Johann Michael Haydn (1737 - 1806)
Autriche
Michael Haydn est un compositeur autrichien, né le 14 septembre 1737 à Rohrau (Autriche) et décédé le 10 août 1806 à Salzbourg. Il est le frère cadet de Joseph Haydn.
Johann Machael Haydn est né en 1737 dans le village de Rohrau sur la Leitha en Basse-Autriche, près de la frontière hongroise. Son père Mathias était charron et sa mère Maria, née Keller, cuisinière au palais du comte von Harrach.
Comme son frère ainé, Joseph Haydn, il reçoit une éducation musicale dans la maîtrise de la cathédrale Saint-Étienne de Vienne, dirigée par Georg Reutter. Il étudie également le violon et l?orgue. Il complète ensuite son éducation au séminaire jésuite.
Après avoir occupé divers emplois de maître de chapelle, il finit par être nommé maître de concert et compositeur à la cour du prince archevêque de Salzbourg, en 1763. En 1777, il devient organiste de la cathédrale de Salzbourg et a notamment pour élèves Carl Maria von Weber et Anton Diabelli.
Le 17 août 1768, il épouse la chanteuse Maria Magdalena Lipp (1745?1827) avec qui il eut une fille Aloisia Josefa, morte en bas-âge.
Maria Magdalena tint le rôle de la Miséricorde dans la cantate Die Schuldigkeit des ersten Gebotes, puis celui de Tamiri dans Il re pastore, deux ?uvres de jeunesse de Wolfgang Amadeus Mozart. En effet, très admirateur des frères Haydn,. ses aînés de vingt ans,Mozart a beaucoup étudié leurs compositions et s'en est inspiré à maintes reprises.
Ses ?uvres comportent plus de huit cents compositions, essentiellement religieuses. Dans ce total distinguons les 150 compositions instrumentales, dont 41 symphonies. C?était un homme timide et réservé qui fuyait les éloges du public, ce qui explique en partie pourquoi il a pu tomber dans l?oubli. Cependant, ses contemporains parlent de lui comme d?un artiste qui, particulièrement pour la musique sacrée, se situe au tout premier rang.
On relèvera notamment son superbe et solennel Requiem de 1771 joué à Salzbourg tandis que parmi le public se trouvaient Mozart père et fils. Il est indubitable que le Requiem de Mozart, composé en 1791, s'inspire par sa texture orchestrale, ses harmonies, ses équilibres architecturaux, aussi bien du Requiem de Michael Haydn créé vingt ans plus tôt que de celui d'Antonio Rosetti (daté de 1776).
WORKS
Michael Haydn never compiled a thematic catalog of his works, nor did he ever supervise the making of one. The earliest catalog was compiled in 1808 by Nikolaus Lang for 'Biographische Skizze'. In 1907 Lothar Perger compiled a catalogue of his orchestral works, the Perger-Verzeichnis, for 'Denkmäler der Tonkunst in Österreich', which is somewhat more reliable than Lang's catalog. Thus, some of Haydn's instrumental works are referred to by Perger numbers. And in 1915 Anton Maria Klafsky undertook a similar work regarding the sacred vocal music. In 1982, Charles H. Sherman, who has edited scores of many Haydn symphonies for Doblinger, published a chronological catalog of Haydn's symphonies, which some recording companies have adopted. Later, in 1991, Sherman joined forces with T. Donley Thomas to publish a chronological catalog of all Haydn's music, which used a single continuous range of numbers, as does Köchel's catalog of Mozart's music. Further important amendments to the Sherman/Thomas catalogue have been made by Dwight Blazin.[9]
The task of cataloguing Haydn's music is simplified by the fact that he almost always put the date of completion on his manuscripts.[10] Guesswork is necessary when the autograph manuscript of a given work did not survive to posterity.
Haydn's sacred choral works are generally regarded as his most important, including the Requiem pro defuncto Archiepiscopo Sigismundo (Requiem for the death of Archbishop Siegmund) in C minor, which greatly influenced the Requiem by Mozart, Missa Hispanica (which he exchanged for his diploma at Stockholm), a Mass in D minor, a Lauda Sion, and a set of graduals, forty-two of which are reprinted in Anton Diabelli's Ecclesiasticon. He was also a prolific composer of secular music, including forty symphonies and partitas, a number of concerti and chamber music including a string quintet in C major which was once thought to have been by his brother Joseph.
There was another case of posthumous mistaken identity involving Michael Haydn: for many years, the piece which is now known as Michael Haydn's Symphony No. 25 was thought to be Mozart's Symphony No. 37 and assigned K. 444. The confusion arose because an autograph was discovered which had the opening movement of the symphony in Mozart's hand, and the rest in somebody else's. It is now thought that Mozart had composed a new slow introduction for reasons unknown, but the rest of the work is known to be by Michael Haydn. The piece, which had been quite widely performed as a Mozart symphony, has been performed considerably less often since this discovery in 1907.
Indeed, several of Michael Haydn's works influenced Mozart. To give just two examples: the Te Deum "which Wolfgang was later to follow very closely in K. 141"[11] and the finale of the Symphony No. 23 which influenced the finale of the G major Quartet, K. 387.
