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Conference Report: Reassessing Haydn’S Sacred Music, 12–14 June 2023, Eisenstadt, Austria, Robert B. Wrigley

HAYDN: Online Journal of the Haydn Society of North America

A conference entitled "Reassessing Haydn's Sacred Music" took place in Eisenstadt 12-14 June, 2023. Historical, political, and religious contexts, reception, compositional and religous influences upon Haydn, and stylistic characteristics of specific works were all discussed.

Thirty Years On: Reflections On Haydn’S “Farewell” Symphony By James Webster, L. Poundie Burstein, Elaine Sisman, W. Dean Sutcliffe, James Webster

HAYDN: Online Journal of the Haydn Society of North America

It has been just over thirty years since James Webster published his influential monograph Haydn’s “Farewell” Symphony and the Idea of Classical Style: Through-Composition and Cyclic Integration in His Instrumental Music (Cambridge University Press, 1991). To honor the anniversary of Webster’s groundbreaking book, the Encounters with Eighteenth-Century Music: A Virtual Forum steering committee asked L. Poundie Burstein, Elaine Sisman, and W. Dean Sutcliffe to offer perspectives on the book, and James Webster to respond to their perspectives. The interesting online session occurred on Tuesday, October 18, 2022, and included a lively open discussion following the presentations and Webster’s response. The …

Haydn’S Schemata And Hexachords: Two Analytical Case Studies, Gilad Rabinovitch

HAYDN: Online Journal of the Haydn Society of North America

Two analytical case studies, from Haydn’s minuet al roverso (from the Symphony Hob. I: 47) and the opening movement of the String Quartet Op. 50, no. 6, show the interaction of galant schemata (Gjerdingen 2007) and the hexachordal solmization of the solfeggio tradition (Baragwanath 2020). Haydn plays upon conventional galant schemata—presumably elements of style shared by listeners who are closely familiar with the idiom (even if they do not have explicit schema labels); he also plays upon a more esoteric element of his own training and that of many other musicians in the period: hexachordal solmization. By considering both schemata …

Work In Progress. Haydn’S Schemata And Hexachords: Two Analytical Case Studies, Gilad Rabinovitch

HAYDN: Online Journal of the Haydn Society of North America

Two analytical case studies, from Haydn’s minuet al roverso (from the Symphony Hob. I: 47) and the opening movement of the String Quartet Op. 50, no. 6, show the interaction of galant schemata (Gjerdingen 2007) and the hexachordal solmization of the solfeggio tradition (Baragwanath 2020). Haydn plays upon conventional galant schemata—presumably elements of style shared by listeners who are closely familiar with the idiom (even if they do not have explicit schema labels); he also plays upon a more esoteric element of his own training and that of many other musicians in the period: hexachordal solmization. By considering both schemata …

About This Issue, Michael E. Ruhling

HAYDN: Online Journal of the Haydn Society of North America

No abstract provided.

Caryl Clark And Sarah Day O'Connell, Eds. The Cambridge Haydn Encyclopedia, Denis Mccaldin

HAYDN: Online Journal of the Haydn Society of North America

A review of "Caryl Clark and Sarah Day O’Connell, eds. The Cambridge Haydn Encyclopedia"

About This Issue, Michael E. Ruhling

HAYDN: Online Journal of the Haydn Society of North America

No abstract provided.

Michael Haydn's Early Masses And Their Viennese Context, Bruce C. Macintyre

HAYDN: Online Journal of the Haydn Society of North America

Although Joseph Haydn felt that his brother Michael (1737-1806) held “first place” in the field of church music, scholarship on the brother surprisingly still has many lacunae; e.g., in the study of Michael’s early works composed before he went to Salzburg. Nearly half of this brother’s 28 settings of the Mass Ordinary for voices with orchestral accompaniment were composed in his early years, i.e. after his early studies in Vienna ca. 1745 and during his work for the bishop in Grosswardein (Oradea, Romania) and prior to his arrival in Salzburg in August 1763. This paper attempts to shed more light …

Editor’S Essay, Michael E. Ruhling

HAYDN: Online Journal of the Haydn Society of North America

No abstract provided.

Editor’S Essay, Michael E. Ruhling

HAYDN: Online Journal of the Haydn Society of North America

No abstract provided.

About This Issue, Michael E. Ruhling

HAYDN: Online Journal of the Haydn Society of North America

No abstract provided.

Towards The Recovery Of Authentic Organ Continuo Practice In Haydn's Concerted Sacred Music, Tom Mueller

HAYDN: Online Journal of the Haydn Society of North America

During the classical era, full-size church organs were used in the performance of concerted sacred music. Historical evidence such as treatises and surviving organs offer useful information that can be used to reconstruct organ continuo performance practices. In spite of this evidence, modern performances and recordings of this repertoire often make use of small positive organs that cannot match the capabilities, timbre, and dynamics of larger instrument. Furthermore, the continuo realizations published in modern performance editions rarely reflect the style and techniques of historic practice.

This article explores issues in the performance practice of continuo playing on large church organs …

About This Issue, Michael E. Ruhling

HAYDN: Online Journal of the Haydn Society of North America

No abstract provided.

Towards A Framework For Creativity In Popular Music Degrees, Joe Bennett

Faculty Works

This chapter discusses popular music curricula by talking about classical conservatoires in order to demonstrate that the latter were called into existence with an employability agenda – to provide people who could fulfil society's musical needs. Popular music's aural product manifests itself in one of two ways – as a sound recording, or as a performance. Music industry administrative systems reward the songwriter separately from the performer, and copyright protects the song as a composition differently from the sound recording of the song, privileging melody above all other creative content. This pre-digital-age definition of the songwriting act is problematic for …

About This Issue, Michael E. Ruhling

HAYDN: Online Journal of the Haydn Society of North America

No abstract provided.

Editorial, Michael E. Ruhling

HAYDN: Online Journal of the Haydn Society of North America

No abstract provided.