Michael Haydn Research Articles

GREAT MUSICAL FORMS DEDICATED TO SAINTS CYRIL AND METHODIUS

This article takes a closer look at the great musical forms dedicated to Saints Cyril and Methodius. These are mainly liturgical compositions related to the worship of the two saints. This group includes a medieval Mass propria (e.g. Parchment Missal no. 212 of the Cracow Chapter) and the Baroque-Classical Mass by Michael Haydn (1758). In the 19th century, the repertoire was expanded to include cantatas (Křížkovsky, Surzyński, Dinew) and hymns (Liszt, Tchaikovsky, Borodin, Pipkov), which are linked to the process of national awakening of Czechs, Slovaks, Croats and Bulgarians. The 19th and 20th centuries also saw the creation of numerous arrangements of the Ordinarium Missae in Glagolitic. These include Leoš Janáček’s monumental “Glagolská mše” (1926) and related works by Czech and Croatian composers (Říchovski, Foerster, Kožušníček, Douša, Janda, Kozinović, Novak, Sokol, Hanuš, Láník). This collection is enriched by stage works: the opera of Zhivka Klinkova (1981/2021) and oratorios and cantatas from the 20th and 21st centuries (Dinew, Širola, Krška, Andrašovan, Tučapský, Procházka, Krák). These works are based on Glagolitic liturgical tests and poetry and prose related to the upsurge of national thought in the 19th century. They show Sts Cyril and Methodius not only as preachers of the Gospel and missionaries to the Slavic peoples but also as teachers of culture, dialogue and reconciliation, and above all, as founders of the foundations of Slavic national identity. The article presented here contributes to the current theological reflection in the field of aspectual hagiology.

Musik am Dom zu Salzburg. Repertoire und liturgisch gebundene Praxis zwischen Hochbarocker Repräsentation und Mozart-Kult by Von Eva Neumayr, Lars E. Laubhold und Ernst Hintermaier

