Grove Music Online

Haydn, (Franz) Joseph

Georg Feder and James Webster

https://doi.org/10.1093/gmo/9781561592630.article.44593
Published in print: 20 January 2001
Published online: 2001

(b Rohrau, Lower Austria, March 31, 1732; d Vienna, May 31, 1809).
Austrian composer, brother of Michael Haydn. Neither he nor his
contemporaries used the name Franz, and there is no reason to do
so today. He began his career in the traditional patronage system of
the late Austrian Baroque, and ended as a ‘free’ artist within the
burgeoning Romanticism of the early 19th century. Famous as early
as the mid-1760s, by the 1780s he had become the most celebrated
composer of his time, and from the 1790s until his death was a
culture-hero throughout Europe. Since the early 19th century he has
been venerated as the first of the three ‘Viennese Classics’ (Haydn,
Mozart, Beethoven). He excelled in every musical genre; during the
first half of his career his vocal works were as famous as his
instrumental ones, although after his death the reception of his
music focussed on the latter (except for The Creation). He is
familiarly known as the ‘father of the symphony’ and could with
greater justice be thus regarded for the string quartet; no other
composer approaches his combination of productivity, quality and
historical importance in these genres. In the 20th century he was
understood primarily as an ‘absolute’ musician (exhibiting wit,
originality of form, motivic saturation and a ‘modernist’ tendency to
problematize music rather than merely to compose it), but
earnestness, depth of feeling and referential tendencies are equally
important to his art.

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 J. Haydn

Private Collection, The Bridgeman Art Library International

1. Background, childhood, choirboy, 1732–

c1749.
James Webster

Documentary information on Haydn’s life and musical activity before

his employ by the Esterházy court in 1761 is scanty. The primary
sources comprise an autobiographical letter of 1776 and brief
biographies published just after his death by (in order of general
reliability) Georg August Griesinger, Albert Christoph Dies, Giuseppe
Carpani and Nicolas Etienne Framery, supplemented by parish
registers, musical archives, dated autographs and the like. Haydn
was born into a family of primarily south German stock, albeit in an
area of considerable ethnic diversity in which Croats and

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 Hungarians were also prominent. His immediate ancestors were not
peasants (as legend has it), but artisans and tradespeople. His
grandfather and his father, Mathias (1699–1763), were master
wheelwrights; Mathias also functioned as Marktrichter (magistrate)
of the ‘market village’ (as Haydn called it) Rohrau, near Bruck an
der Leitha. Rohrau was a possession of Count Karl Anton Harrach
(1692–1758); his grandson Karl Leonhard (1765–1831) erected a
monument to Haydn in the castle garden in 1793. Haydn’s mother,
Anna Maria Koller (1707–54), had before her marriage in 1728 been
a cook at the Harrach castle.

Mathias Haydn was ‘a great lover of music by nature’ (this phrase in

Haydn’s laconic account is ordinarily taken as applying to Harrach,
but it must be his father who was meant), who ‘played the harp
without reading a note of music’; his mother sang the melodies.
Indeed all three of their surviving male children became professional
musicians, two of them famous composers. (The third, Johann
Evangelist, 1743–1805, was a tenor in a church choir and later at the
Esterházy court.) Dies says of Haydn’s father that ‘all the children
had to join in his concerts, to learn the songs, and to develop their
singing voice’, adding that he also organized concerts among the
neighbours.

Haydn’s talent became evident early on. ‘As a boy of five I sang all
[my father’s] simple easy pieces correctly’; according to Griesinger
he still remembered these melodies in old age. ‘Almighty God …
granted me so much facility, especially in music, that when I was
only six I boldly sang masses down from the choirloft, and could also
get around on the harpsichord and violin.’ In 1737 or 1738 Johann
Mathias Franck, a cousin of Mathias Haydn’s by marriage and a
school principal in the nearby town of Hainburg (Mathias’s
birthplace), heard Haydn sing in the family circle; Griesinger and
Dies also have him pretending to be playing a violin by scraping a
stick against his arm. Franck was so impressed by Haydn’s voice and
musical accuracy that he suggested that he come to live with him,
‘so that there I could learn the rudiments of music along with other
juvenile necessities’. It being clear that his abilities could not be
developed in Rohrau, his parents agreed, whether in the hope that
he might amount to something as a musician or the belief that
musical and educational accomplishments might be useful in what
they (especially his mother) imagined as his true calling, that of a
priest.

Franck was not only a school principal but the choir director of a
Hainburg church; presumably he oversaw Haydn’s education
personally. The latter was scarcely an autodidact, as myth used to
have it. Griesinger writes:

He received instruction in reading and writing, in the

catechism, in singing, and on almost all the string and wind
instruments, and even on the timpani: ‘I will be grateful to
this man even in the grave’, Haydn often said, ‘that he
taught me so much, even though in the process I received
more beatings than food’.

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 Such exaggerations aside, he doubtless made rapid progress; his
account of mass singing and harpsichord and violin studies ‘in my
sixth year’ implies that these took place in Hainburg. As Griesinger
says, his schooling was not musical alone; this was also the case
when he was a choirboy in Vienna, where his non-musical studies,
though ‘scanty’, included Latin, religion, arithmetic and writing.

In 1739 or 1740 (‘in my 7th year’; Griesinger and Dies: in his eighth
year) Haydn was recruited to serve as choirboy at the Stephansdom
in Vienna: ‘Kapellmeister Reutter, on a trip through Hainburg, heard
my thin but pleasant voice from a distance, and at once accepted me
into the Capell Hauss’ (choir school). Georg Reutter the younger,
Kapellmeister at the Stephansdom since 1738 (later
Hofkapellmeister), was travelling through the provinces in search of
new talent; in Hainburg the parish priest, an old friend, suggested
that Haydn might be a suitable candidate. According to several
accounts Haydn did not know how to trill but, after Reutter
demonstrated, triumphantly got it right on his third attempt, thus
sealing his acceptance. For the next ten years, ‘I sang soprano both
at St Stephan’s and at court to great applause’. At the choir school,
‘I was taught the art of singing, the harpsichord and the violin by
very good masters’; in singing these included Adam Gegenbauer and
the tenor Ignaz Finsterbusch (both d 1753). To be sure, there was
apparently little formal training in theory or composition, although
the singing included solfeggio and the harpsichord instruction
probably entailed figured bass. But in their enthusiasm for the
notion that Haydn’s development amounted to ‘making something
out of nothing’ (Dies, allegedly quoting Haydn), most accounts again
exaggerate this supposed lack of instruction. ‘Haydn recalled having
had only two lessons [in theory] from the worthy Reutter’, writes
Griesinger, but if he could recall two, he might have had more. In
any case, ‘Reutter encouraged him to make whatever variations he
liked on the motets and Salves that he had to sing in church, and this
discipline soon led him to ideas of his own, which Reutter corrected’;
this scarcely implies outright neglect.

It was surely not on Haydn’s own that ‘he also came to know
Mattheson’s Der vollkommene Capellmeister (1739) and Fux’s
Gradus ad Parnassum (1725). With tireless exertion Haydn sought to
understand Fux’s theory; he worked his way through the entire
treatise’. However, although both Griesinger and Dies mention Fux
in the context of the choir school, Haydn’s study of him would more
plausibly have taken place during the 1750s. In any case, his copy of
Gradus is heavily annotated (in Latin); he made it the basis of his
own teaching of composition, as did Mozart. Another activity
entrusted to competent older choirboys was the instruction of their
younger colleagues in musical fundamentals; among those whom
Haydn taught was his brother Michael, who joined him there about
1745. Most important, for ten full years, at a highly impressionable
age, Haydn rehearsed and sang in performances of the greatest art-
music then being produced in Catholic Europe, amid the pomp and
splendour of the cathedral and court of an imperial capital. This
experience will have fundamentally shaped his musical intellect even
without formal training in composition.

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 But this life could not last; his voice broke. A characteristic anecdote
adds insult to injury by relating that after one performance Maria
Theresa said that he sang ‘like a crow’, while rewarding Michael for
his beautiful singing. Griesinger states that Reutter had earlier
suggested that Haydn might become a castrato, but his father
refused permission (although this seems potentially inconsistent
with his parents’ original hope that he become a priest). Be this as it
may, soon after his voice broke he was dismissed from the choir
school. Haydn wrote that he remained there ‘until into my 18th
year’ (i.e. April 1749 to March 1750); Griesinger’s estimate, ‘in his
sixteenth year’, is generally thought to be too early. Carl Ferdinand
Pohl, who had access to many documents now lost but gives no
source in this instance, writes: ‘We find Haydn on the street; it was a
damp November evening in 1749’. Pathos aside (the date and
atmosphere derive from Framery), the date is consistent with
Haydn’s statement.

2. Vienna, c1750–61.
James Webster

Haydn’s account of his freelance 1750s narrates a classic ‘rags to

riches’ story:

When my voice finally broke, for eight whole years I was

forced to eke out a wretched existence by teaching young
people. Many geniuses are ruined by this miserable [need to
earn their] daily bread, because they lack time to study. This
could well have happened to me; I would never have
achieved what little I have done, had I not carried on with
my zeal for composition during the night. I composed
diligently, but not quite correctly, until I finally had the good
fortune to learn the true fundamentals of composition from
the famous Porpora (who was in Vienna at the time). Finally,
owing to a recommendation from the late [Baron] von
Fürnberg (who was especially generous to me), I was
appointed as director with Count Morzin, and from there as
Kapellmeister with his highness Prince [Esterházy].

This period comprises three stages, of which the first two overlap
without clear division. (1) During the ‘lean years’, about 1749 to the
mid-1750s, Haydn was a freelance musician, teacher and budding
composer. Even then, however, he was reaping professional and
social advantage from contact with figures such as Porpora and
Metastasio. (2) Beginning around 1753, and increasingly after 1755,
his compositional activity expanded, as his reputation and access to
patronage grew. (3) His first regular appointment, as director of
music for Count Morzin, began probably in 1757 and lasted until
winter 1760–61 or spring 1761.

Haydn’s first lodgings (according to Framery) were offered by

Johann Michael Spangler, a tenor (later regens chori) at the
Michaelerkirche, in a garret with Spangler’s wife and infant son (b

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 February 1749). This situation obviously could be no more than
temporary, especially as Spangler’s wife was soon pregnant with
their second child, Maddelena (b 4 September 1750); these
birthdates are consistent with Haydn’s having moved there in
November 1749 and with Framery’s account. (In 1768 Haydn
engaged Maddelena Spangler as a soprano at the Esterházy court,
where among other roles she created Vespina in L’infedeltà delusa
and Rezia in L’incontro improvviso; she was also the first Sara in Il
ritorno di Tobia.) Another good deed was done him by Johann
Wilhelm Buchholz, a lacemaker, whose granddaughter was
remembered in Haydn’s will ‘because her grandfather lent me 150
gulden without interest in my youth and great need’; the amount was
close to a year’s salary for an ordinary musician at a minor court. It
was perhaps in the following spring (1750) that he journeyed to the
huge Benedictine pilgrimage church in Mariazell (Styria). Griesinger
relates that he took with him ‘several motets which he had
composed and asked the regens chori there for permission to put out
the parts in the church and sing them’, and continues with an
anecdote according to which Haydn the next day got his way by
trickery. If ‘motet’ means a liturgical work other than a mass, it can
only have been his first Lauda Sion hymns, HXXIIIc:5; another
possibility is the Missa brevis in F. In any case this pilgrimage was
important to Haydn; later he composed both the Missa Cellensis and
the ‘Mariazellermesse’ with Mariazell in mind.

According to Pohl, it was in the spring or summer of 1750 that

Haydn occupied his most frequently described early lodgings: a
‘miserable little garret without a stove’ (Griesinger) in the so-called
Michaelerhaus, attached to the Michaelerkirche. At this time ‘his
entire life was devoted to giving lessons, the study of his art, and
performing. He played in serenades and in orchestras for pay, and
devoted himself diligently to composition, for “when I sat at my old,
worm-eaten clavier, I envied no king his good fortune”’. Here
occurred the first of many strokes of luck through which, in addition
to his genius and unremitting labour, he gradually improved his
professional lot. Griesinger writes:

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 In the same house … lived as well the famous poet
Metastasio. He was raising one Fräulein Martinez; Haydn
was engaged to give her lessons in singing and on the
clavier, in return for which he received free board for three
years. At Metastasio’s he also made the acquaintance of the
aging Kapellmeister Porpora. Porpora was teaching singing
to the mistress of the Venetian ambassador, Correr;
however, because he was too proper and too fond of his
ease to accompany at the piano himself, he delegated this
task to our Giuseppe. ‘There was no lack of Ass, Blockhead,
Rascal and pokes in the ribs, but I willingly put up with it
all, for I profited immensely from Porpora in singing,
composition and Italian.’ In the summer Correr travelled
with the lady to the popular bathing resort Mannersdorf …;
Porpora went as well … and took Haydn with him. For three
months Haydn served there as Porpora’s valet; he ate at
Correr’s officers’ table, and was paid six ducats [c25
gulden] a month. From time to time he was required to
accompany Porpora on the clavier at one Prince von
Hildburghausen’s, in the presence of Gluck, Wagenseil and
other famous masters; the approval of these connoisseurs
was especially encouraging to him.

Access to such personages – whose overlapping relations were as

much social as artistic – was essential for an aspiring young
musician. ‘Fräulein Martinez’ was the composer and singer
Marianne von Martínez. At the court of Joseph Friedrich, Prince of
Sachsen-Hildburghausen (1702–87), Haydn could also have
encountered Dittersdorf (whom he certainly knew by the mid-1750s)
and Giuseppe Bonno, later Hofkapellmeister.

All these events took place during the first half of the 1750s.
Haydn’s instruction of Martínez began in 1751 or 1752; presumably
his three years with Metastasio were from 1751 to 1754. Porpora
arrived in Vienna from Dresden in late 1752 or early 1753; Haydn
might well have met him in March 1753, when Metastasio was
considering him as composer of his new opera L’isola disabitata
(which in the event he assigned to Bonno; Haydn himself set this
libretto in 1779). Given the mastery of Haydn’s music by 1755–6,
1753 or 1754 are the latest plausible dates for his having ‘learnt the
true fundamentals of composition’ from Porpora, whose expert
knowledge of singing and Italian – ‘singing’ in this context implies
Italian opera and oratorio – was also of great importance; Haydn
became fluent in Italian and the italianate singing style. In addition,
it may well have been at Porpora’s instigation that he systematically
worked through Fux’s Gradus ad Parnassum (the only work
mentioned by any source that offers ‘true fundamentals’). Another
important musical encounter was Haydn’s discovery of Carl Philipp
Emanuel Bach, but this is unlikely to have taken place as early as
about 1750, as the biographers claim. Dies portrays Haydn asking
for ‘a good theoretical textbook’; this can refer only to the second
volume of Bach’s Versuch über die wahre Art das Clavier zu spielen.
However, it appeared far too late (1762) to serve the function Dies
attributes to it; even Bach’s first volume (1753) was apparently not

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 sold in Vienna until the 1760s. Moreover, unlike Fux or Mattheson,
neither volume figures in Haydn’s library catalogue (1804) or his
estate. Indeed Griesinger speaks more plausibly of compositions:

About this time [his move to the Michaelerhaus] Haydn

came upon the first six sonatas of Emanuel Bach; ‘I did not
leave my clavier until I had played them through, and
whoever knows me thoroughly must discover that I owe a
great deal to Emanuel Bach, that I understood him and
studied him with diligence. Emanuel Bach once paid me a
compliment on that score himself’.

Although it is unclear which of Bach’s sonatas Griesinger meant by

‘the first six’, there is no doubt of his influence on Haydn as a
composer. Again, however, Haydn’s style does not reflect that
influence until the 1760s.

An important early personal contact was with Joseph Felix von Kurz,
a well-known comic actor (under the stage-name Bernardon) and
minor impresario active at the Kärntnertortheater, for whom Haydn
supplied music to Der krumme Teufel, a comedy of the Hanswurst
type. It was apparently given its première in the 1751–2 season and
revived in May 1753, with considerable success. Neither libretto nor
music of this, his earliest stage work, survives; a libretto does
survive for a later version of 1759, often called Der neue krumme
Teufel, but, again, there is no music. It has been speculated that
many anonymous numbers in contemporary Viennese collections of
theatrical songs stem from this work or others that Haydn might
have composed, although documentation is lacking.

Haydn’s lot improved substantially in the mid-1750s, as Griesinger

describes:

At first Haydn received only two gulden a month for giving

lessons, but gradually the price rose to five gulden, so that
he was able to look about for more suitable quarters. While
he was living in the Seilerstätte, all his few possessions
were stolen … Haydn soon saw his loss made good by the
generosity of good friends … [he] recovered through a stay
of two months with Baron Fürnberg, which cost him
nothing.

A 150% increase in fees implies a rise not only in Haydn’s economic

status but his professional reputation – and therefore increased
access to patronage. The most important figure was Baron Carl
Joseph Fürnberg (1720–67), who employed him as music master to
his children (he lived near the Seilerstätte), commissioned his first
string quartets and eventually recommended him to Morzin.
Important as well was the elder Countess Maria Christine Thun, who
(according to Framery) took singing and keyboard lessons from
Haydn.

His freelance activities continued apace. Griesinger writes:

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 In this period Haydn was also leader of the orchestra in the
convent of the Barmherzige Brüder … at 60 gulden a year.
Here he had to be in the church at eight o’clock in the
morning on Sundays and feast days, at ten o’clock he played
the organ in what was then the chapel of Count Haugwitz,
and at eleven o’clock he sang at St Stephan’s. He was paid
17 kreutzer for each service. In the evenings Haydn often
went ‘gassatim’ with his musical comrades, when one of his
compositions was usually performed, and he recalled having
composed a quintet [possibly HII:2] for that purpose in
1753.

(Both Griesinger and Dies supply the obligatory comic anecdotes

involving Haydn and Dittersdorf.) Griesinger’s account conflates
several church jobs: from 1754 to 1756 Haydn performed as a singer
in the Hofkapelle during Lent (1 gulden per service, not 17 kreuzer),
and in 1755 and 1756 as an orchestral violinist for balls during
carnival (4 gulden per evening). In the Hofkapelle he sang both
concerted and a cappella works, including Palestrina’s Stabat mater
and the Allegri Miserere. His Sunday job at Count Haugwitz’s newly
consecrated chapel near the Piaristenkirche began in mid-1759; he
was responsible for the entire concerted music. According to an
account by a Prussian prisoner of war, he participated in chamber-
music parties arranged by Count Harrach at Rohrau. Of Haydn’s
many students during these years, Martínez has already been
mentioned; another of more than marginal importance was Robert
Kimmerling, later regens chori at Melk.

Although a sizable number of Haydn’s works originated during the

1750s, documented dates are few. Both the very early Missa brevis
in F and the first Lauda Sion exhibit technical faults, implying that
he composed them before learning the ‘true fundamentals’ (i.e.
before c1753–4); such faults are found in no other surviving genuine
works. Griesinger writes: ‘In addition to performing and teaching,
Haydn was indefatigable in composing. Many of his easy clavier
sonatas, trios and so on belong to this period, and he generally took
into consideration the needs and capacities of his pupils’. Numerous
tiny keyboard sonatas and ‘concertinos’ indeed survive, although
some authorities argue that the smallest sonatas are not necessarily
the earliest or least accomplished, and the concertinos appear to
date from about 1760; possibly some keyboard trios antedate 1755
as well, although none is so short or simple. In any case Haydn’s
compositional activity increased exponentially in the mid-1750s. The
quintet-divertimento HII:2 survives in a later source dated 1754, and
many of his ensemble divertimentos probably date from before 1761.
Of the ten or so pre-1780 keyboard trios and the 21 or so string
trios, the earliest also may date from the mid-1750s, although others
are from the early 1760s. Late in life Haydn dated the autographs of
the Organ Concerto in C (HXVIII:1) and the Salve regina in E
(HXXIIIb:1) ‘1756’.

The precise dates of the final two stages of Haydn’s early ‘progress’
– Fürnberg and Morzin – also remain uncertain. Griesinger writes:

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 The following, purely coincidental circumstance led him to
try his hand at the composition of quartets. A certain Baron
Fürnberg had an estate in Weinzierl, several stages from
Vienna; from time to time he invited his parish priest, his
estate manager, and Albrechtsberger (a brother of the well-
known contrapuntist) in order to have a little music.
Fürnberg asked Haydn to compose something that could be
played by these four friends of the art. Haydn, who was
then 18, accepted the proposal, and so originated his first
quartet [incipit of HIII:1], which, immediately upon its
appearance, received such uncommon applause as to
encourage him to continue in this genre.

Griesinger’s statement that Haydn composed his first quartet at 18,

although roughly supported by Dies and Carpani, is far too early. All
the circumstantial details, as well as the sheer mastery of Haydn’s
early quartets, suggest rather the Seilerstätte period, i.e. about
1755–7. Whether HIII:1 was actually Haydn’s first quartet, or
whether he (or Griesinger) named it simply because it occupied first
position in Pleyel’s famous edition (1801) and therefore in his own
thematic catalogue, cannot be determined. In any case Haydn had
not yet adopted the ‘opus’ format; there are, simply, ten early
quartets, of which HIII:1–4, 6 (op.1 nos.1–4, 6) and HII:6 (‘op.0’) are
probably the earliest, HIII:10, 12 (op.2 nos.4, 6) perhaps in the
middle, and HIII:7–8 (op.2 nos.1–2) probably the latest, perhaps even
1759–60.

Regarding Haydn’s employ by Count Karl Joseph Franz Morzin

(1717–83), Griesinger states:

In the year 1759 Haydn was engaged as music director to

Count Morzin in Vienna at a salary of 200 gulden, free
lodging and board at the officers’ table. Here he was finally
able to enjoy the happiness of a carefree existence; he was
quite contented. The winters were spent in Vienna, the
summers in Bohemia [at Dolní Lukavice, usually referred to
as Lukavec]…. As music director in the service of Count
Morzin Haydn composed his first symphony [incipit of no.1].

Although Dies agrees regarding the date (‘about 27’), Haydn’s

earliest symphony cannot be as late as 1759: a manuscript source
for no.37 is dated 1758 (Carpani’s date), implying a date of
composition in that year or, more likely, at least a year earlier.
Moreover, Haydn himself in old age organized a list of his
symphonies according to ten-year periods: 1757–67, 1767–77 etc.;
‘1757’ is so precise that he must have believed that it was the actual
year of his first symphony – or, perhaps, of his appointment with
Morzin. (The list also appears to confirm Griesinger’s identification
of the symphony we know as ‘no.1’ as the earliest.) Finally, if one
accepts 1749 as the date of Haydn’s dismissal from the
Stephansdom and takes literally his ‘eight whole years’ of ‘wretched
existence’, 1757 is implied as end-point; but the most likely marker
of the latter, again, was his appointment with Morzin. Be all this as it
may, the free-spending Count Morzin soon had to dissolve his little

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 musical establishment. Although the early biographers again
disagree as to the date, Haydn’s marriage certificate (26 November
1760) refers to him as ‘Music Director with Count v. Morzin’, so he
probably moved from Morzin to Esterházy without meaningful
interruption. Haydn’s compositions during the Morzin years include
about 15 symphonies; keyboard sonatas (including HXVI:6, probably
not later than 1760), trios, divertimentos (including HXIV:11, 1760)
and concertos; string trios; partitas for wind band (including HII:15,
1760) and possibly the quartets op.2 nos.1–2.

On 26 November 1760 Haydn was married to Maria Anna Aloysia

Apollonia Keller (bap. 9 Feb 1729; d 20 March 1800); the marriage
contract, in which he pledged 1000 gulden as a matching sum to her
dowry (a common custom), is dated 9 November. The bride was the
daughter of the wigmaker Johann Peter Keller, who is said variously
to have assisted him in his years of poverty or employed him as a
music teacher. The early biographers relate that in the mid-1750s
Haydn had fallen in love with her younger sister Therese (b 1733),
who however was compelled by her devout parents to enter a
nunnery in 1755, taking her formal vows in 1756. It has been
speculated that he composed the Salve regina in E and perhaps the
Organ Concerto in C on the latter occasion. Whether (the
speculation continues) out of continuing gratitude to the Kellers or
owing to a psychological displacement of his own affections, he
married the elder sister four years later. The marriage was an
unhappy one (we have only his side of the story) and led to
infidelities on both sides; as he said to Griesinger (somewhat
illogically): ‘My wife was incapable of bearing children, and thus I
was less indifferent to the charms of other women’.

3. Esterházy court, 1761–90.

James Webster

With Haydn’s move to the Esterházy court, evidence regarding his

activities increases a hundredfold. However, its scope is uneven:
although the archives are informative regarding theatrical activities,
entertainments for noble visitors, personnel, payments for services,
petitions etc., they tell us little about day-to-day musical activities,
especially in the realm of instrumental music. Many documents and
musical sources were destroyed in a fire at Eszterháza castle in
1779, and little correspondence of Haydn’s survives until the
upswing in his commercial activity beginning in 1780.

(i) Vice-Kapellmeister, 1761–5.

The Esterházy family, the richest and most influential among the
Hungarian nobility, had long been important patrons of culture and
the arts; Prince Paul Anton was a music lover and capable performer.
Haydn’s predecessor as Kapellmeister, Gregor Joseph Werner, had
been appointed in 1728; he was a solid professional who composed
church music in the first instance, but also symphonies, trio sonatas

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 and other instrumental works including an entertaining ‘Musical
Calendar’ (1748); in 1804 Haydn honoured his predecessor by
publishing six introductions and fugues from his oratorios, arranged
for string quartet. Paul, who from 1750 to 1752 was ambassador in
Naples and travelled widely elsewhere, collected a large quantity of
vocal and instrumental music (he had a catalogue made during the
period 1759–62; it lists one symphony by Haydn, acquired in 1760).
By about 1760 Werner was becoming infirm and his musical
orientation increasingly conservative; Paul set about modernizing
and enlarging the establishment, appointing several new musicians
before recruiting Haydn and others in 1761.

Haydn’s appointment was in the first instance as vice-Kapellmeister;

the first and last clauses of his contract address this somewhat
delicate situation, while illustrating the Esterházys’ concern for the
welfare of valued employees:

… Whereas
mo
1  a Kapellmeister at Eisenstadt named Gregorius
Werner has devoted many years of true and faithful service
to the princely house, but now, on account of his great age
and the resulting infirmities … is not always capable of
performing his duties, therefore said Gregorius Werner, in
consideration of his long service, shall continue to serve, as
Ober-Kapellmeister. On the other hand the said Joseph
Haydn, as vice-Kapellmeister, shall be subordinate to … said
Gregorio Werner, quà Ober-Kapellmeister, in regard to the
choral music [Chor-Musique] in Eisenstadt; but in all other
circumstances where any sort of music is to be made,
everything pertaining to the music, in general and in
particular, is the responsibility of said vice-Kapellmeister.
mo
14  His Highness not only undertakes to retain the said
Joseph Haydn in service during this period [three years,
renewable], but, should he provide complete satisfaction, he
shall also have expectations of the position of
Oberkapellmeister.

Although the contract is dated 1 May 1761, Haydn may have begun
working for the court earlier that year. Griesinger states that he
began on 19 March 1760; this cannot be correct, unless it was an
error for 1761 (Dies also names 1760), and the specific date ‘19’ is
suspect (the surviving contracts begin on the first of the month). But
the Prince was in Vienna in March 1761 (music was performed at
the Esterházy palace several times that month); indeed he may have
remained there much of the time until his death in March 1762.
Moreover, the contracts with several musicians appointed 1 April
1761 include a clause requiring them to obey not only the
Kapellmeister but the vice-Kapellmeister, but the latter position did
not exist until Haydn’s appointment. Hence he may well have
selected most or all of the musicians hired from April on, and so
helped to shape the newly constituted orchestra himself.

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 Haydn’s contract, once thought to be demeaning, is now understood
as a standard document of its type; its terms were favourable to a
young man of 29 with only one previous position to his credit. He
was no servant, but a professional employee or ‘house officer’; he
received 400 gulden a year, plus various considerations in kind
including uniforms and board at the officers’ table. He was in charge
of the ‘Camer-Musique’, which comprised not only all instrumental
music but secular vocal and stage music as well. He had full
authority over the musicians, both professionally and in terms of
their behaviour; but he was close to many of them personally as well,
often serving as godfather to their children. His duties included
responsibility for the musical archives and instruments (including
purchase, upkeep and repair), instruction in singing, performing
both as leader and as soloist (‘because [he] is competent on various
instruments’) – and, of course, composition:

to
4  Whenever His Princely Highness commands, the vice-
Kapellmeister is obligated to compose such works of music
as His Highness may demand; further not to communicate
[such] new compositions to anyone, still less allow them to
be copied [for others], but to reserve them entirely and
exclusively for His Highness; most of all to compose nothing
for any other person without prior knowledge and gracious
consent.

Despite the immense labour and considerable tribulation this

position entailed, Haydn must have known that it was the
opportunity of a lifetime. One can well understand the joy and
satisfaction conveyed by Griesinger’s remark: ‘It was still granted to
Haydn’s father [d 1763] to see his son in the blue and gold uniform
of the court, and to hear the prince’s many praises of his son’s
talent’.

Paul Anton, already in uncertain health in 1761, declined rapidly in

early 1762 and died on 18 March. Childless, he was succeeded by
his brother Nicolaus, an even more enthusiastic musician, who
harboured even grander designs for the physical and artistic
development of the court. Goethe coined the phrase ‘das
Esterházysche Feenreich’ to describe his display at the coronation of
the Holy Roman Emperor in Frankfurt in 1764, which has passed
into the literature; in his own day he was called ‘der
Prachtliebende’ (‘the Magnificent’). His treatment of Haydn was
generous: he raised his salary to 600 gulden, regularly dispensed
gold ducats as thanks for the submission of baryton trios and after
successful opera productions and, following fires that destroyed
Haydn’s house in Eisenstadt in 1768 and 1776, paid to have it
rebuilt. As a matter of course his musical taste decisively influenced
what genres Haydn cultivated at court; whether it affected Haydn’s
style as well cannot be determined (except in cases like the works
for baryton).

The musical ensemble was at first very small, normally comprising

13 to 15 players (of whom many performed on more than one
instrument): strings (approximately 6 violins, 1 viola, 1 cello, 1 bass),
2 oboes, 2 horns and a bassoon (plus a flute in certain works or

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 movements). Haydn led from the violin; no keyboard continuo was
employed except in the theatre. Beginning in the 1770s, the
ensemble was gradually enlarged, owing primarily to the increasing
importance of the court opera; at its height in the 1780s it counted
22–4 members. Especially at first, it was manned largely by
virtuosos (including Luigi Tomasini, violin, Joseph Weigl and later
Anton Kraft, cello, Carl Franz, horn and baryton), some of whom
remained at the court for decades. This situation is reflected in many
difficult and exposed passages in Haydn’s symphonies, as well as
numerous concertos from the 1760s. Indeed symphonies nos.6–8, Le
matin, Le midi and Le soir (1761) – among his first compositions in
his new position; Dies states that the ‘times of day’ topic was
suggested by the prince – were expressly calculated to show off the
new ensemble, both as a whole and in terms of the individual
players, all of whom receive solos. But Haydn was also
demonstrating his own prowess: although the topics were
traditional, the works have no precedent, either generally or in his
own output.

During the first half of the 1760s Haydn composed chiefly

instrumental music, as far as we know exclusively for performance
at court. His most productive genre was the symphony, with about
25 works; in addition to nos.6–8 they include nos.22 (‘The
Philosopher’) and 30 and 31 (‘Alleluja’, ‘Hornsignal’). The concertos
include two or three for violin, the Cello Concerto in C, a concerto
for violone (the first ever composed, as far as is known), two horn
concertos and one for two horns, one for flute and perhaps one for
bassoon; many of them are lost. Only a few keyboard works are
known, primarily trios and quartet divertimentos; there are also a
few ensemble divertimentos as well as minuets and other dances. In
addition, there were a few large-scale vocal works, usually intended
as celebrations of particular occasions: the festa teatrale Acide
(1762, first performed in January 1763, for the marriage of Anton,
the prince’s eldest son) and the somewhat mysterious commedia
Marchese (La marchesa Nespola, 1762–3; only fragments survive,
and three similar works are lost), as well as several cantatas
honouring Nicolaus himself, whether on his nameday (Destatevi o
miei fidi, 1763; Qual dubbio ormai, 1764), his return from distant
journeys (Da qual gioia improvvisa, 1764, from Frankfurt; Al tuo
arrivo felice, 1767, from Paris) or his convalescence from illness (Dei
clementi, undated). The only sacred vocal work of consequence is
the first of Haydn’s two Te Deum settings (HXXIIIc:1).

We know little of Haydn’s daily routine or that of the musical

establishment during these years, or of noteworthy events in his life.
His contract required him to appear every morning and afternoon to
see if music was desired, although a later document specified that
academies were to be given regularly on Tuesdays and Thursdays.
From 1762 to 1765 Nicolaus lived primarily in Eisenstadt, with
frequent shorter stays at other properties. Haydn and his wife lived
in an apartment in the same building as the other musicians, next to
the ‘Bergkirche’, just up the hill from the castle. He was seriously ill
in the winter of 1764–5; the following year his brother Johann was
engaged, nominally as a tenor but de facto charitably supported by
Haydn.

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 (ii) Kapellmeister, 1766–90.
In late 1765 and early 1766 Haydn’s status and activities at the
Esterházy court changed radically. First came a series of crises in his
relations with the prince. In September 1765 the flautist Franz Sigl
accidentally burnt down a house; the chief court administrator,
Ludwig Peter Rahier (with whom Haydn often clashed),
recommended that Sigl be imprisoned, and Haydn was reprimanded
by the prince. Haydn however eloquently defended himself and
succeeded in having Sigl’s punishment reduced to simple dismissal
(indeed he was later rehired). In October, Werner, having just signed
his last will, wrote a vituperative letter to the prince in which he
accused Haydn of neglecting the instruments and musical archives
and the supervision of the singers. In late November or early
December Nicolaus again sent Haydn a reprimand (perhaps drafted
by Rahier), instructing him to see to these matters and to prepare a
catalogue of the archives and instruments of the Chor-Musique. At
the end stood the following postscript: ‘Kapellmeister Haydn is
urgently enjoined to apply himself to composition more zealously
than heretofore, and especially to compose more pieces that one can
play on the [baryton]’. The baryton was a member of the viol family,
on which the performer could ‘accompany himself’ by plucking a
series of sympathetically vibrating strings while also playing
normally with the bow; the prince was an accomplished performer.
Haydn, though doubtless angry and dismayed, at once began to
compose baryton trios in quantity. On 4 January 1766 he submitted
three new ones (Nicolaus pronounced himself satisfied and awarded
him 12 ducats, while immediately ordering six more), and completed
a ‘book’ of 24 (they were elegantly bound in sets) that autumn; two
additional books followed by July 1768. Thereafter production
dropped off somewhat, though remaining steady into the mid-1770s,
for a total of 126 trios plus sundry other works.

A different kind of response (so it is assumed) was Haydn’s decision

to begin a thematic catalogue of his own compositions, and thereby
to refute the prince’s charge of non-productivity. This document,
misleadingly called the Entwurf-Katalog (‘draft catalogue’, fig.3), is
of capital importance for our knowledge of Haydn’s output from the
pre-Esterházy days up to the late 1770s, as well as its chronology. It
was laid out in about 1765–6 by Joseph Elssler, the most important
music copyist at the court, doubtless according to Haydn’s plan;
Haydn made additional entries more or less regularly until the late
1770s.

On 3 March 1766 Werner died; Haydn was now Kapellmeister,

responsible for the church music as well as everything else. It was
presumably this higher status (his salary did not change) that
induced him in May to purchase a house in Eisenstadt (now a Haydn
museum). A more important change was signalled later that year: a
portion of the court, including Haydn and some musicians, spent the
summer at Nicolaus’s splendid new castle, Eszterháza, then
beginning to rise in reclaimed swampland east of Lake Neusiedl
(present-day Hungary). Over time, the prince became increasingly
attached to it, and ‘summer’ eventually expanded to ten months.

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 Such an extension occasioned the ‘Farewell’ Symphony (no.45,
autumn 1772), in which the pantomime of the departing musicians
brought home to the prince the need to return to Eisenstadt.

As a result of these new circumstances, Haydn’s compositional

activity changed substantially. In addition to the upsurge in baryton
music, in 1766 he began to compose large-scale vocal works, both
sacred and secular. In the former domain he at once produced two
works on the largest scale, with an astonishing assurance of style
and technique for someone who had composed no church music for a
decade. The first was the Missa Cellensis in honorem BVM of 1766
(possibly completed later), apparently intended for Mariazell (where
earlier Esterházys had erected a chapel) or a Viennese church
associated with that shrine. More masses followed: in 1768 the
Missa ‘Sunt bona mixta malis’, about 1768–9 the Missa in honorem
BVM (‘Great Organ Mass’; Haydn presumably performed the
obbligato organ part), in 1772 the Missa Sancti Nicolai (the title
implies a celebration of the prince’s nameday, 6 December) and
about 1775–8 a missa brevis (‘Little Organ Mass’). His other
‘inaugural’ liturgical masterpiece was the Stabat mater of 1767. Its
original purpose is unknown; Haydn was confident enough to send it
to Hasse, earning a letter of praise that he much valued, and he
performed it in Vienna in March 1768. There followed a Salve regina
(HXXIIIb:2; 1771) for four solo voices, string orchestra and obbligato
organ (again performed by Haydn). It was presumably this work, not
(as he later claimed) the Stabat mater, that resulted from his vow to
compose a work of thanksgiving to the Virgin if he were cured of a
serious illness; he suffered from a ‘raging fever’ (Griesinger) about
1770–71, so threatening that his brother applied for leave from
Salzburg to visit him. The celebratory cantata Applausus (1768) was
commissioned in honour of the abbot of the Cistercian monastery at
Zwettl; because Haydn was unable to be present, he accompanied
the work with a long and informative letter on performing practice.
Haydn composed the Italian oratorio Il ritorno di Tobia (1774–5) for
the annual Lenten concert of the Tonkünstler-Societät in Vienna, a
charitable organization for musicians’ widows and children founded
by Hofkapellmeister Gassmann in 1771. He conducted the premières
on 2 and 4 April 1775; most of the roles were sung by members of
his own Kapelle. The work was a notable success; a review praised
the choruses in particular and referred to his growing international
reputation.

Beginning in 1766, the prince began to require operatic productions

at the new castle; eventually opera would become the focus of the
entire musical establishment (see §(iii) below). For the time being,
however, Haydn’s primary task was to compose operas to be
produced during the festivities celebrating visits by high personages.
Three comic operas date from the late 1760s: La canterina (1766)
apparently had its première in the summer during a visit of the
imperial court to Eisenstadt (in a makeshift theatre) and was
afterwards produced in Pressburg (Bratislava). Lo speziale (1768)
and Le pescatrici (1769–70) are both based on librettos by Goldoni;
the former inaugurated the new opera house at Eszterháza probably
during the last week of September 1768, on the visit of the
Hungarian regent, Duke Albert of Saxe-Techsen, while the latter had
its première on 16 September 1770 during the wedding celebrations

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 of Countess Lamberg, the prince’s niece. After a pause, operatic
composition resumed in 1773 with L’infedeltà delusa, given on 26
July (the nameday of the dowager Princess Maria Anna, Paul Anton’s
widow), and Philemon und Baucis, a German marionette opera,
given on 2 September during the festivities in honour of a ‘state’
visit by Empress Maria Theresa to Eszterháza. (Hexenschabbas,
another marionette opera from about this time, is lost.) L’infedeltà
delusa was also given for the empress; the performance occasioned
her famous remark (if it is genuine) that in order to see a good opera
she had to go to the country. Haydn’s last opera during this phase
was L’incontro improvviso, first given on 29 August 1775, during a
visit by Archduke Ferdinand and his court.

During the late 1760s and early 1770s Haydn continued to compose
instrumental works, albeit at a slower rate than before (except
during the operatic hiatus of 1770–72). But they became longer,
more passionate and more daring. The symphonies comprise nos.26,
35, 38, 41–9, 52, 58–9, 65; many of these are among his best-known
before the London period, as is evident from their nicknames, which
include ‘Lamentatione’, ‘Maria Theresa’, ‘La passione’, ‘Mourning’,
‘Farewell’ and ‘The Schoolmaster’. He also took up the string
quartet, not cultivated since the 1750s, producing three increasingly
imposing opera in rapid succession: op.9 (c1769–70), op.17 (1771)
and op.20 (1772). The reason is unknown: there is no documentation
of quartet performances at the Esterházy court, and it has been
speculated that he composed them for Viennese patrons (Burney
described the audience’s transports at a performance of Haydn
quartets in Vienna in September 1772). He also composed numerous
keyboard sonatas for connoisseurs: HXVI:45 (1766), 19 (1767), 46
(late 1760s), 20 (in C minor, 1771), as well as seven lost works and
one that survives only as a fragment (HXVI:2a–g, XIV:5) which, to
judge from the incipits, were on the same scale. A few concertos
date from this period as well. Many of these works are so bold and
expressive that in the 20th century they became subsumed under
the appellation Sturm und Drang. The term has been criticized:
taken from the title of a play of 1776 by Maximilian Klinger, it
properly pertains to a literary movement of the middle and late
1770s rather than a musical one of about 1768–72, and early
proponents of this interpretation assumed implausibly and without
evidence that these works expressed a ‘romantic crisis’ in Haydn’s
life. Nevertheless, his style during these years was distinctive;
furthermore, similar traits are found in the contemporary music of
many other Austrian composers, including the young Mozart’s G
minor Symphony K183/173dB and D minor String Quartet K173.

In Haydn’s case this development may have been related to his turn
to vocal music beginning in 1766: perhaps the demand for
expressive depth in sacred works and dramatic effectiveness in
opera, as well as the tendency towards through-composition in both
genres, stimulated this expansion of his instrumental music. In 1769
Nicolaus began engaging a theatrical troupe each summer season; in
the seasons 1772–7 it was the famous one directed by Carl Wahr,
which played primarily comedies and other entertainments, although
Shakespeare’s tragedies were also mounted. It has been speculated
that Haydn supplied incidental music for these productions
(including even Hamlet and King Lear) and that some Sturm und

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 Drang symphonies recycle this music, although the only documented
example is Symphony no.60 (‘Il distratto’, 1774), from a very un-
Shakespearean French comedy. In any case, from about 1773
Haydn’s instrumental music became generally lighter in style – the
reason (if any) is again unknown; there is no evidence of princely
intervention – and was again addressed to amateurs as well as
connoisseurs. The string quartet was abandoned. Both the
symphonies of 1773–5 (nos.50–51, 54–7, 60, 64, 66–9) and two
contemporaneous sets of keyboard sonatas, HXVI:21–6 (1773) and
especially 27–32 (1774–6), exemplify this mixed orientation; the
former was published in Vienna in 1774 (the first authorized
publication of Haydn’s music) with a dedication to the prince, who
presumably paid the costs. A third set (nos.35–9 and 20), again
mixed in style, was published in 1780.

(iii) Opera impresario, 1776–90.

In 1778 Haydn sold his house in Eisenstadt; the court now stayed at
Eszterháza at least ten months every year, and he increasingly spent
the short winter season in Vienna (see §3(iv)). The very long stays at
Eszterháza were linked to Nicolaus’s reorganization of the theatrical
entertainment there in 1776. Now there was a regular ‘season’ each
year, comprising opera, stage plays and marionette operas (in a
separate small theatre); in principle there was theatrical
entertainment every evening the prince was in residence. At first,
stage plays predominated (184 evenings in 1778, as opposed to only
50 operas – and only two musical academies; four others took place
during the day, in the ‘apartments’), but the number of opera
evenings increased steadily, reaching a high of 124 or 125 in 1786.
New productions were henceforth not grand, ‘occasional’ events, but
a regular occurrence; in 1776 there were five, and in the banner
year 1786 there were eight, together with nine revivals. Under these
conditions Haydn could not compose more than a small fraction of
what was needed, nor were new works commissioned from other
composers. Instead, operas were acquired from Vienna, where there
were many productions and a lively trade in copying; it is not known
how many were selected by the prince or Haydn during their brief
winter sojourns. Some were acquired by agents (e.g. Nunziato Porta,
the librettist of Orlando paladino), others supplied by newly arrived
singers etc., and still others purchased from archives and estates
(Dittersdorf sold the court several of his own operas in 1776). The
up-to-date repertory centred on opera buffa: the composer
represented by the greatest number of productions from 1776 to
1790 was Cimarosa (13), followed in order by Anfossi, Paisiello, Sarti
and Haydn (seven), and 24 other composers with fewer.

Once it was decided to produce a given opera, Haydn was

responsible for any musical alterations that might be required,
supervising the copying of parts, rehearsing the singers and
orchestra, and conducting all the performances – for no fewer than
88 productions in the 15 years from 1776 to 1790. This was by any
reckoning a full-time job, even if one does not count his own new
stage works, of which six originated between 1777 and 1783, or
almost one per year. First came a dramma giocoso by Goldoni, Il

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 mondo della luna (given on 3 August 1777, on the marriage of
Nicolaus’s younger son). La vera costanza (1778–9) is the subject of
implausible and conflicting anecdotes in Griesinger and Dies,
according to which it was originally commissioned for the
Burgtheater in Vienna but scuttled by intrigue (neither Joseph II nor
his musicians were well-disposed towards Haydn); in fact it had its
première at Eszterháza, on 25 April 1779. It was lost in the fire that
largely destroyed the Eszterháza opera theatre on 18 November
1779; the surviving version represents Haydn’s reconstruction of the
work from 1785. It is a measure of the prince’s commitment (or
obsession) that an opera was given just three days after the fire, in
the marionette theatre, which had been hastily adapted for staged
opera (yet another noble marriage was to be celebrated). Haydn’s
L’isola disabitata to a libretto by Metastasio also had its première on
schedule on 6 December (the prince’s nameday). Next came La
fedeltà premiata (1780; given on 25 February 1781, on the
inauguration of the rebuilt opera house). In 1783 Haydn took the
unusual step of publishing the great scena for Celia in Act 2, ‘Ah,
come il core … Ombra del caro bene’, in full score; it received a
detailed and laudatory review by C.F. Cramer in his Magazin der
Musik. Haydn’s last two Eszterháza operas were Orlando paladino
(1782, for the prince’s nameday) and Armida (1783; given 26
February 1784). The later 1770s saw three German marionette
operas, also all lost in the 1779 fire: Dido (1776), Vom abgebrannten
Haus (date uncertain) and Die bestrafte Rachbegierde (1779; its
production can be inferred only from the printed libretto); the
occasionally seen Die Feuersbrunst is either spurious or represents
an arrangement of Vom abgebrannten Haus.

After 1783 Haydn composed no more operas for the court. It is not
known why he abandoned the genre, which he had cultivated
intensively since 1766 and in which he was proud of his
achievements (see §6 below), or how he persuaded the prince to
consent at a time when the number of productions was still rising.
Perhaps he was increasingly drawn to his new career as composer of
instrumental music for publication (see §(iv) below). In any case all
his other duties for the court theatre remained in force; in particular
he still revised the operas in production to suit his provincial stage
and limited personnel. Haydn made many cuts, both of entire
numbers and within them, re-orchestrated (often adding winds),
changed tempos (usually speeding them up) and ‘tailored’ arias to
‘fit’ his singers, as Mozart would have said. He composed about 20
substitute (‘insertion’) arias (HXXIVb) as well as long passages
within numbers not rejected as a whole.

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 4. Joseph Haydn: engraving by Luigi Schiavonetti after the second
version of a portrait by Ludwig Guttenbrunn, c1792; the first version of
the portrait probably dates from c1770

The majority of the insertion arias and simplifications were

composed for Luigia Polzelli, a young Italian mezzo-soprano who
joined the troupe in March 1779 along with her much older husband,
a violinist. Both proved inadequate and were dismissed in December
1780 – but promptly rehired: Luigia and Haydn had become lovers, a
relationship that, like so many in that milieu, was probably an open
secret. (Haydn told Griesinger that the painter Ludwig Guttenbrunn
had been his wife’s lover during his stay at the court in 1770–72.)
While at Eszterháza Luigia gave birth to her second son, Antonio, in
1783. He and his mother believed that Haydn was the father (there
is no evidence of such a belief on Haydn’s part); he became a
professional musician and was appointed to the Esterházy orchestra
in 1803. Haydn was well disposed towards him, and even more

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 towards his elder brother Pietro (b 1777); he taught them both
music and maintained contact with them throughout his life. As for
Luigia, following the dissolution of the Kapelle in 1790 Haydn
attempted to procure engagements for her in Italy; however, he
would not have her with him in London, even though her sister was
engaged there as a singer (see §4 below). Although there are no
letters from the 1780s by which we might assess the nature of their
feelings, he wrote to her often (in Italian) during his first London
visit. Those up to early spring 1792 are ardent: ‘Perhaps I shall
never regain the good humour that I used to have with you; you are
always in my heart, and I shall never, never forget you … Think from
time to time about your Haydn, who esteems you and loves you
tenderly, and will always be faithful to you’ (14 January). But those
from May and June are notably cooler – he had entered a new
relationship – and none survives from his second London visit. He
acceded to Polzelli’s requests for money, but not always immediately
or in the demanded amount, while complaining (misleadingly) how
little he had, as well as (accurately) how hard he had to work.

The vastly increased operatic and theatrical activity at the Esterházy

court from 1776 on led to an equally drastic reduction in the
performance of instrumental music. As noted above, only six
‘academies’ were listed for the entire year 1778 (all in January and
February). Presumably the prince simply lost interest; even Haydn’s
stream of baryton works began to dry up after 1773 and ceased
entirely about 1775, following the octets HX:1–6. The symphony,
from the late 1750s to 1775 the one constant in Haydn’s output,
declined as well; only nine were completed in the six years 1776–81
(nos.53, 61–3, 70–71, 73–5), none at all in 1777 or the first half of
1778. Even these few symphonies often include adaptations of stage
music. No.63 in C begins with the overture to Il mondo della luna,
and the slow movement (‘La Roxelane’) is based on a theme from a
stage play; the slow movement of no.73, ‘La chasse’, uses his own
lied Gegenliebe and the finale recycles the overture to La fedeltà
premiata. He even recycled the overture HIa:7 twice, in the finale of
one version of no.53 (‘Imperial’) and the opening movement of no.62.
From this time on, the Esterházy court was no longer the primary
destination for Haydn’s instrumental music.

(iv) Independence, 1779–90.

Nevertheless, Haydn was able to continue his career as an
instrumental composer. In contrast to London, Paris and elsewhere,
where unauthorized editions of his music had been appearing
steadily since 1764, there was no music publishing industry to speak
of in the Habsburg realm; most music circulated in manuscript
copies. This situation changed in 1778, when Artaria & Co., hitherto
primarily art dealers and mapmakers, expanded into music printing;
other firms soon followed. Artaria and Haydn must have made
contact in 1779 (it is not known who took the initiative); their first
publication was a set of six keyboard sonatas, HXVI:35–9, 20
(delivered in winter 1779–80, published in April 1780), dedicated to
the virtuoso sisters Katharina and Marianna von Auenbrugger.
Dozens of Viennese publications of Haydn’s music followed over the

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 next decade. This would not have been possible on the terms of his
1761 contract, which forbade him from selling music on his own or
composing for anyone else without permission. However, he signed a
new contract on New Year’s Day 1779, in which these prohibitions
were omitted; the conjunction with Artaria’s founding in 1778 and
Haydn’s publication of music with them beginning in 1779–80
cannot be coincidental. The prince was losing interest in
instrumental music; Haydn must have persuaded him to strike a
compromise, whereby he remained in residence at court, continued
in charge of the opera and drew his full salary, but was granted
compositional independence in other respects, including the income
from sales of his music. In addition, he began to market his music in
other countries: in England beginning in 1781 with Forster, to whom
he sold more music than to anyone except Artaria; in France
beginning in 1783, selling Symphonies nos.76–8 (composed 1782) to
Boyer and offering nos.79–81 (1783–4) to Naderman. (To be sure,
certain works not composed for the court – for example, the ‘Paris’
Symphonies – were still performed, or at any rate tried out, there
before being sent into the world, and others, such as the piano
sonatas HXVI:40–42, were dedicated to members of the princely
family.)

Haydn soon learnt to maximize his income by selling a given work in

several countries, accepting a separate fee for each. Except in
Vienna and London he often worked through a middleman. These
activities were in many respects unregulated (modern copyright law
being in its infancy); unauthorized ‘double copying’ was a constant
danger, and everyone attempted to maximize his advantage –
including Haydn, whose tactics were often unscrupulous, to say the
least. He often earned his ‘little extra’ by selling manuscript copies
of new works to private individuals; such ‘subscription’ copies still
carried a certain prestige. An example is offered by his famous
letters offering the string quartets op.33, composed in summer and
autumn 1781 and sold to Artaria by prior arrangement. On 3
December he wrote to between ten and 20 noble and well-to-do
music lovers, including the Swiss intellectual Johann Caspar Lavater:

I love and happily read your works … Since I know that in

Zürich and Winterthur there are many gentlemen amateurs
and great connoisseurs and patrons of music, I cannot
conceal from you the fact that I am issuing a work
consisting of 6 Quartets for two violins, viola and violoncello
concertante, by subscription for the price of six ducats; they
are of a new and entirely special kind, for I haven’t written
any for ten years … Subscribers who live abroad will
receive them before I issue the works here …

However, Artaria (who presumably knew nothing of these activities)

announced the forthcoming publication of the quartets on 29
December at a price of 4 gulden (6 ducats equalled approximately 25
gulden). Haydn was furious:

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 It was with astonishment that I read … that you intend to
publish my quartets in four weeks … Such a proceeding
places me in a most dishonourable position and is very
damaging; it is a most extortionate step on your part … Mr
Hummel [the publisher] also wanted to be a subscriber, but
I did not want to behave so shabbily, and I did not send
them to Berlin solely out of regard for our friendship and
further transactions; by God! you owe me more than 50
ducats, since I have not yet satisfied many of the
subscribers, and cannot possibly send copies to those living
abroad; this step must cause the cessation of further
transactions between us.

In fact, it did not come to a rupture: Artaria delayed publication until

April, and Haydn apparently sold the quartets to Hummel after all;
both parties now better understood the ground rules (‘the next time’,
wrote Haydn later, ‘we shall both be more prudent’). A loss of 50
ducats implies about eight unsold copies; in 1784 Haydn claimed to
Artaria that he had ‘always received more than 100 ducats through
subscriptions to my quartets’. Even as his publications increased,
Haydn continued to market manuscript copies, especially in genres
that were not ordinarily published (such as sacred vocal music), and
to sell all sorts of music in places where there was still no music
publishing industry, notably Spain. These were hardly ever new
works. To be sure, he wrote to Artaria in 1784: ‘The quartets I’m
working on just now … are very small and with only three
movements; they are destined for Spain’, but no trace of such works
survives, unless it be the small-scale (but four-movement) single
quartet op.42 (1785), which, however, appears to have been
composed for a periodical series published by Hoffmeister.

Another risk arose from the circumstance that many publishers sold
works from their own catalogues to business partners in other
markets. Forster naturally assumed he had exclusive rights in
England to the works Haydn had sold him. However, when Artaria
sold some of the same works to Longman & Broderip, two ostensibly
authorized editions were suddenly in direct competition. To make
matters worse, among the works Haydn sold Forster was a set of
piano trios HXV:3–5, the first two of which were almost certainly
compositions of his former pupil Pleyel. Later, Pleyel sold them to
Longman & Broderip; when the latter edition appeared, Forster
embarked on a lawsuit with Longman, in which Haydn became
entangled when he went to England; it was settled out of court.
Despite such difficulties, his methods of exploiting multiple markets
became a model for the next two generations of composers; he
‘taught’ it to Beethoven (who learnt his lesson well, including the
unscrupulous aspects), and it was still used by Mendelssohn and
Chopin. He was also adept at ‘marketing’. He described Symphonies
nos.76–8 as ‘beautiful, impressive and above all not very long
symphonies … and in particular everything very easy’, and his first
authorized Viennese publication of orchestral music (late 1782) was
devoted, not to symphonies, but to the ‘easier’ genre of the overture.

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 For all these reasons Haydn’s compositional activity underwent a
radical change in the 1780s. His music, which been well known and
much praised since the mid-1760s, was now genuinely popular: he
could scarcely keep up with the demand. He concentrated on what
was salable: instrumental works that would appeal to both amateurs
and connoisseurs, opera excerpts and lieder. As long as his works
had been destined for the court or published without his
participation, he had had little need to follow the ‘opus’ principle;
now he adopted it for almost all his publications. Even the string
quartet was subject to another pause of six years (and the example
of Mozart’s quartets dedicated to him) before he composed three
sets in rapid succession during 1787–90: op.50 (Artaria; dedicated to
the King of Prussia), op.54/55 (a single set of six, sold to Johann Tost,
formerly a violinist at court, who resold them to various publishers)
and op.64. The English publisher John Bland visited him at
Eszterháza in November 1789, when Haydn promised him a new
quartet in return for a new razor (Haydn thanked him for the razors
in April 1790). However, a ‘new’ quartet could not have been the one
now known as the ‘Razor’ (op.55 no.2, composed in 1788 and never
published by Bland); it is more likely that the story has to do with op.
64 (1790), which Bland did publish in an authorized edition.

A genre that Haydn had not cultivated since the mid-1760s but
which now again became important was the piano trio, with 13
works in the 1780s. HXV:5 (1784) and 9–10 (1785) were sold to
Forster; nos.6–8 (1784–5) and 11–13 (1788–9) to Artaria, as was no.
14 (1789–90). Nos.15–17 (1790) were composed for Bland; they
specify a flute rather than a violin as the melody instrument (no.17:
flute or violin). The piano sonatas nos.33, 34 and 43 were assembled
post facto and published in 1783; by contrast, nos.40–42 are an
‘opus’ (published 1784; dedicated to Marie Hermenegild, wife of the
later Prince Nicolaus II). Two important single sonatas date from
1789–90: HXVI:48 in C, composed for Breitkopf in Leipzig, and HXVI:
49 in E♭, for Maria Anna von Genzinger; the Capriccio HXVII:4,
composed ‘in a launige hour’ in 1789, is equally fine. Another genre
made newly popular through publication was the lied; Haydn
composed 24 in 1781–4 (HXXVIa:1–24) and published them with
Artaria in two sets of 12.

Even in the early 1780s Haydn was no mere ‘entertainer’. But a

newly serious orientation was instigated by his receipt in about
1784–5 of two prestigious commissions from abroad, both executed
in 1785–6. Six symphonies were commissioned by Count d’Ogny for
performance in Paris by the Concert de la Loge Olympique (a
masonic organization); the fee was later reported to have been 25
louis d’or for each symphony (Mozart had been paid only 5 for the
Paris Symphony K297/300a) and Haydn received also 5 louis d’or
from Imbault for the publication rights. The Concert employed a
much larger orchestra than any for which he had composed
symphonies; whether for this reason or simply owing to the notion of
‘Paris’, they are the grandest he had yet written. They were
immensely popular; Marie Antoinette supposedly preferred no.85 in
B♭, whence its nickname ‘La reine’; compare ‘L’ours’ (no.82) and ‘La
poule’ (no.83). Their success led to additional symphonies: Haydn
sold nos.88–9 (1787) to Tost, who resold them in Paris and
elsewhere, and d’Ogny commissioned nos.90–92 (1788–9).

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 The other commission was a highly unusual one from Cádiz, for a
series of orchestral pieces on the last words of Christ, to be
performed in a darkened church as a kind of Passion during Holy
Week, presumably on Good Friday. Haydn described them to Forster
as

purely instrumental music divided into seven Sonatas, each

Sonata lasting seven or eight minutes, together with an
opening Introduction and concluding with a Terremoto or
Earthquake. These Sonatas are composed on, and
appropriate to, the Words that Christ our Saviour spoke on
the Cross. …

Each Sonata, or rather each setting of the text, is expressed

only by instrumental music, but in such a way that it creates
the most profound impression on even the most
inexperienced listener.

Griesinger commented: ‘Haydn often stated that this work was one
of his most successful’. It was widely performed and favourably
received, not least owing to its avoidance of what were taken to be
the chief dangers of tone-painting, excessive literalness and
triviality. Haydn also sold the Seven Last Words in arrangements,
one for string quartet and one for keyboard.

A distinctly lighter series of commissions came from King

Ferdinando IV of Naples. Like Prince Esterházy, he had become
proficient on an out-of-the-way instrument: the lira organizzata, a
sort of grown-up hurdy-gurdy. He commissioned concertos and
‘notturnos’ for two lire organizzate from various composers; Haydn
supplied five or six concertos (HVIIh, 1786–7) and eight notturnos
(HII:25–32, 1789–90).

Haydn’s stays in Vienna were still restricted to one or two months

each winter and occasional brief visits during Lent. He increasingly
valued the imperial capital’s artistic and intellectual life, which was
flourishing under Joseph II, and chafed at having to spend so much
time in the ‘wasteland’ (Einöde) of Eszterháza. He acquired many
friends and patrons, including Baron Gottfried van Swieten (whom
he had met in 1775), Councillor Franz Sales von Greiner (1730–98;
father of the later Caroline Pichler), who presided over Vienna’s
leading literary salon and supplied Haydn with lieder texts, Anton
Liebe von Kreutzner, who in 1781–2 commissioned the
Mariazellermesse and to whose daughter Haydn dedicated his lieder
published in 1781, Councillor Franz Bernhard von Keess, who held
regular concerts of orchestral music and made the first systematic
attempt to collect all of Haydn’s symphonies, and Michael Puchberg
(Mozart’s patron). Their orientation, reflecting that of the emperor,
was enlightened-conservative: they were interested in literature,
philosophy and education and largely rejected dogmatism, yet
retained a traditional and Catholic outlook – all traits that Haydn
shared. The majority were freemasons; Nicolaus himself was Master
of Ceremonies at one Viennese lodge, and it was most probably he or
others in this circle who induced Haydn to apply for membership in
the order. Haydn did so on 29 December 1784 and was inducted into
the lodge ‘Zur wahren Eintracht’ on 11 February 1785; however,

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 there are no further records of his participation, and (despite one
further letter) it appears that freemasonry was of no particular
significance to him.

Haydn’s visits to Vienna offered many opportunities for

performances of his music. The string quartets op.33 are still
sometimes called the ‘Russian’ quartets, owing to a dedication on a
late edition that reflects a performance given on Christmas Day 1781
for Grand Duke Paul of Russia (later Tsar Paul I) and his music-loving
consort. Regarding his lieder, Haydn told Artaria: ‘I will sing them
myself, in the best houses. A master must see to his rights by his
presence and by correct performance’. In February 1779 the
Tonkünstler-Societät had invited Haydn to join, but attached
conditions not to his liking; he gruffly refused. In March 1784,
however, he produced Il ritorno di Tobia for them in a revised
version. The ‘tightness’ of the Viennese performing scene is evident
from the fact that among the five soloists were four who had taken
part (or would do so) in Mozart opera premières: Anna: Nancy
Storace (Figaro, Susanna)  Raffaelle: Catarina Cavalieri
(Entführung, Konstanze)  Tobia: Valentin Adamberger (Entführung,
Belmonte)  Tobit: Stefano Mandini (Figaro, Count Almaviva)Haydn
and Storace became warm friends; he later composed a cantata ‘for
the voice of my dear Storace’ (possibly Miseri noi, HXXIVa:7). In
January 1787 three of the ‘Paris’ symphonies were performed, and in
March the Seven Last Words at the Palais Auersperg; both were
unpublished novelties at the time.

The friendship between Haydn and Mozart also developed in Vienna.

It is believed that they first met in 1783–4, at a performance such as
that of Tobia just described, one of Mozart’s ‘academies’, or at a
quartet party: Michael Kelly’s (late and perhaps untrustworthy)
reminiscence of Stephen Storace’s quartet comprising Haydn,
Dittersdorf, Mozart and Vanhal is set in 1784 (Kelly later visited
Haydn at the Esterházy court). Mozart performed his six new
quartets for ‘my dear friend Haydn and other good friends’ on 15
January 1785, and the last three again on 12 February; the latter
occasioned Haydn’s famous remark to Leopold Mozart that Wolfgang
was the greatest composer he knew, ‘either by name or reputation’.
And Mozart’s dedicatory letter in Artaria’s edition of the quartets
(September 1785) is headed: ‘To my dear friend Haydn’. In the
winter of 1789–90 he invited Haydn to rehearsals of Così fan tutte,
and Haydn organized a quartet party in which Mozart’s participation
can be inferred.

The nature of their relationship has been much discussed. Many

writers have romanticized it, beginning with Griesinger’s and Dies’s
sentimental accounts of their tearful farewell in December 1790 on
Haydn’s departure for London (including Haydn’s alleged comment,
‘My language is understood in the entire world’). Others are
sceptical, noting that the surviving documentation derives solely
from two winters, 1784–5 and 1789–90, and that Mozart’s dedicatory
letter may protest his friendship a little too much. But there is no
doubt of their mutual admiration as composers: each acknowledged
the other as his only peer and as the only meaningful influence on
his own music in the 1780s. Mozart’s dedication of quartets to
Haydn – a mere composer rather than a rich or noble patron – was

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 unusual (although cynics note that he might have attempted to
recruit the latter, but failed), and Griesinger relates an anecdote
according to which he defended Haydn against a stupid criticism by
Kozeluch: ‘neither you nor I would have hit on that idea’. But
Haydn’s expressions of admiration went further. In a famous (albeit
unauthenticated) letter of 1787 to the impresario Franz Rott in
Prague, he admitted that he feared comparison with ‘the great
Mozart’, at least on the stage:

If only I could impress Mozart’s inimitable works on the soul

of every friend of music, and the souls of high personages in
particular, as deeply, with the same musical understanding
and with the same deep feeling, as I understand and feel
them, the nations would vie with each other to possess such
a jewel.

In early 1792 he wrote to Puchberg: ‘I was quite beside myself for

some time over [Mozart’s] death and could not believe that
Providence would transport so irreplaceable a man to the other
world’, adding that he had offered to teach Mozart’s son Karl
without fee (something he did not do lightly). ‘I have often been
flattered by my friends with having some genius’, he said in Burney’s
hearing, ‘but he was much my superior’. It is remarkable that his
feelings were apparently marked neither by jealousy nor a
compromise of his musical self-confidence, except possibly regarding
opera; they had no effect on his productivity.

In any case it was a friend of a different sort whom Haydn most

cherished around 1790: Maria Anna von Genzinger (1750–93), the
wife of an important physician (whose clients included Nicolaus
Esterházy) and a talented amateur pianist. In June 1789 she sent
Haydn her piano arrangement of the slow movement of an
unidentified composition; he responded with praise, and the
relationship rapidly became intense, although as far as can be told it
remained platonic. Haydn’s letters to Mme Genzinger are his most
fervent and intimate; that of 9 February 1790, following his sudden
return from Vienna to Eszterháza, is at once poignant and amusing:

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 Here I sit in my wilderness – forsaken – like a poor waif –
almost without human society – sad – full of the memories of
past glorious days – yes! past, alas! – and who knows if
those days will return again? Those wonderful parties? –
where the whole circle is one heart, one soul – all the
beautiful musical evenings? … For three days I didn’t know
if I was Kapellmeister or Kapell-servant. Nothing could
console me, my whole house was in confusion, my
pianoforte, which I usually love, was perverse and
disobedient … I could sleep only a little, even my dreams
persecuted me; and then, just when I was happily dreaming
that I was listening to Le nozze di Figaro, the horrible North
wind woke me and almost blew my nightcap off my head …
Alas! alas! I thought to myself as I was eating here, instead
of that delicious slice of beef, a chunk of a 50-year-old cow
… Here in Eszterháza no one asks me: ‘Would you like some
chocolate, with milk or without? … What may I offer you, my
dear Haydn, would you like a vanilla or a strawberry ice?’

But, as always, he soon recovered; the letter continues: ‘I am

gradually getting used to country life, and yesterday I composed
[studierte] for the first time, and indeed quite Haydnish’. Later that
year he completed a sonata (HXVI:49) for Mme Genzinger, in the
course of which he also advised her on the purchase of a new
fortepiano; earlier he had advised her daughter Josepha about her
performances of his cantata Arianna a Naxos (HXXVIb:2), perhaps
composed in 1789 for the Venetian singer Bianca Sacchetti.

