DOCSLIB.ORG

PROGRAM NOTES Joseph Haydn Overture to L'isola Disabitata

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
PROGRAM NOTES Joseph Haydn Overture to L'isola Disabitata PROGRAM NOTES by Phillip Huscher Joseph Haydn Born March 31, 1732, Rohrau, Austria. Died May 31, 1809, Vienna, Austria. Overture to L’isola disabitata (The deserted island) Haydn composed his opera L’isola disabitata (The deserted island) to a libretto by Pietro Metastasio, in 1779. The first performance was given on December 6 of that year, at Eszterháza, the palace of the Esterházy family, in Hungary. The overture calls for an orchestra consisting of one flute, two oboes, one bassoon, two horns, and strings. Performance time is approximately eight minutes. These are the Chicago Symphony Orchestra’s first subscription concert performances of the overture to Haydn’s L’isola disabitata. Our only previous performance of this overture was given on a popular concert at Orchestra Hall on December 1, 1956, with Izler Solomon conducting. It is easy today to forget that Haydn—the “father of the symphony,” a decisive figure in the development of the piano sonata and the string quartet—also wrote operas. In all, he composed more than two dozen works for the stage. And from 1766 to 1780, during the time he was employed by the Esterházy family, the richest and most culturally astute of all the Hungarian nobility, opera dominated Haydn’s musical life in a way that is hard for us to imagine today, particularly since so little of this music is still performed. In that period alone, he composed fourteen major works for the stage, including nine Italian operas, at the same time that he was writing groundbreaking symphonies, chamber music, and works for the church. Arguably the most impressive year of all was 1779, the year Haydn oversaw the premieres of three of his operas, including one in German, Die bestrafte Rachbegierde, since lost; and two in Italian, La vera costanza and L’isola disabitata, the opera from which this overture is drawn, which was to be premiered on December 6, the name day of Prince Nikolaus of Esterházy, the composer’s boss. On November 18 of that year, a fire broke out in the magnificently appointed Chinese ballroom at Eszterháza, the family palace—it was said to be modeled after Versailles—when two Chinese stoves, “more for show than for actual use,” as the Pressburger Zeitung put it, were lit to prepare for a wedding festivity and overheated. Flames quickly spread to the adjoining opera theater, which was totaled. The damage was devastating. “Two beautiful clocks,” the paper reported, “the magnificent theatrical costumes; all the music collected at great effort and expense; the musical instruments, including the beautiful harpsichord of the famous Kapellmeister Haiden [sic] . all were lost to the flames.” Although many of Haydn’s manuscripts were destroyed in the fire, the music to L’isola disabitata, which he was still working on, was in his four-room apartment in another wing, and so the premiere, which was set for December 6, went on as planned. The only complete text by Pietro Metastasio, the extraordinarily popular eighteenth-century Italian poet, that Haydn set to music, L’isola disabitata tells the unlikely tale of two sisters who have lived alone on a island for thirteen years, after being stranded there during a storm at sea. (The opera ends well, when one sister’s husband, coincidentally imprisoned by pirates for the past thirteen years, returns to save his wife, conveniently bringing with him a mate for the other sister.) The opera was performed a few times during the composer’s life and rarely since (L’isola disabitata wasn’t alone in this fate: the other operas staged at Eszterháza that same season, by Paisiello, Astaritta, Anfossi, Gazzaniga, Sarti, Naumann, Franchi, Piccini, and Felici, also have all disappeared from the repertory). The overture, one of Haydn’s best, was even published separately in the composer’s lifetime. It works perfectly as a typical curtain-raiser of the period, but, unlike many other wildly popular opera composers of the day, Haydn understood that the symphony was the future, and so his dramatic and impassioned overture, with its shifts in tempo and subject matter, reflects the style of the Sturm und Drang symphonies he also was composing at the time. Phillip Huscher is the program annotator for the Chicago Symphony Orchestra. © Chicago Symphony Orchestra. All rights reserved. Program notes may be reproduced only in their entirety and with express written permission from the Chicago Symphony Orchestra. These notes appear in galley files and may contain typographical or other errors. Programs subject to change without notice. .
