Relevant bibliographies by topics / Joseph Haydn (composer)

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Academic literature on the topic 'Joseph Haydn (composer)'

Author: Grafiati
Published: 5 June 2025
Last updated: 2 August 2025

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Journal articles on the topic "Joseph Haydn (composer)"

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Garnai, Amy. "Thomas Holcroft and Joseph Haydn: Mapping an Unlikely Friendship." Essays in Romanticism: Volume 29, Issue 1 29, no. 1 (2022): 33–49. http://dx.doi.org/10.3828/eir.2022.29.1.3.

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This essay examines the friendship between the British playwright, novelist, translator, and political activist, Thomas Holcroft, and the Austrian composer, Joseph Haydn. This friendship is explored against the backdrop of the politically fraught 1790s, and the discourse surrounding the French Revolution. Activists such as Holcroft were subjected to legal action; he was arrested during the Treason Trials of 1794 for allegedly taking part in a plot to overthrow the King. Eventually released without trial, Holcroft suffered deeply from the after-effects of his judicial experience. Haydn, convers
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Steinicke, Wolfgang. "Haydn at the Herschels." Astronomy & Geophysics 63, no. 6 (2022): 6.20–6.23. http://dx.doi.org/10.1093/astrogeo/atac078.

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Abstract The real-life meeting of two iconic figures who have withstood the tides of history makes for a tantalizing prospect. But did it ever happen? Wolfgang Steinicke examines the facts of a visit to the Slough residence of William Herschel by none other than composer Joseph Haydn.
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Zhang, Liangbao. "“Three expectations”: a psychosocial analysis of the creation and reception of Franz Haydn’s oratorio “Genesis”." OOO "Zhurnal "Voprosy Istorii" 2023, no. 4-2 (2023): 232–37. http://dx.doi.org/10.31166/voprosyistorii202304statyi51.

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The article examines the phenomenon of expectation in musical creativity from the point of view of social psychology on the example of the oratorio “Genesis” of the Austrian composer Franz Joseph Haydn.
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Tarasov, Sergei Vasilevich. "Chamber and Vocal Creative Work of Joseph Haydn. Part 2." Pan-Art 3, no. 1 (2023): 32–41. http://dx.doi.org/10.30853/pa20230002.

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The purpose of this research paper is devoted to the still little-studied problem of identifying the relations between the vocal and instrumental factors in Haydn’s music. In the paper the vocal cycle «VI ORIGINAL CANZONETTAS» is analyzed. It comprises the combination of independent and finished by the form of songs subordinate to the same artistic design. The composer follows the basic principle of the integration of parts into a cycle – the principle of music character contrast – and dramatically unites separate sketches, moods and images with the same author’s point of view. The success of
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DAVISON, ALAN. "THE FACE OF A MUSICAL GENIUS: THOMAS HARDY'S PORTRAIT OF JOSEPH HAYDN." Eighteenth Century Music 6, no. 2 (2009): 209–27. http://dx.doi.org/10.1017/s1478570609990054.

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ABSTRACTHaydn's first visit to England in 1791 was accompanied by a publicity war waged between his supporters and detractors. The composer's friends were keen to present him as a musical genius while at the same time defending him against what they saw as reactionary criticisms over rules and taste. One such defence was in the form of a portrait by Thomas Hardy, probably the most famous image of the composer. While readily considered today as a matter-of-fact representation of an urbane Georgian gentleman, the portrait is in fact a sophisticated response to contemporary arguments surrounding
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Braun, Michael. "Sammartini, Mysliveček, Haydn." Die Musikforschung 77, no. 3 (2024): 220–43. http://dx.doi.org/10.52412/mf.2024.h3.3136.

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Giovanni Battista Sammartini’s name has been consistently prominent in the discourse on the origins of the concert symphony, whether hailed as a pioneer of the genre or deemed a merely marginal figure in its development. It has hardly been recognized, however, that an anecdote first shared 1809 in Georg August Griesinger’s Biographische Notizen über Joseph Haydn and later in Le Haydine by Giuseppe Carpani – who was most likely the original source of the story – played a conspicuous role in shaping the perception of Sammartini and his compositional output. In this anecdote, Josef Mysliveček spo
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PACZKOWSKI, SZYMON. "THE POLISH-SAXON EPISODE IN THE LIFE OF GREGOR JOSEPH WERNER." Eighteenth Century Music 16, no. 2 (2019): 155–65. http://dx.doi.org/10.1017/s1478570619000198.

