Joseph Haydn

Ser. 3, Vol. 3 | Concertos for one Wind instrument and Orchestra

Makoto Ohmiya (Editor)

Sonja Gerlach (Editor)

Complete Edition with critical report, clothbound

Orchestra

Orchestral material available from Bärenreiter

Weight 644 g

HN 5205 · ISMN 979-0-2018-5205-8

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Content/Details

Hob. VIId:3 (für Waldhorn)

Hob. VIIe:1 (für Klappentrompete)

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About the Composer

Joseph Haydn

His immense oeuvre documents the profound changes in music history during the second half of the eighteenth century, leading to the emancipation of instrumental music. His most important genres are the symphony and the string quartet, where he cultivated the technique of motivic-thematic development; he made significant contributions to the instrumental concerto and to piano music; during the last years of his life, he composed his great oratorios. Opera and art song take on a rather subordinate significance.

1732	Born in Rohrau, probably on March 31 (baptized on April 1).
1737 or 1738	His uncle Johann Mathias Franck takes him in, in order to oversee his musical education.
around 1739/40	For about 8–10 years, chorister at St. Stephen’s Cathedral in Vienna.
from 1750	He makes his living as a musician, teacher, and composer.
1757–61	Employed as music director by Count Morzin. He makes a name for himself as a composer: fifteen symphonies, piano sonatas, trios, divertimenti, string trios, wind partitas, string quartets Opp. 1 and 2.
1761	“Times of Day” Symphonies Nos. 6–8: “Le matin,” “Le midi,” “Le soir.”
from 1761	Employed by Prince Paul Anton at the Esterházy court, by Prince Nikolaus from 1762, by Paul Anton II from 1790–96, then by Nikolaus II, first as vice-Kapellmeister, then as Kapellmeister after 1766.
1764–65	Symphonies No. 22 in E-flat major, “Philosopher”; No. 30 in C major, “Alleluia”; and No. 31 in D major, “Hornsignal.”
1766	Prince Nikolaus Esterházy demands operas for the theater in his newly erected castle. Haydn’s operas are written primarily for special occasions, e.g., “La Canterina,” for the Kaiser’s visit in 1766. He composes many baryton pieces for Prince Nikolaus.
1766–74	Eighteen symphonies, including “La passione” in F minor (1768), “Lamentatione” in D minor (1770), “The Schoolmaster” in E-flat major (1774), “Trauer” (“Mourning”) in E minor (1772): expanded expressive range (six are in minor keys), more counterpoint.
1768	Premiere of “Lo speziale” on Goldoni’s libretto for the inauguration of the new opera house at Eszterháza.
1770	Premiere of the dramma giocoso “Le pescatrici.” After a ten-year hiatus, he writes the pioneering string quartets “6 Divertimenti” Op. 9, and Op. 17 (1771).
1771	Piano Sonata No. 20 in C minor.
1772	“Farewell Symphony” No. 45 in F-sharp minor, “6 Divertimenti (‘Sun Quartets’),” Op. 20, which are characterized by contrapuntal techniques (some have fugues as final movements).
1775	Premiere of the opera “L’incontro improvviso.”
around 1775–78	“Missa brevis sancti Joannis de Deo (‘Little Organ Mass’).”
1776	Prince Nikolaus calls for regular opera performances at Eszterháza. Haydn adjusts works imported from Vienna or Italy to the local taste. He moves from Eisenstadt to Castle Eszterháza, where he resides for ten months a year. Little instrumental music after 1776, often with integrated opera music.
1777	Premiere of “Il mondo della luna,” after Goldoni.
1779	Contact with the publisher Artaria, who distributes his compositions over the following decade.
1781	Premiere of the opera “La fedeltà premiata.” Missa Cellensis, “Mariazellermesse”; String Quartets, Op. 33 (‘Russian Quartets’), which are written “in a quite new and special way” (Haydn) after a rather long break in composing quartets and regarded as paradigmatic for Haydn’s “wit” in the sense of his playful engagement with the instruments.
1782	Premiere of “Orlando paladino.” He begins selling his compositions abroad as well; he has the Symphonies Nos. 76–78 and 79–81 (1783–84) printed in Paris.
1783	Cello Concerto in D major (Hob. VIIb: 2).
1784	Premiere of “Armida”; from this point he composes no more operas for the court. Piano Concerto in D major.
1785–86	Commission by Count d’Ogny to write six symphonies (the Paris Symphonies, Nos. 82–87) to be performed at the Concert de la Loge Olympique in Paris.
1787–90	String Quartets, Opp. 50, 54, and 55. After Nikolaus’ death, Prince Paul Anton II dismisses the entire court chapel; Haydn retains his office in name only.
1791	Composition of the opera “L’anima del filosofo ossia Orfeo ed Eurudice,” which never reaches the stage (posthumous performance in Florence in 1951).
1791–92	Stay in London, engaged by the concert manager Johann Peter Salomon. “6 Quartetti,” Op. 64; the first volume of his transcriptions of Scottish folk songs appears in 1792. Composition of the first six London Symphonies Nos. 93–98, including the Surprise Symphony No. 94.
1792	Sinfonia Concertante for violin, cello, oboe, bassoon, and orchestra in B-flat major.
1794–95	Second stay in London. Six London Symphonies Nos. 99–104, No. 104 has monothematic opening movement, “Military” Symphony No. 100 integrates Janissary music; sonata-rondo as a new form of final movement, e.g., in No. 102.
1794	Accession to power of Nikolaus II, who calls for a mass to celebrate the princess’s name day every year. Six new masses are written: the “Heiligmesse” in B-flat major and the “Kettledrum Mass” in C major (1796), the “Nelson Mass” in D minor/D major (1798), the “Theresienmesse” in B-flat major (1799), the “Creation Mass” in B-flat major (1801), and the “Wind Band Mass” in B-flat major (1802).
1796	Vocal setting of the initially instrumental version of “The Seven Last Words of Our Saviour on the Cross;” Trumpet Concerto in E-flat major.
1797	Emperor’s Hymn “Gott erhalte Franz den Kaiser” (“God Save Emperor Francis”) and the Emperor Quartet in C major, Op. 76 No. 3.
1798	Premiere of his oratorio “The Creation.”
1801	Performance of oratorio “The Seasons.”
1809	Dies in Vienna on May 31.

About the Authors

Sonja Gerlach (Editor)

Sonja Gerlach was born in Hannover in 1936. She did a secondary school teaching degree (Staatsexamen) in music and mathematics in Berlin. From 1965 to 1999 she was a research associate and editor at the Joseph Haydn-Institut in Cologne. In addition to her work as an editor and researcher she addressed questions concerning the chronology of Haydn’s symphonies. She is also very interested in problems of ascertaining authenticity of works in Haydn’s different genres.

In 2000 she retired and moved to Munich where she now lives.