Haydn First & Early Editions
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The Fall of Satan in the Thought of St. Ephrem and John Milton
Hugoye: Journal of Syriac Studies, Vol. 3.1, 3–27 © 2000 [2010] by Beth Mardutho: The Syriac Institute and Gorgias Press THE FALL OF SATAN IN THE THOUGHT OF ST. EPHREM AND JOHN MILTON GARY A. ANDERSON HARVARD DIVINITY SCHOOL CAMBRIDGE, MA USA ABSTRACT In the Life of Adam and Eve, Satan “the first-born” refused to venerate Adam, the “latter-born.” Later writers had difficulty with the tale because it granted Adam honors that were proper to Christ (Philippians 2:10, “at the name of Jesus, every knee should bend.”) The tale of Satan’s fall was then altered to reflect this Christological sensibility. Milton created a story of Christ’s elevation prior to the creation of man. Ephrem, on the other hand, moved the story to Holy Saturday. In Hades, Death acknowledged Christ as the true first- born whereas Satan rejected any such acclamation. [1] For some time I have pondered the problem of Satan’s fall in early Jewish and Christian sources. My point of origin has been the justly famous account found in the Life of Adam and Eve (hereafter: Life).1 1 See G. Anderson, “The Exaltation of Adam and the Fall of Satan,” Journal of Jewish Thought and Philosophy, 6 (1997): 105–34. 3 4 Gary A. Anderson I say justly famous because the Life itself existed in six versions- Greek, Latin, Armenian, Georgian, Slavonic, and Coptic (now extant only in fragments)-yet the tradition that the Life drew on is present in numerous other documents from Late Antiquity.2 And one should mention its surprising prominence in Islam-the story was told and retold some seven times in the Koran and was subsequently subject to further elaboration among Muslim exegetes and storytellers.3 My purpose in this essay is to carry forward work I have already done on this text to the figures of St. -
THE NATURE and POWER of SATAN Theorizing About the Nature
CHAPTER THREE THE NATURE AND POWER OF SATAN Theorizing about the nature, origin, and cosmological status of Satan occurs among the selected writings, especially among the later ones. However, there is an obvious lack of "speculative" interest in the sense of seeking to work out a complete cosmology of evil. Concepts as to the origin, abode, and ultimate future of Satan are often very diverse, and there are only a small number of referen ces. An analysis and interpretation of the nature of Satan as conceiv ed by the early Christian tradition will be therefore necessarily less comprehensive than a discussion of his activities. There are some basic understandings as to the nature and power of Satan common to most of the selected writers, however, and they are best summarized by the New Testament phrases: Satan, the "prince of the power of the air," "ruler of demons," "ruler of the world," and "god of this age." A. SATAN: PRINCE OF THE POWER OF THE AIR 1. Origin of Satan For the most part, the New Testament writers make no theoreti cal assertions as to the origin of Satan. However, a number of passages by choice of words and phraseology seem to reflect the idea of Satan as a fallen angel who is chief among a class of fallen angels, an idea which appears frequently in apocalyptic literature.1 II Peter 2 :4, for example, refers to the angels that sinned and were cast into hell. Jude 6 mentions "the angels that did not keep their own position but left their proper dwelling .. -
Haydn's the Creation
Program Notes In the fall of 1790, a man appeared at Haydn’s rooms in Vienna with the abrupt introduction, “I am Salomon of London and have come to fetch you. Tomorrow we will arrange an accord.” Johann Peter Salomon’s meeting with the 58-year old Haydn was a turning point in Haydn’s long career. Under the impresario’s canny direction, Haydn’s two extended visits to London were not only extremely lucrative, but also musically invigorating, and he wrote some of his greatest works including his last twelve symphonies and his last six concert masses after 1791. And his sojourn in London directly led to what is perhaps his most popular work, the extraordinary and daringly original oratorio The Creation. Salomon’s proposal came at a particularly appropri- ate time for Haydn. Haydn