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Musicological literature devoted to the life and works of Gregor Joseph Werner (1693–1766) has remained very limited. Researchers have usually been motivated to discover more about him for two reasons: the fact that from 1728 he was Kapellmeister at the court of the Esterházy princes in Eisenstadt, and that while there he met and worked with the great Joseph Haydn. It is no exaggeration to claim that Werner is usually mentioned only because of this association: he has found his way into music history on account of his connection with Haydn. However, this approach leaves too much room for a sup
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Acatrini, Vladimir, Myroslava Vovk, and Nataliia Filipchuk. "10. The Influence of Eusebie Mandicevschi on the Formation of the Personality of the Composer Marţian Negrea." Review of Artistic Education 25, no. 1 (2023): 57–65. http://dx.doi.org/10.2478/rae-2023-0010.

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Abstract The composer, choir conductor and musicologist, raised from the lands of Bucovina. Eusebie Mandicevschi (1857 - 1829) left posterity a complex musical work: vocal, symphonic, chamber, choral music, prestigious critical studies on Johann Sebastian Bach, Ludwig van Beethoven, Joseph Haydn, Franz Schubert, Johannes Brahms, distinguishing himself, throughout his life, through a sustained and competent pedagogical activity, through a prodigious social activity he was a teacher at the “Akademie für Musik und darstellende Kunst” in Vienna, as an archivist and librarian at the “Gesellschaft d
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Tarasov, Sergei Vasilevich. "Chamber and Vocal Creative Work of Joseph Haydn. Part 1." Pan-Art 2, no. 4 (2022): 103–13. http://dx.doi.org/10.30853/pa20220020.

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The purpose of this research paper is devoted to the still little-studied problem of identifying the relations between the vocal and instrumental factors in Haydn’s music. The ideas of the domestic and foreign scholars about Haydn’s creative work are being expanded and enriched with new data. In the paper the historical meaning of Haydn’s creative work in the ХХI century is defined not only by his innovative sonata-symphonic forms and the formation of the major classical genres of symphony, concert for a solo instrument with orchestra, quartet and sonata but Haydn’s significant contribution to
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Morabito, Fabio. "Endless Self: Haydn, Cherubini, and the Sound of the Canon." 19th-Century Music 46, no. 2 (2022): 91–124. http://dx.doi.org/10.1525/ncm.2022.46.2.91.

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This article takes as its starting point the little-noted attempt of the composer Luigi Cherubini to become the new Esterházy Kapellmeister following Joseph Haydn's death. I use the episode as a prompt for a broad reconsideration of Haydn's reputation in the 1790s–1800s, and of what it meant to follow in such footsteps. Rather than just a matter of capitalizing on the celebrity of a widely respected composer, I discuss Haydn's image and legacy as entailing a god-like aura of immortality, which he shared with personalities such as Washington, Nelson, or Peter the Great of Russia, all hailed for
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Dissertations / Theses on the topic "Joseph Haydn (composer)"

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Soucy, Jean-Philippe. "Six French composers’ homage to Haydn : an analytical comparison enlightening their conception of tombeau." Thesis, McGill University, 2009. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=104366.

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In 1909, the Revue musicale mensuelle de la Societe lnternationale de Musique (RSIM) asked six French composers (Debussy, Dukas, Hahn, d’Indy, Ravel and Wid or) to commemorate Haydn’s centennial anniversary of death by each creating a piano piece that incorporated a theme built with a letter-note correspondence on the word “Haydn”. In the context of the French fin-de-siecle search for musical identity, this collective tombeau represents a unique opportunity to discover what characteristics were important to them. My analysis of the pieces reveals five common elements: enharmonic reinterpretati
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Perttu, Daniel Erkki Hiram. "Through nature to eternity a work for wind ensemble, and A quantitative study of chromaticism : changes observed in historical eras and individual composers /." Columbus, Ohio : Ohio State University, 2007. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1177965963.

