatian, Hungarian and Slovene.
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Charles Burney FRS (7 April 1726 – 12 April 1814) was an English music historian and father of authors Frances Burney and Sarah Burney.
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Charles Rosen (born May 5, 1927) is an American pianist and author on music.
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Count Morzin was an aristocrat of the Austrian Empire during the 18th century. He is remembered today as the first person to employ the composer Joseph Haydn as his Kapellmeister, or music director. The first few of Haydn's approximately 106 symphonies were written for the Count.
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Howard Chandler Robbins Landon (March 6, 1926November 20, 2009) was an American musicologist.
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Ignace Joseph Pleyel , ; (June 18, 1757 – November 14, 1831) was an Austrian-born French composer and piano builder of the Classical period.
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Johann Peter Salomon (20 February 1745 (baptized) – 28 November 1815) was a German violinist, composer, conductor and musical impresario.
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Joseph Haydn
Franz Joseph Haydn (31 March 173231 May 1809), known as Joseph Haydn (; ), was an Austrian composer, one of the most prolific and prominent composers of the classical period. He is often called the "Father of the Symphony" and "Father of the String Quartet" because of his important contributions to these genres. He was also instrumental in the development of the piano trio and in the evolution of sonata form.
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Roger Parker (born London United Kingdom, 2 August 1951) is an English musicologist, and is currently Thurston Dart Professor of Music at King's College London.
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Ron Drummond
Ronald Norman Drummond (born 17 October 1959, in Seattle) is an American writer, editor, and independent scholar, living in Troy, New York as of 2010.
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Matching books:
The Story of the 6th Battalion, The Durham Light Infantry
String Quartet in F Major, Op. 74 no. 2
Emperor Quartet op.76 no.3., 2nd movement
String Quartet No. 58 in F Major, Op. 74, No. 2, FHE No. 29, Hoboken No. 73
Franz Haydn's 104th Symphony [1794-5]
String Quartet No. 57 in C Major, Op. 74, No. 1, FHE No. 28, Hoboken No. 72
RELEASE
ALBUMS
- Sonata No. 29 (Hob. XVI: 45) - Moderato
- Sonata No. 29 (Hob. XVI: 45) - Andante
- Sonata No. 29 (Hob. XVI: 45) - Finale. Allegro di molto - Adagio
- Sonata No. 33 (Hob. XVI: 20) - Moderato (Allegro moderato) - Adagio - Tempo I - Adagio - Tempo I
- Sonata No. 33 (Hob. XVI: 20) - Andante con moto
- Sonata No. 33 (Hob. XVI: 20) - Finale. Allegro
- Sonata No. 42 (Hob. XVI: 27) - Allegro con brio
- Sonata No. 42 (Hob. XVI: 27) - Menuet - Trio - Menuet da capo
- Sonata No. 42 (Hob. XVI: 27) - Finale. Presto
- Sonata No. 16 (Hob. XVI: 14) - Allegro moderato
- Sonata No. 16 (Hob. XVI: 14) - Menuet - Trio (Minore) - Menuet da capo
- Sonata No. 16 (Hob. XVI: 14) - Allegro (Presto)
- Die Jahreszeiten, Hob. XXI:3: Der Fruhling: No. 1a - "Einleitung"
- Die Jahreszeiten, Hob. XXI:3: Der Fruhling: No. 1b Rezitativ - "Seht, wie der strenge Winter flieht!"
- Die Jahreszeiten, Hob. XXI:3: Der Fruhling: No. 2 Chor des Landvolks - "Komm, holder Lenz!"
- Die Jahreszeiten, Hob. XXI:3: Der Fruhling: No. 3 Rezitativ - "Vom Widder strahlet jetzt"
- Die Jahreszeiten, Hob. XXI:3: Der Fruhling: No 4 Arie - "Schon eilet froh der Ackersmann"
- Die Jahreszeiten, Hob. XXI:3: Der Fruhling: No. 5 Rezitativ - "Der Landmann hat sein Werk vollbracht"
- Die Jahreszeiten, Hob. XXI:3: Der Fruhling: No. 6 Terzett und Chor: Bittgesang - "Sei nun gnaedig, milder Himmel"
- Die Jahreszeiten, Hob. XXI:3: Der Fruhling: No. 7 Rezitativ - "Erhoert ist unser Fleh'n"
- Die Jahreszeiten, Hob. XXI:3: Der Fruhling: No. 8a Freudenlied, mit abwechselndem Chor der Jugend - "O wie lieblich"
- Die Jahreszeiten, Hob. XXI:3: Der Fruhling: No. 8b Allegro - "Ehre, Lob und Preis sei dir"
- Die Jahreszeiten, Hob. XXI:3: Der Sommer: No. 9 Einleitung und Rezitativ - "In grauem Schleier"
- Die Jahreszeiten, Hob. XXI:3: Der Sommer: No. 10 Arie und Rezitativ - "Der munt're Hirt"
- Die Jahreszeiten, Hob. XXI:3: Der Sommer: No 11 Terzett und Chor: "Sie steigt herauf"
- Die Jahreszeiten, Hob. XXI:3: Der Sommer: No. 12a Rezitativ: "Nun regt und bewegt sich alles umher"
- Die Jahreszeiten, Hob. XXI:3: Der Sommer: No. 12b Rezitativ - "Die Mittagssonne"
- Die Jahreszeiten, Hob. XXI:3: Der Sommer: No. 13 Cavatine - "Dem Druck erlieget die Natur"
- Die Jahreszeiten, Hob. XXI:3: Der Sommer: No 14 Rezitativ: "Willkommen jetzt"
- Die Jahreszeiten, Hob. XXI:3: Der Sommer: No 15 Arie - "Welche Labung fuer die Sinne"
- Die Jahreszeiten, Hob. XXI:3: Der Sommer: No 16 Rezitativ - "O seht!"
- Die Jahreszeiten, Hob. XXI:3: Der Sommer: No. 17 Chor -"Ach! Das Ungewitter naht!"
- Die Jahreszeiten, Hob. XXI:3: Der Sommer: No. 18a Terzett und Chor - "Die duest'ren Wolken trennen sich"
- Die Jahreszeiten, Hob. XXI:3: Der Sommer: No 18b Allegro - "Von oben winkt der helle Stern"
Joseph Haydn: Baryton Divertimenti, Volume 1 (The Esterhàzy Machine feat. baryton: Kenneth Slowik, viola: Steven Dann & violoncello: Myron Lutzke)
Released [2010]
Released [2010]
- Trio in A Major, Hob XI:35: Adagio
- Trio in A Major, Hob XI:35: Allegro di molto
- Trio in A Major, Hob XI:35: Menuet
- Trio in D Major, Hob XI:97: Adagio cantabile
- Trio in D Major, Hob XI:97: Allegro di molto
- Trio in D Major, Hob XI:97: Menuet
- Trio in D Major, Hob XI:97: Polonaise
- Trio in D Major, Hob XI:97: Adagio
- Trio in D Major, Hob XI:97: Menuet
- Trio in D Major, Hob XI:97: Fuga: Presto
- Trio in G Major, Hob XI:124: Moderato
- Trio in G Major, Hob XI:124: Menuet
- Trio in G Major, Hob XI:124: Finale. Presto
- Trio in A Minor, Hob XI:87: Adagio
- Trio in A Minor, Hob XI:87: Allego di molto
- Trio in A Minor, Hob XI:87: Menuet
- Trio in C Major, Hob XI:101: Allegro
- Trio in C Major, Hob XI:101: Menuet
- Trio in C Major, Hob XI:101: Finale. Fuga a 3 soggetti in contrapunto doppio
- Symphony No.104 in D Major, Hob.I:104 "London": I. Adagio - Allegro
- Symphony No.104 in D Major, Hob.I:104 "London": II. Andante
- Symphony No.104 in D Major, Hob.I:104 "London": III. Menuet (Allegro)
- Symphony No.104 in D Major, Hob.I:104 "London": IV. Finale (Spiritoso)
- Symphony No.95 in C Minor, Hob.I:95: I. Allegro moderato
- Symphony No.95 in C Minor, Hob.I:95: II. Andante cantabile
- Symphony No.95 in C Minor, Hob.I:95: III. Menuetto
- Symphony No.95 in C Minor, Hob.I:95: IV. Finale (Vivace)
Harmoniemesse / Cantata "Qual dubbio ormai" / Te Deum (Concentus Musicus Wien feat. conductor: Nikolaus Harnoncourt)
Released [2009]
Released [2009]
- Missa in B flat major "Harmoniemesse", Hob. XXII:14: Kyrie
- Missa in B flat major "Harmoniemesse", Hob. XXII:14: Gloria
- Missa in B flat major "Harmoniemesse", Hob. XXII:14: Gratias
- Missa in B flat major "Harmoniemesse", Hob. XXII:14: Quoniam
- Missa in B flat major "Harmoniemesse", Hob. XXII:14: Credo
- Missa in B flat major "Harmoniemesse", Hob. XXII:14: Et incarnatus
- Missa in B flat major "Harmoniemesse", Hob. XXII:14: Et resurrexit
- Missa in B flat major "Harmoniemesse", Hob. XXII:14: Sanctus
- Missa in B flat major "Harmoniemesse", Hob. XXII:14: Benedictus
- Missa in B flat major "Harmoniemesse", Hob. XXII:14: Agnus Dei
- Missa in B flat major "Harmoniemesse", Hob. XXII:14: Dona nobis pacem
- Cantata "Qual dubbio ormai", Hob. XXIVa:4: (Recitativo accompagnato) Qual dubbio ormai
- Cantata "Qual dubbio ormai", Hob. XXIVa:4: (Aria) Se ogni giorno, Prence invitto
- Cantata "Qual dubbio ormai", Hob. XXIVa:4: (Recitativo) Saggio il pensier
- Cantata "Qual dubbio ormai", Hob. XXIVa:4: (Coro) Scenda propizio un raggio
- Te Deum in C major, Hob. XXIIIc:1: Te Deum laudamus
- Te Deum in C major, Hob. XXIIIc:1: Te ergo quaesumus
- Te Deum in C major, Hob. XXIIIc:1: Aeterna fac cum sanctis tuis
BBC Music, Volume 17, Number 11: Symphonies Nos. 22, 26, 67 & 80 (BBC Philharmonic feat. conductor: Nicholas Kraemer)
Released [2009]
Released [2009]
- Symphony No. 22 in E-flat major "The Philosopher": I. Adagio
- Symphony No. 22 in E-flat major "The Philosopher": II. Presto
- Symphony No. 22 in E-flat major "The Philosopher": III. Menuetto e trio
- Symphony No. 22 in E-flat major "The Philosopher": IV. Presto
- Symphony No. 26 in D minor "Lamentatione": I. Allegro assai
- Symphony No. 26 in D minor "Lamentatione": II. Adagio
- Symphony No. 26 in D minor "Lamentatione": III. Menuetto e trio
- Symphony No. 67 in F major: I. Presto
- Symphony No. 67 in F major: II. Adagio
- Symphony No. 67 in F major: III. Menuetto e trio
- Symphony No. 67 in F major: IV. Finale
- Symphony No. 80 in D minor: I. Allegro spiritoso
- Symphony No. 80 in D minor: II. Adagio
- Symphony No. 80 in D minor: III. Menuetto e trio
- Symphony No. 80 in D minor: IV. Finale. Presto
Everybody's Haydn - Symphonies No. 100 "Military", No. 101 "The Clock", No. 103 "Drumroll", No. 104 "London" (Orchestra of St. Luke's feat. conductor Sir Charles MacKerras)
Released [2009]
Released [2009]
- Symphony No. 100, "Military": I. Adagio - Allegro
- Symphony No. 100, "Military": II. Allegretto
- Symphony No. 100, "Military": III. Menuet: Moderato
- Symphony No. 100, "Military": IV. Finale: Presto
- Symphony No. 103, "Drumroll": I. Adagio - Allegro con spirito
- Symphony No. 103, "Drumroll": II. Andante più tosto Allegretto
- Symphony No. 103, "Drumroll": III. Menuet - Trio
- Symphony No. 103, "Drumroll": IV. Finale: Allegro con spirito
- Quartet for 2 Violins, Viola, and Cello No. 8 in E major, Op. 2 No. 2 Hob. III:8: I. Allegro
- Quartet for 2 Violins, Viola, and Cello No. 8 in E major, Op. 2 No. 2 Hob. III:8: II. Menuetto e Trio
- Quartet for 2 Violins, Viola, and Cello No. 8 in E major, Op. 2 No. 2 Hob. III:8: III. Adagio
- Quartet for 2 Violins, Viola, and Cello No. 8 in E major, Op. 2 No. 2 Hob. III:8: IV. Menuetto e Trio
- Quartet for 2 Violins, Viola, and Cello No. 8 in E major, Op. 2 No. 2 Hob. III:8: V. Finale. Presto
- Quartet for 2 Violins, Viola, and Cello in F major, Op. 2 No. 4 Hob. III:10: I. Presto
- Quartet for 2 Violins, Viola, and Cello in F major, Op. 2 No. 4 Hob. III:10: II. Menuetto e Trio
- Quartet for 2 Violins, Viola, and Cello in F major, Op. 2 No. 4 Hob. III:10: III. Adagio non troppo
- Quartet for 2 Violins, Viola, and Cello in F major, Op. 2 No. 4 Hob. III:10: IV. Menuetto e Trio
- Quartet for 2 Violins, Viola, and Cello in F major, Op. 2 No. 4 Hob. III:10: V. Allegro
- Quartet for 2 Violins, Viola, and Cello No. 10 in B-flat major, Op. 2 No. 6 Hob. III:12: I. Adagio
- Quartet for 2 Violins, Viola, and Cello No. 10 in B-flat major, Op. 2 No. 6 Hob. III:12: II. Menuetto e Trio
- Quartet for 2 Violins, Viola, and Cello No. 10 in B-flat major, Op. 2 No. 6 Hob. III:12: III. Presto
- Quartet for 2 Violins, Viola, and Cello No. 10 in B-flat major, Op. 2 No. 6 Hob. III:12: IV. Menuetto e Trio
- Quartet for 2 Violins, Viola, and Cello No. 10 in B-flat major, Op. 2 No. 6 Hob. III:12: V. Presto
- Violinkonzert, No. 1 C-Dur - allegro moderato
- Violinkonzert, No. 1 C-Dur - adagio
- Violinkonzert, No. 1 C-Dur - finale. Presto
- Violinkonzert, No. 3 A-Dur - moderato
- Violinkonzert, No. 3 A-Dur - adagio moderato
- Violinkonzert, No. 3 A-Dur - finale. Allegro
- Violinkonzert, No. 4 G-Dur - allegro moderato
- Violinkonzert, No. 4 G-Dur - adagio
- Violinkonzert, No. 4 G-Dur - finale. Allegro
- Die Sieben Letzten Worte, Op. 49 (Hob. XX/1:C): L'introduzione. Maestoso & Adagio
- Die Sieben Letzten Worte, Op. 49 (Hob. XX/1:C): Sonata I. Largo "Pater dimitte illis quia nesciunt quid faciunt"
- Die Sieben Letzten Worte, Op. 49 (Hob. XX/1:C): Sonata II. Grave e Cantabile "Hodie mecum eris in paradiso"
- Die Sieben Letzten Worte, Op. 49 (Hob. XX/1:C): Sonata III. Grave "Mulier ecce filius tuus"
- Die Sieben Letzten Worte, Op. 49 (Hob. XX/1:C): Sonata IV. Largo "Deus meus ud quid dereliquisti me"
- Die Sieben Letzten Worte, Op. 49 (Hob. XX/1:C): Sonata V. Adagio "Sitio"
- Die Sieben Letzten Worte, Op. 49 (Hob. XX/1:C): Sonata VI. Lento "Consummatum est"
- Die Sieben Letzten Worte, Op. 49 (Hob. XX/1:C): Sonata VII. Largo "In manus tuas Domine commendo spiritum meum"
- Die Sieben Letzten Worte, Op. 49 (Hob. XX/1:C): Il Terremoto. Presto
- Concerto No. 1 in C major for 2 lire organizzate, 2 violins, 2 violas, cello, double bass and 2 natural horns, Hob. VIIh:1: I. Allegro con spirito
- Concerto No. 1 in C major for 2 lire organizzate, 2 violins, 2 violas, cello, double bass and 2 natural horns, Hob. VIIh:1: II. Andante
- Concerto No. 1 in C major for 2 lire organizzate, 2 violins, 2 violas, cello, double bass and 2 natural horns, Hob. VIIh:1: III. Finale: allegro con brio
- Divertimento in A minor and major for baryton, 2 violins, viola, cello, double bass and 2 natural horns, Hob. X:3: I. Adagio
- Divertimento in A minor and major for baryton, 2 violins, viola, cello, double bass and 2 natural horns, Hob. X:3: II. Allegro
- Divertimento in A minor and major for baryton, 2 violins, viola, cello, double bass and 2 natural horns, Hob. X:3: III. Finale: allegretto
- Notturno No. 8 in G major for flute, oboe, 2 violins, 2 violas, cello, double bass and 2 natural horns, Hob. II:27: I. Largo, Allegro
- Notturno No. 8 in G major for flute, oboe, 2 violins, 2 violas, cello, double bass and 2 natural horns, Hob. II:27: II. Adagio
- Notturno No. 8 in G major for flute, oboe, 2 violins, 2 violas, cello, double bass and 2 natural horns, Hob. II:27: III. Finale: vivace assai
- Divertimento in G major for baryton, 2 violins, viola, cello, double bass and 2 natural horns, Hob. X:12: I. Moderato