But the year 1790 was to prove even more disruptive than Haydn
could have suspected in early February. Joseph II died on 20
February, throwing Vienna into mourning; five days later, Nicolaus
Esterházy’s wife died (Haydn had his hands full keeping him from
succumbing to depression), followed on 28 September by the prince
himself. Anton, his son and successor, immediately dissolved the
musical and theatrical establishment, although Haydn was kept on at
a reduced salary without official duties; he also received 1000
gulden a year from Nicolaus’s estate. He at once moved to Vienna,
taking rooms with a friend, J.N. Hamberger. He declined an offer to
become Kapellmeister for Prince Grassalkovics (Nicolaus’s son-in-
law, resident in Pressburg), and made it clear to King Ferdinando
that he would not fulfil any vague promises he might have made to
travel to Naples. Whatever his intentions were, they were soon
overtaken by events.

4. London, 1791–5.
James Webster

Johann Peter Salomon, born in Bonn but living in London as a

violinist and concert producer, heard of Nicolaus Esterházy’s death
while in Europe engaging musicians for the coming season; he
immediately travelled to Vienna, called on Haydn and ‘informed’ him
that he would now be going to London. Salomon was not the first to
contemplate this. In 1783 Haydn said of Symphonies nos.76–8 that

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 they were composed ‘for the English gentlemen, and I intended to
bring them over myself and produce them’ at the Professional
Concert (the successor to the Bach-Abel Concerts of 1774–82); in
July 1787 he contemplated composing an opera and instrumental
works for G.A.B. Gallini, the impresario of the Italian opera. Salomon
himself had had business dealings with Haydn, who in a letter to
Bland of April 1790 referred to 40 ducats owed him by Salomon.
However, as long as Nicolaus Esterházy was alive Haydn had been
unwilling or unable to negotiate his freedom; now, Prince Anton
willingly granted him a year’s leave.

Salomon’s initial contract with Haydn governed the 1791 season.

Haydn was guaranteed £300 for an opera (here Salomon was acting
as agent for Gallini), £300 for six symphonies, £200 for the rights to
publish the latter, £200 for 20 other compositions to be conducted at
his concerts and £200 profit from a ‘benefit’ concert. Haydn and
Salomon left Vienna on 15 December, travelling via Munich,
Wallerstein (where Haydn conducted Symphony no.92) and Bonn to
Calais, from where they sailed to Dover on New Year’s Day 1791,
arriving in London the next day. ‘I stayed on deck during the entire
crossing’, he wrote to Mme Genzinger on 8 January, ‘so as to gaze
my fill of that great monster, the ocean’.

London was the largest and economically most vibrant city in the
world, made even more cosmopolitan by refugees from the French
Revolution. Haydn settled in the same house where Salomon lived
and also had a studio at Broadwood’s music shop, although he
complained of the noise and later moved to a suburb. He
immediately plunged into a hectic social and professional life which,
however stimulating, competed with his need to compose:

My arrival caused a great sensation … I went the rounds of

all the newspapers for three successive days. Everyone
wants to know me … If I wanted, I could dine out every day;
but first I must consider my health, and second my work.
Except for the nobility, I admit no callers until 2 o’clock.

He also had to give fortepiano lessons, primarily to high personages;

he was soon invited to a ball at the Court of St James, and to a
concert sponsored by the Prince of Wales (later George IV). The
latter was an enthusiastic amateur who became Haydn’s most
important royal patron; on 1 February 1795 he arranged a soirée
with George III and the queen in attendance, in which all the music
was of Haydn’s composition and he both played and sang. Other
royal invitations followed that month and in April.

London’s musical life was active and varied, and enriched by a

constant stream of artists from abroad. It is abundantly documented;
about Haydn’s activities there are also his letters to Genzinger and
Polzelli, as well as the observations and anecdotes jotted down in his
‘London Notebooks’. The ‘season’ ran from February to May; it
included two series of concerts in the Hanover Square Rooms
(Salomon and Haydn on Monday and the Professional Concert on
Friday), opera on Tuesday and Saturday, and ‘ancient music’ on
Wednesday. Performing forces were generally larger than in Vienna
or Eszterháza; in 1791–2 Haydn’s symphonies were performed by

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 about 40 players, in 1795 by about 60. The typical concert was a
mixed affair, including symphonies, sonatas, arias and duets. A
special feature was the massed choral performances in Westminster
Abbey; Haydn’s experience of hearing Handel’s oratorios there was
the chief stimulus for The Creation.

Haydn arrived with relatively few new works except the string
quartets op.64; they were published in 1791–2 by Bland, ‘composed
r
by Giuseppe Haydn, and performed under his direction, at M
Salomon’s Concert’. However, Symphonies nos.90–92 had not yet
been printed in England; Haydn made use of nos.90 and 92 in 1791,
as well as lyre notturnos (arranged for flute and oboe) and Arianna a
Naxos. Symphony no.92 soon became a favourite, and was one of
several symphonies performed on the occasion of his receiving the
honorary doctorate of music at Oxford, 6–8 July 1791 (whence its
nickname). This event meant a great deal to him; thereafter he often
referred to himself in public documents (or when needing to assert
his status) as ‘Doktor der Tonkunst’.

Among Haydn’s new compositions in 1791–2 were the first six

‘London’ symphonies (nos.93–8). Only nos.95 in C minor and 96 in D
(‘Miracle’) were given in 1791; the others followed in 1792, although
nos.93–4 had been composed in the second half of 1791: no.93 in D
(17 February), 98 in B♭ (2 March), 94 in G (‘Surprise’, 23 March), 97
in C (3 or 4 May). His benefit concert in May (fig.3) cleared £350,
nearly double the £200 he had been guaranteed. Even though the
journalistic prose is somewhat formulaic and may to some extent
even have been ‘suggested’ by Salomon, these concerts were a
sensation. The following report is of the first, on 11 March 1791:

Never, perhaps, was there a richer musical treat. It is not

wonderful that to souls capable of being touched by music,
HAYDN should be an object of homage, and even of idolatry;
for like our own SHAKSPEARE he moves and governs the
passions at will. His new Grand Overture [symphony] was
pronounced by every scientific ear to be a most wonderful
composition; but the first movement in particular rises in
grandeur of the subject, and in the rich variety of air and
passion, beyond any even of his own productions.

The symphony was no.92, 95 or 96. Charles Burney, with whom

Haydn was to become fast friends, waxed equally enthusiastic:

Haydn himself presided at the piano-forte; and the sight of

that renowned composer so electrified the audience, as to
excite an attention and a pleasure superior to any that had
ever, to my knowledge, been caused by instrumental music
in England. All the slow middle movements were encored;
which never happened before, I believe, in any country.

By contrast, Haydn’s new opera, L’anima del filosofo or Orfeo ed

Euridice, was never produced: although he composed it during the
spring of 1791 and it had entered rehearsal, Gallini (owing to
political intrigue) was denied a licence for the theatre.

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 6. Advertisement from ‘The Times’ (16 May 1791) concerning Haydn’s
benefit concert, to be given on that day

By the end of the 1791 season Salomon and Haydn were agreed that
he would stay for another year. However, Anton Esterházy (who had
written to Haydn cordially in February) wanted him to return; when
Haydn informed him that he had signed a new contract with
Salomon and requested an additional year’s leave, the prince
refused, demanding that he inform him ‘by the next post the exact
time when you will arrive back here again’. Haydn feared outright
dismissal; as so often, it did not come to that. The summer and
autumn gave him ample opportunity to compose, travel and expand
his social circle. In August and early September he stayed on the
estate of Nathaniel Brassey, a banker, in Hertfordshire. By mid-
September he was back in London; on 5 November he attended an
official banquet given by the newly installed Lord Mayor (amusingly
described in the Notebooks). On 24–5 November he stayed at
Oatlands, a property of the Duke of York, who the previous day had
been married to a daughter of the King of Prussia; the new duchess
became one of his most loyal patrons.

Meanwhile, he had begun giving piano lessons to Rebecca Schroeter,

the attractive and well-to-do widow of the composer and pianist
Johann Samuel Schroeter. During the winter of 1791–2 this
relationship blossomed into a passionate affair, documented by
copies Haydn made of her letters to him (beginning with this one,
from 7 March):

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 My D[ear]: I was extremely sorry to part with you so
suddenly last Night … I had a thousand affectionate things
to say to you, my heart was and is full of TENDERNESS for
you, you are DEARER to me every day of my life … I am truly
sensible of your goodness, and I assure you my D. if
anything had happened to trouble me, I would have opened
my heart, & told you with the most perfect confidence. Oh
how earnestly [I] wish to see you. I hope you will come to
me tomorrow. I shall be happy to see you both in the
Morning and the Evening.

Haydn later confirmed the relationship to Dies: ‘an English widow in

London, who loved me … a beautiful and charming woman and I
would have married her very easily if I had been free’. Although no
letters between them survive following his departure in the summer
of 1792, they remained close: Haydn dedicated the piano trios HXV:
24–6 (1795) to her, she witnessed an important contract of 1796
regarding English editions of his music, they were in touch again
regarding business in 1797 and she was a subscriber to The
Creation.

Haydn’s and Salomon’s plans for the 1792 season were complicated
by the organizers of the Professional Concert, whom Haydn had
disappointed in the 1780s and who in 1791 had printed scurrilous
notices alleging that his talent had dried up. As he wrote to
Genzinger (17 January), complaining of overwork:

At present I am [composing] for Salomon’s concerts, and I

am making every effort to do my best, because our rivals,
the Professional Concert, have had my pupil Pleyel from
Strasbourg come here to conduct their concerts. So now a
bloody harmonious war will commence between master and
pupil. The newspapers are all full of it, but it seems to me
that there will soon be an armistice, because my reputation
is so firmly established. Pleyel behaved so modestly towards
me on his arrival that he won my affection again.

Pleyel’s music, similar to but far less brilliant and complex than his
master’s, was then very popular. Haydn’s outward modesty and good
manners notwithstanding, he was not about to be upstaged by a
former student whose talent lay far beneath his own. Even his most
famous ‘surprise’, in the eponymous symphony, played a role.
Griesinger writes:

I jokingly asked him once if it was true that he composed

the Andante … in order to wake up the dozing English
audience. ‘No … my intention was to surprise the public
with something new, and to debut in a brilliant manner, in
order to prevent my rank from being usurped by Pleyel, my
pupil …’

Another orchestral work of 1792 is the ‘Concertante’, a symphonie

concertante for violin, cello, oboe and bassoon and orchestra (given
on 9 March); it was composed in direct competition with Pleyel’s
most popular composition.
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 On 10 April 1792 Haydn wrote to Prince Anton, informing him that
‘our concerts will be finished at the end of June, after which I shall
begin the journey home without delay, in order to serve my most
gracious prince and lord again’. He departed from London at the end
of June or beginning of July, travelling via Bonn (where he met
Beethoven) and Frankfurt. There is considerable evidence that he
intended to return for the 1793 season; in the event he did not until
1794. On 24 July 1792 he arrived in Vienna, occupying the same
lodgings as in the autumn of 1790. His 18 months in the Habsburg
capital were uneventful. Polzelli was in Italy (still asking for money),
and Mme Genzinger died on 20 January 1793. Haydn must have
been lonely when not absorbed in his work, a condition presumably
not ameliorated by his wife’s suggestion that they purchase a small
house in the suburb of Gumpendorf (not occupied until 1797; it is
now the Vienna Haydn Museum). Beethoven arrived in November,
and their intercourse began immediately; it included a stay at
Eisenstadt with Haydn in the summer of 1793. Haydn set him (like
all his students) to a systematic course of counterpoint on Fux’s
model, but had neither time nor inclination to correct the exercises
systematically, and Beethoven switched to Albrechtsberger. More
important to both composers was doubtless whatever comments
Haydn made about free composition, as well as shop-talk about
musical life and career-building (these seem to have been his chief
contribution to the training of his many ‘pupils’ during the 1790s).
By early winter he had decided not to return to London in 1793: he
had finally determined to undergo an operation for a long-painful
polyp in his nose, and perhaps he feared travelling at a dangerous
stage in the Napoleonic Wars. In any case it was to his advantage to
take an additional year, so as to be able to have new compositions in
his portfolio on his return.

In November 1792 Haydn produced 12 each of new minuets and

German dances (HIX:11–12) at a charity ball, and immediately
published them with Artaria. Keess had produced Symphonies nos.
95–6 in the winter of 1791–2; Haydn produced others himself on 15
March 1793, and again for the Tonkünstler-Societät in December,
where he also gave his choral ‘madrigal’ The Storm (HXXIVa:8) in a
revised version with a German text, possibly by Swieten. He began
the string quartets op.71/74 (a single opus of six) in late 1792 and
composed them mainly in 1793, with a view to producing them in
London. He also refined his sales methods: a nobleman (in this case
Count Anton Georg Apponyi) purchased the ‘dedication’ for 100
ducats, for which he received the exclusive right (in Vienna) to own a
manuscript copy and to perform the quartets until Haydn published
them (after one or two years), and was named as dedicatee on the
editions. Later in 1793 Haydn worked on three symphonies for
London, completing no.99 in E♭, the second and third movements of
no.100 in G (‘Military’) and all but the first movement of no.101 in D
(‘Clock’); he may also have begun the first set of English songs.
Another major composition from 1793 is the variations for piano in F
minor HXVII:6. On 19 January 1794 he departed for London,
accompanied by the former Esterházy copyist Johann Elssler, now
his amanuensis; they arrived on 5 February. On the way they stayed
in Passau, where he heard a choral arrangement of the Seven Last
Words by the local Kapellmeister, Joseph Friebert.

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 The Professional Concert having disbanded, in 1794 Haydn and
Salomon had the stage to themselves. Symphony no.99 had its
première on 10 February 1794, no.101 on 3 March, no.100 on 31
March. In the summer Haydn travelled to Portsmouth, the Isle of
Wight, Bath and Bristol. For the 1795 season, however, Salomon
abandoned his concerts, owing to the difficulty of obtaining ‘vocal
performers of the first rank from abroad’ (he resumed them in
1796). Haydn therefore allied himself with the so-called Opera
Concerts, directed by the violinist and composer Giovanni Battista
Viotti, with an even larger orchestra, of approximately 60 players;
Symphony no.102 was first given on 2 February, no.103 (‘Drumroll’)
on 2 March, and no.104 – ‘The 12th which I have composed in
England’, Haydn wrote on the autograph, doubtless with more than
a touch of pride – at his benefit concert on 4 May. His success was
greater than ever; following the benefit, Burney wrote that his 1795
symphonies were ‘such as were never heard before, of any mortal’s
production; of what Apollo & the Muses compose or perform we can
only judge by such productions as these’. Another important work
given its première at this concert was the cantata Berenice, che fai
(HXXIVa:10), composed for the reigning prima donna, Brigida Giorgi
Banti.

Haydn’s compositions from 1794–5 are more heterogeneous than

those from 1791–2. He returned to piano music for the first time
since 1790, composing at least three sets of trios: HXV:18–20,
dedicated to Maria Therese Esterházy, the widow of Prince Anton;
21–3, dedicated to Maria Hermenegild, the wife of Anton’s successor
Prince Nicolaus II; and 24–6, dedicated to Mrs Schroeter. Nos.27–9
were dedicated to his friend Therese Jansen (b c1770), a celebrated
virtuoso who in 1795 married a son of the engraver Francesco
Bartolozzi (Haydn was a witness); it is unclear whether they date
from 1795 or 1796. He composed no.31 for Jansen as well: the finale
(1794) originated as an occasional piece titled ‘Jacob’s Dream!’,
designed to amuse her by showing up the insufficiencies of a self-
important violinist in the higher registers. He also composed sonatas
nos.50 and 52 for Jansen, and no.51 probably for Schroeter. Another
genre he took up again owing to the influence of a lady was the solo
song. The muse was Anne Hunter (1742–1821), another well-to-do
widow (of the famous surgeon John Hunter) and a minor poet, who
supplied the texts for at least nine of Haydn’s 14 songs in English;
12 appeared as two sets of Original Canzonettas in 1794–5. He also
composed numerous arias, divertimentos, marches, canons and
other works.

Haydn’s London visits were the highpoint of his career up to that

time. Griesinger reports that he earned 24,000 gulden and netted
13,000 (the equivalent of more than 20 years’ salary at the
Esterházy court), and that he ‘considered the days spent in England
the happiest of his life. He was everywhere appreciated there; it
opened a new world to him’. Whether he seriously contemplated
staying is not known; Prince Anton Esterházy had died in 1794,
freeing him from even a nominal obligation to the court, and the
royal family attempted to persuade him to remain. But the question
was settled when Anton’s successor, Nicolaus II, offered him
reappointment as Esterházy Kapellmeister. Although he remained in
London for two months following the end of the 1795 season,

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 composing trios and canzonets and seeing to the publication of many
of his English compositions – he established new, long-term
relations, for example with the ‘musick seller’ F.A. Hyde, an agent
for Longman & Broderip, with whom he signed an elaborate contract
in 1796 – he departed (according to Dies) on 15 August, travelling
via Hamburg and Dresden and arriving in Vienna presumably around
the beginning of September. His new house still not being ready for
occupancy, he took lodgings on the Neuer Markt in the old city.

5. Vienna, 1795–1809.
James Webster

‘Haydn often said that he first became famous in Germany owing to

his reputation in England’ (Griesinger). From 1761 to 1790,
notwithstanding his fame as a composer and the brilliance of the
Esterházy court, he had been ‘stuck in the country’ (letter to Artaria,
17 May 1781); he could never be in Vienna for very long, his music
was not in favour at the imperial court and his relationship with the
Tonkünstler was strained. In 1795, by contrast, he returned as a
culture-hero. Many of his remaining works originated in
collaboration with the cultural-political establishment and were
staged as ‘events’ of social and ideological as well as musical import.
The key figure was Baron van Swieten, the imperial librarian and
censor and the resolutely high-minded leader of the Gesellschaft der
Associirten, an organization of noble patrons who subsidized large-
scale performances of oratorios and the like. In addition, Haydn’s
position as Esterházy Kapellmeister was far less onerous than
before. Nicolaus II largely abandoned Eszterháza in favour of Vienna
and Eisenstadt; Haydn’s primary duty was to supply a mass each
year for performance in conjunction with the celebration of the
nameday (8 September) of Maria Hermenegild, Nicolaus’s consort;
this took place in Eisenstadt, where he usually spent the summer.

As a result, Haydn’s compositional orientation changed

fundamentally. He composed little instrumental music: no orchestral
works save the Trumpet Concerto (1796) and only one piano work
(the trio no.30, 1796; nos.27–9 may have been completed then as
well); the only genre he actively cultivated was the string quartet,
with op.76 (completed 1797, dedicated to Count Joseph Erdődy;
published in 1799) and op.77 (1799, dedicated to Prince Joseph
Franz Lobkowitz; published in 1802). Instead, he devoted himself
primarily to sacred vocal music: masses for Esterházy and oratorios
for Vienna. Both the Missa Sancti Bernardi von Offida (Heiligmesse)
and the Missa in tempore belli (Paukenmesse) are dated 1796; the
former was apparently composed first and performed in Eisenstadt,
while the latter originated in the autumn and was first given at the
Piaristenkirche in Vienna on 26 December, then produced in
Eisenstadt in 1797. There followed the Missa in angustiis (commonly
known as the ‘Nelson Mass’) in 1798, the Theresienmesse in 1799,
the Schöpfungsmesse in 1801 and the Harmoniemesse in 1802;
thereafter this office was fulfilled by other composers, including

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 Hummel and, in 1807, Beethoven. The absence of new masses in
1797 and 1800 doubtless reflects Haydn’s intense work on The
Creation and The Seasons, respectively, during those two years.

Haydn’s collaboration with Swieten began in early 1796 with an

arrangement of the Seven Last Words as a kind of oratorio: more
precisely, a reworking of Friebert’s arrangement (see §4). He added
chorale-like a cappella intonations preceding most of the ‘words’ and
a wind band introduction to the second part, rewrote the choral
parts and revised the orchestration; Swieten revised the text and
arranged for the première at the Schwarzenberg Palace, on 26–7
March. Haydn produced it often thereafter, usually for the benefit of
the Tonkünstler-Societät. In 1797 that organization finally made up
for its earlier neglect: on 20 January, a letter signed by Salieri and
Paul Wranitzky granted Haydn free admission to all their concerts
for life, and on 11 December he was elected a ‘senior assessor’ in
perpetuity.

An overtly political composition was the ‘Emperor’s Hymn’, Gott

erhalte Franz den Kaiser, from winter 1796–7. Although one later
account has Swieten manipulating things, the immediate impetus
came from Count Joseph Franz Saurau, the president of Lower
Austria and later Minister of the Interior:

I have often regretted that unlike the English we had no

national anthem suited to display before the entire world
the devoted attachment of the people to their Landesvater
… This seemed especially necessary at a time when the
Revolution in France was raging at its strongest …

I had a text fashioned by the worthy poet [Lorenz Leopold]

Haschka; and to have it set to music, I turned to our
immortal compatriot Haydn, who, I felt, was the only man
capable of creating something that could be placed at the
side of … ‘God Save the King’.

Haydn identified thoroughly with the cultural politics of this project.

In late January 1797 the hymn was hastily printed and disseminated,
and performed in theatres throughout the Habsburg realm on the
emperor’s birthday, 12 February. This ‘Volkslied’, as he called it,
combined hymnlike and popular elements so successfully that it
became the anthem of both Austria and Germany. Later in 1797 he
employed the melody as the basis for the variation movement in the
String Quartet op.76 no.3, and in his last years he played it daily at
the piano.

But Haydn and Swieten were already pursuing bigger game. On

Haydn’s departure from England Salomon had given him a libretto
(now lost) entitled The Creation of the World, supposedly written for
Handel but never set to music. Back in Vienna, Haydn showed it to
Swieten: ‘I recognized at once that such an exalted subject would
give Haydn the opportunity I had long desired, to show the whole
compass of his profound accomplishments and to express the full
power of his inexhaustible genius’; the emphasized phrase implies
that Swieten’s purpose was not artistic alone, but cultural-political
as well. The Associirten guaranteed Haydn 500 ducats and

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 subsidized the copying and performance. Haydn, whose enthusiasm
for the project was bound up with his experience of Handel in
London, conceived the remarkable notion of disseminating the work
in both German and English (it is apparently the first original
bilingual composition). Swieten translated the libretto and adapted
the English prosody to his German version; he also made
suggestions regarding the musical setting, many of which Haydn
adopted. He began the composition apparently in autumn 1796
(Albrechtsberger wrote to Beethoven in December that he had heard
him ‘improvise’ from it); it was at least half done by summer 1797
and according to F.S. Silverstolpe (see Stellan Mörner, E1969) was
completed during the autumn, in Eisenstadt, although the
preparation of performance materials (which entailed revisions)
lasted up to March 1798.

The Associirten at first produced the work only in private, again at

the Schwarzenberg Palace; following a ‘Generalprobe’ on 29 April
the official première took place on the 30th, with additional
performances on 7 and 10 May. The effect was overwhelming;
Silverstolpe reported:

No one, not even Baron van Swieten, had seen the page of
the score wherein the Creation of Light is portrayed …
Haydn had the expression of someone who is thinking of
biting his tongue, either to hide his embarrassment or to
conceal a secret. And in that moment when Light broke
forth for the first time, one would have said that light-rays
darted from the composer’s blazing eyes. The enchantment
of the electrified Viennese was so profound that the
performers could not proceed for some minutes.

The first public performance took place on 19 March 1799, at the

Burgtheater, with a complement of about 180 performers (not 400,
as has been speculated); a benefit for the Tonkünstler followed on 22
December. The work immediately became a staple especially of
charity performances, many conducted by Haydn himself, which
brought in tens of thousands of gulden. ‘I know that God has
favoured me’, he said to Griesinger, ‘but the world may as well know
that I have been no useless member of society, and that one can also
do good by means of music’. Beyond this, The Creation ‘made
history’ immediately and on a pan-European scale in a way equalled
by no other composition, owing to its fortunate combination of
sublime subject, cultural-historical ‘moment’ on the cusp between
Enlightenment and Romanticism, appeal to both high-minded and
ordinary listeners, Haydn’s unrivalled stature and the originality and
grandeur of his music. His pride in and personal identification with
the work, in addition to his usual concern for financial advantage,
induced him to publish it himself, selling it ‘by subscription’ all over
Europe, with the assistance of colleagues such as Dr Burney; his
advertisement (June 1799) reads:

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 The success which my Oratorio The Creation has been
fortunate enough to enjoy … [has] induced me to arrange
for its dissemination myself. Thus the work will appear …
neatly and correctly engraved and printed on good paper,
with German and English texts; and in full score, so that [at
least] one work of my composition will be available to the
public in its entirety, and the connoisseur will be in a
position to see it as a whole and to judge it.

The edition appeared at the end of February 1800 with a list of more
than 400 subscribers.

By spring 1799 Haydn and Swieten were planning a second oratorio,

The Seasons, with a libretto based on James Thomson’s pastoral epic
of 1726–8; Haydn composed the music apparently from autumn 1799
to the end of 1800. He suffered a serious illness in winter 1800–01,
as the work neared completion, during which he again identified
with his own oratorio. His pupil Sigismund Ritter von Neukomm
reported:

Speaking of the penultimate aria, ‘Behold, O weak and

foolish man, Behold the picture of thy life’ … he said: ‘This
aria refers to me!’ And in this wonderful masterpiece he
really did speak entirely from his inmost soul, so much so
that he became seriously ill while composing it, and … the
Lord … allowed him to see ‘his life’s image and his open
grave’.

The private première at the Schwarzenberg Palace took place on 24

April 1801, the first public production on 19 May. Although the
initial reception of The Seasons was favourable – Haydn wrote to
Clementi that it had enjoyed ‘unanimous approval’ and that ‘many
prefer it to The Creation, because of its greater variety’ – critical
opinion soon became mixed, owing in part to its perceived ‘lower’
subject, in part to a growing aesthetic resistance to its many
pictorialisms. Haydn himself contributed to both strands of criticism:
he supposedly said to Francis II, ‘In The Creation angels speak and
tell of God, but in The Seasons only Simon speaks’ (Dies); and he
indiscreetly criticized Swieten’s croaking frogs (‘Frenchified trash’)
and the absurdity of a choral hymn to toil (Fleiss). Nonetheless he
maintained that it would join The Creation in assuring his lasting
fame. For the publication he took the path of lesser resistance,
selling the rights to Breitkopf & Härtel.

Other than masses, Haydn’s only important liturgical work from this
period is the Te Deum ‘for the Empress’ (HXXIIIc:2), probably
composed in 1800 and apparently first given in September in
Eisenstadt, perhaps in conjunction with the visit there of Lord
Nelson (whence the nickname ‘Nelson Mass’ for the Missa in
angustiis). A very different kind of vocal composition is represented
by the 13 partsongs (HXXV), composed in the years 1796–9. A
number of lieder and canons date from the same years; the latter
were also ‘private’ works, the autographs of which Haydn framed
and mounted on the walls of his house. A chapter in its own right is
the hundreds of arrangements of British folksongs he sold to the

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 publisher George Thomson in Edinburgh, not all from his own pen;
as in so many other respects, Beethoven followed him in this
lucrative commission.

In 1799 Haydn began to complain of physical and mental weakness.

He wrote to Härtel in June:

Every day the world compliments me on the fire of my

recent works, but no one will believe the strain and effort it
costs me to produce them. Some days my enfeebled memory
and the unstrung state of my nerves crush me to the earth
to such an extent that I fall prey to the worst sort of
depression, and am quite incapable of finding even a single
idea for many days thereafter; until at last Providence
revives me, and I can again sit down at the pianoforte and
begin to scratch away.

Indeed his productivity began to decline about this time, although

his music continued to gain in ‘fire’ and cogency as long as he
continued to compose. His last major completed work was the
Harmoniemesse given in September 1802; there followed only
(perhaps) the ‘Hungarian National March’ (HVIII:4; referred to in a
letter of November) and the unfinished String Quartet op.103 of
1802–3, originally intended to go with op.77 to complete an opus of
three (published 1806, dedicated to Count Moritz von Fries). He
deeply regretted his loss of the stamina and concentration necessary
for composition. On 6 December 1802 he thanked Pleyel for the
receipt of the latter’s edition of his complete string quartets, adding:
‘I only wish that I could have back 10 years of my advanced age, so
that I could provide you with something new of my composition –
perhaps – despite everything – it can still happen’; a draft or
alternative version (printed by Griesinger) of the letter to Härtel
quoted above includes the passage: ‘It is almost as if with the
decline in my mental powers, my desire and compulsion to work
increase. O God! how much remains to be done in this glorious art,
even by such a man as I have been!’ One inevitably thinks of
Beethoven, who would soon prove him right: their relationship was
difficult around the years 1798–1803, owing to Beethoven’s ‘anxiety
of influence’ vis-à-vis Haydn, the crisis of his deafness, Haydn’s
increasing frailty and their mutual ambivalence regarding
Beethoven’s eventual assumption of the mantle of greatest living
composer.

In the same letter Haydn also complained about the press of

business (he was then arranging the self-publication of The
Creation). Härtel added to that burden by initiating negotiations
towards the publication of the so-called Oeuvres complettes (1800–
06). This was not a complete edition but comprised salable works for
or with piano, analogous to an edition of Mozart already under way.
In this connection Härtel sent Haydn a list of compositions
attributed to him, asking him to pronounce on their authorship;
Haydn (rather casually) did so. This was the first of several
initiatives that led to Haydn’s and Elssler’s production in 1805 of the

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 comprehensive ‘Catalogue of all those compositions that I
approximately recall having composed from my 18th to my 73rd
year’, or ‘Haydn-Verzeichnis’.

In 1800 Haydn’s wife died, leaving much of her modest estate to

him. No longer interested in marriage, he signed a declaration in
which he promised to marry Luigia Polzelli or no-one, as well as to
bequeath her 300 gulden a year (a sum he later reduced to 150). In
May–June 1801 he drew up his will; the largest bequests were to his
two brothers, but he also included among the beneficiaries many
other relatives, former benefactors (and perhaps lovers), servants,
religious and charitable institutions. From 1800 on he received a
steady stream of distinguished visitors, honours and medals of which
a gold medal from and honorary citizenship of the City of Vienna, in
recognition of his charitable performances, meant the most to him.
He also continued to talk shop with younger musicians; in addition
to Pleyel and Beethoven, those who benefited included Anton
Wranitzky, Neukomm, Reicha, Eybler, Weigl, Seyfried, Hummel,
Diabelli, Kalkbrenner and Weber.

Haydn’s last public musical function was on 26 December 1803,

when he conducted the Seven Last Words. Thereafter he mainly
stayed at home in Gumpendorf; after 1805 he wrote no letters in his
own hand. His youngest brother Johann died in Eisenstadt in that
year, and Michael (who in 1801–2 had declined an invitation to
succeed him as Esterházy Kapellmeister) followed in 1806. His last
public appearance of any kind was on 27 March 1808, at a gala
performance of The Creation in honour of his 76th birthday, in the
Great Hall of the University. He signed his last will on 7 February
1809, altered primarily to reflect the many deaths that had taken
place in the meantime. It disbursed about 24,000 gulden; his estate
totalled about 55,000 gulden. During the spring he progressively
weakened and had to be cared for by Elssler and other servants. His
final decline was hastened by the French bombardment of Vienna on
11–12 May; Napoleon ordered that a guard of honour be stationed at
his house, and his last known visitor was a French officer who paid
his respects and sang an aria from The Creation. After playing the
‘Emperor’s Hymn’ on 26 May ‘with such expression and taste that
our good Papa was astonished about it himself … and was very
pleased’ (Elssler), he had to be assisted to bed; he did not rise again.
He died at about 20 minutes before 1 a.m. on 31 May; owing to the
war only a simple burial was possible, the following afternoon. On 15
June a solemn memorial service was held in the Schottenkirche, with
a performance of Mozart’s Requiem. His remains are now interred in
the Bergkirche in Eisenstadt.

6. Character and personality.

James Webster

The traditional image of Haydn’s personality has been that of ‘Papa

Haydn’: pious, good-humoured, concerned for the welfare of others,
proud of his students, regular in habits, conservative. Although not
inaccurate, it is one-sided; it reflects the elderly and increasingly

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 frail man his first biographers knew. Insight into the personality and
behaviour of the vigorous and productive composer, performer,
Kapellmeister, impresario, businessman, conqueror of London,
husband and lover, whose career had already spanned 50 years
when Griesinger met him in 1799, must be inferred from his
correspondence (which is more revealing than is usually assumed)
and from other sources.

Haydn’s public life exemplified the Enlightenment ideal of the

honnête homme: the man whose good character and worldly success
enable and justify each other. His modesty and probity were
everywhere acknowledged (he was occasionally entrusted with
secret diplomatic communications). These traits were not only
prerequisites to his success as Kapellmeister, entrepreneur and
public figure, but also aided the favourable reception of his music. A
more appropriate sense of ‘Papa’ would be that of ‘patriarch’, as in
the resolution making him a life member of the Tonkünstler-Societät
in 1797, ‘by virtue of his extraordinary merit as the father and
reformer of the noble art of music’. The many younger musicians
who benefited from his teaching and advice, as well as the court
performers whom he directed, seem to have regarded him as a
father-figure, or kindly uncle; he was well disposed towards them
and helped them as he could, although there is little evidence that
he thought of them as substitutes for the children he (apparently)
never had.

When conditions permitted (i.e. in Vienna and London) Haydn

enjoyed a rich emotional and intellectual life. In addition to his
intimate relationships with Polzelli, Genzinger and Schroeter, he
developed warm friendships with Mozart and Albrechtsberger; with
Burney, Dr and Mrs Hunter and Therese Jansen; with an unnamed
man to whom he wrote from Vienna in December 1792 (in English),
playing the role of honorary godchild: ‘I rejoice very much that my
handsome and good Mother Susana has changed her state … I wish
from all my heart, that my Dear Mother may at my arrival next year
present me a fine little Brother or Sister’; with ‘my dear’ Nancy
Storace and ‘my very dearest’ Nanette Bayer (a ‘great genius’ of a
pianist, employed by Count Apponyi) and many others. His
observations in the London Notebooks reveal an active interest in
every aspect of social life and culture, ‘high’ and ‘low’ alike. He was
interested in literature, art and philosophy and gladly circulated and
corresponded with intellectuals and freemasons, albeit without
pretensions to being an intellectual himself.

Haydn’s character was marked by a duality between earnestness

and humour. F.S. Silverstolpe, who saw much of him during the
composition of The Creation, reported:

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 I discovered in Haydn as it were two physiognomies. One
was penetrating and serious, when he talked about anything
sublime, and the mere word ‘sublime’ was enough to excite
his feelings to visible animation. In the next moment this air
of exaltation was chased away as fast as lightning by his
usual mood, and he became jovial with a force that was
visible in his features and even passed into drollery. The
latter was his usual physiognomy; the former had to be
induced.

The many anecdotes about Haydn’s youthful propensity to practical

joking, however implausible individually, must collectively reflect
some reality. Griesinger found that ‘a guileless roguery, or what the
British call humour, was one of Haydn’s outstanding characteristics’.
But he was also a devout Catholic: he inscribed most of his
autographs ‘In nomine Domini’ at the head and ‘Laus Deo’ at the
end, and composed major works in honour of the Virgin, including
the Stabat mater, the Salve regina in G minor, and the Missa
Cellensis and ‘Great Organ Mass’. His most important instrumental
work of the 1780s was arguably the Seven Last Words. He identified
personally with The Creation and the religious portions of The
Seasons and came to think of the former in overtly moralistic terms,
as he wrote in 1801:

The [story of the] Creation has always been considered the

sublimest and most awe-inspiring image for mankind. To
accompany this great work with appropriate music could
certainly have no other result than to heighten these sacred
emotions in the listener’s heart, and to make him highly
receptive to the goodness and omnipotence of the Creator.

Haydn’s personality was more complex than has usually been

thought. His marriage was unhappy, and he was often lonely and at
times melancholy. In May 1790 he wrote to Mme Genzinger: ‘I beg
Your Grace not to shy away from comforting me by your pleasant
letters, for they cheer me up in my isolation, and are highly
necessary for my heart, which is often very deeply hurt’. Nor was it
only a question of his physical and social isolation at Eszterháza;
from London he wrote to Polzelli of his ‘melanconia’ in much the
same terms.

His modesty, genuine though it was, had distinct limits. He took

pride in his works, notably including his vocal music; he wrote to
Artaria in October 1781:

My lieder, through their variety, naturalness, and beautiful

and grateful melodies, will perhaps surpass all others …
Now something from Paris: Mr leGros … wrote me all sorts
of nice things about my Stabat mater, which was given … to
the greatest applause … They were surprised that I was so
extraordinarily successful in vocal music; but I wasn’t
surprised at all, for they haven’t heard anything yet. If they
could only hear … my most recent opera La fedeltà
premiata! I assure [you] that nothing comparable has yet
been heard in Paris, and perhaps not even in Vienna.
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 Haydn prized his status as an original (see §7); he bluntly rejected
the notion that Sammartini might have been an influence on his
early string quartets, adding (to Griesinger) that he acknowledged
only C.P.E. Bach as a model. He was sensitive to criticism: he
resented north Germans’ rejection of his stylistic mixture (which
seemed to them a breach of decorum), was jealous of Joseph II’s
patronage of inferior composers such as Leopold Hofmann (whose
‘Gassenlieder’ in particular he intended to surpass), and railed
against those who pointed out technical flaws such as parallel 5ths
in his late music. He took pains to forestall potential criticism of the
similar beginnings of the sonatas HXVI:36/ii and 39/i by printing a
prefatory note asserting that he had done this deliberately, ‘in order
to show different methods of realization’. After Mozart’s death he
willingly accepted the role of greatest living composer; in London he
actively defended his ‘rank’ against Pleyel’s challenge. Despite his
grateful dependence on Swieten for librettos and patronage by the
Associirten, behind Swieten’s back he gibed that his symphonies
were ‘as stiff as the man himself’ and ridiculed the libretto of The
Seasons. His despair at no longer being able to compose after 1802
was doubtless fuelled in part by resentment at Beethoven’s success
in pushing forward into new domains of music – domains that he
believed would have lain open to him if only his health had not
failed.

Although Haydn often protested his devotion to the Esterházy

princes, ‘in whose service I wish to live and die’ (1776), and praised
Nicolaus for providing the conditions under which his art could
develop, his attitude towards the court was never subservient and
over time became increasingly ambivalent. He did not hesitate to
assert his interests and those of his musicians against the court
administration: these interventions were usually successful
(including, for example, re-engaging Polzelli and her husband and
keeping them on the payroll for ten years). The relationship between
Nicolaus and Haydn was not merely that of prince and employee:
their playing baryton trios together (Haydn presumably on the viola)
was by definition intimate music-making, and according to Framery
the composer had to restore the prince from attacks of depression
(Haydn himself described this in March 1790, admittedly during
Nicolaus’s bereavement). After 1780 he became increasingly
independent of the court both compositionally and financially, and he
hated having to abandon the artistic and social pleasures of Vienna
for distant Eszterháza. After Nicolaus’s death he was de facto a free
artist. In a letter of September 1791 to Mme Genzinger his
ambivalence is palpable:

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 This little bit of freedom, how sweet it tastes! I had a good
prince, but at times I was forced to be dependent on base
souls. I often sighed for release; now I have it in some
measure … Even though I am burdened with more work, the
knowledge that I am not bound to service makes ample
amends for all my toil. And yet, dear though this freedom is
to me, I long to be in Prince Esterházy’s service on my
return, if only for the sake of my poor family. However, I
doubt that this longing can be satisfied, in that my prince …
absolutely demands my immediate return, which however I
cannot comply with, owing to a new contract I have entered
into here.

Indeed, London won out. Yet in 1795 he was glad to become

Kapellmeister again – although only on condition of minimal duties.

As regards money, Haydn was so self-interested as to shock both

certain high-minded contemporaries (Joseph Martin Kraus, Friedrich
Rochlitz) and many later authorities. Whereas until 1749 he
presumably suffered nothing worse than ordinary schoolboy
privations, during his early freelance years he lived in poverty, an
experience he was determined never to repeat. He always attempted
to maximize his income, whether by negotiating the right to sell his
music outside the Esterházy court, driving hard bargains with
publishers or selling his works three and four times over; he
regularly engaged in ‘sharp practice’ and occasionally in outright
fraud. When crossed in business relations, he reacted angrily. At
times his protestations of straitened circumstances were mendacious
(as when denying Polzelli’s requests for money), or perhaps self-
deceptive. Yet Haydn was generous. He supported his brother
Johann for decades and bequeathed substantial sums to relatives,
servants and those who had supported him in his youth, and took
pride in the large sums generated for charity by performances of his
oratorios.

Haydn’s appearance is known from various descriptions and from

many paintings and busts. He was not handsome; he was ‘small in
stature, but sturdily and strongly built. His forehead was broad and
well modelled, his skin brownish, his eyes lively and fiery, his other
features full and strongly marked, and his whole physiognomy and
bearing bespoke prudence and a quiet gravity’ (Griesinger); but he
also had an overlarge nose, exacerbated by his long-term polyp, and
was pock-marked (Dies). Of the many contemporary images only a
few avoid idealizing their subject. From about 1768 there is a
portrait by Grundmann, the Esterházy court painter, showing the
young and self-assertive Kapellmeister in uniform. More
conventional in both facial features and the pose at the keyboard are
the various images based on a lost painting of uncertain date by
Guttenbrunn (fig.2; Haydn’s wife and Griesinger claimed that it was
a good likeness) and the engraving by Mansfield (1781) published by
Artaria. There is a good miniature from about 1788. From London
we have formal portraits by Hoppner and Hardy, of which the former
has the more personality; still more is conveyed in the drawing by
George Dance (in two versions), which Haydn claimed was the best

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 likeness of himself. Several sculptures survive from the last Vienna
years, including two busts by Grassi; there is also a deathmask,
taken by Elssler.

7. Style, aesthetics, compositional method.

James Webster

Haydn’s style was understood in his own day as unique. He famously

commented to Griesinger:

My prince was satisfied with all my works; I received

approval. As head of an orchestra I could try things out,
observe what creates a [good] effect and what weakens it,
and thus revise, make additions or cuts, take risks. I was cut
off from the world, nobody in my vicinity could upset my
self-confidence or annoy me, and so I had no choice but to
become original.

By ‘original’ he seems to have meant that he belonged to no school

and acknowledged few if any models. However, in late 18th-century
aesthetics originality also implied genius, a link emphasized among
others by Kant.

In many ways Haydn’s style can be understood as analogous to the

duality in his personality between earnestness and humour. He said
as much when referring to his method of composition: ‘I sat down [at
the keyboard] and began to fantasize, according to whether my
mood was sad or happy, serious or trifling’. Of course, in his music
these qualities are not unmediated binary opposites but poles of a
continuum. Admittedly, since about 1800 wit has been the better
understood pole. Johann Karl Friedrich Triest wrote (1801) of his
‘unmistakable manner’: ‘what the English call “humour”, for which
the German Laune does not quite provide an exact equivalent’.
Haydn’s ‘unique’ or ‘inimitable’ Laune was a frequent motif in
contemporary criticism. Most of the familiar nicknames for his works
respond to features that listeners have taken as humorous; e.g. the
‘Surprise’ Symphony or the ‘Joke’ Quartet op.33 no.2. In other cases
the wit is on a higher plane, e.g. the ‘ticking’ accompaniment in the
slow movement of the ‘Clock’ Symphony, no.101. The crucial point,
however, is that Haydn’s popular style is not a simple projection of
his personality, but his compositional ‘persona’ or ‘musical
personality’, deliberately assumed for complex artistic purposes.
Indeed ‘wit’ signifies intelligence as well as humour: his
inexhaustible rhythmic and motivic inventiveness, the conversational
air of many quartet movements, his formal ambiguity and caprice,
his brilliant and at times disquieting play with beginnings that are
endings and the reverse (the ‘Joke’ Quartet ending has stimulated
half a dozen learned exegeses). Often Haydn’s wit shades into irony,
as was recognized by his contemporaries: ‘Haydn might perhaps be
compared, in respect to the fruitfulness of his imagination, with our
Jean Paul [Richter] (omitting, obviously, his chaotic design;
transparent representation (lucidus ordo) is not the least of Haydn’s
virtues); or, in respect to his humour, his original wit (vis comica)

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 with Lor. Sterne’ (Triest). In fact, his irony goes beyond wit: a
passage may be deceptive in character or function (the D major
interlude in the first movement of the ‘Farewell’ Symphony sounds
like a minuet out of context, but it is not a minuet and plays a crucial
tonal and psychological role), or a movement may systematically
subvert listeners’ expectations until (or even past) the end (the finale
of the Quartet op.54 no.2). Like Beethoven, Haydn often seems to
problematize music rather than merely to compose it (the tonal
ambiguity at the beginning of op.33 no.1).

Earnestness and depth of feeling are equally important to Haydn’s

art. These qualities were less appreciated in the 19th and early 20th
centuries, owing in part to the absence of his vocal music and much
of his earlier instrumental music from the standard repertory, in part
to a lack of sympathy for his extra-musical and ethical concerns
during the age of absolute music. But Griesinger reported: ‘Haydn
said that instead of so many quartets, sonatas and symphonies he
should have composed more vocal music, for he could have become
one of the leading opera composers’. Until about 1800 vocal music
was as responsible for his reputation as instrumental; Gerber wrote
in 1790: ‘around the year 1780 he attained the highest level of
excellence and fame through his church and theatre works’. Like all
18th-century composers, Haydn believed that the primary purpose of
a composition was to move the listener, and that the chief basis of
this effect was song. He was an excellent tenor in the chamber (if
not the theatre). He insisted to Griesinger that a prerequisite for
good music was ‘fluent melody’, and he ‘criticized the fact that now
so many musicians compose who have never learnt how to sing:
“Singing must almost be reckoned one of the lost arts; instead of
song, people allow the instruments to dominate”.

This emphasis on feeling also applies to instrumental music – even

sprightly allegros and minuets – and throughout Haydn’s career.
Much of his early music is earnest, at times even harsh; see the
keyboard Trio HXV:f1, the String Trio HV:3, the slow movement of
the String Quartet op.2 no.4, Symphony no.22 and much else, to say
nothing of vocal works such as the Stabat mater and the Salve
regina in G minor. Many of his keyboard works are affective in an
intimate way: he wrote to Mme Genzinger regarding the Adagio of
Sonata no.49: ‘It means a great deal, which I will analyse for you
when I have the chance’. His orchestral music ‘signified’ as well: the
slow introductions to the London symphonies are implicit
invocations of the sublime, and this topic became overt in the Chaos–
Light sequence in The Creation and elsewhere in his late sacred
vocal music. Many works that were later taken as humorous he did
not intend as such, for example the ‘Farewell’ Symphony. Similarly,
even at his wittiest or most programmatic he never abandons tonal
and formal coherence.

The duality between earnestness and wit is analogous to the 18th-

century distinctions between connoisseurs (‘Kenner’) and amateurs
(‘Liebhaber’), and between traditional or learned and modern or
galant style. These dualities characterize many of Haydn’s works,
groups of works and even entire periods. In his pre-Esterházy
instrumental music, genre was a primary determinant of style:
modest, unpretentious divertimentos, quartets and keyboard

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 concertinos etc. stand seemingly opposed to larger-scale
symphonies, string trios and keyboard trios. The three op.20
quartets with fugal finales project, in order of composition, severe
tradition (no.5), the galant (no.6) and a studied mixture of both (no.
2); yet these monuments to high art originated precisely in the
middle of his baryton-trio decade. In the late 1770s most of his
symphonies were unambiguously intended as entertainment, but no.
70 is selfconsciously learned. In 1785–90 he composed some 45
weighty symphonies, quartets and piano works, but also lyre
concertos and notturnos, flute trios and other light works. Of course,
the distinction between ‘art’ and ‘entertainment’ cannot be
simplistically correlated with differences in artistic quality. Haydn’s
early string quartets are arguably his most polished pre-Esterházy
works; the baryton trios and lyre notturnos are finely wrought
compositions, as rewarding in their way as the raw expressionism of
the ‘Sturm und Drang’. These stylistic dualities are found even in his
late sacred vocal music and long hindered its appreciation. His
quotation of the buffa-like contredanse from no.32 of The Creation in
the Schöpfungsmesse so offended the empress that she insisted that
he alter it in performances at the Habsburg court, many of her high-
minded contemporaries took offence at the ‘Tändeleien’ (trifling) and
dance-like triple metres in his late masses, and as recently as the
1970s noted authorities still wrote of the ‘triviality’ of the Kyrie of
the Missa in tempore belli. Now, however, their stylistic heterodoxy
seems as gloriously uplifting as that of Die Zauberflöte.

Haydn usually juxtaposes or contrasts stylistic dualities rather than

synthesize them. Perhaps he approaches synthesis most closely
when an ostensibly artless or humorous theme later changes in
character (e.g. Symphony no.103, minuet) or is subjected to
elaborate contrapuntal development; the latter is especially
characteristic of finales (e.g. Symphony no.99; Beethoven twice
copied out the development section). In general, Haydn’s art is
based on the traditional principle of variety within unity. ‘Once I had
seized upon an idea’, he said to Griesinger, ‘my whole endeavour
was to develop and sustain it in keeping with the rules of the art’. A
Haydn movement works out a single basic idea; the ‘second theme’
of his sonata forms is often a variant of the opening theme. Often
this part of the exposition forswears thematic statements altogether,
in favour of unstable developmental passages (his ‘expansion
section’); stability is restored only in the position of the usual closing
theme. To be sure, that working out usually entails many contrasting
treatments and effects (Haydn: ‘light and shade’, i.e. chiaroscuro):
the second theme usually differs in treatment, and the recapitulation
brings fresh developments; in his double-variation slow movements
the alternating major and minor themes are usually variants of each
other. Thus both novelty and continuity are maintained from
beginning to end.

In one respect, however, Haydn deliberately courted a union of

opposites: his ‘popular’ style that simultaneously addressed the
connoisseur. ‘If one wanted to describe the character of Haydn’s
compositions in just two words, they would be … artful popularity or
popular (easily comprehensible, effective) artfulness’ (Triest). No
other composer – not even C.P.E. Bach or Mozart – had Haydn’s gift
of writing ostensibly simple or folklike tunes of wide appeal, and

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 broadly humorous sallies, that concealed (or developed into) the
highest art. Indeed these aspects of his style intensified in his
London and late Vienna years, along with the complexity of his music
and its fascination for connoisseurs. One of the best early comments
on Haydn’s music was Gerber’s: he ‘possessed the great art of
appearing familiar in his themes’ (emphasis added): that is, their
popular character is neither merely given nor a direct reflection of
his personality, but the result of calculated artistic shaping. This
becomes obvious when he employs folk tunes, as in the Andante of
Symphony no.103 and the finale of no.104: the piquant raised fourth-
degree of the one, the horn pedal of the other, are not quoted, but
adapted to the character of a grand symphony. Haydn’s ‘pretension
… to a simplicity that appears to come from Nature itself is no mask
but the true claim of a style whose command over the whole range of
technique is so great that it can ingenuously afford to disdain the
outward appearance of high art’ (Rosen, I1971).

Many aspects of Haydn’s music can be appreciated only by ignoring

the concept of ‘Classical style’. These include lean orchestration
(Haydn: ‘no superfluous ornaments, nothing overdone, no deafening
accompaniments’), in which the planes of sound do not compactly
blend but remain distinct, nervous bass lines, constant motivic-
thematic development and a rhythmic vitality and unpredictability
that can become almost manic, as in the finales of many late string
quartets and piano trios. Many Haydn movements are progressive in
form, continually developing (e.g. the first movements of
Symphonies nos.92 and 103); on a still larger scale, many works
exhibit tendencies towards through-composition or ‘cyclic’
organization; a few are as tightly integrated as any work of
Beethoven (e.g. the ‘Farewell’ Symphony and no.46; the string
quartets op.20 no.2, op.54 no.2 and op.74 no.3; Piano Sonata no.30).

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 11. Title-page of Haydn’s ‘Erdődy’ Quartets op.76 (Vienna: Artaria,
1799)

Haydn was also a master of rhetoric. This is a matter not only of

musical ‘topoi’ and rhetorical ‘figures’ but also of contrasts in
register, gestures, implications of genre and the rhythms of
destabilization and recovery, especially as these play out over the
course of an entire movement. Referential associations are common
in his instrumental music, especially symphonies (nos.6–8, 22, 26,
30–31, 44–5, 49, 60, 64, 73, 100); they invoke serious human and
cultural issues, including religious belief, war, pastoral, the times of
day, longing for home, ethnic identity and the hunt. Haydn told
Griesinger and Dies that he ‘often portrayed moral characters in his
symphonies’ and that one early Adagio presented ‘a dialogue

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 between God and a foolish sinner’ (unidentified; perhaps from no.7,
22 or 26). In his vocal music Haydn (like Handel) was a brilliant and
enthusiastic word-painter. This trait is but one aspect of his musical
imagery in general: in addition to rhetorical figures and ‘topoi’ it
comprises key associations (e.g. E♭ with the hereafter), semantic
associations (e.g. the flute with the pastoral) and musical
conceptualizations (e.g. long notes on ‘E-wigkeit’ in The Creation or
‘ae-ter-num’ in the late Te Deum).

Like all 18th-century composers, Haydn composed for his audiences

(which term includes his performers). He calculated Piano Sonata
no.49 expressly for Mme Genzinger; in his piano works of 1794–6 he
systematically differentiated between a difficult, extroverted style
for Therese Jansen and a less demanding, intimate one for Rebecca
Schroeter. Regarding the Piano Trio HXV:13 he wrote to Artaria: ‘I
send you herewith the third trio, which I have rewritten with
variations, to suit your taste’ – i.e. Artaria’s estimate of the taste of
Haydn’s market. When he went to London, his music for public
performance became grander and more brilliant. He disliked having
to compose without knowing his audience, as he wrote regarding
Applausus: ‘If I have perhaps not divined the taste of [the
musicians], I am not to be blamed for this; neither the persons nor
the place are known to me, and the fact that they were concealed
from me truly made my work distasteful’.

‘I was never a hasty writer, and always composed with deliberation

and diligence’, Haydn told Griesinger. His method encompassed
three stages: ‘phantasieren’ at the keyboard in order to find a viable
idea (see above), ‘komponieren’ (working out the musical substance,
both at the keyboard and by means of shorthand drafts, usually on
one or two staves) and ‘setzen’ (writing the full score). Sketching
was a regular procedure: although drafts survive for only a modest
proportion of his music, they comprise works in all genres and all
types of musical context (including recitatives). A draft for the finale
of Symphony no.99 confirms Griesinger’s description of his use of
numbered cross-references to organize a series of passages
originally written down in a different order. His surviving autographs
by and large are fair copies, which exhibit few corrections and
alterations.

8. Sacred vocal music.

James Webster

Vocal music constitutes fully half of Haydn’s output. Both his first
and last completed compositions were mass settings, and he
cultivated sacred vocal music extensively throughout his career
except during the later 1780s, when elaborate church music was
inhibited by the Josephinian reforms, and the first half of the 1790s
in London.

The Missa brevis in F (HXXII:1) is apparently his earliest surviving

composition; on rediscovering it in old age he pronounced himself
pleased by ‘the melody and a certain youthful fire’ (Dies), which are
enhanced by resourceful contrasts between the two solo sopranos

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 and the chorus. The remaining masses fall into two groups of six
each: nos.2, 4–8 (1766–82; no.3 is probably spurious) and nos.9–14
(1796–1802); except where noted they are of medium length (30 to
40 minutes). The former are notably heterogeneous. The huge and
impressive Missa Cellensis in C (begun 1766) is of the solenne type
(often miscalled ‘cantata mass’); each of the five main sections is
subdivided into numerous complete and independent movements.
These include choruses both festive and ominous, elaborate arias,
ariosos, ensembles and four massive concluding fugues. The Kyrie
and certain arias are traditional in style, while the remainder is
distinctly modern; the fugues are powerfully expressive despite their
contrapuntal fireworks, especially the overwhelming ‘Et vitam
venturi’, which functions not merely as a concluding highpoint but as
the through-composed goal of the entire Credo. The Missa ‘Sunt
bona mixta malis’ (1768) survives only in an autograph fragment
transmitting the Kyrie and the first part of the Gloria; it is not known
whether Haydn completed the work, and the import of ‘mixed good
and bad’ (from a classical proverb) remains obscure. It is set for
chorus and organ continuo in stile antico; strict fugal expositions
alternate with free counterpoint and occasional homophonic
passages. The ‘Great Organ Mass’ in E♭ (c1768–9) is more personal
in tone: the dark english horns contrast with exuberant treble
obbligato organ parts in the Kyrie, Benedictus and Dona nobis
pacem. The Missa Sancti Nicolai (1772) is often described as
‘pastoral’, owing to its key of G major and the lilting 6/4 rhythm of
the Kyrie (which returns for the Dona nobis pacem), although the
Crucifixus and Agnus Dei are serious indeed. In the mid-1770s
followed the ‘Little Organ Mass’ in B♭, a quiet, almost pietistically
fervent missa brevis. The ‘Mariazellermesse’ in C (1782) resembles
the Missa Cellensis in key, scoring and purpose, although it is more
compact and more closely allied with sonata style.

Notwithstanding their semi-private function for the Esterházy court,

Haydn’s six late masses are consummate masterworks that exhibit
no trace of provinciality or the ‘occasional’. He exploits the
complementary functions of soloists and chorus with inexhaustible
freedom and telling effect; owing to his London experience the
orchestra plays a newly prominent role. Four are in B♭, perhaps
because b♭″ was Haydn’s usual highest pitch for choral sopranos (he
employed the same key for the final choruses of Parts 2–3 of The
Creation and Part 1 of The Seasons). The other two are the only ones
for which he provided descriptive titles: the Missa in tempore belli
(‘Mass in Time of War’, 1796) in C features the bright, trumpet-
dominated sound typical of masses in this key; the Missa in angustiis
(‘Mass in [times of] Distress’, later nicknamed ‘Nelson Mass’, 1798)
in D minor and major is scored for a dark orchestra comprising only
trumpets and timpani, strings and organ. Both invoke the travails of
the Napoleonic wars. The Agnus Dei of the former includes
threatening timpani motifs and harsh trumpet fanfares, while the
Benedictus of the latter culminates in another harsh fanfare passage
‘out of context’; both influenced the Agnus Dei in Beethoven’s Missa
solemnis. On the other hand, except for the sombre Kyrie and
Benedictus of the ‘Nelson Mass’, both are otherwise firmly
optimistic; the ending of the latter is downright jaunty.

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 Although Haydn’s late masses indubitably reflect the experience of
the London symphonies, their symphonic character has been
exaggerated. Even in the Kyrie, which usually consists of a slow
introduction and a fast main movement, the latter freely combines
fugato and sonata style in a distinctly unsymphonic way. The Gloria
and Credo are divided into several movements, fast–slow–fast with
the slow middle movement(s) in contrasting keys and featuring the
soloists (e.g. the ‘Qui tollis’ of the Missa in tempore belli, a bass aria
with solo cello in A major; or the ‘Et incarnatus’ of the Heiligmesse,
based on Haydn’s canon Gott im Herzen); they usually conclude with
a fugue on a brief subject, which often enters attacca and always
leads to a homophonic coda. The Sanctus often adopts the ‘majesty’
topic, admixed with mysterious passages; it leads directly into the
brief ‘Pleni sunt coeli – Osanna’, which may or may not return
following the Benedictus. The latter is a long movement and an
emotional highpoint; it usually features the soloists and is in, or
based on, sonata form. The Agnus Dei opens with an initial slow
section, either threatening in the minor or serenely confident in a
remote major key; it leads to a half-cadence and thence to the fast
‘Dona nobis pacem’, usually a free combination of fugato and
homophony, leading (again) to a homophonic wind-up.

The other liturgical works date primarily from the first half of
Haydn’s career; their original destinations and purposes are almost
entirely unknown. According to liturgical function they comprise
offertories (HXXIIIa), Marian antiphons (HXXIIIb), hymns (HXXIIIc)
and pastorellas (HXXIIId; Haydn called them ‘cantilenas’). They vary
widely in style and scale, from the massive, dark, traditional Stabat
bis
mater (HXX , 1767) to the tender devotion of the Lauda Sion hymn
complexes; from the festive jubilation of the choral Te Deum settings
with trumpets and drums in C to the stylized folk idiom of the
pastorellas for solo voices and strings. Even subgenres exhibit
marked contrasts: the Lauda Sion hymns from the 1750s (HXXIIIc:5)
are all in C, Vivace 3/4, while those from the later 1760s (HXXIIIc:4)
are in a tonally interesting set of four different keys and alternate
Andante 3/4 with Largo alla breve. Similarly, the Salve regina in E
(HXXIIIb:1, 1756) features ornate italianate writing for the solo
soprano, whereas that in G minor (HXXIIIb:2, 1771) is expressively
brooding, with no trace of vocal ornamentation. Of the three late
works, the offertory Non nobis, Domine in D minor (HXXIIIa:1, ?
1780s) is an a cappella work reminiscent of the Missa ‘Sunt bona
mixta malis’, while the six ‘English psalms’ of 1794 (HXXIII,
Nachtrag), Haydn’s only Protestant church music, adumbrate the
elevated but plain style of ‘The heavens are telling’ in The Creation.
The late Te Deum ‘for the empress’ (HXXIIIc:2, ?1800), for chorus
and very large orchestra, is an ABA construction of great power and
terseness; it whirls through the very long text in little more than
eight minutes, while still finding time for a double fugue and an
immense climax at the end.

Haydn’s oratorios comprise Il ritorno di Tobia, his revision of

Friebert’s arrangement of the Seven Last Words, The Creation and
The Seasons. The libretto of Tobia (by a brother of Boccherini)
narrates the story of the blind Tobit from the Apocrypha; Haydn
fashioned a magnificent late example of Austrian-Italian vocal music,

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 comprising chiefly long bravura arias, along with three choruses;
most of the recitatives are accompagnati of emotional intensity. In
1784 he revived the oratorio, shortening many of the arias, adding
two magnificent new choruses and supplementing the
instrumentation. The Seven Last Words, a success during Haydn’s
lifetime and beyond, is less popular today, in part because it is not a
full-length work, in part owing to the succession of eight consecutive
adagios which, paradoxically, seem more monotonous than in the
orchestral version. Its most striking movement is the bleak, newly
composed introduction to the second part, scored for wind alone and
set in A minor, a key Haydn hardly ever used.

The Creation is Haydn’s most loved work today, as it was in his

lifetime. Part 1 treats the First to Fourth Days (the creation of light,
land and sea, plant life, heavenly bodies), Part 2 the Fifth and Sixth
(animals, birds, fish, man and woman); each Day comprises
recitative on prose from Genesis, a commentary set as an aria or
ensemble, another recitative and a choral hymn of praise. Part 3
abandons the Bible; it amounts to a cantata devoted to Adam and
Eve and to further praise of heaven. The optimistic tone is enhanced
by the increasing brilliance and complexity of the choruses as the
work proceeds; they reflect Haydn’s experience of Handel in
England. Also reminiscent of Handel (not that Haydn needed the
stimulus) are the many word- and scene-paintings, of which the most
striking include the emergence of the oceans and mountains
(‘Rolling in foaming billows’), the sunrise and moonrise, the birds of
‘On mighty pens’ and the teeming low strings of ‘Be fruitful all’;
though often taken as humorous, these conceits are essential to the
Enlightenment optimism of the work. The famous ‘Representation
Chaos’ (or ‘Idea of Chaos’: Vorstellung implies both meanings) is not
literally chaotic but paradoxical: beginning in C minor mystery, it
initiates a larger process which points beyond itself, and acquires
meaning only with the choral climax on ‘And there was light!’ in C
major. The remainder of Part 1 takes place, as it were, during the
reverberation of this event; its triumphant concluding chorus ‘The
heavens are telling’ is again in C. By contrast, the final sections
dealing with ourselves shift to the ‘human’ key of B♭ and its
subdominant E♭. Although Part 3 opens in a radiant, astonishingly
remote E major for the Garden of Eden, it soon reverts to F and C
for the gigantic ‘Lobgesang’ and, via E♭ for Adam’s and Eve’s
lovemaking in earthy Singspiel style, to B♭ for the final choral fugue.

The libretto of The Seasons presents scenes of nature and country

life; the narrator-function is personified as the moralizing peasants
Simon, Jane and Lucas. The scenic aspects stimulated Haydn to his
best efforts: the storms of late winter, the farmer sowing his seed to
the tune of the Andante of the ‘Surprise’ Symphony, a sunrise that
outdoes that in The Creation, the thick C minor fogs of early winter,
and the multi-movement depiction of summer heat, first languid,
then oppressive, finally exploding in Haydn’s greatest storm. Among
the genre scenes those for the chorus are unsurpassed, notably at
the end of Autumn: first the hunt, from sighting to chase to kill to
celebration (the horns quote numerous actual hunting calls, and join
the trombones and strings in double grace notes for the baying of
the hounds), and cast in progressive tonality from D to E♭; then the
drinking chorus in C, with increasingly uncertain harmonizations of

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 a prominent high note for the raising of glasses, a dance in 6/8
leading to an inebriated fugue and a breathless wind-up that may
have inspired the end of Verdi’s Falstaff. Other important choruses
are pastoral (‘Komm, holder Lenz’) and religious: ‘Ewiger, mächtiger,
gütiger Gott’ at the end of Spring, Haydn’s most massive chorus
(itself run on from the preceding trio, the two movements as a whole
in ‘progressive tonality’); and the concluding ‘Dann bricht der grosse
Morgen an’, in which we enter heaven in a blaze of C major glory,
resolving the C minor of the beginning of Winter. Notwithstanding
its less exalted subject, The Seasons is compositionally more
virtuoso than The Creation and offers greater variety of tone:
Haydn’s pastoral is one of the final glories of a tradition that is more
than ‘high’ enough.

In Haydn’s sacred vocal music the aesthetics of through-composition

is a matter not only of cyclic integration, but of doctrine and
devotion. Many of these works are organized around the conceptual
image of salvation, at once personal and communal, achieved at or
near the end: a musical realization of the desire for a state of grace.
This is especially clear in a relatively brief work such as the Salve
regina in G minor, where the astonishing vocal entry on an
augmented sixth chord is not really resolved until the end, when
Haydn ‘hears’ the supplicants’ prayer by turning to the major.
Particularly in his late sacred music such concepts are wedded to the
sublime: not only in the Creation of Light, which expresses that
which is otherwise unthinkable – the origins of the universe and of
history – but also in the choruses that conclude each part of The
Creation, ‘Spring’ and ‘Winter’ in The Seasons and many movements
of the late masses.

9. Secular vocal music.

James Webster

Haydn’s stage works comprise 13 Italian operas, four Italian

comedies (with spoken dialogue rather than recitative), five or six
German Singspiele and incidental music for plays, of which only
Symphony no.60, ‘Il distratto’, survives; almost all were composed
for the Esterházy court. Those predating 1766 are lost, except for
fragments of the festa teatrale Acide (1762, revised 1773) and of the
commedia Marchese (1762–3). His three operas from the late 1760s
become increasingly long and complex. The two-act intermezzo La
canterina (1766) has wonderful comic scenes centring on the jealous
singing teacher Don Pelagio and his charge Gasparina (who
‘overreacts’ to being thrown out of his house with a distraught aria
in C minor); each act ends with a quartet. Lo speziale (1768), in
three acts, is called a dramma giocoso and is based on a libretto of
this type by Goldoni, but the Esterházy version eliminates the two
parti serie. It has many new features, including a ‘Turkish’ aria with
‘exotic’ key-relations and rhythms and a graphic portrayal of the
effects of the apothecary’s remedies for constipation. The concluding
trio and quartet of the first and second acts, respectively, include
real dramatic action. The three-act Le pescatrici (1769–70), also
based on Goldoni, is a true dramma giocoso including the ‘serious’

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 Prince Lindoro and Eurilda, an heiress to a principality who has been
raised as a simple fisherwoman; their music is in ‘high’ style, and
Eurilda (in distinction to the eponymous fisherwomen) takes no part
in the comic ensembles. It has more ensembles, in proportion to its
total length, than any other Haydn opera, although the majority are
‘choruses’ in primarily homophonic style. Among the latter is the Act
3 ‘Soavi zeffiri’, whose E major tonality and depiction of sea breezes
resemble Mozart’s ‘Placido è il mar’ in Idomeneo and ‘Soave sia il
vento’ in Così fan tutte.