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Books on the topic "Joseph Haydn (composer)"

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Vignal, Marc. Joseph Haydn. Fayard, 1988.

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Marggraf, Wolfgang. Joseph Haydn: Versuch einer Annäherung. Reclam-Verlag, 1990.

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Susan, Hellard, ed. Haydn. Gollancz, 1992.

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Zori, Zvi. Haiden: Joseph Haydn : be-koḥot ʻatsmo. Nahar sefarim, 2014.

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Landon, H. C. Robbins. Haydn: His life and music. Indiana University Press, 1988.

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Brahms-Institut, ed. Kontinuitäten? Symposium Joseph Haydn im Wandel der Interpretationen: Ausstellung Joseph Haydn und Johannes Brahms. Edition text + kritik, 2017.

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Poštolka, Milan. Mladý Joseph Haydn, jeho vývoj ke klasickému slohu. Panton, 1988.

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Irene, Geiringer, and Raab Armin, eds. Joseph Haydn: Der schöpferische Werdegang eines Meisters der Klassik : eine Biografie. Schott Musik, 2009.

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9

Meiluan, Chen, ed. Haidun. Zhi ku wen hua gu fen you xian gong si, 1995.

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Coones, Alexis. Life of Joseph Haydn : Work of Joseph Haydn Musical Genius: Great Composer Joseph Haydn. Independently Published, 2021.

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Book chapters on the topic "Joseph Haydn (composer)"

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Schroeder, David P. "Pre-English Literary Influences." In Haydn and the Enlightenment. Oxford University PressOxford, 1990. http://dx.doi.org/10.1093/oso/9780198161592.003.0003.

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Abstract THE historical view of Haydn is that of a composer with a singularly musical mind, not tempted by distractions such as reading literature. Indeed, the opinion advanced by Giuseppe Carpani in his Le Haydine (1812), that Haydn was ‘an illustrious idiot’, seems to have stuck with unusual tenacity for over a century and a half. Rosemary Hughes among others echoes this in her widely distributed study in which she labels Haydn ‘the most unliterary of men’, possessing a library consisting ‘largely of technical treatises on music’. This view of Haydn was altered drastically in 1976 with the p
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Gjerdingen, Robert O. "Il Filo a poco adagio by Joseph Haydn." In Music in the Galant Style. Oxford University PressNew York, NY, 2007. http://dx.doi.org/10.1093/oso/9780195313710.003.0027.

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Abstract like Gallup’s famous ha marks of musical l excellence, “beauty, clarity, and fine modulation” (“vaghezza, chiarezza, e buona modulazione”),1 Leopold Mozart’s hallmarks of a master composer, “good technical composition and the arrangement of material: il filo” (“der guests, und die Droning, il filo”),2 can be difficult to translate into the language of our time. I, for instance, read Leopold as describing two concepts, with the second named in both German and Italian, while Emily Anderson, the enormously talented translator of Mozart’s letters, took Leopold’s laconic remark to have thr
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Haimo, Ethan. "Analytical and Historical Contexts." In Haydn’s Symphonic Forms. Oxford University PressOxford, 1995. http://dx.doi.org/10.1093/oso/9780198163923.003.0011.

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Abstract Each of the preceding nine chapters has consisted of an analysis of a single symphony by Joseph Haydn. Perhaps each of these analyses is illuminating in its own right, even if taken in isolation. However, in presenting analyses of all of the movements (and the multimovemental organization) of nine chronologically ordered symphonies by a single composer, the implicit assumption has been that there is something essential to be gained by studying these compositions in their entirety, as a group, and in chronological order.
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Wilson, Miranda. "Luigi Boccherini (1743–1805)." In Notes for Cellists. Oxford University PressNew York, NY, 2024. http://dx.doi.org/10.1093/9780197623770.003.0007.

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Abstract By the late eighteenth century, improvements to cello technique made the instrument the equal of the violin in terms of virtuosity. The prolific cellist-composer Luigi Boccherini bridged the Baroque and Classical style periods with demanding sonatas and concertos that further extended the cello technique, often requiring the cellist to play in the highest registers. In the Austro-Hungarian lands, cello concertos by Joseph Haydn showcased the top European players at the courts of music-loving aristocrats. All over Europe, developments in playing technique gave the cello additional cred
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Komlós, Katalin. "Joseph Haydn." In Fortepianos and their Music. Oxford University PressOxford, 1995. http://dx.doi.org/10.1093/oso/9780198164265.003.0006.

