Mass in Time of War-Haydn was in England in 1795 when he received word from his new Prince Nicolaus II Esterházy that the Esterházy orchestra was to be reformed and Haydn was to serve again as active Capellmeister.Prince Nicolaus II demanded little from his Capellmeister except the usual routine of administration; but Haydn was to compose every year a new Mass for the name day of the Princess Josepha Maria which was celebrated the Sunday afterwards in the Bergkirche at Eisenstadt. It is known that a new Haydn mass was performed before a packed congregation in the Piaristenkirche in Vienna on St. Stephen?s Day (26 December) 1796. The writer of these notes examined when preparingthis edition the music archives of the church and found contemporary parts on the Missa in tempore belli in the church; and it seems certain that this (and not the Heiligmesse) was the work performed on that occasion and thus also the work which Haydn had just finished and performed in Eisenstadt.Urtext from Joseph Haydn WerkeFull score parts (BA4652) vocal score (BA4652-90) and study score format 22.5 x 16.5cm (TP94) available for sale

Mass in Time of War-Haydn was in England in 1795 when he received word from his new Prince Nicolaus II Esterházy that the Esterházy orchestra was to be reformed and Haydn was to serve again as active Capellmeister.Prince Nicolaus II demanded little from his Capellmeister except the usual routine of administration; but Haydn was to compose every year a new Mass for the name day of the Princess Josepha Maria which was celebrated the Sunday afterwards in the Bergkirche at Eisenstadt. It is known that a new Haydn mass was performed before a packed congregation in the Piaristenkirche in Vienna on St. Stephen?s Day (26 December) 1796. The writer of these notes examined when preparingthis edition the music archives of the church and found contemporary parts on the Missa in tempore belli in the church; and it seems certain that this (and not the Heiligmesse) was the work performed on that occasion and thus also the work which Haydn had just finished and performed in Eisenstadt.Urtext from Joseph Haydn WerkeFull score parts (BA4652) vocal score (BA4652-90) and study score format 22.5 x 16.5cm (TP94) available for sale

Haydn's Symphony #26 received its nickname 'Lamentazione? during his lifetime, though it is unclear whether this stems directly from the composer.This work probably originated no later than 1770. Its first and second movements quote excerpts from Gregorian chants used in Holy Week. In Haydn's day it was customary to play individual movements in church services, and it may be assumed that these two movements were performed, and possibly composed, independently from each other.Continuing the collaboration between Bärenreiter and the Henle publishing company in the areas of large-scale choral works, operas and symphonies, Haydn's Symphony #26 is appearing, based on the Henle Complete Edition of the 'Works of Joseph Haydn?. The complete performance material for several of Haydn's 'Sturm und Drang? symphonies and all of the London and Paris symphonies has already been published.- Based on the Henle Complete Edition of the 'Works of Joseph Haydn?- Orchestral parts available in a large format (25.5 x 32.5 cm) / Ensemble A Vent

Haydn’s Concerto for Violoncello and Orchestra in C major (Hob. VIIb:1) was probably composed between 1762 and 1765 when he was already director of music to Prince Esterh zy. It may have been writtenfor the cellist in the court Orchestra Joseph Weigl (1740-1820) for whom Haydn most likely also wrote the solo Cello parts in his early symphonies. Weigl was a member of the Esterh zy ensemble from 1761 to 1769 andthereafter served as a principle cellist in various Viennese ensembles.The concerto was rediscovered by Oldrich Pulkert who in 1961 found an eighteenth-century manuscript copy (Prag National Museum Fonds Radenin) andpublished the concerto in 1962. Previously the existence of this piece was known only through Haydn’s entry in his private list of works (the so-called ‘Entwurf’ [‘draft’] catalogue).The Orchestral setting ismodest: besides the Strings (with a non-obligato Bassoon doubling the Bass part) there are two Oboes and two Horns which are reserved almost exclusively for the tutti passages.This Piano reduction is based on the text givenin the complete edition of Haydn’s works as edited by the Joseph Haydn Institute Cologne (Joseph Haydn Werke Series III Vol.2 with Preface and Critical Report published by G. Henle Verlag Munich 1981). The Cello partin the Piano reduction is identical to that of the complete edition and thus follows the Prague source as closely as possible even in the expression marks and in certain peculiarities of notation.