After a pause, in 1773 Haydn composed L’infedeltà delusa, a

‘burletta per musica’ in two acts based on a libretto by the
‘reforming’ librettist Marco Coltellini. For the last time there are no
serious characters; the opera portrays an idealized peasant life (with
much lampooning of the nobility) and the characters are concerned
only to set their mismatched affections aright. From the same year
comes the German Philemon und Baucis, originally a marionette
opera but surviving only in an adaptation for the stage. The
moralizing plot is based on the old theme of the god or king who is
spiritually renewed by the incorruptible virtue of simple peasants;
musically it is similar to L’infedeltà, with the addition of impressive D
minor music in the overture and a thunderstorm chorus preceding
Jupiter’s arrival.

Most of Haydn’s remaining operas for Eszterháza are in three acts

and are drammi giocosi or other subgenres that mix comic and
serious characters. In 1775 he composed L’incontro improvviso on a
libretto adapted from Gluck’s La rencontre imprévue; it is a harem-
rescue plot set in the orient, as in Mozart’s Die Entführung aus dem
Serail, although many incidents lack sufficient motivation. The
heroine Rezia and her rescuer Prince Ali are the serious characters,
while lower-class characters provide broad ‘exotic’ humour. In a
subplot Rezia uses her confidantes Balkis and Dardane to test Ali’s
fidelity (the gender-reversal is noteworthy); their Act 1 trio in the
harem, with three sopranos sharing chromatic lines full of
suspensions, is an invocation of timeless pleasure. In 1777 followed
Il mondo della luna, based on Goldoni’s popular libretto; the hero
Ecclitico dupes the elderly Buonafede into supposing he has
travelled to the moon (staged as an exotic, luxurious kingdom) and
eventually into assenting to Ecclitico’s marriage to his daughter
Clarice (and two other marriages for good measure). The keys C and
E♭ symbolize Earth and Moon respectively, the representation of the
journey in the Act 1 finale being particularly magical, as is the Act 3
duet for the two principals. La vera costanza (1778–9, revised 1785),
on a libretto by Francesco Puttini previously set by Anfossi, is
Haydn’s fullest exploration of the ‘sentimental’ subgenre of opera
buffa. Rosina, secretly married to the half-mad Count Errico, lives
incognito in a fishing-village. Eventually the Count and many other
characters discover her, leading to repeated painful tests of her
virtue and fortitude; in despair she flees to the country, where the
final reconciliation takes place. The music is glorious and the
characterizations surprisingly credible, with Rosina reaching heights
of genuine emotion. The finales to Acts 1 and 2 are now (and largely
remain) as long and complex as those in Mozart’s operas.

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 A change of pace is represented by L’isola disabitata (1779), a
relatively brief azione teatrale on a libretto by Metastasio, with all
the recitatives orchestrally accompanied, and quite short, primarily
lyrical arias without much coloratura. Next came La fedeltà premiata
(1780), a dramma pastorale giocoso by G.B. Lorenzi, previously set
by Cimarosa as L’infedeltà fedele; given the contrived plot-spring of
the annual sacrifice of two lovers to appease an offended sea
monster, the action and motivations are plausible. The number of
arias in serious style is relatively high, with a climax in Celia’s great
scena in Act 2; the finale in Act 1 is Haydn’s longest (822 bars).
Orlando paladino (1782) is a dramma eroicomico with a libretto by
Nunziato Porta based on Badini. Its subject is Orlando’s madness
(deriving ultimately from Ariosto’s Orlando furioso), which Haydn
portrays in remarkable scenes of mixed accompanied recitative and
aria; the long scenes for Angelica and the feckless Medoro are
musical highlights as well, as are the comic numbers for Orlando’s
squire Pasquale. Armida (1783) is a dramma eroico based on the
Armida-Rinaldo action from Tasso’s Gerusalemme liberata. It is
primarily seria in style, with long stretches of action set in freely
alternating accompanied recitatives and set pieces; the long magic
forest scene of Act 3 is particularly successful. L’anima del filosofo,
ossia Orfeo ed Euridice (1791), an opera seria in four acts composed
in London to a libretto by Badini, was not produced.
Notwithstanding numerous bravura arias, its style resembles that of
Haydn’s late instrumental works more closely than do his earlier
operas; in Act 2 the extended scenes of Eurydice’s death and
Orpheus’s discovery of her body are deeply affecting. It also includes
numerous choruses, which contribute to the action; he uses males
for the Furies and females for the Bacchae, the latter bringing the
work to a tragic end in D minor.

During his career Haydn’s operatic palette expanded both

generically, from straight buffa or seria to various mixed types
(reflecting the repertory as a whole), and compositionally, with
longer individual numbers, interpenetration of accompanied
recitative and set piece, and increased size and scope of the finale
(except in seria). Notwithstanding his own high opinion of his operas
(see §6), they were largely forgotten until the second half of the 20th
century, when editions and recordings as well as stagings made
them widely available. Their recent reception has been mixed. The
music is beyond praise: the brilliance of Haydn’s tonal and formal
construction and his rhythmic verve go without saying; masterly too
are his vivid characterization in arias, expressive strength in
accompanied recitatives and fascinating orchestral effects; he often
composes ‘against the grain’ of the genre or libretto to dramatic
purpose. For these reasons (as well as their ready availability), they
have attracted much analytical and critical attention. On the other
hand, although the librettos represent major types and their
thematic orientation is often strong, they often exhibit weaknesses of
plausibility, motivation or dramaturgy; even Haydn’s music cannot
always overcome these faults, nor did he always exploit the dramatic
implications of his librettos. For example, when deceptions are
revealed in the Act 2 finales of Lo speziale and Il mondo della luna,
the musical character does not change until later, when the people
deceived (Sempronio, Buonafede) give vent to outbursts of rage; and

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 Eurydice’s second death remains anticlimactic (although here the
libretto is also at fault). However, negative criticism has also been
coloured by insufficient understanding of generic norms of the
period 1760–80 (such as the dominance of aria over ensemble and
‘seamless’ action, and the relative brevity of the third act), and by
inappropriate comparisons with Gluck and late Mozart instead of
with Gassmann, Anfossi or Cimarosa. In appropriate stagings with
good singers, Haydn’s operas are effective and moving in the
theatre.

The festive Italian cantatas honouring Prince Nicolaus (HXXIVa:1–5,

c1762–7) begin with a long orchestral ritornello leading to an
accompanied recitative announcing the cause for celebration,
followed by arias and duets and concluding with a chorus. The very
long solo numbers are unusually virtuoso and richly orchestrated (in
an aria from Qual dubbio ormai, no.4, Haydn wrote himself an
elaborate obbligato harpsichord part). The celebratory cantata
Applausus (HXXIVa:6, 1768) on an allegorical Latin text is
stylistically similar, although it is longer and musically more
concentrated, and as appropriate to its elevated text has been said
to adumbrate the sublime. An important late chorus is The Storm
(HXXIVa:8, 1792); as in so many works of this type, minor-mode fury
is followed by ‘calm’ in the major.

Three late solo cantatas for soprano are of great significance. Miseri
noi (HXXIVa:7, by 1786) was composed for an unknown occasion and
singer (possibly Nancy Storace); the middle section, a Largo in G
minor, is particularly impressive. Arianna a Naxos (HXXVIb:2, ?1789)
was perhaps composed for Bianca Sacchetti in Venice; in the
passionate recitatives the piano presents the lion’s share of the
musical material, while the voice declaims the text dramatically.
Ariadne’s mixed hope and despair are vividly portrayed; in her final
aria a long, slow, formal paragraph in F major leads to a wild rage
aria in F minor, of which the final chord, for piano alone, is
astonishingly F major. Berenice, che fai (HXXIVa:10, 1795), on a text
from Metastasio’s Antigono, is public music for a virtuoso and hence
more difficult and extroverted. The recitatives feature what is
arguably Haydn’s most extreme use of remote and enharmonic
modulations; further, the two arias are in ‘opposed’ keys (E major
and F minor), while the orchestration is as brilliant as that of the last
London symphonies.

Haydn’s 47 songs (HXXVIa) comprise 24 German lieder (nos.1–24,

1781–4), 14 English songs (nos.25–36, 41–2, 1794–5, of which nos.
25–36 were published as ‘Canzonettas’) and miscellaneous German
lieder. The lieder of 1781–4 stand in close chronological and stylistic
proximity to the op.33 quartets. Although they have seemed simple
to many commentators – they are relatively short and strophic, with
the piano right hand largely doubling the voice – they are varied in
mood and exhibit subtle rhythmic and formal construction, often
brilliantly realizing implications of the text; the 1784 set includes
more deeply felt items. The English canzonettas contain many
striking effects and are in many cases through-composed; see the
remarkable off-tonic vocal entry of She never told her love, with its
climax on ‘smiling with grief’, or the controlled passion of O Tuneful
Voice: the poem invokes Mrs Hunter’s sorrow at Haydn’s departure,
the music his farewell to her and to England. A special case is the
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 ‘Emperor’s Hymn’ (see §5), with its fusion of elevated hymn and
‘folk’ styles. The 13 partsongs (mehrstimmige Gesänge; HXXVc,
1796–9) with keyboard accompaniment adumbrate the characteristic
19th-century Viennese genre of social music for vocal ensemble.
Haydn said of them that they were composed ‘con amore in happy
times and without commission’ (Griesinger); as far as we know they
(and his canons) are his only works of which this is true. They are
among his wittiest, most beautiful and most touching creations, with
an inimitable air of casual sophistication and a brilliant combination
of comic and serious topics and styles; their fusion of easy
intelligibility and wit with the highest art and their ravishing part-
writing almost suggest string quartets for voices.

10. Orchestral music.

James Webster

Although Haydn’s sobriquet ‘father of the symphony’ is not literally

true, in a deeper sense it is apt: there is no other genre in Western
music for which the output of a single composer is at once so vast in
extent (106 works: HI:1–104, 107–8), so historically important and of
such high artistic quality. His pre-Esterházy symphonies (most
composed for Count Morzin) comprise nos.1, 37 and 18 (the
earliest); 2, 4–5, 10–11, 17, 19–20, 25, 27, 32, 107; and possibly 3
and 15. All are scored for two oboes, two horns and strings except
for no.32 (with trumpets) and perhaps nos.27 and 37 (in which the
parts for horns and oboes respectively may not be original); the
majority are in three movements, fast–slow–fast. The distinction
between a relatively weighty first movement and a faster finale is
already present; the interior movement for strings alone is only
moderately slow (Andante) and ‘light’ in style. Only nos.3 and 20
exhibit the later standard four-movement pattern; in nos.32 and 37
the minuet precedes the slow movement (found also in nos.108, 44,
68). In nos.5 in A and 11 in E♭ (the only ones in keys this distant
from C), the slow movement comes first and is a weighty Adagio,
producing the sequence slow–fast–minuet–fast with all four
movements in the tonic (found also in nos.21–2, 34, 49). These early
symphonies combine Italian and Austrian, light and serious,
traditional and up-to-date features. Notwithstanding their limited
outward dimensions, they are masterful; many exhibit considerable
thematic integration (no.15) or manipulate generic norms to artistic
effect (the opening movements of nos.15 and 25 are unusual in form,
in ways that relate to the character and ordering of the succeeding
movements); in no.3 the finale combines fugue and sonata form.

Haydn’s years as Esterházy vice-Kapellmeister (1761–5) were his

most productive as a symphony composer, with about 25 works (nos.
6–9, 12–16, 21–4, 28–31, 33–4, 36, 39–40, 72, 108(B)); nos.35, 38
and 58–9 from about 1766–7 are similar. They exhibit great variety of
style, subject matter and orchestral treatment, although the common
notion that they constituted a distinctly ‘experimental’ phase is
untenable. Their stylistic élan and virtuoso brilliance are attributable
to the splendour of the court and the professional players now at
Haydn’s disposal. One finds works for connoisseurs (nos.6–8, 13, 21–

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 2, 31), others that seek to entertain (nos.9, 16, 33, 36, 72, 108) and
still others that combine both stances (nos.34, 39–40). A few present
an apotheosis of the chamber symphony: at ease, yet refined and
profound (nos. 28–9, 35). Extra-musical aspects are present not only
in the Matin–Midi–Soir trilogy (see §3(i)) but also nos.30 (‘Alleluja’),
31 (‘Hornsignal’), and perhaps 22 (‘The Philosopher’) and 59 (‘Fire’,
a modern nickname deriving from its supposed origin as incidental
music). Although a few symphonies are still in three movements
(nos.9, 12, 16, 30), four is now the norm. Concertante scoring is
prominent not only in nos.6–8 but in nos.9, 13, 14, 16, 31, 36, 72 and
108; a special effect found in this period alone is the use of four
horns rather than the usual two (nos.13, 31, 39, 72).

Haydn’s symphonies of the years around 1770 (nos.26, 41–9, 52, 65)
are widely described as exemplifying his Sturm und Drang style;
those of 1773–4 (nos.50, 51, 54–7, 60, 64), while less extreme, have
many points of contact with it. The most commonly cited feature is
the minor mode – of Haydn’s ten symphonies in the minor, six fall
between 1765 and 1772 – although most works remain in the major,
and most of the novel stylistic features are independent of mode.
These include remote keys (no.45, ‘Farewell’, in F♯ minor and major,
and no.46 in B major), rhythmic and harmonic complexities,
expansion of outward dimensions and harmonic range, rhythmic
instability, extremes of dynamics and register, greater technical
difficulty, increased use of counterpoint (e.g. in the canonic minuet
of no.44, ‘Mourning’), musical ideas that seem dynamically potential
rather than self-contained, and contrast within themes instead of
merely between them. The slow movements and finales become
more nearly comparable to the first movements in size and weight;
in the former the violins play con sordino and the tempo is usually
slowed to Adagio. No.26 (‘Lamentatione’) has religious associations
and no.49 (‘La passione’) may have as well. The programmatic nos.
45–6 (they seem to be a pair) are integrated in a through-composed,
end-orientated manner not seen again until Beethoven’s Fifth
Symphony.

From about 1775 (in some respects 1773) to 1781 Haydn again
changed his orientation. Symphonies nos.53, 61–3, 66–71 and 73–5
are primarily in a light, even popular style (only no.70 is an
exception), perhaps reflecting his resumption of operatic
composition in 1773; indeed nos.53, 62, 63 and 73 include
adaptations of stage-music (see §3(iii)), as had nos.50 (1773) and 60
(1774) before them. This stylistic turn has been interpreted as a kind
of relaxation, or even as an outright selling out, but it is better
understood as representing the distinct artistic stance of
entertainment. They are easy (as Haydn was to say of nos.76–8), but
superbly crafted, and abound in striking and beautiful passages, not
to mention witty and eccentric ones: works of comic genius that
approach the buffa stage. The slow movements exhibit new formal
and stylistic options (the hymn-like no.61, the exquisitely ‘popular’
theme in no.53, the play of comic and serious in no.68, the ethereal
dream in no.62), while the finales adumbrate rondo and hybrid
forms. Slow introductions become important about 1779 and begin
to create tangible links to the allegros (nos.53, 71 and 73).

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 During the 1780s Haydn’s style changed again, as he began to sell
his symphonies abroad, in ‘opus’ format (see §3(iv) above). Although
in many respects nos.76–81 (1782–4) are still ‘easy’, they include
superb movements such as the opening Vivace of no.81 and the
finales of nos.77 (with its contrapuntal development) and 80 (with its
cross-rhythm theme). In nos.78 and 80 Haydn returns to the minor,
although from no.80 on he usually ends such movements in the
major, and places the entire finale in the major as well. The Paris
symphonies (nos.82–7) are the grandest he had yet composed. Nos.
87, 83 and 85 (1785) already have a new esprit, a combination of
learned and popular style, consistency of musical argument and
depth of feeling; see the slow movements of nos.83 and 87 and the
outer movements of no.85 (the opening Vivace is particularly
graceful and harmoniously constructed). In nos.82 and 86 (1786) the
trumpets and drums lend added brilliance and the outer movements
are on a still larger scale; the Capriccio of no.86 is one of Haydn’s
most original slow movements. All these features characterize nos.
88 and 90–92 as well (no.89 falls off somewhat). Nos.88 and 92 are
the best-known: the former boasts concentrated, in part
contrapuntal, outer movements, while the gorgeous Largo theme is
set off by entries of the trumpets and drums (withheld from the first
movement for this purpose); the latter features an unusually close
integration of slow introduction and Allegro, a beautiful Adagio,
rhythmically intricate trio and Haydn’s sprightliest and wittiest
finale to date.

Haydn’s London symphonies (nos.93–104) crown his career as a

symphonic composer. Not only do they outdo the Paris symphonies
stylistically, but he produced them in person for rapturous
audiences; this interaction stimulated him to ever bolder and more
original conceptions. Nos.95–6 (1791) most nearly resemble the
preceding symphonies, although no.95 in C minor has a gripping
opening movement dominated by a striking unison motto, an
ominously terse minuet and a brilliant sonata-fugal finale in C major
(possibly influenced by the finale of Mozart’s ‘Jupiter’). Those given
in 1792 (nos.93–4, 97–8) respond to Haydn’s public: in no.94 the
famous outburst in the Andante is actually the least remarkable
‘surprise’; the opening Vivace reaches new heights of tonal wit and
expansive brilliance, and the concluding sonata-rondo is the first to
exhibit the blend of rhythmic vitality, playful surprise, larger scale
and underlying cogency of argument that distinguish Haydn’s
London finales. These last features are found in nos.97–8 as well,
along with a new romanticism in the opening movement of no.97
(the breathtaking diminished 7th chord in bar 2, which returns at
several key points, and the remote flat-side modulations in the
recapitulation); in no.98 Haydn composed an extended fortepiano
obbligato for himself in the coda of the finale.

The last six symphonies are even more brilliant (clarinets are added,
except in no.102); Haydn’s determination to conquer new territory
with each work is palpable. No.99 in E♭ is his most elaborate
symphonic essay in remote tonal relations; it also features a
particularly warm slow movement (in G major), with extensive wind
writing (much commented on at the time). No.101 (‘Clock’) has by
far the longest minuet and trio Haydn ever composed and a
particularly brilliant rondo finale. No.100 (‘Military’) rapidly became

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 his most popular, owing to the slow movement based on a romance
(from the lyre concerto HVIIh:3), overlaid by massive percussion
outbursts that audiences found deliciously terrifying. No.102 is the
least ‘characteristic’ of these six, yet one of the greatest; its most
remarkable movement is the Adagio (identical in musical substance
to that in the F♯ minor Piano Trio HXV:26), in which the exposition is
repeated in order to vary the instrumentation, with muted trumpets
and drums. No.103 (‘Drumroll’) offers Haydn’s most telling
invocation of the sublime in instrumental music, by means of an
astonishing double annunciation: first the ‘intrada’ fortissimo drum
roll, then the mysterious bass theme (resembling the ‘Dies irae’),
which dominates the Allegro as well and, even more astonishingly,
interrupts the recapitulation near the end. No.104 begins with a
massive dotted motif on the 5th D–A, which some commentators
describe as dominating the entire symphony; the first movement is
one of Haydn’s freest and the finale has greater relative weight than
that in any other of the London symphonies.

Besides the symphonies Haydn’s orchestral music comprises the six

early Scherzandi (HII:33–8), a few miscellaneous symphonic
movements, overtures and instrumental numbers from operas and
oratorios, incidental music, more than 100 minuets (many lost), of
which the most important are the magnificent minuets and German
dances HIX:11–12 (1792), and four late marches. He also composed
numerous concertos, both for melody instruments (many of them
lost) and for keyboard. Of the former, the most important are two
virtuoso early Esterházy works: the Violin Concerto in C (HVIIa:1)
and the massive Cello Concerto in C (HVIIb:1), and two late works:
the Concertante (HI:105, 1792) and the Trumpet Concerto (1796),
composed for Anton Weidinger’s ‘keyed’ trumpet (a forerunner of
the valve trumpet). The six concertos for two lire organizzate (HVIIh:
1–5; the sixth is lost), commissioned by the King of Naples in 1786,
represent a special case; restricted to the keys of C, G and F and by
the technical limitations of the instruments, they are Haydn’s
shortest and most modest concertos, though delightful in every way.

Haydn’s three earliest keyboard concertos (1756 to c1761) were

probably composed for organ, although they were more widely
disseminated as harpsichord works; HXVIII:1 in C (?1756) is his
earliest surviving large-scale instrumental composition, while no.3 in
F is an unusual double concerto for organ or harpsichord and violin.
Later came nos.4 in F (probably c1770) and 5 in G (probably the
early 1770s), both for harpsichord, and no.11, the Piano Concerto in
D (c1783–4), Haydn’s only popular work in this genre. A distinct
subgenre comprises the early concertinos (HXIV:11–13, XVIII:F2),
not easily distinguished from a group of similar, probably soloistic
divertimentos (HXIV:3, 4, 7–10); all are tiny works for harpsichord,
violins and bass, mainly in C. Although finely crafted, his keyboard
concertos are less original and less popular than his symphonies,
perhaps in part because he favours the middle register (except in no.
11), eschews both overt and technical display and cantabile writing
(except in slow movements), and includes many sequential passages.
(These features reflect a particular stylistic orientation, not
limitations on Haydn’s imagination or his prowess as a performer.
The old canard that he was a mediocre keyboard player has long

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 been laid to rest; his statement to Griesinger that ‘I was no mean
keyboard player and singer’ was clearly an understatement, for he
continued, ‘I could also perform a concerto on the violin’.)

11. Chamber music without keyboard.

James Webster

Haydn’s chamber music centres on his 68 string quartets, a genre of

which he was more nearly the literal ‘father’ than the symphony.
(The traditional figure of 83 included the spurious op.3, three
genuine early works that are not quartets, op.1 no.5 and op.2 nos.3
and 5, and the Seven Last Words, but omitted the early HII:6, ‘op.0’.)
His earlier quartets were composed in three discrete groups
separated by long pauses: the ten early works for Baron Fürnberg
(in the mid- to late 1750s), opp.9, 17 and 20 (in the years around
1770) and op.33 (1781). Each group offers a different solution to the
technical and aesthetic aspects of the genre while cumulatively
enlarging the resources of quartet style. The Fürnberg quartets
already take the soloistic ensemble for granted, including solo cello
without continuo. They belong to the larger class of ensemble
divertimentos, with which they share small outward dimensions,
prevailing light tone (except in slow movements) and a five-
movement pattern, usually fast–minuet–slow–minuet–fast. Even on
this small scale, high and subtle art abounds: witness the rhythmic
vitality, instrumental dialogue and controlled form of the first
movement of op.1 no.1 in B♭; the wide-ranging development and free
recapitulation in the first movement of op.2 no.4 in F, and the pathos
in its slow movement; and the consummate mastery of op.2 nos.1–2.

Opp.9, 17 and 20 established the four-movement form with two

outer fast movements, a slow movement and a minuet (although in
this period the minuet usually precedes the slow movement). They
also – op.20 in particular – established the larger dimensions, higher
aesthetic pretensions and greater emotional range that were to
characterize the genre from this point onwards. They are important
exemplars of Haydn’s Sturm und Drang manner: four works are in
the minor (op.9 no.4, op.17 no.4, op.20 nos.3 and 5); and nos.2, 5
and 6 from op.20 include fugal finales. Op.20 no.2 exhibits a new
degree of cyclic integration with its ‘luxuriantly’ scored opening
movement (Tovey, N1929–30), its minor-mode Capriccio slow
movement which runs on, attacca, to the minuet (which itself mixes
major and minor), and the combined light-serious character of the
fugue. Op.17 no.5 and op.20 also expand the resources of quartet
texture, as in the opening of op.20 no.2, where the cello has the
melody, a violin takes the inner part and the viola executes the bass.

In op.33 these extremes are replaced by smaller outward

dimensions, a more intimate tone, fewer extremes of expression,
subtlety of instrumentation, wit (as in the ‘Joke’ finale of no.2 in E♭)
and a newly popular style (e.g. in no.3 in C, the second group of the
first movement, the trio and the finale). Haydn now prefers
homophonic, periodic themes rather than irregularly shaped or
contrapuntal ones; as a corollary, the phrase rhythm is infinitely

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 variable. The slow movements and finales favour ABA and rondo
forms rather than sonata form. However, these works are anything
other than light or innocent: no.1 in B minor is serious throughout
(the understated power of its ambiguous tonal opening has never
been surpassed), as are the slow movements of nos.2 and 5. Op.33
has been taken as marking Haydn’s achievement of ‘thematische
Arbeit’ (the flexible exchange of musical functions and development
of the motivic material by all the parts within a primarily
homophonic texture); although drastically oversimplified, this notion
has had great historiographical influence. These quartets’ play with
the conventions of genre and musical procedure is of unprecedented
sophistication; in thus being ‘music about music’, these quartets
were arguably the first modern works.

The appearance of op.33 was the first major event in what was to
become the crucial decade for the Viennese string quartet, as
Mozart and many other composers joined Haydn in cultivating the
genre. Indeed, all the elements of Classical quartet style as it has
usually been understood first appeared together in Mozart’s set
dedicated to Haydn (1782–5). He responded in opp.50, 54/55 and 64
by combining the serious tone and large scale of op.20 with the
‘popular’ aspects and lightly worn learning of op.33. The minuet now
almost invariably appears in third position; the slow movements, in
ABA, variation or double variation form are more melodic than those
in op.33; the finales, usually in sonata or sonata rondo form, are
weightier. Haydn’s art is no longer always subtle; the opening of op.
50 no.1 in B♭, with its softly pulsating solo cello pedal followed by
the dissonant entry of the upper strings high above, is an overt
stroke of genius, whose implications he draws out throughout the
movement.

Haydn’s quartets of the 1790s adopt a demonstratively ‘public’ style

(often miscalled ‘orchestral’), usually attributed to his experience in
London (op.71/74 was composed for his second visit there); the
fireworks for Salomon in the exposition of op.74 no.1 in C are an
obvious example of this new style. Without losing his grip on the
essentials of quartet style or his sovereign mastery of form, he
expands the dimensions still further, incorporating more original
themes (the octave leaps in the first movement of op.71 no.2), bolder
contrasts, distantly related keys (from G minor to E major in op.74
no.3) etc. Opp.76–7, composed back in Vienna, carry this process
still further, to the point of becoming extroverted and at times
almost eccentric: see the first movements of op.76 no.2 in D minor,
with its obsessive 5ths, and of op.76 no.3 in C, with its exuberant
ensemble writing and the gypsy episode in the development, or the
almost reckless finales of nos.2, 5 and 6 and op.77. He experimented
as well with the organization of the cycle: op.76 nos.1 and 3, though
in the major, have finales in the minor (reverting to the major at the
end), while nos.5–6 begin with non-sonata movements in moderate
tempo (but a fast concluding section), so that the weight of the form
rests on their unusual slow movements (the Largo in F♯ of no.5, the
tonally wandering Fantasia of no.6).

In his earlier years especially, Haydn composed extensively in other

chamber genres. His surviving authenticated ensemble
divertimentos (HII) consist of one string quintet (no.2), numerous

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 mixed works including three in nine parts (nos.9, 17 and 20), one
each in eight and seven (nos.16 and 8), two sextets for strings and
two horns (nos.21–2) and two more for melody instruments (nos.1,
11), as well as at least five works for wind, four sextets (nos.3, 7, 15
and 23) and a tiny piece for two clarinets and two horns (no.14).
Most of them exhibit the same five-movement cyclic pattern as the
early string quartets, with the difference that contrasts in
instrumentation become a basis of style, for example in reduced
scorings in trios and slow movements or extended soloistic passages.
Although some of the mixed works (nos.1–2, 9, 11 and 20) are among
the earliest and are on average the least compelling, the slightly
later nos.8, 16–17, and 21–2 are on the same high level as the
quartets. The wind band works seem to date from about 1760–61;
they are even smaller in scale but unfailingly masterful.

By contrast, the 21 authenticated string trios (HV:1–21, by 1765) are

works for connoisseurs in ‘high’ style, difficult for player and listener
alike, in a wide range of keys (three in E, one in B, two even in B
minor). All are scored for two violins and (presumably) cello except
no.8 (violin and viola) and are thus related to the trio sonata
tradition, although the first violin dominates more than it
participates in dialogue. They are in three movements (except no.7,
in two), with a bewildering variety of cyclic patterns; many begin
with a slow movement and most include a minuet. The 126 baryton
trios (HXI; c1762–75) are similar in that they are music for a
(particular) connoisseur and always in three movements with a
minuet (except no.97 with seven: ‘fatto per la felicissima nascita di
S.Al.S. Prencipe Estorhazi’). Although the baryton takes the leading
role, they include much dialogue and ‘thematische Arbeit’; three late
works (nos.97, 101 and 114) include fugues. They are intimate
music, modest rather than ambitious, with a narrow range of keys
(dictated by the baryton’s technical limitations); Haydn’s ability to
fashion genuine art within such restricted conditions is remarkable.

In the middle and late 1770s Haydn’s production of chamber music

fell off markedly. One last group of baryton works comprises the
important octets HX:1–6 (mid-1770s); they are richer in scoring and
on a larger scale than the trios. The six violin-viola duets (HVI:1–6)
are likewise from the mid-1770s; the violin dominates and the style
seems somewhat old-fashioned. The six string trios from the early
1780s (HIV:6–11) and the four flute trios from London (HIV:1–4,
1794–5) are amateurs’ music, with small dimensions, simple textures
and restriction to two or three movements. By contrast, the eight
lyre notturnos for the King of Naples (HII:25–32, 1788–90), of
unfailing charm and true ‘chamber’ disposition, offer a wonderful
synthesis of play and art.

12. Keyboard music.

James Webster

Haydn’s keyboard works comprise solo sonatas (HXVI), trios (HXV)

and quartet-divertimentos (HXIV). In 18th-century thought and
practice these constituted a single, loosely defined genre, destined

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 primarily for private performance and orientated on the topic of
sentiment, seen as the natural expressive mode for music performed
solely or primarily by an individual at the keyboard; indeed Haydn
often adopted a selfconsciously improvisatory style, especially after
1780. During the 1760s these keyboard works were apparently
composed for the harpsichord. The first clear (albeit indirect)
evidence of composition for the fortepiano (or possibly clavichord) is
found in the highly expressive Sonata no.20 (1771), with mannered
dynamic marks. Nevertheless, most works from the 1770s may have
been conceived for the harpsichord or neutrally for both
instruments. Beginning in the early 1780s, and decisively from the
late 1780s on, Haydn composed for the fortepiano. Many of his
keyboard works were composed for ladies, whether students in his
early years, the Auenbrugger sisters around 1780, or intimates such
as Mme Genzinger, Mrs Schroeter and Therese Jansen. The majority
are in three movements: either fast–slow–fast, or a fast movement,
slow movement and minuet in various permutations. Two-movement
works are also common, often slow–fast; numerous slow movements
in penultimate position are run on, attacca, to the finale. Even in the
1780s and 90s many works end with an outwardly modest movement
such as a Tempo di menuetto, a set of variations or a simple rondo.
Neither the two- and three- movement cyclic patterns nor the
modest finales were ‘conservative’ or ‘immature’, as has been
claimed; they are as finely wrought as quartet finales and exemplify
the prevailing generic orientation of intimacy.

Haydn’s early keyboard works are both serious and galant. The trios
HXV:f1 in F minor and 1 in G minor and the Sonata no.2 in B♭ (with
its astonishing Largo) are more intellectually difficult and
stylistically uncompromising than all the early quartets and most of
the early symphonies; many works are small and unpretentious and
were presumably written for students and amateurs. At least 12
weighty connoisseurs’ sonatas originated in the late 1760s and early
1770s, including nos.19, 20, 45, 46 and seven lost works. Two sets in
mixed style followed, nos.21–6 (1773) and 27–32 (1774–6); they
include serious works such as the boldly formed nos.22 in E and 26
in A, the passionate no.32 in B minor and the through-composed no.
30 in A, as well as numerous lighter works, especially in the 1774–6
set. In 1780 followed Haydn’s first publication with Artaria, the
heterogeneous nos.35–9 and 20, including the ‘easy’ no.35 in C, the
virtuoso no.37 in D and the serious no.36 in C♯ minor. The three
modestly scaled sonatas nos.40–42 (published 1784) are miracles of
popular appeal allied with high art, especially no.40 in G. Except for
no.51 in D, for Mrs Schroeter, Haydn’s last five sonatas eschew any
pretence of modesty. In the late 1780s he composed no.48 in C, with
a fantasy-like slow variation movement and a dashing sonata-rondo
finale, and the intimate no.49 in E♭ for Mme Genzinger; its brilliant
first movement has an unusually long coda and the ABA Adagio is
richly expressive, with continual variations of the theme. From
London come two virtuoso sonatas for Jansen: nos.50 in C and 52 in
E♭. The former features a remarkable first movement which, though
in sonata form, is based on continual variation of a basic motif; the
latter is on the largest scale throughout and features a slow

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 movement in the remote key of E major (a tonal relation adumbrated
in the development of the first movement and wittily ‘cancelled’ at
the beginning of the finale).

Of Haydn’s few keyboard works outside the sonatas, the most

important are two capriccios – Acht Sauschneider müssen sein in G
(HXVII:1, 1765), a variation rondo with an immense tonal range, and
HXVII:4 in C (1789), another tonally wide-ranging work with
elements of sonata-rondo form, perhaps stimulated by a Fantasia
from C.P.E. Bach’s sixth collection of Clavier-Sonaten … für Kenner
und Liebhaber (1787) – and the F minor Variations for piano HXVII:6
(1793), arguably Haydn’s most original and concentrated double-
variation movement, with a coda (added in revision) of Beethovenian
power.

Haydn’s piano trios have been undervalued, in part because of the

great distance between their original generic identity and today’s
conceptions. 18th-century keyboard trios (like violin sonatas) were
understood as ‘accompanied sonatas’: the keyboard dominates, the
cello mainly doubles the left hand of the piano in a pitch-class sense,
and even the violin is generally more accompanimental than
soloistic, although it often receives sustained melodies in second
themes, slow movements, minuet trios and rondo episodes.
Nevertheless the strings are essential, for integration of the texture,
tone colour and rhythmic definition. The effort to hear Haydn’s 27
late piano trios (HXV:5–31, 1784–96) with 18th-century ears is worth
making: after the quartets they comprise his largest and greatest
corpus of chamber music. No.12 in E minor (1788–9) has an opening
movement of astonishing seriousness with vast expansions towards
the end, while the beautiful siciliano slow movement and the
ebullient rondo finale are both in E major. No.14 in A♭ (1789–90)
includes his first slow movement in a remote key (E major, or ♭VI,
adumbrated by B major in the development of the first movement).
From London, nos.24–6 (1794–5), dedicated to Schroeter, include no.
25 (with the famous ‘Gypsy Rondo’) and no.26 in the special key of
F♯ minor: following a concentrated and brooding Allegro and a
gorgeous Adagio in F♯ major (identical in substance with the Adagio
of Symphony no.102), the minuet-finale is anything other than
anticlimactic. It begins dissonantly on a dominant 9th and this
instability is maintained throughout: there is no tonic cadence until
the very last bar of the A section, just before the double bar, and in
the reprise even this cadence is deceptive, leading to a substantial
coda. Rosen praises its ‘intimate gravity … a melancholy so intense it
is indistinguishable from the tragic’, while Landon conjectures that
the work may represent Haydn’s farewell to Mrs Schroeter (the key
is suggestive). By contrast, nos.27 in C and 29 in E♭ (1795–6),
dedicated to Jansen, are difficult and extroverted; no.29 is
particularly original in construction, and both have rollicking finales
that outdo any earlier ones.

13. Haydn’s career.

James Webster

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 Haydn’s career never stimulated a paradigmatic narrative
comparable to that of Beethoven’s three periods. To be sure, decisive
breaks occurred in 1761 (his move to the Esterházy court), 1790 (to
London) and 1795 (back to Vienna); the periods 1750–61, 1791–5
and 1795–1802 are distinctive regarding both the conditions of his
life and his compositional activity. However, the first and last of
these are brief in proportion to his career as a whole and cannot
bear the weight that ‘early’ and ‘late’ do in Beethoven’s case.
Furthermore, in any such reading Haydn’s 30 years at the Esterházy
court remain a long, uninterpreted ‘middle’. Its only major dividing-
points that affected both his life circumstances and his
compositional orientation were 1766, when he became full
Kapellmeister, 1776, when he became responsible for the court
opera, and 1779, when he negotiated his independence as composer
of instrumental music. Hence except for 1761–5 the Esterházy years
seem best understood in terms of a series of overlapping phases,
each defined by different criteria (see §3).

In the 20th century too much was made of the supposedly

evolutionary aspects of Haydn’s career, in part because of its
association with the notion of the rise of ‘Classical style’ (see
Classical). This led to a threefold periodization after all, but one
modelled mechanically on the traditional interpretation of artists’
careers: apprentice – journeyman – master. In Haydn’s case this took
the form: immaturity/composition within existing style –
experimentation/searching for a new style – maturity/‘Classical
style’; the last was assumed to be his overriding stylistic ‘goal’,
which he finally ‘achieved’. The oldest and most persistent of these
interpretations associated Classical style with thematische Arbeit
and the string quartets op.33 of 1781. Another proposed a double
progression: towards a first highpoint with his Sturm und Drang
manner around 1768–72, and a second one with the Paris
symphonies and the Seven Last Words of 1785–6. These notions are
not facts, however, but constructions, placed in the service of
stylistic narratives of the ‘per ardua ad astra’ type, more
ideologically focussed and psychologically reassuring than
explanatory. To be sure, other things equal, a later work of Haydn
will be more complex and concentrated than an earlier one; indeed
his music often became ‘more so’ within a single genre over a few
brief years; for example the string quartets opp.9, 17 and 20 or the
London symphonies. And he certainly experimented compositionally,
as is clear from his own account of ‘becoming original’. But even his
earliest music was never in any intrinsic sense immature, and he
continued to experiment, successfully, throughout his career. From
about 1755 on, Haydn’s music was technically masterful, generically
appropriate and rhetorically convincing; every one of his works is
best appreciated today in terms of these three modes of
understanding, applied in concert.

Works
Georg Feder

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 Editions

Joseph Haydns Werke, ed. E. Mandyczewski and others, 10

vols. (Leipzig, 1907–33) [M]

Joseph Haydn: Kritische Gesamtausgabe, ed. J.P. Larsen, 4 vols.

(Boston, Leipzig and Vienna, 1950–51) [L]

Joseph Haydn: Werke, ed. J. Haydn-Insttut, Cologne, dir. J.P.

Larsen (1958–61), G. Feder (1962–90) and others (1990–), 78
vols. (Munich, 1958–) [HW]

Joseph Haydn: Kritische Ausgabe sämtlicher Symphonien, i–xii,

ed. H.C.R. Landon, Philharmonia ser. (Vienna, 1965–8) [P]

Diletto musicale, ed. H.C.R. Landon unless otherwise stated

(Vienna, 1959–) [D]

(for editions of specific genres, see notes at head of relevant

sections)

Catalogue

A. van Hoboken: Joseph Haydn: Thematisch-bibliographisches

Werkverzeichnis, i: Instrumentalwerke; ii: Vokalwerke; iii:
Register, Addenda [Add.] und Corrigenda (Mainz, 1957–78) [h]

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 1. vocal: A Masses. B Miscellaneous sacred. C Oratorios
and similar works. D Secular cantatas, choruses. E
Dramatic. F Secular vocal with orchestra. G Solo songs
with keyboard. H Miscellaneous vocal works with
keyboard. I Canons.
2. instrumental: J Symphonies. K Miscellaneous orchestral.
L Dances, marches for orchestra/military band. M
Concertos for string or wind instruments. N
Divertimentos etc. for 4+ string and/or wind
instruments. O String quartets. P String trios
(divertimentos). Q Baryton trios (divertimentos). R
Works for 1–2 barytons. S Miscellaneous chamber music
for 2–3 string and/or wind instruments. T Works for 2
lire organizzate. U Keyboard concertos/concertinos/
divertimentos. V Keyboard trios. W Keyboard sonatas. X
Miscellaneous keyboard works. Y Works for flute clock.
3. folksong arrangements: Z Arrangements of British
folksongs.

Authentication symbols:

A-autograph, i.e. written and signed by Haydn or marked ‘In

nomine Domini’, ‘laus Deo’ (or similarly) by him

C-MS copy by one of Haydn’s copyists: Anon.11, 12, 30, 48, 63

(nos. from Bartha–Somfai)

Dies-his book on Haydn, 1810E-MS copy by Johann Elssler

EK-entry in Haydn’s Entwurf-Katalog, c1765–F-MS copy by

one of 3 earliest copyists of H-KE Fürnberg collection; found in
various archives

Gr-Griesinger’s book on Haydn, 1810, or his letters to

Breitkopf & Härtel

HC-entry in non-thematic list of Haydn’s music collection,

c1807

HE-MS copy from Haydn’s estate

HL-autograph entry in Haydn’s list of librettos

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 HV-thematic entry in Haydn-Verzeichnis, 1805 Hudební věda

H 1799–1803-verified by/rev. Haydn in those years according

to C.F. Pohl’s papers, A-Wgm (based on lost documents in
Breitkopf archives)

JE-MS copy by Joseph Elssler sr

OE-original edition, published by Haydn or authorized by him

RC-MS copy rev. Haydn

SC-MS copy signed by Haydn

Sk-sketch by Haydn

u-unsigned

1766 = composed 1766; [1766] = year of composition 1766 not

documented; –1766 = composed by 1766; –?1766 = possibly
composed by 1766

– signifies the absence of the work from the category

concerned; i.e. not in h, not authenticated, not pubd etc.

Items are numbered chronologically (as far as possible) within

each category (except in section Z); these numbers are always
shown in italics and are used for cross-references between
sections (e.g. E 23).

Where not specified, bn may often double the bass part.

Instrumental parts that are doubtful or are later additions

(sometimes by Haydn himself) are parenthesized or given a
question mark.

1. Vocal

A: Masses

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 No. HXXII Title, key Forces Date Authentication Edition Remarks

1a 3 Missa ‘Rorate coeli ? ? EK, HV ? ?lost/?

desuper’, G identical with
no.1b

1b ii,73 Mass, G 4vv, 2 vn, –1779 ? HW by G. Reutter

bc (org) xxiii/1a, jr/Arbesser/
207 Haydn

2 1 Missa brevis, F 2 S, 4vv, 2 ? SC, ?EK L xxiii/1, wind and

vn, bc 1749 1; HW timp pts
(org) xxiii/1a, added by
1 Haydn (or
Heidenreich),
1805/6

3 5 Missa Cellensis in S, A, T, B, 1766 EK, A (frags.) L xxiii/1, doubtful hn

honorem BVM 4vv, 2 ob, 2 [–c? 105; HW pts in Bs only
(Cäcilienmesse), C bn, ? 2 hn, 1773] xxiii/1a,
2 tpt, timp, 29
str, bc
(org)

4 2 Missa ‘Sunt bona 4vv, bc 1768 EK, A (frag.) HW Ky and 1st

mixta malis’, d (org) xxiii/1b, section of Gl
166 extant

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 5 4 Missa in honorem S, A, T, B, –1774 EK, A (frags., u) L xxiii/1, tpts and timp
BVM (Missa Sancti 4vv, 2 eng [? 24; HW in authentic
Josephi; Grosse hn, 2 hn, c1768– xxiii/1b, MS copy (JE),
Orgelsolomesse), (2 tpt, 9] 1 H-Gk
E♭ timp), 2
vn, bc, org
obbl

6 6 Missa Sancti S, A, T, B, 1772 EK, A L xxiii/1, in HV as

Nicolai 4vv, 2 ob, 2 270; HW Missa St
(Nikolaimesse; 6/4- hn, (2 tpt, xxiii/1b, Josephi; cf
Takt-Messe), G timp), str, 105 no.5; tpts
bc (org) and timp in
authentic MS
copy (E),
1802

7 7 Missa brevis Sancti S, 4vv, 2 –1778 EK, A HW see also HW

Joannis de Deo vn, bc, org [? xxiii/2, 1 xxiii/2, 247
(Kleine obbl c1773–
Orgelsolomesse), 7]
B♭

8 8 Missa Cellensis S, A, T, B, 1782 A HW Bs uses aria

(Mariazellermesse), 4vv, 2 ob, xxiii/2, from Il
C bn, 2 tpt, 20 mondo della
timp, str, luna (E 17)
bc (org)

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 9 10 Missa Sancti S, A, T, B, 1796 A, Sk HW = Missa St
Bernardi von Offida 4vv, 2 ob, 2 xxiii/2, Ofridi in EK;
(Heiligmesse), B♭ cl, 2 bn, ? 166 see also HW
2 hn, 2 tpt, xxiii/2, 240,
timp, str, 242; cf I b,
bc (org) 44

10 9 Missa in tempore S, A, T, B, 1796 A HW perf. Vienna,

belli (Kriegsmesse; 4vv, ?fl, 2 xxiii/2, 26 Dec 1796;
Paukenmesse), C ob, 2 cl, 2 89 see also HW
bn, 2 hn, 2 xxiii/2, 237
tpt, timp,
str, bc
(org)

11 11 Missa S, A, T, B, 10 A HW = Missa in
(Nelsonmesse; 4vv, 3 tpt, July– xxiii/3, 1 angustiis in
Imperial Mass; timp, str, 31 EK; perf. ?
Coronation Mass), bc, org Aug Eisenstadt, ?
d obbl 1798 23 Sept
1798; org pt
transcr. for
wind insts ?
by J.N. Fuchs

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 12 12 Missa S, A, T, B, 1799 A HW
(Theresienmesse), 4vv, 2 cl, xxiii/3,
B♭ (bn), 2 tpt, 140
timp, str,
bc (org)

13 13 Missa S, A, T, B, –11 A HW perf.

(Schöpfungsmesse), 4vv, 2 ob, 2 July– xxiii/4; Eisenstadt,
B♭ cl, 2 bn, 2 11 facs. 13 Sept
hn, 2 tpt, Sept (Munich, 1801; Gl
timp, str, 1801 1957) quotes duet
bc, org from The
(obbl in Et Creation; see
incarnatus) also HW
xxiii/4, 204

14 14 Missa S, A, T, B, 1802 A HW perf.

(Harmoniemesse), 4vv, fl, 2 xxiii/5 Eisenstadt, 8
B♭ ob, 2 cl, 2 Sept 1802
bn, 2 hn, 2
tpt, timp,
str, bc
(org)

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 Note: over 100 spurious masses listed in Hoboken; composers of
some identified by MacIntyre (H1982)

B: Miscellaneous sacred

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 No. H Title, key Forces Date Authentication Edition Remarks

1 XXIIIc:5 Lauda Sion 4vv, 2 ob, –1776 [? ?EK (Vienna also with
(Hymnus/ 2 tpt, str, c1750] and Salve
Motetto de bc (org) Munich, regina text
venerabili 1996)
sacramento),
i–iv, C

2 XXIIIb:3 Ave regina, A S, 4vv, 2 –1763 [? — (Augsburg, also with

vn, bc c1750– 1970) Salve
(org) 59] regina text

3 XXIIIb:1 Salve regina, S, 4vv, 2 ?1756 EK, A (Vienna date on

E vn, bc and autograph
(org) Munich, added
1990) later

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 4 XXIIIa:4 Quis stellae S, 4vv, ? ?1762 SC — cant.; also
radius 2 tpt, ? with other
(motet), C timp, str, texts, incl.
bc (org) Quae
admiranda
lux; for ?
secular
origin, see
Becker-
Glauch
(J1970)

5 XXIIIc:1 Te Deum, C S, A, T, B, –1765 [? ?EK (Vienna also attrib.

4vv, 2 tpt, 1762–3] and M. Haydn
timp, 2 Munich,
vn, bc 1966)
(org)

6 XXIIIa:3 Ens aeternum 4vv, str, –1772 [? HV (Leipzig, also with

(off/motet/ bc (org) c1761–9] 1813) text Walte
hymn), G gnädig,
with addl
2 ob, 2 tpt,
timp

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 7 XXIIIa:2 Animae Deo 2 S, T, –1776 [? HV — also attrib.
gratae (off/ 4vv, 2 ob, c1761–9] M. Haydn;
motet), C 2 tpt, also with
timp, text Agite
str/? 2 properate
vn, bc
(org)

8 XXIIIc:4 Lauda Sion S, A, T, B ?c1765–9 EK (Munich, MS copy

(Responsoria (? in 1965) as
de venerabili chorus), ? (entitled Quatuor
[sacramento]), 2 hn, 2 Hymnus) Stationes
i–iv, B♭, d, A, vn, bc pro Festo
E♭ (org) Corporis
Christi

9 XXIIIc:3 Alleluia, G S, A, 4vv, –1771 [? A facs. in MS

str, bc 1768–9] (Eisenstadt, copies
(org) 1976) always
following
Dictamina
mea (appx
B.1, 3)

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 10 XXIIId:3 Herst Nachbä S, ? 2 hn, ?c1768– EK (Altötting, also with
(Cantilena pro str, bc 70 1975) other
adventu/ (org) texts, incl.
Pastorella), D Jesu
redemptor
omnium

11 XXIIIb:2 Salve regina, S, A, T, B, 1771 EK, A (Vienna 1770

g str, bc, and incorrect
org obbl Munich, reading
1964)

12 XXIIIb:4 Salve regina, S, A, T, B –1773 — (Augsburg, ?doubtful,

E♭ (?solo 1959) see
vv), str, Landon
bc (org) (A1980),
157; B in
edn ?not
orig.

13 XXIIId:1 Ein’ Magd, S, ? 2 ?c1770– EK (London,

ein’ Dienerin ob, ? 2 75 1957)
(Cantilena/ hn, str,
Aria pro bc (org)
adventu), A

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 14 XXIIId:2 Mutter S, A, 2 ?c1775 ?EK —
Gottes, mir vn, bc
erlaube (org)
(Cantilena/
Aria pro
adventu), G

15 XXIIIa:1 Non nobis, 4vv, bc –1786 [? EK (St Louis, for date

Domine (Ps (org) c1768] 1960); see Haydn
cxiii.9) (off in (Vienna Yearbook
stile a and 1992, 168
cappella), d Munich,
1978)

16 XXIIb:1 Libera me, S, A, T, B ?c1777– A (u pts) (Salzburg, ? only

Domine, d (? in 90 1969) copied, ?
chorus), not by
2 vn, bc Haydn
(org)

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 17– ii, 181 6 English 2 S, B [1794/5] Haydn’s 3rd (Kassel, no.22 uses
22 Psalms (J. London 1978) canzonetta
Merrick, rev. notebook; RC Pleasing
W.D. (no.17) Pain (G
Tattersall): 17 29); for
How oft, MS of no.
instinct with 17 see
warmth Haydn
divine, F (Ps Society
xxvi.5–8); 18 Journal of
Blest be the Great
name of Britain, xv
Jacob’s God, (1995)
E♭ (Ps xxxi.
21–4); 19
Maker of all!
be Thou my
guard, D (Ps
xli.12–16); 20
The Lord, th’
almighty
Monarch,
spake, C (Ps l.
1–6); 21 Long
life shall
Israel’s king
behold, E♭ (Ps
lxi.6–8); 22 O
let me in th’

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 accepted
hour, A (Ps
lxix.13–17)

23 XXIIIc:2 Te Deum, C 4vv, fl, 2 –Oct 1800 RC (Vienna for

ob, 2 bn, and Empress
(2 hn), 3 Munich, Maria
tpt, timp, 1959) (with Theresa
str, bc addl 3
(org) trbn);
(Oxford,
1992)

1 — Audi — final Pohl (1882), B/

clamorem chorus in m/13; also with
nostrum (off) 1st pt of Il other texts
ritorno di
Tobia (C
3)

2 B/6/c Concertantes HW xxvii/ aria Si

jugiter (off) 2, 122 obtrudat
in
Applausus
(C 2)

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 3 B/6/b Dictamina HW xxvii/ duetto in edn without
mea (off/ 2, 68 Applausus Alleluia
motet) (C 2),
combined
with
Alleluia
(B 9)

4 B/8 Insanae et (Leipzig, chorus not later than

vanae curae 1809) Svanisce 1798;
(Der Sturm) in un authenticated
(off/motet/ momento by E; also with
grad) in Il texts Des
ritorno di Staubes eitle
Tobia (C Sorgen,
3) Distraught with
care and
anguish

5 B/7 Maria, die — aria of

reine (Aria Baucis in
pro adventu) Philemon
und
Baucis (E
12)

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 6 B/6/d O Jesu, te HW xxvii/ final also with text
invocamus 2, 170 chorus in Allmächt’ger,
(off/hymn) Applausus Preis dir und
(C 2) Ehre!

7 — Plausus — final with orch

honores date chorus in introduction
(off/motet) Da qual based on
gioia (D4) preceding recit

8 B/6/a Quae res Christus HW xxvii/ 1st recit and qt

admiranda … coeli 2, 4, 18 in Applausus (C
atria (off/ 2)
motet)

9 B/3 Vicisti, heros HW xxv/ recit and

… Justus ut 1, 154 aria of
palma Leopoldo
in
Marchese
(E 3)

10 HXXXIC: Vias tuas — ? by unknown

1 Domine composer,
(grad), C, 4vv, 1576, ? ed.
bc Haydn

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 1 XXIIIa:5 Ad aras 4vv, ? 2 1794 — probably
convolate ob, ? 2 not
(grad/off), G trbn, str, authentic
bc (org)

2 XXIIIb:E1 Alma 4vv, bc — (Vienna and probably

redemptoris (org) Graz, 1916) not
mater, E authentic

3 XXIIIa:8 Ardentes 2 S, str, 1765 — doubtful

Seraphini bc (org)
(off), A

4 XXIIIb:6 Ave regina, F 4vv, ? 2 1782 — doubtful

tpt, ?
timp, 2
vn, bc
(org)

5 — Ego virtus S, 2 ob, 2 1772 — ?authentic;

gratitudo tpt, timp, for ?secular
(aria), C str, bc origin, see
(org) Becker-
Glauch
(J1970),
no.B/2

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 6 XXIIId:G1 Ei wer hätt’ S, 2 vn, 1764 (Altötting, ?
ihm das Ding bc (org) 1975) authentic; ?
gedenkt also attrib.
(Pastorella, (J.A.)
aria), G Stephan
and M.
Haydn

7 XXIIIc:6 Lauda Sion A, 2 fl, 1787 — probably

(Aria de str, bc not
venerabili (org) authentic;
[sacramento]), orig.
F without
author’s
name

8 XXIIIc:C2 Litaniae de S, A, T, B, 1776 (Vienna and several

BVM, C 4vv, fl, ? Munich, 1960) versions;
2 ob, ? 2 probably by
tpt, ? J. Heyda
timp, 2 (Hayda,
vn, bc, Haida;
org obbl c1740–
1806); also
attrib. M.
Haydn

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 9 XXIIIa:C7 Magna coeli B, ? 2 — — ?authentic;
domina tpt, ? for ?secular
(Motetto de timp, str, origin, see
Beata, aria), C bc (org) Becker-
Glauch
(J1970)

10 — Maria S, 2 vn, — — ?authentic;

Jungfrau rein bc (org) for ?secular
(Aria pro origin, see
adventu), G Becker-
Glauch
(J1970),
no.B/5

11 XXIIIa:6 Salus et gloria 4vv, 2 tpt, 1779 (Augsburg, probably by

(off/motet), C timp, 2 1959) L. Hofmann
vn, bc
(org)

12 XXIIIb:5 Salve regina, S, A, 2 1766 — probably by

G vn, bc J. Heyda
(org)

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 13 XXIIIa:7 Super flumina A, 4vv, 2 1772 — probably by
Babylonis (Ps tpt, timp, Vanhal
cxxxvi) str, bc
(motet), C (org)
Veni tandem
expectatus,
see appx F.1 7

14 — Was meine T, 2 vn, — — ?authentic;

matte Brust bc (org) MS
bekränket ‘Hayden’ in
(Aria pro CZ-Pnm
adventu), G (Kuks)

15 XXIIIa:G9 O coelitum S, str, bc — (Cardiff, 1984) ?authentic;

beati (motet/ (org) for ?secular
aria), G origin, see
preface to
edn; in one
source with
Alleluia, C

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 Note: Stabat mater, see Group C; The Ten Commandments, see
Group I; Ave Maria, mentioned in Elssler, Haydn’s vollendete
Compositionen (MS, A-Sm), not identified
Appendix B.1: Selected adaptations and arrangements (authorship
uncertain, but Haydn’s approval probable in most cases)

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 No. Becker- Title Edition Original Remarks
Glauch version
(J1970)

1 — Audi — final Pohl (1882),

clamorem chorus in B/m/13; also
nostrum (off) 1st pt of Il with other
ritorno di texts
Tobia (C
3)

2 B/6/c Concertantes HW aria Si

jugiter (off) xxvii/2, obtrudat
122 in
Applausus
(C 2)

3 B/6/b Dictamina HW duetto in edn without

mea (off/ xxvii/2, Applausus Alleluia
motet) 68 (C 2),
combined
with
Alleluia (B
9)

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 4 B/8 Insanae et (Leipzig, chorus not later than
vanae curae 1809) Svanisce 1798;
(Der Sturm) in un authenticated
(off/motet/ momento by E; also
grad) in Il with texts Des
ritorno di Staubes eitle
Tobia (C Sorgen,
3) Distraught
with care and
anguish

5 B/7 Maria, die — aria of

reine (Aria pro Baucis in
adventu) Philemon
und
Baucis (E
12)

6 B/6/d O Jesu, te HW final also with text

invocamus xxvii/2, chorus in Allmächt’ger,
(off/hymn) 170 Applausus Preis dir und
(C 2) Ehre!

7 — Plausus — final with orch

honores date chorus in introduction
(off/motet) Da qual based on
gioia (D4) preceding
recit

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 8 B/6/a Quae res Christus HW xxvii/ 1st recit and
admiranda … coeli 2, 4, 18 qt in
atria Applausus (C
(off/ 2)
motet)

9 B/3 Vicisti, heros HW xxv/ recit and

… Justus ut 1, 154 aria of
palma Leopoldo
in
Marchese
(E 3)

10 HXXXIC: Vias tuas — ? by unknown

1 Domine composer,
(grad), C, 4vv, 1576, ? ed.
bc Haydn

1 XXIIIa:5 Ad aras 4vv, ? 2 1794 — probably

convolate ob, ? 2 not
(grad/off), G trbn, str, authentic
bc (org)

2 XXIIIb:E1 Alma 4vv, bc — (Vienna and probably

redemptoris (org) Graz, 1916) not
mater, E authentic

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 3 XXIIIa:8 Ardentes 2 S, str, 1765 — doubtful
Seraphini bc (org)
(off), A

4 XXIIIb:6 Ave regina, F 4vv, ? 2 1782 — doubtful

tpt, ?
timp, 2
vn, bc
(org)

5 — Ego virtus S, 2 ob, 1772 — ?authentic;

gratitudo 2 tpt, for ?secular
(aria), C timp, origin, see
str, bc Becker-
(org) Glauch
(J1970),
no.B/2

6 XXIIId:G1 Ei wer hätt’ S, 2 vn, 1764 (Altötting, ?

ihm das Ding bc (org) 1975) authentic; ?
gedenkt also attrib.
(Pastorella, (J.A.)
aria), G Stephan
and M.
Haydn

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 7 XXIIIc:6 Lauda Sion A, 2 fl, 1787 — probably
(Aria de str, bc not
venerabili (org) authentic;
[sacramento]), orig.
F without
author’s
name

8 XXIIIc:C2 Litaniae de S, A, T, 1776 (Vienna and several

BVM, C B, 4vv, Munich, versions;
fl, ? 2 1960) probably by
ob, ? 2 J. Heyda
tpt, ? (Hayda,
timp, 2 Haida;
vn, bc, c1740–
org obbl 1806); also
attrib. M.
Haydn

9 XXIIIa:C7 Magna coeli B, ? 2 — — ?authentic;

domina tpt, ? for ?secular
(Motetto de timp, origin, see
Beata, aria), C str, bc Becker-
(org) Glauch
(J1970)

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 10 — Maria S, 2 vn, — — ?authentic;
Jungfrau rein bc (org) for ?secular
(Aria pro origin, see
adventu), G Becker-
Glauch
(J1970),
no.B/5

11 XXIIIa:6 Salus et gloria 4vv, 2 1779 (Augsburg, probably by

(off/motet), C tpt, 1959) L. Hofmann
timp, 2
vn, bc
(org)

12 XXIIIb:5 Salve regina, S, A, 2 1766 — probably by

G vn, bc J. Heyda
(org)

13 XXIIIa:7 Super flumina A, 4vv, 2 1772 — probably by

Babylonis (Ps tpt, Vanhal
cxxxvi) timp,
(motet), C str, bc
Veni tandem (org)
expectatus,
see appx F.1 7

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 14 — Was meine T, 2 vn, — — ?authentic;
matte Brust bc (org) MS
bekränket ‘Hayden’ in
(Aria pro CZ-Pnm
adventu), G (Kuks)

15 XXIIIa:G9 O coelitum S, str, bc — (Cardiff, ?authentic;

beati (motet/ (org) 1984) for ?secular
aria), G origin, see
preface to
edn; in one
source with
Alleluia, C

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 Appendix B.2: Selected works attributed to Haydn

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 No. H Title, key Forces Earliest Edition Remarks
reference

1 XXIIIa:5 Ad aras 4vv, ? 2 1794 — probably not

convolate ob, ? 2 authentic
(grad/off), G trbn,
str, bc
(org)

2 XXIIIb:E1 Alma 4vv, bc — (Vienna probably not

redemptoris (org) and Graz, authentic
mater, E 1916)

3 XXIIIa:8 Ardentes 2 S, str, 1765 — doubtful

Seraphini (off), bc (org)
A

4 XXIIIb:6 Ave regina, F 4vv, ? 2 1782 — doubtful

tpt, ?
timp, 2
vn, bc
(org)

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 5 — Ego virtus S, 2 ob, 1772 — ?authentic;
gratitudo (aria), 2 tpt, for ?secular
C timp, origin, see
str, bc Becker-
(org) Glauch
(J1970), no.B/
2

6 XXIIId:G1 Ei wer hätt’ S, 2 vn, 1764 (Altötting, ?authentic; ?

ihm das Ding bc (org) 1975) also attrib.
gedenkt (J.A.) Stephan
(Pastorella, and M.
aria), G Haydn

7 XXIIIc:6 Lauda Sion A, 2 fl, 1787 — probably not

(Aria de str, bc authentic;
venerabili (org) orig. without
[sacramento]), author’s
F name

8 XXIIIc:C2 Litaniae de S, A, T, 1776 (Vienna several

BVM, C B, 4vv, and versions;
fl, ? 2 Munich, probably by J.
ob, ? 2 1960) Heyda
tpt, ? (Hayda,
timp, 2 Haida;
vn, bc, c1740–1806);
org obbl also attrib.
M. Haydn

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 9 XXIIIa:C7 Magna coeli B, ? 2 — — ?authentic;
domina tpt, ? for ?secular
(Motetto de timp, origin, see
Beata, aria), C str, bc Becker-
(org) Glauch
(J1970)

10 — Maria Jungfrau S, 2 vn, — — ?authentic;

rein (Aria pro bc (org) for ?secular
adventu), G origin, see
Becker-
Glauch
(J1970), no.B/
5

11 XXIIIa:6 Salus et gloria 4vv, 2 1779 (Augsburg, probably by

(off/motet), C tpt, 1959) L. Hofmann
timp, 2
vn, bc
(org)

12 XXIIIb:5 Salve regina, G S, A, 2 1766 — probably by J.

vn, bc Heyda
(org)

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 13 XXIIIa:7 Super flumina A, 4vv, 2 1772 — probably by
Babylonis (Ps tpt, Vanhal
cxxxvi) (motet), timp,
C Veni tandem str, bc
expectatus, see (org)
appx F.1 7

14 — Was meine T, 2 vn, — — ?authentic;

matte Brust bc (org) MS ‘Hayden’
bekränket (Aria in CZ-Pnm
pro adventu), G (Kuks)

15 XXIIIa:G9 O coelitum S, str, — (Cardiff, ?authentic;

beati (motet/ bc (org) 1984) for ?secular
aria), G origin, see
preface to
edn; in one
source with
Alleluia, C

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 Note: for chorus, D, Sit laus plena, sit sonora (text from Lauda Sion)
and for recit and aria Quid hostem times, see Landon (A1980)

C: Oratorios and similar works

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 No. H Title, poet Forces Date Authentication Edition Remarks

1 XXbis Stabat S, A, T, 1767 EK HW xxii/ listed as

mater B, 4vv, 1 orat in HV;
(hymn) 2 ob/ also other
eng texts, incl.
hn, str, Weint ihr
bc Augen and
(org/ Trauret
hpd) Seelen;
more insts
added
Neukomm,
1803 (HW
xxii/1, 111)

2 XXIVa: Applausus S, A, T, [–4 EK, A HW perf.

6 (Jubilaeum 2 B, 2 April] xxvii/2 Zwettl, 17
Virtutis ob, bn, 1768 April 1768
Palatium) 2 hn/
(allegorical tpt,
orat/cant.) timp,
str, bc,
hpd
obbl

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 3 XXI:1 Il ritorno di 2 S, A, [1774– A (pt ii, u, and HW perf.
Tobia (orat, T, B, 5] no.13c), C xxviii/1 Vienna, 2, 4
2 pts, G.G. 4vv, 2 (I, II) April 1775;
Boccherini) fl, 2 rev. and
ob, 2 choruses
eng Svanisce in
hn, 2 un
bn, 4 momento
hn, 2 and Ah
tpt, 2 gran Dio!
trbn, added
timp, 1784; both
str, bc versions of
(hpd) acc. recits
in HW;
embellished
versions
and
cadenzas in
H7b, 12b
dubious;
rev.
Neukomm
with
Haydn’s
permission,
1806; ov.,
cf K 9

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 4 XX/2 Die Sieben S, A, T, [1795– A (u, partly in HW for Haydn’s
letzten B, 4vv, 6] copyist’s hand), xxviii/2 orig. orch
Worte 2 fl, 2 OE version, see
unseres ob, 2 K 11; uses
Erlösers am cl, 2 also J.
Kreuze (The bn, Friebert’s
Seven Last dbn, 2 vocal arr.;
Words) (? J. hn, 2 text partly
Friebert, tpt, 2 uses K.W.
rev. G. van trbn, Ramler:
Swieten) timp, Der Tod
str Jesu; perf.
Vienna, 26,
27 March
1796

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 5 XXI:2 Die S, T, B, 1796– OE, RC, Sk, A M 16/V; perf.
Schöpfung 4vv, 3 8 (dbn, trbn pts ed. A.P. Vienna, 29,
(The fl, 2 only, u) Brown 30 April
Creation) ob, 2 (London, 1798;
(orat, 3 pts, cl, 2 1995) several
van bn, sketches in
Swieten, dbn, 2 Landon, iv
after hn, 2 (A1977),
unidentified tpt, 3 357
‘Lidley’, trbn,
after Bible timp,
and Milton: str, bc
Paradise (hpd)
Lost)

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 6 XXI:3 Die S, T, B, 1799– OE, RC, Sk M 16/ text incl. 2
Jahreszeiten 4vv, 2 1801 VI–VII songs by
(The fl, 2 C.F. Weisse
Seasons) (4 ob, 2 and G.A.
pts, van cl, 2 Bürger;
Swieten, bn, perf.
after J. dbn, 4 Vienna, 24
Thomson) hn, 3 April 1801;
tpt, 3 aria Schon
trbn, eilet quotes
timp, Andante
perc, from J 94;
str, bc for dbn, see
(hpd) Landon, v
(A1977),
132

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 Note: Die Erlösung mentioned in HL not verified; ?identical with no.
4 or with spurious arr. Der Versöhnungstod (H Anh.XXIVa:1)

D: Secular cantatas, choruses

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 No. H Title Forces Date Authentication Edition Remarks

1 XXIVa:1 Vivan ? –10 Jan EK — lost

gl’illustri sposi 1763 for Anton
(cant.) Esterházy’s
wedding; in
EK as Coro 1

2 XXIVa:2 Destatevi o 2 S, T, [–?6 Dec] A, ?EK — for Nikolaus

miei fidi 4vv, 2 ob, 1763 Esterházy’s
(cant.) 2 hn, str, nameday; ?
bc (hpd) mixed with
other pieces;
autograph,
PL-Kj

3 XXIVa:4 Qual dubbio S, 4vv, 2 [–?6 Dec] A, ?EK D 200 for Nikolaus
ormai (cant.) ob, 2 hn, 1764 (1982) Esterházy’s
str, bc, nameday; for
hpd obbl autograph of
final chorus,
see Fine Music
Manuscripts
(B1990)

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 4 XXIVa:3 Da qual gioia S, A, 4vv, ?1764 A, ?EK — for Nikolaus
improvvisa fl, 2 ob, Esterházy’s
(cant.) bn, 2 hn, return from
str, bc, Frankfurt; ?
hpd obbl inc.;
autograph,
PL-Kj; see
appx B.1, 7

5 XXIVa:5 Dei clementi ? ? EK — lost

(cant.) for Nikolaus
Esterházy’s
convalescence;
in EK as Coro
3

6 XXIVa:3 Al tuo arrivo ? ?1767 EK — lost

felice (cant.) for Nikolaus
Esterházy’s
return from
Paris; in EK as
Coro 2; in H
confused with
no.4

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 7 ii, 433 Su cantiamo, S, 3vv, fl, ?1791 A (u) — adapted from
su beviamo 2 ob, 2 final chorus of
(chorus) hn, 2 tpt, Orlando
timp, str paladino (E
22); cf E 24

8a XXIVa:8 The Storm: S, A, T, B [–24 Feb] A ed. F.