was arguably the most renowned composer in Europe, despite having spent the last 30 years in the service of the House of Es- terházy. Prince Nikolaus entertained lavishly and took every opportunity to showcase his increasingly famous Kapellmeister, arranging elaborate musical evenings and even building an amphitheater where Haydn could present operas. The prince gave Haydn the opportunity to accept outside commissions and to publish, and there arose such an insatiable de- mand for Haydn’s music that pirated editions flourished and unscrupulous publishers actually affixed Haydn’s name to music written by his brother Michael, his pupils, and even random composers. But Prince Nikolaus sud- denly died in 1790, and his successor Prince Anton disbanded most of the Esterházy musical establishment. Haydn retained his nominal position as Kapellmeister, but had no official duties and was no longer required to be in residence. -
Joseph Haydn (1732–1809) Missa in Angustiis – Nelsonmesse (Hob
Joseph Haydn (1732–1809) Missa in Angustiis – Nelsonmesse (Hob. XXII:11) Kirchenmusikalische Kompositionen für liturgische Zwecke, insbesondere zur Ausgestaltung der römisch-katholischen Messe, erscheinen in allen Schaffensphasen von Joseph Haydn: Die Missa brevis in F (Hob. XXII:1) schrieb der junge Haydn um 1749 – das Jahr, in dem er infolge des Stimmbruchs Abschied als Chorknabe am Wiener Stephansdom nehmen musste und in dem für ihn eine beschwerliche Phase als freischaffender Musiker begann. Am Ende dieser Reihe steht die Harmoniemesse (Hob. XXII:14), die erstmals 1802 in der Eisenstädter Bergkirche erklang. Danach war es dem mittlerweile 70-jährigen Haydn körperlich nicht mehr möglich, zu komponieren oder öffentlich aufzutreten. Auffällig sind zwei Lücken (zwischen 1750 und 1766 sowie zwischen 1782 und 1796), in denen kein größeres geistliches Werk entstand. Die zweite Lücke war eine Folge der kirchlichen Reformen von Kaiser Joseph II., die nicht nur zur Auflösung der meisten Klöster in den Ländern der Habsburgermonarchie führten, sondern die Liturgie auch von als überflüssig empfundenen Prunk befreiten. Es wurden zahlreiche Verordnungen erlassen, die unter anderem den Einsatz von orchestraler Musik im Gottesdienst regelten und im Ergebnis einschränkten. Aufträge für solche Kompositionen gingen daher erheblich zurück. Erst als Franz II. 1792 die österreichische Regentschaft übernommen hatte, lockerten sich die Vorschriften wieder. In diese Phase fällt die Entstehung von Haydns sechs späten Messen (die sogenannten Hochämter), darunter die der Nelsonmesse. Sie gehören zu den letzten Werken des Komponisten. Die erwähnte kirchenmusikalische Pause, in die auch die beiden Londoner Aufenthalte fielen, hatte Haydn indes zur Erprobung neuer kompositorischer Techniken in Sinfonien und Kammermusik genutzt. Dies zeigte sich nun beispielsweise in „souveräner Beherrschung der Formgestaltung‟, der Hinwendung zur liedhaften Thematik, der „Verfeinerung des Orchestersatzes‟ sowie im „Trend zu einer deutlichen Individualisierung des Einzelwerks‟. -
Sacred Music, 136.4, Winter 2009
SACRED MUSIC Winter 2009 Volume 136, Number 4 EDITORIAL Viennese Classical Masses? | William Mahrt 3 ARTICLES Between Tradition and Innovation: Sacred Intersections and the Symphonic Impulse in Haydn’s Late Masses | Eftychia Papanikolaou 6 “Requiem per me”: Antonio Salieri’s Plans for His Funeral | Jane Schatkin Hettrick 17 Haydn’s “Nelson” Mass in Recorded Performance: Text and Context | Nancy November 26 Sunday Vespers in the Parish Church | Fr. Eric M. Andersen 33 REPERTORY The Masses of William Byrd | William Mahrt 42 COMMENTARY Seeking the Living: Why Composers Have a Responsibility to be Accessible to the World | Mark Nowakowski 49 The Role of Beauty in the Liturgy | Fr. Franklyn M. McAfee, D.D. 51 Singing in Unison? Selling Chant to the Reluctant Choir | Mary Jane Ballou 54 ARCHIVE The Lost Collection of Chant Cylinders | Fr. Jerome F. Weber 57 The Ageless Story | Jennifer Gregory Miller 62 REVIEWS A Gift to Priests | Rosalind Mohnsen 66 A Collection of Wisdom and Delight | William Tortolano 68 The Fire Burned Hot | Jeffrey Tucker 70 NEWS The Chant Pilgrimage: A Report 74 THE LAST WORD Musical Instruments and the Mass | Kurt Poterack 76 POSTSCRIPT Gregorian Chant: Invention or Restoration? | William Mahrt SACRED MUSIC Formed as a continuation of Caecilia, published by the Society of St. Caecilia since 1874, and The Catholic Choirmaster, published by the Society of St. Gre- gory of America since 1915. Published quarterly by the Church Music Associ- ation of America. Office of Publication: 12421 New Point Drive, Harbour Cove, Richmond, VA 23233. E-mail: [email protected]; Website: www.musicasacra.com Editor: William Mahrt Managing Editor: Jeffrey Tucker Editor-at-Large: Kurt Poterack Editorial Assistance: Janet Gorbitz and David Sullivan. -