- Divertimento in G major for baryton, 2 violins, viola, cello, double bass and 2 natural horns, Hob. X:12: II. Adagio
- Divertimento in G major for baryton, 2 violins, viola, cello, double bass and 2 natural horns, Hob. X:12: III. Presto
- Notturno No. 3 in C major for 2 lire organizzate, 2 soprano clarinets, 2 violas, cello, double bass and 2 natural horns, Hob. II:32: I. Allegro moderato
- Notturno No. 3 in C major for 2 lire organizzate, 2 soprano clarinets, 2 violas, cello, double bass and 2 natural horns, Hob. II:32: II. Andante
- Notturno No. 3 in C major for 2 lire organizzate, 2 soprano clarinets, 2 violas, cello, double bass and 2 natural horns, Hob. II:32: III. Finale: molto vivace
- Divertimento für 2 Oboen, 2 Hörner und 2 Fagotte F-dur, Hob. II:15: I. Presto
- Divertimento für 2 Oboen, 2 Hörner und 2 Fagotte F-dur, Hob. II:15: II. Menuet
- Divertimento für 2 Oboen, 2 Hörner und 2 Fagotte F-dur, Hob. II:15: III. Adagio
- Divertimento für 2 Oboen, 2 Hörner und 2 Fagotte F-dur, Hob. II:15: IV. Menuet
- Divertimento für 2 Oboen, 2 Hörner und 2 Fagotte F-dur, Hob. II:15: V. Finale - Presto
- Divertimento für 2 Oboen, 2 Hörner und 2 Fagotte F-dur, Hob. II:23: I. Allegro
- Divertimento für 2 Oboen, 2 Hörner und 2 Fagotte F-dur, Hob. II:23: II. Menuet
- Divertimento für 2 Oboen, 2 Hörner und 2 Fagotte F-dur, Hob. II:23: III. Adagio
- Divertimento für 2 Oboen, 2 Hörner und 2 Fagotte F-dur, Hob. II:23: IV. Menuet
- Divertimento für 2 Oboen, 2 Hörner und 2 Fagotte F-dur, Hob. II:23: V. Finale - Presto
- Divertimento für 2 Oboen, 2 Hörner und 2 Fagotte C-dur, Hob. II:7: I. Allegro
- Divertimento für 2 Oboen, 2 Hörner und 2 Fagotte C-dur, Hob. II:7: II. Menuet
- Divertimento für 2 Oboen, 2 Hörner und 2 Fagotte C-dur, Hob. II:7: III. Adagio
- Divertimento für 2 Oboen, 2 Hörner und 2 Fagotte C-dur, Hob. II:7: IV. Menuet
- Divertimento für 2 Oboen, 2 Hörner und 2 Fagotte C-dur, Hob. II:7: V. Presto
- Divertimento für 2 C-Klarinetten und 2 Hörner C-dur, Hob. II:14: I. Allegro
- Divertimento für 2 C-Klarinetten und 2 Hörner C-dur, Hob. II:14: II. Menuetto
- Divertimento für 2 C-Klarinetten und 2 Hörner C-dur, Hob. II:14: III. Adagio
- Divertimento für 2 C-Klarinetten und 2 Hörner C-dur, Hob. II:14: IV. Menuetto
- Divertimento für 2 C-Klarinetten und 2 Hörner C-dur, Hob. II:14: V. Finale - Presto
- Divertimento für 2 Oboen, 2 Hörner und 2 Fagotte D-dur, Hob. II:18: I. Allegro
- Divertimento für 2 Oboen, 2 Hörner und 2 Fagotte D-dur, Hob. II:18: II. Scherzo
- Divertimento für 2 Oboen, 2 Hörner und 2 Fagotte D-dur, Hob. II:18: III. Menuet
- Divertimento für 2 Oboen, 2 Hörner und 2 Fagotte D-dur, Hob. II:18: IV. Adagio
- Divertimento für 2 Oboen, 2 Hörner und 2 Fagotte D-dur, Hob. II:18: V. Menuet
- Divertimento für 2 Oboen, 2 Hörner und 2 Fagotte D-dur, Hob. II:18: VI. Finale - Allegro
- Divertimento für 2 Oboen, 2 Hörner und 2 Fagotte G-dur, Hob. II:3: I. Allegro
- Divertimento für 2 Oboen, 2 Hörner und 2 Fagotte G-dur, Hob. II:3: II. Menuet
- Divertimento für 2 Oboen, 2 Hörner und 2 Fagotte G-dur, Hob. II:3: III. Andante
- Divertimento für 2 Oboen, 2 Hörner und 2 Fagotte G-dur, Hob. II:3: IV. Menuet
- Divertimento für 2 Oboen, 2 Hörner und 2 Fagotte G-dur, Hob. II:3: V. Presto
- Divertimento für 2 Oboen, 2 Hörner und 2 Fagotte G-dur, Hob. deest: I. Allegro
- Divertimento für 2 Oboen, 2 Hörner und 2 Fagotte G-dur, Hob. deest: II. Menuet
- Divertimento für 2 Oboen, 2 Hörner und 2 Fagotte G-dur, Hob. deest: III. Andante
- Divertimento für 2 Oboen, 2 Hörner und 2 Fagotte G-dur, Hob. deest: IV. Menuet
- Divertimento für 2 Oboen, 2 Hörner und 2 Fagotte G-dur, Hob. deest: V. Presto
- Divertimento für 2 Oboen, 2 Hörner und 2 Fagotte D-dur, Hob. deest: I. Allegro di molto
- Divertimento für 2 Oboen, 2 Hörner und 2 Fagotte D-dur, Hob. deest: II. Menuet
- Divertimento für 2 Oboen, 2 Hörner und 2 Fagotte D-dur, Hob. deest: III. Poloneso - Adagio
- Divertimento für 2 Oboen, 2 Hörner und 2 Fagotte D-dur, Hob. deest: IV. Presto
BBC Music, Volume 13, Number 9: Symphony Nos. 77 & 76 (The Academy of Ancient Music, feat. conductor: Christopher Hogwood)
Released [2005]
Released [2005]
- Symphony No. 77 in B-flat major: Vivace
- Symphony No. 77 in B-flat major: Andante sostenuto
- Symphony No. 77 in B-flat major: Menuetto (Allegro)
- Symphony No. 77 in B-flat major: Finale (Allegro spirtoso)
- Symphony No. 76 in E-flat major: Allegro
- Symphony No. 76 in E-flat major: Adagio, ma non troppo
- Symphony No. 76 in E-flat major: Menuet (Allegretto)
- Symphony No. 76 in E-flat major: Finale (Allegro ma non troppo)
- Piano Sonata No. 47 in B minor, Hob. XVI:32: I. Allegro moderato
- Piano Sonata No. 47 in B minor, Hob. XVI:32: II. Menuet
- Piano Sonata No. 47 in B minor, Hob. XVI:32: III. Finale. Presto
- Piano Sonata No. 33 in C minor, Hob. XVI:20: I. Moderato
- Piano Sonata No. 33 in C minor, Hob. XVI:20: II. Andante con moto
- Piano Sonata No. 33 in C minor, Hob. XVI:20: III. Finale. Allegro
- Piano Sonata No. 50 in D major, Hob. XVI:37: I. Allegro con brio
- Piano Sonata No. 50 in D major, Hob. XVI:37: II. Largo e sostenuto
- Piano Sonata No. 50 in D major, Hob. XVI:37: III. Finale. Presto ma non troppo
- Piano Sonata No. 61 in D major, Hob. XVI:51: I. Andante
- Piano Sonata No. 61 in D major, Hob. XVI:51: II. Finale. Presto
- Piano Sonata No. 35 in A-flat major, Hob. XVI:43: I. Moderato
- Piano Sonata No. 35 in A-flat major, Hob. XVI:43: II. Menuetto
- Piano Sonata No. 35 in A-flat major, Hob. XVI:43: III. Rondo. Presto
- Piano Sonata No. 31 in A-flat major, Hob.XVI:46: I. Allegro moderato
- Piano Sonata No. 31 in A-flat major, Hob.XVI:46: II. Adagio
- Piano Sonata No. 31 in A-flat major, Hob.XVI:46: III. Finale. Presto
- Piano Sonata No. 34 in D major, Hob.XVI:33: I. Allegro
- Piano Sonata No. 34 in D major, Hob.XVI:33: II. Adagio
- Piano Sonata No. 34 in D major, Hob.XVI:33: III. Tempo di Minuetto
- Piano Sonata No. 29 in E-flat major, Hob.XVI:45: I. Moderato
- Piano Sonata No. 29 in E-flat major, Hob.XVI:45: II. Andante
- Piano Sonata No. 29 in E-flat major, Hob.XVI:45: III. Finale. Allegro di molto
- Piano Sonata No. 49 in C-sharp minor, Hob.XVI:36: I. Moderato
- Piano Sonata No. 49 in C-sharp minor, Hob.XVI:36: II. Scherzando. Allegro con brio
- Piano Sonata No. 49 in C-sharp minor, Hob.XVI:36: III. Menuet and Trio. Moderato
- Piano Sonata No. 35 in A-flat major, Hob.XVI:43: I. Moderato
- Piano Sonata No. 35 in A-flat major, Hob.XVI:43: II. Menuetto
- Piano Sonata No. 35 in A-flat major, Hob.XVI:43: III. Rondo. Presto
Haydn Symphonies Complete (Austro-Hungarian Haydn Orchestra feat. conductor: Adam Fischer)
Released [2002]
Released [2002]
- Symphony in D major, Hob I:1: I. Presto
- Symphony in D major, Hob I:1: II. Andante
- Symphony in D major, Hob I:1: III. Presto
- Symphony in C major, Hob I:2: I. Allegro
- Symphony in C major, Hob I:2: II. Andante
- Symphony in C major, Hob I:2: III. Finale. Presto
- Symphony in G major, Hob I:3: I. Allegro
- Symphony in G major, Hob I:3: II. Andante moderato
- Symphony in G major, Hob I:3: III. Minuet and Trio
- Symphony in G major, Hob I:3: IV. Finale. Alla breve, allegro
- Symphony in D major, Hob I:4: I. Presto
- Symphony in D major, Hob I:4: II. Andante
- Symphony in D major, Hob I:4: III. Finale. Tempo di menuetto
- Symphony in A major, Hob I:5: I. Adagio, ma non troppo
- Symphony in A major, Hob I:5: II. Allegro
- Symphony in A major, Hob I:5: III. Minuet and Trio
- Symphony in A major, Hob I:5: Finale. Presto
Haydn: Schöpfungsmesse / Schubert: Magnificat / Intende voci (Concentus Musicus Wien feat. conductor: Nikolaus Harnoncourt)
Released [2000]
Released [2000]
- Magnificat, D486: Magnificat anima mea Dominum
- Magnificat, D486: Deposuit potentes de sede
- Magnificat, D486: Gloria Patri
- Missa in B flat major "Schöpfungsmesse", Hob. XXII:13: Kyrie (Adagio)
- Missa in B flat major "Schöpfungsmesse", Hob. XXII:13: Kyrie (Allegro)
- Missa in B flat major "Schöpfungsmesse", Hob. XXII:13: Gloria
- Missa in B flat major "Schöpfungsmesse", Hob. XXII:13: Quoniam
- Missa in B flat major "Schöpfungsmesse", Hob. XXII:13: Credo
- Missa in B flat major "Schöpfungsmesse", Hob. XXII:13: Et incarnatus
- Missa in B flat major "Schöpfungsmesse", Hob. XXII:13: Et resurrexit
- Missa in B flat major "Schöpfungsmesse", Hob. XXII:13: Sanctus
- Missa in B flat major "Schöpfungsmesse", Hob. XXII:13: Benedictus
- Missa in B flat major "Schöpfungsmesse", Hob. XXII:13: Agnus Dei
- Missa in B flat major "Schöpfungsmesse", Hob. XXII:13: Dona nobis pacem
- Intende voci, D963
- String Quartet in B-flat, Op. 18 No. 6: I. Allegro con brio
- String Quartet in B-flat, Op. 18 No. 6: II. Adagio, ma non troppo
- String Quartet in B-flat, Op. 18 No. 6: III. Scherzo: Allegro
- String Quartet in B-flat, Op. 18 No. 6: IV. Adagio - Allegretto quasi allegro (La malinconia)
- String Quartet No. 8: I. Largo
- String Quartet No. 8: II. Allegro molto
- String Quartet No. 8: III. Allegretto
- String Quartet No. 8: IV. Largo
- String Quartet No. 8: V. Largo
- String Quartet in B-flat, Op. 76 No. 4 "Sunrise": I. Allegro con spirito
- String Quartet in B-flat, Op. 76 No. 4 "Sunrise": II. Adagio
- String Quartet in B-flat, Op. 76 No. 4 "Sunrise": III. Menuetto: Allegro
- String Quartet in B-flat, Op. 76 No. 4 "Sunrise": IV. Allegro, ma non troppo
- String Quartet in D major, Op. 17 No. 6: I. Presto
- String Quartet in D major, Op. 17 No. 6: II. Menuetto
- String Quartet in D major, Op. 17 No. 6: III. Largo
- String Quartet in D major, Op. 17 No. 6: IV. Presto
- String Quartet in E-flat major, Op. 17 No. 3: I. Andante grazioso
- String Quartet in E-flat major, Op. 17 No. 3: II. Menuetto: Allegretto
- String Quartet in E-flat major, Op. 17 No. 3: III. Adagio
- String Quartet in E-flat major, Op. 17 No. 3: IV. Allegro molto
- String Quartet in G major, Op. 17 No. 5: I. Moderato
- String Quartet in G major, Op. 17 No. 5: II. Menuetto
- String Quartet in G major, Op. 17 No. 5: III. Adagio
- String Quartet in G major, Op. 17 No. 5: IV. Presto
Symphony No. 101 in D Major "The Clock" / Symphony No. 103 in E-Flat Major "Drum Roll"
Released [1998]
Released [1998]
- Symphony No. 101 in D-Major "The Clock", Hob. I:101: I. Adagio-Presto
- Symphony No. 101 in D-Major "The Clock", Hob. I:101: II. Andante
- Symphony No. 101 in D-Major "The Clock", Hob. I:101: III. Menuetto Allegretto
- Symphony No. 101 in D-Major "The Clock", Hob. I:101: IV. Finale-Vivace
- Symphony No. 103 in E-Flat Major "The Drum Roll", Hob. I:103: I. Adagio-Allegro con Spirito
- Symphony No. 103 in E-Flat Major "The Drum Roll", Hob. I:103: II. Andante piu Tosto Allegretto
- Symphony No. 103 in E-Flat Major "The Drum Roll", Hob. I:103: III. Menuetto
- Symphony No. 103 in E-Flat Major "The Drum Roll", Hob. I:103: IV. Finale-Allegro con Spirito
- Klaviertrio C-dur Hob. XV:27: I. Allegro
- Klaviertrio C-dur Hob. XV:27: II. Andante
- Klaviertrio C-dur Hob. XV:27: III. Finale. Presto
- Klaviertrio E-dur Hob. XV:28: I. Allegro moderato
- Klaviertrio E-dur Hob. XV:28: II. Allegretto
- Klaviertrio E-dur Hob. XV:28: III. Finale. Allegro
- Klaviertrio Es-dur Hob. XV:29: I. Poco allegretto
- Klaviertrio Es-dur Hob. XV:29: II. Andantino et innocentemente
- Klaviertrio Es-dur Hob. XV:29: III. „Finale in the German Style“. Presto assai
Missa in tempore belli "Paukenmesse" / Salve Regina (Concentus Musicus Wien feat. conductor: Nikolaus Harnoncourt)
Released [1997]
Released [1997]
- Missa in tempore belli in C major "Paukenmesse", Hob. XXII:9: I. Kyrie
- Missa in tempore belli in C major "Paukenmesse", Hob. XXII:9: II. Gloria
- Missa in tempore belli in C major "Paukenmesse", Hob. XXII:9: III. Credo
- Missa in tempore belli in C major "Paukenmesse", Hob. XXII:9: IV. Sanctus
- Missa in tempore belli in C major "Paukenmesse", Hob. XXII:9: V. Bendictus
- Missa in tempore belli in C major "Paukenmesse", Hob. XXII:9: VI. Agnus Dei
- Salve Regina in G minor, Hob. XXIIb:2: Salve regina
- Salve Regina in G minor, Hob. XXIIb:2: Eja ergo, advocata nostra
- Salve Regina in G minor, Hob. XXIIb:2: Et Jesum
- Sonata for Piano No. 33 in C minor, Op. 30 No. 6 Hob. XVI:20: I. Moderato
- Sonata for Piano No. 33 in C minor, Op. 30 No. 6 Hob. XVI:20: II. Andante con moto
- Sonata for Piano No. 33 in C minor, Op. 30 No. 6 Hob. XVI:20: III. Finale. Allegro
- Sonata for Piano No. 34 in D major, Hob. XVI:33: I. Allegro
- Sonata for Piano No. 34 in D major, Hob. XVI:33: II. Adagio - Tempo di Menuetto
- Sonata for Piano No. 35 in A-flat major, Hob. XVI:43: I. Moderato
- Sonata for Piano No. 35 in A-flat major, Hob. XVI:43: II. Menuetto I - Menuetto II
- Sonata for Piano No. 35 in A-flat major, Hob. XVI:43: III. Rondo. Presto
- Sonata for Piano No. 36 in C major, Op. 13 No. 1 Hob. XVI:21: I. Allegro
- Sonata for Piano No. 36 in C major, Op. 13 No. 1 Hob. XVI:21: II. Adagio
- Sonata for Piano No. 36 in C major, Op. 13 No. 1 Hob. XVI:21: III. Finale. Presto
Stabat Mater, Hob. XXbis (Concentus Musicus Wien feat. conductor: Nikolaus Harnoncourt)
Released [1995]
Released [1995]
- Stabat Mater, Hob. XXbis: Stabat Mater dolorosa
- Stabat Mater, Hob. XXbis: O quam tristis et afflicta
- Stabat Mater, Hob. XXbis: Quis est homo
- Stabat Mater, Hob. XXbis: Quis non posset
- Stabat Mater, Hob. XXbis: Pro peccatis suae gentis
- Stabat Mater, Hob. XXbis: Vidit suum dulcem Natum
- Stabat Mater, Hob. XXbis: Eja Mater, fons amoris
- Stabat Mater, Hob. XXbis: Sancta Mater, istud agas
- Stabat Mater, Hob. XXbis: Fac me vere tecum flere
- Stabat Mater, Hob. XXbis: Virgo virginum praeclara
- Stabat Mater, Hob. XXbis: Flammis orci ne succendar
- Stabat Mater, Hob. XXbis: Fac me cruce custodiri
- Stabat Mater, Hob. XXbis: Quando corpus morietur
- Stabat Mater, Hob. XXbis: Paradisi gloria
- Quartet for 2 Violins, Viola, and Cello No. 36 in B-flat major, Op. 50 No. 1 Hob. III:44: I. Allegro
- Quartet for 2 Violins, Viola, and Cello No. 36 in B-flat major, Op. 50 No. 1 Hob. III:44: II. Adagio non lento