Hark! The (?and 1792 Szekeres,
wild uproar of 4vv), 2 fl, D 316
the winds (P. 2 ob, 2 (1969)
Pindar, bn, str
madrigal)

8b ii, 194 Der Sturm: S, A, T, B, –1798 [? A (u, partly in (Leipzig, Ger. trans. of
Hört! Die 4vv, 2 fl, 1793] copyist’s hand), 1802) no.8a; also as
Winde 2 ob, 2 SC La tempesta
furchtbar cl, 2 bn, with It. text
heulen (? van 2 hn, 2
Swieten, tpt, 2
chorus) trbn,
timp, str

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 9 XXIVa:9 Nor can I B, 4vv, fl, ?1794 A (u) D 90 aria and
think … Thy 2 ob, 2 (1990) chorus from
great cl, 2 bn, inc. cant.; text
endeavours 2 hn, 2 from
(from tpt, timp, prefatorial
Klareamontos: str poem to
[Invocation] Selden’s Mare
Neptune to clausum
the Common-
wealth of
England)

10 — Song with ? 1791–5 Gr, Dies — lost/

orch unidentified

11 XXVIa:43 Gott erhalte 1v, fl, 2 1797 A (London, for orig.

Franz den ob, 2 bn, 1977) version, see G
Kaiser (L.L. 2 hn, 2 (see 43; perf. 12
Haschka, tpt, timp, Landon, Feb 1797
Volkslied) str iv,
A1977, p.
279);
facs.
(Graz,
1982)

1 — God save the ? 1791–5 Gr, Dies — lost

King

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 1 XXIVa:11 Die ed. F. MSS not
Erwählung Szekeres, authentic
eines D 374
Kapellmeisters (1970)
(cant.)

2 Ia:D4 D’onora al — frag.

piede without
pongansi (ov., author’s
chorus) name; not
a Haydn
autograph

3 XXIVa:D2 Inimica mihi — frag. of

semper sydera cant.
(Applausus) without
author’s
name; not
a Haydn
autograph

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 Note: Quis stellae radius, see Group B
Appendix D.1: Arrangement

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 No. H Title, poet Forces Date Authentication Edition Remarks

1 — God save the ? 1791–5 Gr, Dies — lost

King

1 XXIVa:11 Die ed. F. MSS not

Erwählung Szekeres, authentic
eines D 374
Kapellmeisters (1970)
(cant.)

2 Ia:D4 D’onora al — frag.

piede without
pongansi (ov., author’s
chorus) name; not
a Haydn
autograph

3 XXIVa:D2 Inimica mihi — frag. of

semper sydera cant.
(Applausus) without
author’s
name; not
a Haydn
autograph

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 Appendix D.2: Doubtful and spurious works

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 No. H Title Edition Remarks

1 XXIVa:11 Die Erwählung eines ed. F. Szekeres, MSS not authentic

Kapellmeisters (cant.) D 374 (1970)

2 Ia:D4 D’onora al piede — frag. without author’s

pongansi (ov., chorus) name; not a Haydn
autograph

3 XXIVa:D2 Inimica mihi semper — frag. of cant. without

sydera (Applausus) author’s name; not a
Haydn autograph

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 E: Dramatic

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 No. H Title, librettist Forces Date Authentication Edition Remarks

1a XXIXb: Der krumme ? ?1752 HL — lost or = no.

1a Teufel (Spl, J.F. 1b; 1st known
von Kurz) perf. Vienna,
29 May 1753

1b XXIXb: Der neue ? c1759 lib HW xxiv/ music lost

1b krumme Teufel 2, 3 (lib) int ? not by
(Asmodeus, der Haydn; 1770
krumme Teufel) with variant
(oc/Spl, 2, Kurz), pantomimic
incl. Arlequin, Spl Die Insul
der neue Abgott der Wilden,
Ram in Amerika HW xxiv/2, 23
(pantomimic (lib)
Spl), Il vecchio
ingannato (int)

2 XXVIII: Acide (festa 2 S, A, 1762 A, EK HW xxv/1, frag., lib

1 teatrale, 1, G.B. T, B, 2 1 extant; perf.
[?G.A.] fl, 2 ob/ Eisenstadt,
Migliavacca, eng hn, 11 Jan 1763;
after P. 2 hn, ov., cf HIa:5
Metastasio: str, bc
Galatea)

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 [2nd version] 2, S, T, [1773/4] A HW xxv/1, frag.; perf.
2B 105 Eszterháza,
with 25 Sept 1774
addl 2
bn

3 XXX:1 Marchese (La ?5 S, T, ?1763 A, EK HW xxv/1, frag.; lib/

marchesa 2 fl, 2 139 dialogues lost
Nespola) ob, 2
(comedia) hn, str,
bc

4 XXIVb:1 [title unkown] (? S, B, ? ?1761/2 A (u) HW xxv/1, ? = no.5; aria

ob) other 201 Costretta a
vv, 2 piangere and
eng hn, recit extant
2 hn,
str, bc

5 ii, 448 Il dottore ? ?c1761–5 EK — lost

(comedia)

6 ii, 448 La vedova ? ?c1761–5 EK — lost

(comedia)

7 ii, 448 Il scanarello ? ?c1761–5 EK — lost

(comedia)

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 8 XXVIII: La canterina (int 3 S, T, 2 1766 A, EK HW xxv/2; perf. ?
2 in musica, 2) fl, 2 ob/ facs. of Eisenstadt,
eng hn, lib, Haydn before 11
2 hn, Yearbook Sept (? 26
str, bc 1996 July) 1766;
Bratislava, 16
Feb 1767; lib
from int in
Conforto: La
commediante,
1754, and
Piccinni:
L’Origille,
1760, after
Sciroli: La
cantarina,
1753; text of
nos.2, 3 from
A. Zeno:
Lucio Vero,
1700; cf Q 29

9 XXVIII: Lo speziale (Der 2 S, 2 T, [1768] A, EK HW xxv/3; Act 3 inc.;

3 Apotheker) (dg, 2 fl, 2 facs. of perf.
3, C. Goldoni, ob, bn, lib, Haydn Eszterháza,
rev. ? C. 2 hn, Yearbook aut. (? 28
Friberth) str, bc 1997 Sept) 1768;
ov., cf K 6

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 10 XXVIII: Le pescatrici 2 S, A, 1769 A, EK HW xxv/4; Acts 1, 2 inc.;
4 (Die 2 T, 2 B, facs. of 1st known
Fischerinnen) vv, 2 fl, lib, Haydn perf.
(dg, 3, Goldoni, 2 ob/ Yearbook Eszterháza,
rev. ?Friberth) eng hn, 1996 16, 18 Sept
bn, 2 1770; ?1st
hn, str, movt of ov., cf
bc J 106

11 XXVIII: L’infedeltà 2 S, 2 T, [1773] A, EK HW xxv/5 perf.

5 delusa (Liebe B, 2 ob, Eszterháza,
macht 2 bn, 2 26 July 1773;
erfinderisch; hn, ov., concert
Untreue lohnt timp, version, cf K
sich nicht; str, bc 8
Deceit
outwitted)
(burletta per
musica, 2, M.
Coltellini, rev. ?
Friberth)

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 12 XXIXa: Philemon und 2 S, 2 T, [1773] EK, signed lib, HW xxiv/1 supposed ov.
1, 1a; Baucis, oder 4vv, ? 2 HL, A (frag., u) (cf J 50) and
XXIXb:2 Jupiters Reise fl, 2 frag. of
auf die Erde ob, ?bn, prelude
(Spl/marionette 2 hn, ? extant; drama
op, 1, G.K. 2 tpt, extant in rev.
Pfeffel); timp, version; perf.
Vorspiel: Der str Eszterháza, 2
Götterrat (1, ? Sept 1773;
P.G. Bader) ov. to drama,
HIa:8; cf appx
G. 1, 1

13 XXIXa:2 Hexenschabbas ? ?1773 Dies — lost

(marionette op)

14 XXVIII: L’incontro 3 S, 2 T, [1775] A, EK HW xxv/6 perf.

6 improvviso (Die 2 B, 2 (I, II) Eszterháza,
unverhoffte ob/eng 29 Aug 1775;
Zusammenkunft; hn, 2 ov., K 5
Unverhofftes bn, 2
Begegnen) (dg, hn, 2
3, Friberth, tpt,
after Dancourt: timp,
La rencontre perc,
imprévue) str, bc

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 15 XXIXa:3 Dido (Spl/ ? [1775/6] HL HW xxiv/ music lost
marionette op, 2, 31 (lib, perf.
3, Bader) 1778) Eszterháza, ?
Feb/March
1776, also
aut. 1778; ?
aria extant (G
13)

16a XXIXa:4 Opéra comique ? ?c1773–9 EK ? lost or = no.

vom 16b
abgebrannten
Haus

16b XXIXb:A Die S, ?5 T, ?1775–8 ? HW xxiv/3 ? = no.16a;

Feuersbrunst B, 4vv, authenticity
(Spl/?marionette 2 fl, 2 uncertain;
op, 2) ob, 2 cl, dialogues lost
2 bn, 2 1st, 2nd, ?3rd
hn, 2 movts of ov.
tpt, by I.J. Pleyel;
timp, cf K 8, appx K
str 1

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 17 XXVIII: Il mondo della 2/3 S, [1777] A, EK, Sk HW xxv/7 perf.
7 luna (Die Welt 1/2 A, 2 (I, II, III) Eszterháza, 3
auf dem Monde) T, B, 2 Aug 1777; cf
(dg, 3, Goldoni) fl, 2 ob, A 8, J 63, K 7,
2 bn, 2 appx K 8, S 8,
hn, 2 9, 10, 12, 13,
tpt, appx Y.3, 4
timp,
str, bc

18 XXIXb:3 Die bestrafte ? ?1779 lib HW xxiv/ music lost

Rachbegierde 2, 57 (lib) perf.
(Spl/marionette Eszterháza,
op, 3, Bader) 1779

19 XXVIII: La vera costanza ? –1779 [? EK, Sk — music lost

8 (dg, 3, F. Puttini) April–Nov where not
1778] incl. in 2nd
version;
sketches, HW
xxv/8, 356;
perf.
Eszterháza,
25 April
1779; ov.,
concert
version, K 7

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 2nd version (Der 3 S, 3 T, 1785 A (partly in HW xxv/8 Count
flatterhafte B, 1/2 copyists’ hands) Errico’s Act 2
Liebhaber; Der fl, 2 ob, scene = that
Sieg der 2 bn, 2 in Anfossi’s
Beständigkeit; hn, setting (1775)
Die wahre timp,
Beständigkeit; str, bc
List und Liebe;
Laurette (P.U.
Dubuisson)
(HXXVIII: 8a))

20 XXVIII: L’isola disabitata 2 S, T, 1779 A (frags.), EK (Vienna perf.

9 (Die wüste B, fl, 2 and Eszterháza, 6
Insel) (azione ob, bn, Leipzig, Dec 1779,
teatrale, 2, 2 hn, 1909) (vs) finale rev.
Metastasio) timp, 1802; ov., K
str, bc 4, autograph
frag. in PL-Kj

21 XXVIII: La fedeltà 4 S, 2 T, 1780 A, RC HW xxv/ perf.

10 premiata (Die 2 B, fl, 10 (I, II) Eszterháza,
belohnte Treue) 2 ob, 25 Feb 1781;
(dramma bn, 2 cf appx E 3, J
pastorale hn/tpt, 73
giocoso, 3, after timp,
G. Lorenzi: str, bc
L’infedeltà
fedele)

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 22 XXVIII: Orlando 3 S, 4 T, 1782 A HW xxv/ perf.
11 paladino (Der 2 B, fl, 11 (I, II) Eszterháza, 6
Ritter Roland) 2 ob, 2 Dec 1782; ov.,
(dramma bn, 2 HIa:16; cf D
eroicomico, 3, hn/tpt, 7; duetto H
C.F. Badini, N. timp, 16 arr. with
Porta) str, bc text Quel cor
umano e
tenero (L. da
Ponte)
(London,
1794–5)

23 XXVIII: Armida 2 S, 3 T, 1783 A HW xxv/ perf.

12 (dramma eroico, B, fl, 2 12 Eszterháza,
3, after I. ob, 2 cl, 26 Feb 1784;
Durandi, F.S. De 2 bn, 2 ov., HIa:14
Rogati and hn/tpt,
others) timp,
str, bc

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 24 XXVIII: L’anima del 2 S, T, 1791 A HW xxv/ perf.
13 filosofo, ossia B, 4vv, 13 Florence, 9
Orfeo ed 2 fl, 2 June 1951;
Euridice ob, 2 cl, ov., HIa:3, cf
(dramma per 2 eng K 13; chorus
musica, 4/5, hn, 2 Finché
Badini) bn, 2 circola il
hn, 2 vigore uses
tpt, 2 final chorus
trbn, from Orlando
timp, paladino (E
hp, str, 22); cf D 7
bc

25 XXX:5 Alfred, König 1796 A incid music;

der perf. as
Angelsachsen, Haldane,
oder Der König der
patriotische Dänen,
König (J.W. Eisenstadt, 9
Cowmeadow, Sept 1796
after A.
Bicknell):

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 a Triumph dir, 3vv, 2 (Leipzig,
Haldane ob, 2 1814) (vs)
(chorus) bn, 2
tpt,
timp,
str

b Ausgesandt vom S, 2 cl, (Salzburg,

Strahlenthrone 2 bn, 2 1961)
(aria with hn
spoken
interjections)

c Der Morgen 2 T, ? —
graut (duet) hp, vn
solo, str

26 XXX:4 Fatal amour S, fl, 2 ?c1796 A (u) — music for

(recit and aria ob, 2 unknown
with spoken bn, 2 comedy;
interjections), F, hn, str quotes Aria
G, E♭ alla polacca
by J.
Schuster; cf
appx Y.4, 3;
text of recit
from J.-P.
Rameau:
Pigmalion

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 1 XXIXa:5 Genovefens HW music lost;
vierter Theil xxiv/2, by different
(Spl/marionette 75 (lib) composers
op, 3, K. von according
Pauersbach) to HL, by
Haydn
according
to HV; perf.
Eszterháza,
sum. (? 6
Aug) 1777;
ov., ? K 3

2 XXIXb:F Die reisende (Vienna, music inc.

Add. Ceres (Spl, M. 1977)
Lindemayr)

3 XXXII:2 Der Freibrief — music lost

(Spl, 1, ? G.E. pasticcio
Lüderwald) incl. music
from La
fedeltà
premiata (E
21), ? arr. F.
von Weber;
perf.
Meiningen,
1789

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 4 XXXII:3 Alessandro il — pasticcio
grande (os, 3) arr. J.
Schellinger
from works
by Haydn
and others,
dated 179[?
0]

5 XXXII:4 Der Äpfeldieb — music lost

(Spl, 1, C.F. perf.
Bretzner) Hamburg,
1791, with
inserted
music by
Haydn

6 i, 577 Die [Das] (Mainz, pasticcio

Ochsenmenuett 1927) arr. I. von
(Singspiel, 1, Seyfried
G.E. von from
Hofmann) Haydn’s
works; perf.
Vienna,
1823; see
appx X.3, 8

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 7 — Das Teebrett (Berlin, music from
(comedy, E. 1914) L’incontro
Fischer), vv, kbd improvviso
(E 14),
L’infedeltà
delusa (E
11),
Orlando
paladino (E
22)

8 — (Finale … sey — 2
voll edlen coloraturas,
Stolzes) S, orch;
without
author’s
name; MS (
D-LEm)
not a
Haydn
autograph

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 Note: an ‘operette’ mentioned by Elssler in 1811, not identified (see
Schmieder, AMz, lxiv (1937), 425–7)
Appendix E: Selected doubtful and spurious works

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 No. H Title, librettist Edition Remarks

1 XXIXa:5 Genovefens vierter Theil HW xxiv/ music lost; by different

(Spl/marionette op, 3, K. 2, 75 (lib) composers according to HL, by
von Pauersbach) Haydn according to HV; perf.
Eszterháza, sum. (? 6 Aug)
1777; ov., ? K 3

2 XXIXb:F Die reisende Ceres (Spl, (Vienna, music inc.

Add. M. Lindemayr) 1977)

3 XXXII:2 Der Freibrief (Spl, 1, ? — music lost

G.E. Lüderwald) pasticcio incl. music from La
fedeltà premiata (E 21), ? arr. F.
von Weber; perf. Meiningen,
1789

4 XXXII:3 Alessandro il grande (os, — pasticcio arr. J. Schellinger from

3) works by Haydn and others,
dated 179[?0]

5 XXXII:4 Der Äpfeldieb (Spl, 1, — music lost

C.F. Bretzner) perf. Hamburg, 1791, with
inserted music by Haydn

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 6 i, 577 Die [Das] (Mainz, pasticcio arr. I. von Seyfried
Ochsenmenuett 1927) from Haydn’s works; perf.
(Singspiel, 1, G.E. von Vienna, 1823; see appx X.3, 8
Hofmann)

7 — Das Teebrett (comedy, (Berlin, music from L’incontro

E. Fischer), vv, kbd 1914) improvviso (E 14), L’infedeltà
delusa (E 11), Orlando paladino
(E 22)

8 — (Finale … sey voll edlen — 2 coloraturas, S, orch; without

Stolzes) author’s name; MS (D-LEm) not
a Haydn autograph

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 F: Secular vocal with orchestra

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 No. H Title Forces Date Authentication Edition Remarks

1 XXIVb:A1 Aure dolci ?S/T, 2 –?1762 F — vocal part lost

ch’io respiro fl, 2 ob,
(aria) str

2 XXIVb:2 D’una sposa S, 2 ob, ?sum. A (Salzburg, aria for

meschinella 2 hn, 1777 1961) Paisiello: La
str Frascatana; ?
by unknown
composer, ?
rev. Haydn; ?
orig. =
HXXIVb:2bis

3 XXIVb:8 Dica pure chi ?S, 2 ? — (Vienna, aria for

vuol dire ob, bn, 1778/85 1787) (vs) Anfossi: Il
2 hn, geloso in
str cimento;
newly scored
P.A. Pisk
(Vienna,
1931)

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 4 XXIVb:3 Quando la S, fl, ?July A (u) (Salzburg, aria for
rosa … bn, 2 1779 1961) (1st Anfossi: La
Finché hn, str stanza only) Metilde
l’agnello ritrovata
(L’incognita
perseguitata);
recit is by
Anfossi

5 XXIVb:5 Dice B, 2 –?27 A (frags., u) (Salzburg, aria for

benissimo hn, str July 1964) Salieri: La
1780 scuola de’
gelosi; also
with texts
Männer ich
sag es euch
and Ja in dem
Himmel

6 XXIVb:7 Signor voi S, 2 fl, –?3 July Sk, HE (Salzburg, aria for
sapete 2 ob, 2 1785 1961) Anfossi: Il
bn, 2 matrimonio
hn, str per inganno;
sketch in
PL-Kj

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 7 XXIVa:7 Miseri noi … S, 2 fl, –1786 SC D 17 (1960) cant. (recit
Funesto orror 2 ob, 2 and aria)
bn, 2
hn, str

8 XXIVb:9 Sono Alcina S, fl, 2 [–18 A (Salzburg, cavatina for

ob, 2 June] 1961) G. Gazzaniga:
bn, 2 1786 L’isola di
hn, str Alcina; cf T 3

9 XXIVb:10 Ah tu non T, fl, 2 [–4 A, Sk (Salzburg, recit and aria

senti … Qual ob, 2 July] 1964) for Traetta:
destra bn, 2 1786 Ifigenia in
omicida hn, str Tauride;
sketch ed.
A.P. Brown
(K1979)

10 XXIVb:11 Un cor sì B, 2 ob, [–April] A (Salzburg, aria for F.

tenero 2 hn, 1787 1964) Bianchi: Il
str disertore

11 XXIVb:12 Vada adagio, S, 2 ob, –?3 A (u pt), C (Salzburg, aria for P.

signorina 2 bn, 2 June 1961) Guglielmi: La
hn, str 1787 Quakera
spiritosa: cf
appx F.2, 3

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 12 XXIVb:13 Chi vive S, fl, 2 [–25/26 A (Salzburg, aria for F.
amante ob, 2 July] 1961) Bianchi:
bn, 2 1787 Alessandro
hn, str nell’Indie

13 XXIVb:14 Se tu mi T, 2 ob, [–9 A (Salzburg, aria for G.

sprezzi 2 bn, 2 March] 1964) Sarti: I finti
hn, str 1788 eredi

14 XXIVb:15 Infelice S, 2 ob, [–Feb] A (Salzburg, aria for

sventurata 2 bn, 2 1789 1961) Cimarosa: I
hn, str due supposti
conti

15 XXXII:1 for Circe, [–July] pasticcio by

ossia L’isola 1789 Anfossi; La
incantata: maga Circe,
Naumann and
Haydn, cf
appx F.2, 19;
Lavatevi
presto, cf
appx X.3, 2

a Son due ore T, fl, 2 A (Budapest,

che giro ob, 2 1960) (see
(recit) bn, str, Bartha and
bc Somfai,
E1960)

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 b Son pietosa, S, fl, 2 C D 19 (1959)
son bonina ob, 2
(aria) bn, 2
hn, str

c Lavatevi 2 T, B, C (Cardiff,
presto fl, 2 ob, 1982)
(terzetto) 2 bn, 2
hn, str

16 XXIVb:16 Da che penso T, fl, 2 [–14 A (Salzburg, aria for

a maritarmi ob, 2 March] 1964) Gassmann:
bn, 2 1790 L’amore
hn, str artigiano,
which incl. 2
other arias by
Haydn: ?no.
17, ?appx F.1,
5

17 XXIVb:19 La mia pace, S, fl, 2 1790 A — see no.16

oh Dio, perdei ob, 2
(aria) bn, 2
hn, str

18 XXIVb:17 Il meglio mio S, fl, 2 –?6 C (Salzburg, aria for

carattere ob, 2 June 1961) Cimarosa:
bn, 2 1790 L’impresario
hn, str in angustie

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 19 XXIVb:18 La moglie S, fl, 2 –?Aug/ HE, C (Salzburg, aria for
quando è ob, 2 Sept 1961) Cimarosa:
buona bn, 2 1790 Giannina e
hn, str Bernardone;
cf appx H 13

20 XXIVb:22 Tornate pur T, fl, 2 –13 Aug — — with text

mia bella ob, 2 1790 [? Consola pur
(aria) bn, 2 1787] mia bella
hn, str inserted in
Guglielmi: La
Quakera
spiritosa,
Vienna, 1790

21 XXIVb:23 Via siate S, fl, 2 ?c1785– — —

bonino (aria) ob, 2 95
bn, 2
hn, str

22 XXIVb:24 Cara deh T, ob, –16 Gr, Dies — music lost

torna, aria for bn May text in
(Giacomo) (and ?) 1791 Landon
Davide (A1976), 76

23 — Aria for Miss ?S, ? 1791–5 Gr, Dies — lost/

Poole unidentified; ?
sketch (see
Feder, B1980)

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 24 — (aria with full ? 1791–5 Gr, Dies — lost/
orch) unidentified

25 XXIVa:10 Berenice, che S, fl, 2 [–4 A D 129 (1965) scena from

fai (cant.) ob, 2 May] Metastasio:
cl, 2 1795 Antigono;
bn, 2 composed in
hn, str London for
Brigida Giorgi
Banti

26 XXIVb:20 Solo e S, 2 cl, 1798 A (Salzburg, sonetto no.28

pensoso (aria) 2 bn, 2 1961) from
hn, str Petrarch:
Canzoniere
(no.xxxv)

1 XXVb:5 Pietà di me, 2 S, T, ? D 250 (1982) Haydn’s

benigni Dei eng hn name on MS
(terzetto) solo, copies added
bn later;
solo, considered as
hn probably
solo, 2 authentic by
hn, str Landon
(A1978,
A1976) and
by Larsen
(B1941)

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 2 XXIVb:6 Mora l’infido S, orch [1781] — extant are
… Mi sento vocal part
nel seno and 2 ob of
(recit and recit, 2 vn
aria) (partly in
Haydn’s
hand) and b
of recit and
aria; without
author’s
name; incl. in
Righini: Il
convitato di
pietra

3 XXVIb:1 Er ist nicht ?S, 1786–8 — perf. Leipzig

mehr! baryton and
(Deutschlands (and ?) Nuremberg,
Klage auf den 1788, by Carl
Tod des Franz; vocal
grossen part with bc
Friedrichs, extant;
Borussens considered
König) (cant.) authentic by
Landon
(A1978)

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 4 XXIVb:21 (aria) ?S, 2 fl, –1788 — vocal part lost
2 ob, 2 without
bn, 2 author’s
hn, str name; incl. in
G. Sarti: I
finti eredi; cf
appxs X.1, 7,
Y.4, 1

5 XXIVb: ?Occhietti ?T, 2 –1790 — vocal part lost

16bis cari del mio ob, bn, without
tesoro (aria) 2 hn, author’s
str name; incl. in
Gassmann:
L’amore
artigiano; see
F 16

6 XXIVa:F1 Pianger vidi A, 2 ob, ? (Munich, 1942) probably not

appresso un 2 hn, authentic
fonte (cant.) str

7 XXIIId:B2 Veni tandem S, str ? — not sacred;

expectatus without
(aria) author’s
name; not a
Haydn
autograph

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 1 XXXIc:3 Vi miro fiso ?S, 2 [aut. — aria from
ob, 2 1777] Dittersdorf:
hn, str L’Arcifanfano
re de’ matti;
altered and
wind pts
added

2 — Non per ?S, [July — aria by Salieri

parlar orch 1778] from pasticcio
d’amore L’astratto;
altered and 8
bars
rewritten; see
Bartha and
Somfai
(E1960), iii/2

3 XXXIc:4 ?Se provasse ?S, ? 2 [Feb — aria from

un pocolino fl, 2 ob, 1780] Anfossi: La
2 hn, forza delle
str donne, inc.;
wind pts
added and 2
vn rewritten;
melody
similar to F
11

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 4 XXXIc:5 Ah crudel, S, 2 fl, [April (Salzburg, aria from G.
poiché lo 2 hn, 1780] 1961) Gazzaniga: La
brami str vendemmia;
2nd half
composed by
Haydn

5 XXIVb:4 ? S, 2 ob, [July] — aria incl. in

2 hn, 1780 Salieri: La
str scuola de’
gelosi; text
lost, not Il cor
nel seno;
without
author’s
name; score
mostly
rewritten and
perhaps
composed by
Haydn

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 6 XXXIc:6 Gelosia S, 2 ob, [July — aria from
d’amore è 2 hn, 1780] Salieri, ibid.;
figlia (2 str altered, wind
versions) pts added, 34
bars of score
added or
rewritten;
sketch in HW
xxix/2, 82

7 XXXIc:7 Si promette S, 2 ob, [Oct — aria from

facilmente 2 hn, 1780] Anfossi: La
str finta
giardiniera;
completely
rewritten

8 XXXIc:8 Vorrei punirti S, 2 ob, [Oct — aria from

indegno 2 hn, 1780] Anfossi, ibid.;
str altered and
wind pts
added

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 9 XXXIc:9 Non ama la ?S, [April — aria from
vita orch 1781] Anfossi:
Isabella e
Rodrigo, ossia
La costanza
in amore; 2
bn and 6 bars
added

10 XXXIc:10 Che tortora S, 2 ob, [Aug — aria from N.

2 hn, 1781] Piccinni: Gli
str stravaganti,
ossia La
schiava
riconosciuta;
70 bars
rewritten

11 XXXIc:11 Una semplice S, orch [Aug — aria from

agnelletta 1781] Piccinni,
ibid.; altered,
14 bars
added

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 12 — Siam di cuor S, str [Aug — aria from
tenero (and ?) 1781] Piccinni,
ibid.; 8 (?7 +
3) bars
rewritten; see
Bartha and
Somfai
(E1960), iii/
14

13 — Misera che S, orch [March — recit from

farò 1782] Traetta: Il
cavaliere
errante; only
2 vn extant;
not
autograph;
authenticity
uncertain; see
Bartha and
Somfai
(E1960), iii/
23

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 14 XXXIc:12 Deh frenate i ?S, 2 [Sept — aria from
mesti accenti ob, 2 1782] Anfossi: Il
hn, str curioso
indiscreto;
extensively
rev., wind pts
added, 2 fl,
bn omitted

15 — Dove mai s’è S, orch [March — aria from

ritrovato 1784] Anfossi: I
viaggiatori
felici; 6 bars
rewritten; see
Bartha and
Somfai
(E1960), iii/
16

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 16 — Ah mi palesa S, T, [July — duet from
almeno orch 1786] Traetta:
Ifigenia in
Tauride; vocal
parts and 2
bars of score
rewritten; see
Bartha and
Somfai
(E1960), iii/
17

17 XXXIc:15 Se palpitar S, ob, [Aug — aria from

degg’io str 1788] Prati: La
(and ?) vendetta di
Nino
(Semiramide);
27 bars
added

18 XXXIc:13 Se voi foste S, str [Feb — aria from

un cavaliere 1789] Cimarosa: I
due supposti
conti;
completely
rewritten

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 19 — Quasi in tutte S, orch [July — aria in
le ragazze 1789] pasticcio
Circe (F 15);
12 bars
rewritten; see
Bartha and
Somfai
(E1960), iii/
20

20 XXXIc:14 Silenzio, miei T/B, [June — from quintet

signori orch 1790] in Cimarosa:
L’impresario
in angustie;
25 bars
added

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 Note: Ah come il core (HXXIVa, Anh.4), see E 21 (HW xxv/10, 380);
Costretta a piangere, see E 4; Quel cor umano e tenero (HXXVa,
Anh.) = Quel tuo visetto amabile, see E 22 (HW xxv/11, 237); Sono le
donne capricciose = Dice benissimo (no.5)

Frag., E(E♭), MGG1, v, 1893, line 4 = Dice benissimo (no.5)

Unpubd secco recits, rev./composed Haydn, in A. Felici (?Sacchini):

L’amore soldato, perf. Eszterháza, 1779, and Cimarosa: L’impresario
in angustie, perf. Eszterháza, 1790

Recit and aria sung by Calcagni, London, 1792, and Cantata a voce
sola con violino composed for the Duke of Bedford, unidentified or
lost; see Landon (A1976)
Appendix F.1: Selected works attributed to Haydn

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 No. H Title Forces Date Edition Remarks

1 XXVb:5 Pietà di me, 2 S, T, ? D 250 Haydn’s name on

benigni Dei eng hn (1982) MS copies added
(terzetto) solo, bn later; considered
solo, hn as probably
solo, 2 authentic by
hn, str Landon (A1978,
A1976) and by
Larsen (B1941)

2 XXIVb:6 Mora l’infido … S, orch [1781] — extant are vocal

Mi sento nel part and 2 ob of
seno (recit and recit, 2 vn (partly
aria) in Haydn’s hand)
and b of recit and
aria; without
author’s name;
incl. in Righini: Il
convitato di
pietra

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 3 XXVIb:1 Er ist nicht ?S, 1786–8 — perf. Leipzig and
mehr! baryton Nuremberg,
(Deutschlands (and ?) 1788, by Carl
Klage auf den Franz; vocal part
Tod des grossen with bc extant;
Friedrichs, considered
Borussens authentic by
König) (cant.) Landon (A1978)

4 XXIVb:21 (aria) ?S, 2 fl, –1788 — vocal part lost

2 ob, 2 without author’s
bn, 2 name; incl. in G.
hn, str Sarti: I finti
eredi; cf appxs X.
1, 7, Y.4, 1

5 XXIVb: ?Occhietti cari ?T, 2 ob, –1790 — vocal part lost

16bis del mio tesoro bn, 2 without author’s
(aria) hn, str name; incl. in
Gassmann:
L’amore
artigiano; see F
16

6 XXIVa:F1 Pianger vidi A, 2 ob, ? (Munich, probably not

appresso un 2 hn, str 1942) authentic
fonte (cant.)

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 7 XXIIId:B2 Veni tandem S, str ? — not sacred;
expectatus without author’s
(aria) name; not a
Haydn autograph

1 XXXIc:3 Vi miro fiso ?S, 2 ob, [aut. — aria from

2 hn, str 1777] Dittersdorf:
L’Arcifanfano re
de’ matti; altered
and wind pts
added

2 — Non per parlar ?S, orch [July — aria by Salieri

d’amore 1778] from pasticcio
L’astratto; altered
and 8 bars
rewritten; see
Bartha and
Somfai (E1960),
iii/2

3 XXXIc:4 ?Se provasse un ?S, ? 2 [Feb — aria from Anfossi:

pocolino fl, 2 ob, 1780] La forza delle
2 hn, str donne, inc.; wind
pts added and 2
vn rewritten;
melody similar to
F 11

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 4 XXXIc:5 Ah crudel, S, 2 fl, 2 [April (Salzburg, aria from G.
poiché lo brami hn, str 1780] 1961) Gazzaniga: La
vendemmia; 2nd
half composed by
Haydn

5 XXIVb:4 ? S, 2 ob, [July] — aria incl. in

2 hn, str 1780 Salieri: La scuola
de’ gelosi; text
lost, not Il cor nel
seno; without
author’s name;
score mostly
rewritten and
perhaps
composed by
Haydn

6 XXXIc:6 Gelosia d’amore S, 2 ob, [July — aria from Salieri,

è figlia (2 2 hn, str 1780] ibid.; altered,
versions) wind pts added,
34 bars of score
added or
rewritten; sketch
in HW xxix/2, 82

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 7 XXXIc:7 Si promette S, 2 ob, [Oct — aria from Anfossi:
facilmente 2 hn, str 1780] La finta
giardiniera;
completely
rewritten

8 XXXIc:8 Vorrei punirti S, 2 ob, [Oct — aria from Anfossi,

indegno 2 hn, str 1780] ibid.; altered and
wind pts added

9 XXXIc:9 Non ama la vita ?S, orch [April — aria from Anfossi:
1781] Isabella e
Rodrigo, ossia La
costanza in
amore; 2 bn and
6 bars added

10 XXXIc:10 Che tortora S, 2 ob, [Aug — aria from N.

2 hn, str 1781] Piccinni: Gli
stravaganti, ossia
La schiava
riconosciuta; 70
bars rewritten

11 XXXIc:11 Una semplice S, orch [Aug — aria from

agnelletta 1781] Piccinni, ibid.;
altered, 14 bars
added

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 12 — Siam di cuor S, str [Aug — aria from
tenero (and ?) 1781] Piccinni, ibid.; 8
(?7 + 3) bars
rewritten; see
Bartha and
Somfai (E1960),
iii/14

13 — Misera che farò S, orch [March — recit from

1782] Traetta: Il
cavaliere errante;
only 2 vn extant;
not autograph;
authenticity
uncertain; see
Bartha and
Somfai (E1960),
iii/23

14 XXXIc:12 Deh frenate i ?S, 2 ob, [Sept — aria from Anfossi:

mesti accenti 2 hn, str 1782] Il curioso
indiscreto;
extensively rev.,
wind pts added, 2
fl, bn omitted

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 15 — Dove mai s’è S, orch [March — aria from Anfossi:
ritrovato 1784] I viaggiatori
felici; 6 bars
rewritten; see
Bartha and
Somfai (E1960),
iii/16

16 — Ah mi palesa S, T, [July — duet from

almeno orch 1786] Traetta: Ifigenia
in Tauride; vocal
parts and 2 bars
of score
rewritten; see
Bartha and
Somfai (E1960),
iii/17

17 XXXIc:15 Se palpitar S, ob, [Aug — aria from Prati:

degg’io str 1788] La vendetta di
(and ?) Nino
(Semiramide); 27
bars added

18 XXXIc:13 Se voi foste un S, str [Feb — aria from

cavaliere 1789] Cimarosa: I due
supposti conti;
completely
rewritten

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 19 — Quasi in tutte le S, orch [July — aria in pasticcio
ragazze 1789] Circe (F 15); 12
bars rewritten;
see Bartha and
Somfai (E1960),
iii/20

20 XXXIc:14 Silenzio, miei T/B, [June — from quintet in

signori orch 1790] Cimarosa:
L’impresario in
angustie; 25 bars
added

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 Note: several anon. ‘Teutsche Comoedie-Arien’ (arias from Viennese
Singspiele of 1750s) tentatively attrib. Haydn; 22 It. arias from
Esterházy archives listed in Bartha and Somfai (E1960) as probably
by Haydn, though no source with his name is known; more anon.
arias from same archives mentioned in Landon (A1978) as possibly
by Haydn
Appendix F.2: Revisions (mostly in Haydn’s hand) of operatic works
by other composers

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 No. H Title Forces Date Edition Remarks

1 XXXIc: Vi miro fiso ?S, 2 [aut. — aria from Dittersdorf:

3 ob, 2 1777] L’Arcifanfano re de’
hn, str matti; altered and wind
pts added

2 — Non per ?S, orch [July — aria by Salieri from

parlar 1778] pasticcio L’astratto;
d’amore altered and 8 bars
rewritten; see Bartha
and Somfai (E1960), iii/
2

3 XXXIc: ?Se ?S, ? 2 [Feb — aria from Anfossi: La

4 provasse un fl, 2 ob, 1780] forza delle donne, inc.;
pocolino 2 hn, str wind pts added and 2 vn
rewritten; melody
similar to F 11

4 XXXIc: Ah crudel, S, 2 fl, 2 [April (Salzburg, aria from G. Gazzaniga:

5 poiché lo hn, str 1780] 1961) La vendemmia; 2nd half
brami composed by Haydn

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 5 XXIVb: ? S, 2 ob, [July] — aria incl. in Salieri: La
4 2 hn, str 1780 scuola de’ gelosi; text
lost, not Il cor nel seno;
without author’s name;
score mostly rewritten
and perhaps composed
by Haydn

6 XXXIc: Gelosia S, 2 ob, [July — aria from Salieri, ibid.;

6 d’amore è 2 hn, str 1780] altered, wind pts added,
figlia (2 34 bars of score added
versions) or rewritten; sketch in
HW xxix/2, 82

7 XXXIc: Si promette S, 2 ob, [Oct — aria from Anfossi: La

7 facilmente 2 hn, str 1780] finta giardiniera;
completely rewritten

8 XXXIc: Vorrei S, 2 ob, [Oct — aria from Anfossi, ibid.;

8 punirti 2 hn, str 1780] altered and wind pts
indegno added

9 XXXIc: Non ama la ?S, orch [April — aria from Anfossi:

9 vita 1781] Isabella e Rodrigo, ossia
La costanza in amore; 2
bn and 6 bars added

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 10 XXXIc: Che tortora S, 2 ob, [Aug — aria from N. Piccinni:
10 2 hn, str 1781] Gli stravaganti, ossia La
schiava riconosciuta; 70
bars rewritten

11 XXXIc: Una S, orch [Aug — aria from Piccinni, ibid.;

11 semplice 1781] altered, 14 bars added
agnelletta

12 — Siam di S, str [Aug — aria from Piccinni, ibid.;

cuor tenero (and ?) 1781] 8 (?7 + 3) bars
rewritten; see Bartha
and Somfai (E1960), iii/
14

13 — Misera che S, orch [March — recit from Traetta: Il

farò 1782] cavaliere errante; only 2
vn extant; not
autograph; authenticity
uncertain; see Bartha
and Somfai (E1960), iii/
23

14 XXXIc: Deh frenate ?S, 2 [Sept — aria from Anfossi: Il

12 i mesti ob, 2 1782] curioso indiscreto;
accenti hn, str extensively rev., wind
pts added, 2 fl, bn
omitted

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 15 — Dove mai S, orch [March — aria from Anfossi: I
s’è ritrovato 1784] viaggiatori felici; 6 bars
rewritten; see Bartha
and Somfai (E1960), iii/
16

16 — Ah mi S, T, [July — duet from Traetta:

palesa orch 1786] Ifigenia in Tauride;
almeno vocal parts and 2 bars
of score rewritten; see
Bartha and Somfai
(E1960), iii/17

17 XXXIc: Se palpitar S, ob, [Aug — aria from Prati: La

15 degg’io str 1788] vendetta di Nino
(and ?) (Semiramide); 27 bars
added

18 XXXIc: Se voi foste S, str [Feb — aria from Cimarosa: I

13 un cavaliere 1789] due supposti conti;
completely rewritten

19 — Quasi in S, orch [July — aria in pasticcio Circe

tutte le 1789] (F 15); 12 bars
ragazze rewritten; see Bartha
and Somfai (E1960), iii/
20

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 20 XXXIc: Silenzio, T/B, [June — from quintet in
14 miei signori orch 1790] Cimarosa: L’impresario
in angustie; 25 bars
added

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 Note: HXXXIc:2 shows only minor alterations, as do many other arias
described in Bartha and Somfai; for added or altered parts not
written by Haydn, and the revision therefore of doubtful authorship,
see Bartha and Somfai (E1960), iii/8, 10, 11, 18

G: Solo songs with keyboard

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 No. HXXVIa Title, poet, Date Authentication Edition Remarks
key

1– 1–12 XII Lieder für –27 May OE, ?EK, HC HW

36 das Clavier, i: 1781 xxix/1,
2–16

1 Das
strickende
Mädchen (Sir
Charles
Sedley, trans.
J.G. Herder),
B♭; 2 Cupido
(G. Leon), E;
3 Der erste
Kuss (J.G.
Jacobi), E♭; 4
Eine sehr
gewöhnliche
Geschichte
(C.F. Weisse),
G; 5 Die
Verlassene
(L.L.
Haschka), g;
6 Der
Gleichsinn (G.

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 Wither, trans.
J.J.
Eschenburg),
A; 7 An Iris
(J.A. Weppen),
B♭; 8 An
Thyrsis (1st
stanza: C.M.
von Ziegler,
rest anon.), D;
9 Trost
unglücklicher
Liebe, f; 10
Die Landlust
(Stahl), C; 11
Liebeslied
(Leon), D; 12
Die zu späte
Ankunft der
Mutter
(Weisse), E♭

13–24 XII Lieder für 1781 [? OE, EK (nos.17, HW sketch of no.19

das Clavier, ii: 1780] – 24), A (no.18, xxix/1, in HW xxix/2,
[? 3 u), Sk (no.19) 17–31 82
March]
1784

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 13 Jeder
meint, der
Gegenstand
(P.G. Bader),
F (? from
Dido (E 15),
cf appx Y.3,
1); 14 Lachet
nicht,
Mädchen, B♭;
15 O liebes
Mädchen,
höre mich, G;
16 Gegenliebe
(G.A. Bürger),
G (cf J 73); 17
Geistliches
Lied, g; 18
Auch die
sprödeste der
Schönen (F.W.
Gotter), F; 19
O fliess, ja
wallend fliess,
E; 20
Zufriedenheit
(J.W.L. Gleim),
C; 21 Das
Leben ist ein

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 Traum
(Gleim), E♭;
22 Lob der
Faulheit (G.E.
Lessing), a;
23 Minna (J.J.
Engel), A; 24
Auf meines
Vaters Grab,
E

25–30 VI Original –3 June OE, Sk (nos.29, HW sketches of nos.

Canzonettas 1794 30) xxix/1, 29, 30 in HW
(A. Hunter), i: 34–51 xxix/2, 83

25 The [nos.29,
Mermaid’s 30: –?19
Song, C; 26 Jan
Recollection, 1794]
F; 27 Pastoral
Song, A; 28
Despair, E; 29
Pleasing Pain,
G (cf B 22);
30 Fidelity, f

31–6 VI Original –14 Oct RC (no.31), Sk HW sketch of no.32

Canzonettas, 1795 (no.32), HE xxix/1, in HW xxix/2,
ii: (nos.33, 34), EK 52–69 86

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 31 Sailor’s [no.32: text of no.34
Song, A; 32 –?19 Jan from
The Wanderer 1794] Shakespeare:
(Hunter), g; Twelfth Night;
33 Sympathy no.36 with 2
(J. Hoole, texts, see
after critical
Metastasio: commentary to
L’olimpiade), HW xxix/1 and
E; 34 She facs. (Cardiff,
never told her 1983)
love (W.
Shakespeare),
A♭; 35
Piercing Eyes,
G; 36
Transport of
Pleasure
[Content], A

36b 36bis Der –1 Feb Sk, HE, Gr HW orig. version of

verdienstvolle 1795 [–? xxix/1, no.36; sketch in
Sylvius (Ich 1788] 70 HW xxix/2, 88
bin der
Verliebteste)
(J.N. Götz), A♭

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 37– 37 Beim ?c1765– A (u), HC, HV HW ? part of
47 Schmerz, der 75 xxix/1, dramatic work
dieses Herz 74
durchwühlet,
E

38 Der schlau(e) c1780– A (u), Gr, Dies HW

und 87 xxix/1,
dienstfertige 76
Pudel
(v.T. . . .), B♭

39 Trachten will –14 Dec A HW date on

ich nicht auf 1790 xxix/1, autograph is
Erden, E 78 that of ded.;
facs. see critical
commentary to
HW xxix/1, 16

40 Der Feldzug ? HC — lost or

unidentified

41 The Spirit’s –9 Sept E, HV HW

Song 1800 [? xxix/1,
(Hunter), f c1795] 81

42 O Tuneful ?c1795 Gr HW
Voice xxix/1,
(Hunter), E♭ 84

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 43 Gott, erhalte Oct A, Sk HW facs. often
[Franz] den 1796– xxix/1, pubd; used as
Kaiser! Jan 1797 89 Ger. and former
(Haschka), G Austrian
national
anthem; sketch
in HW xxix/2,
90; cf D 11, O
62

44 Als einst mit ?c1796– A (u) HW

Weibes 1800 xxix/1,
Schönheit, A 90

45 Ein kleines –30 Aug A HW autograph

Haus, E 1800 [–? xxix/1, signed later, 20
1797] 92 July 1807 (?
1801); facs. see
Sandberger,
ZfM, cix (1942),
535–8

46 Antwort auf –June SC HW signed MS in

die Frage 1803 xxix/1, PL-Kj; title
eines 95 Vergiss mein
Mädchens, G nicht not
authentic

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 47 Bald wehen ? E (without HW 2nd stanza lost
uns des author’s name) xxix/1,
Frühlings 98
Lüfte, G

48– 48a–d Four German ? A (incipits only, HW lost

51 Songs: u) xxix/1, ? popular tunes
99 arr. Haydn; for
(incipits) text of no.50
see P. Dormann:
Franz Joseph
Aumann
(Munich, 1985),
410, 414; arr. of
no.51 by A.
Albrechtsberger
with text Kein
lustigers Leben
in A-Wgm; cf P
7

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 48 Ich liebe,
du liebest, E♭;
49 Dürre,
Staub, B♭; 50
Sag’n allweil
(? M.
Lindemayr),
C; 51 Kein
besseres
Leben, G

1 ii, 443 Canzonetta: ?1773 A (u) HW arr. from aria in

Ein Tag, der xxiv/1, E 12
allen Freude 98
bringt (G.K.
Pfeffel), A

2 XXXIc: The Lady’s c1791–5 A (u) HW arr. from catch,

17 Looking-glass, xxix/1, 3vv, by Earl of
D 97 Abingdon;
followed by
short kbd piece,
D (X 7); cf S 15

1 F1 Abschiedslied, HW by Gyrowetz
F xxix/1,
79

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 2 D4 Hymne an die M 20/I, arr. Küttner,
Freundschaft, 111 based on II of J
G 75

3 D1 Liebes M 20/I, also known as

Mädchen, hör 110 Ständchen, 3vv
mir zu, D (HXXVb:G1),
also attrib.
Mozart (K
Anh.C9.04)

4 C1 Die Teilung M 20/I, by F. Roser von

der Erde (F. 112 Reiter
von Schiller),
C

5 G1 A Prey to (London,
Tender 1797)
Anguish (Ich
habe viel
gelitten), G

6 Es4 Heiss mich (Vienna, by Zumsteeg

nicht reden 1925)
(J.W. von
Goethe), E♭

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 Note: further songs, mentioned by Griesinger and Dies as composed
in England, may be identical with some of those listed above; 7 Ger.
songs mentioned by Rosenbaum as perf. 16 Oct 1799 = ? some of H
6–18
Appendix G.1: Arrangements

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 No. H Title Date Authentication Edition Remarks

1 ii, 443 Canzonetta: Ein ?1773 A (u) HW arr. from

Tag, der allen xxiv/1, aria in E 12
Freude bringt 98
(G.K. Pfeffel), A

2 XXXIc: The Lady’s c1791–5 A (u) HW arr. from

17 Looking-glass, xxix/1, catch, 3vv,
D 97 by Earl of
Abingdon;
followed by
short kbd
piece, D (X
7); cf S 15

1 F1 Abschiedslied, HW xxix/ by Gyrowetz

F 1, 79

2 D4 Hymne an die M 20/I, arr. Küttner,

Freundschaft, G 111 based on II of J
75

3 D1 Liebes M 20/I, also known as

Mädchen, hör 110 Ständchen, 3vv
mir zu, D (HXXVb:G1), also
attrib. Mozart (K
Anh.C9.04)

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 4 C1 Die Teilung der M 20/I, by F. Roser von
Erde (F. von 112 Reiter
Schiller), C

5 G1 A Prey to (London,
Tender Anguish 1797)
(Ich habe viel
gelitten), G

6 Es4 Heiss mich (Vienna, by Zumsteeg

nicht reden 1925)
(J.W. von
Goethe), E♭

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 Appendix G.2: Selected spurious works

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 No. HXXVIa Title, poet, key Edition Remarks

1 F1 Abschiedslied, F HW xxix/1, by Gyrowetz

79

2 D4 Hymne an die M 20/I, arr. Küttner, based on II of J 75

Freundschaft, G 111

3 D1 Liebes Mädchen, hör M 20/I, also known as Ständchen, 3vv

mir zu, D 110 (HXXVb:G1), also attrib. Mozart
(K Anh.C9.04)

4 C1 Die Teilung der Erde (F. M 20/I, by F. Roser von Reiter

von Schiller), C 112

5 G1 A Prey to Tender (London,

Anguish (Ich habe viel 1797)
gelitten), G

6 Es4 Heiss mich nicht reden (Vienna, by Zumsteeg

(J.W. von Goethe), E♭ 1925)

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 H: Miscellaneous vocal works with keyboard

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 No. H Title, poet, Forces Date Authentication Edition Remarks
key

1 XXVIb: Arianna a S, hpd/ –9 Feb A (lost), OE HW

2 Naxos (Teseo pf 1790 xxix/2, 2
mio ben)
(cant.)

2a — Maccone ? 1791–5 Gr, Dies — lost

(Gesänge) for
Gallini

2b — Italian catch ?7vv, –2 June see Landon — lost, ?

(?bc) 1791 (A1976) partly =
no.2a

2c — Salomon und ? –1795 Haydn’s 3rd — lost

David London
notebook

3 XXVIb: Dr. S, 4vv, ?2–6 Gr HW variations

3 Harington’s pf Aug xxix/2, on song by
Compliment 1794 58 Dr H.
(What art Harington
expresses;
Der
Tausenden),
A

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 4–5 2 Duetti of S, T, 1796 D35
Nisa and hpd (1960)
Tirsi (C.F.
Badini)

XXVa: Saper vorrei, RC HW

2 G xxix/2,
24

XXVa: Guarda/Senti A HW
1 qui, F xxix/2,
34

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 6– Aus des 3–4vv, 1796 A HW xxx mentioned
18 Ramlers bc (–? in letter to
Lyrischer (nos.1– 1799) E.L.
Blumenlese 9)/hpd Gerber, 23
(13 obbl Sept 1799;
partsongs): (nos. Haydn
10–13) used 1st
bars of no.
5 for his
visiting-
card in
1806; pf
obbl for
nos.1–9
added ?
A.E.
Müller

XXVc: 1 Der S, A, T,
1 Augenblick B, bc
(J.N. Götz), A

XXVc: 2 Die S, A, T,
2 Harmonie in B, bc
der Ehe
(Götz), B♭

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 XXVc: 3 Alles hat S, A, T,
3 seine Zeit B, bc
(Athenaeus,
trans. J.A.
Ebert), F

XXVc: 4 Die S, A, T,
4 Beredsamkeit B, bc
(G.E.
Lessing), B♭

XXVc: 5 Der Greis S, A, T,

5 (J.W.L. B, bc
Gleim), A

XXVb: 6 An den S, A, T,
1 Vetter (C.F. bc
Weisse), G

XXVb: 7 Daphnens T, T, B,
2 einziger bc
Fehler (Götz),
C

XXVc: 8 Die S, A, T,
6 Warnung B, bc
(Athenaeus,
trans. Ebert),
B♭

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 XXVb: 9 S, T, B,
3 Betrachtung bc
des Todes
(C.F. Gellert),
a

XXVc: 10 Wider den S, A, T,

7 Übermut B, hpd
(Gellert), A

XXVb: 11 An die T, T, B,
4 Frauen hpd
(Anakreon,
trans. G.A.
Bürger), F

XXVc: 12 Danklied S, A, T,
8 zu Gott B, hpd
(Gellert), E♭

XXVc: 13 Abendlied S, A, T,
9 zu Gott B, hpd
(Gellert), E

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 19 XXVIb: The Battle of 1v, ?6–9 RC (partly A) HW 10 of 17
4 the Nile hpd/pf Sept xxix/2, stanzas
(Ausania 1800 42 set
trembling …
Blest leader)
(Pindarick
Ode) (cant.,
E.C. Knight)

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 20– ii, 533 6 airs with 1v, vn, 1801/2– E (nos.2–6, (London, each with
25 variations (6 vc, pf 3 without text, 1805), 3
Admired orig. without arr. vn, variations;
Scotch Airs): author’s name); pf (?fl) themes (?
1 The blue no.1: A (without and texts)
bell(s) of text; vn, vc = or
Scotland (? missing) and E nearly = Z
Mrs Grant), (vn, vc only) 37, 242,
D; 2 My love 15, 296,
she’s but a 208, 175;
lassie yet (? date on
H. Macneill), autograph,
C; 3 6 Feb
Bannocks 1805 [not
o’barley meal 1806], is
(? A. that of
Boswell), G; ded.
4 Saw ye my
father? (? R.
Burns), D; 5
Maggy
Lauder, A; 6
Killicrankie
(? Mrs
Grant; ?
Burns), C

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 1– XXXIc: 12 3vv, 1795 ?Gr, ?Dies HW melodies
12 16 Sentimental hp/pf xxix/2, by Earl of
Catches and 66 Abingdon,
Glees: 1 acc. (? and
Know then 3vv
this truth, A; settings)
2 O say what by Haydn;
is, G; 3 Hail nos.3, 7, 8
to the myrtle glees,
shade, A; 4 others
Love free as catches
air, D; 5 Ah
no[n]
lasciarmi, C;
6 O ever
beauteous, A;
7 Where shall
a hapless, G;
8 Ye little
loves, E♭; 9
Some kind
angel, A; 10 I
fruitless
mourn, a; 11
Farewell my
flocks, A; 12
The envious
snow, C

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 13 ii, 217 La moglie S, hpd ? C — arr. of F
quando è c1790– 19
buona, aria, 98
E♭

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 Note: Cant., 1v, vn (and ?), composed for Duke of Bedford,
mentioned in Landon (A1976), lost or unidentified
Appendix H: Arrangements

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 No. H Title, key Forces Date Authentication Edition Remarks

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 1– XXXIc: 12 3vv, 1795 ?Gr, ?Dies HW melodies
12 16 Sentimental hp/pf xxix/2, by Earl of
Catches and 66 Abingdon,
Glees: 1 acc. (?
Know then and 3vv
this truth, A; settings)
2 O say what by Haydn;
is, G; 3 Hail nos.3, 7, 8
to the myrtle glees,
shade, A; 4 others
Love free as catches
air, D; 5 Ah
no[n]
lasciarmi, C;
6 O ever
beauteous,
A; 7 Where
shall a
hapless, G; 8
Ye little
loves, E♭; 9
Some kind
angel, A; 10
I fruitless
mourn, a; 11
Farewell my
flocks, A; 12
The envious
snow, C

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 13 ii, 217 La moglie S, hpd ? C — arr. of F
quando è c1790– 19
buona, aria, 98
E♭

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 I: Canons

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 HXXVII Title, poet, key, forces Date Authentication Edition

a: 1–10 Die Heiligen Zehn Gebote als c1791– A, A (u, no.5b), HW xxxi, 3–
Canons (The Ten 5 Sk (nos.1, 5b, 7) 18; cf critical
Commandments): commentary,
8ff; for 5b
(not in H), see
Haydn-
Studien, iv/1
(1976), 53

1 Canon cancrizans: Du sollst an

einen Gott glauben, C, 3/4vv; 2 Du
sollst den Namen Gottes nicht
eitel nennen, G, 4vv; 3 Du sollst
Sonn- und Feiertag heiligen, B♭,
4vv; 4 Du sollst Vater und Mutter
verehren, E♭, 4vv; 5, 5b Du sollst
nicht töten, g, 4vv (2 versions); 6
Du sollst nicht Unkeuschheit
treiben, C, 5vv; 7 Du sollst nicht
stehlen, a, 5vv; 8 Du sollst kein
falsch Zeugnis geben, E, 4vv; 9
Du sollst nicht begehren deines
Nächsten Weib, C, 4vv; 10 Du
sollst nicht begehren deines
Nächsten Gut, f, 4vv

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 b: 1–47 40 (recte: 46/47) Sinngedichte als c1791– except nos.45–6: HW xxxi, 21–
Canons bearbeitet: 9 A (u)/HV/HC, Sk 65; critical
commentary,
16 (no.47)
and passim
(sketches)

1 Hilar an Narziss (F. von

Hagedorn), G, 3vv; 2 Auf einen
adeligen Dummkopf (G.E.
Lessing), E♭, 3vv; 3 Der Schuster
bleib bei seinem Leist (Das
Sprichwort; Canone in
carricatura) (K. von
Eckartshausen), F, 8vv; 4 Herr
von Gänsewitz zu seinem
Kammerdiener (G.A. Bürger), c,
4vv; 5 An den Marull (Lessing), F,
5vv; 6 Die Mutter in ihr Kind in
der Wiege, E♭, 3vv (4th v added
M. Haydn, cf HW, critical
commentary, 23); 7 Der
Menschenfreund (Gellert), E♭,
4vv; 8 Gottes Macht und
Vorsehung (Gellert), G, 3vv; 9 An
Dorilis (K.F. Kretschmann), F, 4vv;
10 Vixi (Horace), B♭, 3vv; 11 Der
Kobold (M.G. Lichtwer), E♭, 4vv;
12 Der Fuchs und der Marder

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 (Lichtwer), a, 4vv; 13 Abschied,
B♭, 5vv; 14 Die Hofstellungen (F.
von Logau), b, 3vv; 15 Aus Nichts
wird Nichts (Nichts gewonnen,
nichts verloren) (A. Blumauer,
after M. Richey), C, 5vv; 16
Cacatum non est pictum (Bürger),
A, 4vv; 17 Tre cose (G.A.
Federico), E♭, 3vv; 18
Vergebliches Glück (trans. from
Arabic A. Tscherning), A, 2vv; 19
Grabschrift (P.W. Hensler), g, 4vv
(? originally planned as partsong);
20 Das Reitpferd (Lichtwer), E♭,
3vv; 21 Tod und Schlaf (Logau), f,
4vv; 22 An einen Geizigen
(Lessing), D, 3vv; 23, 23b Das
böse Weib (Lessing), G, 3vv, ?C,
2vv (2 versions); 24 Der Verlust
(Lessing), E, 3vv; 25 Der
Freigeist, G, 3vv; 26 Die Liebe der
Feinde (Gellert), A, 2vv; 27 Der
Furchtsame (Lessing), c, 3vv; 28
Die Gewissheit (Lessing), E♭, 4vv;
29 Phöbus und sein Sohn
(Lichtwer), G, 4vv; 30 Die
Tulipane (Lichtwer), ?C, 2vv; 31
Das grösste Gut, ?C, 2/3vv; 32 Der
Hirsch (Lichtwer), d, 5vv; 33

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 Überschrift eines Weinhauses
(trans. from Lat. M. Opitz), E, 4vv;
34 Der Esel und die Dohle
(Lichtwer), C, 8vv; 35
Schalksnarren (Logau), B♭, 6vv;
36 Zweierlei Feinde (trans. from
Arabic A. Tscherning), F/G, 3vv;
37 Der Bäcker und die Maus
(Lichtwer), d, 5vv; 38 Die Flinte
und der Hase (Lichtwer), G, 4vv;
39 Der Nachbar (Lichtwer), g,
4vv; 40 Liebe zur Kunst (Logau),
G, 4vv; 41 Frag und Antwort
zweier Fuhrleute (Die Welt), g,
5vv; 42 Der Fuchs und der Adler
(Lichtwer), ?C, 3vv; 43 Wunsch
(Hagedorn), g, 4vv; 44 Gott im
Herzen, F (cancelled, incl. in
Missa Sancti Bernardi, A 9), 3vv;
45 Turk was a faithful dog (V.
Rauzzini), B♭, 4vv; 46 Thy voice o
harmony, C, 3/4vv (arr. of no.a: 1);
47 Canon without text, G, 7vv

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 Note: canon Der Spiess, listed in Landon, v (A1977), 317, misquoted;
recte Der Hirsch, no.32

2. Instrumental
I, II, III, IV = number of movement

J: Symphonies

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 H Key Forces Date Authentication Edition Remarks

1 D 2 ob, 2 –25 HV, Gr HW i/1, MS copy, A-ST, with

hn, str Nov 1; P i, spurious Minuet
1759 [? 37
1757]

2 C 2 ob, 2 –1764 EK HW i/1,

hn, str [–? 41; P i,
1761] 51

3 G 2 ob, 2 –1762 EK P i, 71
hn, str

4 D 2 ob, 2 –1762 EK HW i/1,

hn, str [–? 59; P i,
1760] 89

5 A 2 ob, 2 –1762 HV, F HW i/1, ed. M i/1 with order

hn, str [–? 206; P i of I and II reversed
1760] 107

6 D fl, 2 ?1761 HV HW i/3, ‘Le matin’: title

ob, bn, 1; P i, probably authentic
2 hn, 125
str

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 7 C fl, 2 fl/ 1761 A HW i/3, ‘Le midi’: title
ob, bn, 32; P i, authentic; facs.
2 hn, 157 (Budapest, 1972)
str

8 G fl, 2 ?1761 HV HW i/3, ‘Le soir’: title

ob, bn, 73; P i, probably authentic;
2 hn, 197 IV: ‘La tempesta’; I
str quotes air from
Gluck: Le diable à
quatre

9 C 2 fl/ob, 1762 A, EK HW i/3, ? I and II orig. ov. to

bn, 2 112; P i, unidentified vocal
hn, str 231 work

10 D 2 ob, 2 –1766 HV, F HW i/1,

hn, str [–? 90; P i,
1761] 243

11 E♭ 2 ob, 2 –1769 HV, F (? = RC) HW i/1,

hn, str [–? 187; P i,
1760] 259

12 E 2 ob, 2 1763 A HW i/3,

hn, str 146; P i,
279

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 13 D fl, 2 1763 A HW i/3,
ob, 4 161; P
hn, ii, 3
(timp),
str

14 A 2 ob, 2 –1764 HV, JE P ii, 29 II also used in N 14;

hn, str [–? for bracketed dates of
1762] nos.14, 16–20, 26, 34,
38, 41, 52, 59, 108,
see Gerlach (M1996),
19ff

15 D 2 ob, 2 –1764 EK P ii, 43

hn, str [–?
1761]

16 B♭ 2 ob, 2 –1766 HV P ii, 65

hn, str [–?
1765]

17 F 2 ob, 2 –1765 EK HW i/1,

hn, str [–? 130; P
1762] ii, 79

18 G 2 ob, 2 –1766 EK HW i/1, ed. M i/2 with order

hn, str [–? 27; P ii, of I and II reversed
1762] 97

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 19 D 2 ob, 2 –1766 EK HW i/1,
hn, str [–? 145; P
1762] ii, 113

20 C 2 ob, 2 –1766 EK HW i/1,

hn, 2 [–? 104; P
tpt, 1762] ii, 127
timp,
str

21 A 2 ob, 2 1764 A HW i/4,

hn, str 1; P ii,
155

22 E♭ 2 eng 1764 A HW i/4, ‘The Philosopher’;

hn, 2 15; P ii, another version, HI:
hn, str 173 22bis, incl. doubtful
Andante grazioso (P
ii, 189)

23 G 2 ob, 2 1764 A HW i/4,

hn, str 31; P ii,
197

24 D fl/2 ob, 1764 A HW i/4,

2 hn, 48; P ii,
str 217

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 25 C 2 ob, 2 1766 F HW i/1,
hn, str [–? 172; P
1760] ii, 237

26 d 2 ob, 2 1770 EK P ii, 253 ‘Lamentatione’: title ?

hn, str [–? authentic; title
1768] Weihnachtssymphonie
(M i/2) of no apparent
relevance

27 G 2 ob (2 –1766 EK HW i/1,
hn), [–? 75; P ii,
str 1761] 271

28 A 2 ob, 2 1765 A HW i/4, cf R 20

hn, str 65; P iii,
3

29 E 2 ob, 2 1765 A HW i/4,

hn, str 80; P iii,
21

30 C fl, 2 [–?13 A HW i/4, ‘Alleluja’; Gregorian

ob, 2 Sept] 96; P iii, Easter Alleluia quoted
hn, str 1765 41 in I; cf Q 64

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 31 D fl, 2 [–?13 A HW i/4, ‘Hornsignal’; title ‘Auf
ob, 4 Sept] 109; P dem Anstand’ (M i/3)
hn, str 1765 iii, 57 of no apparent
relevance

32 C 2 ob, 2 –1766 EK HW i/1,

hn, 2 [–? 223; P
tpt, 1760] iii, 95
timp,
str

33 C 2 ob, 2 –1767 EK P iii,

hn, 2 [–? 117
tpt, 1760]
timp,
str

34 d/D 2 ob, 2 –1767 EK (with incipit P iii, MS copy, CZ-Bm,

hn, str [–? of II) 143 with doubtful
1765] Andante

35 B♭ 2 ob, 2 1 Dec A HW i/6,

hn, str 1767 1; P iii,
165

36 E♭ 2 ob, 2 –1769 EK P iii,

hn, str [? 187
c1761–
5]

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 37 C ? 2 ob, –?1758 EK HW i/1,
2 hn (/ 14; P iii,
2 tpt, 211
timp),
str