Reviewed by: Musik am Dom zu Salzburg. Repertoire und liturgisch gebundene Praxis zwischen Hochbarocker Repräsentation und Mozart-Kult by Von Eva Neumayr, Lars E. Laubhold und Ernst Hintermaier Karina Zybina Musik am Dom zu Salzburg. Repertoire und liturgisch gebundene Praxis zwischen Hochbarocker Repräsentation und Mozart-Kult. Von Eva Neumayr, Lars E. Laubhold und Ernst Hintermaier. Wien: Hollitzer Verlag, 2018. (Schriftenreihe des Archivs der Erzdiözese Salzburg, 18.) [iv, 416 p. ISBN 978-3-99012-539-7 (hardcover) € 55; ISBN 978-3-99012-540-3 (e-book) €49.99] The present book can be used in several ways. First and foremost, it is a self-standing study. The authors, Eva Neumayr, Lars E. Laubhold, and Ernst Hintermaier, take as their starting point Patrick Bircher's interdisciplinary study on architecture, art, liturgy, and music relationships in the seventeenth century Salzburg Cathedral, Ad Maiorem Dei Gloriam (Regensburg: Schnell & Steiner, 2015), but extend their chronological framework to 1841 (the formal establishment of the Salzburg Dom-Musikverein and the Mozarteum), and concentrate entirely on music, viewing it in its historical, liturgical, and ceremonial contexts. In a kaleidoscopic way, a sequence of essays continually shifts the reader's attention from one topic to another, systematically exploring a variety of non-musical factors behind the musical activities of the Salzburg Cathedral, meticulously recording all the details of the musical events that took place in the church, and eventually discovering their traces. The seven essays can be grouped in three parts. The first part views all musical events as the integral components of a more comprehensive, centralised, and hierarchical system, and not just as the results of composers' creative processes. Its focus is on the dual function of the Salzburg Cathedral as a metropolitan church on the one hand (the first two essays: 'Der Dom als Metropolitankirche', and 'Geschichte der Musik an der Metropolitankirche'), and as a city parish church on the other hand (the third essay, 'Der Dom als Stadtpfarrkirche'). The second part is [End Page 374] centred around the music written specifically for the Cathedral. It explores several fundamental aspects of performance practice, musicians' placement, and the basic 'rules' of scoring, discusses the role of individual orchestral instruments, and outlines the repertoire constraints that impacted the reception history of the late Renaissance and Baroque traditions throughout the eighteenth century ('Aspekte der Aufführungspraxis'). It also pays tribute to the Salzburg 'cult figure', Wolfgang Amadeus Mozart, revising his Salzburg activities and stressing their significance for his entire career ('Sonderfall Mozart'). The focus of the third part is on the archival collection itself. It gives an overview of the significant milestones of its development from the beginning of the nineteenth century until the present day ('Die Sammlung Dommusikarchiv'), and detects its traces in Austrian, Swiss, and Italian libraries ('Der Salzburger Dom als Ausgangspunkt der Verbreitung musikalischer Quellen'). Secondly, the book can serve as a supplement to the catalogue that animates its records and turns them from preliminary sketches to colourful paintings. To show one random example, the litany De Venerabili Sacramento in D major by Joachim Joseph Fuetsch (catalogue no. 860, p. 350 of the catalogue volume) is tightly integrated in this book into the Forty Hours Devotion, traditionally performed 'in the evening around 7 o'clock on the great choir [of the Salzburg Cathedral] with a collaboration of numerous musicians' (p. 10). Its author is presented not only as a prominent composer, the student of Leopold Mozart and Michael Haydn (pp. 348–349), but also as one of the most important Salzburg scribes who was involved in the production of the 1822 inventory and the catalogue of the musical collection (p. 262)—a sample of documents preserving his handwriting is available for examination as well (p. 285). Thirdly, one can benefit from all the additional information inserted within the essays: a number of tables listing key events (for example, the so-called Festa Pallii celebrated in the Salzburg Cathedral from 1693 to 1828), other lists of primary sources (bills, sheet music, and performance materials), and leading personalities (singers, musicians, and scribes). In several essays, one can also make use of such 'extras' as transcriptions of rare archival holdings from the so-called 'Old Fond' (Altbestand...

Dommusikarchiv Salzburg (A-SD). Thematischer Katalog der musikalischen Quellen, Reihe A. ed. by Eva Neumayr und Lars E. Laubhold