When Christa Landon presented the first printed version of her edition of Joseph Haydn's Piano sonatas Haydn's sonata oeuvre was still overshadowed by the works of Mozart and Beethoven. Since then Haydn's sonatas have progressed from the teaching rooms to the concert halls and Landon's edition has played a crucial role in that process. Since the Haydn anniversary in 2009 this 'legendary' edition has been thoroughly revised for over the course of more than forty years new sources have come to light. Questions of authenticity have also been resolved not least because the editorial principles for 18th-century music havechanged considerably. The new edition is published in four volumes the content of each volume being compatible with the volumes of the previous edition. Volume 3 of the new edition comprises the 17 sonatas Hob. XVI:21–32 and Hob. XVI:35–39 contained in Vol. 2 of the previous Wiener Urtext edition including popular works for music lessons such as Hob. XVI:27 35 and 37. In the Notes on Interpretation Robert D. Levin explains important aspects of Haydn's performance practice and with the help of numerous examples shows possibilities to embellish the pauses frequently used by Haydn.

When Christa Landon presented the first printed version of her edition of Joseph Haydn's Piano sonatas Haydn's sonata oeuvre was still overshadowed by the works of Mozart and Beethoven. Since then Haydn's sonatas have progressed from the teaching rooms to the concert halls and Landon's edition has played a crucial role in that process. The Haydn anniversary in 2009 is a welcome occasion to thoroughly revise this 'legendary' edition for over the course of more than forty years new sources have come to light and questions of authenticity have been resolved not least because the editorial principles for 18th-centurymusic have changed considerably. The new edition comprises all works of the previous Wiener Urtext edition plus the sonata Hob. XVI:16 edited by Landon along with the Sonata in F major which was rediscovered in Bozen a few years ago and attributed to Joseph Haydn. The new edition is published in four volumes the content of each volume being compatible with the volumes of the previous edition. Volumes 1 and 2 contain the early sonatas. In the Notes on Interpretation Robert D. Levin explains important aspects of Haydn's performance practice.

Mass in Time of War-Haydn was in England in 1795 when he received word from his new Prince Nicolaus II Esterházy that the Esterházy orchestra was to be reformed and Haydn was to serve again as active Capellmeister.Prince Nicolaus II demanded little from his Capellmeister except the usual routine of administration; but Haydn was to compose every year a new Mass for the name day of the Princess Josepha Maria which was celebrated the Sunday afterwards in the Bergkirche at Eisenstadt. It is known that a new Haydn mass was performed before a packed congregation in the Piaristenkirche in Vienna on St. Stephen?s Day (26 December) 1796. The writer of these notes examined when preparingthis edition the music archives of the church and found contemporary parts on the Missa in tempore belli in the church; and it seems certain that this (and not the Heiligmesse) was the work performed on that occasion and thus also the work which Haydn had just finished and performed in Eisenstadt.Urtext from Joseph Haydn WerkeFull score parts (BA4652) vocal score (BA4652-90) and study score format 22.5 x 16.5cm (TP94) available for sale

Mass in Time of War-Haydn was in England in 1795 when he received word from his new Prince Nicolaus II Esterházy that the Esterházy orchestra was to be reformed and Haydn was to serve again as active Capellmeister.Prince Nicolaus II demanded little from his Capellmeister except the usual routine of administration; but Haydn was to compose every year a new Mass for the name day of the Princess Josepha Maria which was celebrated the Sunday afterwards in the Bergkirche at Eisenstadt. It is known that a new Haydn mass was performed before a packed congregation in the Piaristenkirche in Vienna on St. Stephen?s Day (26 December) 1796. The writer of these notes examined when preparingthis edition the music archives of the church and found contemporary parts on the Missa in tempore belli in the church; and it seems certain that this (and not the Heiligmesse) was the work performed on that occasion and thus also the work which Haydn had just finished and performed in Eisenstadt.Urtext from Joseph Haydn WerkeFull score parts (BA4652) vocal score (BA4652-90) and study score format 22.5 x 16.5cm (TP94) available for sale

