Haydn reports offers with many new points of a composer who's perennially clean. It concentrates largely on concerns of reception, sort and aesthetics and provides many radical new readings of the composer's paintings. Contributions by way of either validated Haydn students and others who're new to the sphere mix to provide a better feel than is mostly understood of the composer's sizeable value.
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Additional info for Haydn Studies (Cambridge Composer Studies)
As the nineteenth century evolved, it took its cue from Herder’s perception that the indeterminate and darker nature of music deprived it of its immediate function as a symbolic system of morality. For the Romantics, the boundlessness of music was connected to a non-rational act of imagination conceived as the subjective transformation of experience; they posited an ontology and ultimately a cultural conception of music radically diﬀerent from the assumptions under which Haydn worked. The underlying culture now rejected the idea of music as a complete philosophical system; and so the genuine pleasure aﬀorded by the philosophical contemplation of music, at which Haydn excelled, became a lost habit.
172 and 181. , Haydn-Zentenarfeier. Bericht III. Kongress der Internationalen Musikgesellschaft Wien 25–29 Mai (Vienna: Artaria, 1909), pp. 41, 45, 52–3. This view is strikingly reminiscent of Joachim’s letter to his nephew Harold in 1898, in which he remarked, in response to Henry Hadow’s view of Haydn, that he ‘lifts the material into a higher sphere and has the German gift to assimilate so that it becomes a universal, ideal thought, intelligible to all nations’. To Joachim’s credit, he argued that the slow movements of Haydn were equal in their depth and religiosity to those of Bach and Beethoven, but in making this claim he knew that his view was distinctly a minority one.
Yet Haydn’s eﬀorts at tone-painting and the profound philosophical content of many of his instrumental works produced no resonance. Richard Strauss had only a marginal interest in Haydn, though Mozart always rivalled Wagner as a source of inspiration for him. And even a Haydn defender such as Leopold Schmidt, the Berlin critic and enthusiastic Straussian, unconsciously ended up reinforcing the picture of Haydn’s music as somehow sterile and distant. In his highly successful popular 1898 Haydn biography, Schmidt argued that Haydn should properly be seen more as a ‘youthful revolutionary’ than as ‘an old man in a wig’.