38 C 2 ob, 2 –1769 EK P iii,

hn, (2 [–? 227
tpt, 1768]
timp),
str

39 g 2 ob, 4 –1770 EK P iii,

hn, str [?1765] 253

40 F 2 ob, 2 1763 A HW i/3,

hn, str 124; P
iii, 277

41 C fl, 2 –1770 EK P iv, 3 date on MS in D-Tl

ob, 2 [–?
hn, (2 1768]
tpt,
timp),
str

42 D 2 ob, 2 1771 A HW i/6,

bn, 2 43; P iv,
hn, str 41

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 43 E♭ 2 ob, 2 –1772 EK P iv, 73 ‘Mercury’
hn, str

44 e 2 ob, 2 –1772 EK P iv, 107 ‘Mourning’;

hn, str ‘Trauersinfonie’

45 f♯ 2 ob, 1772 A HW i/6, ‘Farewell’; facs.

bn, 2 69; P iv, (Budapest, 1959)
hn, str 139

46 B 2 ob, 2 1772 A HW i/6,

hn, str 104; P
iv, 175

47 G 2 ob, 1772 A HW i/6, cf W 24

bn, 2 125; P
hn, str iv, 199

48 C 2 ob, 2 –?1769 EK P iv, 233 ‘Maria Theresa’; facs.

hn (/2 of Elssler MS in CS-
tpt, Mms
timp),
str

49 f 2 ob, 2 1768 A HW i/6, ‘La passione’; ‘Il

hn, str 24; P iv, quakuo di
271 bel’humore’

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 50 C 2 ob, 2 1773 A HW i/7, I and II supposedly
hn, 2 1; P v, 3 composed as ov. to
tpt, Vorspiel: Der
timp, Götterrat (E 12);
str autograph in PL-Kj

51 B♭ 2 ob, 2 –1774 EK P v, 31 1st of the 2 trios

hn, str missing in some
sources

52 c 2 ob, –1774 EK P v, 57
(bn), 2 [–?
hn, str 1772]

53 D 3 versions fl, 2 ? EK (slow P v, 97 ‘Imperial’, ‘Festino’;

ob, bn, 1778/9 introduction) 3rd finale (P v, 150; cf
2 hn, H: C′’, C″), spurious;
(timp), other combinations
str dubious (H: D, E′, E″)

B″ (i) finale: HV finale: P no slow introduction;

2 ob, 2 v, 135 finale uses concert
bn, 2 version of ov., K 3; cf
hn, str no.62

B′ (ii) finale: finale: as (i), with

as (i) as (i) introduction

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 A (iii) finale: JE finale: P as (ii), with new finale
as v, 124
other
movts

54 G 2 fl, 2 1774 A HW i/7, slow introduction

ob, 2 28; P v, apparently an
bn, 2 163 afterthought; fl, tpt,
hn, 2 timp pts added later
tpt,
timp,
str

55 E♭ 2 ob, 1774 A HW i/7, ‘The Schoolmaster’

bn, 2 63; P v,
hn, str 201

56 C 2 ob, 1774 A HW i/7,

bn, 2 86; P v,
hn, 2 229
tpt,
timp,
str

57 D 2 ob, 2 1774 A HW i/7,

hn, str 126; P v,
271

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 58 F 2 ob, 2 –1774 EK P vi, 3 see Q 52
hn, str [–?
1767/8]

59 A 2 ob, 2 –1769 EK P vi, 21 ‘Fire’; cf appx K 1

hn, str [–?
1768]

60 C 2 ob, 2 –1774 EK P vi, 43 ‘Il distratto’, ‘Der

hn, (2 Zerstreute’; title
tpt), authentic; cf K 2
timp,
str

61 D fl, 2 1776 A HW i/8,

ob, 2 175; P
bn, 2 vi, 75
hn,
timp,
str

62 D fl, 2 –1781 EK P vi, I is rev. version of

ob, (2) [?1780] 127 Finale B from no.53
bn, 2
hn, str

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 63 C fl, 2 –1781 EK P vi, ‘La Roxelane’,
ob, bn, [?1779] 198 ‘Roxolana’: title
2 hn, authentic, refers to II;
str I is altered version of
ov. to Il mondo della
luna (E 17); earlier
version uses finale of
frag. K 1; for
‘Versione prima’, see
appx K 4

64 A 2 ob, 2 –1778 EK P vi, ‘Tempora mutantur’:

hn, str [–? 235 title probably
c1773] authentic

65 A 2 ob, 2 –1778 EK P vi,

hn, str [? 259
c1769–
72]

66 B♭ 2 ob, 2 –1779 EK HW i/8,

bn, 2 [? 135; P
hn, str c1775/6] vii, 3

67 F 2 ob, 2 –1779 EK HW i/8,

bn, 2 [? 47; P
hn, str c1775/6] vii, 55

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 68 B♭ 2 ob, 2 –1779 EK HW i/8, order of II and III
bn, 2 [? 1; P vii, sometimes reversed
hn, str c1774/5] 109 as in H; abridged
version (HW i/8, 228),
doubtful

69 C 2 ob, 2 –1779 EK HW i/8, ‘Laudon’, ‘Loudon’:

bn, 2 [? 93; P title approved by
hn, 2 c1775/6] vii, 163 Haydn; see note to
tpt, appx X.2
timp,
str

70 D fl, 2 –18 EK, A (timp pt, P vii, timp (? and tpts)

ob, bn, Dec u) 217 added later by Haydn
2 hn, 2 1779 [?
tpt, 1778/9]
timp,
str

71 B♭ fl, 2 –1780 EK P vii,

ob, bn, [? 249
2 hn, 1778/9]
str

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 72 D fl, 2 –1781 EK P vii,
ob, bn, [? 305
4 hn, c1763–
(timp), 5]
str

73 D fl, 2 –1782 EK, A (u frag.) P vii, ‘La chasse’: title

ob, 2 [?1781] 331 authentic, refers to
bn, 2 IV, orig. composed as
hn, (2 ov. to La fedeltà
tpt, premiata (E 21); II
timp), uses song,
str Gegenliebe (G 16);
autograph frag. in
PL-Kj

74 E♭ fl, 2 –22 EK P viii, 3

ob, bn, Aug
2 hn, 1781 [?
str 1780]

75 D fl, 2 –1781 EK P viii,

ob, bn, [?1779] 53
2 hn,
(2 tpt,
timp),
str

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 76 E♭ fl, 2 ?1782 EK P viii, nos.76–8 apparently
ob, 2 101 for Haydn’s planned
bn, 2 visit to England,
hn, str 1783; see Haydn’s
letter, 15 July 1783

77 B♭ fl, 2 ?1782 EK P viii,

ob, 2 153
bn, 2
hn, str

78 c fl, 2 ?1782 EK P viii,

ob, 2 207
bn, 2
hn, str

79 F fl, 2 –?20 HV, RC P viii,

ob, 2 Nov 255
bn, 2 1784
hn, str

80 d fl, 2 –8 Nov HV, SC P viii,

ob, 2 1784 311
bn, 2
hn, str

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 81 G fl, 2 –8 Nov EK P viii,
ob, 2 1784 363
bn, 2
hn, str

82 C fl, 2 1786 A, A (u frag.) HW i/ ‘L’ours’, ‘The Bear’;

ob, 2 13, 107; orig. version of Trio,
bn, 2 P ix, 3 L i/9, 308, HW i/13,
hn/tpt, 179
timp,
str

83 g fl, 2 1785 A HW i/ ‘La poule’, ‘The Hen’

ob, 2 12, 91;
bn, 2 P ix, 61
hn, str

84 E♭ fl, 2 1786 A, Sk HW i/ sketch for II, HW i/13,

ob, 2 13, 1; P 163
bn, 2 ix, 107
hn, str

85 B♭ fl, 2 ?1785 A (u frag.), HV, HW i/ ‘La reine’, ‘The Queen

ob, 2 SC 12, 49; [of France]’
bn, 2 P ix,
hn, str 161

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 86 D fl, 2 1786 A, Sk HW i/ sketches for I and III,
ob, 2 13, 52; HW i/13, 164–5, 168–
bn, 2 P ix, 9
hn, 2 207
tpt,
timp,
str

87 A fl, 2 1785 A HW i/
ob, 2 12, 1; P
bn, 2 ix, 261
hn, str

88 G fl, 2 ?1787 EK P x, 3
ob, 2
bn, 2
hn, 2
tpt,
timp,
str

89 F fl, 2 1787 A P x, 59 II and IV use lira

ob, 2 conc., T 4
bn, 2
hn, str

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 90 C fl, 2 1788 A P x, 109
ob, 2
bn, 2
hn, (2
tpt,
timp),
str

91 E♭ fl, 2 1788 A P x, 167

ob, 2
bn, 2
hn, str

92 G fl, 2 1789 A P x, 223 ‘Oxford’; unpubd

ob, 2 version of II and IV
bn, 2 for fl, 2 ob, 2 hn, str
hn, (2 in later MS
tpt, authorized copy
timp),
str

93 D 2 fl, 2 1791 A (lost), EK P xi, 3 perf. London, 17 Feb

ob, 2 1792
bn, 2
hn, 2
tpt,
timp,
str

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 94 G 2 fl, 2 1791 A HW i/ ‘The Surprise’; perf.
ob, 2 16, 64; London, 23 March
bn, 2 P xi, 49 1792; 1st version of II
hn, 2 without ‘surprise’,
tpt, HW i/16, 203, P xi,
timp, 116; cf C 6
str

95 c fl, 2 1791 A P xi, perf. London, 1791

ob, 2 121
bn, 2
hn, 2
tpt,
timp,
str

96 D 2 fl, 2 1791 A (incl. Sk) P xi, ‘The Miracle’; perf.

ob, 2 171 London 1791; sketch
bn, 2 for II, P xi, 219; see
hn, 2 note to appx X.2
tpt,
timp,
str

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 97 C 2 fl, 2 1792 A HW i/ perf. London, 3/4 May
ob, 2 16, 122; 1792
bn, 2 P xi,
hn, 2 223
tpt,
timp,
str

98 B♭ fl, 2 1792 A HW i/ perf. London, 2

ob, 2 16, 1; P March 1792
bn, 2 xi, 301
hn, 2
tpt,
timp,
hpd
obbl,
str

99 E♭ 2 fl, 2 1793 A, Sk HW i/ perf. London, 10 Feb

ob, 2 17, 1; P 1794; autograph in
cl, 2 xii, 3 PL-Kj; sketches for
bn, 2 Finale, critical
hn, 2 commentary to HW i/
tpt, 17, 49a, P xii, 402; cf
timp, appx Y.1, 5
str

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 100 G (2) fl, 1793/4 A HW i/ ‘Military’; perf.
2 ob, 2 17, 145; London, 31 March
cl, 2 P xii, 59 1794; II uses
bn, 2 Romance of lira
hn, 2 conc., T 5; cf K 12
tpt,
timp,
perc,
str

101 D 2 fl, 2 1793/4 A, Sk HW i/ ‘The Clock’; perf.

ob, 2 17, 59; London, 3 March
cl, 2 P xii, 1794; autograph in
bn, 2 139 PL-Kj; sketches for
hn, 2 Minuet and Trio,
tpt, critical commentary
timp, to HW i/17, 57a, P xii,
str 406; cf appx Y.1, 3

102 B♭ 2 fl, 2 1794 A HW i/ perf. London, 2 Feb

ob, 2 18, 1; P 1795; II uses Adagio
bn, 2 xii, 205 of pf trio, V 24
hn, 2
tpt,
timp,
str

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 103 E♭ 2 fl, 2 1795 A HW i/ ‘Drumroll’; perf.
ob, 2 18, 59; London, 2 March
cl, 2 P xii, 1795; 1st version of
bn, 2 265 closing section, HW i/
hn, 2 18, 224, P xii, 326
tpt,
timp,
str

104 D 2 fl, 2 1795 A, Sk HW i/ ‘London’, ‘Salomon’;

ob, 2 18, 129; perf. London, 4 May
cl, 2 P xii, 1795
bn, 2 333;
hn, 2 facs.
tpt, (Leipzig,
timp, 1983)
str

105 Concertante, soli: 1792 A (incl. Sk) HW ii; P perf. London, 9

B♭ vn, vc, x, 287 March 1792; sketch
ob, bn; for I, HW ii, 72, P x,
fl, ob, 371
bn, 2
hn, 2
tpt,
timp,
str

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 106 D 2 ob, 2 ?1769 EK HW xxv/ only I extant, as III of
hn, str 4, 289 K 5; supposedly
composed as ov. to Le
pescatrici (E 10); cf K
5

107 B♭ 2 ob, 2 –1762 F HW i/1, sym. ‘A’; cf appx O.3,

hn, str [–? 158; P i, 1; also attrib.
1761] 3 Wagenseil

108 B♭ 2 ob, –1765 HV P i, 19 sym. ‘B’

bn, 2
hn, str

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 nos.82–7: Paris syms.

nos.88–9 composed for J. Tost

nos.90–92 composed for Comte d’Ogny and Prince Oettingen-

Wallerstein

nos.93–104: London syms.

Note: single movts, see K 1, 10; c150 spurious syms. listed in H

K: Miscellaneous orchestral

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 No. H Title, key Forces Date Authentication Edition Remarks

1 i, 87 Menuet, Trio, 2 ob, 2 –? A (u frag.) P vi, 184 finale used

Finale, C hn, 2 1773 for earlier
tpt, version of
timp, sym. J 63; cf
str no.8

2 XXX:3 Incidental see J 60 –30 Pressburger see J 60 ov.,

music: Der June Zeitung, 23 Nov entr’actes
Zerstreute 1774 1774 and final
(comedy, 5, ? music =
J.B. sym. J 60
Bergopzoomer,
after J.F.
Regnard: Le
distrait)

3 Ia:7 Sinfonia, D 2 ob, 2 1777 A, A (frag.) P v, 135 1 movt only;

bn, 2 ov. to
hn, str unidentified
work (= ?
appx E 1);
used as
Finale B of
sym. J 53; cf
appx K 5

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 4–9 6 sinfonie –29 OE
[overtures]: Sept
1782

4 Ia:13 g fl, 2 ob, (London, ov. to L’isola

bn, 2 1959) disabitata (E
hn, str 20)

5 Ia:6 D 2 ob, 2 HW xxv/6, 1 ov. to

hn, str L’incontro
improvviso
(E 14); tpts,
timp, perc
omitted; ?
earlier
version uses
I of J 106 for
III

6 Ia:10 G fl, 2 ob, HW xxv/3, 1 ov. to Lo

2 hn, speziale (E
str 9)

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 7 Ia:15 B♭ 2 ob, HW xxv/8, 1 ov. to La
bn, 2 vera
hn, str costanza (E
19); with
added III
compiled
from
Introduzione
of same
opera and
balletto from
Il mondo
della luna (E
17)

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 8 Ia:1 C 2 ob, 2 A (u frag.) HW xxv/5, 1 ov. to
hn, L’infedeltà
timp, delusa (E
str 11); with
altered II
and added
III almost
identical
with III of ov.
to Die
Feuersbrunst
(E 16b); ?
earlier
version with
altered II,
uses no.1 as
III and IV

9 Ia:2 c/C 2 ob, 2 HW xxviii/1, 1 ov. to Il

bn, 2 ritorno di
hn, 2 Tobia (C 3);
tpt, with altered
timp, final bars
str

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 10 Ia:4 Finale, D fl, 2 ob, ? A, EK D 51 (1959) from
2 bn, 2 1777– unidentified
hn, str 86 [? work (? sym.
1782– J 73);
4] sometimes
connected
with sym. J
53

11 XX/1 A Musica 2 fl, 2 –11 OE, Sk, RC HW iv composed

instrumentale ob, 2 Feb for Cádiz; ?
sopra le 7 bn, 4 1787 1st Viennese
ultime parole hn, 2 [? perf. 26
del nostro tpt, 1786] March 1787;
Redentore in timp, some
croce, ossiano str sketches in
7 sonate con critical
un’introduzione commentary
ed al fine un to HW iv, 41;
terremoto (The cf C 4, appx
Seven Last O.1, 1; see
Words) note to appx
X.2

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 12 i, 206 Piece for fl, 2 ob, ? A (u) HW i/17, 227 arr. of II of
military band, 2 cl, 2 1794/5 sym. J 100
C bn, 2
hn, tpt,
serpent,
perc

13 — Overtura ? 1791– Gr, Dies — lost or =

Conventgarden 5 HIa:3, ov. to
Orfeo (E
24); ?perf. as
ov. to J.P.
Salomon’s
opera
Windsor
Castle; cf
appx K 6

14 i, 590 ?, E ? ? A (u) — b only of

c1763– sequence of
9 9 pieces; see
critical
commentary
to HW xiii,
12

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 1 XXX:2 Incidental ? ? — not verified;
music: Die 1773/4 identical
Feuersbrunst neither with E
(? G.F.W. 16a/b nor with
Grossmann) sym. J 59

2 XXX:B Incidental ? ? — not verified

music: Hamlet c1774–
(W. 6
Shakespeare)

3 XXX:C Incidental ? –? — not verified;

music: Götz 1776 also attrib. M.
von Haydn
Berlichingen
(J.W. von
Goethe)

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 4 XXX:D Incidental ? ? — not verified;
music: Soliman c1777 hypothetical
II, oder Die reconstruction
drei (P vi, 165; ‘1st
Sultaninnen (? version’ of
F.X. Huber, sym. J 63)
after C.-S. combines
Favart) altered ov. to
Il mondo della
luna (E 17), II
of J 63 and
frag. K 1

5 Ia:7bis Overture, D ? –1783 — 2nd version of

K 3; extant in
various arrs.
only; inclusion
in sym. J 53
doubtful

6 ii, 435 Overture to ? 1795 — in MS (J-Tn)

Salomon’s and in vs of
opera Windsor opera
Castle, D (London,
n.d.), as by
Salomon; cf K
13

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 7 XXX:A; Incidental 2 fl, 2 –1806 — ov. and
Ia:9 music: King ob, bn, entr’actes,
Lear 2 hn, 2 without
(Shakespeare) tpt, author’s
timp, name; ov.
str attrib. W.G.
Stegmann (?
C.D.
Stegmann); ?
by J. von
Blumenthal (i)

8 Ia:12 Overture, g 2 ob, –1799 — combination

bn, 2 and arr. of
hn, str pieces from Il
mondo della
luna (E 17)

Fantaisie, d,
see appx X.3,
16

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 Note: ovs. listed as HIa:3, 5, 8, 14, 16, 17 Add. are taken from
Haydn’s operas without alteration; Ia:11 is not a separate piece
Appendix K: Doubtful and spurious works or arrangements

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 No. H Title, librettist, Forces Date Edition Remarks
key

1 XXX:2 Incidental music: ? ? — not verified; identical

Die Feuersbrunst 1773/4 neither with E 16a/b
(? G.F.W. nor with sym. J 59
Grossmann)

2 XXX:B Incidental music: ? ? — not verified

Hamlet (W. c1774–
Shakespeare) 6

3 XXX:C Incidental music: ? –?1776 — not verified; also

Götz von attrib. M. Haydn
Berlichingen (J.W.
von Goethe)

4 XXX:D Incidental music: ? ? — not verified;

Soliman II, oder c1777 hypothetical
Die drei reconstruction (P vi,
Sultaninnen (? F.X. 165; ‘1st version’ of
Huber, after C.-S. sym. J 63) combines
Favart) altered ov. to Il
mondo della luna (E
17), II of J 63 and
frag. K 1

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 5 Ia:7bis Overture, D ? –1783 — 2nd version of K 3;
extant in various arrs.
only; inclusion in
sym. J 53 doubtful

6 ii, 435 Overture to ? 1795 — in MS (J-Tn) and in vs

Salomon’s opera of opera (London,
Windsor Castle, D n.d.), as by Salomon;
cf K 13

7 XXX:A; Incidental music: 2 fl, 2 –1806 — ov. and entr’actes,

Ia:9 King Lear ob, bn, without author’s
(Shakespeare) 2 hn, 2 name; ov. attrib. W.G.
tpt, Stegmann (? C.D.
timp, Stegmann); ? by J.
str von Blumenthal (i)

8 Ia:12 Overture, g 2 ob, –1799 — combination and arr.

bn, 2 of pieces from Il
hn, str mondo della luna (E
17)

Fantaisie, d, see
appx X.3, 16

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 L: Dances, marches for orchestra/military band

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 No. H Title, key Forces Date Authentication Edition Remarks

1 IX:1 [12] Minuetti 2 ob, 2 –? A HW v, 3; D ‘Seitenstetten’

(with 3 Trios) hn, 2 vn, 1760 855 (1988) minuets
b

2 IX:3 [12] Menuetti (?2) fl –1767 — — lost

(with 4 Trios) pic, (?2) pf arr. extant, cf
fl, 2 ob, appx X.2, 1
(?2) bn, 2
hn, 2 vn,
b

3 — 4 [?cycles of] ? –? EK — ? partly = nos.1 and

Menuetti 1765 2; otherwise lost

4 iii, Marche 2 ob, 2 –1772 — HW v, 218;

315 regimento de hn, 2 bn D 34, 2
Marshall, G (1960)

5 IX: ?24 Dances (?12 2 fl, 2 hn, –? A (frag.) HW v, 12 only nos.23–4

23 Minuets and 12 2 vn, b c1773 extant; ? perf.
Trios) and ? Bratislava, 16 Nov
1772

6a IX:5 [6] Menuetti fl, 2 ob, 1776 A HW v, 14 ? = 1st pt of longer

(with 2 Trios) bn, 2 hn, cycle; cf appx L 5
2 vn, b

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 6b — Menuetti ? –Aug Schellinger’s — ? lost
1776 account of ? = no.6a
transcripts

7 IX: 12 Menuets ? –11 see Thomas — lost or ? identical

6a Feb (M1973) with no.6; for the
Add. [–?9 Redoutensäle,
Jan] Vienna
1777

8 IX: 18 Menuets ? –8 Feb see Thomas — lost or unidentified;

6b [–?9 (M1973) for the
Add. Jan] Redoutensäle,
1780 Vienna

9 IX:7 Raccolta de’ [14] fl, 2 ob, 2 –31 — HW v, 20;

menuetti bn, 2 hn, Jan D 301
ballabili (with 6 timp, 2 1784 (1970)
Trios) vn, b

10 IX:8 XII Menuets ? –12 — — lost

(with 5 Trios) Jan pf arr. extant, cf
1785 appx X.2, 3

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 11 IX:9 6 Allemandes (6 fl, 2 ob, –15 — HW v, 37; for dates see H iii,
deutsche Tänze) bn, 2 hn, Nov D 52 318, HW v, preface
2 tpt, 1786 (1960)
timp, 2 [–?19
vn, b Jan
1785]

12 IX: Unos 24 minués ? –22 see Solar- — sent to Duchess of

9d, y otras tantas [= April Quintes (E1947) Osuna (Madrid); lost
e 24] contradanzas 1789 or unidentified;
Add. minués = ?no.14

13 IX: 12 ganz neue ? –11 Haydn’s letters — promised to Prince

9c Tanz Menuetts Jan Oettingen-
mit 12 Trios 1790 Wallerstein, 21 Oct
begleitet 1789; lost or
unidentified

14 IX: 24 Menuetti fl pic, 2 ? — HW v, 92;

16 (with 24 Trios) fl, 2 ob, 2 c1790– D 299
cl, 2 bn, 2 1800 (1974)
hn, 2 tpt,
timp,
perc, 2
vn, vc, b

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 15 VIII: Marcia, E♭ 2 cl, 2 hn, –1793 A (u) HW v, 207; cf appx Y.3, 3
6 2 bn [? xxv/12,
c1780– 316; D 34,
90] 4 (1960)

16 VIII: March, E♭ 2 cl, 2 bn, ? A (u frag.) HW v, 208; only 1st 8 bars

7 2 hn, tpt, c1792 D 34, 5 extant
serpent (1960)

17a VIII: March, E♭ 2 cl, 2 bn, 1792 A (as pt of no. HW v, 209; ? = March for the
3 2 hn, tpt, 17b); Sk D 34, 6 Prince of Wales
serpent (1960) mentioned by Gr
and Dies

17b VIII: March, E♭ 2 fl, 2 cl, 1792/5 A HW v, 220; 2nd version of no.
3bis 2 bn, 2 D 98 17a; for Royal
hn, 2 tpt, (1961) Society of Musicians
str

18 IX: [12] Menuetti di fl pic, 2 [–25 A (u pt), Sk HW v, 42; for Redoute of

11 ballo (Redout fl, 2 ob, 2 Nov] (Lippstadt, Viennese
Menuetti; cl, 2 bn, 2 1792 1959) Pensionsgesellschaft
Katharinentänze) hn, 2 tpt, bildender Künstler;
(with 11 Trios) timp, 2 sketches in HW v,
vn, b 180; for pf arr., see
appx X.2, 4

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 19 IX: 12 deutsche 2 fl, 2 ob, [–25 Sk HW v, 77; for Redoute as
12 Tänze (Tedeschi 2 cl, 2 bn, Nov] (Lippstadt, above; sketches in
di ballo) (with 2 hn, 2 1792 n.d.) HW v, 183; for pf
Trio and Coda) tpt, timp, arr., see appx X.2, 5
2 vn, b

20 — 24 Minuets and ? 1791– Gr, Dies — lost or ? = nos.18

German Dances 5 and 19

21 iii, 4 and 2 ? 1791– Gr, Dies — lost

323 Countrydances 5 for ? pf arr. of one
or two, see X 7,
appx X.3, 6

22 VIII: 2 [Derbyshire] 2 cl, 2 bn, 1795 A (nos.1, 2), A HW v, 212; for pf arr., see appx
1–2 Marches, E♭, C 2 hn, tpt, (u) (no.2) D 34, 8–9 X.2, 7
serpent, ? (1960)
perc

23 VIII: Hungarischer 2 ob, 2 cl, [–27 A HW v, 216;

4 National Marsch, 2 bn, 2 Nov] D 34, 10
E♭ hn, tpt 1802 (1960)

24 i, March, E♭ str after ?A — lost

541 1791

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 1 i, VI Menuets (with (fl, ob), 2 –1787 (Berlin and by Haydn
547 6 Trios) and VI hn, 2 vn, Amsterdam, and
Allemandes b 1787) Vanhal;
minuets by
Vanhal;
allemandes
identical
with L 11

2 i, 12 Contratänze fl, 2 ob, 2 –1799 — lost

547 bn, 2 hn, ?arr. from
2 vn, b various
works by
Haydn; see
Thomas
(M1973)

3 IX:2 VI Menuetti 2 hn, 2 –? — lost

vn, b 1766

4 IX:4 [12] Minuetti da 2 fl, 2 hn, –1766 (Amsterdam,

ballo (with 12 2 vn, b 1766)
Trios)

5 IX: XII Menuetti fl, 2 ob, 2 ? — HIX:6, nos.

6, (with 4 Trios) bn, 2 hn/ 9–12 =
nos. tpt, timp, HIX:5, nos.
1–8 2 vn, b 1–4; see L
6

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 6 IX: 12 Deutsche fl, 2 ob, 1787– — lost
9b (dell’opera cl, bn, 2 99 pf arr. ?
L’arbore di hn, 2 vn, extant as
Diana) b appx X.3, 4

7 IX: 13 Menuetti fl pic, 2 ? —

14 (with 4 Trios) fl, 2 ob, 2
bn, 2 hn,
2 vn, b

8 IX: [6] Menuetti 2 fl, 2 ob, ? —

15 (with 6 Trios) 2 cl, 2 bn,
2 hn, 2
tpt, timp,
2 vn, b

9 IX: [17] Deutsche fl pic, fl, ? — lost

17 Tänze 2 ob, 2
bn, 2 hn,
2 vn, b

10 IX: IX Menuette ? ? — 1st incipit

18 (with Trios) fürs = L 10, no.
Orchester 7, rest
unknown

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 11 IX: [13] Menuetti 2 vn, b –? HW v, 199 theme of
19 (with 4 Trios) 1777 no.1
similar to
III of S 3;
no.11 uses
III of S 6

12 IX: Menuetto and 2 vn, b ? — unsigned

24 Trio draft MS
not
Haydn’s
autograph;
for pf arr.
see appx
X.3, 13; for
orch arr.
see no.14

13 IX: Minuet str ? — movt of

25 sym. by
Dittersdorf
(Krebs no.
35)

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 14 i, 10 Menuette orch ? (Kassel, 1950) orch arr. of
580 no.12 and
minuets
arr. from
syms. and
str qts

15 i, 12 deutsche i orch, ii ? i (Kassel, 1950); minuets

580 Tänze, 2 versions 2 vn, vc ii HM, xli (1967) arr. from
syms. and
str qts

16 — 12 Menuette 2 vn, vc ? (Wolfenbüttel, from str

1938) trios,
baryton
trios and
Scherzandi

17 iii, XII [recte XIV] 2 fl pic/fl/ ? — see

323 Menuette (with 5 ob, 2 hn, Landon
Trios) 2 vn, b (B1959),
70

18 IX: [12] Menuetti 2 ob, 2 ? — see

22a (with 1 Trio) hn, 2 vn, Thomas
Add. b (M1973),
23

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 Note: sketches to unknown minuets/Ger. dances in HW v, 180
(transcr.), 250 (facs.); 3 unidentified minuets (with 3 trios) composed
for Haydn by J. Eybler in 1789
Appendix L: Selected doubtful and spurious works or arrangements

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 No. H Title Forces Date Edition Remarks

1 i, VI Menuets (fl, ob), 2 –1787 (Berlin and by Haydn and

547 (with 6 Trios) hn, 2 vn, Amsterdam, Vanhal; minuets
and VI b 1787) by Vanhal;
Allemandes allemandes
identical with L
11

2 i, 12 Contratänze fl, 2 ob, 2 –1799 — lost

547 bn, 2 hn, ?arr. from various
2 vn, b works by Haydn;
see Thomas
(M1973)

3 IX:2 VI Menuetti 2 hn, 2 –? — lost

vn, b 1766

4 IX:4 [12] Minuetti 2 fl, 2 hn, –1766 (Amsterdam,

da ballo (with 2 vn, b 1766)
12 Trios)

5 IX:6, XII Menuetti fl, 2 ob, 2 ? — HIX:6, nos.9–12 =

nos. (with 4 Trios) bn, 2 hn/ HIX:5, nos.1–4;
1–8 tpt, timp, see L 6
2 vn, b

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 6 IX: 12 Deutsche fl, 2 ob, 1787– — lost
9b (dell’opera cl, bn, 2 99 pf arr. ? extant as
L’arbore di hn, 2 vn, appx X.3, 4
Diana) b

7 IX: 13 Menuetti fl pic, 2 fl, ? —

14 (with 4 Trios) 2 ob, 2
bn, 2 hn,
2 vn, b

8 IX: [6] Menuetti 2 fl, 2 ob, ? —

15 (with 6 Trios) 2 cl, 2 bn,
2 hn, 2
tpt, timp,
2 vn, b

9 IX: [17] Deutsche fl pic, fl, 2 ? — lost

17 Tänze ob, 2 bn,
2 hn, 2
vn, b

10 IX: IX Menuette ? ? — 1st incipit = L 10,

18 (with Trios) no.7, rest
fürs Orchester unknown

11 IX: [13] Menuetti 2 vn, b –? HW v, 199 theme of no.1

19 (with 4 Trios) 1777 similar to III of S
3; no.11 uses III
of S 6

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 12 IX: Menuetto and 2 vn, b ? — unsigned draft
24 Trio MS not Haydn’s
autograph; for pf
arr. see appx X.3,
13; for orch arr.
see no.14

13 IX: Minuet str ? — movt of sym. by

25 Dittersdorf
(Krebs no.35)

14 i, 10 Menuette orch ? (Kassel, 1950) orch arr. of no.12

580 and minuets arr.
from syms. and
str qts

15 i, 12 deutsche i orch, ii 2 ? i (Kassel, minuets arr. from

580 Tänze, 2 vn, vc 1950); ii HM, syms. and str qts
versions xli (1967)

16 — 12 Menuette 2 vn, vc ? (Wolfenbüttel, from str trios,

1938) baryton trios and
Scherzandi

17 iii, XII [recte XIV] 2 fl pic/fl/ ? — see Landon

323 Menuette (with ob, 2 hn, (B1959), 70
5 Trios) 2 vn, b

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 18 IX: [12] Menuetti 2 ob, 2 ? — see Thomas
22a (with 1 Trio) hn, 2 vn, (M1973), 23
Add. b

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 Note: for doubtful works extant only in pf arrs. see appx X.3

M: Concertos for string or wind instruments

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 No. H Title, key Forces of Date Authentication Edition Remarks
orchestral
accompaniment

1–4 VIIa [4]Concerti per

il violino:

1 1 C str –1769 EK HW iii/1, 1 for Luigi

[? [Tomasini]
c1761–
5]

2 2 D (2 ob, 2 hn), str ? EK — lost

c1761– incipit in
5 HW iii/1, VI

3 3 A (Melker str –1771 EK HW iii/1, 32 title not

Konzert) [? authentic
c1765–
70]

4 4 G str –1769 — HW iii/1, 71

5–7 VIIb [2/3] Concerti

per il
violoncello:

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 5 1 C 2 ob, 2 hn, str ? EK HW iii/2, 1
c1761–
5

6 2 D 2 ob, 2 hn, str 1783 A HW iii/2, 57 erroneously

attrib. A.
Kraft; rev.
version by
F.A.
Gevaert

7 3 C ? ? EK — lost or =
c1761– no.5
5

8 VIIc:1 Concerto per il ? ? EK — lost

violone 1763
(contraviolone),
D

9– XIII [2] Concerti

10 per il pariton
[baryton]:

9 1 D (? 2 vn, b) ? EK — lost
c1765–
70

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 10 2 D (? 2 vn, b) ? EK — lost
c1765–
70

11 XIII:3 Concerto per 2 ? ? EK — lost

pariton, D c1765–
70

12 VIIf:1 Concerto per il ? ? EK — lost

flauto, D c1761–
5

13 i, facs., Concert für ? ? see remark — lost

V Fagott mentioned
in Haydn’s
short work-
list, c1803–
4

14– VIId
15

14 1 D ? ? EK — lost
c1761–
5

15 3 D (no.1) 2 ob, str 1762 A HW iii/3, 1

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 16 VIId:2 Concerto a 2 ? –? HV — lost
corni, E♭ 1784

17 VIIe:1 Concerto per il 2 fl, 2 ob, 2 bn, 2 1796 A HW iii/3, 23

clarino, E♭ hn, 2 tpt, timp,
str

1 VIIa:D1 Violin concerto, 2 ob, 2 hn, str – (Paris, c1777), by C. Stamitz

D c1777 as by Stamitz

2 VIIa:G1 Violin concerto, str –1771 — ? by M. Haydn

G

3 VIIa:A1 Violin concerto, ? – (Paris, c1777), by Giornovichi

A c1777 as by
Giornovichi

4 VIIa:B1 Violin concerto, str 1760 D 3 (1960), as by M. Haydn

B♭ by M. Haydn

5 VIIa:B2 Violin concerto, str –1767 (Leipzig, 1915) by Christian

B♭ Cannabich

6 VIIb:4 Cello concerto, str –1772 (Leipzig, 1894) also attributed

D (?G.B.)
Costanzi

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 7 VIIb:5 Cello concerto, 2 fl, 2 ob, 2 cl, 2 ? (Berlin, 1899) ‘nach einer
C bn, 2 hn, str c1899 Skizze
ausgeführt und
herausgegeben
von David
Popper’:
sketch never
found

8 VIIb:gl Cello concerto, str –1773 — lost

g

9 VIIf:D1 Flute concerto, str –1771 (Munich, 1955) by L. Hofmann

D

10 VIIg:C1 Oboe concerto, 2 ob, 2 hn, 2 tpt, ? (Wiesbaden, orig. attrib.

C timp, str c1800 1954) ‘H...r’; Haydn’s
name added
later

11 VIId:4 Horn concerto str –1781 (London, 1954)

(no.2), D

12 — Concerto for 2 2 ob, 2 hn, str ? (Amsterdam, D-HR, orig.

horns, E♭ 1966) without
author’s name;
‘par Michael
Heiden’ added
later

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 Note: concs. for 2 lire organizzate, see group T; Concertante, see J
105; conc. for vn, org/hpd, see U 3; ? conc. for vn planned in 1799,
see Landon (A1976)
Appendix M: Selected doubtful and spurious works

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 No. H Title, Forces of Date Edition Remarks
key orchestral
accompaniment

1 VIIa:D1 Violin 2 ob, 2 hn, str – (Paris, by C. Stamitz

concerto, c1777 c1777), as by
D Stamitz

2 VIIa:G1 Violin str – — ? by M. Haydn

concerto, 1771
G

3 VIIa:A1 Violin ? – (Paris, by Giornovichi

concerto, c1777 c1777), as by
A Giornovichi

4 VIIa:B1 Violin str 1760 D 3 (1960), by M. Haydn

concerto, as by M.
B♭ Haydn

5 VIIa:B2 Violin str – (Leipzig, by Christian

concerto, 1767 1915) Cannabich
B♭

6 VIIb:4 Cello str – (Leipzig, also attributed

concerto, 1772 1894) (?G.B.) Costanzi
D

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 7 VIIb:5 Cello 2 fl, 2 ob, 2 cl, 2 ? (Berlin, ‘nach einer
concerto, bn, 2 hn, str c1899 1899) Skizze
C ausgeführt und
herausgegeben
von David
Popper’: sketch
never found

8 VIIb:gl Cello str – — lost

concerto, 1773
g

9 VIIf:D1 Flute str – (Munich, by L. Hofmann

concerto, 1771 1955)
D

10 VIIg:C1 Oboe 2 ob, 2 hn, 2 tpt, ? (Wiesbaden, orig. attrib.

concerto, timp, str c1800 1954) ‘H...r’; Haydn’s
C name added
later

11 VIId:4 Horn str – (London,

concerto 1781 1954)
(no.2), D

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 12 — Concerto 2 ob, 2 hn, str ? (Amsterdam, D-HR, orig.
for 2 1966) without author’s
horns, E♭ name; ‘par
Michael Heiden’
added later

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 Note: 3 concs., 1/2 cl, attrib. Haydn in D. Klöcker: disc notes, Orfeo,
C 448971A, not authentic

N: Divertimentos etc. for 4 + string and/or wind

instruments
string quartets; works with baryton, lira organizzata excepted

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 No. HII Title, key Forces Date Authentication Edition Remarks

1–4 [4] Divertimentos 2 ob, 2

(Cassations) a 9: hn, 2 vn,
2 va, b

1 9 G –1764 EK HW viii/1,
15

2 20 F + (bn) –1763 EK HW viii/1,

[–? 37; D 56
1757] (1962)

3 17 C 2 cl –c1765 EK HW viii/1,
instead of 80; D 23
2 ob (1960), ed.
H.
Steppan

4 G1 G –1768 — HW viii/1, also attrib. M.

[? 63; D 47 Haydn (Perger
c1760] (1959) no.114); arr. a
5 without IV
(Copenhagen,
1953)

5– [6] miscellaneous
10 works:

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 5 24 [V] Variations on fl, 2 eng ?1761 A (u) HW viii/2, ? movt of
a minuet, E♭ hn, bn, 2 99 larger work
hn, vn
solo, 2
vn, vc,
vle

6 2 Divertimento 2 vn, 2 –1763 EK HW viii/1,

(Cassation) a 5, va, b [? 1; D 894
G 1753/4] (1988)

7 10 Divertimento a 6 ? –c1765 EK — lost

(Der [verliebte]
Schulmeister), D

8 13 Divertimento (? a ? –c1765 EK — lost

6), D

9 8 Divertimento 2 fl, 2 hn, –1767 EK HW viii/1,

(Cassation) [a 7] 2 vn, b 129

10 D22 Cassation, D 4 hn, vn, ?c1763 — D 66 considered not

Add. va, b (1960) authentic in
HW viii/1

11– [2] Divertimentos 2 hn, 2 for spurious

12 (Cassations) a 6 vn, va, b arrs. as str qts,
see appx O.3,
2–3

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 11 21 E♭ –1763 EK HW viii/1, most sources
[–? 107 incl. added
1761] variations of
2nd trio (HW
viii/1, 207)

12 22 D –1764 EK HW viii/1,
[–? 118
1760]

13– [2] Divertimentos fl, ob, 2

14 (Cassations) [a vn, vc, db
6]:

13 1 G –1768 EK HW viii/1, for spurious

145; D arr. with lute,
846 (1984) see Crawford
(N1980)

14 11 C (Der –1765 EK HW viii/1, II: ‘Mann und

Geburtstag) 161; D 57 Weib’; cf also J
(1961) 14

15– 6 Scherzandos fl/2 ob, 2 –1765 D 71–6 other versions

20 (Sinfonias, hn, 2 vn, (1961) probably
Divertimentos): b spurious

15 33 F — HW viii/2,
63

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 16 34 C — HW viii/2,
67

17 35 D — HW viii/2,
73

18 36 G — HW viii/2,
79

19 37 E — HW viii/2,
85

20 38 A EK HW viii/2,
91

21– [6] Divertimentos 2 ob, 2

6 [a 6]: hn, 2 bn

21 15 F (Parthia) 1760 A HW viii/2, facs. of

18; D 29 autograph in
(1959) Haydn
Yearbook
1962, 257

22 23 F (Parthia) –1765 A (u frag.) HW viii/2, added movt of

[?1760] 24; D 30 doubtful
(1959) authenticity, D
30, 8

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 23 7 C (Feld-Parthie) –1765 EK HW viii/2,
12; D 31
(1959)

24 3 G (Parthie) –1766 EK HW viii/2,

6; D 84
(1960)

25 D18 D (Cassation) –1765 — HW viii/2, in HW viii/2 as

[? 31; D 33 of doubtful
c1760] (1959) authenticity

26 B3 = B♭/G/C (Parthia) –1766 — HW viii/2, in HW viii/2 as

G9 = [? 38, in B♭; of doubtful
C12 c1760] D 85 authenticity
Add. (1960), in
G

27– [6] Divertimentos

32 [a 4–8]:

27 16 F (Feld-Parthie) 2 eng hn, 1760 A HW viii/2,

2 hn, 2 43
vn, 2 bn

28 12 E♭ (Feld-Parthie) (?2) eng –c1765 EK — lost

(? a 6) hn, and ? probably not in
B♭ as in H

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 29 20bis A (Feld-Parthie) ? –? EK — lost
c1768

30 14 C 2 cl, 2 hn 1761 A HW viii/2,

3; D 32
(1959)

31 4 F (?D), a 5 2 cl, 2 hn, –? EK — lost

bn c1768

32 5 F (?D), a 5 (? a 4) 2 cl, 2 hn, –? EK — lost

(?bn) c1768 version for 2
hn, baryton,
va, b extant; cf
R 26;
reconstruction,
D, by R.
Hellyer
(Cardiff, 1983)

1 18 Divertimento fl, 2 hn, ? — probably

(Notturno), D vn, va, b by Vanhal,
though
incipit in
HV

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 2 19 Divertimento fl, (2 hn), ? — probably
(Notturno), G vn, va, b by Vanhal,
though
incipit in
HV

3 24a Minuet with 2 fl, 2 ob, ? — lost

variations, D (bn), 2 minuet
hn, 2 vn, from P 15
va, b

4 24b Minuet with 2 fl, 2 ob, ? — lost

variations, A 2 hn, 2 minuet
vn, va, b from P 7

5 39 Divertimento 4 vn, 2 b – (Wilhelmshaven,

(Echo), E♭ 1766/7 1957)

6 40 Sextetto, E♭ ob, bn, –1781 (London, 1957)

hn, vn,
va, b

7– 6 Divertimentos
12 (Feldparthien):

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 7 46 B♭ 2 ob, 2 (New York, II: St
hn, 3 bn, 1960) Antony
serpent chorale,
basis for
Brahms’s
Haydn
variations,
op.56; arr.
for 5 wind
insts
(London,
1942)

8 42 B♭ 2 ob, 2 cl, —
2 hn, 2
bn

9 41 E♭ 2 ob, 2 cl, (Vienna, 1931)

2 hn, 2
bn

10 45 F 2 ob, 2 —
hn, 3 bn,
serpent

11 43 B♭ 2 ob, 2 cl, (Mainz, 1970)

2 hn, 2
bn

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 12 44 F 2 ob, 2 —
hn, 3 bn,
serpent

13 47 Toy Symphony vn, va (or –1786 D 300 (1974), in various

(Kinder-sinfonie; 2 vn), b, ‘Cassatio ex G’ versions
Berchtolsgadener children’s by L. Mozart; in extant;
Musik/ insts Opera incerta sometimes
Divertimento/ (Mainz, 1991), without
Sinfonie; ed. S. Gerlach, author’s
Symphonie as by ?M. name,
burlesque), C Haydn sometimes
with
names of
M. Haydn,
L. Mozart,
or E.
Angerer;
version by
L. Mozart
with
added
movts

14 D5 [12] Notturni 2 fl, 2 hn ? (Leipzig and

(Quartetto), D Berlin, 1952)

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 15 D6 Divertimento, D fl, vn, va, –1766 (Frankfurt, probably
b 1971) by L.
Hofmann

16 D8 Divertimento fl, 2 vn, –?1778 (Zürich, 1940)

(Quintetto), D va, b

17 D9 Quatuor, D fl, vn, va, –1768 (London, 1960)

b

18 F2 Cassation, F ob, bn, 2 ? (Leipzig, 1970)

hn, vn,
va, b

19 F7 Parthia 2 ob, 2 cl, –1802 (Leipzig, 1902) probably

(Harmonie; 2 hn, 2 by P.
Octett), F bn Wranitzky

20 F10 Quartetto, F 3 vn, vc –1799 (Augsburg, probably

c1799), as by by
Ferandini Ferandini;
see
Marrocco
(H1972)

21 F12 Parthia, F 2 ob, 2 ? (London, 1961)

hn, bn

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 22 G4 Quatuor, G fl, vn, va, –1768 (London, 1960)
b

23 A1 Divertimento, A 2 vn, 2 –1762 — considered

va, b authentic
by Landon
(A1980)

24 B4 Divertissement, ob, vn, b ? (London, 1929), supposed

B♭ viol, b (Munich, 1972) autograph
not
authentic;
also attrib.
C.F. Abel
and J.C.
Bach

25 — Quatro, C fl, vn, va, ? (Zürich, 1969) see HW

vc viii/1, 224,
no.JHI-
C13

26 D23 Divertimento, D 2 ob, 2 ? D 86 (1960) considered

Add. hn, 2 bn authentic
by
Fruehwald
(H1988)

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 Note: for arrs. of works composed for baryton or lira organizzata,
see groups R and T; 2 Divertimenti a più voci (Gr, Dies) probably =
London versions of T 8 and T 13
Appendix N: Selected doubtful and spurious works

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 No. HII Title, key Forces Date Edition Remarks

1 18 Divertimento fl, 2 hn, ? — probably by

(Notturno), D vn, va, b Vanhal,
though
incipit in HV

2 19 Divertimento fl, (2 hn), ? — probably by

(Notturno), G vn, va, b Vanhal,
though
incipit in HV

3 24a Minuet with 2 fl, 2 ob, ? — lost

variations, D (bn), 2 minuet from
hn, 2 vn, P 15
va, b

4 24b Minuet with 2 fl, 2 ob, ? — lost

variations, A 2 hn, 2 minuet from
vn, va, b P7

5 39 Divertimento 4 vn, 2 b – (Wilhelmshaven,

(Echo), E♭ 1766/7 1957)

6 40 Sextetto, E♭ ob, bn, –1781 (London, 1957)

hn, vn,
va, b

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 7– 6 Divertimentos
12 (Feldparthien):

7 46 B♭ 2 ob, 2 (New York, 1960) II: St Antony

hn, 3 bn, chorale,
serpent basis for
Brahms’s
Haydn
variations,
op.56; arr.
for 5 wind
insts
(London,
1942)

8 42 B♭ 2 ob, 2 cl, —
2 hn, 2 bn

9 41 E♭ 2 ob, 2 cl, (Vienna, 1931)

2 hn, 2 bn

10 45 F 2 ob, 2 —
hn, 3 bn,
serpent

11 43 B♭ 2 ob, 2 cl, (Mainz, 1970)

2 hn, 2 bn

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 12 44 F 2 ob, 2 —
hn, 3 bn,
serpent

13 47 Toy Symphony vn, va (or –1786 D 300 (1974), in various

(Kinder-sinfonie; 2 vn), b, ‘Cassatio ex G’ versions
Berchtolsgadener children’s by L. Mozart; in extant;
Musik/ insts Opera incerta sometimes
Divertimento/ (Mainz, 1991), without
Sinfonie; ed. S. Gerlach, author’s
Symphonie as by ?M. Haydn name,
burlesque), C sometimes
with names
of M. Haydn,
L. Mozart,
or E.
Angerer;
version by L.
Mozart with
added movts

14 D5 [12] Notturni 2 fl, 2 hn ? (Leipzig and

(Quartetto), D Berlin, 1952)

15 D6 Divertimento, D fl, vn, va, –1766 (Frankfurt, 1971) probably by

b L. Hofmann

16 D8 Divertimento fl, 2 vn, –? (Zürich, 1940)

(Quintetto), D va, b 1778

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 17 D9 Quatuor, D fl, vn, va, –1768 (London, 1960)
b

18 F2 Cassation, F ob, bn, 2 ? (Leipzig, 1970)

hn, vn,
va, b

19 F7 Parthia 2 ob, 2 cl, –1802 (Leipzig, 1902) probably by

(Harmonie; 2 hn, 2 bn P. Wranitzky
Octett), F

20 F10 Quartetto, F 3 vn, vc –1799 (Augsburg, probably by

c1799), as by Ferandini;
Ferandini see
Marrocco
(H1972)

21 F12 Parthia, F 2 ob, 2 ? (London, 1961)

hn, bn

22 G4 Quatuor, G fl, vn, va, –1768 (London, 1960)

b

23 A1 Divertimento, A 2 vn, 2 va, –1762 — considered

b authentic by
Landon
(A1980)

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 24 B4 Divertissement, ob, vn, b ? (London, 1929), supposed
B♭ viol, b (Munich, 1972) autograph
not
authentic;
also attrib.
C.F. Abel
and J.C.
Bach

25 — Quatro, C fl, vn, va, ? (Zürich, 1969) see HW viii/

vc 1, 224,
no.JHI-C13

26 D23 Divertimento, D 2 ob, 2 ? D 86 (1960) considered

Add. hn, 2 bn authentic by
Fruehwald
(H1988)

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 Note: more doubtful and spurious works listed in HII; see also HW
viii/1, 221, viii/2, 120; for arrs. for lute/gui, vn, va, vc, see O 8

O: String quartets

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 No. HIII Op. Title, key Date Authentication Edition Remarks
(pubd)

1– [10] (1764–6) for proposed

10 Divertimentos earlier dating see
(Cassations, text, §2
Notturnos):

1 1 1/1 B♭ –1762 [? EK HW xii/1, 1 ‘La chasse’; for

c1757– spurious arr. for
9] lute, vn, vc, see
Crawford (N1980)

2 2 1/2 E♭ –1762 [? EK HW xii/1, 9

c1757–
9]

3 3 1/3 D –1762 [? EK HW xii/1, 18

c1757–
9]

4 4 1/4 G –1764 [? EK HW xii/1, 27

c1757–
9]

5 II:6 1/0 E♭ –1764 [? EK HW xii/1, 39

c1757–
9]

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 6 6 1/6 C –1762 [? HV, F HW xii/1, 50 arrs. for lute/gui,
c1757– vn, vc, not
9] authentic

7 7 2/1 A –1763 [? EK HW xii/1, 59

c1760–
62]

8 8 2/2 E –1765 [? EK HW xii/1, 69 arrs. (in D) for lute/

c1760– gui, vn, va, vc, not
62] authentic

9 10 2/4 F –1762 [? EK HW xii/1, 80

c1760–
62]

10 12 2/6 B♭ –1762 [? EK HW xii/1, 91

c1760–
62]

11– 6 –1771 [? EK
16 Divertimentos: 1769/70]
(1771/2)

11 22 9/4 d HW xii/2, 3

12 19 9/1 C HW xii/2, 13

13 21 9/3 G HW xii/2, 24

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 14 20 9/2 E♭ HW xii/2, 35 cf X 3

15 23 9/5 B♭ HW xii/2, 45

16 24 9/6 A HW xii/2, 57

17– 6 1771 A
22 Divertimentos: (1772)

17 26 17/2 F HW xii/2, 69

18 25 17/1 E HW xii/2, 84

19 28 17/4 c HW xii/2, 99

20 30 17/6 D HW xii/2, 115

21 27 17/3 E♭ HW xii/2, 129

22 29 17/5 G HW xii/2, 140 ‘Recitative’

23– 6 1772 A ‘Sun Quartets’

8 Divertimentos: (1774)

23 35 20/5 f HW xii/3, 3

24 36 20/6 A HW xii/3, 21

25 32 20/2 C HW xii/3, 36

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 26 33 20/3 g Sk HW xii/3, 54,
191 (incl.
sketch for III)

27 34 20/4 D HW xii/3, 70

28 31 20/1 E♭ HW xii/3, 89

29– 6 Quatuors 1781 HV, OE, SC ‘Russian’ Quartets,

34 (Quartetti): (1782) (title, frag. of ‘Jungfernquartette’,
no.29) ‘Gli scherzi’; date
1778–81 is
incorrect

29 41 33/5 G C HW xii/3, 105 ‘How do you do?’;

for pf arr. of IV, see
appx X.2, 2

30 38 33/2 E♭ C HW xii/3, 120 ‘The Joke’

31 37 33/1 b C HW xii/3, 133

32 39 33/3 C HW xii/3, 147 ‘The Bird’

33 42 33/6 D C HW xii/3, 163

34 40 33/4 B♭ HW xii/3, 175

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 35 43 42 Quartetto, d 1785 A (Vienna, 1988)
(1786)

36– 6 Quartetti: 1787 [– HV, OE, SC (Vienna, 1985) ‘Prussian’ Quartets;

41 16 Sept] autographs of nos.
(1787) 38–41 in private
collection

36 44 50/1 B♭

37 45 50/2 C

38 46 50/3 E♭ A

39 47 50/4 f♯ A

40 48 50/5 F A II: ‘Ein Traum’

41 49 50/6 D A ‘The Frog’

42– 6 Quatuors: –?22 HV, ?Haydn’s (Vienna, 1986– ‘Tost’ Quartets, 1st
7 Sept letters 7) ser.
1788
(1789,
1790)

42 57 54/2 C cf appx Y.1, 1

43 58 54/1 G A (u frag.)

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 44 59 54/3 E A (u frag.)

45 60 55/1 A

46 61 55/2 f ‘The Razor’

47 62 55/3 B♭

48– 6 Quartetti: 1790 ‘Tost’ Quartets, 2nd

53 (1791) ser.

48 65 64/1 C A HW xii/5, 3

49 68 64/2 b A HW xii/5, 18

50 67 64/3 B♭ A HW xii/5, 33

51 66 64/4 G HV HW xii/5, 53

52 64 64/6 E♭ A HW xii/5, 68

53 63 64/5 D A, Sk HW xii/5, 83, ‘The Lark’; cf appx

218 (incl. Y.1, 4
sketch for I)

54– 6 Quartetti: 1793 A ‘Apponyi’ Quartets

9 (1795,
1796)

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 54 69 71/1 B♭ HW xii/5, 101

55 70 71/2 D Sk HW xii/5, 119, cf appx Y.1, 2

222 (incl.
sketch for III)

56 71 71/3 E♭ HW xii/5, 135

57 72 74/1 C HW xii/5, 155

58 73 74/2 F Sk HW xii/5, 177,

220 (incl.
sketch for IV)

59 74 74/3 g HW xii/5, 198 ‘The Rider’; for pf

arr. of II, see appx
X.2, 6

60– 6 Quartetti: –?14 HV, OE (Vienna, 1982– ‘Erdödy’ Quartets

65 June 7)
1797
(1799)

60 75 76/1 G

61 76 76/2 d HE (= E) ‘Fifths’

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 62 77 76/3 C –28 Sept Sk ‘Emperor’; II uses
1797 Gott erhalte Franz
den Kaiser, G 43;
for pf arr. cf appx
X.2, 8; facs. of
sketch for II (Graz,
1982, 2/1995)

63 78 76/4 B♭ HE (= E) ‘Sunrise’

64 79 76/5 D

65 80 76/6 E♭ HE (= E)

66– 2 Quartetti: 1799 A (Vienna, 1982– ‘Lobkowitz’

7 (1802) 4) Quartets; facs.
(Budapest, 1972,
2/1980)

66 81 77/1 G

67 82 77/2 F

68 83 103 Unfinished –1803 A, Sk (Vienna, 1982) movts II and III

Quartet, d (1806) only
(not B♭)

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 1 III: Musica –14 Feb 1787 OE (London, 1956) arr. of orch
50– instrumentale version (K 11)
56 sopra le 7
ultime parole
del nostro
Redentore in
croce …
ridotte in
quartetti, op.
51

2 — Quartetti: La –1799 [? E — 16 pieces arr.

vera c1790] from op (E 19) ?
constanza by Haydn or
with his
approval

3 — Quartetti: –1799 [? E — 18 pieces arr.

Armida c1790] from op (E 23) ?
by Haydn or
with his
approval

1–6 6 Quatuors: –1777 (London, n.d.) ? by R.

Hoffstetter,
though in HV

1 13 3/1 E

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 2 14 3/2 C

3 15 3/3 G

4 16 3/4 B♭

5 17 3/5 F II: ‘Serenade’

6 18 3/6 A

7 D3 — Divertimento, –1763 (Mainz, 1955) by

D Albrechtsberger

8 E2 — E –1768 HM, xcviii

(1936)

1 III:5 1/5 B♭ – (London, n.d.) arr. of sym. J

1770/71 107; spurious
though in HV

2 III:9 2/3 E♭ –1766 (London, n.d.) arr. of N 11;

spurious though
in HV

3 III: 2/5 D –1766 (London, n.d.) arr. of N 12;

11 spurious though
in HV

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 Note: Haydn apparently wrote ?2 small str qts for Spain in 1784,
now lost, not identical with HIII:B4, G5, C8, F2, D2 or g 1, which are
by Gallus-Mederitsch; unpubd sketch, d, c1795, not identified
Appendix O.1: Arrangements for string quartet

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 No. H Title, key Date Authentication Edition Remarks

1 III: Musica –14 Feb 1787 OE (London, arr. of orch

50– instrumentale 1956) version (K 11)
56 sopra le 7
ultime parole
del nostro
Redentore in
croce …
ridotte in
quartetti, op.
51

2 — Quartetti: La –1799 [? E — 16 pieces arr.

vera c1790] from op (E 19) ?
constanza by Haydn or
with his
approval

3 — Quartetti: –1799 [? E — 18 pieces arr.

Armida c1790] from op (E 23) ?
by Haydn or
with his
approval

1–6 6 Quatuors: –1777 (London, ? by R.

n.d.) Hoffstetter,
though in HV

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 1 13 3/1 E

2 14 3/2 C

3 15 3/3 G

4 16 3/4 B♭

5 17 3/5 F II: ‘Serenade’

6 18 3/6 A

7 D3 — Divertimento, –1763 (Mainz, by

D 1955) Albrechtsberger

8 E2 — E –1768 HM,
xcviii
(1936)

1 III: 1/5 B♭ –1770/71 (London, arr. of sym. J

5 n.d.) 107; spurious
though in HV

2 III: 2/3 E♭ –1766 (London, arr. of N 11;

9 n.d.) spurious though
in HV

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 3 III: 2/5 D –1766 (London, arr. of N 12;
11 n.d.) spurious though
in HV

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 Note: arrs. of other Haydn op and orat for str qt or qnt, not
authenticated; VI Fugen … von G.J. Werner … herausgegeben von …
J. Haydn (Vienna, 1804) not arr. but only issued by Haydn
Appendix O.2: Selected spurious works

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 No. HIII Op. Title, key Date Edition Remarks

1–6 6 Quatuors: –1777 (London, ? by R. Hoffstetter, though

n.d.) in HV

1 13 3/1 E

2 14 3/2 C

3 15 3/3 G

4 16 3/4 B♭

5 17 3/5 F II: ‘Serenade’

6 18 3/6 A

7 D3 — Divertimento, –1763 (Mainz, by Albrechtsberger

D 1955)

8 E2 — E –1768 HM, xcviii

(1936)

1 III:5 1/5 B♭ – (London, arr. of sym. J 107; spurious

1770/71 n.d.) though in HV

2 III:9 2/3 E♭ –1766 (London, arr. of N 11; spurious

n.d.) though in HV

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 3 III: 2/5 D –1766 (London, arr. of N 12; spurious
11 n.d.) though in HV

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 Note: further spurious qts listed in HIII, and Feder (H1974)
Appendix O.3: Spurious arrangements

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 No. H Op. Key Date Edition Remarks

1 III: 1/5 B♭ – (London, arr. of sym. J 107; spurious though in

5 1770/71 n.d.) HV

2 III: 2/3 E♭ –1766 (London, arr. of N 11; spurious though in HV

9 n.d.)

3 III: 2/5 D –1766 (London, arr. of N 12; spurious though in HV

11 n.d.)