Load more

Recommended publications
  • What Handel Taught the Viennese About the Trombone
    291 What Handel Taught the Viennese about the Trombone David M. Guion Vienna became the musical capital of the world in the late eighteenth century, largely because its composers so successfully adapted and blended the best of the various national styles: German, Italian, French, and, yes, English. Handel’s oratorios were well known to the Viennese and very influential.1 His influence extended even to the way most of the greatest of them wrote trombone parts. It is well known that Viennese composers used the trombone extensively at a time when it was little used elsewhere in the world. While Fux, Caldara, and their contemporaries were using the trombone not only routinely to double the chorus in their liturgical music and sacred dramas, but also frequently as a solo instrument, composers elsewhere used it sparingly if at all. The trombone was virtually unknown in France. It had disappeared from German courts and was no longer automatically used by composers working in German towns. J.S. Bach used the trombone in only fifteen of his more than 200 extant cantatas. Trombonists were on the payroll of San Petronio in Bologna as late as 1729, apparently longer than in most major Italian churches, and in the town band (Concerto Palatino) until 1779. But they were available in England only between about 1738 and 1741. Handel called for them in Saul and Israel in Egypt. It is my contention that the influence of these two oratorios on Gluck and Haydn changed the way Viennese composers wrote trombone parts. Fux, Caldara, and the generations that followed used trombones only in church music and oratorios.
    [Show full text]
  • 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.
    [Show full text]
  • Eröffnungsvortrag: Haydns Opern in Ihrer Zeit Und Heute
    ZOBODAT - www.zobodat.at Zoologisch-Botanische Datenbank/Zoological-Botanical Database Digitale Literatur/Digital Literature Zeitschrift/Journal: Wissenschaftliche Arbeiten aus dem Burgenland Jahr/Year: 1992 Band/Volume: 090 Autor(en)/Author(s): Feder Georg Artikel/Article: Haydns Opern in ihrer Zeit und heute. 9-20 Eröffnungsvortrag:© Landesmuseum für Burgenland, Austria, download unter www.biologiezentrum.at Haydns Opern in ihrer Zeit und heute Georg FEDER, Köln “Joseph Haydn und die Oper seiner Zeit” so lautet das Thema unseres Symposions. Haydns Opern in ihrer Zeit und heute sind das Thema dieses ersten Vortrages. Mit ihm möchte ich versuchen, einen kurzen Überblick über Haydns Opernschaffen zu geben, einerseits in historischer Hinsicht, andererseits in Betrachtung der neueren Entwicklungen. Haydns Opernschaffen ist nach den Forschungen und Veröffentlichungen der letzten Jahrzehnte gut überschaubar; Umfang, Gliederung und zeitlicher Verlauf dieses Schaffens lassen sich mit klaren Linien skizzieren. (Vgl. die Tabelle.) Es erstreckte sich über einen Zeitraum von vier Jahrzehnten: von 1751/52 bis 1791. Schauplätze der Uraufführungen waren zuerst Wien, dann Eisenstadt und Esz­ terhäza. Die letzte Oper entstand in London. Den Werkgattungen nach gliedert sich Haydns Opernschaffen in die Gruppe der deutschen Singspiele, mit gespro­ chenen Dialogen, meist in der Sonderform der Marionettenoper, wobei unter lauter heiteren Singspielen ein ernstes vorkommt, und in die Gruppe der italie­ nischen Opern. Zu letzteren gehört zunächst die bei Haydn bald als Opera seria, bald als Dramma eroico oder Dramma per musica bezeichnete ernste Oper, die in kleinerer Form Festa teatrale oder Azione teatrale heißt. Daneben steht die heitere Oper, als Commedia, als Intermezzo, Opera buffa oder Burletta, einmal auch als Dramma giocoso per musica bezeichnet.
