Joseph Haydn
Ser. 32, Vol. 3 | Arrangements of Folk Songs no. 151-268 Scottish Songs for George Thomson
Complete Edition with critical report, clothbound
Voice and miscellaneous instruments
ページ数 405 (XXI+384),
大きさ 25,5 x 32,5 cm, © 2001
重さ 1968 g
HN 5912
·
ISMN 979-0-2018-5912-5
内容/詳細
Scottish Songs no. 151-268 for George Thomson
151. Wae’s my heart that we should sunder
152. The lea-rig
153. Galashiels
154. Down the burn, Davie
155. Ettrick banks
156. Thro’ the wood, laddie
157. The broom of Cowdenknows
158. I wish my Love were in a myre
159. William and Margaret
160. Saw ye my father
161. Auld Robin Gray
162. The ewie wi’ the crooked horn
163. Ay waking, O!
164. Maggie Lauder
165. The blathrie o’t
166. Barbara Allan
167. An thou wert mine ain thing
168. Logan water
169. Queen Mary’s lamentation
170. Highland Mary
171. Fee him, father
172. The lass of Patie’s mill
173. Tak your auld cloak about ye
174. Rothiemurcus rant
175. Scornfu’ Nansy
176. Bessy Bell and Mary Gray
177. Johnie’s grey breeks
178. Pinkie House
179. My deary an thou die
180. Bonny Jean
181. Sensibility
182. My mither’s ay glowrin o’er me
183. The birks of Invermay
184. Auld Rob Morris
185. Waly waly
186. She rose, and let me in
187. The ewe-bughts
188. The braes of Ballenden
189. John o’ Badenyon
190. O’er bogie
191. Woo’d and married and a’
193. What can a young lassie do
194. Bannocks o’ barleymeal
195. If a body meet a body
196. Tears that must ever fall
197. The shepherd’s wife
198. The wee, wee man
199. My Nanie, O
200. The brisk young lad
201. Mary’s dream
202. The weary pund o’ tow
203. Macpherson’s farewell
204. The looking glass
205. Polwarth on the green
206. Peggy, I must love thee
207. The death of the linnet
208. Young Jockey was the blythest lad
209. Let me in this ae night
210. O’er the hills and far awa
211. The maid that tends the goats
212. Fy let’s a’ to the bridal
213. Deil tak’ the wars
214. Gramachree
215. The mucking o’ Geordie’s byre
216. Willie was a wanton wag
217. Oran gaoil
218. Green grow the rashes
219. The Poet’s ain Jean
220. Oonagh
221. Strathallan’s lament
222. Fy gar rub her o’er wi’ strae
223. Muirland Willy
224. Craigieburn Wood
225. The auld wife ayont the fire
226. Cauld kail in Aberdeen
227. The sutor’s doughter
228. The last time I came o’er the muir
229. Rattling roaring Willy
230. The boatman
231. Whistle o’er the lave o’t
232. Jenny’s bawbee
233. The auld gudeman
234. My apron deary
235. Robin Adair
236. My Love she’s but a lassie yet
237. The birks of Abergeldie
238. Gil Morris
239. The minstrel
240. Kellyburn braes
241. Hooly and fairly
242. I canna come ilka day to woo
243. Hey tutti taiti
244. Killiecrankie
245. Highland Air. The lone vale
246. A Jacobite Air. Phely & Willy
247. Up and war them a’ Willy
248. The old highland laddie
249. The wish
250. Bonny wee thing
251. The tears of Caledonia
252. Up in the morning early
253. The flowers of Edinburgh
254. Morag
255. Roslin Castle
256. The soldier laddie
257. Langolee
258. The east neuk o’ Fife
259. Jingling Johnie
260. The happy trio
261. The bonny grey-ey’d morn
262. Green sleeves
Sechs schottische Volkslieder mit Variationen
263. The blue bell of Scotland
264. [My Love she’s but a lassie yet]
265. [Bannocks o’ barleymeal]
266. [Saw ye my father]
267. [Maggie Lauder]
268. [Killiecrankie]
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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. |