Haydn Studies by W. Dean Sutcliffe
By W. Dean Sutcliffe
Haydn reports offers with many new points of a composer who's perennially clean. It concentrates mostly on issues of reception, sort and aesthetics and provides many radical new readings of the composer's paintings. Contributions by way of either verified Haydn students and others who're new to the sector mix to offer an improved experience than is usually understood of the composer's significant importance.
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Additional info for Haydn Studies
Example text
The power of the sublime was that it ‘entirely filled the mind’ with its object. By virtue of its temporality, its creation of tension through sound, and the impact of vibrations on the body, music created the possibility of ‘a succession of great parts’, a vehicle that could instil emotionally a sense of vastness and greatness and thus create the ‘artificial infinite’. 57 This is a virtual description of the role of expectation and memory in listening to Haydn’s late symphonies. Haydn’s music satisfied the expectation put forward by Christian Gottfried Körner, who applied to music his friend Schiller’s idea of an aesthetic education.
The reason is obvious enough: it radically conflicts with the traditional modern focus on the composer’s instrumental output – ‘the father of the symphony’, the first great exponent of the string quartet,the master of wit and irony,the hero of‘Classical style’– a focus that is maintained even in the most interesting recent new approaches to Haydn’s music. 2 1 2 Georg August Griesinger, Biographische Notizen über Joseph Haydn (Leipzig: Breitkopf & Härtel, 1810), p. 118 (trans. Vernon Gotwals, Joseph Haydn: Eighteenth-Century Gentleman and Genius [Madison: University of Madison Press, 1963], p.
In addition, in letters Haydn often mentioned other desiderata of good music, including originality,‘fire’,‘delicacy’ or ‘subtlety’ (Delikatesse) and variety of effect, usually conveyed by the expression ‘light and shade’ (chiaroscuro). 10 11 12 Ernst Ludwig Gerber, Lexikon der Tonkünstler, I (Leipzig, 1790), col. 611 (emphasis added). Gerber’s much longer biography in the Neues Lexikon der Tonkünstler (1810) does mention Op. 33, but with no sense of it having been a historical or stylistic watershed.