When Christa Landon presented the first printed version of her edition of Joseph Haydn's Piano sonatas Haydn's sonata oeuvre was still overshadowed by the works of Mozart and Beethoven. Since then Haydn's sonatas have progressed from the teaching rooms to the concert halls and Landon's edition has played a crucial role in that process. The Haydn anniversary in 2009 is a welcome occasion to thoroughly revise this 'legendary' edition for over the course of more than forty years new sources have come to light and questions of authenticity have been resolved not least because the editorial principles for 18th-centurymusic have changed considerably. The new edition comprises all works of the previous Wiener Urtext edition plus the sonata Hob. XVI:16 edited by Landon along with the Sonata in F major which was rediscovered in Bozen a few years ago and attributed to Joseph Haydn. The new edition is published in four volumes the content of each volume being compatible with the volumes of the previous edition. Volumes 1 and 2 contain the early sonatas. In the Notes on Interpretation Robert D. Levin explains important aspects of Haydn's performance practice.

Joseph Haydn
Symphonie en Si bémol majeur Hob. I:98
Robert v. Zahn (Editeur)
Friederike Mühle (Préface)
Les douze «Symphonies londoniennes» forment le sublime accord final de l’œuvre symphonique de Haydn. Elles ont été conçues pour l’imprésario londonien Johann Peter Salomon, et Haydn lui-même en dirigea les créations, lorsqu’il se rendit, en 1791/1792 et 1794/1795, pour quelque temps dans la métropole anglaise. La première audition de la Symphonie en Si bémol majeur n° 98, en 1792, fut couronnée d’un tel succès que les premier et dernier mouvements, allegro, durent même être bissés. Haydn était au pupitre de cette exécution - comme c’était alors l’usage - depuis son clavier, avec lequel il soutenait convenablement l’orchestre. Dans le Finale de cette symphonie, le compositeur se réserva, exceptionnellement, l’occasion d’un petit solo personnel d’accords arpégés, qui ne manqua pas de produire son effet sur le public.
L’Édition d’étude reprend le texte musical de l’Édition intégrale des œuvres de Haydn et garantit ainsi la plus haute qualité scientifique de publication. Une préface informative et un bref commentaire critique font de cette partition maniable l’accompagnateur idéal de tous les fans de Haydn, comme de ceux qui souhaitent le devenir. / Partitions classique / Ensemble et orchestre / Conducteur / HENLE VERLAG

Joseph Haydn
Symphonie en Ut majeur Hob. I:97
Robert v. Zahn (Editeur)
Friederike Mühle (Préface)
Les douze «Symphonies londoniennes» forment le sublime accord final de l’œuvre symphonique de Haydn. Elles ont été conçues pour l’imprésario londonien Johann Peter Salomon, et Haydn lui-même en dirigea les créations, lorsqu’il se rendit, en 1791/1792 et 1794/1795, pour quelque temps dans la métropole anglaise. Dans sa Symphonie en Ut majeur, jouée pour la première fois en mai 1792, Haydn témoigna d’un bel hommage envers l’impresario Salomon, qui était également premier violon solo de l’orchestre: à la fin du Menuet, il nota à son intention un court solo à l’octave aigüe, par lequel Salomon, au sens propre du terme, se «détachait» du reste des cordes.
L’Édition d’étude reprend le texte musical de l’Édition intégrale des œuvres de Haydn et garantit ainsi la plus haute qualité scientifique de publication. Une préface informative et un bref commentaire critique font de cette partition maniable l’accompagnateur idéal de tous les fans de Haydn, comme de ceux qui souhaitent le devenir. / Partitions classique / Ensemble et orchestre / Conducteur / HENLE VERLAG

Mass in Time of War-Haydn was in England in 1795 when he received word from his new Prince Nicolaus II Esterházy that the Esterházy orchestra was to be reformed and Haydn was to serve again as active Capellmeister.Prince Nicolaus II demanded little from his Capellmeister except the usual routine of administration; but Haydn was to compose every year a new Mass for the name day of the Princess Josepha Maria which was celebrated the Sunday afterwards in the Bergkirche at Eisenstadt. It is known that a new Haydn mass was performed before a packed congregation in the Piaristenkirche in Vienna on St. Stephen?s Day (26 December) 1796. The writer of these notes examined when preparingthis edition the music archives of the church and found contemporary parts on the Missa in tempore belli in the church; and it seems certain that this (and not the Heiligmesse) was the work performed on that occasion and thus also the work which Haydn had just finished and performed in Eisenstadt.Urtext from Joseph Haydn WerkeFull score parts (BA4652) vocal score (BA4652-90) and study score format 22.5 x 16.5cm (TP94) available for sale

