Acc1 responsables
Acc2a tatin
Acc1 responsables
Cont1 secrétariat
Cont1 secrétariat
Cont1 achats 3
Rev20 Comedy
Rev20 Comedy
Rev19 Chabanon
Rev18 Mal
Rev17 Querelles
Rev16 Oratorio
Rev15 Theatralite
Rev14 haendel
Rev13 hennin
Rev12 wagner
Rev11 debussy
Rev10 noverre
Rev9 gluck
Rev8 prokofiev
Rev7 haydn
Rev6 chabanon
Rev5 livret
Rev4 texte
Rev3 representations
Rev2 interpretation
Rev1 melanges
M1 Communications
M1 Communications
M1 Communications
M1 Communications
Rev7 haydn
Rev7a preface
Rev7n scholz
Rev7j leblanc
Rev7i esquier
Rev7h siegert
Rev7g gasche
Rev7f degott
Rev7k poor
Rev7m haselbock
Rev7b gruber
Rev7c gier
Rev7e winckler
Rev7d kalmar
Rev7l anton

In his lifetime, Haydn was celebrated as one of the greatest composers in Europe. The boundless admiration of his contemporaries put him on a pedestal, where he was revered as a model for musical composition, and the situation was to last throughout the first decades of the nineteenth century. In June 1805, he was admitted as an associate member in the arts class of the “Institut de France”. Such a body did not merely admire and pay tribute to the “immortal talent” of the Viennese composer, it also tried to win the confidence of “one of the fathers of the musical art” and hoped to benefit from “the learned observations on the art that he professed throughout Europe”. Recent academic institutions such as the “Conservatoire”, as well as the “Institut” that acted as guarantor for the former, in their eagerness to found and consecrate their traditions, turned Haydn into the incomparable – yet not only – classical model. Haydn thus appears in instrumental manuals as well as in many courses and theoretical treatises on harmony and composition published at the time. The works by Momigny and Reicha paved the way for a systematic and rational form of teaching based on a new morphological vocabulary and relying, by way of demonstration, on the analysis of extracts from Mozart, Haydn and others. Their influence was considerable throughout the nineteenth century: Haydn’s music helped understand Beethoven’s, and even lost its supremacy as a result of that; indeed, the former was soon superseded by the latter as the unsurpassable model.

Joseph Haydn und Europa

N° 7 j

Jean-Marc Leblanc

Université de Tours

La musique de Haydn dans les méthodes, cours et traités, en France, de Momigny à Reicha : objet d’analyse et modèle de composition



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