    [Show full text]
  • The Life of Haydn David Wyn Jones Index More Information
    Cambridge University Press 978-0-521-89574-3 - The Life of Haydn David Wyn Jones Index More information index Abel, Carl Friedrich 125 Bach, Carl Philipp Emanuel 53–4, 140, Abingdon, Earl of 125, 168 175 Academy of Ancient Music 147 Versuch über die wahre Art das Clavier zu Adamberger, Valentin 115 spielen 53 Alba, Duke of 122 Bach, Johann Christian 125 Albert of Sachsen-Teschen, Prince 68, Bachmann, Gottlob 184 198 Baden 197, 203 Albrechtsberger, Johann Georg 130, 161 Bader, Philip Georg 85 Allegri, Gregorio 13 Badini, Francesco 171 Miserere 23 Bailleux 204 Allgemeine musikalische Zeitung 189, Banti, Brigida 171 204–5, 207, 208, 216, 220, Barmherzige Brüder 24, 50, 62, 112, 226 224 Alxinger, Johann Baptist von 188 Barthélemon, François-Hippolyte 187 Amorbach 204 baryton 56 Amsterdam 103, 218 Bath 168–9 Anacreontic Society 147 Battle of the Nile 194 André 183 Bayreuth 200 Anfossi, Pasquale 75, 84, 85, 87, 88, Beethoven, Ludwig van 1, 23, 116, 131, 98 143, 158, 160, 161, 176, 180, 222, Isabella e Rodrigo 100 223 Apponyi, Count Georg von 119, 188 Cantata on the death of Joseph II 144 Arnold, Samuel 197 Piano Concerto no. 1, 176 Artaria 91, 100, 103–10, 110, 115, 116, 119, Symphony no. 9 (‘Choral’) 116 121, 122, 128–9, 137, 185, 197, Benedict XIV, Pope 23 201, 213, 225 Bergen 211 Ascot 158 Berlin 22, 103 Ashe, Andrew 168, 173 Berwald, Johan Fredrik 195 Astarita, Genaro 88 Bianchi, Francesco 170 I visionari 84 Binder, Sebastien 223 Auenbrugger, Franziska 110 Bland, John 132–3, 137, 146, 149, 166, Auenbrugger, Maria Katherina 110 172, 202,
    [Show full text]
  • Tebaldo E Isolina
    Francesco Morlacchi (1784–1841) Tebaldo e Isolina Laura Polverelli • Sandra Pastrana • Anicio Zorzi Giustiniani Raúl Baglietto • Gheorghe Vlad • Annalisa D’Agosto Camerata Bach Choir, Poznań • Virtuosi Brunensis Antonino Fogliani CD1 78:11 * Ecco i bellici concenti 5:46 (Geroldo, Coro, Isolina, Ermanno, Francesco 1 Sinfonia Andantino scherzoso – Allegro 7:02 Tebaldo, Boemondo, Clemenza) MORLACCHI Act I CD2 64:47 (1784–1841) 2 No. 1. Introduzione: Da’ tuoi figli, dagli amici 7:56 Act II (Coro, Clemenza, Geroldo, Ermanno) 3 Recitativo: Cavalieri, oh! di quanto 2:12 No. 8. Scena ed Aria: Tebaldo e Isolina (Ermanno, Geroldo, Clemenza) 1 Oh, Sigerto!… Sigerto! 5:44 No. 2. Coro e Cavatina: (Isolina, Clemenza) Melodramma romantico in two acts (1822–25) (Dresden version, 1825) 4 Bella stella mattutina – 4:01 2 Ah! che intesi! me infelice!... 5:09 Libretto by Gaetano Rossi (1774–1855) Oh! come lieto il cor (Isolina, Clemenza, Coro, Ermanno) (Coro, Isolina) 3 Cara figlia!... 5:55 5 Ah lusinghiera imagine 5:01 (Ermanno, Isolina, Coro) Boemondo .......................................................................................... Anicio Zorzi Giustiniani, Tenor (Isolina, Coro) No. 9. Scena, Coro ed Aria: 6 Recitativo: Cavalieri, una figlia 2:50 4 Oh sposa!... Oh figlia!... – 4:09 ............................................................................................ Tebaldo Laura Polverelli, Mezzo-soprano (Isolina, Ermanno, Clemenza, Geroldo) Volto è all’occaso il dì Ermanno ................................................................................................Raúl
    [Show full text]
  • Accepted Faculty of Graduate Studies
    ACCEPTED FACULTY OF GRADUATE STUDIES JOSEPH HAYDN AND THE DRAMMA GIOCOSO by Patricia Anne Debly Mus.Bac., University of Western Ontario, 1978 M.Mus., Catholic University of America, 1980 M.A., University of Victoria, 1985 A Dissertation Submitted in Partial Fulfillment of the Requirements for the Degree of DOCTOR OF PHILOSOPHY in the School of Music We accept this dissertation as conforming to the required standard I^an G. Lazarevich, Supervisor (Faculty of Graduate Studies) Dr. E. Schwandt, Departmental Member (School of Music] Dr. A. Q^fghes, Outside Member (Theatre Department) Dr. J. ..ujiey-r-Outside (History Department) Dr. M. Tér^-Smith, External Examiner (Music Department, Western Washington University) © PATRICIA ANNE DEBLY, 1993 University of Victoria All rights reserved. Dissertation may not be reproduced in whole or in part, by photocopying or other means, without the permission of the author. 11 Supervisor; Dean Gordana Lazarevich ABSTRACT Haydn's thirteen extant Esterhdzy operas, composed from 1762-85, represent a microcosm of the various trends in Italian opera during the eighteenth century'. His early operas illustrate his understanding and mastery of the opera seria, the intermezzo and the opera buffa traditions which he would utilize in his later draimi giocosi. In addition to his role as Kapellmeister Haydn adcpted and conducted over eighty-one operas by the leading Italian composers of his day, resulting in over 1,026 operatic performances for the period between 1780-90 alone and furthering his knowledge of the latest styles in Italian opera. This dissertation examines the five draimi giocosi which Haydn wrote, beginning with Le pescatrici {1769) through to La fedelta preiniata (1780), within the context of the draima giocoso tradition.