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 P: String trios (divertimentos)
baryton trios excepted; for 2 violins and cello (or other bass
instrument) unless otherwise stated

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 HV Key Date Authentication Edition Remarks

1 E –1767 EK HW xi/1, 1; D 901 (1982)

2 F –1767 EK

3 b –1767 EK HW xi/1, 17; D 903 (1985)

4 E♭ –1767 EK HW xi/1, 24; D 904 (1981)

5 B –?1765 EK — lost
forces unknown

6 E♭ –?1764 EK HW xi/1, 33; D 906 (1985) various versions

[–? extant, with
1761] scherzo as I or
III or missing

7 A –?1765 EK HW xi/1, 40; D 907 (1982) incl. variations

on Ich liebe, du
liebest (G 48); cf
appx N 4

8 B♭ –1765 EK HW xi/1, 45; D 908 (1982) for vn, va, b

9 E♭ –?1765 EK — lost
forces unknown

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 10 F –1767 EK HW xi/1, 55; D 910 (1982)

11 E♭ –1763 EK HW xi/1, 68; D 923 (1981)

12 E –1767 EK HW xi/1, 73; D 911 (1981)

13 B♭ –?1765 EK HW xi/1, 85; D 912 (1984)

14 b –?1765 EK — lost
forces unknown

15 D –1762 EK HW xi/1, 96; D 914 (1981) cf appx N 3

16 C –1765 EK HW xi/1, 105; D 915

[–? (1981)
1763]

17 E♭ –1766 EK HW xi/1, 117; D 916

[–? (1982)
1763]

18 B♭ –1765 EK HW xi/1, 127; D 917

[–? (1984)
1763]

19 E –1765 EK HW xi/1, 136; D 918

[–? (1982)
1763]

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 20 G –1766 EK HW xi/1, 147; D 919
[–? (1982)
1763]

21 D ?c1765 EK HW xi/1, 157; D 922

(1982)

1 D3 D HW xi/2, 29; D ?authentic; nos.1, 3, 4

920 (1981) considered doubtful in
HW xi/2

2 F1 F HW xi/2, 6; D 928 ?authentic

(1981)

3 G1 G HW xi/2, 34; D ?authentic; see remark for

921 (1981) no.1

4 A2 A HW xi/2, 16; D ?authentic; see remark for

934 (1985) no.1

5 A3 A — ?authentic; nos.5, 8, 9
considered not authentic
in HW xi/2

6 D1 D HW xi/2, 1; D 924 ?authentic

(1981)

7 B1 B♭ HW xi/2, 11; D ?authentic

927 (1981)

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 8 G3 G (Mainz, 1955); D I and II ?authentic; see
933 (1985) remark for no.5

9 G4 G D 926 (1984) ?authentic; see remark for

no.5

10 C3 C D 925 (1985) doubtful; nos.10–14

considered authentic by
Landon (A1980), nos.10,
12–14 as possibly
authentic by Larsen
(B1941), nos.10, 11, 14,
15 as not authentic by
Fruehwald (H1984) and in
HW xi/2

11 C2 C D 931 (1982) doubtful; see previous

remark

12 C1 C HW xi/2, 40; D doubtful; see remark for

932 (1985) no.10; nos.12, 13
considered authentic by
Fruehwald (1984)

13 C4 C HW xi/2, 24; D doubtful; see remarks for

929 (1982) nos.10, 12

14 C5 C D 930 (1985) doubtful; see remark for

no.10

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 15 Es4 E♭ — doubtful; see remark for
no.10

16 C6 C — probably by Fils (trio for

hpd, vn, b)

17 C7 C 5 Eisenstädter probably not authentic

Trios (Wiesbaden,
1954), no.3

18 C8 C — probably not authentic

19 D4 D 6 Weinzierler probably not authentic

Trios
(Wolfenbüttel,
1938), no.5

20 — d — A-Wst; probably not

authentic; incipit in HW
xi/2, preface

21 Es2 E♭ — probably not authentic

22 Es3 E♭ — probably not authentic

23 Es5 E♭ 12 Menuette probaby not authentic; 5

(Wolfenbüttel, movts; only 2 minuets
1938), nos.9, 12 pubd

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 24 Es11 E♭ (?Paris, n.d.) probably not authentic

25 E2 E — probably not authentic

26 F7 F as no.24 probably by Pugnani

27 — F — CZ-Bm (2 vn, vle);

probably not authentic

28 G5 G as no.24 probably not authentic

29 — A — Pnm; probably not

authentic; incipit in HW
xi/2, preface

30 B3 B♭ — probably not authentic; ?

by Zappa

31 B4 B♭ — probably not authentic

32 Es1 E♭ (Munich- by M. Haydn; for vn, va,

Gräfelfing, 1969) vc

33 G2 G (Leipzig, 1932) (2 by M. Haydn; edn as

vn, pf, vc ad lib) sonata op.8, no.5

34 A1 A (Leipzig, 1932) (2 by M. Haydn; edn as

vn, pf, vc ad lib) sonata op.8, no.6

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 35 Es9 E♭ 6 Weinzierler probably by L. Hofmann
Trios
(Wolfenbüttel,
1938), no.6

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 Appendix P: Selected works for 2 violins and cello (or other bass
instrument) attributed to Haydn (early works if authentic)

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 No. HV Key Edition Remarks

1 D3 D HW xi/2, 29; D 920 ?authentic; nos.1, 3, 4 considered doubtful in

(1981) HW xi/2

2 F1 F HW xi/2, 6; D 928 ?authentic

(1981)

3 G1 G HW xi/2, 34; D 921 ?authentic; see remark for no.1

(1981)

4 A2 A HW xi/2, 16; D 934 ?authentic; see remark for no.1

(1985)

5 A3 A — ?authentic; nos.5, 8, 9 considered not

authentic in HW xi/2

6 D1 D HW xi/2, 1; D 924 ?authentic

(1981)

7 B1 B♭ HW xi/2, 11; D 927 ?authentic

(1981)

8 G3 G (Mainz, 1955); D I and II ?authentic; see remark for no.5

933 (1985)

9 G4 G D 926 (1984) ?authentic; see remark for no.5

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 10 C3 C D 925 (1985) doubtful; nos.10–14 considered authentic by
Landon (A1980), nos.10, 12–14 as possibly
authentic by Larsen (B1941), nos.10, 11, 14,
15 as not authentic by Fruehwald (H1984) and
in HW xi/2

11 C2 C D 931 (1982) doubtful; see previous remark

12 C1 C HW xi/2, 40; D 932 doubtful; see remark for no.10; nos.12, 13

(1985) considered authentic by Fruehwald (1984)

13 C4 C HW xi/2, 24; D 929 doubtful; see remarks for nos.10, 12

(1982)

14 C5 C D 930 (1985) doubtful; see remark for no.10

15 Es4 E♭ — doubtful; see remark for no.10

16 C6 C — probably by Fils (trio for hpd, vn, b)

17 C7 C 5 Eisenstädter probably not authentic

Trios (Wiesbaden,
1954), no.3

18 C8 C — probably not authentic

19 D4 D 6 Weinzierler Trios probably not authentic

(Wolfenbüttel,
1938), no.5

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 20 — d — A-Wst; probably not authentic; incipit in HW
xi/2, preface

21 Es2 E♭ — probably not authentic

22 Es3 E♭ — probably not authentic

23 Es5 E♭ 12 Menuette probaby not authentic; 5 movts; only 2 minuets

(Wolfenbüttel, pubd
1938), nos.9, 12

24 Es11 E♭ (?Paris, n.d.) probably not authentic

25 E2 E — probably not authentic

26 F7 F as no.24 probably by Pugnani

27 — F — CZ-Bm (2 vn, vle); probably not authentic

28 G5 G as no.24 probably not authentic

29 — A — Pnm; probably not authentic; incipit in HW xi/

2, preface

30 B3 B♭ — probably not authentic; ? by Zappa

31 B4 B♭ — probably not authentic

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 32 Es1 E♭ (Munich-Gräfelfing, by M. Haydn; for vn, va, vc
1969)

33 G2 G (Leipzig, 1932) (2 by M. Haydn; edn as sonata op.8, no.5

vn, pf, vc ad lib)

34 A1 A (Leipzig, 1932) (2 by M. Haydn; edn as sonata op.8, no.6

vn, pf, vc ad lib)

35 Es9 E♭ 6 Weinzierler Trios probably by L. Hofmann

(Wolfenbüttel,
1938), no.6

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 Note: other works in HV, probably by other composers, incl. D2, E1,
B2: by M. Haydn; C9 (lost), D5, Es8, F5 (lost, qt), G6, A7: ? by L.
Hofmann; Es12, F2, F6: ? by Kammel; Es10: ? by Asplmayr; E3: ? by
Ivanschiz; F3: ? by Asplmayr/Ivanschiz; Es7: ? by P. Gasparini; Es13
(lost): ? by Auffmann; F4: ? by J.C. Bach (qt); A5: ? by Enderle, A6: ?
by Fils; B5: ? by Chiesa; D6 is arr. of baryton trio Q 1; incipits of 6
doubtful/spurious works: HV: Es6, F8, G7, A4, B6, and preface to HW
xi/2: JHI-C10; see also pf sonatas, W 40–42

Q: Baryton trios (divertimentos)

for baryton, viola and cello (or other bass instrument); WT = 6
leichte Wiener Trios, Wolfenbüttel, 1939

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 No. HXI Key Date Authentication Edition Remarks

1– –14 Jan EK bound by

24: 1767 that date;
Book [c1765– preserved
i 6] singly

1 A HW xiv/1, 1 H with II
and III
reversed
and without
IV; see also
note to appx
P

2a — ?1st version, I: EK HW xiv/1, 6 3 movts

A

2b 2 2nd version, A I: EK; III, IV: A HW xiv/1, 6 4 movts;

(u) facs. of
autograph
frag. in
Unverricht
(N1969)

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 2c 2bis spurious — WT, no.4 3 movts as
version, G 2a but in
order II, III,
I; for vc, va,
b, and other
arrs.; cf
appx X.3,
9a–c

3 A –1770 HW xiv/1, 16

4 A HW xiv/1, 21

5a — ?1st version, I: EK HW xiv/1, 24 3 movts; I

A quotes
Gluck: Che
farò senza
Euridice

5b — ?2nd version, I: EK; III: A (u) HW xiv/1, 24 I, II as in 5a;

A new minuet
and trio as
III; facs. of
autograph
frag. in
Unverricht
(N1969)

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 5c i, 596 spurious — WT, no.2 for 2 vn, b;
(below) version of 5a, also in D,
G arr. fl, vn, b

5d 5 inc. I: EK; III: A (u) HW xiv/1, 24 2 movts: I,

reconstruction III of 5b
of 5b, A

6 A –1769 HW xiv/1, 28 spurious

version
omits II and
incl. III from
5b

7 A –1769 HW xiv/1, 34

8 A HW xiv/1, 40

9 A –1770 HW xiv/1, 46

10 A –1772 A (frag., u) HW xiv/1, 51 autograph

not for 2
barytons, b,
as stated in
H

11 D –1772 HW xiv/1, 56

12 A HW xiv/1, 61

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 13 A HW xiv/1, 70 only I extant
or
identified;
edn in B♭,
for 2 vn, vc;
cf appx Q 1

14 D HW xiv/1, 72

15 A HW xiv/1, 78

16 A –1772 HW xiv/1, 84

17 D –1772 HW xiv/1, 88

18 A –1772 — lost or
unidentified

19 A HW xiv/1, 96

20 D HW xiv/1,
102

21 A –1771 HW xiv/1,
108

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 22 A HW xiv/1, only I extant
113 or
identified;
edn for 2 vn,
vc

23 D — lost or
unidentified;
cf appx Q 2,
3

24 D 1766 A (inc.) HW xiv/1, edn with

115 Trio of
Minuet and
III, both
missing in H

25– –11 Oct EK bound by

48: 1767 that date
Book [c1766/7]
ii

25 A –1772 HW xiv/2, 1

26 G HW xiv/2, 6 uses minuet

of appx X.1,
2

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 27 D HW xiv/2, 13 II and III
reversed in
H

28 D HW xiv/2, 19

29 A HW xiv/2, 25 I uses
theme from
La canterina
(E 8)

30 G HW xiv/2, 32

31 D HW xiv/2, 37 another
version (?
not
authentic)
has 4 movts,
incl. Adagio
from no.5

32 G HW xiv/2, 43

33 A HW xiv/2, 49

34 D –1776 HW xiv/2, 56
[–?
1775]

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 35 A –1771 HW xiv/2, 61

36 D –1776 HW xiv/2, 65

37 G –1776 HW xiv/2, 70 I uses W 3

38 A –1776 HW xiv/2, 77

39 D –1776 HW xiv/2, 83

40 D A (frag.) HW xiv/2, 88

41 D A HW xiv/2, 93

42 D 1767 A (frag.) HW xiv/2, 98

43 D HW xiv/2,
104

44 D HW xiv/2,
109

45 D HW xiv/2,
114

46 A HW xiv/2,
120

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 47 G HW xiv/2,
125

48 D HW xiv/2,
131

49– –7 July EK bound by

72: 1768 that date
Book [c1767–
iii 8]

49 G HW xiv/3, 1

50 D HW xiv/3, 7

51 A HW xiv/3, 14

52 d/D HW xiv/3, 18 minuet and

trio based
on movt in
sym. J 58

53 G 1767 A HW xiv/3, 24

54 D HW xiv/3, 29

55 G HW xiv/3, 33

56 D HW xiv/3, 38

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 57 A 1768 A HW xiv/3, 44

58 D HW xiv/3, 48

59 G Sk HW xiv/3, 53

60 A Sk HW xiv/3, 59 for sketch,

see critical
commentary
to HW xiv/3,
32

61 D Sk HW xiv/3, 65 for sketch,

see critical
commentary
to HW xiv/3,
35

62 G HW xiv/3, 72

63 D HW xiv/3, 77

64 D HW xiv/3, 83 I uses
Alleluia
theme of
sym. J 30

65 G HW xiv/3, 88

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 66 A HW xiv/3, 93

67 G HW xiv/3,
100

68 A A HW xiv/3,
106

69 D A HW xiv/3,
111

70 G HW xiv/3,
116

71 A HW xiv/3,
122

72 D HW xiv/3,
128

73– –22 Dec EK, SC paper for

96: 1771 copying
Book [c1768– ordered by
iv 71] that date;
bound by 3
Feb 1772

73 G –1772 HW xiv/4, 1

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 74 D HW xiv/4, 5

75 A HW xiv/4, 11

76 C –1772 HW xiv/4, 16

77 G HW xiv/4, 21

78 D HW xiv/4, 26

79 D 1769 A HW xiv/4, 30

80 G A (frag.) HW xiv/4, 35

81 D HW xiv/4, 41

82 C HW xiv/4, 46

83 F HW xiv/4, 52

84 G HW xiv/4, 58

85 D HW xiv/4, 64

86 A HW xiv/4, 70

87 a HW xiv/4, 76

88 A HW xiv/4, 82

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 89 G HW xiv/4, 87 vn instead
of va

90 C HW xiv/4, 93 vn instead
of va

91 D HW xiv/4, vn instead
100 of va

92 G HW xiv/4,
106

93 C HW xiv/4,
111

94 A –1774 HW xiv/4,
116

95 D HW xiv/4,
123

96 b HW xiv/4,
130

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 97– –8 Nov paper for
126: 1778 copying
Book [c1771– ordered by
v 8] that date;
preserved
singly

97 D [– EK HW xiv/5, 1 ‘per la
c1773] felicissima
[?1766] nascita di
S.Al.S.
Prencipe
Estorhazi’;
cf S 11

98 D EK HW xiv/5, 15

99 G EK — lost

100 F EK HW xiv/5, 22

101 C [– EK HW xiv/5, 30
c1773]

102 G EK HW xiv/5, 37

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 103 A EK HW xiv/5, 44 I and
probably II
based on U
15; see also
V6

104 D EK HW xiv/1, MS
126 discovered
1976, see
Fisher
(B1978)

105 G 1772 A HW xiv/5, III

50; xiv/1, discovered
132 1976, see
Fisher
(B1978)

106 D [– EK HW xiv/5, 55 autograph

c1773] erroneously
mentioned
in H is that
of no.105

107 D [? EK HW xiv/5, 61
c1766–
8]

108 A EK HW xiv/5, 68

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 109 C [– A, EK HW xiv/5, 74
c1773]

110 C EK HW xiv/5, 80 I and II

based on U
13

111 G [– EK HW xiv/5, 87 in HV ‘a
c1773] cinque’

112 D EK HW xiv/5, 92

113 D [– HV, JE HW xiv/5, 99

c1773]

114 D [– EK HW xiv/5,
c1773] 106

115 D EK HW xiv/5,
113

116 G EK HW xiv/5,
119

117 F [– EK HW xiv/5,
c1773] 125

118 D EK HW xiv/5,
132

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 119 G EK HW xiv/5, only baryton
139 pt extant

120 D [– EK HW xiv/5,
c1773] 141

121 A EK HW xiv/5,
146

122 A HV, C HW xiv/5,

153

123 G EK HW xiv/5,
159

124 G EK HW xiv/5,
166

125 G EK HW xiv/5,
174

126 C EK HW xiv/5,
180

1 D1 (I, Adagio 2 vn, vc HW xiv/1, 120, probably

II) cantabile, D; 122 authentic; ?
Menuetto II, III of Q 13
(with Trio), A/
a

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 2 iii, 327 Finale (Presto 2 vn, vc HW xiv/1, 124 probably
assai), D authentic; ?
III of Q 23

3 iii, 327 Menuetto 2 vn, vc HW xiv/1, 123 probably

(with Trio), E♭ authentic,
but
transposed; ?
II of Q 23

4 D2 Divertimento, baryton, — doubtful

D va, vc

5 A1 Terzetto (a baryton, — doubtful

tre), A va b

6 C3 Trio, C vc, va, b DTÖ, cxxiv baryton trio

(1972), 71, as by Luigi
by Tomasini Tomasini

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 Appendix Q: String (probably baryton) trios attributed to Haydn

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 No. HXI Title, key Forces Edition Remarks

1 D1 Adagio cantabile, D; 2 vn, vc HW xiv/1, probably authentic; ?

(I, II) Menuetto (with Trio), 120, 122 II, III of Q 13
A/a

2 iii, Finale (Presto assai), D 2 vn, vc HW xiv/1, probably authentic; ?

327 124 III of Q 23

3 iii, Menuetto (with Trio), 2 vn, vc HW xiv/1, probably authentic,

327 E♭ 123 but transposed; ? II of
Q 23

4 D2 Divertimento, D baryton, — doubtful

va, vc

5 A1 Terzetto (a tre), A baryton, — doubtful

va b

6 C3 Trio, C vc, va, b DTÖ, cxxiv baryton trio by Luigi

(1972), 71, Tomasini
as by
Tomasini

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 Note: for HXI:C1–2, see appx S 27, 26; see also appx S 1

R: Works for 1 or 2 barytons

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 No. H Title, key Forces Date Authentication Edition Remarks

1–5 [5]
Divertimenti
per il pariton
solo:

1 XII: G ?with vc c1765/6 EK — lost

20

2 XII: D ?with vc c1765/6 EK — lost

21

3 XII: A ?with vc c1765/6 EK — lost

22

4 XII: G ?with vc c1765/6 EK —

23

5 XII: A with vc c1766– EK — lost

18 9

6–7 [2] Soli per il

pariton:

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 6 XII: D with vc ? EK — lost
13 1770– probably
75 based on U
15; theme
identical
with III of V
6

7 XII: D with vc ? EK — lost

14 1770–
75

8– 6 Sonate: baryton, ?
13 vc c1775

8 XII: D EK — lost
7

9 XII: C EK — lost
8

10 XII: G EK — lost
9

11 XII: A EK — lost
10

12 XII: D EK — lost
11

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 13 XII: G HV — lost
12

14– [3] Sonate: baryton, ? HV — lost

16 vc on
authenticity
see critical
commentary
to HW xiii,
11; ?incl. in
‘16 Duetten
für den
Bariton’ in
Haydn’s
short work-
list, c1803/4
(H i, facs.,
p.V)

14 XII: F
15

15 XII: D
16

16 XII: D
17

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 17– [6] Duetti: 2 c1764–
22 barytons 9

17 X: D EK HW xiii, only extant

11 2 in
unauthentic
arr. for fl,
vn, b

18 XII: G EK, JE HW xiii,

4 6

19 XII: A EK HW xiii, as no.17

1 10

20 XII: D EK HW xiii, as no.17;

5+ 16 finale uses
3 Trio from
sym. J 28

21 XII: G EK — lost
6

22 XII: G HV — lost
2

23 XII: 12 Cassations- 2 c1765/6 EK, A (small HW xiii,

19 Stücke barytons, frag., u); JE 20
(Divertimentos) b

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 24 X:9 Divertimento, 2 ? EK — lost
D barytons, 1765–
2 hn 70

25– [2] 2 hn, ‘3

6 Divertimentos baryton, Quintetten’
(Quintetti): va, b according
to Haydn’s
short work-
list, c1803/4
(H i, facs.,
p.V)

25 X:7 D c1767/8 EK — lost

26 X: D c1767/8 EK HW xiii, uses N 32

10 [? 29
c1771]

27– [7] 2 hn, 2 1st edn with

33 Divertimentos vn, fl instead of
a 8: baryton, baryton
va, vc,
vle

27 X:2 D ?1775 EK HW xiii, only extant

38 in arrs.
without
baryton

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 28 X:5 G 1775 EK, A HW xiii,
62

29 X:3 a/A 1775 EK, A HW xiii,

87

30 X:4 G ?1775 EK HW xiii, as for no.27

109

31 X:1 D 1775 EK, A HW xiii, autograph

131 in PL-Kj

32 X:6 A ?1775 EK HW xiii, as for no.27

157

33 X: G ?1775 — HW xiii, as for no.27

12 177

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 Note: HX:8 probably = XI:111 (Q 111); XII:24 probably = XI:114 (Q
114); XII:25 has not been verified

S: Miscellaneous chamber music for 2–3 string and/or

wind instruments

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 No. H Title, key Forces Date Authentication Edition Remarks

1–6 6 Violin Solo mit vn, va –1773 EK (Mainz, ‘1773’ on

Begleitung einer [–? 1970) MS of
Viola (Sonatas; 1769] nos.1, 4
Duos): in A-Wn;
versions
for 2 vn
and vn,
vc,
doubtful

1 VI:1 F A (u vn)

2 VI:2 A A (u vn)

3 VI:3 B♭ cf. appx L

11

4 VI:4 D

5 VI:5 E♭

6 VI:6 C cf. appx L

11

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 7 IV:5 Divertimento a 3 hn, vn, vc 1767 A D 1 (1957)
per il corno di
caccia, E♭

8– 6 Divertimentos a vn/fl, vn, 1784 SC D 871–6 op.100 in

13 3 vc (1989), ed. early
(Divertissements): E. edns
Kubitschek

8 IV:6 D I arr. from

Il mondo
della
luna, no.
12 (E 17);
II uses no.
15

9 IV:7 G I uses no.

24 of E 17

10 IV:8 C II uses no.

25 of E 17

11 IV:9 G arr. of 3
movts
from Q 97

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 12 IV:10 A III arr.
from no.
23 of E 17

13 IV:11 D III uses

no.14 of E
17

14– [?4] Trios: 2 fl, vc 1794/5 orig.

17 versions
of nos.15–
17
uncertain

14 IV:1 C 1794 A (Leipzig, 2, not 3

1959), ed. versions
K.H. Köhler of II, both
in edn,
but 2nd
version
spoiled

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 15 IV:2 G A (u) as no.14 1 movt
only; II
only final
variation
of I; in
autograph
without
title or
‘Fine’
remark,
contrary
to
statement
in H; uses
song The
Lady’s
Looking-
Glass
(appx G.1,
2); 1st
pubd with
added III
from no.
16
(London,
1799)

16 IV:3 G (no.2) A (u) as no.14 autograph

in PL-Kj

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 17 IV:4 G (no.3) E NM 71 1 movt
(1954) only; MS
title in
Haydn’s
hand, not
signed by
him, no
author’s
name;
also with
no.15
added as
II

1 IV:G2 Divertimento a 3, fl, vn, vc ?1762 — ?authentic;

G 1 movt
only; ?arr. of
otherwise
lost baryton
composition;
date on MS
copy

2 VI:C4 Violino solo vn, b –1768 — doubtful

(Arioso + 7/8
variations), C

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 3–5 VI, 3 movts (each 2 vn i 1800 i (Paris, 1800); doubtful; ?
Anhang 2nd trio of ii–iii – ii–iii (Leipzig, arr. from
Minuet): i F; ii B♭; 1802 1917) unknown
iii c works

6 VI:G2 Solo con basso, G vn, b ? — doubtful

7 VI:Es2 23 variations, E♭ vn, b ? ed. A. doubtful;

Add. Weinmann MS copy,
(Vienna, 1982) A-SEI

8 IV:D2 Cassation, D fl, vn, b ? (Frankfurt, doubtful;

1973) (with arr. for fl,
added hpd) vn, str, hpd
(Frankfurt,
1973)

9 IV:D1 Trio, D fl, vn, b –1768 — doubtful

10– 3 Terzetti: fl/vn, va, ? — probably not

12 vc/bn authentic;
MS copy,
HE

10 — C

11 — F

12 — B♭

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 13 IV:F1 Divertimento 3 fl ? — probably not
(Trio), F authentic

14 IV:F2 Sonata a 3, F lute, vn, ? (Antwerp, 1973) probably not

b authentic

15– 3 Trios clarinetto –1781 (Leipzig, 1977) probably not

17 d’amour, authentic
vn, b

15 IV:Es1 E♭

16 IV:Es2 E♭

17 IV:B1 B♭

18 VI:G4 Ein musikalischer 2 vn ? (Offenbach, probably not

Scherz, G 1896) authentic

19 IV:D3 Divertimento, D hn, va, ? ed. W. Rainer, D ? by M.

vle 274 (1969), as Haydn
by M. Haydn

20– 4 Duos: vn, va 1783 (Leipzig, 1911), by M.

23 as by M. Haydn Haydn

20 VI:C1 C

21 VI:E1 E

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 22 VI:F2 F

23 VI:D3 D

24– [2] Divertimenti ? (Wolfenbüttel, probably by

5 da camera: 1972) Haver (?
Gregor
Hauer)

24 IV:G1 G vn/fl, vn, also attrib.

b Vanhal

25 IV:A1 A fl, vn, b

26 XI:C2 Divertimento, C fl, vn, b ? (London, 1851) probably by

Haver

27 XI:C1 Divertissement, C vn/fl, vn, –1771 (London, 1936) probably by

b (for vn, pf) Dittersdorf
(2 vn, b)

28 VI:D1 Duett, D vn, vc –1768 (Wiesbaden, probably by

1982) L. Hofmann

29– 6 Sonatas: 2 vn –1770 (Mainz, 1953) also attrib.

34 Campioni;
probably by
Kammel

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 29 VI:G1 G

30 VI:A1 A

31 VI:B1 B♭

32 VI:D2 D

33 VI:Es1 E♭

34 VI:F1 F

35 IV, Gioco filarmonico, 2 vn/fl, b –1781 (Naples, –1790) by M.

Anh. D Stadler; also
pubd for pf

36 i, 509 Divertimento, E♭ vn, va ? NM 52 (1930) spurious arr.

d’amore, of Q 56, I; Q
vc 34, II (trio
of minuet by
Gassmann);
Q 78, III

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 Appendix S: Works attributed to Haydn

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 No. H Title, key Forces Date Edition Remarks

1 IV:G2 Divertimento a fl, vn, vc ? — ?authentic; 1

3, G 1762 movt only; ?
arr. of
otherwise lost
baryton
composition;
date on MS
copy

2 VI:C4 Violino solo vn, b – — doubtful

(Arioso + 7/8 1768
variations), C

3–5 VI, 3 movts (each 2 vn i i (Paris, 1800); doubtful; ?arr.

Anhang 2nd trio of 1800 ii–iii (Leipzig, from unknown
Minuet): i F; ii ii–iii 1917) works
B♭; iii c –
1802

6 VI:G2 Solo con basso, vn, b ? — doubtful

G

7 VI:Es2 23 variations, E♭ vn, b ? ed. A. doubtful; MS

Add. Weinmann copy, A-SEI
(Vienna, 1982)

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 8 IV:D2 Cassation, D fl, vn, b ? (Frankfurt, doubtful; arr.
1973) (with for fl, vn, str,
added hpd) hpd (Frankfurt,
1973)

9 IV:D1 Trio, D fl, vn, b – — doubtful

1768

10– 3 Terzetti: fl/vn, va, ? — probably not

12 vc/bn authentic; MS
copy, HE

10 — C

11 — F

12 — B♭

13 IV:F1 Divertimento 3 fl ? — probably not

(Trio), F authentic

14 IV:F2 Sonata a 3, F lute, vn, b ? (Antwerp, probably not

1973) authentic

15– 3 Trios clarinetto – (Leipzig, probably not

17 d’amour, 1781 1977) authentic
vn, b

15 IV:Es1 E♭

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 16 IV:Es2 E♭

17 IV:B1 B♭

18 VI:G4 Ein 2 vn ? (Offenbach, probably not

musikalischer 1896) authentic
Scherz, G

19 IV:D3 Divertimento, D hn, va, ? ed. W. Rainer, ? by M. Haydn

vle D 274 (1969),
as by M.
Haydn

20– 4 Duos: vn, va 1783 (Leipzig, by M. Haydn

23 1911), as by
M. Haydn

20 VI:C1 C

21 VI:E1 E

22 VI:F2 F

23 VI:D3 D

24– [2] Divertimenti ? (Wolfenbüttel, probably by

5 da camera: 1972) Haver (?
Gregor Hauer)

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 24 IV:G1 G vn/fl, vn, also attrib.
b Vanhal

25 IV:A1 A fl, vn, b

26 XI:C2 Divertimento, C fl, vn, b ? (London, probably by

1851) Haver

27 XI:C1 Divertissement, vn/fl, vn, – (London, probably by

C b 1771 1936) (for vn, Dittersdorf (2
pf) vn, b)

28 VI:D1 Duett, D vn, vc – (Wiesbaden, probably by L.

1768 1982) Hofmann

29– 6 Sonatas: 2 vn – (Mainz, 1953) also attrib.

34 1770 Campioni;
probably by
Kammel

29 VI:G1 G

30 VI:A1 A

31 VI:B1 B♭

32 VI:D2 D

33 VI:Es1 E♭

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 34 VI:F1 F

35 IV, Anh. Gioco 2 vn/fl, b – (Naples, – by M. Stadler;

filarmonico, D 1781 1790) also pubd for
pf

36 i, 509 Divertimento, E♭ vn, va ? NM 52 (1930) spurious arr. of

d’amore, Q 56, I; Q 34,
vc II (trio of
minuet by
Gassmann); Q
78, III

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 Note: 6 vn duettos mentioned by A. Fuchs, doubtful and lost
(HVI:G3, D4, A2, C2, F3, C3); arr. for lute/gui, vn, vc, see O 1, 6; 3 ob
duettos, no.1 on Teldec 6.42416 AW, doubtful

T: Works for 2 lire organizzate

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 No. H Title, key Forces Date Authentication Edition Remarks

1–5 [?5] Concerti 2 lire, 1 conc., ?

per la lira 2 hn, 2 in C,
organizzata: vn, 2 possibly
va, vc lost

nos.
1–
3?
1st
ser.,
nos.
4–
5?
rest
of
2nd
ser.

1 VIIh: C ?1786 HE (= C) HW vi, 1

1

2 VIIh: F [1786] HE HW vi,

4 35

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 3 VIIh: G ?1786 HC HW vi, only
2 75 extant
MS copy
without
author’s
name but
rev.
Haydn; II
uses
cavatina
Sono
Alcina (F
8)

4 VIIh: F ?1787 HC HW vi, only

5 113 extant
MS copy
without
author’s
name but
rev.
Haydn; cf
J 89

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 5 VIIh: G ?1787 A (u frag.), HC HW vi, only
3 141 extant
MS
without
author’s
name but
partly
written
by
Haydn; cf
J 100

6– [?8] Notturni: ?1
13 notturno
missing;
nos.6–
11 ?1st
ser., nos.
12–13 ?
rest of
2nd ser.

6 II:25 C 2 lire, c1788– HE (= C) HW vii,

2 cl, 2 90 1
hn, 2
va, b

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 7 II:26 F 2 lire, c1788– HC HW vii, only
2 cl, 2 90 25 extant
hn, 2 MS copy
va, b without
author’s
name but
from
Haydn’s
collection

8 II:32 C, i orig. 2 lire, ?1790 RC HW vii, MS copy

version 2 cl, 2 48 without
hn, 2 (based author’s
va, b on both name but
versions) rev.
Haydn

ii London 2 fl, 2 ?1792 RC MS copy

version vn, 2 without
hn, 2 Haydn’s
va, vc, name but
db rev.
Haydn

9 II:31 (Divertimento), 2 lire, 1790 A, Sk HW vii, sketch

C, i orig. 2 cl, 2 78 for I, HW
version hn, 2 vii, 188
va, vc

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 ii 1st London fl, ob, ?1792 SC, RC HW vii,
version 2 cl/ 78
vn, 2
hn, 2
va, vc

iii 2nd London fl, ob, ?1794 corrections in A HW vii,

version 2 vn, 2 78
hn, 2
va, vc,
db

10 II:29 C, i ?orig. ?2 ?1790 — [HW vii,

version lire, ? 98]
2 cl, ?
2 hn, ?
2 va, ?
vc

ii extant fl, ob, ?1791 HE HW vii,

version 2 vn, 2 98
hn, 2
va, vc/
b

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 11 II:30 G 2 lire, ?1790 HC, C HW vii, finale
2 cl, 2 116 lost
hn, 2 only
va, vc extant
MS copy
without
author’s
name

12 II:28 F, i ?orig. ?2 ?1790 Sk [HW vii, sketch

version lire, ? 130] for I, HW
2 hn, ? vii, 196
2 vn, ?
2 va, ?
vc

ii London fl, ob, ?1792 SC HW vii,

version 2 hn, 2 130
vn, 2
va, vc,
db

13 II:27 (Divertimento), 2 lire, ?1790 A HW vii,

G, i orig. 2 hn, 2 158
version vn, 2 (based
va, vc on both
versions)

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 ii London fl, ob, ?1792 corrections in
version 2 hn, 2 A, SC
vn, 2
va, vc,
db

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 U: Keyboard concertos/concertinos/divertimentos

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 No. H Title, key Forces Date Authentication Edition Remarks

1–2 [2] Concerti

per il
clavicembalo:

1 XVIII:1 (Concerto per org/ ?1756 A, EK (Wiesbaden, 2nd edn

l’organo, no.1), hpd, 2 1953, 2/1986) with tpts
C ob, (2
tpt/?
hn, ?
timp),
str

2 XVIII:2 D org/ –1767 EK D 78 (1997) attrib.

hpd (2 Galuppi
ob, 2 in MS
tpt, copy,
timp), D-B
str

3 XVIII:6 Concerto per org/ –1766 EK (Kassel, 1959)

violino e hpd, vn
cembalo, F solo,
str

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 4–6 [3] Concerti
per il
clavicembalo:

4 XVIII:3 F hpd, (? –1771 EK HW xv/2, 1

2 hn), [–?
str c1766]

5 XVIII:4 G hpd/pf, –1781 EK HW xv/2, 45

(?2 [?
ob, ?2 c1768–
hn), str 70]

6 XVIII:11 D hpd/pf, –1784 — HW xv/2, 79

2 ob, 2
hn, str

7– [7]
13 Concertinos/
Divertimentos:

7 XIV:11 Concertino, C hpd, 2 1760 A (lost) HW xvi, 1; D 21

vn, b (1959)

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 8 XIV:10 Divertimento hpd, ?c1764– JE HW xvi, 73 only hpd
no.1 con (2) vn, 7 extant;
violini, C (b) finale
uses that
of kbd
sonata,
appx W.1,
11; facs.
in
Landon
(A1980),
546

9 XIV:4 Divertimento hpd, 2 1764 A HW xvi, 51

(Concerto), C vn, b

10 XIV:3 Divertimento hpd, 2 –1771 EK HW xvi, 66

(Concertino, vn, b [–
Sonate), C c1767]

11 XIV:7 Divertimento, hpd, 2 –c1767 HE HW xvi, 75

C vn, vc

12 XIV:9 Divertimento, hpd, 2 –c1767 HE HW xvi, 84

F vn, vc

13 XIV:8 Divertimento, hpd, 2 c1768– HE HW xvi, 92 cf Q 110

C vn, vc 72

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 14 XIV:1 Divertimento, hpd, 2 –1766 EK HW xvii/1, 157
E♭ hn, vn,
b

15 XIV:2 Divertimento, hpd, 2 ?c1767– EK — lost

F vn, 71 version
baryton as pf trio
(V 6)
extant; cf
Q 103, R
6

1 XVIII:5 Concerto, C org/ –1763 NM 200 (1959) probably

hpd (?2 authentic; ?EK;
ob, ?2 also attrib.
tpt/hn), Wagenseil in
2 vn, b MS copy, A-El

2 XVIII:8 Concerto (no. org/ –1766 D 80 (1962) probably

2), C hpd, (2 authentic; ?EK;
hn/tpt, orig. attrib. (L.)
timp), Hofmann in MS
2 vn, b copy, D-B

3 XVIII:10 Concertino org/ –1771 (Munich, 1969) probably

(Concerto), C hpd, 2 authentic; ?EK;
vn, b only extant MS
copy, A-Wgm,
as by ‘Heyden’

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 4 XIV:12 Concerto hpd, 2 –1772 HW xvi, 10; D probably
(Partita, vn, b [– 323 (1969) authentic
Concertino), C c1767]

5 XIV:13 Concerto hpd, 2 –c1767 HW xvi, 26; probably

(Concertino), vn, b (Mainz, 1956) authentic; date
G 1765 not in
Göttweig
catalogue,
contrary to
preface in
Mainz edn

6 XVIII:F2 Concerto hpd, 2 –c1767 HW xvi, 38; D probably

(Concertino), F vn, b 324 (1969) authentic

7 XIV:C2 Divertimento, hpd, 2 –c1767 HW xvi, 111; D I and II

C vn, b 325 (1969) probably
authentic; III in
HW xvi, 114,
doubtful

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 8 XIV:C1 Divertimento, hpd, (? –1772 HW xvi, 105; D ?authentic;
C 2) vn, b [– 534 (1976) allegedly not
c1767] approved by
Haydn in
1803; ? vn 1 lost
in edns as pf
trio; ? str
spurious

9 XVIII:G2 Concerto 2 hpd/ –1782 (London, 1782) by J.A. Steffan

duetto, G pf, 2 (Šetková no.
hn, 2 135)
vn, b

10 XVIII:7 Concerto, F org/ –1766 (Amsterdam, doubtful;

hpd, 2 1962); (Vienna, considered
vn, b 1983) probably
authentic by
Larsen (B1941);
I and III later
versions of pf
trio, appx V.1, 8;
orig. attrib.
Wagenseil in
MS copy, CS-
KRa

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 11 XIV:G1 Partita hpd, 2 –1774 — lost, doubtful;
(Divertimento), vn, b allegedly not
G approved by
Haydn in 1803;
not with 2 bn as
in H

12 XVIII:9 Concerto, G hpd, 2 –1767 (Mainz, 1967), doubtful;

vn, b HW xv/2, 131 considered
probably
authentic by
Larsen (B1941),
spurious by
Fruehwald
(H1988)

13 XVIII:Es1 Concerto, E♭ hpd, ? — probably not

str authentic; orig.
without
author’s name
in only extant
MS copy, D-B

14 XVIII:G1 Concerto, G hpd, 2 ? — probably not

fl/ob, 2 authentic
hn, 2
vn, b

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 15 — Concertino, D hpd, 2 ? — [XIV:]D1 in
vn, vc Brown (O1986);
probably not
authentic

16 XVIII:F1 Concerto, F hpd, 2 c1779/80 (Berlin, 1927) by G.J. Vogler (6

fl, str leichte
Clavierconcerte,
no.6)

17 XVIII:F3 Concerto, F hpd, –1766 — probably by

str (J.G.) Lang

18 — Concerto hpd, (2 –1775 (Heidelberg, [XVIII:]F4 in

(Kleines hn), str 1962) Brown (O1986);
Konzert), F by L. Hofmann

19 XIV:C3 Concerto hpd, 2 –1766 (Paris, c1776), by Wagenseil

(Quattro), C vn, b as by Wagenseil

20 XIV:Es1 Divertimento, hpd, 2 ? — by J.A. Steffan

E♭ vn, b (orig. for hpd
solo)

21 XIV:F1 Quartetto hpd/ –1774 (Paris, 1777) by J.

concertant, F harp, Schmittbauer;
fl, vn/ orig. for hpd/pf,
va, vc fl, vn, vc

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 22 XIV:F2 Concertante, F pf, ob, –1782 (London, ? not a Haydn
vn, va, c1785), as by autograph; by
vc J.C. Bach J.C. Bach

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 Appendix U: Selected works attributed to Haydn

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 No. H Title, key Forces Date Edition Remarks

1 XVIII:5 Concerto, C org/ –1763 NM 200 probably

hpd (? (1959) authentic; ?EK;
2 ob, ? also attrib.
2 tpt/ Wagenseil in MS
hn), 2 copy, A-El
vn, b

2 XVIII:8 Concerto (no. org/ –1766 D 80 (1962) probably

2), C hpd, (2 authentic; ?EK;
hn/tpt, orig. attrib. (L.)
timp), Hofmann in MS
2 vn, b copy, D-B

3 XVIII:10 Concertino org/ –1771 (Munich, probably

(Concerto), C hpd, 2 1969) authentic; ?EK;
vn, b only extant MS
copy, A-Wgm, as
by ‘Heyden’

4 XIV:12 Concerto hpd, 2 –1772 HW xvi, 10; probably

(Partita, vn, b [– D 323 authentic
Concertino), C c1767] (1969)

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 5 XIV:13 Concerto hpd, 2 –c1767 HW xvi, 26; probably
(Concertino), G vn, b (Mainz, authentic; date
1956) 1765 not in
Göttweig
catalogue,
contrary to
preface in Mainz
edn

6 XVIII:F2 Concerto hpd, 2 –c1767 HW xvi, 38; probably

(Concertino), F vn, b D 324 authentic
(1969)

7 XIV:C2 Divertimento, hpd, 2 –c1767 HW xvi, 111; I and II probably

C vn, b D 325 authentic; III in
(1969) HW xvi, 114,
doubtful

8 XIV:C1 Divertimento, hpd, (? –1772 HW xvi, 105; ?authentic;

C 2) vn, [– D 534 allegedly not
b c1767] (1976) approved by
Haydn in 1803; ?
vn 1 lost; in edns
as pf trio; ? str
spurious

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 9 XVIII:G2 Concerto 2 hpd/ –1782 (London, by J.A. Steffan
duetto, G pf, 2 1782) (Šetková no.135)
hn, 2
vn, b

10 XVIII:7 Concerto, F org/ –1766 (Amsterdam, doubtful;

hpd, 2 1962); considered
vn, b (Vienna, probably
1983) authentic by
Larsen (B1941);
I and III later
versions of pf
trio, appx V.1, 8;
orig. attrib.
Wagenseil in MS
copy, CS-KRa

11 XIV:G1 Partita hpd, 2 –1774 — lost, doubtful;

(Divertimento), vn, b allegedly not
G approved by
Haydn in 1803;
not with 2 bn as
in H

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 12 XVIII:9 Concerto, G hpd, 2 –1767 (Mainz, doubtful;
vn, b 1967), HW considered
xv/2, 131 probably
authentic by
Larsen (B1941),
spurious by
Fruehwald
(H1988)

13 XVIII:Es1 Concerto, E♭ hpd, ? — probably not

str authentic; orig.
without author’s
name in only
extant MS copy,
D-B

14 XVIII:G1 Concerto, G hpd, 2 ? — probably not

fl/ob, 2 authentic
hn, 2
vn, b

15 — Concertino, D hpd, 2 ? — [XIV:]D1 in

vn, vc Brown (O1986);
probably not
authentic

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 16 XVIII:F1 Concerto, F hpd, 2 c1779/80 (Berlin, by G.J. Vogler (6
fl, str 1927) leichte
Clavierconcerte,
no.6)

17 XVIII:F3 Concerto, F hpd, –1766 — probably by (J.G.)

str Lang

18 — Concerto hpd, (2 –1775 (Heidelberg, [XVIII:]F4 in

(Kleines hn), str 1962) Brown (O1986);
Konzert), F by L. Hofmann

19 XIV:C3 Concerto hpd, 2 –1766 (Paris, by Wagenseil

(Quattro), C vn, b c1776), as
by
Wagenseil

20 XIV:Es1 Divertimento, hpd, 2 ? — by J.A. Steffan

E♭ vn, b (orig. for hpd
solo)

21 XIV:F1 Quartetto hpd/ –1774 (Paris, 1777) by J.

concertant, F harp, Schmittbauer;
fl, vn/ orig. for hpd/pf,
va, vc fl, vn, vc

22 XIV:F2 Concertante, F pf, ob, –1782 (London, ? not a Haydn

vn, va, c1785), as autograph; by
vc by J.C. Bach J.C. Bach

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 V: Keyboard trios

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 No. HXV Title, key Forces Date Authentication Edition Remarks

1 5 Sonata, G hpd, –25 Oct A (frag.), SC HW xvii/2, 1; D no.3 of 3

vn, vc 1784 502 (1976) Sonatas, nos.
1 and 2
spurious; see
appx V.2, 1–2

2–4 3 Sonatas: hpd, D 503–5 (1975–6)

vn, vc

2 6 F 1784 A (lost frag.), HW xvii/2, 22

OE

3 7 D 1785 A (incl. Sk) HW xvii/2, 39 sketch of III,

HW xvii/2,
260

4 8 B♭ –26 Nov OE HW xvii/2, 55

1785

5–7 3 Sonatas: hpd,

vn, vc

5 9 A 1785 A, EK, SC HW xvii/2, 73; D

506 (1975)

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 6 2 (Divertimento), (hpd, ?c1767– SC HW xvii/1, 141; D uses lost
F vn, b) 71 501 (1976) divertimento
U 15; cf R 6

7 10 E♭ –28 Oct SC HW xvii/2, 88; D

1785 507 (1975)

8– 3 Sonatas: hpd/pf, OE D 508–10 (1973–4)

10 vn, vc

8 11 E♭ –8 HW xvii/2, 106
March
1789 [–?
16 Nov
1788]

9 12 e –8 HW xvii/2, 124
March
1789
[1788/9]

10 13 c [–29 HW xvii/2, 148

March]
1789

11 14 Sonata, A♭ hpd/pf, [?–11 OE HW xvii/2, 169; D

vn, vc Jan] 511 (1973)
1790

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 12 16 Trio, D hpd/pf, [–28 OE HW xvii/2, 195; D
fl, vc June] 512 (1970)
1790

13 15 Trio, G hpd/pf, [–28 OE HW xvii/2, 220; D

fl, vc June] 513 (1970)
1790

14 17 Trio, F hpd/pf, –?20 Sk, ?OE HW xvii/2, 245; D sketch for I

fl/vn, June 514 (1970) in BeJb
vc 1790 1973–7

15 32 Sonata, G pf, vn, –14 HV, ?Gr, Dies HW xvii/3, 313; D ? orig. for pf,
vc June 481 (1970) vn
1794

16– 3 Sonatas: pf, vn, –15 Nov HV, ?Gr, Dies D 482–4 (1970)
18 vc 1794

16 18 A HW xvii/3, 1

17 19 g HW xvii/3, 24

18 20 B♭ HW xvii/3, 45

19– 3 Sonatas: pf, vn, –23 May HV, Gr, Dies D 485–7 (1970)
21 vc 1795

19 21 C HW xvii/3, 64

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 20 22 E♭ SC of II (pf HW xvii/3, 85 SC shows
only) slightly
different
earlier
version ?
1794/5 of
II, ?for pf
solo and
printed thus
in HW xvii/3,
339, D 486,
p.36

21 23 d HW xvii/3, 114

22– 3 Sonatas: pf, vn, –9 Oct HV, ?Dies D 488–90 (1970)

4 vc 1795

22 24 D HW xvii/3, 135

23 25 G Sk HW xvii/3, 152 III: Gypsy

rondo
(all’ongarese)

24 26 f♯ [?1794] HW xvii/3, 170 see sym. J

102

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 25– 3 Sonatas: pf, vn, –20 HV D 493–5 (1970)
7 vc April
1797 [–?
Aug
1795]

25 27 C HW xvii/3, 190

26 28 E HW xvii/3, 220

27 29 E♭ HW xvii/3, 241

28 31 Sonata, e♭ pf, vn, 1795 A HW xvii/3, 265; D II orig. dated

vc 491 (1970) 1794 and
called
‘Jacob’s
Dream!’ in
autograph, ?
orig. a
separate
work

29 30 Sonata, E♭ hpd/pf, –7 Oct A (u frag.); E; HW xvii/3, 284; D

vn, vc 1797 [? OE 492 (1970)
16
April–9
Nov
1796]

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 1 36 Partita –1774 H 1803 HW xvii/1, 1; D probably authentic
(Concerto), E♭ [–? 530 (1977)
1760]

2 C1 Divertimento, –1766 — HW xvii/1, 13; D not verified by

C [–? 522 (1977) Haydn in 1803;
1760] also attrib.
Wagenseil (see H.
Scholz-
Michelitsch: Das
Orchester- und
Kammermusikwerk
von Georg
Christoph
Wagenseil:
thematischer
Katalog (Vienna,
1972), no.449);
early edn with
minuet and trio
from J.-P.-E.
Martini:
L’amoureux de
quinze ans

3 37 Divertimento –1766 H 1803 HW xvii/1, 31; D probably authentic

(Trio, [–? 521 (1977)
Concerto), F 1760]

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 4 38 Divertimento, –1769 H 1803 HW xvii/1, 45; D probably authentic
B♭ [–? 531 (1977)
1760]

5 34 Partita –1771 H 1803, HW xvii/1, 57; D probably authentic

(Divertimento), [–? F 22 (1959), 529
E 1760] (1977)

6 f1 Partita, f –?1760 F HW xvii/1, 67; D probably authentic

532 (1977)

7 41 Divertimento, –1767 H 1803 HW xvii/1, 81; D probably authentic

G [–? 527 (1977)
1760]

8 40 Divertimento –1766 — HW xvii/1, 97; D probably

(Partita), F [? 526 (1977) authentic; one MS
c1760] copy with spurious
Adagio (see D 4, p.
8) instead of
minuet; see appx U
10

9 1 Partita –1766 H 1803 HW xvii/1, 109; probably authentic

(Divertimento), [? D 525 (1977)
g c1760–
62]

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 10 35 Divertimento –1771 HE, H HW xvii/1, 123; probably authentic
(Capriccio), A [? 1803 D 528 (1977)
c1764/5]

11 33 Divertimento, –1771 H 1803 HW xvii/1, 175 lost

D [–? (incipits)
1760]

12 D1 Divertimento, –1771 — HW xvii/1, 175 lost

D (incipits) doubtful, not
verified by Haydn
in 1803; according
to Pohl, for hpd, 2
vn, vc

1 XV:3 Sonata, C hpd/pf, –1784 HW xvii/2, appx, probably by Pleyel,

vn, vc 261 though mentioned
in Haydn’s
contract with
Forster, 1786, and
one MS copy
signed by Haydn;
orig. without vc;
see V 1

2 XV:4 Sonata, F hpd/pf, –1784 HW xvii/2, appx, probably by Pleyel;

vn, vc 280 see above remarks

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 3 XV:C2 Grand bataille, pf, vn, c1800 (Paris, c1804– arr. from syms. J
C vc 14) 48, I, J 76, III, J 81,
III, with spurious
movts added

4 XIV:6 Sonata, G hpd, –1767 D 523 (1977) arr. of sonata W 1

vn, vc

5 XV:39 Sonata, F hpd, –1767 D 524 (1977) arr. from sonatas

vn, vc appx W.1, 11, 10,
2, with spurious
Andante

6 XV:42 Variazioni, D hpd, ? D 533 (1976) apparently arr.

Add. vn, b from otherwise
unknown movt
(see appx X.1, 3)
and from appx X.1,
4

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 Note: Haydn apparently composed no sonatas for pf, vn, except
perhaps no.15; extant edns are arrs., especially of O 66–7, V 28, W
22–4, 37 (HXVI:43bis), appx W.2, 1
Appendix V.1: Early trios for harpsichord, violin and bass attributed
to Haydn

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 No. HXV Title, key Date Authentication Edition Remarks

1 36 Partita –1774 H 1803 HW xvii/ probably authentic

(Concerto), E♭ [–? 1, 1; D
1760] 530
(1977)

2 C1 Divertimento, –1766 — HW xvii/ not verified by

C [–? 1, 13; D Haydn in 1803;
1760] 522 also attrib.
(1977) Wagenseil (see H.
Scholz-
Michelitsch: Das
Orchester- und
Kammermusikwerk
von Georg
Christoph
Wagenseil:
thematischer
Katalog (Vienna,
1972), no.449);
early edn with
minuet and trio
from J.-P.-E.
Martini:
L’amoureux de
quinze ans

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 3 37 Divertimento –1766 H 1803 HW xvii/ probably authentic
(Trio, [–? 1, 31; D
Concerto), F 1760] 521
(1977)

4 38 Divertimento, –1769 H 1803 HW xvii/ probably authentic

B♭ [–? 1, 45; D
1760] 531
(1977)

5 34 Partita –1771 H 1803, F HW xvii/ probably authentic

(Divertimento), [–? 1, 57; D
E 1760] 22
(1959),
529
(1977)

6 f1 Partita, f –?1760 F HW xvii/ probably authentic

1, 67; D
532
(1977)

7 41 Divertimento, –1767 H 1803 HW xvii/ probably authentic

G [–? 1, 81; D
1760] 527
(1977)

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 8 40 Divertimento –1766 — HW xvii/ probably
(Partita), F [? 1, 97; D authentic; one MS
c1760] 526 copy with spurious
(1977) Adagio (see D 4, p.
8) instead of
minuet; see appx U
10

9 1 Partita –1766 H 1803 HW xvii/ probably authentic

(Divertimento), [? 1, 109;
g c1760– D 525
62] (1977)

10 35 Divertimento –1771 HE, H 1803 HW xvii/ probably authentic

(Capriccio), A [? 1, 123;
c1764/5] D 528
(1977)

11 33 Divertimento, –1771 H 1803 HW xvii/ lost

D [–? 1, 175
1760] (incipits)

12 D1 Divertimento, –1771 — HW xvii/ lost; doubtful, not

D 1, 175 verified by Haydn
(incipits) in 1803; according
to Pohl, for hpd, 2
vn, vc

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 1 XV:3 Sonata, C hpd/pf, –1784 HW xvii/ probably by Pleyel,
vn, vc 2, appx, though mentioned
261 in Haydn’s
contract with
Forster, 1786, and
one MS copy
signed by Haydn;
orig. without vc;
see V 1

2 XV:4 Sonata, F hpd/pf, –1784 HW xvii/ probably by Pleyel;

vn, vc 2, appx, see above remarks
280

3 XV:C2 Grand bataille, pf, vn, c1800 (Paris, arr. from syms. J
C vc c1804– 48, I, J 76, III, J 81,
14) III, with spurious
movts added

4 XIV:6 Sonata, G hpd, –1767 D 523 arr. of sonata W 1

vn, vc (1977)

5 XV:39 Sonata, F hpd, –1767 D 524 arr. from sonatas

vn, vc (1977) appx W.1, 11, 10,
2, with spurious
Andante

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 6 XV:42 Variazioni, D hpd, ? D 533 apparently arr.
Add. vn, b (1976) from otherwise
unknown movt
(see appx X.1, 3)
and from appx X.1,
4

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 Appendix V.2: Doubtful and spurious works and arrangements

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 No. H Title, key Forces Date Edition Remarks

1 XV:3 Sonata, C hpd/pf, – HW xvii/ probably by Pleyel, though

vn, vc 1784 2, appx, mentioned in Haydn’s
261 contract with Forster, 1786,
and one MS copy signed by
Haydn; orig. without vc; see V
1

2 XV:4 Sonata, F hpd/pf, – HW xvii/ probably by Pleyel; see above

vn, vc 1784 2, appx, remarks
280

3 XV:C2 Grand pf, vn, c1800 (Paris, arr. from syms. J 48, I, J 76,
bataille, C vc c1804– III, J 81, III, with spurious
14) movts added

4 XIV:6 Sonata, G hpd, vn, – D 523 arr. of sonata W 1

vc 1767 (1977)

5 XV:39 Sonata, F hpd, vn, – D 524 arr. from sonatas appx W.1,
vc 1767 (1977) 11, 10, 2, with spurious
Andante

6 XV:42 Variazioni, hpd, vn, ? D 533 apparently arr. from

Add. D b (1976) otherwise unknown movt (see
appx X.1, 3) and from appx X.
1, 4

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 Note: see also appx U 8

W: Keyboard sonatas

Editions

Joseph Haydn: Sämtliche Klaviersonaten, i–iii, ed. C. Landon

(Vienna, 1964–6) [WU]

Joseph Haydn: Sämtliche Klaviersonaten, i–iii, ed. G. Feder

(Munich, 1972) [HU], mostly identical with HW xviii/1–3

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 No. HXVI Title, key Instrument Date Authentication Edition Remarks

1 6 Partita hpd –1766 [–? A (no IV) HU i, 34; WU

(Divertimento), 1760] 13
G

2 14 Parthia hpd –1767 [–? EK HU i, 26; WU see appx X.

(Divertimento), 1760] 16 3, 10
D

3 3 Divertimento, hpd [?c1765] EK HU i, 98; WU see baryton

C 14 trio Q 37

4 4 Divertimento, hpd [?c1765] EK HU i, 104; III and IV in

D WU 9 H not part of
this work; ?
orig. III lost

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 5 2a Divertimento, hpd [?c1765–70] EK — lost
d WU 21; 6
sonatas
announced
in 1993 as
rediscovered
nos.5–10 are
modern
forgeries
using
Haydn’s
incipits

6 2b Divertimento, hpd [?c1765–70] EK — lost

A WU 22

7 2c Divertimento, hpd [?c1765–70] EK — lost

B WU 23

8 2d Divertimento, hpd [?c1765–70] EK — lost

B♭ WU 24

9 2e Divertimento, hpd [?c1765–70] EK — lost

e WU 25

10 2g Divertimento, hpd [?c1765–70] EK — lost

C WU 26

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 11 2h Divertimento, hpd [?c1765–70] EK — lost
A WU 27

12a 47bis Divertimento, hpd [?c1765] — HU i, 108; earlier and

Add. e WU 19 probably
orig. version
of no.12b

12b 47 Sonata, F hpd/pf –1788 HV WU 57 doubtful,

though
apparently
authorized
version of
no.12a;
doubtful
Moderato
added as I,
Minuet
omitted

13 45 Divertimento, hpd 1766 A HU i, 116;

E♭ WU 29

14 19 Divertimento, hpd 1767 A HU i, 130;

D WU 30

15 5a Add. Divertimento, hpd [c1767–70] EK, A (u frag.) HU i, 143; frag.; only I

= XIV:5 D WU 28 (inc.) and II
extant

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 16 46 Divertimento, hpd –1788 EK HU i, 147;
A♭ [c1767–70] WU 31

17 18 Sonata, B♭ hpd –1788 A (u frag.), HV HU i, 162;

[c1771–3] WU 20

18 44 Sonata, g hpd –1788 HV; H 1799 HU i, 171;

[c1771–3] WU 32

19– 6 Sonatas: hpd –Feb 1774 OE, EK

24

19 21 C 1773 A (frag.) HU ii, 1; WU

36

20 22 E 1773 A HU ii, 12;

WU 37

21 23 F 1773 A (frag.) HU ii, 22;

WU 38

22 24 D ?1773 HU ii, 34;

WU 39

23 25 E♭ ?1773 HU ii, 44;

WU 40

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 24 26 A 1773 A (no.II) HU ii, 52; minuet and
WU 41; facs. trio arr.
(Munich, from sym. J
1958) 47

25– 6 Sonatas hpd –1776 EK; H 1799– ‘Anno 1776’

30 1803 in EK

25 27 G HU ii, 60;
WU 42

26 28 E♭ HU ii, 70;
WU 43

27 29 F 1774 A (frag.) HU ii, 82;

WU 44

28 30 A HU ii, 96;
WU 45

29 31 E HU ii, 106;
WU 46

30 32 b HU ii, 116;
WU 47

31– 6 Sonatas: hpd/pf OE, HV

6

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 31 35 C –31 Jan 1780 HU ii, 126;
WU 48

32 36 c♯ –31 Jan 1780 HU ii, 138;

[?c1770–75] WU 49

33 37 D –31 Jan 1780 HU ii, 146;

WU 50

34 38 E♭ –31 Jan HU ii, 154; WU

1780 [? 51
c1770–75]

35 39 G –8 Feb 1780 HU ii, 162;

WU 52

36 20 c 1771 A (frag., incl. Sk) HU ii, 174;

WU 33

37– [3] Sonatas: hpd (/pf)

9

37 43 A♭ –26 July 1783 — HU iii, 1; WU considered

35 not
authentic by
Somfai
(O1995)

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 38 33 D –17 Jan 1778 — HU iii, 12; date on MS
WU 34 in A-Wn

39 34 e –15 Jan 1784 HV; H 1799 HU iii, 22;

WU 53

40– 3 Sonatas: pf –1784 HV; Haydn’s also known

42 ded. in 1st edn in doubtful
arr. for str
trio

40 40 G HU iii, 33;
WU 54

41 41 B♭ HU iii, 40;
WU 55

42 42 D HU iii, 48;
WU 56

43 48 Sonata, C hpd (/pf) –5 April [–?10 OE, HV HU iii, 56;

March] 1789 WU 58

44 49 Sonata, E♭ pf 1789–[1 June] A HU iii, 68;

1790 WU 59; facs.
(Graz, 1982)

45 52 Sonata, E♭ pf 1794 A HU iii, 84;

WU 62

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 46 50 Sonata, C pf [c1794/5] H 1799–1803 (II HU iii, 100; earlier
only) WU 60 version of II
appeared
1794 (WU
iii, 121)

47 51 Sonata, D pf [?c1794/5] ?OE HU iii, 114;

WU 61

1 16 Divertimento, [?c1750–55] — HU i, 1 doubtful

E♭

2 5 Divertimento, –1763 [? H 1803 HU i, 6; WU 8 doubtful

A c1750–55]

3 12 Divertimento, –1767 [? H 1803 HU i, 14; WU 12 ? I doubtful

A c1750–55]

4 13 Parthia –1767 [–? ? H 1803 HU i, 19; WU 15 probably

(Divertimento), 1760] authentic;
E Haydn’s
statements
in 1803
concerning
his
authorship
were
contradictory

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 5 2 Partita [–?1760] — HU i, 44; WU 11 probably
(Parthia), B♭ authentic

6 Es2 Parthia, E♭ [?c1755] — HU i, 53; WU 17 doubtful

Add.

7 Es3 Parthia, E♭ [?c1764] — HU i, 60, 187; doubtful;

Add. WU 18 also attrib.
Mariano
Romano
Kayser

8 1 Partita [?c1750–55] — HU i, 68; WU 10 considered

(Divertimento), probably not
C authentic by
Somfai
(O1995)

9 7 Partita –1766 [–? H 1803 HU i, 74; WU 2 probably

(Parthia, 1760] authentic
Divertimento),
C

10 8 Parthia –1766 [–? H 1803 HU i, 77; WU 1 probably

(Divertimento), 1760] authentic
G

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 11 9 Divertimento, –1766 [–? H 1803 HU i, 80; WU 3 probably
F 1760] authentic;
see
Divertimento
U8

12 10 Divertimento, –1767 [–? H 1803 HU i, 84; WU 6 probably

C 1760] authentic

13a G1 Divertimento, [–?1760] — HU i, 90; WU 4 probably

G authentic

13b 11 Divertimento, –1767 H 1803 WU 5 ?later

G combination
of III of no.
13a and 2
other movts;
see appx X.I,
1–2

14 XVII:D1 Variazione, D ? — HU i, 94; WU 7 3 movts:

variations,
minuet,
finale;
considered
not authentic
by Somfai
(O1995)

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 1 XVI:15 Sonata, C –1785 M xiv/1, 80 arr. of
Divertimento N
14; spurious
though in
Breitkopf &
Härtel’s Oeuvres
de Haydn

2 XVI:17 Sonata, B♭ –1768 M xiv/1, 91 probably by J.G.

Schwanenberger
though
authenticated by
Haydn c1799–
1803 according
to Pohl

3 XVI:C1 Sonata, C –1774 — 4 apparently

heterogeneous
movts; 1st movt
by Liber

4 XVI:C2 Sonata, C –1767 — 1 movt only; ? by

Add. Eckard

5 XVI:D1 Sonata 17 Dec Mw, xxxvi by Kauer

militare (The 1788–11 (1970), 53
conquest of April 1789
Oczakow), D

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 6 i, 731 Sonata, E♭ –1789 (London, with vn ad lib
1789)

7 XVI:B1 Sonata, B♭ ? —

8 XVII:G2 Caprices –1787 (Paris, 1787) ? by Vanhal

(Fantasie et
variations), G

9– i, 733 [3] Göttweiger ? (Wolfenbüttel, by Hoffmeister

11 Sonaten, C, A, 1934)
D

12 — Children’s ?–1876 (London, ?19th-century

Concerto 1964) forgery
(Concerto de
bébé), C

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 Note: sketch for inc. sonata, HU iii, 122; ‘Sonata Pianoforte für den
Nelson’, mentioned in Elssler, Haydn’s vollendete Compositionen,
A-Sm, not verified, ? = H 19
Appendix W.1: Early harpsichord sonatas attributed to Haydn

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 No. HXVI Title, key Date Authentication Edition Remarks

1 16 Divertimento, [? — HU i, 1 doubtful
E♭ c1750–
55]

2 5 Divertimento, –1763 H 1803 HU i, 6; WU 8 doubtful

A [?
c1750–
55]

3 12 Divertimento, –1767 H 1803 HU i, 14; WU 12 ? I doubtful

A [?
c1750–
55]

4 13 Parthia –1767 ? H 1803 HU i, 19; WU 15 probably

(Divertimento), [–? authentic;
E 1760] Haydn’s
statements
in 1803
concerning
his
authorship
were
contradictory

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 5 2 Partita [–? — HU i, 44; WU 11 probably
(Parthia), B♭ 1760] authentic

6 Es2 Parthia, E♭ [? — HU i, 53; WU 17 doubtful

Add. c1755]

7 Es3 Parthia, E♭ [? — HU i, 60, 187; doubtful;

Add. c1764] WU 18 also attrib.
Mariano
Romano
Kayser

8 1 Partita [? — HU i, 68; WU 10 considered

(Divertimento), c1750– probably not
C 55] authentic by
Somfai
(O1995)

9 7 Partita –1766 H 1803 HU i, 74; WU 2 probably

(Parthia, [–? authentic
Divertimento), 1760]
C

10 8 Parthia –1766 H 1803 HU i, 77; WU 1 probably

(Divertimento), [–? authentic
G 1760]

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 11 9 Divertimento, –1766 H 1803 HU i, 80; WU 3 probably
F [–? authentic;
1760] see
Divertimento
U8

12 10 Divertimento, –1767 H 1803 HU i, 84; WU 6 probably

C [–? authentic
1760]

13a G1 Divertimento, [–? — HU i, 90; WU 4 probably

G 1760] authentic

13b 11 Divertimento, –1767 H 1803 WU 5 ?later

G combination
of III of no.
13a and 2
other movts;
see appx X.I,
1–2

14 XVII:D1 Variazione, D ? — HU i, 94; WU 7 3 movts:

variations,
minuet,
finale;
considered
not authentic
by Somfai
(O1995)

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 1 XVI:15 Sonata, C –1785 M xiv/1, 80 arr. of
Divertimento N
14; spurious
though in
Breitkopf &
Härtel’s Oeuvres
de Haydn

2 XVI:17 Sonata, B♭ –1768 M xiv/1, 91 probably by J.G.

Schwanenberger
though
authenticated by
Haydn c1799–
1803 according
to Pohl

3 XVI:C1 Sonata, C –1774 — 4 apparently

heterogeneous
movts; 1st movt
by Liber

4 XVI:C2 Sonata, C –1767 — 1 movt only; ? by

Add. Eckard

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 5 XVI:D1 Sonata 17 Mw, xxxvi by Kauer
militare (The Dec (1970), 53
conquest of 1788–
Oczakow), D 11
April
1789

6 i, 731 Sonata, E♭ –1789 (London, 1789) with vn ad lib

7 XVI:B1 Sonata, B♭ ? —

8 XVII:G2 Caprices –1787 (Paris, 1787) ? by Vanhal

(Fantasie et
variations), G

9– i, 733 [3] Göttweiger ? (Wolfenbüttel, by Hoffmeister

11 Sonaten, C, A, 1934)
D

12 — Children’s ?– (London, 1964) ?19th-century

Concerto 1876 forgery
(Concerto de
bébé), C

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 Note: see also appx U 8
Appendix W.2: Selected spurious sonatas

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 No. H Title, key Date Edition Remarks

1 XVI:15 Sonata, C –1785 M xiv/1, 80 arr. of Divertimento N 14;

spurious though in Breitkopf
& Härtel’s Oeuvres de
Haydn

2 XVI:17 Sonata, B♭ –1768 M xiv/1, 91 probably by J.G.

Schwanenberger though
authenticated by Haydn
c1799–1803 according to
Pohl

3 XVI:C1 Sonata, C –1774 — 4 apparently heterogeneous

movts; 1st movt by Liber

4 XVI:C2 Sonata, C –1767 — 1 movt only; ? by Eckard

Add.

5 XVI:D1 Sonata 17 Dec Mw, xxxvi by Kauer

militare (The 1788– (1970), 53
conquest of 11
Oczakow), D April
1789

6 i, 731 Sonata, E♭ –1789 (London, with vn ad lib

1789)

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 7 XVI:B1 Sonata, B♭ ? —

8 XVII:G2 Caprices –1787 (Paris, 1787) ? by Vanhal

(Fantasie et
variations), G

9– i, 733 [3] ? (Wolfenbüttel, by Hoffmeister

11 Göttweiger 1934)
Sonaten, C, A,
D

12 — Children’s ?–1876 (London, ?19th-century forgery

Concerto 1964)
(Concerto de
bébé), C

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 X: Miscellaneous keyboard works

Editions

Joseph Haydn: Klavierstücke, ed. S. Gerlach (Munich, 1969)

[HU]

Joseph Haydn: Klavierstücke, ed. F. Eibner and G. Jarecki

(Vienna, 1975) [WU]

Joseph Haydn: Tänze für Klavier, ed. H.C.R. Landon and K.H.
Füssl (Vienna, 1989) [WT]

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 No. H Title, key Instrument Date Authentication Edition Remarks

1 XVII:1 Capriccio: Acht hpd 1765 A HU, 5; WU,

Sauschneider 1
müssen sein, G

2 XVII:2 20 Variazioni, A hpd –1771 [? EK HU, 16; first pubd

c1765] WU, 22 (in 1788/9 as
G) Arietta con
12
variazioni
(WU, 41)

3 XVII:3 12 Variations, hpd –1774 HV HU, 28; theme arr.

E♭ [c1770– WU, 33 from
74] minuet of
str qt O 14

4 XVII:4 Fantasia pf [–?29 OE, HV HU, 37;

(Capriccio), C March] WU, 12
1789

5 XVII:5 6 Variations, C pf –9 Feb OE, HV HU, 48;

1791 (? WU, 48
Nov 1790)

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 6 XVII:6 Sonata (Un pf 1793 A HU, 54;
piccolo WU, 53
divertimento;
Variations), f

7 XXXIc: (Untitled (pf) [?1791–5] A (u) HW v, 179; written with

17b piece), D xxix/1, 97 song appx
G.1, 2; ?
country
dance; cf L
21

8 XVIIa:1 Divertimento hpd (4 –1778 [? EK WU, 78;

(Il maestro e lo hands) c1768–70] (Munich,
scolare), F 1982);
(Vienna,
1996)

9 XVII:9 Adagio, F hpd/pf –1786 Sk HU, 68; sketch in

WU, 69 PL-Kj

1 XVI: Andante, g hpd –1767 [? — HW xviii/1, extant as II

II
11 c1755] 181 of sonata
appx W.1,
13b

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 III
2 XVI:II Minuet, G, Trio hpd –1767 [? — HW xviii/1, extant as III
e c1765] 182 of appx W.1,
13b; trio
doubtful; cf
Q 26

3 XVII:D2 Allegro molto, hpd [–?1765] — HW xviii/1, frag., ?

Add. D 184; D 533 finale of
(1976), acc. sonata; in D
vn, b 533 as
introduction
to no.4; see
appx V.2, 6

4 XVII:7 5 Variations, D hpd –1766 [? H 1803 HU, 65; D see above

c1750–55] 533 (1976),
acc. vn, b

5 IX:26 Minuetto, F♯ pf –1785 — HW xviii/1, by

186 Kirnberger,
orig. in D,
see HW v,
preface

6 see X 9

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 7 — Variationes, C hpd/pf ? — — variations
on theme of
aria, appx F.
1, 4; orig.
without
author’s
name; see
Schmid
(O1970); cf
also appx Y.
4, 1;
probably
spurious

8 XVII:11 Andante, C hpd –1807 — (? Vienna, not verified

1807)

9 XVII:12 Andante con pf –1807 — (Bryn probably

variazioni, B♭ Mawr, spurious
1974)

10 XVIIa:2 Partita, F hpd (4 [?c1768– — (Bryn

hands) 70] Mawr,
1956)

11– XVII:C2 3 Praeambula, org ? — (Hilversum, doubtful

13 C, C, G 1979)

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 14 XVII:F2 Andante, F org ? — (Hilversum, probably
1979) spurious

1 IX:3 [12] Menuetti [c1763–7] A (u) HW v, 152; WT, see L 2; cf

(with 4 Trios) 2 appx X.3,
10

2 i, 799 Allegretto, G 1781–6 A (u) HW xii/3, 189; arr. of

WU, 76 finale of O
29

3 IX:8 XII Menuets –12 Jan — HW v, 158; WT, trio of

(with 5 Trios) 1785 10 minuet no.
11 (HW v,
245)
doutbful; cf
L 10

4 IX:11 [12] Menuetti –22 Dec E HW v, 165; WT, arr. on

di ballo (with 1792 21 request of
11 Trios) the
empress; cf
L 18

5 IX:12 XII neue –22 Dec A (u) HW v 175; WT, see L 19

deutsche Tänze 1792 36 and
(with Trio and previous
Coda) remark

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 6 iii, 302 (Largo assai), E c1793 A (u frag.) HW, xii/5, 223 arr. of II of
O 59; only
frags.
extant

7 VIII:1–2 2 [Derbyshire] c1795 A (u) (no. HW v, 226 see L 22

Marches, E♭, C 2, ‘A’); RC
(2 versions: ‘A’ (no.1), E
and ‘B’) (no.2, ‘B’)
(both
without
author’s
name)

8 i, 430 Variations sur 1797–9 A (u) WU, 64; arr. of II of

le thème Gott (Munich, 1997) O 62; later
erhalte den erroneously
Kaiser, G attrib. J.
Gelinek

1 IX:9a 6 Minuetti –Aug 1787 — lost or

unidentified

2 XVI:Es1 Sonata c1789–93 — arr. (?by P.

(Terzetto; Die Polzelli) of
Belagerung terzetto F 15c
Belgrads), E♭

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 3 IX:13 12 deutsche 1792 or — first 2 pages of
Tänze (with 5 later MS copy by J.
Trios, Coda) Schellinger
aus dem k.k.
Redouten Saale

4 IX:10 XII deutsche –1793 (Mainz, arrs. of

Tänze 1937) melodies from
opera L’arbore
di Diana by
Martín y Soler;
probably =
appx L 6

5 XVII:10 Allegretto, G –1794 HW xxi, arr. of piece for

49; WU, flute clock Y 11
74

6 IX:31 The Princess of ?1795 MT, cii ? part of L 21

Add. Wales’s (1961),
Favorite Dance 693
(Country
Dance)

7 IX:28 [8] Zingarese –21 April Strache for date, see

1792 xxvi HW v, preface
(Vienna,
1930), 9

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 8 IX:27 Ochsenmenuett c1805 (Mainz, taken from or
(Menuet du n.d.) gave rise to the
boeuf) following stage
works: (?lost)
vaudeville Le
menuet du
boeuf, ou Une
leçon d’Haydn,
1805, by J.B.
Constantin; (?
lost) vaudeville
Haydn, ou Le
menuet de
boeuf, 1812, by
J.J. Gabriel and
A.J.M. Wafflard;
pasticcio Die
Ochsenmenuett,
1823, see appx
E6

9a i, 794 Variations, A ? — one of 3

different arrs.
of variations in
Q 2c

9b XVII:8 Variations, D ? — see remark for

no.9a

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 9c i, 794 Variations, C ? — see remark for
no.9a; differs
widely from
orig.