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Abstract As Kapellmeister to Prince Esterhazy,Joseph Haydn presumably played violin in the princely Hof- und Cammermusique band;1 the various obligations included in his job, however, entailed plenty of keyboard activity as well. He always composed at the clavichord,2 and produced keyboard music throughout his career, from his earliest years. The documents concerning his instruments prior to the late 1780s, nevertheless, are scarce. It is the more surprising that from that time on he responded so eloquently to the potentials of the fortepianos at hand, Viennese and English.
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Steinberg, Michael. "Franz Joseph Haydn." In Choral Masterworks. Oxford University PressNew York, NY, 2005. http://dx.doi.org/10.1093/oso/9780195126440.003.0014.

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Abstract Haydn composed this Mass in 1802 and it was first performed in the Mountain Church at Eisenstadt, Hungary (now Austria), on 8 September that year. Soprano, alto, tenor, and bass solos, four-part mixed chorus. Flute, two oboes, two clarinets, two bassoons, two horns, two trumpets, timpani, organ, and strings.
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Steinberg, Michael. "Beethoven." In The Concerto. Oxford University PressNew York, NY, 1998. http://dx.doi.org/10.1093/oso/9780195103304.003.0005.

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Abstract The most recent research on this hard-to-pin-down concerto suggests that Beethoven wrote it in 1795 and played it in Vienna on 18 December that year at a concert organized by his teacher, Joseph Haydn, for the primary purpose of presenting three of the symphonies Haydn had composed for his recent visit to London. It is also likely that Beethoven considerably revised the work before its publication by the Viennese firm of T. Mollo & Co. in 1801. The dedication is to Princess Barbara Odescalchi, nee Countess Babette von Keglevics, a gifted amateur who took piano lessons from Beethov
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Bonds, Mark Evan. "Resonance Subverted." In Music's Fourth Wall and the Rise of Reflective Listening. Oxford University PressNew York, NY, 2025. https://doi.org/10.1093/9780197806401.003.0003.

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Abstract Eighteenth-century critics and philosophers conceived of instrumental music as a form of wordless oratory, an art of emotional persuasion. Orators do not call attention to their craft, but composers who write works that break music’s fourth wall do just that by reminding listeners that they are listening to a work of music: we cannot “lose” ourselves in what we are hearing if we are repeatedly reminded of its essentially arbitrary nature. This chapter surveys selected works that violate music’s fourth wall, principally by Joseph Haydn but also by C. P. E. Bach, Ludwig van Beethoven, a
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Wollenberg, Susan. "Concert Life in Georgian Oxford." In History of Universities: Volume XXXV / 1. Oxford University PressOxford, 2022. http://dx.doi.org/10.1093/oso/9780192867445.003.0013.

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Abstract Musical life in eighteenth-century Oxford is noted for the visits of George Frideric Handel in 1733, and Joseph Haydn in 1791. The music of both composers was enthusiastically cultivated in Georgian Oxford. Another event of lasting significance was the opening of the Holywell Music Room in Oxford in 1748, considered to be the earliest purpose-built concert room in Europe (and still used for concerts in the present century). Oxford in the second half of the eighteenth century was in the forefront of the new concert culture, as reflected in the structures and content of the subscription
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Bernstein, Lawrence F. "The Second Movement." In Inside Mahler's Second Symphony. Oxford University Press, 2022. http://dx.doi.org/10.1093/oso/9780197575635.003.0004.

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Chapter 4 identifies the form of the second (Andante) movement as alternating variation form, a design invented by Josef Haydn. Two themes—both composed earlier—appear in opposing modes, followed alternately by variations. A specific prototype for this movement is identified in Haydn’s “Drumroll” Symphony. Mahler’s first theme flows freely in a Schubertian manner; its variations add an expansive, lyrical countermelody. The second theme is more energetic, and its variation becomes developmental. In combining a free-flowing, Schubertian melody with the more rigid protocols of alternating variati
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