    [Show full text]
  • 573488 Bk Haydn EU
    HAYDN Opera Overtures Armida • Lo speziale Le pescatrici Philemon und Baucis Il mondo della luna La vera costanza Orlando Paladino Czech Chamber Philharmonic Orchestra Pardubice Michael Halász 1 Lo speziale (The Apothecary) ^ Il mondo della luna (Life on the Moon) Franz Joseph Haydn (1732-1809) – Dramma giocoso: – Opera buffa: Sinfonia, Hob.Ia:10 (1768) 6:11 Sinfonia, Hob.XXVIII:7 (1777) 3:53 Opera Overtures Along with Mozart and Beethoven, Haydn is perhaps the time, he attracted the attention of the legendary poet and Acide e Galatea (Acis and Galatea) L’isola disabitata (The Uninhabited Island) most famous composer of the Classical era, but not all of librettist Pietro Metastasio, through whom he met yet – Festa teatrale: – Opera (Azione teatrale): his oeuvre is equally well known. Certain works – such as another famous Italian, the composer Nicola Porpora, Sinfonia, Hob.Ia:5 (1762) 6:39 Overture, Hob.Ia:13 (1779) 7:38 the ‘Surprise’ Symphony or The Creation – have tended who helped him improve still further. 2 Allegro molto 2:17 & Largo 1:35 to overshadow less familiar pieces, such as his opera Haydn’s reputation grew steadily, and he 3 Andante grazioso 2:50 * Vivace assai 2:57 overtures. occasionally worked at the Viennese court and for various 4 Finale. Presto 1:32 ( Allegretto 2:34 Born in Rohrau, Austria, on 31st March 1732, Haydn other aristocratic patrons. Meanwhile his compositions ) Vivace 0:32 showed musical promise from an early age. Although his were also meeting with success. Finally, in 1757, he 5 Le pescatrici (The Fisherwomen) parents were enthusiastic about music, neither of them obtained full-time employment as a Kapellmeister with – Dramma giocoso: La vera costanza (True Constancy) was a professional musician, so when Haydn was nearly Count Morzin.
    [Show full text]
  • Urtext Urtext Editions Study Scores GEN Facsimiles Complete Editions Books ERAL Gifts CATA
    Urtext Urtext Editions Study Scores GEN Facsimiles Complete Editions Books ERAL Gifts CATA www.henle.com LOGUE Dealer‘s stamp 2020/ 2021 Printed in Germany HN 211001 Finest Urtext Editions GC2020_21_Cover_mED_RZ_CS6.indd 2-3 23.01.20 10:34 VV2019_20_RZ.indd 111 05.02.19 11:22 TABLE OF CONTENTS Keyboard Instruments 3 Vocal Music 70 Piano (Harpsichord), 2-hands 3 Voice and Piano 70 Piano, 4-hands 32 Voice and Various Instruments 72 2 Pianos, 4-hands 34 Organ 36 Orchestral and Choral Works 73 Orchestra 73 String Instruments 37 Chorus and Orchestra 73 Etudes and Easy Repertoire for Students – Violin 37 Violin Solo 38 Study Edition 74 Violin(s) and Piano 38 Study Scores 74 Violin and Guitar 45 Study Scores Slipcase 85 Viola Solo 45 Viola and Piano 45 Facsimiles 86 Etudes and Easy Repertoire for Students – Violoncello 46 Violoncello Solo 46 Violoncello and Piano 47 Complete Editions 88 Double Bass Solo 50 Bartók Complete Critical Edition 88 Double Bass and Piano 50 Beethoven Works 88 Gamba 50 Johannes Brahms Works 92 Joseph Haydn Works 94 Plucked Instruments 51 Harp with other Instruments 51 Monuments of Music 103 Mandolin and Piano 51 The Legacy of German Music 103 Violin and Guitar 51 The Opera 103 Wind Instruments 52 Periodicals 104 Flute Solo 52 Haydn Studies 104 Flute (Piccolo) and Piano 52 Oboe and Piano 53 Books 105 Clarinet and Piano 54 Miscellaneous 105 Saxophone (and Piano) 55 Thematic Indices 106 Bassoon and Piano 55 Catalogues of Music Collections in Bavaria 107 Horn and Piano 55 Staatsbibliothek zu Berlin – Preußischer Kulturbesitz