10 IX:20; [18] Menuetti ? HW v, no.2 from appx

XVII:F1 (with 7 Trios) 193; aria X.2, 1, no.10;
and Aria also in no.18 from
HW xviii/ sonata W 2;
1, 186 aria ? from lost
early sonata

11 IX:21 [12] Menuets ? —

(with 5 Trios)
de la redoute

12 IX:22 Ballo tedescho ? (Zürich, listed in H as

(10 deutsche n.d.) minuets
Tänze)

13 IX:29; [5] ? Strache

IX:24 Contredanze xxvi
(Contredanse) (Vienna,
(with Quadrille, 1930), 5
Minuet)

14 IX:30 Englischer ? —
Tanz

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 15 i, 580 [3] Minuetti ? Strache from pf trios:
xxvii appx V.1, 4, 8, 3
(Vienna,
1930), 5

16 — Fantaisie pour ? (Paris, arr. pf 4 hands

l’orchestre, d 1855) by E.T.
Eckhardt; see
Mies (H1962)

17 IX:4a 6 Minuetti –?1770 — arr. of minuets

Add. (with 6 Trios) by M. Haydn,
also attrib.
Mozart K 61f

18a — Haydn’s –?c1795 in MT, facs. in Landon

Strathspey, F cxxvii (A1980), 638;
(1986), 17 composed
Duncan
McIntyre, see
MT, cxxix
(1988), 459

18b — Haydn’s –?c1795 — ? composed

Strathspey, E♭ George Jenkins,
see HW v,
preface

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 19 — 8 bars in ‘The –c1795 in MT, arr. Nathaniel
Pic Nic’ cxxix Gow
(1988),
460

20 VIII: Marcia, E♭ ? HW v, 229 arr. of L 17

3/3bis

21 — 6 Sonatinas ?1961 (Budapest, arrs. (by ? F.

1961) Brodszky) of
baryton trios Q
56, 35, 72, 70,
34, 75

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 Note: for further works see pf trio V 20 (WU, 70) and pf sonata W 46
Appendix X.1: Selected works attributed to Haydn

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 No. H Title, key Instrument Date Authentication Edition Remarks

1 XVI: Andante, g hpd –1767 [? — HW xviii/1, extant as II

II
11 c1755] 181 of sonata
appx W.1,
13b

III
2 XVI:II Minuet, G, Trio hpd –1767 [? — HW xviii/1, extant as III
e c1765] 182 of appx W.1,
13b; trio
doubtful; cf
Q 26

3 XVII:D2 Allegro molto, hpd [–?1765] — HW xviii/1, frag., ?

Add. D 184; D 533 finale of
(1976), acc. sonata; in D
vn, b 533 as
introduction
to no.4; see
appx V.2, 6

4 XVII:7 5 Variations, D hpd –1766 [? H 1803 HU, 65; D see above

c1750–55] 533 (1976),
acc. vn, b

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 5 IX:26 Minuetto, F♯ pf –1785 — HW xviii/1, by
186 Kirnberger,
orig. in D,
see HW v,
preface

6 see X 9

7 — Variationes, C hpd/pf ? — — variations

on theme of
aria, appx F.
1, 4; orig.
without
author’s
name; see
Schmid
(O1970); cf
also appx Y.
4, 1;
probably
spurious

8 XVII:11 Andante, C hpd –1807 — (? Vienna, not verified

1807)

9 XVII:12 Andante con pf –1807 — (Bryn probably

variazioni, B♭ Mawr, spurious
1974)

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 10 XVIIa:2 Partita, F hpd (4 [?c1768– — (Bryn
hands) 70] Mawr,
1956)

11– XVII:C2 3 Praeambula, org ? — (Hilversum, doubtful

13 C, C, G 1979)

14 XVII:F2 Andante, F org ? — (Hilversum, probably

1979) spurious

1 IX:3 [12] Menuetti [c1763–7] A (u) HW v, 152; WT, see L 2; cf

(with 4 Trios) 2 appx X.3,
10

2 i, 799 Allegretto, G 1781–6 A (u) HW xii/3, 189; arr. of

WU, 76 finale of O
29

3 IX:8 XII Menuets –12 Jan — HW v, 158; WT, trio of

(with 5 Trios) 1785 10 minuet no.
11 (HW v,
245)
doutbful; cf
L 10

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 4 IX:11 [12] Menuetti –22 Dec E HW v, 165; WT, arr. on
di ballo (with 1792 21 request of
11 Trios) the
empress; cf
L 18

5 IX:12 XII neue –22 Dec A (u) HW v 175; WT, see L 19

deutsche Tänze 1792 36 and
(with Trio and previous
Coda) remark

6 iii, 302 (Largo assai), E c1793 A (u frag.) HW, xii/5, 223 arr. of II of
O 59; only
frags.
extant

7 VIII:1–2 2 [Derbyshire] c1795 A (u) (no. HW v, 226 see L 22

Marches, E♭, C 2, ‘A’); RC
(2 versions: ‘A’ (no.1), E
and ‘B’) (no.2, ‘B’)
(both
without
author’s
name)

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 8 i, 430 Variations sur 1797–9 A (u) WU, 64; arr. of II of
le thème Gott (Munich, 1997) O 62; later
erhalte den erroneously
Kaiser, G attrib. J.
Gelinek

1 IX:9a 6 Minuetti –Aug 1787 — lost or

unidentified

2 XVI:Es1 Sonata c1789–93 — arr. (?by P.

(Terzetto; Die Polzelli) of
Belagerung terzetto F 15c
Belgrads), E♭

3 IX:13 12 deutsche 1792 or — first 2 pages of

Tänze (with 5 later MS copy by J.
Trios, Coda) Schellinger
aus dem k.k.
Redouten Saale

4 IX:10 XII deutsche –1793 (Mainz, arrs. of

Tänze 1937) melodies from
opera L’arbore
di Diana by
Martín y Soler;
probably =
appx L 6

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 5 XVII:10 Allegretto, G –1794 HW xxi, arr. of piece for
49; WU, flute clock Y 11
74

6 IX:31 The Princess of ?1795 MT, cii ? part of L 21

Add. Wales’s (1961),
Favorite Dance 693
(Country
Dance)

7 IX:28 [8] Zingarese –21 April Strache for date, see

1792 xxvi HW v, preface
(Vienna,
1930), 9

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 8 IX:27 Ochsenmenuett c1805 (Mainz, taken from or
(Menuet du n.d.) gave rise to the
boeuf) following stage
works: (?lost)
vaudeville Le
menuet du
boeuf, ou Une
leçon d’Haydn,
1805, by J.B.
Constantin; (?
lost) vaudeville
Haydn, ou Le
menuet de
boeuf, 1812, by
J.J. Gabriel and
A.J.M. Wafflard;
pasticcio Die
Ochsenmenuett,
1823, see appx
E6

9a i, 794 Variations, A ? — one of 3

different arrs.
of variations in
Q 2c

9b XVII:8 Variations, D ? — see remark for

no.9a

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 9c i, 794 Variations, C ? — see remark for
no.9a; differs
widely from
orig.

10 IX:20; [18] Menuetti ? HW v, no.2 from appx

XVII:F1 (with 7 Trios) 193; aria X.2, 1, no.10;
and Aria also in no.18 from
HW xviii/ sonata W 2;
1, 186 aria ? from lost
early sonata

11 IX:21 [12] Menuets ? —

(with 5 Trios)
de la redoute

12 IX:22 Ballo tedescho ? (Zürich, listed in H as

(10 deutsche n.d.) minuets
Tänze)

13 IX:29; [5] ? Strache

IX:24 Contredanze xxvi
(Contredanse) (Vienna,
(with Quadrille, 1930), 5
Minuet)

14 IX:30 Englischer ? —
Tanz

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 15 i, 580 [3] Minuetti ? Strache from pf trios:
xxvii appx V.1, 4, 8, 3
(Vienna,
1930), 5

16 — Fantaisie pour ? (Paris, arr. pf 4 hands

l’orchestre, d 1855) by E.T.
Eckhardt; see
Mies (H1962)

17 IX:4a 6 Minuetti –?1770 — arr. of minuets

Add. (with 6 Trios) by M. Haydn,
also attrib.
Mozart K 61f

18a — Haydn’s –?c1795 in MT, facs. in Landon

Strathspey, F cxxvii (A1980), 638;
(1986), 17 composed
Duncan
McIntyre, see
MT, cxxix
(1988), 459

18b — Haydn’s –?c1795 — ? composed

Strathspey, E♭ George Jenkins,
see HW v,
preface

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 19 — 8 bars in ‘The –c1795 in MT, arr. Nathaniel
Pic Nic’ cxxix Gow
(1988),
460

20 VIII: Marcia, E♭ ? HW v, 229 arr. of L 17

3/3bis

21 — 6 Sonatinas ?1961 (Budapest, arrs. (by ? F.

1961) Brodszky) of
baryton trios Q
56, 35, 72, 70,
34, 75

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 Note: more works, probably spurious, listed in HXVII as C1 etc.
Appendix X.2: Arrangements

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 No. H Title, key Date Authentication Edition Remarks

1 IX:3 [12] Menuetti [c1763– A (u) HW v, 152; WT, see L 2; cf

(with 4 Trios) 7] 2 appx X.3,
10

2 i, 799 Allegretto, G 1781– A (u) HW xii/3, 189; arr. of

6 WU, 76 finale of O
29

3 IX:8 XII Menuets –12 — HW v, 158; WT, trio of

(with 5 Trios) Jan 10 minuet no.
1785 11 (HW v,
245)
doutbful; cf
L 10

4 IX:11 [12] Menuetti –22 E HW v, 165; WT, arr. on

di ballo (with Dec 21 request of
11 Trios) 1792 the
empress; cf
L 18

5 IX:12 XII neue –22 A (u) HW v 175; WT, see L 19

deutsche Tänze Dec 36 and
(with Trio and 1792 previous
Coda) remark

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 6 iii, 302 (Largo assai), E c1793 A (u frag.) HW, xii/5, 223 arr. of II of
O 59; only
frags.
extant

7 VIII:1–2 2 [Derbyshire] c1795 A (u) (no.2, ‘A’); HW v, 226 see L 22

Marches, E♭, C RC (no.1), E
(2 versions: ‘A’ (no.2, ‘B’) (both
and ‘B’) without author’s
name)

8 i, 430 Variations sur 1797– A (u) WU, 64; arr. of II of

le thème Gott 9 (Munich, 1997) O 62; later
erhalte den erroneously
Kaiser, G attrib. J.
Gelinek

1 IX:9a 6 Minuetti –Aug — lost or

1787 unidentified

2 XVI:Es1 Sonata c1789– — arr. (?by P.

(Terzetto; Die 93 Polzelli) of
Belagerung terzetto F 15c
Belgrads), E♭

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 3 IX:13 12 deutsche 1792 — first 2 pages of
Tänze (with 5 or MS copy by J.
Trios, Coda) later Schellinger
aus dem k.k.
Redouten Saale

4 IX:10 XII deutsche –1793 (Mainz, 1937) arrs. of

Tänze melodies from
opera L’arbore
di Diana by
Martín y Soler;
probably =
appx L 6

5 XVII:10 Allegretto, G –1794 HW xxi, 49; WU, arr. of piece for

74 flute clock Y 11

6 IX:31 The Princess of ? MT, cii (1961), ? part of L 21

Add. Wales’s 1795 693
Favorite Dance
(Country
Dance)

7 IX:28 [8] Zingarese –21 Strache xxvi for date, see

April (Vienna, 1930), HW v, preface
1792 9

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 8 IX:27 Ochsenmenuett c1805 (Mainz, n.d.) taken from or
(Menuet du gave rise to the
boeuf) following stage
works: (?lost)
vaudeville Le
menuet du
boeuf, ou Une
leçon d’Haydn,
1805, by J.B.
Constantin; (?
lost) vaudeville
Haydn, ou Le
menuet de
boeuf, 1812, by
J.J. Gabriel and
A.J.M. Wafflard;
pasticcio Die
Ochsenmenuett,
1823, see appx
E6

9a i, 794 Variations, A ? — one of 3

different arrs.
of variations in
Q 2c

9b XVII:8 Variations, D ? — see remark for

no.9a

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 9c i, 794 Variations, C ? — see remark for
no.9a; differs
widely from
orig.

10 IX:20; [18] Menuetti ? HW v, 193; aria no.2 from appx

XVII:F1 (with 7 Trios) also in HW xviii/ X.2, 1, no.10;
and Aria 1, 186 no.18 from
sonata W 2;
aria ? from lost
early sonata

11 IX:21 [12] Menuets ? —

(with 5 Trios)
de la redoute

12 IX:22 Ballo tedescho ? (Zürich, n.d.) listed in H as

(10 deutsche minuets
Tänze)

13 IX:29; [5] ? Strache xxvi

IX:24 Contredanze (Vienna, 1930),
(Contredanse) 5
(with Quadrille,
Minuet)

14 IX:30 Englischer ? —
Tanz

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 15 i, 580 [3] Minuetti ? Strache xxvii from pf trios:
(Vienna, 1930), appx V.1, 4, 8, 3
5

16 — Fantaisie pour ? (Paris, 1855) arr. pf 4 hands

l’orchestre, d by E.T.
Eckhardt; see
Mies (H1962)

17 IX:4a 6 Minuetti –? — arr. of minuets

Add. (with 6 Trios) 1770 by M. Haydn,
also attrib.
Mozart K 61f

18a — Haydn’s –? in MT, cxxvii facs. in Landon

Strathspey, F c1795 (1986), 17 (A1980), 638;
composed
Duncan
McIntyre, see
MT, cxxix
(1988), 459

18b — Haydn’s –? — ? composed

Strathspey, E♭ c1795 George Jenkins,
see HW v,
preface

19 — 8 bars in ‘The – in MT, cxxix arr. Nathaniel

Pic Nic’ c1795 (1988), 460 Gow

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 20 VIII: Marcia, E♭ ? HW v, 229 arr. of L 17
3/3bis

21 — 6 Sonatinas ? (Budapest, arrs. (by ? F.

1961 1961) Brodszky) of
baryton trios Q
56, 35, 72, 70,
34, 75

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 Note: arrs. of Loudon sym. (J 69) and the Seven Last Words (K 11)
not made but rev. Haydn; MS arr. of sym. J 96 described in IMSCR
VII: Cologne 1958, 197, not autograph; authenticity of many printed
arrs., incl. arr. of J 73, not verified; see also X 7
Appendix X.3: Selected doubtful and spurious arrangements

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 No. H Title, key Date Edition Remarks

1 IX:9a 6 Minuetti –Aug — lost or unidentified

1787

2 XVI:Es1 Sonata (Terzetto; c1789– — arr. (?by P. Polzelli) of

Die Belagerung 93 terzetto F 15c
Belgrads), E♭

3 IX:13 12 deutsche Tänze 1792 — first 2 pages of MS copy by

(with 5 Trios, or J. Schellinger
Coda) aus dem later
k.k. Redouten
Saale

4 IX:10 XII deutsche –1793 (Mainz, arrs. of melodies from

Tänze 1937) opera L’arbore di Diana by
Martín y Soler; probably =
appx L 6

5 XVII:10 Allegretto, G –1794 HW xxi, 49; arr. of piece for flute clock Y
WU, 74 11

6 IX:31 The Princess of ?1795 MT, cii ? part of L 21

Add. Wales’s Favorite (1961), 693
Dance (Country
Dance)

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 7 IX:28 [8] Zingarese –21 Strache for date, see HW v, preface
April xxvi
1792 (Vienna,
1930), 9

8 IX:27 Ochsenmenuett c1805 (Mainz, taken from or gave rise to

(Menuet du boeuf) n.d.) the following stage works:
(?lost) vaudeville Le menuet
du boeuf, ou Une leçon
d’Haydn, 1805, by J.B.
Constantin; (?lost)
vaudeville Haydn, ou Le
menuet de boeuf, 1812, by
J.J. Gabriel and A.J.M.
Wafflard; pasticcio Die
Ochsenmenuett, 1823, see
appx E 6

9a i, 794 Variations, A ? — one of 3 different arrs. of

variations in Q 2c

9b XVII:8 Variations, D ? — see remark for no.9a

9c i, 794 Variations, C ? — see remark for no.9a;

differs widely from orig.

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 10 IX:20; [18] Menuetti ? HW v, 193; no.2 from appx X.2, 1, no.
XVII:F1 (with 7 Trios) and aria also in 10; no.18 from sonata W 2;
Aria HW xviii/1, aria ? from lost early sonata
186

11 IX:21 [12] Menuets ? —

(with 5 Trios) de
la redoute

12 IX:22 Ballo tedescho (10 ? (Zürich, listed in H as minuets

deutsche Tänze) n.d.)

13 IX:29; [5] Contredanze ? Strache

IX:24 (Contredanse) xxvi
(with Quadrille, (Vienna,
Minuet) 1930), 5

14 IX:30 Englischer Tanz ? —

15 i, 580 [3] Minuetti ? Strache from pf trios: appx V.1, 4, 8,

xxvii 3
(Vienna,
1930), 5

16 — Fantaisie pour ? (Paris, arr. pf 4 hands by E.T.

l’orchestre, d 1855) Eckhardt; see Mies (H1962)

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 17 IX:4a 6 Minuetti (with 6 –? — arr. of minuets by M.
Add. Trios) 1770 Haydn, also attrib. Mozart
K 61f

18a — Haydn’s –? in MT, facs. in Landon (A1980),

Strathspey, F c1795 cxxvii 638; composed Duncan
(1986), 17 McIntyre, see MT, cxxix
(1988), 459

18b — Haydn’s –? — ? composed George Jenkins,

Strathspey, E♭ c1795 see HW v, preface

19 — 8 bars in ‘The Pic – in MT, arr. Nathaniel Gow

Nic’ c1795 cxxix
(1988), 460

20 VIII: Marcia, E♭ ? HW v, 229 arr. of L 17

3/3bis

21 — 6 Sonatinas ?1961 (Budapest, arrs. (by ? F. Brodszky) of

1961) baryton trios Q 56, 35, 72,
70, 34, 75

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 Y: Works for flute clock

Edition

Joseph Haydn: Werke für das Laufwerk (Flötenuhr), ed. E.F.

Schmid (Kassel, 1954) [S]

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 No. HXIX Title, key Date Authentication No.: Year of Edition Remarks
clock

1 17 C –1792 A (u) I: 1792 HW xxi,

[? I.1; S 1
c1789]

2 10 Andante, –1792 A (u) I: 1792; III: ? HW xxi,

C [c1789] 1796 (not 1772) I.2; S 2

3 18 Presto, C –1792 A (u) I: 1792 HW xxi, 2

[? I.3; S 3 versions,
c1789] the
longer
one by P.
Niemetz

4 16 Fuga, C 1789 A II: 1793; III: ? HW xxi,

1796 (not 1772) II.7; S
24

5 11 C –1793 A II: 1793; III: ? HW xxi,

[? 1796 (not 1772) II.1; S
1789] 19

6 12 Andante, –1793 A II: 1793; III: ? HW xxi,

C [? 1796 (not 1772) II.2; S
1789] 20

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 7 13 C –1793 E (without II: 1793; III: ? HW xxi,
[? author’s name) 1796 (not 1772) II.4; S
1789] 21

8 14 C –1793 E (without II: 1793; III: ? HW xxi,

[? author’s name) 1796 (not 1772) II.5; S
1789] 22

9 15 C –1793 E (without II: 1793; III: ? HW xxi,

[? author’s name) 1796 (not 1772) II.6; S
1789] 23

10 31 Presto, C [? A — HW xxi,
1789] II.3; S
31

11 27 Allegretto, [? A (u) II: 1793 HW xxi, cf appx

G 1793] III.1; S X.3, 5
27

1 9 Menuet, C 1788– A (u) I: 1792; III: ? HW xxi, uses III

92 [? 1796 (not 1772) I.4; S of O 42
c1789] 11

2 28 Allegro, C [1793] A (u) II: 1793 HW xxi, adapted

III.2; S from IV
28 of O 55

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 3 29 C [1793] A (u) II: 1793 HW xxi, adapted
III.3; S from III
29 of J 101

4 30 Presto, G 1790– A (u) II: 1793 HW xxi, adapted

93 [? III.4; S from IV
1793] 30 of O 53

5 32 Allegro, F 1793 A (u) — HW xxi, adapted

or IV.1; S from IV
later 32 of J 99

1 24 Presto, C I: HW xxi, I.5; S MS copy

1792 12 without
author’s name

2 21 C–F/G–C I: HW xxi, appx A. no written

1792 4; S 7 source known

3 7 F/C I: HW xxi, appx A. 2 versions; no

1792; 5; S 8 written source
III: ? known
1796
(not
1772)

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 4 8 F/C I: HW xxi, appx A. 2 versions; no
1792; 3; S 6 written source
III: ? known
1796
(not
1772)

5 2 F III: ? HW xxi, appx B. no written

1796 2; S 14 source known
(not
1772)

1 19 F/C I: HW xxi, appx A. adapted from G

1792 1; S 4 13; no written
source known

2 20 F/C I: HW xxi, appx A. uses III of J 85;

1792 2; S 5 no written
source known

3 25 Marche, D II: HW xxi, appx C. adapted from L

1793 1; S 25 15; also
combined with
Beethoven WOO
29 on clock by
F.E. Arzt

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 4 1 F III: ? HW xxi, appx B. uses aria no.4
1796 1; S 13 in E 17; no
(not written source
1772) known

5 3 F III: ? HW xxi, appx B. uses II of J 53;

1796 3; S 15 no written
(not source known
1772)

6 5 F III: ? HW xxi, appx B. adapted from

1796 5; S 17 III of Q 82; no
(not written source
1772) known

7 6 F III: ? HW xxi, appx B. adapted from

1796 6; S 18 III of Q 76; no
(not written source
1772) known

1 22 F/C I: HW xxi, appx A. aria by

1792 6; S 9 unidentified
author (see
appx F.1, 4); no
written source
known

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 2 23 F/C I: HW xxi, appx A. from IV of
1792 7; S 10 HI:C6, sym. by
Dittersdorf; no
written sources
known

3 26 Andante, II: HW xxi, appx C. Allegro: Aria

Allegro, E 1793 2; S 26 alla polacca by
J. Schuster; see
E 26

4 4 C III: ? HW xxi, appx B. Air or Dance

1796 4; S 16 russe by
(not Giornovichi in
1772) Das
Waldmädchen,
ballet by P.
Wranitzky and
J. Kinsky
(1796); orig.
Russian
folksong
‘Kamarinskaya’,
see Beethoven,
WOO71; no
written source
known

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 Appendix Y.1: Adaptations for flute clock

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 No. HXIX Title, Date Authentication No.: Year of Edition Remarks
key clock

1 9 Menuet, 1788– A (u) I: 1792; III: ? HW xxi, uses III

C 92 [? 1796 (not 1772) I.4; S of O 42
c1789] 11

2 28 Allegro, [1793] A (u) II: 1793 HW xxi, adapted

C III.2; S from IV
28 of O 55

3 29 C [1793] A (u) II: 1793 HW xxi, adapted

III.3; S from III
29 of J 101

4 30 Presto, 1790– A (u) II: 1793 HW xxi, adapted

G 93 [? III.4; S from IV
1793] 30 of O 53

5 32 Allegro, 1793 A (u) — HW xxi, adapted

F or IV.1; S from IV
later 32 of J 99

1 24 Presto, I: HW xxi, I.5; S MS copy

C 1792 12 without
author’s name

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 2 21 C–F/G–C I: HW xxi, appx A. no written
1792 4; S 7 source known

3 7 F/C I: HW xxi, appx A. 2 versions; no

1792; 5; S 8 written source
III: ? known
1796
(not
1772)

4 8 F/C I: HW xxi, appx A. 2 versions; no

1792; 3; S 6 written source
III: ? known
1796
(not
1772)

5 2 F III: ? HW xxi, appx B. no written

1796 2; S 14 source known
(not
1772)

1 19 F/C I: HW xxi, appx A. adapted from G

1792 1; S 4 13; no written
source known

2 20 F/C I: HW xxi, appx A. uses III of J 85;

1792 2; S 5 no written
source known

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 3 25 Marche, II: HW xxi, appx C. adapted from L
D 1793 1; S 25 15; also
combined with
Beethoven WOO
29 on clock by
F.E. Arzt

4 1 F III: ? HW xxi, appx B. uses aria no.4

1796 1; S 13 in E 17; no
(not written source
1772) known

5 3 F III: ? HW xxi, appx B. uses II of J 53;

1796 3; S 15 no written
(not source known
1772)

6 5 F III: ? HW xxi, appx B. adapted from

1796 5; S 17 III of Q 82; no
(not written source
1772) known

7 6 F III: ? HW xxi, appx B. adapted from

1796 6; S 18 III of Q 76; no
(not written source
1772) known

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 1 22 F/C I: HW xxi, appx A. aria by
1792 6; S 9 unidentified
author (see
appx F.1, 4); no
written source
known

2 23 F/C I: HW xxi, appx A. from IV of

1792 7; S 10 HI:C6, sym. by
Dittersdorf; no
written sources
known

3 26 Andante, II: HW xxi, appx C. Allegro: Aria

Allegro, 1793 2; S 26 alla polacca by
E J. Schuster; see
E 26

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 4 4 C III: ? HW xxi, appx B. Air or Dance
1796 4; S 16 russe by
(not Giornovichi in
1772) Das
Waldmädchen,
ballet by P.
Wranitzky and
J. Kinsky
(1796); orig.
Russian
folksong
‘Kamarinskaya’,
see Beethoven,
WOO71; no
written source
known

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 Appendix Y.2: Doubtful works

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 No. HXIX Title, No.: Year of Edition Remarks
key clock

1 24 Presto, C I: 1792 HW xxi, I.5; MS copy without author’s name

S 12

2 21 C–F/G–C I: 1792 HW xxi, no written source known

appx A.4; S
7

3 7 F/C I: 1792; III: ? HW xxi, 2 versions; no written source

1796 (not appx A.5; S known
1772) 8

4 8 F/C I: 1792; III: ? HW xxi, 2 versions; no written source

1796 (not appx A.3; S known
1772) 6

5 2 F III: ?1796 HW xxi, no written source known

(not 1772) appx B.2; S
14

1 19 F/C I: 1792 HW xxi, adapted from G 13; no written

appx A.1; S source known
4

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 2 20 F/C I: 1792 HW xxi, uses III of J 85; no written
appx A.2; S source known
5

3 25 Marche, II: 1793 HW xxi, adapted from L 15; also

D appx C.1; S combined with Beethoven WOO
25 29 on clock by F.E. Arzt

4 1 F III: ?1796 HW xxi, uses aria no.4 in E 17; no

(not 1772) appx B.1; S written source known
13

5 3 F III: ?1796 HW xxi, uses II of J 53; no written

(not 1772) appx B.3; S source known
15

6 5 F III: ?1796 HW xxi, adapted from III of Q 82; no

(not 1772) appx B.5; S written source known
17

7 6 F III: ?1796 HW xxi, adapted from III of Q 76; no

(not 1772) appx B.6; S written source known
18

1 22 F/C I: 1792 HW xxi, aria by unidentified author (see

appx A.6; S appx F.1, 4); no written source
9 known

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 2 23 F/C I: 1792 HW xxi, from IV of HI:C6, sym. by
appx A.7; S Dittersdorf; no written sources
10 known

3 26 Andante, II: 1793 HW xxi, Allegro: Aria alla polacca by J.

Allegro, appx C.2; S Schuster; see E 26
E 26

4 4 C III: ?1796 HW xxi, Air or Dance russe by

(not 1772) appx B.4; S Giornovichi in Das
16 Waldmädchen, ballet by P.
Wranitzky and J. Kinsky (1796);
orig. Russian folksong
‘Kamarinskaya’, see Beethoven,
WOO71; no written source
known

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 Appendix Y.3: Doubtful adaptations

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 No. HXIX Title, No.: Year Edition Remarks
key of clock

1 19 F/C I: 1792 HW xxi, adapted from G 13; no written

appx A.1; S source known
4

2 20 F/C I: 1792 HW xxi, uses III of J 85; no written source

appx A.2; S known
5

3 25 Marche, II: 1793 HW xxi, adapted from L 15; also combined

D appx C.1; S with Beethoven WOO 29 on clock
25 by F.E. Arzt

4 1 F III: ?1796 HW xxi, uses aria no.4 in E 17; no written

(not appx B.1; S source known
1772) 13

5 3 F III: ?1796 HW xxi, uses II of J 53; no written source

(not appx B.3; S known
1772) 15

6 5 F III: ?1796 HW xxi, adapted from III of Q 82; no

(not appx B.5; S written source known
1772) 17

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 7 6 F III: ?1796 HW xxi, adapted from III of Q 76; no
(not appx B.6; S written source known
1772) 18

1 22 F/C I: 1792 HW xxi, aria by unidentified author (see

appx A.6; S appx F.1, 4); no written source
9 known

2 23 F/C I: 1792 HW xxi, from IV of HI:C6, sym. by

appx A.7; S Dittersdorf; no written sources
10 known

3 26 Andante, II: 1793 HW xxi, Allegro: Aria alla polacca by J.

Allegro, appx C.2; S Schuster; see E 26
E 26

4 4 C III: ?1796 HW xxi, Air or Dance russe by Giornovichi

(not appx B.4; S in Das Waldmädchen, ballet by P.
1772) 16 Wranitzky and J. Kinsky (1796);
orig. Russian folksong
‘Kamarinskaya’, see Beethoven,
WOO71; no written source known

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 Appendix Y.4: Spurious arrangements

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 No. HXIX Title, key No.: Year Edition Remarks
of clock

1 22 F/C I: 1792 HW xxi, aria by unidentified author (see

appx A.6; S appx F.1, 4); no written source
9 known

2 23 F/C I: 1792 HW xxi, from IV of HI:C6, sym. by

appx A.7; S Dittersdorf; no written sources
10 known

3 26 Andante, II: 1793 HW xxi, Allegro: Aria alla polacca by J.

Allegro, E appx C.2; S Schuster; see E 26
26

4 4 C III: ?1796 HW xxi, Air or Dance russe by Giornovichi

(not appx B.4; S in Das Waldmädchen, ballet by P.
1772) 16 Wranitzky and J. Kinsky (1796);
orig. Russian folksong
‘Kamarinskaya’, see Beethoven,
WOO71; no written source known

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 3. Folksong arrangements

Z: Arrangements of British folksongs

Editions

A Selection of Original Scots Songs, compiled W. Napier, ii–iii

(London, 1792–5) [N]

A Select Collection of Original Scottish Airs, compiled G.

Thomson, i–iv (London and Edinburgh, 1802–5); v (London and
Edinburgh, 1818); suppl. to v as 25 Additional Scottish Airs
(Edinburgh, 1826) [T]

The Select Melodies of Scotland, compiled G. Thomson, i, ii, v

(London and Edinburgh, 1822); vi as Thomson’s Collection …
United to the Select Melodies of Scotland … Ireland and Wales
(London and Edinburgh, 1824); suppl. as 20 Scottish Melodies
(Edinburgh, 1839) [TS]

A Select Collection of Original Welsh Airs, compiled G.

Thomson, i–iii (London and Edinburgh, 1809–17) [TW]

A Select Collection of Original Irish Airs, compiled G. Thomson

(London and Edinburgh, 1814) [TI]

A Collection of Scottish Airs, compiled W. Whyte, i–ii

(Edinburgh, 1804–7) [W]

for 1 voice unless otherwise stated; H XXXIa = Scottish, b = Welsh;

key sometimes uncertain; dates based on research by I. Becker-
Glauch

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 No. HXXXI Tune/Title, Accompaniment Date Authentication Edition
key (no. = no.
of piece
except in
HW)

Adieu to
Llangollen, see
Happiness lost

1 a:131 Ae fond kiss, e vn, bc 1795 HV N iii, 31

(?Celtic air)

Age & youth,

see What can a
young lassie do

Aileen a roon,
see Robin
Adair

Alas! Yat I
came o’er the
moor, see Last
time I came
o’er the muir

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 2 b:48 Allurement of vn, vc, pf 1804 HV —
love, The, D

Anna, see
Shepherds, I
have lost my
love

Answer, The,
see My
mither’s ay
glowran

3 a:164 An thou wert vn, vc, pf 1800 SC, HV T iii, 20

mine ain thing,
A

4 a:164bis An thou wert vn, vc, pf ?1804 HV W ii, 49

mine ain thing,
A

An ye had been
where I hae
been, see
Killicrankie

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 Argyll is my
name, see
Bannocks o’
barley meal

5 b:9 Ar hyd y nos, A vn, vc, pf 1803 HV TW i, 12

(duet)

6 b:55 Aria di guerra vn, vc, pf 1804 HV —

e vittoria, D

7 a:114 As I cam down vn, bc 1795 HV N iii, 14

by yon castle
wa’, e

As I came o’er
the Cairney
mount, see Old
highland laddie

As Sylvia in a
forest lay, see
Maid’s
complaint

8 a:184 Auld gudeman, vn, vc, pf (hpd) 1801 A (u), HV T iii, 47

The, B♭

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 9 a:218 Auld lang syne, vn, vc, pf 1802/3 HV W i, 24
F

10 a:168 Auld Robin vn, vc, hpd 1800 HV T iii, 26

Gray, D

11 a:192 Auld Rob vn, vc, hpd 1801 A (2nd version T i, 17

Morris, E♭ of coda only, u),
(duet) HV

12 a:195 Auld wife ayont vn, vc, pf 1801 A (u) T i, 39

the fire, The,
E♭

13 a:157 Ay waking, O!, vn, vc, hpd 1800 HV T iii, 11

E♭ (duet)

Banks of
Banna, The (?
Irish air), see
Shepherds, I
have lost my
love

14 a:57 Banks of Spey, vn, bc –1792 HV N ii, 57; HW

The, C xxxii/1, 60

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 Banks of the
Dee, The, see
Langolee

15 a:171 Bannocks o’ vn, vc, pf 1801 HV T iii, 29

barley meal, G
(cf H 22)

16 a:11 Barbara Allen, vn, bc –1792 HV N ii, 11; HW

d xxxii/1, 11

17 a:11bis Barbara Allen, vn, vc, hpd 1800 HV T iii, 30

c

Bashful lover
[swain], The,
see On a bank
of flowers

18 a:54 Be kind to the vn, bc –1792 HV N ii, 54; HW

young thing, B♭ xxxii/1, 57

19 b:56 Bend of the vn, vc, pf 1804 HV —

horse shoe,
The, B♭

20 a:147 Bess and her vn, bc 1795 HV N iii, 47

spinning wheel,
G

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 21 a:178 Bessy Bell and vn, vc, pf 1800 HV T iii, 38
Mary Gray, C

22 a:178bis Bessy Bell and vn, vc, pf ?1804 HV W ii, 58

Mary Gray, C

23 a:126 Bid me not vn, bc 1795 HV N iii, 26

forget, G

24 a:58 Birks of vn, bc –1792 HV N ii, 58; HW

Abergeldie, xxxii/1, 61
The, b

25 a:58bis Birks of vn, vc, hpd 1801 HV T iii, 36

Abergeldie,
The, b

26 a:187 Birks of vn, vc, pf 1801 HV T i, 1

Invermay, The,
G

27 a:187bis Birks of vn, vc, pf 1802/3 — W i, 1

Invermay, The,
G

Black cock,
The, see Ton y
ceiliog du

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 28 a:66 Black eagle, vn, bc –1792 HV N ii, 66; HW
The, f♯ xxxii/1, 70

29 a:162 Blathrie o’t, vn, vc, hpd 1800 HV T iii, 19

The, b

30 a:68 Blink o’er the vn, bc –1792 HV N ii, 68; HW

burn, sweet xxxii/1, 72
Betty, B♭

31 a:20 Blithsome vn, bc –1792 HV N ii, 20; HW

bridal, The, D xxxii/1, 20

32 a:20bis Blithsome vn, vc, pf 1801 HV T iv, 187

bridal, The, D

33 b:23 Blodau vn, vc, pf 1804 HV TW ii, 34

Llundain, C
(duet)

34 b:35 Blodau’r drain, vn, vc, pf 1803 HV TW ii, 57

g

35 b:30 Blodau’r grug, vn, vc, pf 1803 HV TW ii, 43

C

36 b:54 Blossom of the vn, vc, pf 1804 HV —

honey suckle,
The, a

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 Blossom of the
raspberry, The,
see My jo Janet

37 a:176 Blue bell[s] of vn, vc, pf/hpd 1801/2 HV T iii, 35

Scotland, The,
D (cf H 20)

38 a:39 Blue bonnets, vn, bc –1792 HV N ii, 39; HW

C xxxii/1, 42

39 a:246 Boatman, The, vn, vc, pf (hpd) 1801 A (u) T iv, 183
C

40 a:101 Bonnie gray vn, bc 1795 HV N iii, 1

ey’d morn, The,
B♭

41 a:101bis Bonnie gray vn, vc, pf 1801 HV T v, 224 (in

ey’d morn, The, G)
B♭

Bonnie laddie,
highland
laddie, see
Jingling Jonnie

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 42 a:25 Bonniest lass in vn, bc –1792 HV N ii, 25; HW
a’ the warld, xxxii/1, 26
The, D

43 a:102 Bonnie wee vn, bc 1795 HV N iii, 2

thing, A

44 a:102bis Bonnie wee vn, vc, pf ? HV W i, 28

thing, A 1802/3

45 a:102ter Bonnie wee vn, vc, pf 1801 HV TS i, 22 (no

thing, A (cf vn, vc)
appx Z 1)

Bonny Anne,
see If a body
meet a body

Bonny Barbara
Allan, see
Barbara Allen

Bonny black
eagle, The, see
Black eagle

46 a:59 Bonny brucket vn, bc –1792 HV N ii, 59; HW

lassie, The, D xxxii/1, 62

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 47 a:172 Bonny Jean, D vn, vc, pf 1800 HV T iii, 31

Bonny Jean,
see Willie was
a wanton wag

48 a:94 Bonny Kate of vn, bc –1792 HV N ii, 94; HW

Edinburgh, G xxxii/1, 98

Bonny, roaring
Willie, see
Rattling
roaring Willy

Bonny Scot-
man, The, see
Boatman

49 a:200 Braes of vn, vc, pf 1801 HV T ii, 84

Ballenden, The,
G

50 a:200bis Braes of vn, vc, pf 1802/3 A (u) W i, 27

Ballenden, The,
G

51 a:207 Braes of vn, vc, pf 1802/3 A (u) W i, 5

Yarrow, The, A

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 Braw lads of
Galla water,
see Galla water

Bridegroom
greets when
the sun gangs
down, The, see
Auld Robin
Gray

Bride’s song,
The, see
Blithsome
bridal

52 a:46 Brisk young vn, bc –1792 HV N ii, 46; HW

lad, The, g xxxii/1, 49

53 a:46bis Brisk young vn, vc, hpd 1801 HV T iv, 191

lad, The, e

54 b:51 Britons, The, c vn, vc, pf 1804 HV —

55 a:170 Broom of vn, vc, hpd 1800 HV T iii, 28

Cowdenknows,
The, E♭ (with
chorus 2vv)

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 Broom, the
bonny broom,
see Broom of
Cowdenknows

56 a:204 Bush aboon vn, vc, pf 1802/3 — W i, 2

Traquair, The,
B♭ (duet)

Busk ye, busk

ye, see Braes of
Yarrow

Butcher boy,
The, see My
Goddess
woman

By the stream
so cool and
clear, see St
Kilda song

Captain Cook’s
death, see
Highland Mary

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 57 a:224 Captain vn, vc, pf ? HV W i, 37
O’Kain, e (? 1802/3
Irish air)

Captain’s lady,
The, see Mount
your baggage

Carron side,
see Frae the
friends and
land I love

58 b:26 Castell Towyn, vn, vc, pf 1803 HV TW ii, 38

E♭

Cauld frosty
morning, see
Cold frosty
morning

59 a:55 Cauld kail in vn, bc –1792 HV N ii, 55; HW

Aberdeen, D xxxii/1, 58

60 a:55bis Cauld kail in vn, vc, pf 1801 A (u) T i, 31

Aberdeen, D
(duet)

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 Caun du delish,
see Oran gaoil

61 b:39 Cerdd yr hen- vn, vc, pf 1804 HV TW iii, 67

wr or coed, F
(duet)

Charming
highlandman,
The, see Lewie
Gordon

62 b:12 Codiad yr haul, vn, vc, pf 1803 HV TW i, 17

B♭ (duet)

63 b:1 Codiad yr vn, vc, pf 1803 HV TW i, 1

hedydd, B♭

64 a:107 Cold frosty vn, bc 1795 HV N iii, 7

morning, A, F

Collier’s
[bonnie]
dochter, The,
see Collier’s
bonny lassie

65 a:213 Collier’s bonny vn, vc, pf ? HV W i, 14

lassie, The, F 1802/3

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 Collier’s lass,
The, see
Collier’s bonny
lassie

66 a:97 Colonel vn, bc –1792 HV N ii, 97; HW

Gardner, B♭ xxxii/1, 100

Come kiss wi’

me, come clap
wi’ me, see
Now westlin
winds

Comin thro’ the

rye, see If a
body meet a
body

Comin thro’ the

rye, see Auld
lang syne

67 b:21 Cornish May vn, vc, pf 1803 HV TW ii, 31

song, The, E♭

68 a:216 Corn riggs, A vn, vc, pf 1802/3 — W i, 20

(duet)

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 Cornwallis’s
lament, see
Sensibility

69 a:144 Country lassie, vn, bc 1795 HV N iii, 44

A, D

70 a:193 Craigieburn vn, vc, pf 1801 A (u) T i, 32

Wood, D

Crooked horn
ewe, The, see
Ewie wi’ the
crooked horn

Cuckoo, The
[The cuckoo’s
nest], see I do
confess thou
art sae fair

71 a:47 Cumbernauld vn, bc –1792 HV N ii, 47; HW

House, E♭ xxxii/1, 50

72 b:4 Dafydd y vn, vc, pf 1804 HV TW i, 6

Garreg-Wen, g

73 a:32 Dainty Davie, D vn, bc –1792 A (u, frag.); HV N ii, 32; HW

xxxii/1, 33

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 74 a:259 Day returns, vn, vc, pf ?1804 HV W ii, 47
The, E♭ (duet)

75 a:136 Dear Silvia, E♭ vn, bc 1795 HV N iii, 36

76 a:138 Death of the vn, bc 1795 HV N iii, 38

linnet, The, E♭

77 a:138bis Death of the vn, vc, hpd 1801 A (2nd version T iii, 39
linnet, The, D of coda only, u),
(duet) HV

Deil’s awa’ wi’

the exciseman,
The, see
Looking glass

78 a:229 Deil tak the vn, vc, pf 1801 HV T iv, 157

wars, B♭

79 b:59 Departure of vn, vc, pf 1804 HV —

the king, The, e

80 b:34 Digan y pibydd vn, vc, pf 1803 HV TW ii, 56

coch, c (2
versions)

81 a:217 Donald, B♭ (? vn, vc, pf ? HV W i, 21

Irish air) 1802/3

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 82 a:139 Donald and vn, bc 1795 HV N iii, 39
Flora, D

83 a:139bis Donald and vn, vc, pf 1802/3 — W i, 15

Flora, E♭

Donocht Head,
see Minstrel

84 b:50 Door clapper, vn, vc, pf 1804 HV —

The, G (duet)

85 b:14 Dowch i’r vn, vc, pf 1803 HV TW i, 19

frwydr, B♭
(duet)

86 a:152 Down the burn, vn, vc, hpd 1800 HV T iii, 3

Davie, F (duet)

Drunken wife
o’ Galloway,
The, see Hooly
and fairly

87 a:26 Duncan vn, bc –1792 HV N ii, 26; HW

Davison, C xxxii/1, 27

88 a:34 Duncan Gray, G vn, bc –1792 HV N ii, 34; HW

xxxii/1, 35

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 Dutchess of
Buccleugh’s
reel, see
Sutor’s
daughter

Earl Douglas’s
lament, see
Lady
Randolph’s
complaint

89 a:234 East Neuk o’ vn, vc, pf 1801 HV T iv, 165

Fife, The, F

Eire a ruin, see

Robin Adair

90 a:74 Eppie Adair, e vn, bc –1792 HV N ii, 74; HW

xxxii/1, 78

91 b:27 Erddigan caer vn, vc, pf 1803 HV TW ii, 39

y waun, G

92 a:203bis Erin-go-bragh, vn, vc, pf ? HV W i, 16

C 1802/3

93 b:20 Eryri wen, b vn, vc, pf 1804 HV TW i, 28

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 Ettrick banks,
see On Ettrick
banks

94 a:188 Ewe-bughts, vn, vc, pf 1801 HV T i, 8

The, d

95 a:116 Ewie wi’ the vn, bc 1795 HV N iii, 16

crooked horn,
The, F

96 a:116bis Ewie wi’ the vn, vc, hpd 1800 HV T iii, 6

crooked horn,
The, G

Exile of Erin,
The, see Erin-
go-bragh

Failte na
miosg, see My
heart’s in the
highlands

97 a:117 Fair Eliza, e vn, bc 1795 HV N iii, 17

(Gaelic air)

98 a:236 Fair Helen of vn, vc, pf 1804 HV T iv, 168

Kirkconnell, B♭

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 Fairwell, thou
fair day, see My
lodging is on
the cold
ground

99 a:156 Fee him, father, vn, vc, pf 1800 HV T iii, 10

F

100 b:13 Ffarwel vn, vc, pf 1804 HV TW i, 18

Ffranses, E♭

101 b:40 Ffarwel vn, vc, pf 1804 HV TW iii, 74

jeuengetid, E♭

102 a:29 Fife and a’ the vn, bc –1792 HV N ii, 29; HW

lands about it, xxxii/1, 30
D

103 b:58 Flower of north vn, vc, pf 1804 HV —

Wales, The, C

104 a:90 Flowers of vn, bc –1792 HV N ii, 90; HW

Edinburgh, xxxii/1, 94
The, E♭

105 a:90bis Flowers of vn, vc, pf 1801 HV —

Edinburgh,
The, F

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 106 a:212 Flowers of the vn, vc, pf ? HV W i, 13
forest, The, B♭ 1802/3

107 a:222 For the lack of vn, vc, pf ? HV W i, 34

gold, B♭ 1802/3

14th of
October, see Ye
Gods!

108 a:105 Frae the vn, bc 1795 HV N iii, 5

friends and
land I love, E♭

109 a:7 Fy! gar rub her vn, bc –1792 HV N ii, 7; HW

o’er wi’ strae, e xxxii/1, 7

110 a:7bis Fy! gar rub her vn, vc, pf 1801 A (2nd version T ii, 53
o’er wi’ strae, e of introduction
(duet) only, u), HV

Fy, let us a’ to
the bridal
[wedding], see
Blithsome
bridal

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 Gaberlunzie
(Gaberlunyie)
man, The, see
Brisk young lad

111 a:179 Galashiels, E♭ vn, vc, hpd 1800 HV T iii, 41

112 a:15 Galla water, D vn, bc –1792 HV N ii, 15; HW

xxxii/1, 15

113 a:15bis Galla water, D vn, vc, pf ? HV W i, 30

1802/3

114 a:15ter Galla water, D vn, vc, pf 1803 HV —

Gardener’s
march, The,
see Gard’ner
wi’ his paidle

115 a:45 Gard’ner wi’ vn, bc –1792 HV N ii, 45; HW

his paidle, The, xxxii/1, 48
A

Gentle swain,
The, see
Johnny’s gray
breeks

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 116 a:225 Gilderoy, g vn, vc, pf ? HV W i, 39
(duet) 1802/3

117 a:196 Gil Morris vn, vc, hpd 1801 HV T i, 45

[Morrice], E♭

Gin you meet a

bonny lassie,
see Fy! gar rub
her o’er wi’
strae

118 a:88 Glancing of her vn, bc –1792 HV N ii, 88; HW

apron, The, D xxxii/1, 92

Gordons has
[had] the
guiding o’t,
The, see
Strephon and
Lydia

119 b:2 Gorhoffedd vn, vc, pf 1803 HV TW i, 2

gwyr Harlech,
G

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 Go to the ew-
bughts,
Marion, see
Ewe-bughts

120 a:13 Gramachree, vn, bc –1792 HV N ii, 13; HW

E♭ (Irish air) xxxii/1, 13

121 a:13bis Gramachree, D vn, vc, pf 1801 HV T i, 18

(Irish air)

122 a:13ter Gramachree, F vn, vc, pf ? HV W i, 22

(Irish air) 1802/3

123 a:8 Green grow the vn, bc –1792 HV N ii, 8; HW

rashes, d xxxii/1, 8

124 a:8bis Green grow the vn, vc, pf 1801 HV T iv, 155
rashes, b (with
chorus 2vv)

125 a:112 Green sleeves, vn, bc 1795 HV N iii, 12

e

126 a:112bis Green sleeves, vn, vc, pf 1801 A (frag.), HV TS suppl.,

e 150

127 b:15 Grisiel ground, vn, vc, pf 1803 HV TW i, 21

B♭ (duet)

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 Had awa frae
me, Donald,
see Thou’rt
gane awa’

128 a:63 Hallow ev’n, D vn, bc –1792 HV N ii, 63; HW

xxxii/1, 66

129 b:42 Happiness lost, vn, vc, pf 1804 HV TW iii, 86

D

Happiness lost,
see Tears that
must ever fall

130 a:243 Happy topers, vn, vc, pf 1801 A (frag.), HV T iv, 179
The, C (with
chorus 2vv)

131 b:33 Hela’r vn, vc, pf 1804 HV TW ii, 50

ysgyfarnog, C

Hellvellyn, see
Erin-go-bragh

Hemp-dresser,
The, see
Looking glass

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 132 a:100 Her absence vn, bc –1792 HV N ii, 100;
will not alter HW xxxii/1,
me, D 104

133 a:257 Here awa’, vn, vc, pf ? — W ii, 45

there awa’, F 1802/3

134 a:49 Here’s a health vn, bc –1792 HV N ii, 49; HW

to my true love, xxxii/1, 52
b

He’s far away,

see Weary
pund o’ tow

He who
presum’d to
guide the sun,
see Maid’s
complaint

Hey now the

day dawes, see
Hey tutti taiti

135 a:174 Hey tutti taiti, vn, vc, hpd 1801 HV T iii, 33
G

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 Highland
lamentation,
see Young
Damon

Highland lassie
[laddie], The,
see Old
highland laddie

136 a:159 Highland Mary, vn, vc, pf 1800 HV T iii, 14

E♭

Highway to
Edinburgh,
The, see Black
eagle

137 b:11 Hob y deri vn, vc, pf 1803 HV TW i, 16

dando, G

138 b:16 Hob y deri vn, vc, pf 1804 HV TW i, 22

danno, G

139 b:28 Hoffedd Hywel vn, vc, pf 1804 HV TW ii, 40

ab Owen
Gwynedd, c

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 Hold away
from me,
Donald, see
Thou’rt gane
awa’

140 a:237 Hooly and vn, vc, hpd 1801 HV T iv, 170
fairly, D

House of
Glams, see
Roslin Castle

141 a:36 How can I be vn, bc –1792 HV N ii, 36; HW

sad on my xxxii/1, 38
wedding day, D

142 a:67 How long and vn, bc –1792 HV N ii, 67; HW

dreary is the xxxii/1, 71
night, D (Gaelic
air)

How sweet is
the scene, see
Humours o’
glen

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 How sweet this
lone vale, see
Lone vale

143 a:141 Hughie vn, bc 1795 HV N iii, 41

Graham, g

144 a:256 Humours o’ vn, vc, pf ? HV W ii, 44

glen, The, a (? 1802/3
Irish air)

145 a:140 I canna come vn, bc 1795 HV N iii, 40

ilke day to woo,
A

146 a:140bis I canna come vn, vc, hpd 1801 HV T v, 227

ilke day to woo,
A

147 a:110 I do confess vn, bc 1795 HV N iii, 10

thou art sae
fair, d

148 a:87 I dream’d I lay, vn, bc –1792 HV N ii, 87; HW

F xxxii/1, 91

149 a:80 If a body meet vn, bc –1792 HV N ii, 80; HW

a body, G xxxii/1, 84

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 150 a:80bis If a body meet vn, vc, pf 1801 HV T iii, 23
a body, G

151 a:95 If e’er ye do vn, bc –1792 HV N ii, 95; HW

well it’s a xxxii/1, 99
wonder, D

152 a:17 I had a horse, b vn, bc –1792 HV N ii, 17; HW

xxxii/1, 17

153 a:17bis I had a horse, c vn, vc, pf ?1804 HV W ii, 50

154 a:205 I’ll never leave vn, vc, pf 1802/3 — W i, 3

thee, D

155 a:3 I love my love vn, bc –1792 HV N ii, 3; HW

in secret, G xxxii/1, 3

156 a:30 I’m o’er young vn, bc –1792 HV N ii, 30; HW

to marry yet, xxxii/1, 31
B♭

157 a:177 I wish my love vn, vc, hpd 1800 HV T iii, 37

were in a myre,
B♭

158 a:231 Jacobite air, A, vn, vc, pf 1801 HV T iv, 160

B♭ (duet)

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 159 a:79 Jamie, come try vn, bc –1792 HV N ii, 79; HW
me, D xxxii/1, 83

160 a:132 Jenny drinks vn, bc 1795 HV N iii, 32

nae water, B♭

161 a:252 Jenny’s vn, vc, pf (hpd) 1801 A (u) T iv, 197
bawbee, G

Jenny’s
lamentation,
see Jockie and
Sandy

162 a:99 Jenny was fair, vn, bc –1792 HV N ii, 99; HW

E♭ xxxii/1, 102

163 a:263 Jingling Jonnie, vn, vc, pf 1801 HV T ii (1817),

F 79 (in E♭)

Jockey was the

blythest lad,
see Young
Jockey

164 a:91 Jockie and vn, bc –1792 HV N ii, 91; HW

Sandy, G xxxii/1, 95

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 Jock the laird’s
brither, see
Auld Rob
Morris

165 a:2 John Anderson, vn, bc –1792 HV N ii, 2; HW

my jo, g xxxii/1, 2

166 a:2bis John Anderson, vn, vc, pf ? HV W i, 26

my jo, g 1802/3

167 a:41 John, come kiss vn, bc –1792 HV N ii, 41; HW

me now, E♭ xxxii/1, 44

168 a:109 Johnie vn, bc 1795 HV N iii, 9

Armstrong, G

169 a:154 Johnny’s gray vn, vc, pf 1800 HV T iii, 8

breeks, B♭/g

170 a:24 John of vn, bc –1792 HV N ii, 24; HW

Badenyon, g xxxii/1, 24

171 a:24bis John of vn, vc, pf 1801 HV T iv, 184

Badenyon, g

Joyful widower,
The, see
Maggy Lauder

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 172 a:220 Katherine vn, vc, pf 1802/3 — W i, 31
Ogie, g

Katy’s answer,
see My
mither’s ay
glowran

173 a:148 Kellyburn vn, bc 1795 HV N iii, 48

braes, E♭

174 a:148bis Kellyburn vn, vc, hpd 1801 HV T iv, 182

braes, D

175 a:169 Killicrankie, C vn, vc, hpd 1801 HV T iii, 27

(cf H 25)

Kind Robin
loves me, see
Robin, quo’ she

King James’
march to
Ireland, see
Lochaber

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 Kirk wad let
me be, The, see
Blithsome
bridal

Lads of Leith,
The, see She’s
fair and fause

Lady
Badinscoth’s
reel, see My
love she’s but a
lassie yet

176 b:45 Lady Owen’s vn, vc, pf 1803 HV —

delight
[favourite], F

177 a:127 Lady vn, bc 1795 HV N iii, 27

Randolph’s
complaint, G

Laird and
Edinburgh
Kate, The, see
My mither’s ay
glowran

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 178 b:43a Lamentation of vn, vc, pf 1803 HV —
Britain, The, g
(duet)

179 b:43b Lamentation of vn, vc, pf ?1804 — —

Cambria, The,
g (duet)

180 a:235 Langolee, G vn, vc, pf 1801 HV T iv, 167

181 b:57 La partenza dal vn, vc, pf 1804 HV —

paese e dalli
amici, a

Lasses of the
ferry, The, see
Auld lang syne

Lass gin ye lo’e

me, tell me
now, see I
canna come
ilke day

182 a:272 Lassie wi’ the vn, vc, pf 1803 HV —

gowden hair, d

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 183 a:23 Lass of vn, bc –1792 HV N ii, 23; HW
Livingston, xxxii/1, 23
The, c

184 a:209 Lass of vn, vc, pf ? HV W i, 7

Lochroyan, 1802/3
The, a

185 a:160 Lass of Patie’s vn, vc, pf 1800 HV T iii, 17

mill, The, C

186 a:160bis Lass of Patie’s vn, vc, pf ?1804 HV W ii, 43

mill, The, C
(duet)

187 a:199 Last time I vn, vc, pf 1801 A (u) T ii, 80

came o’er the
muir, The, D

188 a:199bis Last time I vn, vc, pf 1802/3 A (u) W i, 25

came o’er the
muir, The, D

189 a:27 Leader haughs vn, bc –1792 HV N ii, 27; HW

and yarrow, F xxxii/1, 28

190 a:31 Lea-rig, The, F vn, bc –1792 HV N ii, 31; HW

xxxii/1, 32

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 191 a:31bis Lea-rig, The, F vn, vc, hpd 1800 E (without T iv, 195 (in
author’s name) G)

192 a:31ter Lea-rig, The, G vn, vc, pf ? HV W i, 8

1802/3

193 a:61 Let me in this vn, bc –1792 HV N ii, 61; HW

ae night, d xxxii/1, 64

194 a:61bis Let me in this vn, vc, pf 1801 HV T iv, 156

ae night, d

195 a:215 Lewie Gordon, vn, vc, pf ? HV W i, 19

G 1802/3

196 a:83 Lizae Baillie, F vn, bc –1792 HV N ii, 83; HW

xxxii/1, 87

197 b:7 Llwyn Onn, G vn, vc, pf 1803 HV TW i, 10

198 a:190bis Lochaber, F vn, vc, pf ?1804 HV W ii, 60

199 a:163 Logan water, g vn, vc, pf 1800 HV T iii, 16

200 a:73 Logie of vn, bc –1792 HV N ii, 73; HW

Buchan, g/B♭ xxxii/1, 77

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 201 a:175 Lone vale, The, vn, vc, hpd 1801 HV T iii, 34
B♭ (highland
air)

202 a:158 Looking glass, vn, vc, hpd 1801 HV T iii, 13

The, G

Loth to depart,
see La
partenza dal
paese e dalli
amici

203 a:53 Love will find vn, bc –1792 HV N ii, 53; HW

out the way, A xxxii/1, 56

204 a:210 Low down in vn, vc, pf 1802/3 A (u) W i, 11

the broom, C

Lucky Nancy,
see Dainty
Davie

205 a:182 Macpherson’s vn, vc, hpd 1801 HV T iii, 44

farewell, A
(with chorus,
2vv)

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 Madam Cossy,
see Looking
glass

206 a:86 Maggie’s vn, bc –1792 HV N ii, 86; HW

tocher, e xxxii/1, 90

207 a:35 Maggy Lauder, vn, bc –1792 HV N ii, 35; HW

B♭ xxxii/1, 36

208 a:35bis Maggy Lauder, vn, vc, hpd 1800 HV T iii, 25

A (cf H 24)

209 a:35ter Maggy Lauder, vn, vc, pf ?1804 HV W ii, 64

B♭

Maid in
Bedlam, The,
see
Gramachree

Maid of Toro,
The, see
Captain O’Kain

210 a:84 Maid’s vn, bc –1792 HV N ii, 84; HW

complaint, The, xxxii/1, 88
b

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 211 a:221 Maid that vn, vc, pf ? HV W i, 33
tends the 1802/3
goats, The, a

212 a:221bis Maid that vn, vc, pf 1801 HV T iv, 166

tends the
goats, The, a

213 b:36 Maltraeth, G vn, vc, pf 1804 HV TW ii, 58

214 b:5 Mantell Siani, vn, vc, pf 1803 HV TW i, 8

G

215 a:65 Marg’ret’s vn, bc –1792 HV N ii, 65; HW

ghost, D xxxii/1, 68

Margret’s
ghost, see
William and
Margaret

216 b:49 Marsh of vn, vc, pf 1804 HV —

Rhuddlan, The,
g

217 a:1 Mary’s dream, vn, bc –1792 HV N ii, 1; HW

f♯ xxxii/1, 1

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 218 a:1bis Mary’s dream, vn, vc, hpd 1801 HV T iii, 7
f♯

McFarsence’s
testament, see
Macpherson’s
farewell

219 a:81 McGrigor of vn, bc –1792 HV N ii, 81; HW

Rora’s lament, xxxii/1, 84
C (Celtic air)

McPherson’s
rant, see
Macpherson’s
farewell

220 b:6 Mentra Gwen, vn, vc, pf 1803 HV TW i, 9

A (duet)

221 a:50 Merry may the vn, bc –1792 HV N ii, 50; HW

maid be, d xxxii/1, 53

222 a:50bis Merry may the vn, vc, pf ?1804 HV W ii, 56

maid be, d
(duet)

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 Miller, The, see
Merry may the
maid be

Miller’s
daughter, The,
see If a body
meet a body

Miller’s
wedding, The,
see Auld lang
syne

223 a:92 Mill, mill O!, vn, bc –1792 HV N ii, 92; HW

The, B♭ xxxii/1, 96

224 a:92bis Mill, mill O!, vn, vc, pf ? HV W ii, 42

The, B♭ 1802/3

225 a:115 Minstrel, The, vn, bc 1795 HV N iii, 15

c

226 a:115bis Minstrel, The, vn, vc, hpd 1801 HV T iv, 186
b

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 Miss Admiral
Gordon’s
strathspey, see
Poet’s ain Jean

Miss
Farquharson’s
reel, see My
love she’s but a
lassie yet

Miss
Hamilton’s
delight, see My
jo Janet

227 a:143 Morag, d vn, bc 1795 HV N iii, 43

(Celtic air)

228 a:143bis Morag, c vn, vc, pf 1801 HV —

(Celtic air)

Moudiewort,
The, see O, for
ane-and-twenty
Tam!