Open to the Public
CONFERENCE REPORT ON THE RESTORATION, CONSERVATION & ADAPTATION OF ESZTERHAZA AS A MUSIC ACADEMY & TRAINING INSTITUTION Fertod, Hungary World Monuments Fund European Mozart Foundation Hungarian National Board for the Protection of Historic Monuments CONFERENCE REPORT ON THE RESTORATION, CONSERVATION AND ADAPTATION OF ESZTERHAZA AS A MUSIC ACADEMY AND TRAINING INSTITUTION Fertód, Hungary World Monuments Fund New York, NY, USA European Mozart Foundation New York, NY, USA Hungarian National Board for the Protection of Historic Monuments Budapest, Hungary Prepared by Joseph Pell Lombardi & Associates, Architects and Preservationists, P. C. New York, NY, USA February 1993 CONTENTS FOREWORD 5 ACKNOWLEDGEMENTS 7 SPONSORS OF THE CONFERENCE 9 1. INTRODUCTION TO ESZTERHÁZA 11 Historical Sketch 13 Current Situation 13 Initiation of the Use of Eszterháza as a Music Academy and Training Institute 16 2. CONSIDERATIONS FOR THE RESTORATION, CONSERVATION AND ADAPTATION OF ESZTERHÁZA AS A MUSIC ACADEMY AND TRAINING INSTITUTION 19 OMvH - Underlying Criteria of Protection of Historical Monuments 21 European Mozart Academy 23 Associated Training Institutes 23 Summary 24 3. RECOMMENDATIONS 25 Underlying Criteria 27 European Mozart Academy - Installation 28 Training Institutes - Installation 28 Summary 29 4. OPERATIONAL AND ADMINISTRATION FRAMEWORK 31 Introduction 33 Eszterháza Holding Company 33 Eszterháza Foundation 33 Board of Directors of Eszterháza Foundation 33 Advisory Council 33 5. IMPLEMENTATION STRATEGY 37 Revenue 39 Financial Proforma 40 Funding Schedule 41 Funding Sources 43 Scheduling 44 Implementation of the Project, Division of Tasks and Actual Operation 46 Local, Regional and National Benefit from the Development of Eszterháza 47 iii APPENDICES 49 A. Expanded History of Eszterháza 51 B. Drawings and Site Plan 57 C. -
Read Michael Driscoll's Progam Notes
FROM THE MUSIC DIRECTOR The idea for this program began with Haydn’s Missa in angustiis, which roughly translates as “Mass for Troubled Times.” The exact reasons why Haydn titled this Mass as being for “troubled times” are not known for sure, but scholars have suggested several possible reasons for this particular title. One is that Haydn, by then in his mid‐ 60s, had recently been quite ill. Another is that he had to compose the Mass in a short six‐week period. A third possibility is that the usual orchestral forces available to him were restricted because his patron, Nikolaus II, was experiencing financial troubles as a result of political and financial instability in Europe. Related to that, Napoleon and the French were threatening Austria yet again. Perhaps it was a combination of all of these factors that prompted Haydn to label the work “in angustiis.” (The work later also became popularly known as the “Lord Nelson Mass,” though the reason for this association is not entirely clear.) Once I settled on the Haydn Mass, I began thinking about other works which might complement it. I eventually discovered David Conte’s September Sun, a work written in memory of those who perished on September 11, 2001. September Sun depicts the chaos of that dreadful day before concluding on an elegiac tone. Given the conflict inherent in both the Haydn and Conte works, I wanted to end the concert on a more optimistic note, and so I added Mack Wilberg’s arrangement of the African‐American spiritual Peace Like a River. -
Haydn's Symphony No. 94 'Surprise'