    [Show full text]
  • 10 Kleine Klavierstücke 24 Menuetti Jenő Jandó, Piano Joseph Haydn (1732–1809) Sonata-Allegro Form, Developed
    HAYDN 10 kleine Klavierstücke 24 Menuetti Jenő Jandó, Piano Joseph Haydn (1732–1809) sonata-allegro form, developed. In addition to some 47 Baroness, are shipwrecked and rescued by Rosina and her Piano Music: Arrangements and Dances keyboard sonatas, Haydn also wrote a variety of pieces, brother Masino. The Baroness is searching for her errant including some arrangements of earlier orchestral or nephew, Count Errico, to dissuade him from marrying 10 kleine Klavierstücke (1786) 29:57 chamber works and various dances that would have had Rosina, whom he had, in any case, secretly married some 1 No. 1. Andante (from Symphony No. 81 in G major, Hob.I:81/II) 5:49 their occasional use. years before, fathering a son by her. Eventually Villotto is 2 No. 2. Aria (from La vera costanza – Io son poverina, Hob.XXVIII:8) 1:09 The 10 kleine Klavierstücke (‘10 Little Piano Pieces’) dealt with and the Baroness is induced to accept the 3 No. 3. Adagio cantabile (from Symphony No. 79 in F major, Hob.I:79/II) 3:42 were published in 1786 and start with a keyboard version marriage of Rosina and her nephew, who has now 4 No. 4. Menuetto (from Symphony No. 85 in B flat major, ‘La Reine’, Hob.I:85/III) 3:23 of the second movement of Symphony No. 81 in G major acquired some sense of responsibility, as a father and 5 No. 5. Romanze. Allegretto (from Symphony No. 85 in B flat major, ‘La Reine’, Hob.I:85/II) 4:10 written in 1784 1.
    [Show full text]
  • Opera Triple Bill 2020 Programme
    28 May, 1, 3, 7 June 2021 7pm Silk Street Theatre Beginnings: New and Early Opera The Apothecary Amy Crankshaw composer Clare Best librettist Judicium Salomonis by Giacomo Carissimi Eintänzer Aran O’Grady composer Kaitlin Sullivan librettist I’m Cleaning, I’m Cleaning Ábel Esbenshade composer Aubrey Lavender librettist Orphée descendant aux enfers H.471 by Marc-Antoine Charpentier Chad Kelly conductor John Ramster director Louis Carver designer Jake Wiltshire lighting designer Victoria Newlyn movement director Guildhall School of Music & Drama Guildhall School Movement Founded in 1880 by the Opera Course and Dance City of London Corporation Victoria Newlyn Head of Opera Caitlin Fretwell Chairman of the Board of Governors Studies Walsh Graham Packham BSc (Hons) Dominic Wheeler Language Coaches Principal Resident Producer Emma Abbate Lynne Williams AM Martin Lloyd-Evans Florence Daguerre de Hureaux Vice-Principal & Director of Music Coaches Aurelia Jonvaux Jonathan Vaughan Lionel Friend Johanna Mayr FGS DipRCM (Perf) DipRCM (Teach) Alex Ingram Emanuele Moris Michael Lloyd Lada Valešova Elizabeth Marcus Please visit our website at gsmd.ac.uk Jonathan Papp Opera Department Linnhe Robertson Manager Peter Robinson Steven Gietzen Stephen Rose Elizabeth Rowe Guildhall School Susanna Stranders Vocal Studies Department Drama Martin Lloyd-Evans Deputy Director of Victoria Newlyn Music & Head of Vocal Studies Armin Zanner Deputy Head of Vocal Studies Samantha Malk Guildhall School is part of Culture Mile: Performed in Silk Street Theatre and culturemile.london produced for live broadcast by Guildhall School’s Recording & Audio Visual department. Guildhall School is provided by the City of London Performing editions of Judicium Salomonis Corporation as part of its contribution to the cultural life and Orphée descendant aux enfers for of London and the nation Guildhall School by Chad Kelly.