- Quartet for 2 Violins, Viola, and Cello No. 36 in B-flat major, Op. 50 No. 1 Hob. III:44: III. Menuetto e Trio
- Quartet for 2 Violins, Viola, and Cello No. 36 in B-flat major, Op. 50 No. 1 Hob. III:44: IV. Finale. Vivace
- Quartet for 2 Violins, Viola, and Cello No. 37 in C major, Op. 50 No. 2 Hob. III:45: I. Vivace
- Quartet for 2 Violins, Viola, and Cello No. 37 in C major, Op. 50 No. 2 Hob. III:45: II. Adagio cantabile
- Quartet for 2 Violins, Viola, and Cello No. 37 in C major, Op. 50 No. 2 Hob. III:45: III. Menuetto e Trio
- Quartet for 2 Violins, Viola, and Cello No. 37 in C major, Op. 50 No. 2 Hob. III:45: IV. Finale. Vivace assai
- Quartet for 2 Violins, Viola, and Cello No. 38 in E-flat major, Op. 50 No. 3 Hob. III:46: I. Allegro con brio
- Quartet for 2 Violins, Viola, and Cello No. 38 in E-flat major, Op. 50 No. 3 Hob. III:46: II. Andante piu tosto Allegretto
- Quartet for 2 Violins, Viola, and Cello No. 38 in E-flat major, Op. 50 No. 3 Hob. III:46: III. Menuetto e Trio
- Quartet for 2 Violins, Viola, and Cello No. 38 in E-flat major, Op. 50 No. 3 Hob. III:46: IV. Finale. Presto
- Quartet for 2 Violins, Viola, and Cello No. 48 in C major, Op. 64 No. 1 Hob. III:65: I. Allegro moderato
- Quartet for 2 Violins, Viola, and Cello No. 48 in C major, Op. 64 No. 1 Hob. III:65: II. Menuet. Allegro ma non troppo e Trio
- Quartet for 2 Violins, Viola, and Cello No. 48 in C major, Op. 64 No. 1 Hob. III:65: III. Allegretto scherzando
- Quartet for 2 Violins, Viola, and Cello No. 48 in C major, Op. 64 No. 1 Hob. III:65: IV. Finale. Presto
- Quartet for 2 Violins, Viola, and Cello No. 49 in B minor, Op. 64 No. 2 Hob. III:68: I. Allegro spirituoso
- Quartet for 2 Violins, Viola, and Cello No. 49 in B minor, Op. 64 No. 2 Hob. III:68: II. Adagio ma non troppo
- Quartet for 2 Violins, Viola, and Cello No. 49 in B minor, Op. 64 No. 2 Hob. III:68: III. Menuetto e Trio
- Quartet for 2 Violins, Viola, and Cello No. 49 in B minor, Op. 64 No. 2 Hob. III:68: IV. Finale. Presto
- Quartet for 2 Violins, Viola, and Cello No. 50 in B-flat major, Op. 64 No. 3 Hob. III:67: I. Vivace assai
- Quartet for 2 Violins, Viola, and Cello No. 50 in B-flat major, Op. 64 No. 3 Hob. III:67: II. Adagio
- Quartet for 2 Violins, Viola, and Cello No. 50 in B-flat major, Op. 64 No. 3 Hob. III:67: III. Menuet. Allegretto e Trio
- Quartet for 2 Violins, Viola, and Cello No. 50 in B-flat major, Op. 64 No. 3 Hob. III:67: IV. Finale. Allegro con spirito
- Quartet for 2 Violins, Viola, and Cello in G major, Op. 77 No. 1 Hob. III:81: I. Allegro moderato
- Quartet for 2 Violins, Viola, and Cello in G major, Op. 77 No. 1 Hob. III:81: II. Adagio
- Quartet for 2 Violins, Viola, and Cello in G major, Op. 77 No. 1 Hob. III:81: III. Menuet. Presto e Trio
- Quartet for 2 Violins, Viola, and Cello in G major, Op. 77 No. 1 Hob. III:81: IV. Finale. Presto
- Quartet for 2 Violins, Viola, and Cello in F major, Op. 77 No. 2 Hob. III:82: I. Allegro moderato
- Quartet for 2 Violins, Viola, and Cello in F major, Op. 77 No. 2 Hob. III:82: II. Menuet. Presto e Trio
- Quartet for 2 Violins, Viola, and Cello in F major, Op. 77 No. 2 Hob. III:82: III. Andante
- Quartet for 2 Violins, Viola, and Cello in F major, Op. 77 No. 2 Hob. III:82: IV. Finale. Vivace assai
- Quartet for 2 Violins, Viola, and Cello No. 43 in G major, Op. 54 No. 1 Hob. III:58: I. Allegro con brio
- Quartet for 2 Violins, Viola, and Cello No. 43 in G major, Op. 54 No. 1 Hob. III:58: II. Allegretto
- Quartet for 2 Violins, Viola, and Cello No. 43 in G major, Op. 54 No. 1 Hob. III:58: III. Menuetto e Trio
- Quartet for 2 Violins, Viola, and Cello No. 43 in G major, Op. 54 No. 1 Hob. III:58: IV. Finale. Presto
- Quartet for 2 Violins, Viola, and Cello No. 42 in C major, Op. 54 No. 2 Hob. III:57: I. Vivace
- Quartet for 2 Violins, Viola, and Cello No. 42 in C major, Op. 54 No. 2 Hob. III:57: II. Adagio
- Quartet for 2 Violins, Viola, and Cello No. 42 in C major, Op. 54 No. 2 Hob. III:57: III. Menuetto e Trio
- Quartet for 2 Violins, Viola, and Cello No. 42 in C major, Op. 54 No. 2 Hob. III:57: IV. Adagio - Presto
- Quartet for 2 Violins, Viola, and Cello No. 44 in E major, Op. 54 No. 3 Hob. III:59: I. Allegro
- Quartet for 2 Violins, Viola, and Cello No. 44 in E major, Op. 54 No. 3 Hob. III:59: II. Largo cantabile
- Quartet for 2 Violins, Viola, and Cello No. 44 in E major, Op. 54 No. 3 Hob. III:59: III. Menuetto e Trio
- Quartet for 2 Violins, Viola, and Cello No. 44 in E major, Op. 54 No. 3 Hob. III:59: IV. Finale. Presto
- Sinfonia: Ouverture
- Act I: N°1 Coro, Recitativo e coro: O Luna lucente, di Febo sorella / Recitativo: Basta, basta, discepol
- Act I: Recitativo: Oh le gran belle cose
- Act I: N°2 Coro: Servitor, obbligato! / Recitativo: ola, Claudio, Pasquino
- Act I: N°3 Intermezzo I: Recitativo / Aria I / Recitativo / Intermezzo II: Recitativo / Aria II / Recitativo / Intermezzo
- Act I: N°4 Aria: La ragazza col vecchione
- Act I: Recitativo: lo la caccia non fo alle sue monete
- Act I: N°5 Aria: Un poco di denaro
- Act I: Recitativo: Costui dovrebbe al certo esser ricco sfondato
- Act I: N°6 Aria: Begli occhi vezzosi dell'idolo amato
- Act I: Recitativo: Qualche volta il padron mi fa da ridere
- Act I: N°7 Aria: Mi fanno ridere quelli che credono
- Act I: Recitativo: Eh venite, germana, andiam su quella loggia
- Act I: N°8 Aria: Ragion nell'alma siede
- Act I: Recitativo: Brava, signor figlia!
- Act I: N°9 Aria: Son fanciulla da marito
- Act I: Recitativo: Se mandarla potessi nei mondo della luna
- Act I: N°10 Aria: Una donna come me
- Act I: Recitativo: E poi la mia Lisetta e una buona ragazza
- Act I: N°11 Finale I: Vado, vado; volo volo…
- Missa Solemnis, Op.123, I. Kyrie, Kyrie eleison
- Missa Solemnis, Op.123, I. Kyrie, Christe eleison
- Missa Solemnis, Op.123, I. Kyrie, Kyrie eleison
- Missa Solemnis, Op.123, II. Gloria, Gloria in excelsis Deo
- Missa Solemnis, Op.123, II. Gloria, Qui tollis peccata mundi
- Missa Solemnis, Op.123, II. Gloria, Quoniam tu solus sanctus
- Missa Solemnis, Op.123, III. Credo, Credo in unum Deum
- Missa Solemnis, Op.123, III. Credo, Et incarnatus est
- Missa Solemnis, Op.123, III. Credo, Crucifixus
- Missa Solemnis, Op.123, III. Credo, Et Resurrexit
- Missa Solemnis, Op.123, III. Credo, Credo in Spiritum Sanctum
- Missa Solemnis, Op.123, III. Credo, Et vitam venturi
- Missa Solemnis, Op.123, IV. Sanctus, Sanctus Dominus
- Missa Solemnis, Op.123, IV. Sanctus, Pleni sunt caeli
- Missa Solemnis, Op.123, IV. Sanctus, Praeludium. Sostenuto, ma non troppo
- Missa Solemnis, Op.123, IV. Sanctus, Benedictus qui venit
Die sieben letzten Worte unseres Erlösers am Kreuze, Hob.XX:2 (Concentus Musicus Wien feat. conductor: Nikolaus Harnoncourt)
Released [1992]
Released [1992]
- Die sieben letzten Worte unseres Erlosers am Kreuze, Hob.XX:2: Introduzione
- Die sieben letzten Worte unseres Erlosers am Kreuze, Hob.XX:2: I. Vater, verbug ihnen
- Die sieben letzten Worte unseres Erlosers am Kreuze, Hob.XX:2: II. Fürwahr, ich sag' es dir
- Die sieben letzten Worte unseres Erlosers am Kreuze, Hob.XX:2: III. Frau, hier siehe deinen Sohn
- Die sieben letzten Worte unseres Erlosers am Kreuze, Hob.XX:2: IV. Mein Gott, mein Gott
- Die sieben letzten Worte unseres Erlosers am Kreuze, Hob.XX:2: Introduzione
- Die sieben letzten Worte unseres Erlosers am Kreuze, Hob.XX:2: V. Jesus rufet
- Die sieben letzten Worte unseres Erlosers am Kreuze, Hob.XX:2: VI. Es ist vollbracht
- Die sieben letzten Worte unseres Erlosers am Kreuze, Hob.XX:2: VII. Vater, in deine Hände
- Die sieben letzten Worte unseres Erlosers am Kreuze, Hob.XX:2: Il Terremoto - Er ist nicht mehr
- Quartet for 2 Violins, Viola, and Cello No. 54 in B-flat major, Op. 71 No. 1 Hob. III:69: I. Allegro
- Quartet for 2 Violins, Viola, and Cello No. 54 in B-flat major, Op. 71 No. 1 Hob. III:69: II. Adagio
- Quartet for 2 Violins, Viola, and Cello No. 54 in B-flat major, Op. 71 No. 1 Hob. III:69: III. Menuet. Allegretto e Trio
- Quartet for 2 Violins, Viola, and Cello No. 54 in B-flat major, Op. 71 No. 1 Hob. III:69: IV. Finale. Vivace
- Quartet for 2 Violins, Viola, and Cello No. 55 in D major, Op. 71 No. 2 Hob. III:70: I. Adagio - Allegro
- Quartet for 2 Violins, Viola, and Cello No. 55 in D major, Op. 71 No. 2 Hob. III:70: II. Adagio
- Quartet for 2 Violins, Viola, and Cello No. 55 in D major, Op. 71 No. 2 Hob. III:70: III. Menuet. Allegretto e Trio
- Quartet for 2 Violins, Viola, and Cello No. 55 in D major, Op. 71 No. 2 Hob. III:70: IV. Finale. Allegretto
- Quartet for 2 Violins, Viola, and Cello No. 56 in E-flat major, Op. 71 No. 3 Hob. III:71: I. Vivace
- Quartet for 2 Violins, Viola, and Cello No. 56 in E-flat major, Op. 71 No. 3 Hob. III:71: II. Andante con moto
- Quartet for 2 Violins, Viola, and Cello No. 56 in E-flat major, Op. 71 No. 3 Hob. III:71: III. Menuet e Trio
- Quartet for 2 Violins, Viola, and Cello No. 56 in E-flat major, Op. 71 No. 3 Hob. III:71: IV. Finale. Vivace
- Quartet for 2 Violins, Viola, and Cello No. 60 in G major, Op. 76 No. 1 Hob. III:75: I. Allegro con spirito
- Quartet for 2 Violins, Viola, and Cello No. 60 in G major, Op. 76 No. 1 Hob. III:75: II. Adagio sostenuto
- Quartet for 2 Violins, Viola, and Cello No. 60 in G major, Op. 76 No. 1 Hob. III:75: III. Menuet. Presto e Trio
- Quartet for 2 Violins, Viola, and Cello No. 60 in G major, Op. 76 No. 1 Hob. III:75: IV. Finale. Allegro ma non troppo
- Quartet for 2 Violins, Viola, and Cello No. 61 in D minor, Op. 76 No. 2 Hob. III:76 "Quinten": I. Allegro
- Quartet for 2 Violins, Viola, and Cello No. 61 in D minor, Op. 76 No. 2 Hob. III:76 "Quinten": II. Andante o piu tosto Allegretto
- Quartet for 2 Violins, Viola, and Cello No. 61 in D minor, Op. 76 No. 2 Hob. III:76 "Quinten": III. Menuetto e Trio
- Quartet for 2 Violins, Viola, and Cello No. 61 in D minor, Op. 76 No. 2 Hob. III:76 "Quinten": IV. Finale. Vivace assai
- Quartet for 2 Violins, Viola, and Cello No. 62 in C major, Op. 76 No. 3 Hob. III:77 "Kaiser": I. Allegro
- Quartet for 2 Violins, Viola, and Cello No. 62 in C major, Op. 76 No. 3 Hob. III:77 "Kaiser": II. Poco Adagio. Cantabile
- Quartet for 2 Violins, Viola, and Cello No. 62 in C major, Op. 76 No. 3 Hob. III:77 "Kaiser": III. Menuetto e Trio
- Quartet for 2 Violins, Viola, and Cello No. 62 in C major, Op. 76 No. 3 Hob. III:77 "Kaiser": IV. Finale. Presto
- Flute concerto No. 1 in G major KV 313 Allegro maestoso
- Flute concerto No. 1 in G major KV 313 Adagio ma non troppo
- Flute concerto No. 1 in G major KV 313 Rondo (tempo di menuetto)
- Flute concerto in D major Allegro moderato
- Flute concerto in D major Adagio
- Flute concerto in D major Allegro molto
- Divertimento Nr. 1 B-Dur: Allegro con spirito
- Divertimento Nr. 1 B-Dur: Chorale St. Antoni
- Divertimento Nr. 1 B-Dur: Minuetto
- Divertimento Nr. 1 B-Dur: Rondo: Allegretto
- Bläserquintett Es-Dur op. 88,2: Lento - Allegro moderato
- Bläserquintett Es-Dur op. 88,2: Scherzo: Allegro
- Bläserquintett Es-Dur op. 88,2: Andante grazioso
- Bläserquintett Es-Dur op. 88,2: Finale: Allegro molto
- Bläserquintett B-Dur op. 56,1: Allegretto
- Bläserquintett B-Dur op. 56,1: Andante con molto
- Bläserquintett B-Dur op. 56,1: Menuetto: Allegretto
- Bläserquintett B-Dur op. 56,1: Allegro
- Quintetto concertante F-Dur: Allegro
- Quintetto concertante F-Dur: Menuetto
- Quintetto concertante F-Dur: Adagio
- Quintetto concertante F-Dur: Polacca
Die Schöpfung (Chor und Symphonie-Orchester des Bayerischen Rundfunks feat. conductor: Leonard Bernstein)
Released [1987]
Released [1987]
- Zweiter Teil: Der Sechste Tag: XX. Rezitativ: Und Gott sprach: Es bringe die Erde hervor lebende Geschöpfe
- Zweiter Teil: Der Sechste Tag: XXI. Accompagnato-Rezitativ: Gleich öffnet sich der Erde Schoß
- Zweiter Teil: Der Sechste Tag: XXII. Arie: Nun scheint in vollem Glanze der Himmel
- Zweiter Teil: Der Sechste Tag: XXIII. Rezitativ: Und Gott schuf den Menschen
- Zweiter Teil: Der Sechste Tag: XXIV. Arie: Mit Würd' und Hoheit angetan
- Zweiter Teil: Der Sechste Tag: XXV. Rezitativ: Und Gott sah jedes Ding
- Zweiter Teil: Der Sechste Tag: XXVI. Chor und Terzett: Vollendet ist das große Werk - Zu dir, o Herr, blickt alles auf
- Dritter Teil: XXVII. Accompagnato-Rezitativ: Aus Rosenwolken bricht
- Dritter Teil: XXVIII. Duett mit Chor: Von deiner Güt', o Herr und Gott
- Dritter Teil: XXIX. Rezitativ: Nun ist die erste Pflicht erfüllt
- Dritter Teil: XXX. Duett: Holde Gattin, dir zur Seite
- Dritter Teil: XXXI. Rezitativ: O glücklich Paar, und glücklich immerfort
- Dritter Teil: XXXII. Chor: Singt dem Herren alle Stimmen
- Cello Concerto No. 1 in C major, Hob. VIIb/1 (c. 1761-5): I. Moderato
- Cello Concerto No. 1 in C major, Hob. VIIb/1 (c. 1761-5): II. Adagio
- Cello Concerto No. 1 in C major, Hob. VIIb/1 (c. 1761-5): III. Allegro molto
- Cello Concerto No. 2 in D major, Hob. VIIb/2 Op. 101 (c. 1783): I. Allegro moderato
- Cello Concerto No. 2 in D major, Hob. VIIb/2 Op. 101 (c. 1783): II. Adagio
- Cello Concerto No. 2 in D major, Hob. VIIb/2 Op. 101 (c. 1783): III. Allegro
- Symphony in G, Hob. I:94 "Surprise": I. Adagio - Vivace
- Symphony in G, Hob. I:94 "Surprise": II. Andante
- Symphony in G, Hob. I:94 "Surprise": III. Menuet: Allegro molto
- Symphony in G, Hob. I:94 "Surprise": IV. Finale: Allegro di molto
- Symphony in D, Hob. I:104 "London": I. Adagio - Allegro
- Symphony in D, Hob. I:104 "London": II. Andante
- Symphony in D, Hob. I:104 "London": III. Menuet: Allegro
- Symphony in D, Hob. I:104 "London": IV. Finale: Spiritoso
- Symphony No.88 in G major, Hob.I:88: I. Adagio - Allegro
- Symphony No.88 in G major, Hob.I:88: II. Largo
- Symphony No.88 in G major, Hob.I:88: III. Menuetto: Allegretto
- Symphony No.88 in G major, Hob.I:88: IV. Finale: Allegretto con spirito
- Symphony No.92 in G major, Hob.I:92 "Oxford": I. Adagio - Allegro spiritoso
- Symphony No.92 in G major, Hob.I:92 "Oxford": II. Adagio
- Symphony No.92 in G major, Hob.I:92 "Oxford": III. Menuet. Allegretto