(Retracter) ... (lire la suite)
Source de l'extrait biographique : Wikipedia
AutricheMichael Haydn est un compositeur autrichien, né le 14 septembre 1737 à Rohrau (Autriche) et décédé le 10 août 1806 à Salzbourg. Il est le frère cadet de Joseph Haydn.
Johann Machael Haydn est né en 1737 dans le village de Rohrau sur la Leitha en Basse-Autriche, près de la frontière hongroise. Son père Mathias était charron et sa mère Maria, née Keller, cuisinière au palais du comte von Harrach.
Comme son frère ainé, Joseph Haydn, il reçoit une éducation musicale dans la maîtrise de la cathédrale Saint-Étienne de Vienne, dirigée par Georg Reutter. Il étudie également le violon et l?orgue. Il complète ensuite son éducation au séminaire jésuite.
Après avoir occupé divers emplois de maître de chapelle, il finit par être nommé maître de concert et compositeur à la cour du prince archevêque de Salzbourg, en 1763. En 1777, il devient organiste de la cathédrale de Salzbourg et a notamment pour élèves Carl Maria von Weber et Anton Diabelli.
Le 17 août 1768, il épouse la chanteuse Maria Magdalena Lipp (1745?1827) avec qui il eut une fille Aloisia Josefa, morte en bas-âge.
Maria Magdalena tint le rôle de la Miséricorde dans la cantate Die Schuldigkeit des ersten Gebotes, puis celui de Tamiri dans Il re pastore, deux ?uvres de jeunesse de Wolfgang Amadeus Mozart. En effet, très admirateur des frères Haydn,. ses aînés de vingt ans,Mozart a beaucoup étudié leurs compositions et s'en est inspiré à maintes reprises.
Ses ?uvres comportent plus de huit cents compositions, essentiellement religieuses. Dans ce total distinguons les 150 compositions instrumentales, dont 41 symphonies. C?était un homme timide et réservé qui fuyait les éloges du public, ce qui explique en partie pourquoi il a pu tomber dans l?oubli. Cependant, ses contemporains parlent de lui comme d?un artiste qui, particulièrement pour la musique sacrée, se situe au tout premier rang.
On relèvera notamment son superbe et solennel Requiem de 1771 joué à Salzbourg tandis que parmi le public se trouvaient Mozart père et fils. Il est indubitable que le Requiem de Mozart, composé en 1791, s'inspire par sa texture orchestrale, ses harmonies, ses équilibres architecturaux, aussi bien du Requiem de Michael Haydn créé vingt ans plus tôt que de celui d'Antonio Rosetti (daté de 1776).
WORKS
Michael Haydn never compiled a thematic catalog of his works, nor did he ever supervise the making of one. The earliest catalog was compiled in 1808 by Nikolaus Lang for 'Biographische Skizze'. In 1907 Lothar Perger compiled a catalogue of his orchestral works, the Perger-Verzeichnis, for 'Denkmäler der Tonkunst in Österreich', which is somewhat more reliable than Lang's catalog. Thus, some of Haydn's instrumental works are referred to by Perger numbers. And in 1915 Anton Maria Klafsky undertook a similar work regarding the sacred vocal music. In 1982, Charles H. Sherman, who has edited scores of many Haydn symphonies for Doblinger, published a chronological catalog of Haydn's symphonies, which some recording companies have adopted. Later, in 1991, Sherman joined forces with T. Donley Thomas to publish a chronological catalog of all Haydn's music, which used a single continuous range of numbers, as does Köchel's catalog of Mozart's music. Further important amendments to the Sherman/Thomas catalogue have been made by Dwight Blazin.[9]
The task of cataloguing Haydn's music is simplified by the fact that he almost always put the date of completion on his manuscripts.[10] Guesswork is necessary when the autograph manuscript of a given work did not survive to posterity.
Haydn's sacred choral works are generally regarded as his most important, including the Requiem pro defuncto Archiepiscopo Sigismundo (Requiem for the death of Archbishop Siegmund) in C minor, which greatly influenced the Requiem by Mozart, Missa Hispanica (which he exchanged for his diploma at Stockholm), a Mass in D minor, a Lauda Sion, and a set of graduals, forty-two of which are reprinted in Anton Diabelli's Ecclesiasticon. He was also a prolific composer of secular music, including forty symphonies and partitas, a number of concerti and chamber music including a string quintet in C major which was once thought to have been by his brother Joseph.
There was another case of posthumous mistaken identity involving Michael Haydn: for many years, the piece which is now known as Michael Haydn's Symphony No. 25 was thought to be Mozart's Symphony No. 37 and assigned K. 444. The confusion arose because an autograph was discovered which had the opening movement of the symphony in Mozart's hand, and the rest in somebody else's. It is now thought that Mozart had composed a new slow introduction for reasons unknown, but the rest of the work is known to be by Michael Haydn. The piece, which had been quite widely performed as a Mozart symphony, has been performed considerably less often since this discovery in 1907.
Indeed, several of Michael Haydn's works influenced Mozart. To give just two examples: the Te Deum "which Wolfgang was later to follow very closely in K. 141"[11] and the finale of the Symphony No. 23 which influenced the finale of the G major Quartet, K. 387.
(Retracter) ... (lire la suite)
Source de l'extrait biographique : Wikipedia
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