Reviewed by: Dommusikarchiv Salzburg (A-SD). Thematischer Katalog der musikalischen Quellen, Reihe A. ed. by Eva Neumayr und Lars E. Laubhold Andrea Lindmayr-Brandl Dommusikarchiv Salzburg (A-SD). Thematischer Katalog der musikalischen Quellen, Reihe A. Bearbeitet von Eva Neumayr und Lars E. Laubhold unter der Projektleitung von Ernst Hintermaier, RISM Arbeitsgruppe Salzburg. Wien: Hollitzer Verlag, 2018. (Schriftenreihe des Archivs der Erzdiözese Salzburg, 17.) [xx, 952 p. ISBN 978-3-99012-509-0 (hardcover) €145.00; ISBN 978-3-99012-511-3 (e-book) €124.99] It does not happen very often that a research project is rooted in a crime case. An earlier article in this journal (Hans Spatzenegger, 'Entwendete Musikalien aus dem Besitz des Domchors in Salzburg', Fontes Artis Musicae 25, no. 2 [April–June 1978]: 152–156) reports that about 600 music books and scores were stolen from the Salzburg Cathedral archive in the 1960s. Although most of the objects could be traced and restored, the list of still-missing items, given in the appendix with the hope to identify them in antiquarian bookshops or auction catalogues is impressive. As a consequence of these events, the whole library was transferred to the better secured and better equipped archive of the archdiocese of Salzburg (Konsistorialarchiv), and a cataloguing process of the collection started. Financed by the Austrian Science Fund (FWF), detailed bibliographic data based on a former card index have been integrated into RISM between 2007 and 2014. The research group responsible for this, the so-called RISM Arbeitsgruppe Salzburg, consisted of Ernst Hintermaier, an expert on music history of the Salzburg court chapel, and his two collaborators, Eva Neumayr and Lars E. Laubhold. The present catalogue is an edited offprint from the RISM database. The catalogue lists all items with the shelf number A in the Dommusikarchiv that are mostly manuscript parts of the Salzburg court [End Page 372] chapel and other local ensembles active at the Cathedral up to 1841, the founding year of the Dom-Musikverein and Mozarteum. The oldest manuscripts in this collection stem from the second half of the seventeenth century, a continuous transmission starts a hundred years later, in the second half of the eighteenth century. The collected repertoire comprises works by Heinrich Ignaz Franz von Biber, Johann Ernst Eberlin, Leopold Mozart, Wolfgang Amadeus Mozart (twenty-six entries, several parts with notes by him and his father's hand) and Michael Haydn, the so called 'Salzburger Haydn'. It documents the music performance practice embedded in the liturgy of the Salzburg Cathedral. The catalogue is primarily organised according to composers and their works in alphabetical order and provides a detailed description of 2,838 items. It starts with Adlgasser and ends with Wölfl, with 'Anonyma' added at the end. In addition, thirty-five manuscript collections relating to works that are already listed in the composer/work section are designated with individual numbers. The last sixty pages of the book are most important for the practical use of the catalogue. They contain registers for titles and text incipits, names of persons involved, shelfmarks, and watermarks. When cataloguing began, problems with work identities occurred, specifically in music consisting of several movements. For example, vespers could be understood as a cycle of numbers, including the four psalm settings at its centre. In many cases, however, the first and last piece, Dixit Dominusand Magnificat, are interpreted as individual works. The editors of the catalogue based their decision on the physical state of the source material: where the numbers are notated together within a single part, it is considered as one work with several movements; where the numbers are copied in individual sets of parts, the material counts as a collection. This practical procedure is perfectly understandable when sorting the musical sources and having the material in hand, but it leaves a feeling of inconsistency when one considers concepts and organisation of musical works in larger dimensions. This general problematic issue is addressed by the current discussion about norm data for works. While norm data for persons and places are already available (GND in German-speaking countries, VIAF international), the development of norm data for musical works is an ongoing project with high priority for library...

Humorous Script Oppositions in Classical Instrumental Music

Most of us can recall chuckling, or even laughing out loud, at a humorous musical passage and perhaps recalling how much that experience increased our enjoyment of the music. This article focuses on musical humor in passages from instrumental works by Joseph Haydn, Michael Haydn, and Mozart. In the most general sense, musical humor arises when composers play with established conventions of musical discourse by writing something incongruous according to the stylistic context.I begin by briefly discussing the role of contrast in establishing musical humor in both historical and modern writings. I then introduce a strategy by which Classical composers created musical humor. I call this strategy “script opposition,” following linguistic theories of verbal humor. In my analytical discussion, I explain how “valence shifts” between implications of “high” and “low” create script oppositions, and demonstrate how these valence shifts are produced primarily by musical topics, but are bolstered by formal functions and cues in other musical parameters. My analytical and theoretical approach to musical humor draws on recent studies of musical topics, form, and communication in the Classical style, as well as concepts from recent linguistic theories of verbal humor.

