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    Haydn C Major Additional Notes

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    snowfxz
    1) Haydn wrote several symphonies with great cello solos, presumably for his friend and gifted cellist Wiegl to perform. 2) For a long time, the Cello Concerto in D Major was thought to be composed by Kraft, not Haydn. However, the original manuscript was discovered in 1951 and determined to be in Haydn's handwriting. While Kraft may have collaborated, the cello part was tailored to his skills and included techniques Haydn likely needed assistance with. 3) In 1890, Gevaert revised the concerto, enlarging the orchestra. However, his version is no longer performed today.

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    Haydn C Major Additional Notes

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    snowfxz
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    1) Haydn wrote several symphonies with great cello solos, presumably for his friend and gifted cellist Wiegl to perform. 2) For a long time, the Cello Concerto in D Major was thought to be composed by Kraft, not Haydn. However, the original manuscript was discovered in 1951 and determined to be in Haydn's handwriting. While Kraft may have collaborated, the cello part was tailored to his skills and included techniques Haydn likely needed assistance with. 3) In 1890, Gevaert revised the concerto, enlarging the orchestra. However, his version is no longer performed today.

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    Haydn C major additional notes

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    1) Haydn wrote several symphonies with great cello solos, presumably for his friend and gifted cellist Wiegl to perform. 2) For a long time, the Cello Concerto in D Major was thought to be composed by Kraft, not Haydn. However, the original manuscript was discovered in 1951 and determined to be in Haydn's handwriting. While Kraft may have collaborated, the cello part was tailored to his skills and included techniques Haydn likely needed assistance with. 3) In 1890, Gevaert revised the concerto, enlarging the orchestra. However, his version is no longer performed today.

    Copyright:

    © All Rights Reserved
    Download as DOCX, PDF, TXT or read online from Scribd
    Download as docx, pdf, or txt
    52 views1 page

    Haydn C Major Additional Notes

    Uploaded by

    snowfxz
    1) Haydn wrote several symphonies with great cello solos, presumably for his friend and gifted cellist Wiegl to perform. 2) For a long time, the Cello Concerto in D Major was thought to be composed by Kraft, not Haydn. However, the original manuscript was discovered in 1951 and determined to be in Haydn's handwriting. While Kraft may have collaborated, the cello part was tailored to his skills and included techniques Haydn likely needed assistance with. 3) In 1890, Gevaert revised the concerto, enlarging the orchestra. However, his version is no longer performed today.

    Copyright:

    © All Rights Reserved
    Download as DOCX, PDF, TXT or read online from Scribd
    Download as docx, pdf, or txt
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    Haydn C major additional notes

    1) Haydn wrote the C major for Wiegl, who is a dear friend and extremely gifted cellist. Symphony
    No.6 – 8 has great number of cello solos presumably also for the pleasure of Wiegl.

    2) For a long time it was thought that Kraft, not Haydn, was the composer of the Cello Concerto in
    D Major of 1783. The confusion began in 1837, when Gustav Schilling attributed the work to
    Kraft in his Lexikon der Tonkunst. By this time, the original manuscript was lost, so no one could
    be certain whether it was the work of Haydn or of Kraft. It was not until 1951 that the original
    autograph was found in the vaults of Vienna’s Austrian National Library. Scholars determined
    that the handwriting on the cover page is Haydn’s own. Although it is now certain that this
    concerto is Haydn’s work, “it is still not known [ . . . ] the extent to which Kraft collaborated with
    Haydn” (Carrington 2003, 164). “The cello part was certainly ‘tailor-made’ for Kraft.” It includes
    extended techniques and specialized markings not found in the earlier Concerto in C. For
    example, m. 175 of the first movement is marked “Flautino,” indicating natural harmonics on the
    extremely high end of the cello range (Example 1). It seems unlikely that Haydn, who was not a
    cellist, would have knowledge of these harmonics without the assistance of someone who knew
    the cello intimately (Robbins Landon 1978, 570). Other notation markings are “sul G” in m. 50
    of movement I and “sul D” in m. 153 of the same movement, indicating which string should be
    used for a certain passage. Playing these notes in a higher position on a lower string, as indicated,
    lends a richer, darker texture to the sound. This difference in sound quality is particularly notable
    at m. 153 (Example 2). After a long, high passage on the A string, “sul D” insists that the next
    section be played on a lower string (D) instead of on A, creating a striking contrast. Whether or
    not Haydn worked with his pupil Anton Kraft on the composition of the Concerto in D, it is clear
    that one of this piece’s goals is “to display the talents, tone, and musicianship of the soloist”
    (Robbins Landon 1978, 570).

    3) In 1890, the Belgian musicologist, François Auguste Gevaert, revised the concerto. His new
    version, published by Breitkopf and Haertel, included, among other liberal revisions, an enlarged
    orchestra. Today the Gevaert’s version is not played anymore.

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