Based on the Henle Complete Edition of the Works of Joseph Haydn.Orchestral parts available in a large format (25.5 x 32.5 cm).Haydn?s Symphony No.26 received its nickname Lamentazione during his lifetime though it is unclear whether this stems directly from the composer. This work probably originated no later than 1770. Its first and second movements quote excerpts from Gregorian chants used in Holy Week. In Haydn?s day it was customary to play individual movements in church services and it may be assumed that these two movements were performed and possibly composed independently from each other.Continuing thecollaboration between Bärenreiter and the Henle publishing company in the areas of large-scale choral works operas and symphonies Haydn?s Symphony No.26 is appearing based on the Henle Complete Edition of the Works of Joseph Haydn. The complete performance material for several of Haydn?s Sturm und Drang symphonies and all of the London and Paris symphonies has already been published.

Heilig-Messe-Bernard of Offida 1604 1694 was a Capuchin monk whose saintly life and devotion to the sick and poor caused him to be beatified by Pope Pius VI on 19 May 1795. St. Bernard?s name day falls on the 11th of September (a Saturday in 1797) and it is generally thought that Haydn combined doing honour to the Capuchin monk with the production of a new Mass for his patron the day thereafter.Apparently later performances in Eisenstadt added horns to double the trumpets in the tuttis and just as in the previous Mass the clarinet parts were enlarged; it is almost certain that the new clarinet parts are either by Haydn or (shall we say) ?supervised? by him. As inthe Mass in Time of War conductors have the choice of two orchestrations: with or without doubling horns and with or without the supplementary clarinet parts.The Heiligmesse has always been one of Haydn?s most admired works. Its dignity its strength (we draw special attention to the extraordinary ?Gratias? with its brilliant contrapuntal writing) the subdued orchestral grandeur to which the B-flat trumpets contribute a silvery but unmartial weight all these have made it one of Haydn?s most serious and most deeply sensitive church works: its constant popularity in Viennese churches is quite deserved.Urtext from Joseph Haydn WerkeFull score (together with Missa Cellensis [Mariazellermesse] Hob.XXII:8; Missa brevis Sti Joannis de Deo [Little Organ Mass] Hob.XXII:7; Missa in Tempore Belli [Mass in Time of War] Hob.XXII:9) available for saleParts (BA4651) and vocal score (BA4651-90) available for sale

Heilig-Messe-Bernard of Offida 1604 1694 was a Capuchin monk whose saintly life and devotion to the sick and poor caused him to be beatified by Pope Pius VI on 19 May 1795. St. Bernard?s name day falls on the 11th of September (a Saturday in 1797) and it is generally thought that Haydn combined doing honour to the Capuchin monk with the production of a new Mass for his patron the day thereafter.Apparently later performances in Eisenstadt added horns to double the trumpets in the tuttis and just as in the previous Mass the clarinet parts were enlarged; it is almost certain that the new clarinet parts are either by Haydn or (shall we say) ?supervised? by him. As inthe Mass in Time of War conductors have the choice of two orchestrations: with or without doubling horns and with or without the supplementary clarinet parts.The Heiligmesse has always been one of Haydn?s most admired works. Its dignity its strength (we draw special attention to the extraordinary ?Gratias? with its brilliant contrapuntal writing) the subdued orchestral grandeur to which the B-flat trumpets contribute a silvery but unmartial weight all these have made it one of Haydn?s most serious and most deeply sensitive church works: its constant popularity in Viennese churches is quite deserved.Urtext from Joseph Haydn WerkeFull score (together with Missa Cellensis [Mariazellermesse] Hob.XXII:8; Missa brevis Sti Joannis de Deo [Little Organ Mass] Hob.XXII:7; Missa in Tempore Belli [Mass in Time of War] Hob.XXII:9) available for saleParts (BA4651) and vocal score (BA4651-90) available for sale