- Symphony No.92 in G major, Hob.I:92 "Oxford": IV. Finale. Presto
- Symphony No.94 in G major, Hob.I:94 "Surprise" I. Adagio. Vivace assai
- Symphony No.94 in G major, Hob.I:94 "Surprise" II. Andante
- Symphony No.94 in G major, Hob.I:94 "Surprise" III. Menuet. Allegro molto
- Symphony No.94 in G major, Hob.I:94 "Surprise" IV. Finale. Allegro di molto
- String Quartet in D major "Lark", Op. 64 No. 5: I. Allegro moderato
- String Quartet in D major "Lark", Op. 64 No. 5: II. Adagio - Cantabile
- String Quartet in D major "Lark", Op. 64 No. 5: III. Menuetto: Allegretto
- String Quartet in D major "Lark", Op. 64 No. 5: IV. Vivace
- String Quartet in D minor, Op. 42: I. Allegretto ed innocentemente
- String Quartet in D minor, Op. 42: II. Menuetto. Allegretto
- String Quartet in D minor, Op. 42: III. Adagio e cantabile
- String Quartet in D minor, Op. 42: IV. Presto
- String Quartet in D major, Op.76 No. 5: I. Allegretto
- String Quartet in D major, Op.76 No. 5: II. Largo cantabile e mesto
- String Quartet in D major, Op.76 No. 5: III. Menuetto. Allegro
- String Quartet in D major, Op.76 No. 5: IV. Presto
Beethoven: Missa Solemnis / Haydn: Theresia Mass (New York Philharmonic Orchestra, Westminster Choir feat. conductor Leonard Bernstein)
- Missa solemnis for 4 Solo Voices, Chorus, Orchestra, and Organ in D major, Op. 123: I. Kyrie: "Kyrie eleison"
- Missa solemnis for 4 Solo Voices, Chorus, Orchestra, and Organ in D major, Op. 123: I. Kyrie: "Christe eleison"
- Missa solemnis for 4 Solo Voices, Chorus, Orchestra, and Organ in D major, Op. 123: II. Gloria: "Gloria in excelcis Deo"
- Missa solemnis for 4 Solo Voices, Chorus, Orchestra, and Organ in D major, Op. 123: II. Gloria: "Qui tollis peccata mundi"
- Missa solemnis for 4 Solo Voices, Chorus, Orchestra, and Organ in D major, Op. 123: II. Gloria: "Quoniam tu solu sanctus"
- Missa solemnis for 4 Solo Voices, Chorus, Orchestra, and Organ in D major, Op. 123: III. Credo: "Credo in unum Deum"
- Missa solemnis for 4 Solo Voices, Chorus, Orchestra, and Organ in D major, Op. 123: III. Credo: "Et in carnatus est"
- Missa solemnis for 4 Solo Voices, Chorus, Orchestra, and Organ in D major, Op. 123: III. Credo: "Crucifixus"
- Missa solemnis for 4 Solo Voices, Chorus, Orchestra, and Organ in D major, Op. 123: III. Credo: "Et resurrexit"
- Missa solemnis for 4 Solo Voices, Chorus, Orchestra, and Organ in D major, Op. 123: III. Credo: "Credo in Spiritum Sanctum"
- Missa solemnis for 4 Solo Voices, Chorus, Orchestra, and Organ in D major, Op. 123: III. Credo: "Et vitam venturi"
- Missa solemnis for 4 Solo Voices, Chorus, Orchestra, and Organ in D major, Op. 123: IV. Sanctus: "Sanctus Dominus"
- Missa solemnis for 4 Solo Voices, Chorus, Orchestra, and Organ in D major, Op. 123: IV. Sanctus: "Pleni sunt caeli"
- Missa solemnis for 4 Solo Voices, Chorus, Orchestra, and Organ in D major, Op. 123: IV. Sanctus: Praeludium. Sostenuto, ma non troppo
- Missa solemnis for 4 Solo Voices, Chorus, Orchestra, and Organ in D major, Op. 123: IV. Sanctus: "Benedictus qui venit"
- String Quartet in G minor, Op. 74, No. 3: I. Allegro
- String Quartet in G minor, Op. 74, No. 3: II. Largo assai
- String Quartet in G minor, Op. 74, No. 3: III. Menuetto: Allegretto
- String Quartet in G minor, Op. 74, No. 3: IV. Finale: Allegro con brio
- String Quartet in D minor "Fifths" , Op. 76 No. 2: I. Allegro
- String Quartet in D minor "Fifths" , Op. 76 No. 2: II. Andante o piuttosto allegretto
- String Quartet in D minor "Fifths" , Op. 76 No. 2: III. Menuetto: Allegro ma non troppo
- String Quartet in D minor "Fifths" , Op. 76 No. 2: IV. Vivace assai
- String Quartet in G major, Op. 77, No. 1: I. Allegro moderato
- String Quartet in G major, Op. 77, No. 1: II. Adagio
- String Quartet in G major, Op. 77, No. 1: III. Menuetto: Presto
- String Quartet in G major, Op. 77, No. 1: IV. Finale: Presto
- String Quartet in G major, Op. 54 No. 1: I. Allegro con brio
- String Quartet in G major, Op. 54 No. 1: II. Allegretto
- String Quartet in G major, Op. 54 No. 1: III. Menuetto. Allegretto
- String Quartet in G major, Op. 54 No. 1: IV. Finale. Presto
- String Quartet in C major, Op. 54 No. 2: I. Vivace
- String Quartet in C major, Op. 54 No. 2: II. Adagio: III. Menuetto. Allegretto
- String Quartet in C major, Op. 54 No. 2: IV. Finale. Adagio - Presto - Adagio
- String Quartet in E major, Op. 54 No. 3: I. Allegro
- String Quartet in E major, Op. 54 No. 3: II. Largo cantabile
- String Quartet in E major, Op. 54 No. 3: III. Menuetto. Allegretto
- String Quartet in E major, Op. 54 No. 3: IV. Finale. Presto
- String Quartet No. 32 in C major Op. 20 No 2: Moderato
- String Quartet No. 32 in C major Op. 20 No 2: Adagio
- String Quartet No. 32 in C major Op. 20 No 2: Menuetto - Allegretto
- String Quartet No. 32 in C major Op. 20 No 2: Allegro
- String Quartet No. 34 in D major Op. 20 No 4: Allegro di molto
- String Quartet No. 34 in D major Op. 20 No 4: Un poco adagio affettuoso
- String Quartet No. 34 in D major Op. 20 No 4: Menuetto -Allegretto alla zingarese
- String Quartet No. 34 in D major Op. 20 No 4: Presto scherzando
- Symphony No. 53 in D major, Hob I:53 "L'Impériale": I. Largo maestoso - Vivace
- Symphony No. 53 in D major, Hob I:53 "L'Impériale": II. Andante
- Symphony No. 53 in D major, Hob I:53 "L'Impériale": III. Menuetto e Trio
- Symphony No. 53 in D major, Hob I:53 "L'Impériale": IV. Finale: Presto
- Symphony No. 73 in D major, Hob I:73 'La Chasse': I. Adagio, Allegro
- Symphony No. 73 in D major, Hob I:73 'La Chasse': II. Andante
- Symphony No. 73 in D major, Hob I:73 'La Chasse': III. Menuetto: Allegretto, Trio
- Symphony No. 73 in D major, Hob I:73 'La Chasse': IV. 'La Chasse': Presto
- Symphony in F major, Hob I:79: I. Allegro con spirito
- Symphony in F major, Hob I:79: II. Adagio cantabile, un poco allegro
- Symphony in F major, Hob I:79: III. Menuetto and Trio. Allegretto
- Symphony in F major, Hob I:79: IV. Finale. Vivace
- .Piano Trio in D major, Hob XV:24: I. Allegro
- Piano Trio in D major, Hob XV:24: II. Andante
- Piano Trio in D major, Hob XV:24: III. Allegro ma dolce
- Piano Trio in G major "Gypsy Trio", Hob XV:25: I. Andante
- Piano Trio in G major "Gypsy Trio", Hob XV:25: II. Poco adagio, cantabile
- Piano Trio in G major "Gypsy Trio", Hob XV:25: III. Rondo all'ongaresse
- Piano Trio in F-sharp minor, Hob XV:26: I. Allegro
- Piano Trio in F-sharp minor, Hob XV:26: II. Adagio cantabile
- Piano Trio in F-sharp minor, Hob XV:26: III. Tempo di minuetto
- Piano Trio in C major, Hob XV:27: I. Allegro
- Piano Trio in C major, Hob XV:27: II. Andante
- Piano Trio in C major, Hob XV:27: III. Presto
- Symphony No. 94 in G major, "Surprise": I. Adagio cantabile. Vivace assai
- Symphony No. 94 in G major, "Surprise": II. Andante
- Symphony No. 94 in G major, "Surprise": III. Menuetto. Allegro molto
- Symphony No. 94 in G major, "Surprise": IV. Allegro molto
- Symphony No. 103 in E-flat major, Hob. I:103 "Drumroll": I. Adagio - Allegro con spirito
- Symphony No. 103 in E-flat major, Hob. I:103 "Drumroll": II. Andante più tosto allegretto
- Symphony No. 103 in E-flat major, Hob. I:103 "Drumroll": III. Menuetto
- Symphony No. 103 in E-flat major, Hob. I:103 "Drumroll": IV. Finale: Allegro con spirito
The London Symphonies, Volume 3: Nos. 93, 99, 100 (Philharmonia Orchestra feat. conductor: Leonard Slatkin)
- Symphony No. 93 in D major, Hob I:93: I. Allegro assai
- Symphony No. 93 in D major, Hob I:93: II. Largo cantabile
- Symphony No. 93 in D major, Hob I:93: III. Menuetto: Allegro
- Symphony No. 93 in D major, Hob I:93: IV. Finale: Presto ma non troppo
- Symphony No. 99 in E flat major, Hob I:93: I. Adagio - Vivace assai
- Symphony No. 99 in E flat major, Hob I:93: II. Adagio
- Symphony No. 99 in E flat major, Hob I:93: III. Menuetto: Allegretto
- Symphony No. 99 in E flat major, Hob I:93: IV. Finale: Vivace
- Symphony No. 100 in G major, "Military", Hob I:100: I. Adagio: Allegro
- Symphony No. 100 in G major, "Military", Hob I:100: II. Allegretto
- Symphony No. 100 in G major, "Military", Hob I:100: III. Menuet: Moderato
- Symphony No. 100 in G major, "Military", Hob I:100: IV. Finale: Presto
- Symphony No. 100 in G major "Military": Adagio - Allegro
- Symphony No. 100 in G major "Military": Allegretto
- Symphony No. 100 in G major "Military": Menuet: Moderato
- Symphony No. 100 in G major "Military": Finale: Presto
- Symphony No. 68 in B-flat major: Vivace
- Symphony No. 68 in B-flat major: Menuetto
- Symphony No. 68 in B-flat major: Adagio cantabile
- Symphony No. 68 in B-flat major: Finale: Presto
- No. 85 - Adagio - Vivace
- No. 85 - Romanze
- No. 85 - Minuetto
- No. 85 - Finale: Presto
- No. 86 - Adagio - Allegro Spirituoso
- No. 86 - Capriccio: Largo
- No. 86 - Minuetto
- No. 86 - Finale: Allegro con Spirito
- No. 87 - Vivace
- No. 87 - Adagio
- No. 87 - Minuetto
- No. 87 - Finale: Vivace
Born: ['1732-03-31']
Died: ['1809-05-31']
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Joseph Haydn - Piano Sonata in Eb
- Order: Reorder
- Duration: 8:12
- Published: 14 Oct 2007
- Updated: 23 Oct 2012
Performed by : Vladimir Horowitz
http://wn.com/Joseph_Haydn_Piano_Sonata_in_Eb
Franz Joseph Haydn - "Surprise" (Symphony no. 94)
- Order: Reorder
- Duration: 6:13
- Published: 18 Dec 2010
- Updated: 23 Oct 2012
Us, the humble servants of Muse in all sincerity love this composition of Meister H.
http://wn.com/Franz_Joseph_Haydn_Surprise_Symphony_no_94
Joseph Haydn - Symphony No. 31 in D major "Hornsignal" (Mackerras)
- Order: Reorder
- Duration: 34:03
- Published: 12 Jun 2012
- Updated: 13 Oct 2012
Franz Joseph Haydn (1732-1809) Symphony No. 31 in D major "Hornsignal" (1765) 00:00 - Allegro 07:02 - Adagio 17:07 - Menuet; Trio 22:07 - Finale: Moderato molto (Theme) 23:26 - (Variation 1) 24:41 - (Variation 2) 26:00 - (Variation 3) 27:10 - (Variation 4) 28:28 - (Variation 5) 29:32 - (Variation 6) 31:01 - (Variation 7) 33:08 - Presto Performed by Charles Mackerras and the Orchestra of St. Luke's (Telarc: 1989).
http://wn.com/Joseph_Haydn_Symphony_No_31_in_D_major_Hornsignal_Mackerras
Joseph Haydn String Quartet op 76/3 'emperor' in C-major (mov 1/4) Allegro
- Order: Reorder
- Duration: 10:12
- Published: 16 Dec 2008
- Updated: 15 Oct 2012
Quatuor Mosaiques The Quartet No. 62 in C major, also known as Op. 76, no. 3, boasts the nickname Emperor, because in the second movement, Haydn quotes the melody from Gott erhalte Franz den Kaiser ("God Save Emperor Francis"), an anthem he wrote for Emperor Francis II. This same melody is known to modern listeners for its later use in the German national anthem, Deutschlandlied. The quartet consists of four movements: * I. Allegro * II. Poco adagio; cantabile * III. Menuetto. Allegro * IV. Finale. Presto The first movement of the quartet is in the home key of C major, in common time, and is written in sonata form. The second movement, in G major cut time, is in strophic variation form, with the "Emperor's Hymn" as the theme. The third movement, in C major and A minor, is a standard minuet and trio. The fourth movement, in C minor and C Major, is in sonata form. Joseph Haydn's string quartets, Op. 76, composed in 1796 and 1797, were commissioned by and dedicated to Count Joseph Erdody. The six quartets are the last complete set that Haydn composed. At the time of the commission, Haydn was employed at the court of Prince Nicolaus Esterházy II; around the same time he composed his annual mass for Princess Maria Hermenegild Esterházy and the oratorio The Creation. Although the quartets were completed by 1797, shown by accounts of visitors hearing them performed in early 1797, they were not published until 1799. Correspondence between Haydn and his publishers reveal that <b>...</b>
http://wn.com/Joseph_Haydn_String_Quartet_op_76_3_'emperor'_in_C-major_mov_1_4_Allegro
Haydn-"Farewell"Symphony No.45-Mov.1/4
- Order: Reorder
- Duration: 5:41
- Published: 03 Jan 2009
- Updated: 13 Oct 2012
FJHaydn(1732-1809) "Farewell"Symphony No.45 in F Sharp Minor 1.Allegro Assai 2.Adagio 3.Menuetto:Allegretto 4.Finale: Presto-Adagio Capella Istropolitana Conductor:Barry Wordsworth reorded in 1989 NAXOS The photoes come from Pablo Picasso's paintings.
http://wn.com/Haydn-FarewellSymphony_No45-Mov1_4
Joseph Haydn - Deutschland Uber Alles
- Order: Reorder
- Duration: 3:34
- Published: 09 Nov 2007
- Updated: 24 Oct 2012
The National Anthem of Germany was composed by Joseph Haydn . It is a part of Haydn's Kaiser Quartet.
http://wn.com/Joseph_Haydn_Deutschland_Uber_Alles
Franz Josef Haydn: Trumpet concerto Es-Dur
- Order: Reorder
- Duration: 4:26
- Published: 16 Dec 2009
- Updated: 22 Oct 2012
Dear Youtube User If you are the COPYRIGHT OWNER of this performance I kindly ask you to first contact me requesting to delete the video but avoiding to fill a complaint to YouTube administration and I WILL DELETE IT IMMEDIATELY. It is in fact impossible for me to know if some of my videos constitute copyright infringement because all the material I uploaded is the result of TV recording and passion for the music. I uploaded the video just to promote the music I love. I don't want problems with anybody and I never intended to break the copyright law. Thanks for your understanding REDPRRIEST ----------------------------------------------- Joseph Haydn Trompetenkonzert Es-Dur: 3. Satz Trummpet: Alison Balsom Deutsche Kammerphilharmonie Bremen Musikalische Leitung: Louis Langrée
http://wn.com/Franz_Josef_Haydn_Trumpet_concerto_Es-Dur
Joseph Haydn: Piano Sonata no. 46 in E major, Hob XVI:31 [by Vadim Chaimovich]
- Order: Reorder
- Duration: 9:14
- Published: 29 Sep 2009
- Updated: 17 Oct 2012
Franz Joseph Haydn (1732 - 1809) Piano sonata no. 46 in E major / E-Dur, Hob. XVI:31 1. Moderato 2. Allegretto 3. Presto Vadim Chaimovich, piano (LIVE PREFORMANCE) PS: Please support the artist by purchasing his recordings on CD! For more information please visit the profile. Thank you!