Mountains of Mozart

In this anniversary year of the birth of Mozart, the recording industry has inundated the marketplace with new recordings, reissues and novelties, although the deluge has not been as abundant as in the 20ooth anniversary commemorations of 1991, when Philips released their complete Mozart Edition, or during the ensuing decade, when production of new recordings by this composerentire cycles of vocal and instrumental works-appeared on a scale eclipsed only by that of the Bach year in 2000. With the continuing developments in performance practice research and the increase in the number of professional ensembles since the early 199os, revisions of existing recorded interpretations have been made by new groups, and lesser-known repertory has reached the public arena. Among the plethora of recent releases figure many noteworthy discs of vocal and instrumental music. A prominent contribution is a new reading of the Mozart: Requiem (K617 K617180, rec 2005, 52') in its standard Stissmayr version, recorded live by Jean-Claude Malgoire with the Kantorei Saarlouis and La Grande Ecurie et la Chambre du Roy. Its most distinguishing feature is the addition of a 'Libera me' movement, 'with which the Roman Church ends the Office of the Dead', composed by Sigismund Ritter von Neukomm (17781858) 'to follow Mozart's Requiem at the performance of that immortal masterpiece in the church of the Brotherhood of St Cecilia' in Rio de Janeiro on 19 December 1819, possibly the first performance of the Requiem on South American soil. As detailed by Alain Pacquier in his splendid accompanying essay, the manuscript of Neukomm's Libera me was recently rediscovered in the Biblioteca Nacional of Brazil, where it had languished almost unnoticed. Neukomm, a student of Joseph and Michael Haydn, was a prolific composer, orchestrator and arranger. He studied and worked as a musician throughout Europe, was a chapelmaster in St Petersburg from 1804 to 1809, and in 1816 sailed to Brazil as part of the retinue of a diplomatic mission to the court of Emperor Jodo VI at Rio de Janeiro (which had been established there since 1808 with the self-imposed exile of the Portuguese Braganga dynasty). During his time there, he became associated with the Brotherhood of St Cecilia, and forged a relationship with the priest and composer Jose Mauricio Nunes Garcia, mestre de capela at the Chapel Royal of Brazil, who conducted the 1819 performance of the Requiem. Neukomm's Brazilian sojourn lasted five years, after which time he returned to France, remaining there until his death.

Review: A Classical sacred miscellany

Antonio Salieri lived a long life, from 1750 to 1825. Although primarily associated with opera in Vienna, from the mid-179os onwards he devoted most of his compositional energies to liturgical music, completing about loo works. Rather surprisingly, he composed only four Masses with orchestral accompaniment, all intended for the Hofkapelle, where he was Kapellmeister. The Mass in D minor was completed in July 1805, during the French occupation of Austria and the temporary removal of the court from Vienna. It may be tempting to link the choice of key, D minor, with the unease with which it is associated in Haydn's 'Nelson' Mass or with the melancholy and power of Mozart's Requiem, but Salieri's Mass spends most of its time in the tonic major. As Jane Schatkin Hettrick points out, the title 'Mass in D minor' is a humdrum consequence of contemporary cataloguing practice, and not an indication of a governing mood. This observation is typical of the authoritative editorial hand that is evident throughout the volume. The Mass is carefully placed in its historical context, and performers, as well as future editors of other works in the Hofkapelle repertory, will benefit from Hettrick's experienced observations on musical shorthand, copying practices and performance practice (including size of vocal forces and the make-up of the organ). Unusually, much of the continuo organ part was fully written out by Salieri, providing a useful model for other liturgical music of the period; generally it is much sparser than one typically hears in modern performances of this repertory, with a good deal of two-part writing. Hettrick is also sensitive to Salieri's personality as a composer of liturgical music. As she observes, he was one of those who regarded Haydn's sacred compositions as overdone; indeed, the Mass has a caution that one would not have expected from such an experienced composer of opera. Vocal lines hardly ever burgeon, and the open theatricality of Haydn's late Masses-evident too in contemporary Masses by Michael Haydn and Hummel-is avoided. Hettrick suggests that this understated style reflected the preferences of the emperor, Franz II, and her commentary on the individual movements sensitively relates the music to a range of contemporary comments on judicious style in church music. Leopold Ferdinand Schwerdt was born in Lower Austria in the 1770s, but from 18o6 spent most of his working life in Laibach (Ljubljana), a distant corner of the Austrian territories, but one whose musical practices reflected those of the broader Viennese tradition.

