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It goes without saying that occasional music has little to do with symphony. And yet, the adaptations for wind bands in the late eighteenth century initiated a new relationship: they allowed for the passage from the concert hall to the private sphere, and gave the possibility of hearing arias and symphonic movements throughout the year.


Haydn’s oratorios and symphonies were successful, and many were immediately adapted for brass bands. The purpose of this paper is first to explain, in the Viennese context, the role and contemporary coherence of these instrumental works. An examination and comparative analysis of the arrangements of the Triebensee Oxford Symphony (Hob I:92) for wind octet in 1809 gives evidence of the composer’s work. The paper also tackles the issue of the adaptation for smaller ensembles, as well as that of instrumental colours. This is particular important since instrumental music in the early nineteenth century raises an unusual form of expression.

Joseph Haydn und Europa

N° 7 g

David Gasche

Université de Tours, Universität Wien

Haydns Oratorien und Sinfonien-Bearbeitungen für Harmoniemusik

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Préface

Gottfried Scholz
Gottfried Scholz - Gottfried von Swieten und Joseph Haydn

Jean-Marc Leblanc
Jean-Marc Leblanc - La musique de Haydn dans les traités en France

Suzel Esquier
Suzel Esquier - Haydn et ses biographes

Christine Siegert
Christine Siegert - Opera buffa als spätabsolutische Repräsentation

David Gasche
David Gasche - Bearbeitungen für Harmoniemusik

Pierre Degott
Pierre Degott - English language in Haydn’s German oratorios

János Poór
János Poór - Haydns Ungarn

Lukas Haselböck
Lukas Haselböck - Vivaldi und Haydn

Gerold Gruber
Gerold Gruber - Joseph Haydn - Kick off - Event

Albert Gier
Albert Gier - Joseph Haydn und die Libretti seiner Opern

Gerhard Winkler
Gerhard Winkler - „Gott erhalte“ – Rossini – Paris 1825

János Kalmar
János Kalmar - Nikolaus II. Esterházy

Ulrike Anton
Ulrike Anton - Johann Nepomuk Hummel