Description
Haydn scholarship has mirrored recent trends in musicological research with an increased interest in the cultural context and reception of his music, though he has not received the sustained consideration given to other canonical figures. Over the past decade, more consideration has been paid to Haydn's operas and oratorios which previously tended to be eclipsed by his chamber and orchestral music. These new perspectives are the focus of this collection which showcases recent approaches and allows us to re-evaluate the long-held notion that Haydn's era marked the rise of the concept of autonomous musical works. This book enriches understanding of cultural contexts in which Haydn's music is being understood, providing models for future contextual studies and allows for a more historically responsive understanding of his works. It includes analysis of less well-known compositions, especially the oratorio Il Ritorno di Tobia, Orfeo and the late canons, but also of works like the London Symphonies and The Creation.
Table of Contents
1. The many Haydns of musicology Emily Dolan and Matthew Head; 2. Understanding Haydn's 'Il Ritorno di Tobia' through Gassmann's tradition Bruce C. MacIntyre; 3. Listening again to Haydn's nightwatchman W. Dean Sutcliffe; 4. Haydn's last heroine: Hanne, 'The Seasons', and the culture of sensibility Rena Roussin; 5. Framing Haydn's canons: Intersections of music, art and composition in the composer's Kabinett Tom Tolley; 6. Haydn according to Matisse: encountering the composer through 'The Music Lesson', from 1917 to today Sarah Day O'Connell; 7. The premiere of Haydn's 'Orfeo' in Florence (1951)-a Cold War story Caryl Clark; 8. Haydn in the modern instrumental performer's imagination Mary Hunter and A. LeRoy Greason; 9. Admired across the sea': importing late Haydn into early New Zealand Nancy November.