http://wn.com/Joseph_Haydn_Piano_Sonata_no_46_in_E_major,_Hob_XVI31_by_Vadim_Chaimovich_
Jerusalem Quartet - Joseph Haydn String Quartet Op 20 n.5 I-Moderato
- Order: Reorder
- Duration: 7:10
- Published: 21 Jun 2009
- Updated: 13 Oct 2012
Jerusalem Quartet Alexander Pavlovsky - 1st violin Sergei Bresler - 2nd violin Amichai Grosz - viola Kyril Zlotnikov - cello Joseph Haydn (1732-1809) String Quartet F-minor, Op.20/5 Schubertiade Hohenems 2009 Marcus-Sittikus-Saal 31. Mai 2009 www.jerusalemstringquartet.com
http://wn.com/Jerusalem_Quartet_Joseph_Haydn_String_Quartet_Op_20_n5_I-Moderato
Joseph Haydn Symphony No. 103 part 1
- Order: Reorder
- Duration: 10:45
- Published: 28 Feb 2009
- Updated: 18 Oct 2012
Joseph Haydn Symphony No. 103 in E flat major "Drum roll" Orchestra della Svizzera Italiana Conductor : Peter Maag
http://wn.com/Joseph_Haydn_Symphony_No_103_part_1
Franz Joseph Haydn Symphony No. 104 in D "London" Adagio-Allegro
- Order: Reorder
- Duration: 8:18
- Published: 05 Sep 2008
- Updated: 20 Oct 2012
last symphony of Haydn composed in 1795. First movement Adagio-Allegro
http://wn.com/Franz_Joseph_Haydn_Symphony_No_104_in_D_London_Adagio-Allegro
Joseph Haydn: Die Jahreszeiten, Oratorio, by Antal Dorati
- Order: Reorder
- Duration: 141:32
- Published: 08 Aug 2012
- Updated: 23 Oct 2012
Franz Joseph Haydn (1732-1809) Die Jahreszeiten (The Seasons), Oratorio, Hob. XXI:3 Oratorio in four parts Libretto: Gottfried van Swieten Premiere: 24 April 1801 in Vienna Simon, a farmer Hanne (Jane), his daughter Lukas (Lucas), a young countryman Hanne: Ileana Cotrubas (Soprano) Lukas: Werner Krenn (Tenor) Simon: Hans Sotin (Bass) Brighton Festival Chorus (Chorus Master: Laszlo Heltay) Royal Philharmonic Orchestra conducted by Antal Dorati Recorded in June 1977 in London
http://wn.com/Joseph_Haydn_Die_Jahreszeiten,_Oratorio,_by_Antal_Dorati
Joseph Haydn - Concerto for cello in C (Hob. VIIb: 1)
- Order: Reorder
- Duration: 24:54
- Published: 11 Feb 2011
- Updated: 24 Oct 2012
Concerto for cello & orchestra in C major (Hob. VIIb: 1) [1761-5], by Franz Joseph Haydn. Performed by Freiburger Barockorchester, dir. Petra Müllejans. Jean-Guihen Queyras (baroque cello)
http://wn.com/Joseph_Haydn_Concerto_for_cello_in_C_Hob_VIIb_1
Franz Joseph Haydn - Symphony no. 94 in G - Surprise
- Order: Reorder
- Duration: 6:34
- Published: 18 May 2010
- Updated: 15 Oct 2012
This is one of my favorite pieces because i play it. Download Link: www.megaupload.com
http://wn.com/Franz_Joseph_Haydn_Symphony_no_94_in_G_Surprise
Joseph Haydn - Trio #27 in C Major, (Hob. XV # 27) Finale (presto) performed by Gryphon Trio
- Order: Reorder
- Duration: 4:42
- Published: 09 May 2012
- Updated: 14 Oct 2012
www.cbcmusic.ca Gryphon Trio (Annalee Patipatanakoon, violin; Roman Borys, 'cello; James Parker, piano) perform Joseph Haydn's Trio #27 in C Major, (Hob. XV # 27) Finale (presto).
http://wn.com/Joseph_Haydn_Trio_27_in_C_Major,_Hob_XV_27_Finale_presto_performed_by_Gryphon_Trio
Joseph Haydn - Symphony No. 86 in D major (Kuijken)
- Order: Reorder
- Duration: 26:04
- Published: 02 May 2012
- Updated: 15 Oct 2012
Franz Joseph Haydn (1732-1809) Symphony No. 86 in D major, H. I/86 (1786) 00:00 - Adagio - Allegro 08:09 - Capriccio: Largo 14:41 - Menuet: Allegretto - Trio 19:42 - Finale: Allegro con spirito Performed by Sigiswald Kuijken and the Orchestra of the Age of Enlightenment. Photograph: Songs of the Sky (1924), Alfred Stieglitz
http://wn.com/Joseph_Haydn_Symphony_No_86_in_D_major_Kuijken
Jerusalem Quartet Joseph Haydn String Quartet Op 77 n 1 I Allegro moderato
- Order: Reorder
- Duration: 7:47
- Published: 22 Jun 2009
- Updated: 13 Oct 2012
Jerusalem Quartet Alexander Pavlovsky - 1st violin Sergei Bresler - 2nd violin Amichai Grosz - viola Kyril Zlotnikov - cello Joseph Haydn (1732-1809) String Quartet G-Major, Op.77/1 Schubertiade Hohenems 2009 Marcus-Sittikus-Saal 31. Mai 2009 www.jerusalemstringquartet.com
http://wn.com/Jerusalem_Quartet_Joseph_Haydn_String_Quartet_Op_77_n_1_I_Allegro_moderato
Sonata de Lestat (Joseph Haydn - Piano Sonata in Eb) + Arte
- Order: Reorder
- Duration: 8:22
- Published: 26 Aug 2008
- Updated: 24 Oct 2012
Verdadero placer visual y auditivo. Obras de: Claude Monet John William Waterhouse Morgan Weistling Caspar David Friedrich Edgar Degas Daniel Ridgway Knight Edmund Blair Leighton Edmund Tarbell Daniel F. Gerhartz Nicolas Lancret Sir Lawrence Alma-Tadema Ivan Shiskin Sir John Everett Millais
http://wn.com/Sonata_de_Lestat_Joseph_Haydn_Piano_Sonata_in_Eb_+_Arte
Joseph Haydn: Die Schöpfung, by Antal Dorati
- Order: Reorder
- Duration: 108:34
- Published: 06 Aug 2012
- Updated: 21 Oct 2012
Franz Joseph Haydn (1732-1809) Die Schöpfung Oratorio Gabriel -- Lucia Popp Uriel -- Werner Hollweg Raphael -- Kurt Moll Eva -- Helena Döse Adam -- Benjamin Luxon Brighton Festival Chorus & Royal Philharmonic Orchestra Antal Dorati (conductor) Recorded December 1976, Kingsway Hall, London
http://wn.com/Joseph_Haydn_Die_Schöpfung,_by_Antal_Dorati
Celloconcert in C - Joseph Haydn door Marie-Elisabeth Hecker en de Radio Kamer Filharmonie
- Order: Reorder
- Duration: 25:25
- Published: 18 Sep 2011
- Updated: 23 Oct 2012
Grote Zaal Concertgebouw Amsterdam, 18 september 2011. Celloconcert in C-groot door Marie-Elisabeth Hecker en de Radio Kamer Filharmonie olv Philippe Herreweghe.
http://wn.com/Celloconcert_in_C_Joseph_Haydn_door_Marie-Elisabeth_Hecker_en_de_Radio_Kamer_Filharmonie
Joseph Haydn: Trumpet Concerto. 3rd Movement: Allegro
- Order: Reorder
- Duration: 4:46
- Published: 23 Sep 2012
- Updated: 23 Oct 2012
The Keyed Trumpet Joseph Haydn: Trumpet Concerto in E-flat major , Hob.VIIe:1 3rd Movement: Allegro Markus Würsch: Keyed Trumpet Peter Solomon: Fortepiano Joseph Haydn - Trompetenkonzert Das Konzert für Trompete und Orchester Es-Dur (Hob.VIIe:1; Untertitel: Concerto per il Clarino) komponierte Joseph Haydn 1796 für die von Anton Weidinger erfundene Klappentrompete. Es war das erste Konzert für dieses neue Instrument und gilt bis heute als Standardwerk für die Trompete. Die von Anton Weidinger Ende des 18. Jahrhunderts gebaute Klappentrompete erlaubte es dem Spieler erstmals, nicht nur die Naturtonreihe, sondern auch Melodien in tiefen Tonbereichen und chromatische Durchgänge zu spielen. Weidinger zeigte Haydn das Instrument, der darauf sein Trompetenkonzert schrieb. Das Werk präsentierte erstmals die zuvor nie gehörten Möglichkeiten der neuen Trompetenart: „Wäre es nicht vollendete Musik, es würde die allerbeste „Studie" für eine neue Erfindung sein, was sich hinter dem Meisterwerk verbirgt. In einer nie da gewesenen Weise beginnt die Trompete zu singen als wäre sie ein Streichinstrument -- und bewahrt zugleich den Schwung eines „Allegro Satzes"." -- Anton Gabmeyer Am 28. März 1800 wurde das Trompetenkonzert Es-Dur mit großem Erfolg mit Anton Weidinger als Solisten erstmals aufgeführt. Eine gedruckte Version erschien erst 1929. Das berühmte Konzert für Klappentrompete in Es-Dur von Joseph Haydn, welches vom Wiener Trompeter Anton Weidinger (1766--1852) am 28. März 1800 im <b>...</b>
http://wn.com/Joseph_Haydn_Trumpet_Concerto_3rd_Movement_Allegro
Joseph Haydn-Cello Concerto nº1-Anner Bylsma
- Order: Reorder
- Duration: 22:47
- Published: 31 Mar 2011
- Updated: 19 Oct 2012
Joseph Haydn (1732-1809) Cello Concerto in C major, Hob. VIIb: 1: Moderato/Adagio/Allegro molto. Anner Bylsma-Cello. Tafelmusik-Jean Lamon.
http://wn.com/Joseph_Haydn-Cello_Concerto_nº1-Anner_Bylsma
Joseph Haydn - Seven Last Words: Introduction - the Navarra Quartet at the City of London Festival
- Order: Reorder
- Duration: 6:29
- Published: 01 Jul 2009
- Updated: 19 Oct 2012
Joseph Haydn's 'Seven Last Words from the Cross' - Introduction: Maestoso ed Adagio - as performed by the Navarra Quartet. Haydn's remarkable string quartet cycle was composed for the Lenten liturgy at Spain's Cádiz Cathedral in 1787: each slow movement was to follow a sermon on one of the dying Christ's last sayings in the gospels. This performance was a part of the 2009 City of London Festival and took place in the Church of St. Stephen, Walbrook, on the 26th of June 2009. The Navarra Quartet consist of: Xander van Vliet (Violin), Marije Ploemacher (Violin), Simone van der Giessen (Viola), Nathaniel Boyd (Cello). For more information, please visit the following websites: - www.navarra.co.uk - www.colf.org - www.maybeor.com
http://wn.com/Joseph_Haydn_Seven_Last_Words_Introduction_the_Navarra_Quartet_at_the_City_of_London_Festival
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Alexander Vynograd - Joseph Haydn: Finale from Sonata No.37 in D (Live at GitarFest Banjaluka '09)
- Order: Reorder
- Duration: 4:12
- Published: 26 Dec 2009
- Updated: 17 Oct 2012
Outstanding performance of classical guitar virtuoso Alexander Vynograd (www.vynograd.net) at the 4th International classical guitar festival "GitarFest Banjaluka '09" www.gitarfestbl.com
http://wn.com/Alexander_Vynograd_Joseph_Haydn_Finale_from_Sonata_No37_in_D_Live_at_GitarFest_Banjaluka_'09
Maki Mori - Joseph Haydn Recital
- Order: Reorder
- Duration: 6:58
- Published: 11 Jun 2009
- Updated: 08 Oct 2012
Maki Mori singing Haydn live. Please rate and enjoy :)
http://wn.com/Maki_Mori_Joseph_Haydn_Recital
Joseph Haydn: Piano Sonata no. 46 in E major, Hob XVI:31 [by Vadim Chaimovich]
- Order: Reorder
- Duration: 9:14
- Published: 29 Sep 2009
- Updated: 17 Oct 2012
Franz Joseph Haydn (1732 - 1809) Piano sonata no. 46 in E major / E-Dur, Hob. XVI:31 1. Moderato 2. Allegretto 3. Presto Vadim Chaimovich, piano (LIVE PREFORMANCE) PS: Please support the artist by purchasing his recordings on CD! For more information please visit the profile. Thank you!
http://wn.com/Joseph_Haydn_Piano_Sonata_no_46_in_E_major,_Hob_XVI31_by_Vadim_Chaimovich_
Joseph Haydn Cello Concerto C-dur (1/3)
- Order: Reorder
- Duration: 8:43
- Published: 19 Mar 2011
- Updated: 01 Aug 2012
Musica Viva Orchestra Soloist&conducter Alexander Rudin Tchaikovsky Concert Hall Moscow`2010
http://wn.com/Joseph_Haydn_Cello_Concerto_C-dur_1_3
Joseph Haydn - Die Jahreszeiten (1801)
- Order: Reorder
- Duration: 10:13
- Published: 03 Mar 2008
- Updated: 14 Oct 2012
Extract of the Spring. Recorded live at the flemish festival in 1990 and co-produced by the VRT. Performers: Krisztina Laki (soprano), Helmut Wildhaber (tenor), Peter Lika (bass). Choir of the Flemish Opera, Orchestra: La Petite Bande. Musical Direction: Sigiswald Kuijken
http://wn.com/Joseph_Haydn_Die_Jahreszeiten_1801
Toscanini, 1952 (Live) Brahms, Variations on a Theme by Joseph Haydn
- Order: Reorder
- Duration: 17:08
- Published: 15 Mar 2012
- Updated: 07 Sep 2012
Johannes Brahms Variations on a Theme by Joseph Haydn German: Variationen über ein Thema von Jos. Haydn The movements are named and tempo markings given as follows. Where the tempo markings of the two versions differ, the one for Op. 56b is shown in parentheses. Thema. Chorale St. Antoni. Andante Variation I. Poco più animato (Andante con moto) Variation II. Più vivace (Vivace) Variation III. Con moto Variation IV. Andante con moto (Andante) Variation V. Vivace (Poco presto) Variation VI. Vivace Variation VII. Grazioso Variation VIII. Presto non troppo (Poco presto) Finale. Andante Philharmonia Orchestra Arturo Toscanini, Conductor Recording Live, October 1, 1952 Royal Festival Hall, London
http://wn.com/Toscanini,_1952_Live_Brahms,_Variations_on_a_Theme_by_Joseph_Haydn
Josef HAYDN - Cello Concerto in D - 3rd Mvnt - Garioud / Flores (live)
- Order: Reorder
- Duration: 4:28
- Published: 04 Nov 2009
- Updated: 04 Jun 2010
Josef HAYDN - Cello Concerto in D - 3rd Mvnt - Romain Garioud, cello (Prize winner Rostropovitch Competition 2001 and Tchaikovsky Competition 2002)- Tiago Flores, conduct - Ulbra Orchestra - Porto Alegre, Brazil ) -live
http://wn.com/Josef_HAYDN_Cello_Concerto_in_D_3rd_Mvnt_Garioud_Flores_live
Joseph Haydn: Piano concerto in G major - 1st mvt. - Balázs Szokolay
- Order: Reorder
- Duration: 9:57
- Published: 14 Aug 2009
- Updated: 05 Aug 2012
Balázs Szokolay live recording szokolaybalazs.com
http://wn.com/Joseph_Haydn_Piano_concerto_in_G_major_1st_mvt_Balázs_Szokolay
Joseph Haydn: Fantasie C-dur - Balázs Szokolay
- Order: Reorder
- Duration: 5:27
- Published: 14 Aug 2009
- Updated: 12 Oct 2012
Balázs Szokolay live recording szokolaybalazs.com
http://wn.com/Joseph_Haydn_Fantasie_C-dur_Balázs_Szokolay
Sima Trio performs Josef Haydn's 'gypsy' trio mov3 at Festival Monteleón
- Order: Reorder
- Duration: 3:23
- Published: 30 Aug 2012
- Updated: 30 Aug 2012
Josef Haydn's 'gypsy' trio 3rd movement Sima Trio Sami Merdinian - violin Ani Kalayjian - cello Sofya Melikyan - piano www.simatrio.com live recording from Monteleón International Chamber Music Festival 2011 festivaldemusica.fundacionmonteleon.es
http://wn.com/Sima_Trio_performs_Josef_Haydn's_'gypsy'_trio_mov3_at_Festival_Monteleón
Joseph Haydn Cello Concerto C-dur (3/3)
- Order: Reorder
- Duration: 5:42
- Published: 19 Mar 2011
- Updated: 30 Sep 2012
Musica Viva Orchestra Soloist&conducter Alexander Rudin Tchaikovsky Concert Hall Moscow`2010
http://wn.com/Joseph_Haydn_Cello_Concerto_C-dur_3_3
Joseph Haydn Piano & Flute 1/3
- Order: Reorder
- Duration: 8:06
- Published: 15 May 2011
- Updated: 18 Sep 2012
Joseph Haydn, concert for oboe with orchestra, C-dur, I part
- Order: Reorder
- Duration: 11:14
- Published: 27 Jan 2012
- Updated: 02 Sep 2012
Executant: Inal Jioev 16 years old (born in 1995) IX class, IV year in oboe class. pedagogue: Yuri Jioev. I'd like to travel abroad and take part in different festivals and contests,. Contact me please. e-mail: InalJioev@gmail.com Skype: inal_oboe
http://wn.com/Joseph_Haydn,_concert_for_oboe_with_orchestra,_C-dur,_I_part
Fritz Reiner, 1957 (Live) Haydn, Symphony No. 104 in D major
- Order: Reorder
- Duration: 25:17
- Published: 28 Apr 2012
- Updated: 08 Oct 2012
Joseph Haydn Symphony No. 104 in D major (Hoboken 1/104) 1.Adagio -- Allegro 2.Andante 3.Menuetto - Trio: Allegro 4.Finale: Spiritoso Chicago Symphony Orchestra Fritz Reiner, conductor Recorded Live, 1957.
