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Broadwood grand piano, 1810

Dr. Haydn's VI original canzonettas for the voice with an accompaniment for the Piano-Forte : dedicated to Mrs. John Hunter. London : Printed for the Author, & Sold by him at No. 1, Bury Street, St. James - at Messrs. Corri, Dussek & Co. Music Sellers to her Majesty, No. 7 Dean Street, Soho & Bridge Street, Edinburgh, [1794-1795]

Second sett of Dr. Haydn's VI original canzonettas : for the voice with an accompaniment for the piano forte / dedicated to the Right Honble. Lady Charlotte Bertie. London : Printed & sold for Messrs. Corri, Dussek & Co., [1795?]

Download images of the complete works: First set | Second set

What a time Haydn must have had during his London stays in the early 1790s! Already hailed as a great composer, and preceded by the performance and publication of numerous successful works including symphonies, string quartets, and works for keyboard, he was eagerly embraced by London society.

As reported in the Lady’s Magazine, January 1791:

“A remarkable circumstance happened this evening, in the ball-room at
 St. James's. Haydn, the celebrated 
composer, though he has not yet been 
introduced at our court, was recognised
 by all the royal family, and paid them 
his silent respects. Mr. Haydn came 
into the room with sir John Gallini, 
Mr. Wills, and Mr. Salomon. The 
prince of Wales first observed him, and
 upon bowing to him, the eyes of all the
 company were upon Mr. Haydn, every
one paying him respect.”

Naxos temple gate

Arianna a Naxos, Hob. XXVIb:2
MLM 489. London, Printed for the author [1791], signed by the composer

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Arianna a Naxos was first published by Artaria in Vienna in 1790, followed by this London edition printed for Haydn by John Bland and first offered for sale on June 10, 1791. Bland was instrumental in bringing Haydn to London, and provided Haydn’s first lodging there in January 1791. Bland had visited Haydn at Eszterháza. One day during Haydn’s grooming routine, he heard the composer complain about his dull razors. “I’d give my best quartet for a pair of good razors,” he exclaimed, upon which Bland raced back to his room, grabbed his new British razors, and presented them to Haydn. In exchange Bland received the manuscript for the Quartet, op. 55 No.2, the “Razor” Quartet.  Or so the story goes.  We do know that Bland took away the manuscript for Arianna and a contract to publish Haydn’s flute trios.

Q.R.S Playasax roll

Staff at the Archive of Recorded Sound recently came across a particularly unusual item while unboxing and sorting the Denis Condon Collection of Reproducing Pianos and Rolls, part of the recently announced Player Piano Project here at Stanford. 

This small roll, just 4.5 inches wide, was found among approximately 7500 of its larger brothers and sisters - the reproducing piano rolls that make up the Condon Collection. Following further research, it was discovered that this roll was designed for a toy, a type of player saxophone called the Playasax, produced by Q.R.S. Q.R.S are in fact the only surviving piano roll company still in existence today. 

Haydn Lieder (1781) title page detail

XII Lieder fur as Clavier, erster Teil (1781), HXXVIa:1-12

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The Lieder were among the first works requested for publication by Haydn’s Austrian publisher, Artaria & Co., with whom he began a relationship at the end of the 1770s.  Artaria announced publication of this first set of Lieder in December 1781 (the second set followed in 1784), possibly to coincide with the festivities surrounding the Grand Tour of Russian Grand Duke Paul (later Tzar Paul II) and his entourage, including the Count and Countess von Norden. Other works published around this time were the highly praised op. 33 quartets. Both the Lieder and the op. 33 quartets represent a break from Haydn's more studious earlier works; the tribute to laziness that is "Lob der Faulheit" (in the second set of Lieder) in particular, has been singled out for its wit and overall affect.

CCRMA Logo

To correspond with the Triple CCRMALite concert and symposium this weekend (Oct 26-27, 2014), the Archive of Recorded Sound and Stanford Media Preservation Lab recently worked to digitized and make available a number of historic performances from Stanford's Center for Computer Research in Music and Acoustics. These recordings, from the CCRMA Tape Archive (ARS.0037), are now available to stream via the Triple CCRMALite website.    


Peg box of a baryton, Brussels (undated)Divertimento 24o per il pariton [original manuscript, 1766]

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The baryton [pariton] is a bass instrument in the viol family that may be simultaneously bowed and plucked. It features a double set of strings, the upper set gut, for bowing, the lower set metal, for sympathetic vibration and for plucked accompaniment. The metal strings run the length of the neck behind the fingerboard, which is hollowed in the back to allow the left hand to pluck the strings.

Loosely related to the lyra-viol, the baryton likely originated in seventeenth-century England. Its moment in the sun, however, came in ighteenth-century Austria, at the court of the barytonist Prince Nicholas Esterházy, with music supplied in abundance by his ambitious young Kappelmeister, Joseph Haydn.

Title page of the Bonaparte Edition (detail)

Collection complette des quatuors / d'Haydn ; dédiée au Premier Consul Bonaparte
A Paris : Chez Pleyel, auteur et editeur de musique, [1802]

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Goethe described the classical string quartet form as “four rational people conversing,” a type of discourse embodied in the quartets of Haydn, Mozart, Beethoven, and Schubert. Haydn, perhaps more than any of his contemporaries, shaped the string quartet into the form we know today, moving away from the typical divertimenti solo with accompaniment, to four equal voices working out thematic material in (often lively) conversation. The complete set of parts featured here is a variant of the first edition of Haydn’s complete string quartets, dedicated to Napoleon Bonaparte, and known as the “Bonaparte Edition,” published by Maison Pleyel in Paris in 1803. 

piano keys

Masterclass Media Foundation of England films and records world-class musicians teaching students or discussing their own approaches to the works with which they are associated.  The medici.tv database makes available 40 of the masterclasses.

Videos on keyboard music include classes with Stephen Kovacevich on Beethoven Piano Concerto no. 2,  Beethoven Piano Sonatas no. 21 and 31, Chopin Fantasy in F minor, op. 49, and Schubert Impromptus nos. 1 and 3, op. 90; András Schiff on Bach Partita no.2, Beethoven late Piano Sonatas, and Schubert Moments Musicaux nos. 1, 3, and 4. There are also masterclasses with Emanuel Ax, Boris Berman, Stephen Hough and Joanna MacGregor.

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