Haydn’s Symphony IB No. 94 ‘Surprise’ Hanh Doan is a former AST and head of music, and currently works as a part-time music teacher at Beaumont School in Hanh Doan St Albans. She is the author of various books, and writes articles and resources for Music Teacher magazine, exam boards and other music education publishers. Introduction aydn’s ‘Surprise’ Symphony is one of the International Baccalaureate’s prescribed works for 2020-2021 and will feature in the listening paper. Students will have to answer questions about Hthe Symphony in terms of analysis, and if they are students doing music Higher level, they will need to compare elements from this work with the other prescribed work, Rachmaninov’s Rhapsody on a Theme of Paganini. This resource will give a detailed analysis of the work by movement, including the notable features of each of the elements. Context Haydn is often regarded as the ‘father of the symphony’, and over the 40 years in which he wrote his 106 symphonies, the nature of the genre changed dramatically, from a work that served a variety of musical and social functions to a genre that would become central to musical life for the next two centuries. Haydn’s output proves he was extraordinary at making this transition, and throughout his career he gradually reshaped the nature of the symphony, providing a model for future composers of the genre. Haydn’s symphonies are often separated into periods of time or places over the course of his career: Ɂ The symphonies for Eisenstadt (1761-5) Ɂ Esterház and the Advent of Sturm und Drang (1766-74) Ɂ The symphonies of 1775-84 Ɂ The Paris symphonies (1785-6) Ɂ The Tost symphonies (1787) Ɂ The symphonies for Comte d’Ogny (1788-9) Ɂ The ‘Salomon’ symphonies (London, 1791-5) Haydn wrote his ‘Surprise’ Symphony in 1791 for a concert series in London during one of his first visits to England. -
JEFFREY THOMAS Music Director
support materials for our recording of JOSEPH HAYDN (732-809): MASSES Tamara Matthews soprano - Zoila Muñoz alto Benjamin Butterfield tenor - David Arnold bass AMERICAN BACH SOLOISTS AMERICAN BACH CHOIR • PACIFIC MOZART ENSEMBLE Jeffrey Thomas, conductor JEFFREY THOMAS music director Missa in Angustiis — “Lord Nelson Mass” soprano soloist’s petition “Suscipe” (“Receive”) is followed by the unison choral response “deprecationem nostram” (“our Following the extraordinary success of his two so- prayer”). journs in London, Haydn returned in 1795 to his work as Kapellmeister for Prince Nikolas Esterházy the younger. The Even in the traditionally upbeat sections of the liturgy, Prince wanted Haydn to re-establish the Esterházy orchestra, the frequent turns to minor harmonies invoke the upheaval disbanded by his unmusical father, Prince Anton. Haydn’s re- wrought by war and disallow a sense of emotional—and au- turn to active duty for the Esterházy family did not, however, ditory—complacency. After the optimistic D-major opening signify a return to the isolated and static atmosphere of the of the Gloria, for example, the music slips into E minor at the relatively remote Esterházy palace, which had been given up words “et in terra pax hominibus” (“and peace to His people after the elder Prince Nikolas’s death in 1790. Haydn was now on earth”); throughout the section, D-minor inflections cloud able to work at the Prince’s residence in Vienna for most of the laudatory mood of the first theme and the text in general. the year, retiring to the courtly lodgings at Eisenstadt during The Benedictus is even more startling. -
4373 MUSICAL-PT/Jr
C M Y K musical musicalVISITORS TO BRITAIN VISITORS musicalVISITORS Over the centuries Britain has attracted many musical visitors. This book tells the stories of the many composers who visited – a varied and often eccentric collection of individuals. lisztThe earliest were invited by royalty with musical tastes; some were refugees from religious TO and political oppressions; others came as spies, a few to escape from debt and even murder chopincharges. However, the main motive was a possibility of financial reward. BRITAIN The rise in the nineteenth century of the celebrity composer, who was often also a conductor, is also traced. With the development of new forms of transport, composers TO DAVID GORDON • PETER GORDON were able to travel more extensively, both from the Continent and from the USA. New BRITAIN wagneropportunities were also presented by the opening of public halls, where concerts could be held, as