http://wn.com/Fritz_Reiner,_1957_Live_Haydn,_Symphony_No_104_in_D_major
Joseph Haydn: Symphony No. 103 - UnO / Judd - 2/4
- Order: Reorder
- Duration: 10:12
- Published: 30 Jul 2011
- Updated: 13 Oct 2012
II. Andante più tosto allegretto Universitätsorchester Oberschützen / Oberschützen University Orchestra Dirigent / Conductor: James Judd Recorded live / Live aufgenommen @ Jenö Takács Saal, Kultur- & Universitätszentrum Oberschützen 29.05.2011
http://wn.com/Joseph_Haydn_Symphony_No_103_UnO_Judd_2_4
Eugen Jochum, 1973 (Live) Haydn, Symphony No. 100 in G major "Military Symphony"
- Order: Reorder
- Duration: 23:12
- Published: 05 Aug 2012
- Updated: 28 Sep 2012
Joseph Haydn Symphony No. 100 in G major "Military Symphony" (Hoboken I/100) 1.Adagio; Allegro 2.Allegretto 3.Menuetto: Moderato - Trio 4.Finale: Presto London Philharmonic Orchestra Eugen Jochum, conductor Recorded Live, 30 January 1973 Royal Festival Hall, London.
http://wn.com/Eugen_Jochum,_1973_Live_Haydn,_Symphony_No_100_in_G_major_Military_Symphony
Joseph Haydn The Seasons/Die Jahreszeiten Winter 1-6
- Order: Reorder
- Duration: 6:04
- Published: 01 Oct 2012
- Updated: 01 Oct 2012
Hanne: Ida Falk Winland Lukas: Yves Saelens Simon: Birger Radde Octopus Symphony Chorus Le Concert d'Anvers (Horn solo: Mark De Merlier) Bart Van Reyn, conductor (Live performance at Palais des Beaux-Arts, Brussels on 3 June 2012; more info in: www.octopusensembles.be) At first there is thick winter fog. Then there is a short song (short because nothing grows in winter). Then there is a story about a traveller who is lost in the snown and comes to a cottage where he finds shelter. Hanne and the chorus sing a song about a spinning wheel. Many other composers later wrote music which describes a spinning wheel turning. There is another song which tells a story about a wealthy nobleman who tries to make love to a country girl but she escapes by riding off on his horse so he is left with no horse and no girl. At times this music sounds quite like the music in Mozart's opera The Magic Flute. Simon sings an aria which compares the seasons with the different stages of life (the seasons are used as a metaphor). Finally the chorus sing about the dawn of life in heaven. The oratorio and the seasons start all over again. The soloists, who have been three country people, are now three angels. There is a final hymn of praise.
http://wn.com/Joseph_Haydn_The_Seasons_Die_Jahreszeiten_Winter_1-6
Joseph Haydn Piano & Flute 2/3
- Order: Reorder
- Duration: 6:58
- Published: 15 May 2011
- Updated: 10 Mar 2012
Franz Josef Haydn: Trumpet concerto Es-Dur
- Order: Reorder
- Duration: 4:26
- Published: 16 Dec 2009
- Updated: 18 Oct 2012
Dear Youtube User If you are the COPYRIGHT OWNER of this performance I kindly ask you to first contact me requesting to delete the video but avoiding to fill a complaint to YouTube administration and I WILL DELETE IT IMMEDIATELY. It is in fact impossible for me to know if some of my videos constitute copyright infringement because all the material I uploaded is the result of TV recording and passion for the music. I uploaded the video just to promote the music I love. I don't want problems with anybody and I never intended to break the copyright law. Thanks for your understanding REDPRRIEST ----------------------------------------------- Joseph Haydn Trompetenkonzert Es-Dur: 3. Satz Trummpet: Alison Balsom Deutsche Kammerphilharmonie Bremen Musikalische Leitung: Louis Langrée
http://wn.com/Franz_Josef_Haydn_Trumpet_concerto_Es-Dur
Sviatoslav Richter plays Debussy Hommage à Joseph Haydn
- Order: Reorder
- Duration: 2:35
- Published: 13 Nov 2010
- Updated: 24 Aug 2012
Live in Szeged, 16/2/72
http://wn.com/Sviatoslav_Richter_plays_Debussy_Hommage_à_Joseph_Haydn
Haydn Trumpet Concerto - George Rabbai - Strathmere Festival Orchestra
- Order: Reorder
- Duration: 16:42
- Published: 17 Sep 2012
- Updated: 16 Oct 2012
StrathmereFestivalOrchestra.org The Strathmere Festival Orchestra performs Franz Joseph Haydn's Concerto for Trumpet in Eb. (1796), featuring George Rabbai, solo trumpet. Conducted by Music Director Per Brevig. Recorded LIVE September 14th, 2012 in St. Joseph's Church, Greenwich Village, New York City.
http://wn.com/Haydn_Trumpet_Concerto_George_Rabbai_Strathmere_Festival_Orchestra
Guarneri Trio Prague / Joseph Haydn - Trio G major Hob. XV:25, Andante
- Order: Reorder
- Duration: 5:22
- Published: 12 Jun 2010
- Updated: 11 Oct 2012
Guarneri Trio Prague / Joseph Haydn - Trio G major Hob. XV:25, Andante Cenek Pavlik violin, Marek Jerie cello, Ivan Klansky piano www.guarneritrioprague.com
http://wn.com/Guarneri_Trio_Prague_Joseph_Haydn_Trio_G_major_Hob_XV25,_Andante
Joseph Haydn - Trumpet Concerto 3 rd Mov. - Trumpet Solo - Tine Thing Helseth
- Order: Reorder
- Duration: 4:49
- Published: 19 Dec 2009
- Updated: 24 Sep 2012
Tine Thing Helseth recorded this peace at the age of 20. ( in February 2008) , toghether with Norwegian Chamber Orchestra. She is one of the best trumpet players living on this Earth. www.tinethinghelseth.com
http://wn.com/Joseph_Haydn_Trumpet_Concerto_3_rd_Mov_Trumpet_Solo_Tine_Thing_Helseth
4:12
Alexander Vynograd - Joseph Haydn: Finale from Sonata No.37 in D (Live at GitarFest Banjaluka '09)
Outstanding performance of classical guitar virtuoso Alexander Vynograd (www.vynograd.net)...
published: 26 Dec 2009
Alexander Vynograd - Joseph Haydn: Finale from Sonata No.37 in D (Live at GitarFest Banjaluka '09)
Outstanding performance of classical guitar virtuoso Alexander Vynograd (www.vynograd.net) at the 4th International classical guitar festival "GitarFest Banjaluka '09" www.gitarfestbl.com
published: 26 Dec 2009
author: GitarFestBL
9:14
Joseph Haydn: Piano Sonata no. 46 in E major, Hob XVI:31 [by Vadim Chaimovich]
Franz Joseph Haydn (1732 - 1809) Piano sonata no. 46 in E major / E-Dur, Hob. XVI:31 1. Mo...
published: 29 Sep 2009
Joseph Haydn: Piano Sonata no. 46 in E major, Hob XVI:31 [by Vadim Chaimovich]
Franz Joseph Haydn (1732 - 1809) Piano sonata no. 46 in E major / E-Dur, Hob. XVI:31 1. Moderato 2. Allegretto 3. Presto Vadim Chaimovich, piano (LIVE PREFORMANCE) PS: Please support the artist by purchasing his recordings on CD! For more information please visit the profile. Thank you!
published: 29 Sep 2009
author: KlassikFan2007
8:43
Joseph Haydn Cello Concerto C-dur (1/3)
Musica Viva Orchestra Soloist&conducter Alexander Rudin Tchaikovsky Concert Hall Mosco...
published: 19 Mar 2011
Joseph Haydn Cello Concerto C-dur (1/3)
Musica Viva Orchestra Soloist&conducter Alexander Rudin Tchaikovsky Concert Hall Moscow`2010
published: 19 Mar 2011
author: MusicaVivaOrchestra
10:13
Joseph Haydn - Die Jahreszeiten (1801)
Extract of the Spring. Recorded live at the flemish festival in 1990 and co-produced by th...
published: 03 Mar 2008
Joseph Haydn - Die Jahreszeiten (1801)
Extract of the Spring. Recorded live at the flemish festival in 1990 and co-produced by the VRT. Performers: Krisztina Laki (soprano), Helmut Wildhaber (tenor), Peter Lika (bass). Choir of the Flemish Opera, Orchestra: La Petite Bande. Musical Direction: Sigiswald Kuijken
published: 03 Mar 2008
author: Edreno
17:08
Toscanini, 1952 (Live) Brahms, Variations on a Theme by Joseph Haydn
Johannes Brahms Variations on a Theme by Joseph Haydn German: Variationen über ein Th...
published: 15 Mar 2012
Toscanini, 1952 (Live) Brahms, Variations on a Theme by Joseph Haydn
Johannes Brahms Variations on a Theme by Joseph Haydn German: Variationen über ein Thema von Jos. Haydn The movements are named and tempo markings given as follows. Where the tempo markings of the two versions differ, the one for Op. 56b is shown in parentheses. Thema. Chorale St. Antoni. Andante Variation I. Poco più animato (Andante con moto) Variation II. Più vivace (Vivace) Variation III. Con moto Variation IV. Andante con moto (Andante) Variation V. Vivace (Poco presto) Variation VI. Vivace Variation VII. Grazioso Variation VIII. Presto non troppo (Poco presto) Finale. Andante Philharmonia Orchestra Arturo Toscanini, Conductor Recording Live, October 1, 1952 Royal Festival Hall, London
published: 15 Mar 2012
author: jacquesurlus
4:28
Josef HAYDN - Cello Concerto in D - 3rd Mvnt - Garioud / Flores (live)
Josef HAYDN - Cello Concerto in D - 3rd Mvnt - Romain Garioud, cello (Prize winner Rostrop...
published: 04 Nov 2009
Josef HAYDN - Cello Concerto in D - 3rd Mvnt - Garioud / Flores (live)
Josef HAYDN - Cello Concerto in D - 3rd Mvnt - Romain Garioud, cello (Prize winner Rostropovitch Competition 2001 and Tchaikovsky Competition 2002)- Tiago Flores, conduct - Ulbra Orchestra - Porto Alegre, Brazil ) -live
published: 04 Nov 2009
author: garioud
3:23
Sima Trio performs Josef Haydn's 'gypsy' trio mov3 at Festival Monteleón
Josef Haydn's 'gypsy' trio 3rd movement Sima Trio Sami Merdinian - violin Ani ...
published: 30 Aug 2012
Sima Trio performs Josef Haydn's 'gypsy' trio mov3 at Festival Monteleón
Josef Haydn's 'gypsy' trio 3rd movement Sima Trio Sami Merdinian - violin Ani Kalayjian - cello Sofya Melikyan - piano www.simatrio.com live recording from Monteleón International Chamber Music Festival 2011 festivaldemusica.fundacionmonteleon.es
published: 30 Aug 2012
author: SofyaMelikyan
5:42
Joseph Haydn Cello Concerto C-dur (3/3)
Musica Viva Orchestra Soloist&conducter Alexander Rudin Tchaikovsky Concert Hall Mosco...
published: 19 Mar 2011
Joseph Haydn Cello Concerto C-dur (3/3)
Musica Viva Orchestra Soloist&conducter Alexander Rudin Tchaikovsky Concert Hall Moscow`2010
published: 19 Mar 2011
author: MusicaVivaOrchestra
11:14
Joseph Haydn, concert for oboe with orchestra, C-dur, I part
Executant: Inal Jioev 16 years old (born in 1995) IX class, IV year in oboe class. pedagog...
published: 27 Jan 2012
Joseph Haydn, concert for oboe with orchestra, C-dur, I part
Executant: Inal Jioev 16 years old (born in 1995) IX class, IV year in oboe class. pedagogue: Yuri Jioev. I'd like to travel abroad and take part in different festivals and contests,. Contact me please. e-mail: InalJioev@gmail.com Skype: inal_oboe
published: 27 Jan 2012
author: Inaloboe
25:17
Fritz Reiner, 1957 (Live) Haydn, Symphony No. 104 in D major
Joseph Haydn Symphony No. 104 in D major (Hoboken 1/104) 1.Adagio -- Allegro 2.Andante 3.M...
published: 28 Apr 2012
Fritz Reiner, 1957 (Live) Haydn, Symphony No. 104 in D major
Joseph Haydn Symphony No. 104 in D major (Hoboken 1/104) 1.Adagio -- Allegro 2.Andante 3.Menuetto - Trio: Allegro 4.Finale: Spiritoso Chicago Symphony Orchestra Fritz Reiner, conductor Recorded Live, 1957.
published: 28 Apr 2012
author: jacquesurlus
Vimeo results:
1:07
Franz
Advanced Animation Final Project completed at Drexel University. group project with Jessie...
published: 14 Dec 2009
Author: Dan Bodenstein
Franz
Advanced Animation Final Project completed at Drexel University. group project with Jessie Amadio, Corinne DeOrsay and Brett Angelillis.
We used Houdini for all of the effects, Maya for modeling, Renderman Pro Server for most of the rendering, Mantra Micropoly for additional rendering, and Nuke for compositing.
The music is composed by Joseph Haydn.
3:20
Sable & Argent #1 – Downwards
Potential of Hydrogen
Sable and Argent
Riders:
Rian Arnold
Sam De Souza
Charles Ko Hsu
Ha...
published: 08 Mar 2011
Author: Izrock Mixed Business
Sable & Argent #1 – Downwards
Potential of Hydrogen
Sable and Argent
Riders:
Rian Arnold
Sam De Souza
Charles Ko Hsu
Haydn Jones
Michael Mina
David Pitt
Concept and Creative Direction: Joseph Allen Shea - izrock.com
Director and Cinematography: Tom Noakes - tomnoakes.com
Youtube results:
10:12
Joseph Haydn: Symphony No. 103 - UnO / Judd - 2/4
II. Andante più tosto allegretto Universitätsorchester Oberschützen / Obe...
published: 30 Jul 2011
Joseph Haydn: Symphony No. 103 - UnO / Judd - 2/4
II. Andante più tosto allegretto Universitätsorchester Oberschützen / Oberschützen University Orchestra Dirigent / Conductor: James Judd Recorded live / Live aufgenommen @ Jenö Takács Saal, Kultur- & Universitätszentrum Oberschützen 29.05.2011
published: 30 Jul 2011
author: ijaksekovic
23:12
Eugen Jochum, 1973 (Live) Haydn, Symphony No. 100 in G major "Military Symphony"
Joseph Haydn Symphony No. 100 in G major "Military Symphony" (Hoboken I/100) 1.A...
published: 05 Aug 2012
Eugen Jochum, 1973 (Live) Haydn, Symphony No. 100 in G major "Military Symphony"
Joseph Haydn Symphony No. 100 in G major "Military Symphony" (Hoboken I/100) 1.Adagio; Allegro 2.Allegretto 3.Menuetto: Moderato - Trio 4.Finale: Presto London Philharmonic Orchestra Eugen Jochum, conductor Recorded Live, 30 January 1973 Royal Festival Hall, London.
published: 05 Aug 2012
author: jacquesurlus
6:04
Joseph Haydn The Seasons/Die Jahreszeiten Winter 1-6
Hanne: Ida Falk Winland Lukas: Yves Saelens Simon: Birger Radde Octopus Symphony Chorus Le...
published: 01 Oct 2012
Joseph Haydn The Seasons/Die Jahreszeiten Winter 1-6
Hanne: Ida Falk Winland Lukas: Yves Saelens Simon: Birger Radde Octopus Symphony Chorus Le Concert d'Anvers (Horn solo: Mark De Merlier) Bart Van Reyn, conductor (Live performance at Palais des Beaux-Arts, Brussels on 3 June 2012; more info in: www.octopusensembles.be) At first there is thick winter fog. Then there is a short song (short because nothing grows in winter). Then there is a story about a traveller who is lost in the snown and comes to a cottage where he finds shelter. Hanne and the chorus sing a song about a spinning wheel. Many other composers later wrote music which describes a spinning wheel turning. There is another song which tells a story about a wealthy nobleman who tries to make love to a country girl but she escapes by riding off on his horse so he is left with no horse and no girl. At times this music sounds quite like the music in Mozart's opera The Magic Flute. Simon sings an aria which compares the seasons with the different stages of life (the seasons are used as a metaphor). Finally the chorus sing about the dawn of life in heaven. The oratorio and the seasons start all over again. The soloists, who have been three country people, are now three angels. There is a final hymn of praise.
published: 01 Oct 2012
author: PapaHaydn
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"Haydn" redirects here. For other uses, see Haydn (disambiguation).
.jpg)
Franz Joseph Haydn ( 
/ˈdʒoʊzəf ˈhaɪdən/; German pronunciation: [ˈjoːzɛf ˈhaɪdən] (
listen); 31 March[1] 1732 – 31 May 1809), known as Joseph Haydn,[2] was an Austrian[3] composer, one of the most prolific and prominent composers of the Classical period. He is often called the "Father of the Symphony" and "Father of the String Quartet" because of his important contributions to these forms. He was also instrumental in the development of the piano trio and in the evolution of sonata form.[4][5]
A lifelong resident of Austria, Haydn spent much of his career as a court musician for the wealthy Esterházy family on their remote estate. Isolated from other composers and trends in music until the later part of his long life, he was, as he put it, "forced to become original".[6] At the time of his death, he was one of the most celebrated composers in Europe.[7]
Joseph Haydn was the brother of Michael Haydn, himself a highly regarded composer, and Johann Evangelist Haydn, a tenor. He was also a close friend of Wolfgang Amadeus Mozart and a teacher of Ludwig van Beethoven.