Eighteenth-Century Traditional and Mozart's "Jupiter" Symphony K.551

Although the "Jupiter" Symphony has been the subject of much analytical commentary, little attention has been paid to placing the work within the context of Mozart's times and the heritage of earlier 18th-century practices on which it draws. Filling this lacuna involves the consideration of myriad factors, including Mozart's exposure to the music of J. S. and C. P. E. Bach, Joseph Haydn, Michael Haydn, Carlo d'Ordonez, Antonio Salieri, and others; his knowledge of Killian Rheinhardt's Rubriche Generali; his exposure to the Viennese C major trumpet-symphony tradition; and the possible effect of the Turkish War under way in 1788 on the Charakter of K.543, 550, and 551 both in terms of their individual movements and the cycle as a whole. In this larger context, K.543 is the most normal work of the series; K.550, in minor, is dominated by music of mourning; and K.551 is both an elevated and celebratory symphony most appropriate for a victory after battle. Given the C major trumpet-symphony tradition of the first movement of K.551, the elevated nature of the slow second movement's French sarabande, the mixture of idioms of the minuet, and the fugal finale, Mozart fulfills in K.551 every Viennese celebratory requirement.

The Orchestral Serenade in eighteenth‐Century Salzburg1

The Salzburg serenade repertory is defined and analyzed through two lines of investigation. A discussion of terms and terminology related to the social history of serenading in Salzburg allows for many surviving works of Salzburg composers to be identified as serenades. A second line of investigation focuses on the larger orchestral serenades, examining the characteristic features of the Salzburg repertory. These include the semi‐independence of the opening march, characteristic instrumentation, and two‐ and three‐movement cycles of concerto movements. In addition, the Salzburg orchestral serenades of the 1760s and 1770s move from being dominated by concerto movements to a movement‐sequence with more of a balance between symphonic and concerto movements. Works by Leopold Mozart, Michael Haydn, Wolfgang Amadeus Mozart, and Joseph Hafeneder are discussed in relation to this development.

Missa brevis Sancti Joannis de Deo (Hob. XXII:7) "Little Organ Mass" with Michael Haydn's Prolongation of the Gloria

Missa brevis Sancti Joannis de Deo (Hob. XXII:7) "Little Organ Mass" with Michael Haydn's Prolongation of the Gloria

Michael Haydn Festival and International Conference 1987. University of Missouri-Columbia 5-8 November 1987

Michael Haydn Festival and International Conference 1987. University of Missouri-Columbia 5-8 November 1987

Michael Haydn Festival and International Conference 1987. University of Missouri-Columbia 5-8 November 1987

I stuck my head into the restaurant, a little college-student hangout, in search of a group of East Coast musicologists with whom I had planned to eat lunch. They were not there, but I spied Jens Peter Larsen-seemingly inexhaustible at age eighty-five-dining by himself, and in a moment we were catching up on four years' worth of news over the special of the day. 528 That encounter sums up the most vivid impression left by the Michael Haydn Festival and International Conference held at the University of Missouri-Columbia on 5-8 November 1987: for a few days twenty specialists on the brothers Haydn, from Europe and North America, seemed to have the place almost to ourselves, giving us a chance to meet in a relaxed and informal way that is not possible at a meeting of one of our large professional societies. This happy situation led to many lively and stimulating discussions, both in the formal sessions of the conference and outside them.

Music History and Cultural History

Research Article| January 01 1982 Music History and Cultural History James Haar James Haar Search for other works by this author on: This Site PubMed Google Scholar Journal of Musicology (1982) 1 (1): 5–14. https://doi.org/10.2307/763627 Views Icon Views Article contents Figures & tables Video Audio Supplementary Data Peer Review Share Icon Share Twitter LinkedIn Tools Icon Tools Get Permissions Cite Icon Cite Search Site Citation James Haar; Music History and Cultural History. Journal of Musicology 1 January 1982; 1 (1): 5–14. doi: https://doi.org/10.2307/763627 Download citation file: Ris (Zotero) Reference Manager EasyBib Bookends Mendeley Papers EndNote RefWorks BibTex toolbar search Search Dropdown Menu toolbar search search input Search input auto suggest filter your search All ContentJournal of Musicology Search This content is only available via PDF. Copyright 1982 Imperial Printing Company, Inc. Article PDF first page preview Close Modal You do not currently have access to this content.