    [Show full text]
  • Haydn Complete Opera
    Schloss Esterháza Opernhaus Prag Franz Joseph Haydn (1732-1809) Sämtliche Opern – Joseph Haydn – Complete Opera – Index Sämtliche Opern von Joseph Haydn Seite Vorwort 3 I. Opern 1 Hob.XXVIII:1 Acide e Galatea (Fragment) 4 2 Hob.XXVIII:2 La Canterina (Die Sängerin) 5 3 Hob.XXVIII:3 Lo Speziale (Der Apotheker) 6 4 Hob.XXVIII:4 Le Pescatrici (Die Fischerinnen) 7 5 Hob.XXVIII:5 L'infedelta Delusa (Liebe macht erfinderisch) 8 6 Hob.XXVIII:6 L'incontro Improvviso (Die unverhoffte Begegnung) 9 7 Hob.XXVIII:7 Il Mondo della Luna (Die Welt auf dem Monde) 10 8 Hob.XXVIII:8 La vera costanza (Wahre Beständigkeit) 11 9 Hob.XXVIII:9 L'isola Disabitata (Die unbewohnte Insel) 12 10 Hob.XXVIII:10 La fedeltà premiata (Belohnte Treue) 13 11 Hob.XXVIII:11 Orlando Paladino (Der Ritter Roland) 14 12 Hob.XXVIII:12 Armida 15 13 Hob.XXVIII:13 Orfeo ed Euridice 16 14 Hob.XXX:2 Die Feuersbrunst, oder das abgebrannte Haus 17 II. Oratorien 1 Hob.XX:2 Die 7 letzten Worte unseres Erlösers am Kreuze 18 2 Hob.XXI:1 Il ritorno di Tobia (Die Heimkehr des Tobias) 19 3 Hob.XXI:2 Die Schöpfung (The Cretion) 20 4 Hob.XXI:3 Die Jahreszeiten (The Seasons) 21 2 – Joseph Haydn – Complete Opera – Vorwort Obwohl Haydn als Meister der Instrumentalmusik gilt, widmete er sich in einem bedeutenden Abschnitt seines Lebens beinah ausschließlich dem Genre „Oper", der noch im 18.Jahrhundert ohne Zweifel höchstgeschätzten Kunstgattung überhaupt. Von1761 - 1790 war Haydn gleichsam "hauptberuflich" Opernkapellmeister im Operntheater von Esterháza, dem ungarischen Versailles südlich des Neusiedlersees, für das er freilich schon zuvor Opern komponiert hatte, wie eben „L'infedeltà delusa“ von 1773.
    [Show full text]
  • Haydn Book Inside
    LIFE AND WORKS Joseph Haydn Written and narrated by Jeremy Siepmann with David Timson as Haydn 8.558091–94 Life and Works: Joseph Haydn Preface If music is ‘about’ anything, it’s about life. No other medium can so quickly or more comprehensively lay bare the very soul of those who make or compose it. Biographies confined to the limitations of text are therefore at a serious disadvantage when it comes to the lives of composers. Only by combining verbal language with the music itself can one hope to achieve a fully rounded portrait. In the present series, the words of composers and their contemporaries are brought to life by distinguished actors in a narrative liberally spiced with musical illustrations. Unlike the standard audio portrait, the music is not used here simply for purposes of illustration within a basically narrative context. Thus we often hear whole movements, which may be felt by some to ‘interrupt’ the story; but as its title implies the series is not just about the lives of the great composers, it is also an exploration of their works – and there are many pieces which can succeed in their purpose only when heard whole. Their dismemberment for ‘theatrical’ effect would thus be almost sacrilegious! Likewise, the booklet is more than a complementary appendage and may be read independently, with no loss of interest or connection. Jeremy Siepmann Cover picture: Portrait of Joseph Haydn by Thomas Hardy (active 1778–1801); courtesy AKG. 8.558091–94 3 Life and Works: Joseph Haydn Joseph Haydn, c. 1850; courtesy AKG 4 8.558091–94 Life and Works: Joseph Haydn Joseph Haydn(1732-1809) Contents Page Track Lists 6 Cast 11 1 Historical Background: The Eighteenth Century 15 2 Haydn in His Time 24 3 The Major Works and Their Significance 33 4 A Graded Listening Plan 69 5 Recommended Reading 79 6 Personalities 83 7 A Calendar of Haydn’s Life 92 8 Glossary 134 The full spoken text can be found at: www.naxos.com/lifeandworks/haydn/spokentext 8.558091–94 5 Life and Works: Joseph Haydn 1 Symphony No.
    [Show full text]