Contents |
Life[link]
Childhood[link]
Joseph Haydn was born in Rohrau, Austria, a village near the border with Hungary. His father was Mathias Haydn, a wheelwright who also served as "Marktrichter", an office akin to village mayor. Haydn's mother Maria, née Koller, had previously worked as a cook in the palace of Count Harrach, the presiding aristocrat of Rohrau. Neither parent could read music;[8] however, Mathias was an enthusiastic folk musician, who during the journeyman period of his career had taught himself to play the harp. According to Haydn's later reminiscences, his childhood family was extremely musical, and frequently sang together and with their neighbors.[9]
Haydn's parents had noticed that their son was musically gifted and knew that in Rohrau he would have no chance to obtain any serious musical training. It was for this reason that they accepted a proposal from their relative Johann Matthias Frankh, the schoolmaster and choirmaster in Hainburg, that Haydn be apprenticed to Frankh in his home to train as a musician. Haydn therefore went off with Frankh to Hainburg (seven miles away) and never again lived with his parents. He was about six years old.
Life in the Frankh household was not easy for Haydn, who later remembered being frequently hungry[10] as well as constantly humiliated by the filthy state of his clothing.[11] However, he did begin his musical training there, and soon was able to play both harpsichord and violin. The people of Hainburg heard him sing treble parts in the church choir.
There is reason to think that Haydn's singing impressed those who heard him, because he was soon[12] brought to the attention of Georg von Reutter, the director of music in St. Stephen's Cathedral in Vienna, who happened to be visiting Hainburg. Haydn passed his audition with Reutter, and in 1740 moved to Vienna, where he worked for the next nine years as a chorister, after 1745 in the company of his younger brother Michael.
Haydn lived in the Kapellhaus next to the cathedral, along with Reutter, Reutter's family, and the other four choirboys.[13] He was instructed in Latin and other school subjects as well as voice, violin, and keyboard.[14] Reutter was of little help to Haydn in the areas of music theory and composition, giving him only two lessons in his entire time as chorister.[15] However, since St. Stephen's was one of the leading musical centers in Europe, Haydn was able to learn a great deal simply by serving as a professional musician there.[16]
Like Frankh before him, Reutter did not always bother to make sure Haydn was properly fed. As he later told his biographer Albert Christoph Dies, Haydn was motivated to sing very well, in hopes of gaining more invitations to perform before aristocratic audiences—where the singers were usually served refreshments.[17]
Struggles as a freelancer[link]
By 1749, Haydn had matured physically to the point that he was no longer able to sing high choral parts—the Empress herself complained to Reutter about his singing, calling it "crowing".[18] One day, Haydn carried out a prank, snipping off the pigtail of a fellow chorister.[18] This was enough for Reutter: Haydn was first caned, then summarily dismissed and sent into the streets with no home to go to.[19] He had the good fortune to be taken in by a friend, Johann Michael Spangler, who shared his family's crowded garret room with Haydn for a few months . Haydn immediately began his pursuit of a career as a freelance musician.
During this arduous time, Haydn worked at many different jobs: as a music teacher, as a street serenader, and eventually, in 1752, as valet–accompanist for the Italian composer Nicola Porpora, from whom he later said he learned "the true fundamentals of composition".[20] He also was briefly in Count Friedrich Wilhelm von Haugwitz's employ, playing the organ in the Bohemian Chancellery chapel at the Judenplatz.[21]
When he was a chorister, Haydn had not received serious training in music theory and composition, which he perceived as a serious gap. To fill it, he worked his way through the counterpoint exercises in the text Gradus ad Parnassum by Johann Joseph Fux, and carefully studied the work of Carl Philipp Emanuel Bach, whom he later acknowledged as an important influence.[22]
As his skills increased, Haydn began to acquire a public reputation, first as the composer of an opera, Der krumme Teufel "The Limping Devil", written for the comic actor Johann Joseph Felix Kurz, whose stage name was "Bernardon". The work was premiered successfully in 1753, but was soon closed down by the censors.[23] Haydn also noticed, apparently without annoyance, that works he had simply given away were being published and sold in local music shops.[24] Between 1754 and 1756 Haydn also worked freelance for the court in Vienna. He was among several musicians who were paid for services as supplementary musicians at balls given for the imperial children during carnival season, and as supplementary singers in the imperial chapel (the Hofkapelle) in Lent and Holy Week.[25]
With the increase in his reputation, Haydn eventually obtained aristocratic patronage, crucial for the career of a composer in his day. Countess Thun,[26] having seen one of Haydn's compositions, summoned him and engaged him as her singing and keyboard teacher.[27] In 1756, Baron Carl Josef Fürnberg employed Haydn at his country estate, Weinzierl, where the composer wrote his first string quartets. Fürnberg later recommended Haydn to Count Morzin, who, in 1757,[28] became his first full time employer.[29]
The years as Kapellmeister[link]
Haydn's job title under Count Morzin was Kapellmeister, that is, music director. He led the count's small orchestra and wrote his first symphonies for this ensemble. In 1760, with the security of a Kapellmeister position, Haydn married. His wife was the former Maria Anna Aloysia Apollonia Keller (1729–1800), the sister of Therese (b. 1733), with whom Haydn had previously been in love. Haydn and his wife had a completely unhappy marriage,[30] from which the laws of the time permitted them no escape; and they produced no children. Both took lovers.[31]
Count Morzin soon suffered financial reverses that forced him to dismiss his musical establishment, but Haydn was quickly offered a similar job (1761) by Prince Paul Anton, head of the immensely wealthy Esterházy family. Haydn's job title was only Vice-Kapellmeister, but he was immediately placed in charge of most of the Esterházy musical establishment, with the old Kapellmeister, Gregor Werner, retaining authority only for church music. When Werner died in 1766, Haydn was elevated to full Kapellmeister.
As a "house officer" in the Esterházy establishment, Haydn wore livery and followed the family as they moved among their various palaces, most importantly the family's ancestral seat Schloss Esterházy in Eisenstadt and later on Eszterháza, a grand new palace built in rural Hungary in the 1760s. Haydn had a huge range of responsibilities, including composition, running the orchestra, playing chamber music for and with his patrons, and eventually the mounting of operatic productions. Despite this backbreaking workload,[32] the job was in artistic terms a superb opportunity for Haydn.[33] The Esterházy princes (Paul Anton, then from 1762–1790 Nikolaus I) were musical connoisseurs who appreciated his work and gave him daily access to his own small orchestra.
During the nearly thirty years that Haydn worked at the Esterházy court, he produced a flood of compositions, and his musical style continued to develop. His popularity in the outside world also increased. Gradually, Haydn came to write as much for publication as for his employer, and several important works of this period, such as the Paris symphonies (1785–1786) and the original orchestral version of The Seven Last Words of Christ (1786), were commissions from abroad.
Haydn also gradually came to feel more isolated and lonely, particularly as the court came to spend most of the year at Esterháza, far from Vienna, rather than the closer-by Eisenstadt.[34] Haydn particularly longed to visit Vienna because of his friendships there.[35]
Of these, a particularly important one was with Maria Anna von Genzinger (1754–93), 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 Eszterháza 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.[36]
Another friend in Vienna was Wolfgang Amadeus Mozart, whom Haydn had met sometime around 1784. According to later testimony by Michael Kelly and others, the two composers occasionally played in string quartets together. Haydn was hugely impressed with Mozart's work and praised it unstintingly to others. Mozart evidently returned the esteem, as seen in his dedication of a set of six quartets, now called the "Haydn" quartets, to his friend. For further details see Haydn and Mozart.
The London journeys[link]
In 1790, Prince Nikolaus died and was succeeded as prince by his son Anton. Following a trend of the time,[37] Anton sought to economize by dismissing most of the court musicians. Haydn retained a nominal appointment with Anton, at a reduced salary of 400 florins, as well as a 1000-florin pension from Nikolaus.[38] Since Anton had little need of Haydn's services he was willing to let Haydn travel elsewhere, and the composer accepted a lucrative offer from Johann Peter Salomon, a German impresario, to visit England and conduct new symphonies with a large orchestra.
The visit (1791–1792), along with a repeat visit (1794–1795), was a huge success. Audiences flocked to Haydn's concerts; Haydn augmented his fame and made large profits, thus becoming financially secure.[39] Charles Burney reviewed the first concert thus: "Haydn himself presided at the piano-forte; and the sight of that renowned composer so electrified the audience, as to excite an attention and a pleasure superior to any that had ever been caused by instrumental music in England."[40]
Musically, the visits to England generated some of Haydn's best-known work, including the Surprise, Military, Drumroll, and London symphonies, the Rider quartet, and the "Gypsy Rondo" piano trio. The only misstep in the venture was an opera, L'anima del filosofo, which Haydn was contracted to compose, but whose performance was blocked by intrigues.[41] Haydn made many new friends and was involved for a time in a romantic relationship with Rebecca Schroeter.
While traveling to London in 1790, Haydn had met the young Ludwig van Beethoven in his native city of Bonn. On Haydn's return, Beethoven came to Vienna and during the time up to the second London visit was Haydn's pupil. For discussion of their relationship, see Beethoven and his contemporaries.[42]
Final years in Vienna[link]
Haydn returned to Vienna in 1795. Prince Anton had died, and his successor Nikolaus II proposed that the Esterházy musical establishment be revived with Haydn serving again as Kapellmeister. Haydn took up the position, though only on a part-time basis. He spent his summers with the Esterházys in Eisenstadt, and over the course of several years wrote six masses for them. But by this time Haydn had become a public figure in Vienna. He spent most of his time in his own home, a large house in the suburb of Gumpendorf,[43] and wrote works for public performance. In collaboration with his librettist and mentor Gottfried van Swieten, and with funding from van Swieten's Gesellschaft der Associierten, Haydn composed his two great oratorios The Creation (1798) and The Seasons (1801). Both were enthusiastically received. Haydn frequently appeared before the public, often leading performances of The Creation for charity benefits. He also composed instrumental music: the popular Trumpet Concerto and the last nine in his long series of string quartets, including the Fifths, Emperor, and Sunrise quartets.
During the later years of this successful period Haydn faced incipient old age and fluctuating health, and he had to struggle to complete his final works. By about 1802, his condition had declined to the point that he became physically unable to compose.[44] This was doubtless very difficult for him because, as he acknowledged, the flow of fresh musical ideas waiting to be worked out as compositions did not cease. Haydn was well cared for by his servants, and he received many visitors and public honours during his last years, but they could not have been very happy years for him. During his illness, Haydn often found solace by sitting at the piano and playing Gott erhalte Franz den Kaiser, which he had composed himself as a patriotic gesture in 1797.[45] This melody was later used for the Austrian and German national anthems.
A final triumph occurred on 27 March 1808, when a performance of The Creation was organized in Haydn's honor. The very frail composer was brought into the hall on an armchair to the sound of trumpets and drums, and was greeted by Beethoven, by Salieri (who led the performance), and by other musicians and members of the aristocracy – many of whom probably sensed that they were saying goodbye to the elderly composer. Haydn was both moved and exhausted by the experience, and had to depart at intermission.[46]
Haydn lived on for another year. He died, aged 77, at the end of May 1809, shortly after an attack on Vienna by the French army under Napoleon. Among his last words was his attempt to calm and reassure his servants when cannon shot fell in the neighborhood:[47] "My children, have no fear, for where Haydn is, no harm can fall." Two weeks later, a memorial service was held in the Schottenkirche on 15 June 1809, at which Mozart's Requiem was performed.
Character and appearance[link]
James Webster writes of Haydn's public character thus: "Haydn's public life exemplified the Enlightenment ideal of the honnête homme (honest man): the man whose good character and worldly success enable and justify each other. His modesty and probity were everywhere acknowledged. These traits were not only prerequisites to his success as Kapellmeister, entrepreneur and public figure, but also aided the favourable reception of his music."[48] Haydn was especially respected by the Eszterházy court musicians whom he supervised, as he maintained a cordial working atmosphere and effectively represented the musicians' interests with their employer; see Papa Haydn and the tale of the "Farewell" Symphony.
Haydn had a robust sense of humor, evident in his love of practical jokes[49] and often apparent in his music, and he had many friends. For much of his life he benefited from a "happy and naturally cheerful temperament",[50] but in his later life, there is evidence for periods of depression, notably in the correspondence with Mrs. Genzinger and in Dies's biography, based on visits made in Haydn's old age.
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.[51] 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").[52]
Haydn was short in stature, perhaps as a result of having been underfed throughout most of his youth. He was not handsome, and like many in his day he was a survivor of smallpox, his face being pitted with the scars of this disease. His biographer Dies wrote, "he couldn't understand how it happened that in his life he had been loved by many a pretty woman. 'They couldn't have been led to it by my beauty'".[53]
His nose, large and aquiline, was disfigured by polypus, which he suffered from for much of his adult life.[54] This was an agonizing and debilitating disease in the 18th century, and at times it prevented him from writing music.[55]
Works[link]
James Webster summarizes Haydn's role in the history of classical music as follows:[56] "He excelled in every musical genre… He is familiarly known as the 'father of the symphony' and could with greater justice be thus regarded for the string quartet; no other composer approaches his combination of productivity, quality and historical importance in these genres."
Structure and character of his music[link]
A central characteristic of Haydn's music is the development of larger structures out of very short, simple musical motifs, often derived from standard accompanying figures. The music is often quite formally concentrated, and the important musical events of a movement can unfold rather quickly.[57]
Haydn's work was central to the development of what came to be called sonata form. His practice, however, differed in some ways from that of Mozart and Beethoven, his younger contemporaries who likewise excelled in this form of composition. Haydn was particularly fond of the so-called "monothematic exposition", in which the music that establishes the dominant key is similar or identical to the opening theme. Haydn also differs from Mozart and Beethoven in his recapitulation sections, where he often rearranges the order of themes compared to the exposition and uses extensive thematic development.[58]
Haydn's formal inventiveness also led him to integrate the fugue into the classical style and to enrich the rondo form with more cohesive tonal logic (see sonata rondo form). Haydn was also the principal exponent of the double variation form—variations on two alternating themes, which are often major- and minor-mode versions of each other.
Perhaps more than any other composer's, Haydn's music is known for its humor.[59] The most famous example is the sudden loud chord in the slow movement of his "Surprise" symphony; Haydn's many other musical jokes include numerous false endings (e.g., in the quartets Op. 33 No. 2 and Op. 50 No. 3), and the remarkable rhythmic illusion placed in the trio section of the third movement of Op. 50 No. 1.
Much of the music was written to please and delight a prince, and its emotional tone is correspondingly upbeat.[citation needed] This tone also reflects, perhaps, Haydn's fundamentally healthy and well-balanced personality. Occasional minor-key works, often deadly serious in character, form striking exceptions to the general rule. Haydn's fast movements tend to be rhythmically propulsive and often impart a great sense of energy, especially in the finales. Some characteristic examples of Haydn's "rollicking" finale type are found in the "London" symphony No. 104, the string quartet Op. 50 No. 1, and the piano trio Hob XV: 27. Haydn's early slow movements are usually not too slow in tempo, relaxed, and reflective. Later on, the emotional range of the slow movements increases, notably in the deeply felt slow movements of the quartets Op. 76 Nos. 3 and 5, the Symphonies No. 98 and 102, and the piano trio Hob XV: 23. The minuets tend to have a strong downbeat and a clearly popular character. Over time, Haydn turned some of his minuets into "scherzi" which are much faster, at one beat to the bar.
Evolution of Haydn's style[link]
Haydn's early work dates from a period in which the compositional style of the High Baroque (seen in Bach and Handel) had gone out of fashion. This was a period of exploration and uncertainty, and Haydn, born 18 years before the death of Bach, was himself one of the musical explorers of this time.[60] An older contemporary whose work Haydn acknowledged as an important influence was Carl Philipp Emanuel Bach.[22]
Tracing Haydn's work over the six decades in which it was produced (roughly, 1749 to 1802), one finds a gradual but steady increase in complexity and musical sophistication, which developed as Haydn learned from his own experience and that of his colleagues. Several important landmarks have been observed in the evolution of Haydn's musical style.
In the late 1760s and early 1770s Haydn entered a stylistic period known as "Sturm und Drang" (storm and stress). This term is taken from a literary movement of about the same time, though it appears that the musical development actually preceded the literary one by a few years.[61] The musical language of this period is similar to what went before, but it is deployed in work that is more intensely expressive, especially in the works in minor keys. James Webster describes the works of this period as "longer, more passionate, and more daring."[62] Some of the most famous compositions of this time are the "Trauer" (Mourning) Symphony No. 44, "Farewell" Symphony No. 45, the piano sonata in C minor (Hob. XVI/20, L. 33), and the six string quartets of Op. 20 (the "Sun" quartets), all from ca. 1771–1772. It was also around this time that Haydn became interested in writing fugues in the Baroque style, and three of the Op. 20 quartets end with such fugues.
Following the climax of the "Sturm und Drang", Haydn returned to a lighter, more overtly entertaining style. There are no quartets from this period, and the symphonies take on new features: the scoring often includes trumpets and timpani. These changes are often related to a major shift in Haydn's professional duties, which moved him away from "pure" music and toward the production of comic operas. Several of the operas were Haydn's own work (see List of operas by Joseph Haydn); these are seldom performed today. Haydn sometimes recycled his opera music in symphonic works,[63] which helped him continue his career as a symphonist during this hectic decade.
In 1779, an important change in Haydn's contract permitted him to publish his compositions without prior authorization from his employer. This may have encouraged Haydn to rekindle his career as a composer of "pure" music. The change made itself felt most dramatically in 1781, when Haydn published the six string quartets of Opus 33, announcing (in a letter to potential purchasers) that they were written in "a new and completely special way".[64] Charles Rosen has argued that this assertion on Haydn's part was not just sales talk, but meant quite seriously; and he points out a number of important advances in Haydn's compositional technique that appear in these quartets, advances that mark the advent of the Classical style in full flower. These include a fluid form of phrasing, in which each motif emerges from the previous one without interruption, the practice of letting accompanying material evolve into melodic material, and a kind of "Classical counterpoint" in which each instrumental part maintains its own integrity. These traits continue in the many quartets that Haydn wrote after Opus 33.[65]
In the 1790s, stimulated by his England journeys, Haydn developed what Rosen calls his "popular style", a method of composition that, with unprecedented success, created music having great popular appeal but retaining a learned and rigorous musical structure.[66] An important element of the popular style was the frequent use of folk or folk-like material, as discussed in the article Haydn and folk music. Haydn took care to deploy this material in appropriate locations, such as the endings of sonata expositions or the opening themes of finales. In such locations, the folk material serves as an element of stability, helping to anchor the larger structure.[67] Haydn's popular style can be heard in virtually all of his later work, including the twelve London symphonies, the late quartets and piano trios, and the two late oratorios.