well as the growth of music festivals. In the twentieth and twenty-first centuries the aeroplane has enabled a regular influx of composers, and the book ends with a liszt consideration of the universalising of music as well as the impact of new forms, such as mozartjazz. chopin Musical Visitors to Britain is a fascinating book which should appeal to both the general handelreader and those with a special interest in music history. David Gordon is one of the leading harpsichordists in the UK, and performs with violinists wagner DAVID GORDON DAVID haydnAndrew Manze, Nigel Kennedy and the baroque orchestra English Concert, specialising in PETER GORDON improvisation. He is also a jazz pianist, and has given many workshops on aspects of Renaissance, baroque and jazz improvisation. -
Sacred Music Volume 109 Number 4
SACRED MUSIC Volume 109, Number 4, 1982 Eisenstadt Palace, garden front. SACRED MUSIC Volume 109, Number 4, 1982 FROM THE EDITORS Haydn in Vienna: the Late Years (1795-1809) Archbishop Weakland Cardinal Bernadin Music in our Church Schools WHY HAYDN WROTE HIS CHURCH MUSIC Otto Biba A LATIN HIGH MASS IN UPPER MICHIGAN Milton Olsson 11 Charles Nelson A CHRONICLE OF THE REFORM Part IV: Musicam sacrum 15 Monsignor Richard ). Schuler REVIEWS 22 NEWS 25 EDITORIAL NOTES 26 CONTRIBUTORS 27 INDEX TO VOLUME 109 28 SACRED MUSIC Continuation of Caecilia, published by the Society of St. Caecilia since 1874, and The Catholic Choirmaster, published by the Society of St. Gregory of America since 1915. Published quarterly by the Church Music Association of America. Office of publications: 548 Lafond Avenue, Saint Paul, Minnesota 55103. Editorial Board: Rev. Msgr. Richard J. Schuler, Editor Rev. Ralph S. March, S.O. Cist. Rev. John Buchanan Harold Hughesdon William P. Mahrt Virginia A. Schubert Cal Stepan Rev. Richard M. Hogan Mary Ellen Strapp Judy Labon News: Rev. Msgr. Richard J. Schuler 548 Lafond Avenue, Saint Paul, Minnesota 55103 Music for Review: Paul Salamunovich, 10828 Valley Spring Lane, N. Hollywood, Calif. 91602 Rev. Ralph S. March, S.O. Cist., Eintrachstrasse 166, D-5000 Koln 1, West Germany Paul Manz, 7204 Schey Drive, Edina, Minnesota 55435 Membership, Circulation and Advertising: 548 Lafond Avenue, Saint Paul, Minnesota 55103 CHURCH MUSIC ASSOCIATION OF AMERICA Officers and Board of Directors President Monsignor Richard J. Schuler Vice-President Gerhard Track General Secretary Virginia A. Schubert Treasurer Earl D. Hogan Directors Mrs. -
Haydn and Gellert: Parallels in Eighteenth-Century Music and Literature*
Haydn and Gellert: Parallels in Eighteenth-Century Music and Literature* By David P. Schroeder During the 1780s, Haydn's approach to the symphony underwent a signifi- cant change. While one could look at this change simply as another step in the composer's stylistic development, it is possible that there was an impor- tant cause for transforming the symphony at this time. During the early '80s, Haydn's personal contacts and reading made him very much aware of the tenets' of the Enlightenment. This can be seen in his association with persons such as Franz Sales' von Greiner, Gottfried van Swieten, and Johann Caspar Lavater; by his attendance at literary salons which brought him into contact with Johann Baptist von Alxinger, Aloys Blumauer, Michael Denis, Lorenz Haschka, Tobias Philipp Gebler and Ignaz von Born;! and by his eventual membership in the Masonic Lodge "Zur wahren Eintracht." As a result of these social and literary influences, it is entirely possible that Haydn revised his symphonic approach to bring it into line with the prevailing attitude towards'literature. This attitude, very simply, was that literature should serve the goals of the Enlightenment. To be sure, a symphony has obvious limitations in achieving this aim, but there are, nevertheless, various ways in which it can. One could argue that the most notable change to the symphony in the mid-'80s was its new dramatic intelligibility, and that it is this, along with Haydn's new relationship with his audience, which places his late sym- phonies within the tradition of the Enlightenment. Ifliterature had a bearing on Haydn's symphonic writing, then one must be prepared to say which writers or literary trends influenced him.