The Haydn Organs in Eisenstadt in Concertos by Albrechtsberger, Michael and Joseph Haydn

The Haydn Organs in Eisenstadt in Concertos by Albrechtsberger, Michael and Joseph Haydn

REVIEWS OF RECORDS

Journal Article REVIEWS OF RECORDS Get access MICHAEL HAYDN: Duo Concertante for viola and organ. JOSEPH HAYDN: Organ Concerto in C Major. Simon Preston, organ, Stephen Shingles, viola, The Academy of St. Martin-in-the-Fields, cond. Neville Marriner. Argo ZRG 631. P. H. L. P. H. L. Search for other works by this author on: Oxford Academic Google Scholar The Musical Quarterly, Volume LVII, Issue 1, January 1971, Pages 173–175, https://doi.org/10.1093/mq/LVII.1.173 Published: 01 January 1971

Review: Te Deum in C (1770) by Michael Haydn, Reinhard G. Pauly

Book Review| October 01 1963 Review: Te Deum in C (1770) by Michael Haydn, Reinhard G. Pauly Te Deum in C (1770)Michael HaydnReinhard G. Pauly Karl Geiringer Karl Geiringer Search for other works by this author on: This Site PubMed Google Scholar Journal of the American Musicological Society (1963) 16 (3): 407–409. https://doi.org/10.2307/829836 Views Icon Views Article contents Figures & tables Video Audio Supplementary Data Peer Review Share Icon Share Twitter LinkedIn Tools Icon Tools Get Permissions Cite Icon Cite Search Site Citation Karl Geiringer; Review: Te Deum in C (1770) by Michael Haydn, Reinhard G. Pauly. Journal of the American Musicological Society 1 October 1963; 16 (3): 407–409. doi: https://doi.org/10.2307/829836 Download citation file: Ris (Zotero) Reference Manager EasyBib Bookends Mendeley Papers EndNote RefWorks BibTex toolbar search Search nav search search input Search input auto suggest search filter All ContentJournal of the American Musicological Society Search This content is only available via PDF. Copyright 1963 The American Musicological Society Article PDF first page preview Close Modal You do not currently have access to this content.

Some Recently Discovered Michael Haydn Manuscripts

terest in Michael Haydn's music during recent years, evidenced by a number of publications and recordings. This interest, together with the fact that the Mozart Year 1956 also marked the i5oth anniversary of Michael Haydn's death, may be sufficient excuse for the following remarks. Since Klafsky first devoted a scholarly study to the sacred works of the Salzburg Haydn,' little of importance has been published on the subject. Jancik's recent biography,2 though excellent in its treatment of the composer's life and times, was written during and shortly after the second world war, and as a result his research was limited in many ways. The book presents few new facts, and Jancik's study of the music is almost entirely based on the very small portion of Michael Haydn's output that had been published up to that time.

Some Recently Discovered Michael Haydn Manuscripts

Some Recently Discovered Michael Haydn Manuscripts

Salzburg Influences in Mozart's Church Music

Research Article| October 01 1945 Salzburg Influences in Mozart's Church Music Carl A. Rosenthal Carl A. Rosenthal Search for other works by this author on: This Site PubMed Google Scholar Bulletin of the American Musicological Society (1945) 8: 3–4. https://doi.org/10.2307/829374 Views Icon Views Article contents Figures & tables Video Audio Supplementary Data Peer Review Share Icon Share Twitter LinkedIn Tools Icon Tools Get Permissions Cite Icon Cite Search Site Citation Carl A. Rosenthal; Salzburg Influences in Mozart's Church Music. Bulletin of the American Musicological Society 1 October 1945; 8 3–4. doi: https://doi.org/10.2307/829374 Download citation file: Ris (Zotero) Reference Manager EasyBib Bookends Mendeley Papers EndNote RefWorks BibTex toolbar search Search Dropdown Menu toolbar search search input Search input auto suggest filter your search All ContentJournal of the American Musicological Society Search This content is only available via PDF. Copyright 1946 The American Musicological Society, Inc. Article PDF first page preview Close Modal You do not currently have access to this content.