The return to Vienna in 1795 marked the last turning point in Haydn's career. Although his musical style evolved little, his intentions as a composer changed. While he had been a servant, and later a busy entrepreneur, Haydn wrote his works quickly and in profusion, with frequent deadlines. As a rich man, Haydn now felt that he had the privilege of taking his time and writing for posterity. This is reflected in the subject matter of The Creation (1798) and The Seasons (1801), which address such weighty topics as the meaning of life and the purpose of humankind, and represent an attempt to render the sublime in music. Haydn's new intentions also meant that he was willing to spend much time on a single work: both oratorios took him over a year to complete. Haydn once remarked that he had worked on The Creation so long because he wanted it to last.[68]
The change in Haydn's approach was important in the history of classical music, as other composers were soon following his lead. Notably, Beethoven adopted the practice of taking his time and aiming high.[69]
Identifying Haydn's works[link]
Haydn's works are listed in a comprehensive catalogue prepared by Anthony van Hoboken. This Hoboken catalogue provides each work with an identifying number, called its Hoboken number (abbreviation: H. or Hob.). The string quartets also have Hoboken numbers, but are usually identified instead by their opus numbers, which have the advantage of indicating the groups of six quartets that Haydn published together; thus for example the string quartet Opus 76, No. 3 is the third of the six quartets published in 1799 as Opus 76.
Media[link]
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Performed by the Amigos do JPC with Pedro Carlos Silva (piano)
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See also[link]
Works[link]
- Hoboken catalogue
- List of concertos by Joseph Haydn
- List of masses by Joseph Haydn
- List of operas by Joseph Haydn
- List of piano trios by Joseph Haydn
- List of solo piano compositions by Joseph Haydn
- List of string quartets by Joseph Haydn
- List of symphonies by Joseph Haydn
- Gott erhalte Franz den Kaiser (God save Franz, the Emperor; the melody was later used in Das Lied der Deutschen, which is still Germany's national anthem.)
- The Creation
- The Seasons
- Baryton, for the baryton trios Haydn wrote for prince Nikolaus Esterházy
Contemporaries[link]
- Haydn and Mozart
- Beethoven and his contemporaries, i.e., Joseph Haydn
- Marianne von Martinez—as a child one of Haydn's first students; as an adult a friend and an eminent musician in her own right
- Johann Peter Salomon—organizer of the London journeys
- Gottfried van Swieten—the librettist of The Creation and The Seasons
- List of Austrians in music
Other topics[link]
- Haydn and folk music
- Haydn's head—how it was stolen after his death
- Joseph Haydn's ethnicity—an old controversy: was Haydn a Croatian?
- List of residences of Joseph Haydn
- "Papa" Haydn
- Mannersdorf am Leithagebirge—where Haydn visited and built his career during summer 1753
Notes[link]
- ^ The date is uncertain. Haydn himself told others he was born on this day (Geiringer (1982, 9); Jones (1810, 8)), but some of his family members reported 1 April instead (Geiringer). The difficulty arises from the fact that in Haydn's day official records recorded not the birth date but rather the date of baptism, which in Haydn's case was 1 April (Wyn Jones 2009, 2–3).
- ^ Although he is sometimes called "Franz Joseph Haydn", the name "Franz" was not used in the composer's lifetime and is avoided by scholars. (Webster, James: "Haydn, Joseph", Grove Music Online ed. L. Macy (Accessed 18 January 2007), http://www.grovemusic.com)
- ^ Webster and Feder, 2001
- ^ Rosen 1997, pp. 43–54
- ^ Smallman, Basil (1992). The Piano Trio: Its History, Technique, and Repertoire. Oxford University Press. pp. 16–19. ISBN 0-19-318307-2.
- ^ Haydn made the remark to his friend and biographer Georg August Griesinger; cited from English version by Vernon Gotwals (Griesinger 1963:17)
- ^ Harrison, Bernard (1998). Haydn, the "Paris" symphonies. Cambridge University Press. pp. 20ff. ISBN 0-521-47164-8.
- ^ Haydn reported this in his 1776 Autobiographical sketch.
- ^ Dies 1963, pp. 80–81
- ^ Griesinger 1963, p. 9
- ^ Dies 1963, p. 82
- ^ Probably in 1739; Finscher 2000, p. 12
- ^ Wyn Jones (2009, 12–13)
- ^ Finscher 2000, p. 12
- ^ Griesinger 1963, p. 10
- ^ Landon & Jones 1988, p. 27
- ^ Dies 1963, p. 87
- ^ a b Dies (1810, 89)
- ^ Geiringer 1982, p. 27
- ^ Larsen 1980, p. 8
- ^ Rita Steblin, 'Haydns Orgeldienste "in der damaligen Gräfl. Haugwitzischen Kapelle"', in: Wiener Geschichtsblätter 65/2000, p. 124-34.
- ^ a b Geiringer 1982, p. 30
- ^ Geiringer 1982, pp. 30–32
- ^ Griesinger 1963, p. 15
- ^ Dexter Edge, 'New Sources for Haydn’s Early Biography', unpublished paper given at the AMS Montréal, 7 November 1993, (see The New Grove Dictionary of Music and Musicians (2001), vol. 11, p. 265).
- ^ 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).
- ^ Webster 2002, p. 8. Webster expresses doubts, since the source is the early biography of Nicolas-Étienne Framery, judged (Webster 2002, p. 1) the least reliable of Haydn's early biographers.
- ^ This date is uncertain, since the early biography of Griesinger (1963) gives 1759. For the evidence supporting the earlier date see Landon & Jones (1988, p. 34) and Webster (2002, p. 10).
- ^ Source for this paragraph: Geiringer 1982, pp. 34–35
- ^ See, e.g., Geiringer 1982, pp. 36–40
- ^ Mrs. Haydn's paramour (1770) was Ludwig Guttenbrunn, an artist who produced the portrait of Haydn seen above (Landon & Jones 1988, p. 109). Joseph Haydn had a long relationship, starting in 1779, with the singer Luigia Polzelli, and was probably the father of her son Antonio (Landon & Jones 1988, p. 116).
- ^ Robbins Landon and Jones (1988, 100) write: "Haydn's duties were crushing. We can notice the effect in his handwriting, which becomes hastier as the 1770s turn to the 1780s: the notation starts to become ever more careless in the scores and the abbreviations multiply."
- ^ This view is given, for instance, by Webster (2002, p. 13) and Landon & Jones (1988, p. 37).
- ^ Geiringer 1982, p. 60
- ^ For details see Geiringer 1982, Chapter 6
- ^ Geiringer 1982, p. 316, citing Robbins Landon
- ^ Jones (2009a)
- ^ Geiringer (1982, 96)
- ^ According to Jones, the London visits yielded a net profit of 15,000 florins. Haydn continued to prosper after the visits and at his death left an estate valued at 55,713 florins. These were substantial sums; for comparison, the house he bought in Gumpendorf in 1793 (and then remodeled) cost only 1370 florins (all figures from Jones 2009:144–146).
- ^ From Burney's memoirs; quoted from Landon & Jones (1988, p. 234)
- ^ The premier performance occurred only in 1951, at the Florence May Festival with Maria Callas in the role of Euridice. The opera and its history are discussed in Geiringer 1982, pp. 342–343.
- ^ Geiringer 1982, pp. 131–135
- ^ The house, at Haydngasse 19, has since 1899 been a Haydn museum ([1], [showUid]=27&cHash=0a55f69cfa).
- ^ Diagnosis was uncertain in Haydn's day, so the precise illness is unlikely ever to be identified. Haydn's symptoms were weakness, dizziness, inability to concentrate, and painfully swollen legs (Jones 2009a:146). Jones (2009b:216) suggests that Haydn suffered from arteriosclerosis.
- ^ Geiringer 1982, pp. 161–2
- ^ Source for this paragraph: Geiringer (1982:186–187)
- ^ Geiringer 1982, p. 189
- ^ Webster 2002, p. 44
- ^ Griesinger 1963, p. 20; Dies 1963, pp. 92–93
- ^ Dies 1963, p. 91
- ^ Griesinger 1963, p. 54
- ^ Larsen 1980, p. 81
- ^ Dies 1963, p. 157; translation taken from Robbins Landon and Jones 1988
- ^ Hadden 2010, p. 158
- ^ Discussed in "The Agony of Nasal Polyps and the Terror of Their Removal 200 Years Ago" by Jack Cohen, MD. This article appeared in The Laryngoscope, 108(9): 1311–1313, September 1998. No free online text available.
- ^ Online edition, article "Joseph Haydn"; downloaded 3 Feb. 2007
- ^ Sutcliffe (1989, p. 343) mentions this in a criticism of contemporary Haydn performance practice: "[Haydn's] music sometime seems to 'live on its nerves' ... It is above all in this respect that Haydn performances often fail, whereby most interpreters lack the mental agility to deal with the ever-changing 'physiognomy' of Haydn's music, subsiding instead into an ease of manner and a concern for broader effects that they have acquired in their playing of Mozart."
- ^ Hughes (1970, p. 112) writes: "Having begun to 'develop', he could not stop; his recapitulations begin to take on irregular contours, sometimes sharply condensed, sometimes surprisingly expanded, losing their first tame symmetry to regain a balance of a far higher and more satisfying order."
- ^ See, for instance, Brendel (2001), which focuses on the humor of Haydn and Beethoven.
- ^ Rosen (1997, p. 57) writes, "the period from 1750 to 1775 was penetrated by eccentricity, hit-or-miss experimentation, resulting in works which are still difficult to accept today because of their oddities." Similar remarks are made by Hughes (1970, pp. 111–112)
- ^ See Webster (2002, p. 18): "the term has been criticized: taken from the title of a play of 1776 by Maximilian Klinger, it properly pertains to a literary movement of the middle and late 1770s rather than a musical one of about 1768–1772."
- ^ Webster 2002, p. 18
- ^ Webster and Feder 2001, section 3.iii
- ^ Original German "Neu, gantz besonderer Art"; Sisman (1993, 219)
- ^ Rosen's case that Opus 33 represents a "revolution in style" (1971 and 1997, 116) can be found in chapter III.1 of (Rosen 1971 and 1997). For dissenting views, see Larsen (1980, p. 102) and Webster (1991).
- ^ Rosen discusses the popular style in ch. VI.1 of Rosen (1971 and 1997).
- ^ Rosen (1997 and 2001), 333–337
- ^ Geiringer 1982, p. 158
- ^ For discussion, see Antony Hopkins (1981) The Nine Symphonies of Beethoven, Heinemann, London, pp. 7–8.
References[link]
- Biographical sources
- Dies, Albert Christoph (1963). "Biographical Accounts of Joseph Haydn". In Gotwals, Vernon, translator and editor. Haydn: Two Contemporary Portraits. Milwaukee: University of Wisconsin Press. ISBN 0-299-02791-0. A translation from the original German: "Biographische Nachrichten von Joseph Haydn nach mündlichen Erzählungen desselben entworfen und herausgegeben" ("Biographical accounts of Joseph Haydn, written and edited from his own spoken narratives") (1810). Camesinaische Buchhandlung, Vienna. One of the first biographies of Haydn, written on the basis of 30 interviews carried out during the composer's old age.
- Finscher, Ludwig (2000). Joseph Haydn und seine Zeit. Laaber: Laaber-Verlag. ISBN 3-921518-94-6. Highly detailed discussion of life and work; in German.
- Geiringer, Karl; Geiringer, Irene (1982). Haydn: A Creative Life in Music (3rd ed.). University of California. ISBN 0-520-04316-2. The first edition was published in 1946 with Karl Geiringer as the sole author.
- Griesinger, Georg August (1963). "Biographical Notes Concerning Joseph Haydn". In Gotwals, Vernon, translator and editor. Haydn: Two Contemporary Portraits. Milwaukee: University of Wisconsin Press. ISBN 0-299-02791-0. A translation from the original German: "Biographische Notizen über Joseph Haydn" (1810). Leipzig. Like Dies's, a biography produced from interviews with the elderly Haydn.
- Hadden, James Cuthbert (2010). Haydn (Reissue ed.). London: Cambridge University Press. ISBN 1-108-01987-0. http://books.google.com/books?id=0IXbsEBrSK0C&pg=PA106.
- Hughes, Rosemary (1970). Haydn (Revised ed.). New York: Farrar Strauss and Giroux. ISBN 0-460-02281-4. Originally published in 1950. Gives a sympathetic and witty account of Haydn's life, along with a survey of the music.
- Jones, David Wyn (2009a) The Life of Haydn. Oxford University Press. Focuses on biography rather than musical works; an up-to-date study benefiting from recent scholarly research on Haydn's life and times.
- Jones, David Wyn (2009b) Oxford Composer Companions: Haydn. Oxford University Press. A one-volume encyclopedia with detailed contributions from many Haydn scholars.
- Landon, H.C. Robbins (1976–1980). Haydn: Chronicle and Works. Bloomington, IN: Indiana University Press. ISBN 0-253-37003-5. An extensive compilation of original sources in five volumes.
- 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 Robbins Landon (1976–1980) and rich in original source documents. Analysis and appreciation of the works by Jones.
- Larsen, Jens Peter (1980). "Joseph Haydn". New Grove Dictionary of Music and Musicians. Published separately as The New Grove: Haydn. New York: Norton. 1982. ISBN 0-393-01681-1.
- Webster, James; Feder, Georg (2001). "Joseph Haydn". The New Grove Dictionary of Music and Musicians. Published separately as a book: The New Grove Haydn. New York: Macmillan. 2002. ISBN 0-19-516904-2. Careful scholarship with little subjective interpretation; covers both life and music, and includes a very detailed list of works.
- Criticism and analysis sources
- Brendel, Alfred (2001). "Does classical music have to be entirely serious?". In Margalit, Edna; Margalit, Avishai. Isaiah Berlin: A Celebration. Chicago: University of Chicago Press. pp. 193–204. ISBN 0-226-84096-4. On jokes in Haydn and Beethoven.
- Clark, Caryl, ed. (2005). The Cambridge Companion to Haydn. Cambridge: Cambridge University Press. ISBN 0-521-83347-7. Covers each of the genres Haydn composed in as well as stylistic and interpretive contexts and performance and reception.
- Griffiths, Paul (1983). The String Quartet. New York: Thames and Hudson. ISBN 0-500-01311-X.
- Hughes, Rosemary (1966). Haydn String Quartets. London: BBC. A brief (55 page) introduction to Haydn's string quartets.
- Rosen, Charles (1997). The classical style: Haydn, Mozart, Beethoven (2nd ed.). New York: Norton. ISBN 0-393-31712-9. First edition published in 1971. Covers much of Haydn's output and seeks to explicate Haydn's central role in the creation of the classical style. The work has been influential, provoking both positive citation and work (e.g., Webster 1991) written in reaction.
- Sisman, Elaine (1993) Haydn and the classical variation. Cambridge: Harvard University Press. ISBN 0-674-38315-X.
- Sutcliffe, W. Dean (1989). "Haydn's Musical Personality". The Musical Times 130 (1756): 341–344. DOI:10.2307/966030. JSTOR 966030.
- Sutcliffe, W. Dean (1992). Haydn, string quartets, op. 50. Cambridge: Cambridge University Press. ISBN 0-521-39103-2. Covers not just Op. 50 but also its relevance to Haydn's other output as well as his earlier quartets.
- Webster, James (1991). Haydn’s "Farewell" symphony and the idea of classical style: through-composition and cyclic integration in his instrumental music. Cambridge: Cambridge University Press. ISBN 0-521-38520-2. This book focuses on a single work, but contains many observations and opinions about Haydn in general.
External links[link]
 |
Book: Joseph Haydn |
| Wikipedia books are collections of articles that can be downloaded or ordered in print. | |
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Wikimedia Commons has media related to: Joseph Haydn |
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Wikiquote has a collection of quotations related to: Joseph Haydn |
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Wikisource has the text of an Encyclopaedia Britannica (9th ed.) article about Joseph Haydn. |
- Albert Christoph Dies: (German) Biographische Nachrichten von Joseph Haydn. Wien: Camesinaische Buchhandlung, 1810.
- Haydn's Late Oratorios: The Creation and The Seasons by Brian Robins
- Full text of the biography Haydn by J. Cuthbert Hadden, 1902, from Project Gutenberg. The end of book contains documentary material including a number of Haydn's letters. Alternatively scanned copy Haydn at archive.org.
- Works by or about Joseph Haydn in libraries (WorldCat catalog)
- No Royal Directive: Joseph Haydn and the String Quartet by Ron Drummond
- musicologie.org, with biography (French)
- 'Haydn – Quartet in F minor, Op.20 No.5', Lecture by Professor Roger Parker, with the Badke Quartet, Gresham College, 8 April 2008 (available for video, audio and text download).
- Haydn anniversary page on Bachtrack, includes lists of live performances
Scores and recordings[link]
- Free scores by Joseph Haydn at the International Music Score Library Project
- Free scores by Joseph Haydn in the Choral Public Domain Library (ChoralWiki)
- Free scores by Joseph Haydn in the Werner Icking Music Archive (WIMA)
- www.kreusch-sheet-music.net – Free Scores by Haydn
- Free scores at the Mutopia Project
- Works by Joseph Haydn at Project Gutenberg
- Kunst der Fuge: Franz Joseph Haydn – Hundreds of MIDI files
- Haydn's page at Classical Archives
- Franz Joseph Haydn on Naxos Records
- Haydn Symphonies from the British Library Sound Archive
- Complete recording of Joseph Haydns Pianosonatas on a sampled Walther Pianoforte
- Complete recording of Joseph Haydns Pianosonatas on a sampled Steinwy D
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| Persondata | |
|---|---|
| Name | Haydn, Joseph |
| Alternative names | Haydn, Franz Joseph; "Father of the Symphony"; "Father of the String Quartet" |
| Short description | Austrian composer |
| Date of birth | 31 March 1732 |
| Place of birth | Rohrau |
| Date of death | 31 May 1809 |
| Place of death | Vienna |
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