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
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Rev7e winckler
Rev7d kalmar
Rev7l anton

Haydn’s early work was always related to various models, whether it be Italian or French music, the Mannheim school or, last but not least, Czech music. As regards the latter, a concrete biographical event has recently been underlined: in 1757, Baron Joseph von Fürnberg got in contact with Count Morzin in Dolní Lukavice, a little village in the area of Pilsen, where Haydn worked between 1757/58 and 1761 as Kappelmeister and court-composer. Haydn’s activities in Dolní Lukavice raise the question of the influences he may have received during his stay. The problematic aspect lies in the fact that Haydn’s music is often intuitively understood to be related to Czech music, even though it cannot be really proved. The idea contrary to that is the influence of Antonio Vivaldi, which already existed in Haydn’s Viennese years but was to be intensified during the trip to Bohemia, and which can be apprehended far more clearly. Vivaldi had many far-reaching connections in Bohemia and he dedicated his Quattro stagioni to Count Venzeslav von Morzin, a relative to the Count in whose service Haydn was later to go into. In Dolní Lukavice, Haydn probably held in his hand the original dedicated score of Quattro stagioni. A short while later, he composed in Eszterháza his symphonies of the times of day, Le Matin, Le Midi and Le Soir, “programmatic symphonies which are so close to the baroque concerto grosso that they should be called mixed forms, and not regular symphonies” (J.P. Larsen). These complex intricacies between the young Haydn, Vivaldi and Bohemia should be the object of a thorough research, through a close musical analysis of the Viennese organ concertos of the 1750s down to the solo concertos composed in Eszterháza from 1761 onwards, via the symphonies of the times of day.

Joseph Haydn und Europa

N° 7 m

Lucas Haselböck

Universität für Musik und darstellende Kunst Wien

Vivaldis Le quattro stagioni und Haydns Tageszeiten-Sinphonien



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