229 a:42 Mount your vn, bc –1792 HV N ii, 42; HW

baggage, C xxxii/1, 45

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 230 a:51 Mucking of vn, bc –1792 HV N ii, 51; HW
Geordie’s byer, xxxii/1, 54
The, e

231 a:51bis Mucking of vn, vc, pf 1801 — T ii, 66

Geordie’s byer,
The, e

232 a:242 Muirland Willy, vn, vc, pf 1801 A (2nd version T iv, 177
d (with chorus of introduction
2vv) only, u), HV

Musket salute
The, see My
heart’s in the
highlands

233 b:31 Mwynen vn, vc, pf 1804 HV TW ii, 44

Cynwyd, E♭

My ain fireside,
see Todlen
hame

My ain kind
deary, see Lea-
rig

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 234 a:189 My apron vn, vc, pf 1801 A (u) T i, 9
deary, G

235 a:189bis My apron vn, vc, pf ? HV W i, 23

deary, A 1802/3

236 a:18 My boy Tammy, vn, bc –1792 HV N ii, 18; HW

d xxxii/1, 18

237 a:166 My dearie if vn, vc, pf 1800 HV T iii, 22

thou die, e

238 a:120 My Goddess vn, bc 1795 HV N iii, 20

woman, c

239 a:77 My heart’s in vn, bc –1792 HV N ii, 77; HW

the highlands, xxxii/1, 80
B♭ (Celtic air)

My Jockey was
the blythest
lad, see Young
Jockey

240 a:258 My jo Janet, C vn, vc, pf ?1804 HV W ii, 46

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 241 a:262 My lodging is vn, vc, pf ? HV W ii, 63
on the cold 1802/3
ground, F (?
Irish air)

My love’s
bonny when
she smiles on
me, see
Flowers of
Edinburgh

242 a:194 My love she’s vn, vc, pf 1801 A (u) T i, 35

but a lassie yet,
C (cf H 21)

My love’s in
Germanie, see
Wish

My Mary, dear
departed
shade, see
Highland Mary

243 a:70 My mither’s ay vn, bc –1792 HV N ii, 70; HW

glowran o’er xxxii/1, 74
me, e

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 244 a:70bis My mither’s ay vn, vc, pf 1800 HV T iv, 194b
glowran o’er
me, e

245 a:37 My Nanie, O, c vn, bc –1792 HV N ii, 37; HW

xxxii/1, 39

246 a:37bis My Nanie, O, c vn, vc, pf 1802/3 — W i, 17

247 a:37ter My Nanie, O, c vn, vc, pf 1803 HV —

248 a: My Nanie, O, c vn, vc, pf 1801 HV T i (1822), 4

37quater (duet)

My plaid away,
see O’er the
hills and far
away

Nancy’s to the
green-wood
gane, see
Scornfu’ Nancy

Nanny, O, see
My Nanie, O

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 Nelly’s dream,
see Marg’ret’s
ghost

New hilland
laddie, see
Lass of
Livingston

249 b:60 New year’s vn, vc, pf 1804 HV —

gift, The, a

Nine pint
cogie, see
Collier’s bonny
lassie

250 a:125 Nithsdall’s vn, bc 1795 HV N iii, 25

welcome hame,
D

251 b:29 Nos galan, G vn, vc, pf 1803 HV TW ii, 41

252 a:111 Now westlin vn, bc 1795 HV N iii, 11

winds, c

253 a:89 O bonny lass, e vn, bc –1792 HV N ii, 89; HW

(?Irish air) xxxii/1, 93

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 O can ye labor
lea, see Auld
lang syne

254 a:48 O can you sew vn, bc –1792 HV N ii, 48; HW

cushions, G xxxii/1, 51

255 a:16 O’er bogie, g vn, bc –1792 HV N ii, 16; HW

xxxii/1, 16

256 a:16bis O’er bogie, f♯ vn, vc, pf 1801 HV T iii, 40

257 a:149 O’er the hills vn, bc 1795 HV N iii, 49

and far away, f♯
or b

258 a:149bis O’er the hills vn, vc, pf 1801 HV T iv, 161
and far away,
B♭ (with chorus
2vv)

259 a:122 O’er the moor vn, bc 1795 HV N iii, 22

amang the
heather, E♭

260 a:122ter O’er the moor vn, vc, pf ? HV W i, 32

amang the 1802/3
heather, E♭

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 Of a’ the airts,
see Poet’s ain
Jean

Of noble race
was Shenkin,
see Y gadly’s

261 a:108 O, for ane-and- vn, bc 1795 HV N iii, 8

twenty Tam!,
E♭

262 a:85 Oh, onochrie vn, bc –1792 HV N ii, 85; HW

[Oh! ono xxxii/1, 89
Chrio], F (Irish
air)

Oh, open the

door, Lord
Gregory, see
Lass of
Lochroyan

263 a:248 Old highland vn, vc, pf 1801 HV T iv, 189

laddie [lassie],
The, D

Old man, The,

see My jo Janet

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 O let me in this
ae night, see
Let me in this
ae night

264 a:142 On a bank of vn, bc 1795 HV N iii, 42

flowers, c

265 a:151 On Ettrick vn, vc, hpd 1800 HV T iii, 1

banks, D

On the death of
Delia’s linnet,
see Death of
the linnet

266 a:249 Oonagh vn, vc, pf 1801 HV T iv, 190

[Oonagh’s
waterfall], d
(Irish air)

267 a:255 Open the door, vn, vc, pf ?1804 HV W ii, 41

E♭ (?Irish air)

O poortith
cauld, see I had
a horse

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 268 a:228 Oran gaoil, d vn, vc, pf 1801 HV T iv, 154
(duet; Gallic
air)

O saw ye my
father, see Saw
ye my father

O steer her up
and had her
gaun, see Steer
her up

Palmer, The,
see Open the
door

269 b:22 Pant corlant yr vn, vc, pf 1804 HV TW ii, 33

wyn: neu,
Dafydd or
Garreg-las, B♭
(duet)

270 a:241 Pat & Kate, B♭ vn, vc, pf 1803 HV T iv, 175
(duet; Irish air)

271 a:167 Peggy, I must vn, vc, hpd 1801 A (2nd version T iii, 24
love thee, G of coda only, u),
(duet) HV

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 272 a:96 Peggy in vn, bc –1792 HV N ii, 96; HW
devotion, C xxxii/1, 100

273 a:33 Pentland Hills, vn, bc –1792 HV N ii, 33; HW

F xxxii/1, 34

Phely & Willy,

see Jacobite air

Phoebe, see
Yon wild mossy
mountains

274 a:183 Pinkie House, vn, vc, pf 1800 HV T iii, 46

D

275 a:10 Ploughman, vn, bc –1792 HV N ii, 10; HW

The, D xxxii/1, 10

276 a:230 Poet’s ain Jean, vn, vc, pf 1801 HV T iv, 159
The, G

277 a:230bis Poet’s ain Jean, vn, vc, pf ?1804 HV W ii, 66

The, A (duet)

278 a:265 Polwarth on vn, vc, hpd 1801 HV T v, 218

the green, B♭
(duet)

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 279 b:53 Poor pedlar, vn, vc, pf 1804 HV —
The, B♭

280 a:113 Posie, The, c vn, bc 1795 HV N iii, 13

281 b:52 Pursuit of love, vn, vc, pf 1804 HV —

The, D

282 a:161 Queen Mary’s vn, vc, pf 1800 HV T iii, 18

lamentation, E♭

Ranting
highlandman,
The, see White
cockade

Ranting, roving
Willie, see
Rattling
roaring Willy

283 a:227 Rattling vn, vc, pf (hpd) 1801 A (u) T iv, 153
roaring Willy, F

Raving winds,
see McGrigor
of Rora’s
lament

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 284 b:38 Reged, G vn, vc, pf 1804 HV TW ii, 60

285 b:8 Rhyfelgyrch vn, vc, pf 1803 HV TW i, 11

Cadpen
Morgan, B♭

286 a:202 Robin Adair, C vn, vc, pf 1801 A (u) T ii, 92

(duet; ?Irish
air)

Robin is my
only jo, see
Robin, quo’ she

287 a:72 Robin, quo’ vn, bc –1792 HV N ii, 72; HW

she, G xxxii/1, 76

288 a:72bis Robin, quo’ vn, vc, pf ?1804 HV W ii, 48

she, G

Roger’s
farewell, see
Auld lang syne

Rory Dall’s
port, see Ae
fond kiss

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 289 a:135 Rose bud, The, vn, bc 1795 HV N iii, 35
B♭

290 a:191 Roslin Castle vn, vc, pf 1801 HV T i, 14

[Roslane
Castle], c

291 a:191bis Roslin Castle vn, vc, pf 1802/3 A (u) W i, 9

[Roslane
Castle], c

292 a:165 Rothiemurche’s vn, vc, pf 1800 HV T iii, 21

rant, C

Row saftly,
thou stream,
see Captain
O’Kain

293 a:103 Roy’s wife of vn, bc 1795 HV N iii, 3

Aldivalloch, C

294 a:223 Sae merry as vn, vc, pf 1802/3 A (u) W i, 35

we ha’e been,
C

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 Sandie and
Jockie, see
Jockie and
Sandy

Sawney will
never be my
love again, see
Corn riggs

Sawnie’s pipe,
see Colonel
Gardner

Saw ye Johnnie
cummin? quo’
she, see Fee
him, father

295 a:5 Saw ye my vn, bc –1792 HV N ii, 5; HW

father?, D xxxii/1, 5

296 a:5bis Saw ye my vn, vc, hpd 1800 HV T iii, 2

father?, D (cf H
23)

297 a:5ter Saw ye my vn, vc, pf ?1804 HV W ii, 51

father?, D

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 298 a:56 Saw ye nae my vn, bc –1792 HV N ii, 56; HW
Peggy?, d xxxii/1, 59

299 a:185 Scornfu’ vn, vc, pf 1800 HV T iii, 48

Nancy, B♭

300 a:185bis Scornfu’ vn, vc, pf ?1804 HV W ii, 55

Nancy, B♭

Scots Jenny,
see Jenny was
fair

301 a:173 Sensibility, E♭ vn, vc, pf 1800 HV T iii, 32

Seventh of
November, see
Day returns

She grip’d at
the greatest
on’t, see East
Neuk o’ Fife

302 a:21 Shepherd vn, bc –1792 HV N ii, 21; HW

Adonis, The, g xxxii/1, 21

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 303 a:93 Shepherds, I vn, bc –1792 HV N ii, 93; HW
have lost my xxxii/1, 97
love, D

304 a:93bis Shepherds, I vn, vc, pf ? HV W ii, 54

have lost my 1802/3
love, C

305 a:106 Shepherd’s vn, bc 1795 HV N iii, 6

son, The, G

306 a:106bis Shepherd’s vn, vc, pf ? HV W i, 40

son, The, G 1802/3

307 a:106ter Shepherd’s vn, vc, pf 1804 HV TS ii, 4 (no

son, The, A (2 vn, vc)
versions)

308 a:128 Shepherd’s vn, bc 1795 HV N iii, 28

wife, The, E♭

309 a:128bis Shepherd’s vn, vc, pf 1801 HV T iii, 12

wife, The, E♭

310 a:219 She rose and vn, vc, pf ? HV W i, 29

loot me in, d 1802/3

311 a:219bis She rose and vn, vc, pf 1801 HV —

loot me in, d

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 She says she
lo’es me best of
a’, see Oonagh

312 a:121 She’s fair and vn, bc 1795 HV N iii, 21

fause, e

313 a:208 Silken snood, vn, vc, pf 1802/3 — W i, 6

The, E♭

314 a:260 Siller crown, vn, vc, pf ?1804 HV W ii, 53

The, F

Sir Alex. Don,

see Auld lang
syne

315 a:250 Sir Patrick vn, vc, pf 1803 HV T iv, 193

Spence, A

316 a:137 Slave’s lament, vn, bc 1795 HV N iii, 37

The, d

317 a:44 Sleepy bodie, F vn, bc –1792 HV N ii, 44; HW

xxxii/1, 47

So for seven
years, see Tho’
for sev’n years

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 318 a:60 Soger laddie, vn, bc –1792 HV N ii, 60; HW
The, E♭ xxxii/1, 63

319 a:60bis Soger laddie, vn, vc, pf 1801 HV T iv, 172

The, E♭

Soldier laddie,
The, see Soger
laddie

Soldier’s
dream, The,
see Captain
O’Kain

Soldier’s
return, The,
see Mill, mill
O!

320 a:78 Steer her up, vn, bc –1792 HV N ii, 78; HW

and had ger xxxii/1, 82
gawin, B♭

321 a:19 St Kilda song, vn, bc –1792 HV N ii, 19; HW

F xxxii/1, 19

322 a:145 Strathallan’s vn, bc 1795 HV N iii, 45

lament, D

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 323 a:145bis Strathallan’s vn, vc, pf 1801 HV T iv, 178
lament, D

324 a:150 Strephon and vn, bc 1795 HV N iii, 50

Lydia, E♭

Sun had loos’d

his weary
team, The, see
Looking glass

325 a:198 Sutor’s vn, vc, pf 1801 A (u) T ii, 77

daughter, The,
G (duet)

326 a:261 Sweet Annie, g vn, vc, pf ? HV W ii, 62

1802/3

327 b:44 Sweet melody vn, vc, pf 1803 HV —

of north Wales,
The, B♭

Sweet’s the
lass that loves
me, see Bess
and her
spinning wheel

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 328 a:180 Tak’ your auld vn, vc, pf 1800 HV T iii, 42
cloak about ye,
g

329 a:180bis Tak’ your auld vn, vc, pf ?1804 HV W ii, 57

cloak about ye,
g

Tarry woo’, see

Lewie Gordon

330 a:123 Tears I shed, vn, bc 1795 HV N iii, 23

The, e

331 a:201 Tears of vn, vc, pf 1801 HV T ii, 87

Caledonia, The,
d

332 a:186 Tears that must vn, vc, pf 1801 HV T iii, 49

ever fall, D

Their groves o’
sweet myrtle,
see Humours o’
glen

333 a:14 This is no mine vn, bc –1792 HV N ii, 14; HW

ain house, B♭ xxxii/1, 14

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 334 a:14bis This is no mine vn, vc, pf ? HV W i, 38
ain house, B♭ 1802/3

335 a:146 Tho’ for sev’n vn, bc 1795 HV N iii, 46

years and mair,
F

336 a:12 Thou’rt gane vn, bc –1792 HV N ii, 12; HW

awa’, A xxxii/1, 12

337 a:12bis Thou’rt gane vn, vc, pf ? HV W i, 36

awa’, A 1802/3

338 a:264 Three captains, vn, vc, pf 1803 HV T iv (1817),

The, E♭ (Irish 193
air)

339 a:181 Thro’ the wood, vn, vc, hpd 1800 HV T iii, 43
laddie, F

340 a:52 Tibby Fowler, b vn, bc –1792 HV N ii, 52; HW

xxxii/1, 55

’Tis woman,
see Bonnie
gray ey’d morn

341 a:130 Tither morn, vn, bc 1795 HV N iii, 30

The, F

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 342 a:98 To daunton me, vn, bc –1792 HV N ii, 98; HW
d xxxii/1, 102

343 a:6 Todlen hame, A vn, bc 1792 HV N ii, 6; HW

xxxii/1, 6

344 a:6bis Todlen hame, A vn, vc, pf ? HV W ii, 61

1802/3

345 b:18 Ton y ceiliog vn, vc, pf 1804 HV TW i, 24

du, B♭ (duet)

346 b:3 Torriad y dydd, vn, vc, pf 1803 HV TW i, 4

b

To the rose
bud, see Rose
bud

Tranent Muir,
see Killicrankie

347 b:41 Troiad y droell, vn, vc, pf 1804 HV TW iii, 75

B♭ (duet)

348 b:17 Tros y garreg, vn, vc, pf 1804 HV TW i, 23

g

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 349 a:206 Tweedside, G vn, vc, pf 1802/3 A (u) W i, 4
(duet)

350 b:10 Twll yn ei boch, vn, vc, pf 1803 HV TW i, 14

C

351 a:233 Up and war vn, vc, pf 1801 HV T iv, 163

them a’ Willy, F

352 a:28 Up in the vn, bc –1792 HV N ii, 28; HW

morning early, xxxii/1, 29
g

353 a:28bis Up in the vn, vc, pf ? HV W ii, 52

morning early, 1802/3
g

354 a:28ter Up in the vn, vc, pf 1801 HV —

morning early,
g

355 a:133 Vain pursuit, vn, bc 1795 HV N iii, 33

The, C

356 a:9 Waefu’ heart, vn, bc –1792 HV N ii, 9; HW

The, F xxxii/1, 9

357 a:9bis Waefu’ heart, vn, vc, pf ? A (Sk), HV W i, 10

The, F 1802/3

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 358 a:214 Waly, waly, D vn, vc, pf 1802/3 A (u) W i, 18

359 a:214bis Waly, waly, D vn, vc, pf 1801 HV —

(cf appx Z 30)

Wandering
Willie, see
Here awa’

Wap at the
widow, my
laddie, see
Widow

360 a:69 Wat ye wha I vn, bc –1792 HV N ii, 69; HW

met yestreen?, xxxii/1, 73
E♭

361 a:69bis Wat ye wha I vn, vc, pf 1801 HV T iv, 194a

met yestreen?,
e

362 a:40 Wauking of the vn, bc –1792 HV N ii, 40; HW

fauld, The, D xxxii/1, 42

363 a:129 Weary pund o’ vn, bc 1795 HV N iii, 29

tow, The, G

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 364 a:129bis Weary pund o’ vn, vc, hpd 1801 HV T iii, 4
tow, The, F

365 a:124 Wee wee man, vn, bc 1795 HV N iii, 24

The, E♭

366 a:124bis Wee wee man, vn, vc, pf 1801 HV T iii, 15

The, E♭

Welcome home,
old Rowley, see
Thou’rt gane
awa’

367 a:244 What ails this vn, vc, pf 1804 SC, HV T iv, 180
heart of mine,
g (duet)

368 a:134 What can a vn, bc 1795 HV N iii, 34

young lassie
do, b

369 a:134bis What can a vn, vc, pf 1801 HV T iii, 45

young lassie
do, b (with
chorus 2vv)

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 What shall I do
with an auld
man, see What
can a young
lassie do

370 a:62 When she came vn, bc –1792 HV N ii, 62; HW

ben she bobbit, xxxii/1, 65
e

Where Helen
lies, see Fair
Helen of
Kirkconnell

371 a:104 While hopeless, vn, bc 1795 HV N iii, 4

e

372 a:76 Whistle o’er vn, bc –1792 HV N ii, 76; HW

the lave o’t, F xxxii/1, 80

373 a:76bis Whistle o’er vn, vc, pf (hpd) 1801 A (u) T iv, 169
the lave o’t, F

374 a:22 White cockade, vn, bc –1792 HV N ii, 22; HW

The, D xxxii/1, 22

375 a:118 Widow, The, E♭ vn, bc 1795 HV N iii, 18

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 376 a:75 Widow, are ye vn, bc –1792 HV N ii, 75; HW
waking?, E♭ xxxii/1, 79

377 a:75bis Widow, are ye vn, vc, pf ?1804 HV W ii, 59

waking?, E♭

378 a:153 William and vn, vc, hpd 1800 HV T iii, 5

Margaret, g

Willie brew’d a
peck o’ maut,
see Happy
topers

379 a:4 Willie was a vn, bc –1792 HV N ii, 4; HW

wanton wag, C xxxii/1, 4

380 a:4bis Willie was a vn, vc, pf 1801 HV T iv, 152

wanton wag, B♭

381 b:47 Willow hymn, vn, vc, pf 1803 HV —

The, d

Will ye go to
Flanders, see
Gramachree

382 a:82 Willy’s rare, B♭ vn, bc –1792 HV N ii, 82; HW

xxxii/1, 86

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 Wilt thou be
my dearie, see
Sutor’s
daughter

383 b:46 Winifreda, E♭ vn, vc, pf 1803 HV —

(duet)

384 a:245 Wish, The, g vn, vc, pf 1801 HV T iv, 181

Wo betyd thy
wearie bodie,
see Bonnie wee
thing

385 a:155 Woes my heart vn, vc, hpd 1800 HV T iii, 9

that we shou’d
sunder, A
(duet)

Women’s work
will never be
done, see Black
eagle

386 a:38 Woo’d and vn, bc –1792 HV N ii, 38; HW

married and a’, xxxii/1, 40
d

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 387 a:38bis Woo’d and vn, vc, pf 1801 A (2nd version T iii, 50
married and a’, of coda only, u),
d (with chorus,
2vv)

388 b:19 Wyres Ned vn, vc, pf 1804 HV TW i, 26

Puw, g

389 b:25 Y bardd yn ei vn, vc, pf 1804 HV TW ii, 36

awen, C

390 b:32 Y Cymry vn, vc, pf 1804 HV TW ii, 48

dedwydd, B♭

391 a:43 Ye Gods! was vn, bc –1792 HV N ii, 43; HW

Strephon’s xxxii/1, 46
picture blest, D

392 a:211 Yellow hair’d vn, vc, pf 1802/3 — W i, 12

laddie, The, D
(duet)

393 b:24 Y gadly’s, c vn, vc, pf 1803 HV TW ii, 35

(duet)

394 a:119 Yon wild mossy vn, bc 1795 HV N iii, 19

mountains, g

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 395 a:71 Young Damon, vn, bc –1792 HV N ii, 71; HW
B♭ xxxii/1, 75

Young highland
rover, The, see
Morag

396 a:64 Young Jockey vn, bc –1792 HV N ii, 64; HW

was the xxxii/1, 67
blythest lad, a

397 a:64bis Young Jockey vn, vc, pf 1801 HV TS suppl.,

was the 50
blythest lad, a

Young laird and

Edinburgh
Katy, The, see
Wat ye wha I
met yestreen?

Young Peggy
blooms, see
Boatman

398 b:37 Yr hen vn, vc, pf 1803 HV TW ii, 59

erddigan, c

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 1 a: Bonnie wee pf ? TS vi, 22 arr. of Z 45
102quater thing, A for 3vv by
Beethoven,
WOO158c,
no.4

2 a:232 Border widow’s vn, vc, pf 1803 T iv, 162 by

lament, The, A Neukomm

3 a:226 Braes of vn, vc, pf 1803 T iv, 151 by

Ballochmyle, Neukomm
The, E♭

4 a:224bis Captain vn, vc, pf 1803 — by

O’Kain, e (? Neukomm
Irish air)

Colin to Flora,
see Rock and a
wee pickle tow

Come under
my plaidy, see
Johny MacGill

5 a:253A Cro Challin, F vn, vc, pf 1803 T iv, 198 by

Neukomm

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 6 a:203 Erin-go-bragh, vn, vc, pf 1803 T ii, 98 by
C Neukomm

Exile of Erin,
The, see Erin-
go-bragh

Get up and bar

the door, see
Rise up and bar
the door

Good night,
and God be
with you, see
Good night and
joy be wi’ ye a’

7 a:254 Good night and vn, vc, pf 1803 T iv, 200 by

joy be wi’ ye a’, Neukomm
G

8 a:63bis Hallow ev’n, D vn, vc, pf 1803 T v, 225 by

Neukomm

9 a:247 Happy Dick vn, vc, pf 1803 T iv, 185 by

Dawson, D Neukomm

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 10 a:257bis Here awa’, vn, vc, pf 1803 — ?by
there awa’, d Neukomm,
(duet) see
Angermüller
(E(i)1974)

I loe na a
laddie but ane,
see Happy Dick
Dawson

Jenny beguil’d
the webster,
see Jenny dang
the weaver

11 a:240 Jenny dang the vn, vc, pf 1803 T iv, 174 by

weaver, B♭ Neukomm

12 a:251 Johny Faw, B♭ vn, vc, pf 1804 T iv, 196 ?by

Neukomm,
see Haydn’s
letter of 3
April 1804;
altered
version
signed by
Haydn

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 13 a:238 Johny MacGill, vn, vc, pf 1803 T iv, 171 by
E♭ (?Irish air) Neukomm

14 a:269 Kelvin Grove, G pf ? TS vi, 30 doubtful

15 a:190 Lochaber, F vn, vc, pf 1803 T i, 10 ?by

Neukomm,
see
Angermüller
(E(i)1974)

16 a:81bis McGrigor of vn, vc, pf 1803 T iv, 176 by

Rora’s lament, Neukomm
C

17 a:268 My love’s a vn, vc, pf 1803 TS vi, p.44 (no by

wanton wee vn, vc) Neukomm
thing, D

My silly auld
man, see Johny
MacGill

My wife’s a
wanton, wee
thing, see My
love’s a wanton
wee thing

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 18 a:89bis O bonny lass, vn, vc, pf 1803 T iv, 164 by
E♭ Neukomm

19 a:122bis O’er the moor vn, vc, pf 1803 T iv, 158 by

amang the Neukomm
heather, E♭

20 a:273 O gin my love vn, vc, pf 1804 — ?by

were yon red Neukomm,
rose, a see Haydn’s
letter of 3
April 1804

21 a:267 Over the water vn, vc, pf 1803 TS vi, p.36 (no by
to Charlie, D vn, vc) Neukomm

22 a:271 O were my love pf ? TS vi, 32 doubtful

yon lilac fair, a

23 b:61 Parson boasts vn, vc, pf 1803 TI i, 30 by

of mild ale, Neukomm
The, g (Irish
air)

24 a:197 Rise up and bar vn, vc, pf 1803 T i, 47 by

the door, F Neukomm

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 25 a:253B Rock and a wee vn, vc, pf 1803 T iv, 199 by
pickle tow, The, Neukomm
F

26 a:266 Sailor’s lady, pf ? TS v, 37 doubtful

The, A

Savourna
deligh (Irish
air), see Erin-
go-bragh

27 a:239 Shelah O’Neal, vn, vc, pf 1803 T iv, 173 by

F Neukomm

Tibbie Dunbar,
see Johny
MacGill

28 a:52bis Tibby Fowler, b vn, vc, pf 1803 T iv, 192 by

Neukomm

29 a:270 Tullochgorum, vn, vc, pf 1803 T v (suppl.), 246 by

D Neukomm

Waes me for
Prince Charlie,
see Johny Faw

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 30 a:214ter Waly, waly, D vn, vc, pf ? T i (1822), 19 doubtful
duet arr. of
Z 359

31 a:62bis When she came vn, vc, pf 1803 T v, 220 by

ben she bobbit, Neukomm
e

32 a:22bis White cockade, vn, vc, pf 1803 T iv, 188 by

The, D Neukomm

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 Note: 4 Scotch Songs, written in London, 1791–5 (Gr, Dies), lost or
unidentified

Some settings of 1803 and later, doubtful: F. Kalkbrenner, during his

stay with Haydn, ‘was employed upon many of those popular
Scottish airs, which are published by Mr. Thompson, of Edinburgh’,
see ‘Memoir of Mr. Frederick Kalkbrenner’ in Walter (E(i)1982)
Appendix Z: Doubtful and spurious settings

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 No. HXXXI Tune/Title, Accompaniment Date Edition Remarks
key

1 a: Bonnie wee pf ? TS vi, arr. of Z 45

102quater thing, A 22 for 3vv by
Beethoven,
WOO158c,
no.4

2 a:232 Border vn, vc, pf 1803 T iv, by Neukomm

widow’s 162
lament, The, A

3 a:226 Braes of vn, vc, pf 1803 T iv, by Neukomm

Ballochmyle, 151
The, E♭

4 a:224bis Captain vn, vc, pf 1803 — by Neukomm

O’Kain, e (?
Irish air)

Colin to Flora,
see Rock and a
wee pickle tow

Come under
my plaidy, see
Johny MacGill

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 5 a:253A Cro Challin, F vn, vc, pf 1803 T iv, by Neukomm
198

6 a:203 Erin-go-bragh, vn, vc, pf 1803 T ii, 98 by Neukomm

C

Exile of Erin,
The, see Erin-
go-bragh

Get up and bar

the door, see
Rise up and
bar the door

Good night,
and God be
with you, see
Good night and
joy be wi’ ye a’

7 a:254 Good night and vn, vc, pf 1803 T iv, by Neukomm

joy be wi’ ye a’, 200
G

8 a:63bis Hallow ev’n, D vn, vc, pf 1803 T v, 225 by Neukomm

9 a:247 Happy Dick vn, vc, pf 1803 T iv, by Neukomm

Dawson, D 185

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 10 a:257bis Here awa’, vn, vc, pf 1803 — ?by
there awa’, d Neukomm,
(duet) see
Angermüller
(E(i)1974)

I loe na a
laddie but ane,
see Happy
Dick Dawson

Jenny beguil’d
the webster,
see Jenny dang
the weaver

11 a:240 Jenny dang the vn, vc, pf 1803 T iv, by Neukomm

weaver, B♭ 174

12 a:251 Johny Faw, B♭ vn, vc, pf 1804 T iv, ?by

196 Neukomm,
see Haydn’s
letter of 3
April 1804;
altered
version
signed by
Haydn

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 13 a:238 Johny MacGill, vn, vc, pf 1803 T iv, by Neukomm
E♭ (?Irish air) 171

14 a:269 Kelvin Grove, pf ? TS vi, doubtful

G 30

15 a:190 Lochaber, F vn, vc, pf 1803 T i, 10 ?by

Neukomm,
see
Angermüller
(E(i)1974)

16 a:81bis McGrigor of vn, vc, pf 1803 T iv, by Neukomm

Rora’s lament, 176
C

17 a:268 My love’s a vn, vc, pf 1803 TS vi, p. by Neukomm

wanton wee 44 (no
thing, D vn, vc)

My silly auld
man, see Johny
MacGill

My wife’s a
wanton, wee
thing, see My
love’s a wanton
wee thing

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 18 a:89bis O bonny lass, vn, vc, pf 1803 T iv, by Neukomm
E♭ 164

19 a:122bis O’er the moor vn, vc, pf 1803 T iv, by Neukomm

amang the 158
heather, E♭

20 a:273 O gin my love vn, vc, pf 1804 — ?by

were yon red Neukomm,
rose, a see Haydn’s
letter of 3
April 1804

21 a:267 Over the water vn, vc, pf 1803 TS vi, p. by Neukomm

to Charlie, D 36 (no
vn, vc)

22 a:271 O were my love pf ? TS vi, doubtful

yon lilac fair, a 32

23 b:61 Parson boasts vn, vc, pf 1803 TI i, 30 by Neukomm

of mild ale,
The, g (Irish
air)

24 a:197 Rise up and vn, vc, pf 1803 T i, 47 by Neukomm

bar the door, F

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 25 a:253B Rock and a vn, vc, pf 1803 T iv, by Neukomm
wee pickle tow, 199
The, F

26 a:266 Sailor’s lady, pf ? TS v, 37 doubtful

The, A

Savourna
deligh (Irish
air), see Erin-
go-bragh

27 a:239 Shelah O’Neal, vn, vc, pf 1803 T iv, by Neukomm

F 173

Tibbie Dunbar,
see Johny
MacGill

28 a:52bis Tibby Fowler, b vn, vc, pf 1803 T iv, by Neukomm

192

29 a:270 Tullochgorum, vn, vc, pf 1803 Tv by Neukomm

D (suppl.),
246

Waes me for
Prince Charlie,
see Johny Faw

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 30 a:214ter Waly, waly, D vn, vc, pf ? Ti doubtful duet
(1822), arr. of Z 359
19

31 a:62bis When she vn, vc, pf 1803 T v, 220 by Neukomm

came ben she
bobbit, e

32 a:22bis White cockade, vn, vc, pf 1803 T iv, by Neukomm

The, D 188

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 Bibliography
A: Basic biographies, collected letters, bibliographies
G.A. Griesinger : ‘Biographische Notizen über Joseph
Haydn’, AMZ, 11 (Leipzig, 1808–9), 641–9, 657–68, 673–
81, 689–99, 705–13, 721–33, 737–47, 776–81; also pubd
separately (Leipzig, 1810/R, 2/1819; Eng. trans. in
Gotwals, 1963); ed. F. Grasberger (Vienna, 1954); ed. K.H.
Köhler (Leipzig, 1975); ed. P. Krause (Leipzig, 1979)

A.C. Dies : Biographische Nachrichten von Joseph Haydn

(Vienna, 1810; Eng. trans. in Gotwals, 1963); ed. H.
Seeger (Berlin, 1959, 4/1976)

C.F. Pohl : Joseph Haydn, 1 (Berlin, 1875, 2/1878/R), ii

(Leipzig, 1882/R), iii (Leipzig, 1927/R) [completed by H.
Botstiber]

H.C.R. Landon, ed.: The Collected Correspondence and

London Notebooks of Joseph Haydn (London, 1959)

V. Gotwals, ed.: Joseph Haydn: Eighteenth-Century

Gentleman and Genius (Madison, WI, 1963, 2/1968 as
Haydn: Two Contemporary Portraits) [trans. of Griesinger
(1810) and Dies (1810)]

D. Bartha, ed.: Joseph Haydn: gesammelte Briefe und

Aufzeichnungen: unter Benützung der Quellensammlung
von H.C. Robbins Landon (Kassel, 1965)

A.P. Brown, J.T. Berkenstock and C.V. Brown : ‘Joseph

Haydn in Literature: a Bibliography’, Haydn-Studien, 3/3–
4 (1974), 173–352

H.C.R. Landon : Haydn: Chronicle and Works, i: Haydn:

the Early Years 1732–1765 (London, 1980); ii: Haydn at
Eszterháza 1766–1790 (1978); iii: Haydn in England
1791–1795 (1976); iv: Haydn: the Years of ‘The Creation’
1796–1800 (1977); v: Haydn: the Late Years 1801–1809
(1977)

H.C.R. Landon : Haydn: a Documentary Study (London,

1981)

H. Walter : ‘Haydn-Bibliographie 1973–1983’, Haydn-

Studien, 5/4 (1985), 205–93; ‘Haydn-Bibliographie 1984–
1990’, vi/3 (1992), 173–238

M. Vignal : Joseph Haydn (Paris, 1988)

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 B: Catalogues, sources, research
A. Fuchs : Thematisches Verzeichniss der sämmtlichen
Compositionen von Joseph Haydn zusammengestellt …
1839, ed. R. Schaal (Wilhelmshaven, 1968)

A. Artaria : Verzeichnis von musikalischen Autographen,

revidierten Abschriften und einigen seltenen gedruckten
Original-Ausgaben (Vienna, 1893)

A. Orel : Katalog der Haydn-Gedächtnisausstellung Wien

1932 (Vienna, 1932)

J.P. Larsen : Die Haydn-Überlieferung (Copenhagen, 1939,

2/1980); portions trans. in Handel, Haydn, and the
Viennese Classical Style (Ann Arbor, 1988)

J.P. Larsen, ed.: Drei Haydn Kataloge in Faksimile mit

Einleitung und ergänzenden Themenverzeichnissen
(Copenhagen, 1941; Eng. trans., rev., 1989)

A. van Hoboken : Joseph Haydn: thematisch-

bibliographisches Werkverzeichnis, i: Instrumentalwerke;
ii: Vokalwerke; iii: Register: Addenda und Corrigenda
(Mainz, 1957–78)

H.C.R. Landon : ‘Survey of the Haydn Sources in

Czechoslovakia’, Konferenz zum Andenken Joseph
Haydns: Budapest 1959, 69–77

L. Nowak, ed.: Joseph Haydn: Ausstellung zum 150.

Todestag: vom 29. Mai bis 30. September 1959 (Vienna,
1959)

J. Vécsey and others, eds.: Haydn művei az Országos

Széchényi Könyvtár zenei gyűjteményében: kiadásra
került az 1809–1959 évforduló alkalmából [Haydn
compositions in the National Széchényi Library, Budapest:
published on the 150th anniversary of Haydn’s death]
(Budapest, 1959; Ger. trans., 1959; Eng. trans., 1960)

G. Feder : ‘Zur Datierung Haydnscher Werke’, Anthony

van Hoboken: Festschrift, ed. J. Schmidt-Görg (Mainz,
1962), 50–54

G. Feder : ‘Die Überlieferung und Verbreitung der

handschriftlichen Quellen zu Haydns Werken (Erste
Folge)’, Haydn-Studien, 1/1 (1965), 3–42; Eng. trans.,
Haydn Yearbook 1968, 102–39

G. Feder : ‘Bemerkungen zu Haydns Skizzen’, BeJb 1973–

7, 69–86

I. Becker-Glauch : ‘Haydn, Franz Joseph’, Einzeldrucke

vor 1800, RISM, A/I/4 (1974), 140–279

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 G. Feder : ‘The Collected Works of Joseph Haydn’, Haydn
Studies: Washington DC 1975, 26–34

J.P. Larsen : ‘A Survey of the Development of Haydn

Research’, Haydn Studies: Washington DC 1975, 14–25

S.C. Fisher : ‘A Group of Haydn Copies for the Court of

Spain’, Haydn-Studien, 4/2 (1978), 65–84

G. Feder : ‘Joseph Haydns Skizzen und Entwürfe:

Übersicht der Manuskripte, Werkregister, Literatur- und
Ausgabenverzeichnis’, FAM, 26 (1979), 172–88

G. Feder : ‘Über Haydns Skizzen zu nicht identifizierten

Werken’, Ars musica – musica scientica: Festschrift
Heinrich Hüschen, ed. D. Altenburg (Cologne, 1980), 100–
11

E. Radant : ‘A Facsimile of Hummel’s Catalogue of the

Princely Music Library in Eisenstadt, with Transliteration
and Commentary’, Haydn Yearbook 1980, 5–182

S.C. Bryant and G.W. Chapman : A Melodic Index to

Haydn’s Instrumental Music: a Thematic Locator (New
York, 1982)

G. Mraz, G. Mraz and G. Schlag, eds.: Joseph Haydn in

seiner Zeit (Eisenstadt, 1982) [exhibition catalogue]

E. Radant : ‘A Thematic Catalogue of the Esterházy

Archives (c1801–5)’, Haydn Yearbook 1982, 180–212

A. Tyson : ‘Paper Studies and Haydn: What Needs to be

Done’, Joseph Haydn: Vienna 1982, 577–92

G. Feder : ‘Textkritische Methoden: Versuch eines

Überblicks mit Bezug auf die Haydn-Gesamtausgabe’,
Haydn-Studien, 5/2 (1983), 77–109

Katalog der Sammlung Anthony van Hoboken in der

Musiksammlung der Österreichischen Nationalbibliothek,
vi: Joseph Haydn: Symphonien (Tutzing, 1987); vii: Joseph
Haydn: Instrumentalmusik (Hob. II bis XI) (1988); viii:
Joseph Haydn: Instrumentalmusik (Hob. XIV–XX/1) (1990);
ix: Joseph Haydn: Vokalmusik (1991)

H.A. Schafer : ‘A Wisely Ordered Phantasie’: Joseph

Haydn’s Creative Process from Sketches and Drafts for
Instrumental Music (diss., Brandeis U., 1987)

R. von Zahn : ‘Der fürstlich Esterházysche Notenkopist

Joseph Elssler sen.’, Haydn-Studien, 6/2 (1988), 130–47

Fine Music Manuscripts, Sotheby’s, 21 Nov 1990 (London,

1990), lot 88 [sale catalogue]

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 Joseph und Michael Haydn: Autographe und Abschriften:
Katalog (Munich, 1990) [pubn of the Musikabteilung,
Staatsbibliothek Preussischer Kulturbesitz, Berlin]

F.K. and M.G. Grave : Franz Joseph Haydn: a Guide to

Research (New York, 1990)

D. Link : ‘Vienna’s Private Theatrical and Musical Life,

1783–92, as Reported by Count Karl Zinzendorf’, JRMA,
122 (1997), 205–57

S. Gerlach : ‘Haydn’s “Entwurf-Katalog”: Two Questions’,

Haydn, Mozart, & Beethoven: … Essays in Honour of Alan
Tyson, ed. S. Brandenburg (Oxford, 1998), 65–83

C: Specialist publications, commemorative issues

Die Musik, 8/3 [no.16] (1908–9)

IMusSCR III: Vienna 1909

Die Musik, 24/6 (1931–2)

Burgenländische Heimatblätter, 1/1 (Eisenstadt, 1932)

MQ, 18/2 (1932)

MT, 73/March (1932)

ZfM, Jg.99, no.4 (1932)

Burgenländische Heimatblätter, 21/2 (Eisenstadt, 1959)

Konferenz zum Andenken Joseph Haydns: Budapest 1959

ÖMz, 14/5–6 (1959)

ZT, 8 (1960) [Haydn memorial issue, with Ger. summaries]

Haydn Yearbook 1962–

Haydn-Studien, 1– (1965–)

Der junge Haydn: Graz 1970

Jb für österreichische Kulturgeschichte, ii: Joseph Haydn

und seine Zeit (1972)

Haydn Studies: Washington DC 1975

Joseph Haydn und die Literatur seiner Zeit, ed. H. Zeman

(Eisenstadt, 1976)

Haydn e il suo tempo: Siena 1979 [Chigiana, new ser., 16

(1979)]
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 Joseph Haydn a hudba jeho doby: Bratislava 1982 [Haydn
and the music of his time]

Joseph Haydn: Cologne 1982

Joseph Haydn: Vienna 1982

MQ, 68/4 (1982)

MT, 123/March (1982)

ÖMz, 37/3–4 (1982)

Musik-Konzepte, no.41 (1985)

J.P. Larsen : Handel, Haydn, and the Viennese Classical

Style (Ann Arbor, 1988)

E. Sisman, ed.: Haydn and his World (Princeton, NJ, 1997)

W.D. Sutcliffe, ed.: Haydn Studies (Cambridge, 1998)

D: Biography
GerberNL

Framery: Notice sur Joseph Haydn (Paris, 1810)

G. Carpani : Le Haydine, ovvero Lettere su la vita e le

opere del celebre maestro Giuseppe Haydn (Milan, 1812,
2/1823/R; Eng. trans., 1839, as The Life of Haydn in
Letters)

Stendhal: Lettres écrites de Vienne en Autriche, sur le

célèbre compositeur Joseph Haydn, suivies d’une vie de
Mozart, et de considérations sur Métastase et l’état
présent de la musique en France et en Italie (Paris, 1814,
3/1872, rev. 1928 by H. Martineau as Vies de Haydn, de
Mozart et de Métastase; Eng. trans. by R. Brewin, 1817,
2/1818, rev. 1972 by R.N. Coe as Lives of Haydn, Mozart
and Metastasio) [plagiarism of Carpani (1812)]

C. von Wurzbach : Joseph Haydn und sein Bruder Michael:

zwei biobibliographische Künstler-Skizzen (Vienna, 1861)

M. Brenet : Haydn (Paris, 1909, 2/1910; Eng. trans., 1926/

R)

A. Schnerich : Joseph Haydn und seine Sendung (Zürich,

1922, 2/1926 with suppl. by W. Fischer)

K. Geiringer : Joseph Haydn (Potsdam, 1932, 2/1959)

K. Geiringer : Haydn: a Creative Life in Music (New York,

1946, enlarged 3/1982)
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 R. Hughes : Haydn (London, 1950, 6/1989)

L. Nowak : Joseph Haydn: Leben, Bedeutung und Werk

(Zürich, 1951, 3/1966)

J.P. Larsen : The New Grove Haydn (London and New

York, 1982) [with work-list by G. Feder]

J. Webster : ‘Prospects for Haydn Biography after Landon’,

MQ, 68 (1982), 476–95

M. Huss : Joseph Haydn: Klassiker zwischen Barock und

Biedermeier (Eisenstadt, 1984)

H.C.R. Landon and D.W. Jones : Haydn: his Life and Music
(London, 1988)

W. Marggraf : Joseph Haydn: Versuch einer Annäherung

(Leipzig, 1990)

E: Life: Particular aspects

(i) Ancestry, early years, last years, acquaintances,

character
R. Bernhardt : ‘Aus der Umwelt der Wiener Klassiker:
Freiherr Gottfried van Swieten (1734–1803)’, Der Bär: Jb
von Breitkopf & Härtel, 6 (1929–30), 74–166

R.F. Müller : ‘Heiratsbrief, Testament und

Hinterlassenschaft der Gattin Joseph Haydns’, Die Musik,
22 (1929–30), 93–9

H. Botstiber : ‘Haydn and Luigia Polzelli’, MQ, 18 (1932),

208–15

E.F. Schmid : Joseph Haydn: ein Buch von Vorfahren und

Heimat des Meisters (Kassel, 1934)

E.F. Schmid : ‘Joseph Haydns Jugendliebe’, Festschrift

Wilhelm Fischer, ed. H. von Zingerle (Innsbruck, 1956),
109–22

O.E. Deutsch : ‘Haydn als Sammler’, ÖMz, 14 (1959), 188–

93

J.P. Larsen : ‘Haydn und Mozart’, ÖMz, 14 (1959), 216–22;

Eng. trans. in Larsen (C1988)

E.H. Müller von Asow : ‘Joseph Haydns Tod in

zeitgenössischen Berichten’, Musikerziehung, 12 (1959),
141–7

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 E. Schenk : ‘Das Weltbild Joseph Haydns’, Österreichische
Akademie der Wissenschaften: Almanach, 109 (1959),
245–72; repr. in Ausgewählte Aufsätze, Reden und
Vorträge (Graz, 1967), 86–99

V. Gotwals : ‘Joseph Haydn’s Last Will and Testament’, MQ

, 47 (1961), 331–53

E. Olleson : ‘Gottfried van Swieten, Patron of Haydn and

Mozart’, PRMA, 89 (1962–3), 63–74

F. Blume : ‘Haydn als Briefschreiber’, Syntagma

musicologicum: gesammelte Reden und Schriften (Kassel,
1963), 564–70

L. Somfai : ‘Haydns Tribut an seinen Vorganger Werner’,

Haydn Yearbook 1963–4, 75–80

E. Olleson : ‘Georg August Griesinger’s Correspondence

with Breitkopf and Härtel’, Haydn Yearbook 1965, 5–53

G. Thomas : ‘Griesinger’s Briefe über Haydn: aus seiner

Korrespondenz mit Breitkopf and Härtel’, Haydn-Studien,
1/2 (1966), 49–114

H. Walter : ‘Die biographischen Beziehungen zwischen

Haydn und Beethoven’, GfMKB: Bonn 1970, 79–83

G. Feder : ‘Joseph Haydn als Mensch und Musiker’, Jb für

österreichische Kulturgeschichte, ii: Joseph Haydn und
seine Zeit (1972), 43–56; also in ÖMz, xxvii (1972), 57–68

R. Angermüller : ‘Sigismund Ritter von Neukomm (1778–

1858) und seine Lehrer Michael und Joseph Haydn: eine
Dokumentation’, Haydn-Studien, 3/1 (1973), 29–42

R. Angermüller : ‘Neukomms schottische

Liedbearbeitungen für Joseph Haydn’, Haydn-Studien, 3/2
(1974), 151–3

K. Geiringer : ‘Haydn and his Viennese Background’,

Haydn Studies: Washington DC 1975, 3–13

M. Hörwarthner : ‘Joseph Haydns Bibliothek: Versuch

einer literaturhistorischen Rekonstruktion’, Haydn und
die Literatur seiner Zeit, ed. Z. Heman (Eisenstadt, 1976),
157–207; Eng. trans. in Joseph Haydn and his World, ed.
E. Sisman (Princeton, NJ, 1997), 395–462

O. Biba : ‘Nachrichten zur Musikpflege in der gräflichen

Familie Harrach’, Haydn Yearbook 1978, 36–44

D. Heartz : ‘Haydn und Gluck im Burgtheater um 1760:

Der neue krumme Teufel, Le diable à quatre und die
Sinfonie “Le soir”’, GfMKB: Bayreuth 1981, 120–35

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 R.N. Freeman : ‘Robert Kimmerling: a Little-Known Haydn
Pupil’, Haydn Yearbook 1982, 143–79

G. Gruber : ‘Doppelgesichtiger Haydn?’, ÖMz, 37 (1982),

139–46

H. Walter : ‘Kalkbrenners Lehrjahre und sein Unterricht

bei Haydn’, Haydn-Studien, 5/1 (1982), 23–41

J. Webster : ‘The Falling-Out between Haydn and

Beethoven: the Evidence of the Sources’, Beethoven
Essays: Studies in Honor of Elliot Forbes, ed. L. Lockwood
and P. Benjamin (Cambridge, MA, 1984), 3–45

J. Hurwitz : ‘Haydn and the Freemasons’, Haydn Yearbook

1985, 5–98

O. Biba : ‘Eben komme ich von Haydn’: Georg August

Griesingers Korrespondenz mit Joseph Haydns Verleger
Breitkopf & Härtel 1799–1819 (Zürich, 1987)

D. Edge : ‘New Sources for Haydn’s Early

Biography’ [unpubd paper read at AMS 1993]

O. Biba : ‘Haydns Kirchenmusikdienste für Graf

Haugwitz’, Haydn-Studien, 6/4 (1994), 278–87

(ii) Eisenstadt, Eszterháza, England, travels

T.G. von Karajan : Joseph Haydn in London 1791 und 1792
(Vienna, 1861/R); also in Jb für vaterländische Geschichte
(1861)

C.F. Pohl : Mozart und Haydn in London, ii: Haydn in

London (Vienna, 1867/R)

A. Csatkai : ‘Die Beziehungen Gregor Josef Werners,

Joseph Haydns und der fürstlichen Musiker zur
Eisenstädter Pfarrkirche’, Burgenländische Heimatblätter,
1 (Eisenstadt, 1932), 13–17

E.F. Schmid : ‘Joseph Haydn in Eisenstadt: ein Beitrag zur

Biographie des Meisters’, Burgenländische Heimatblätter,
1 (Eisenstadt, 1932), 2–13

A. Valkó : ‘Haydn magyarországi működése a levéltári

akták tükrében’ [Haydn’s activities in Hungary, as
revealed in the archives], ZT, 6 (1957), 627–67; 8 (1960),
527–668 [with Ger. summaries]

J. Harich : Esterházy-Musikgeschichte im Spiegel der

zeitgenössischen Textbücher (Eisenstadt, 1959) [orig. in
H-Bn]

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 M. Horányi : Eszterházi vigassàgok (Budapest, 1959; Eng.
trans., 1962, as The Magnificence of Eszterháza)

D. Bartha and L. Somfai : Haydn als Opernkapellmeister:

die Haydn-Dokumente der Esterházy-Opernsammlung
(Budapest, 1960)

J. Harich : ‘Das Repertoire des Opernkapellmeisters

Joseph Haydn in Eszterháza (1780–1790)’, Haydn
Yearbook 1962, 9–110

J. Harich : ‘Haydn Documenta’, Haydn Yearbook 1963–4,

2–44; 1965, 122–52; 1968, 39–101; 1970, 47–168; 1971,
70–163

B. Matthews : ‘Haydn’s Visit to Hampshire and the Isle of

Wight, Described from Contemporary Sources’, Haydn
Yearbook 1965, 111–21

J. Harich : ‘Das fürstlich Esterházy’sche Fideikommiss’,

Haydn Yearbook 1968, 5–38

G. Feder : ‘Haydn und Eisenstadt’, ÖMz, 25 (1970), 213–

21

J. Harich : ‘Das Opernensemble zu Eszterháza im Jahr

1780’, Haydn Yearbook 1970, 5–46

J. Harich : ‘Das Haydn-Orchester im Jahr 1780’, Haydn

Yearbook 1971, 5–69

P. Bryan : ‘Haydn’s Hornists’, Haydn-Studien, 3/1 (1973),

52–8

J. Harich : ‘Inventare der Esterházy-Hofmusikkapelle in

Eisenstadt’, Haydn Yearbook 1975, 5–125

S. Gerlach : ‘Haydns Orchestermusiker von 1761 bis

1774’, Haydn-Studien, 4/1 (1976), 35–48

U. Tank : ‘Die Dokumente der Esterházy-Archive zur

fürstlichen Hofkapelle in der Zeit von 1761 bis 1770’,
Haydn-Studien, 4/3–4 (1980), 129–333

G. Thomas : ‘Haydn-Anekdoten’, Ars musica, musica

scientia: Festschrift Heinrich Hüschen, ed. D. Altenburg
(Cologne, 1980), 435–43

U. Tank : Studien zur Esterházyschen Hofmusik von etwa

1620 bis 1790 (Regensburg, 1981)

‘The Acta musicalia of the Esterházy Archives’, Haydn

Yearbook 1982, 5–96; 1983, 9–128; 1984, 93–180; 1985,
99–207; 1992, 1–84; 1993, 115–96

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 R. Hellyer : ‘The Wind Ensembles of the Esterházy
Princes’, Haydn Yearbook 1984, 5–92

‘Documents from the Archives of János Harich’, Haydn

Yearbook 1993, 1–109; 1994, 1–359

(iii) Miscellaneous
G. Nottebohm : Beethoven’s Studien, i: Beethoven’s
Unterricht bei J. Haydn, Albrechtsberger und Salieri: nach
den Original-Manuskripten dargestellt (Leipzig and
Winterthur, 1873/R)

F. von Reinöhl : ‘Neues zu Beethovens Lehrjahr bei

Haydn’, NBeJb 1935, 36–47

N.A. Solar-Quintes : ‘Las relaciones de Haydn con la casa

de Benavente’, AnM, 2 (1947), 81–8

O.E. Deutsch : ‘Haydn bleibt Lehrling: nach den

Freimaurer-Akten des Österreichischen Staatsarchivs’,
Musica, 13 (1959), 289–90

H. Seeger : ‘Zur musikhistorischen Bedeutung der Haydn-

Biographie von Albert Christoph Dies (1810)’ BMw, 1/3
(1959), 24–37 [incl. Neukomm’s remarks about Dies
(1810)]

E. Olleson : ‘Haydn in the Diaries of Count Karl von

Zinzendorf’, Haydn Yearbook 1963–4, 45–63

H. Unverricht : ‘Unveröffentlichte und wenig bekannte

Briefe Joseph Haydns’, Mf, 18 (1965), 40–45

E. Radant, ed.: ‘Die Tagebücher von Joseph Carl

Rosenbaum 1770–1829’, Haydn Yearbook 1968, 7–159

C.-G. Stellan Mörner : ‘Haydniana aus Schweden um

1800’, Haydn-Studien, 2/1 (1969), 1–33

J. Chailley : ‘Joseph Haydn and the Freemasons’, Studies

in Eighteenth-Century Music: a Tribute to Karl Geiringer,
ed. H.C.R. Landon and R.E. Chapman (New York and
London, 1970), 117–24

A. Mann : ‘Beethoven’s Contrapuntal Studies with Haydn’,

MQ, 56 (1970), 711–26; another version in GfMKB: Bonn
1970, 70–74

A. Mann : ‘Haydn as Student and Critic of Fux’, Studies in

Eighteenth-Century Music: a Tribute to Karl Geiringer, ed.
H.C.R. Landon and R.E. Chapman (New York and London,
1970), 323–32; another version in Musik und Verlag: Karl
Vötterle zum 65. Geburtstag, ed. R. Baum and W. Rehm
(Kassel, 1968), 433–7
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 M. Pandi and H. Schmidt : ‘Musik zur Zeit Haydns und
Beethovens in der Pressburger Zeitung’, Haydn Yearbook
1971, 165–293

A. Mann : ‘Haydn’s Elementarbuch: a Document of Classic

Counterpoint Instruction’, Music Forum, 3 (1973), 197–
237

G. Feder and S. Gerlach : ‘Haydn-Dokumente aus dem

Esterházy-Archiv in Forchtenstein’, Haydn-Studien, 3/2
(1974), 92–105

H. Zeman, ed.: Joseph Haydn und die Literatur seiner Zeit

(Eisenstadt, 1976)

F: Publishers
W. Sandys and S.A. Forster : The History of the Violin, and
Other Instruments (London, 1864) [correspondence of
Haydn and Forster]

F. Artaria and H. Botstiber: Joseph Haydn und das

Verlagshaus Artaria: nach den Briefen des Meisters an das
Haus Artaria & Compagnie dargestellt (Vienna, 1909)

H. von Hase : Joseph Haydn und Brietkopf & Härtel

(Leipzig, 1909)

G. Feder : ‘Die Eingriffe des Musikverlegers Hummel in

Haydns Werken’, Musicae scientiae collectanea:
Festschrift Karl Gustav Fellerer zum siebzigsten
Geburtstag, ed. H. Hüschen (Cologne, 1973), 88–101

H.E. Poole : ‘Music Engraving Practice in Eighteenth-

Century London: a Study of Some Forster Editions of
Haydn and their Manuscript Sources’, Music and
Bibliography: Essays in Honour of Alec Hyatt King, ed. O.
Neighbour (London, 1980), 98–131

N.A. Mace : ‘Haydn and the London Music Sellers: Forster

and Longman & Broderip’, ML, 77 (1996), 527–41

G: Iconography
A. Fuchs : ‘Verzeichniss aller Abbildungen Joseph
Haydn’s’, Wiener allgemeine Musik-Zeitung, 6 (1846),
237–9

J. Muller : ‘Haydn Portraits’, MQ, 18 (1932), 282–98

L. Somfai : Joseph Haydn: sein Leben in zeitgenössischen

Bildern (Budapest and Kassel, 1966; Eng. trans., 1969)

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 J.P. Larsen : ‘Zur Frage der Porträtähnlichkeit der Haydn-
Bildnisse’, SMH, 12 (1970), 153–66

H: Authenticity
J.P. Larsen : ‘Haydn und das “kleine Quartbuch”’, AcM, 7
(1935), 111–23; Eng. trans. in Larsen (C1988) [beginning
of Larsen–Sandberger controversy; see Brown,
Berkenstock and Brown (B1974), no.1134]

H.C.R. Landon : ‘Problems of Authenticity in Eighteenth-

Century Music’, Instrumental Music: Cambridge, MA,
1957, 31–56

E. Schenk : ‘Ist die Göttweiger Rorate-Messe ein Werk

Joseph Haydns?’, SMw, 24 (1960), 87–105

A. Tyson : ‘Haydn and Two Stolen Trios’, MR, 22 (1961),

21–7

P. Mies : ‘Anfrage zu einem Jos. Haydn unterschobenen

Werk’, Haydn Yearbook 1962, 200–01

A. Tyson and H.C.R. Landon : ‘Who Composed Haydn’s

Op.3?’, MT, 105 (1964), 506–7

H. Schwarting : ‘Über die Echtheit dreier Haydn-Trios’,

AMw, 22 (1965), 169–82

L. Somfai : ‘Zur Echtheitsfrage des Haydn’schen “Opus

3”’, Haydn Yearbook 1965, 153–65

H. Unverricht, A. Gottron and A. Tyson : Die beiden

Hoffstetter: zwei Komponisten-Porträts mit
Werkverzeichnissen (Mainz, 1968)

J.P. Larsen : ‘Über die Möglichkeiten einer musikalischen

Echtheitsbestimmung für Werke aus der Zeit Mozarts und
Haydns’, MJb 1971–2, 7–18; Eng. trans. in Larsen (C1988)

G. Feder : ‘Die Bedeutung der Assoziation und des

Wertvergleichs für das Urteil in Echtheitsfragen’, IMSCR
XI: Copenhagen 1972, 1, 365–77

C.E. Hatting : ‘Haydn oder Kayser? Eine Echtheitsfrage’,

Mf, 25 (1972), 182–7

W.T. Marrocco : ‘The String Quartet attributed to

Benjamin Franklin’, Proceedings of the American
Philosophical Society, 116 (1972), 477–85

G. Feder : ‘Apokryphe “Haydn”-Streichquartette’, Haydn-

Studien, 3/2 (1974), 125–50

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 D.L. Brantley : Disputed Authorship of Musical Works: a
Quantitative Approach to the Attribution of the Quartets
Published as Haydn’s Opus 3 (diss., U. of Iowa, 1978)

B.S. Brook : ‘Determining Authenticity through Internal

Analysis: a Multifaceted Approach (with Special Reference
to Haydn’s String Trios)’, Joseph Haydn: Vienna 1982,
551–66

B.C. MacIntyre : ‘Haydn’s Doubtful and Spurious Masses:

an Attribution Update’, Haydn-Studien, 5/1 (1982), 42–54

J. Spitzer : Authorship and Attribution in Western Art

Music (diss., Cornell U., 1983) [chap.4, Haydn]

S. Fruehwald : Authenticity Problems in Franz Joseph

Haydn’s Early Instrumental Works: a Stylistic
Investigation (New York, 1988)

I: Works: General
W.H. Hadow : A Croatian Composer: Notes towards the
Study of Joseph Haydn (London, 1897); repr. in Collected
Essays (London, 1928)

T. de Wyzewa : ‘A propos du centenaire de la mort de

Joseph Haydn’, Revue des deux mondes, 5th period, 51
(1909), 935–46

H. Jalowetz : ‘Beethovens Jugendwerke in ihren

melodischen Beziehungen zu Mozart, Haydn und Ph.E.
Bach’, SIMG, 12 (1910–11), 417–74

W. Fischer : ‘Zur Entwicklungsgeschichte des Wiener

klassischen Stils’, SMw, 3 (1915), 24–84

H. Kretzschmar : Führer durch den Konzertsaal (Leipzig,

5/1919–21)

G. Becking : Studien zu Beethovens Personalstil: das

Scherzothema: mit einem bisher unveröffentlichten
Scherzo Beethovens (Leipzig, 1921) [chap.2, Haydn’s
minuets]

F. Blume : ‘Fortspinnung und Entwicklung: ein Beitrag zur

musikalischen Begriffsbildung’, JbMP 1929, 51–70; repr.
in Syntagma musicologicum: gesammelte Reden und
Schriften (Kassel, 1963), 504–25

E.F. Schmid : ‘Joseph Haydn und Carl Philipp Emanuel

Bach’, ZMw, 14 (1931–2), 299–312

G. Adler : ‘Haydn and the Viennese Classical School’, MQ,

18 (1932), 191–207

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 R. von Tobel : Die Formenwelt der klassischen
Instrumentalmusik (Berne, 1935)

D.F. Tovey : Essays in Musical Analysis (London, 1935–44/

R)

T. Georgiades : ‘Zur Musiksprache der Wiener Klassiker’,

MJb 1951, 50–60

J.P. Larsen : ‘Zu Haydns künstlerischer Entwicklung’,

Festschrift Wilhelm Fischer, ed. H. von Zingerle
(Innsbruck, 1956), 123–9; Eng. trans in Larsen (C1988)

E.F. Schmid : ‘Mozart and Haydn’, MQ, 42 (1956), 145–61

F. Noske : ‘Le principe structural génétique dans l’oeuvre

instrumental de Joseph Haydn’, RBM, 12 (1958), 35–9

H. Besseler : ‘Einflüsse der Contratanzmusik auf Joseph

Haydn’, Konferenz zum Andenken Joseph Haydns:
Budapest 1959, 25–40

H. Engel : ‘Haydn, Mozart und die Klassik’, MJb 1959, 46–

79; another version in IMSCR VIII: New York 1961, 1,
285–304

B. Szabolcsi : ‘Joseph Haydn und die ungarische Musik’,

BMw, 1/2 (1959), 62–73; repr. in Konferenz zum Andenken
Joseph Haydns: Budapest 1959, 159–75

H. Schwarting : ‘Ungewöhnliche Repriseneintritte in

Haydns späterer Instrumentalmusik’, AMw, 17 (1960),
168–82

G. Feder : ‘Bemerkungen über die Ausbildung der

klassischen Tonsprache in der Instrumentalmusik
Haydns’, IMSCR VIII: New York 1961, 1, 305–13

G. Feder : ‘Eine Methode der Stiluntersuchung,

demonstriert an Haydns Werken’, GfMKB: Leipzig 1966,
275–85

D. Bartha : ‘Volkstanz-Stilisierung in Joseph Haydns

Finale-Themen’, Festschrift für Walter Wiora, ed. L.
Finscher and C.-H. Mahling (Kassel, 1967), 375–84

L. Schrade : ‘Joseph Haydn als Schöpfer der klassischen

Musik’, De scientia musicae studia atque orationes, ed. E.
Lichtenhahn (Berne, 1967), 506–18

M.S. Cole : ‘The Rondo Finale: Evidence for the Mozart–

Haydn Exchange?’, MJb 1968–70, 242–56

B.S. Brook : ‘Sturm und Drang and the Romantic Period in

Music’, Studies in Romanticism, 9 (1970), 269–84

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 G. Feder : ‘Die beiden Pole im Instrumentalschaffen des
jungen Haydn’, Der junge Haydn: Graz 1970, 192–201

G. Feder : ‘Similarities in the Works of Haydn’, Studies in

Eighteenth-Century Music: a Tribute to Karl Geiringer, ed.
H.C.R. Landon and R.E. Chapman (New York and London,
1970), 186–97

G. Feder : ‘Stilelemente Haydns in Beethovens Werken’,

GfMKB: Bonn 1970, 65–70

G. Gruber : ‘Musikalische Rhetorik und barocke

Bildlichkeit in Kompositionen des jungen Haydn’, Der
junge Haydn: Graz 1970, 168–91

C. Rosen : The Classical Style: Haydn, Mozart, Beethoven

(New York, 1971, enlarged 3/1997) [incl. CD]

D.S. Cushman : Joseph Haydn’s Melodic Materials: an

Exploratory Introduction to the Primary and Secondary
Sources together with an Analytical Catalogue and Tables
of Proposed Melodic Correspondence and/or Variance
(diss., Boston U., 1972)

L. Somfai : ‘Vom Barock zur Klassik: Umgestaltung der

Proportionen und des Gleichgewichts in zyklischen
Werken Joseph Haydns’, Jb für österreichische
Kulturgeschichte, ii: Joseph Haydn und seine Zeit (1972),
64–72

W. Steinbeck : Das Menuett in der Instrumentalmusik

Joseph Haydns (Munich, 1973)

S. Wollenberg : ‘Haydn’s Baryton Trios and the “Gradus”’,

ML, 54 (1973), 170–78

E. Badura-Skoda : ‘The Influence of the Viennese Popular

Comedy on Haydn and Mozart’, PRMA, 100 (1973–4),
185–99

L. Somfai : ‘The London Revision of Haydn’s Instrumental

Style’, PRMA, 100 (1973–4), 159–74

G. Chew : ‘The Night-Watchman’s Song Quoted by Haydn

and its Implications’, Haydn-Studien, 3/2 (1974), 106–24

A.P. Brown : ‘Critical Years for Haydn’s Instrumental

Music: 1787–90’, MQ, 62 (1976), 374–94

H. Walter : ‘Das Posthornsignal bei Haydn und anderen

Komponisten des 18. Jahrhunderts’, Haydn-Studien, 4/1
(1976), 21–34

C. Rosen : Sonata Forms (New York, 1980, 2/1988)

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 R.L. Todd : ‘Joseph Haydn and the Sturm und Drang: a
Revaluation’, MR, 61 (1980), 172–96

S.E. Paul : Wit, Comedy and Humour in the Instrumental

Music of Franz Joseph Haydn (diss., U. of Cambridge,
1981)

T. Istvánffy : All’ongarese: Studien zur Rezeption

ungarischer Musik bei Haydn, Mozart und Beethoven
(diss., U. of Heidelberg, 1982)

J. LaRue : ‘Multistage Variance: Haydn’s Legacy to

Beethoven’, JM, 1 (1982), 265–74

F. Neumann : ‘Bemerkungen über Haydns Ornamentik’,

Joseph Haydn: Vienna 1982, 35–42

J. Webster : ‘Binary Variants of Sonata Form in Early

Haydn Instrumental Music’, Joseph Haydn: Vienna 1982,
127–35

H. Krones : ‘Das “hohe Komische” bei Joseph Haydn’, ÖMz

, 38 (1983), 2–8

P. Gülke : ‘Nahezu ein Kant der Musik’, Musik-Konzepte,

no.41 (1985), 67–73

S. Schmalzriedt : ‘Charakter und Drama: zur historischen

Analyse von Haydnschen und Beethovenschen
Sonatensätzen’, AMw, 42 (1985), 37–66

M.E. Bonds : Haydn’s False Recapitulations and the

Perception of Sonata Form in the Eighteenth Century
(diss., Harvard U., 1988)

E. Haimo : ‘Haydn’s Altered Reprise’, JMT, 32 (1988),

335–51

M. Poštolka : Mladý Joseph Haydn: jeho vývoj ke

klasickému slohu [The young Haydn: towards the
Classical style] (Prague, 1988)

C. Willner : ‘Chromaticism and the Mediant in Four Late

Haydn Works’, Theory and Practice, 13 (1988), 79–114

H. Federhofer : ‘Tonsatz und Instrumentation’,

Musicologica austriaca, 9 (1989), 45–57

W.D. Sutcliffe : ‘Haydn’s Musical Personality’, MT, 120

(1989), 341–4

A. Raab : Funktionen des Unisono, dargestellt an den

Streichquartetten und Messen von Joseph Haydn
(Frankfurt, 1990)

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 M.E. Bonds : ‘Haydn, Laurence Sterne, and the Origins of
Musical Irony’, JAMS, 44 (1991), 57–91

J. Webster : Haydn’s ‘Farewell’ Symphony and the Idea of

Classical Style: Through-Composition and Cyclic
Integration in his Instrumental Music (Cambridge, 1991)

N.S. Josephson : ‘Modulatory Patterns in Haydn’s Late

Development Sections’, Haydn Yearbook 1992, 181–91

G.A. Wheelock : Haydn’s Ingenious Jesting with Art:

Contexts of Musical Wit and Humor (New York, 1992)

E.R. Sisman : Haydn and the Classical Variation

(Cambridge, MA, 1993)

F.K. Grave : ‘Metrical Dissonance in Haydn’, JM, 13

(1995), 168–202

D. Heartz : Haydn, Mozart and the Viennese School 1740–

1780 (New York, 1995)

M. Spitzer : ‘The Retransition as Sign: Listener-Oriented

Approaches to Tonal Closure in Haydn’s Sonata Form
Movements’, JRMA, 121 (1996), 11–45

P.A. Hoyt : ‘Haydn’s New Incoherence’, Music Theory

Spectrum, 19 (1997), 264–84

M. Hunter : ‘Haydn’s London Piano Trios and his Salomon

String Quartets: Private vs. Public?’, Haydn and his World,
ed. E. Sisman (Princeton, NJ, 1997), 103–30

E. Sisman : ‘Haydn, Shakespeare, and the Rules of

Originality’, Haydn and his World, ed. E. Sisman
(Princeton, NJ, 1997), 3–56

A. Ballstaedt : ‘“Humor” und “Witz” in Joseph Haydns

Musik’, AMw, 55 (1998), 195–219

D. Chua : ‘Haydn as Romantic: a Chemical Experiment

with Intrumental Music’, Haydn Studies, ed. W.D. Sutcliffe
(Cambridge, 1998), 120–51

G. Edwards : ‘Papa Doc’s Recap Caper: Haydn and

Temporal Dyslexia’, Haydn Studies, ed. W.D. Sutcliffe
(Cambridge, 1998), 291–320

M. Spitzer : ‘Haydn’s Reversals: Style Change, Gesture

and the Implication-Realization Model’, Haydn Studies,
ed. W.D. Sutcliffe (Cambridge, 1998), 177–217

L. Finscher : Joseph Haydn und seine Zeit (Laaber, 2000)

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 J: Sacred vocal music
A. Schnerich : Der Messen-Typus von Haydn bis Schubert
(Vienna, 1892)

A. Sandberger : ‘Zur Entstehungsgeschichte von Haydns

“Sieben Worten des Erlösers am Kreuze”’, JbMP 1903, 47–
59; repr. in idem: Ausgewählte Aufsätze zur
Musikgeschichte, 1 (Munich, 1921/R), 266–81

M. Friedlaender : ‘Van Swieten und das Textbuch zu

Haydns Jahreszeiten’, JbMP 1909, 47–56

H. Schenker : ‘Haydn: Die Schöpfung: die Vorstellung des

Chaos’, Das Meisterwerk in der Musik, 2 (Munich, 1926/
R), 159–70; Eng. trans. (1996), 97–105

K. Geiringer : ‘Haydn’s Sketches for “The Creation”’, MQ,

18 (1932), 299–308

C.M. Brand : Die Messen von Joseph Haydn (Würzburg,

1941/R)

K. Geiringer : ‘The Small Sacred Works by Haydn in the

Esterházy Archives at Eisenstadt’, MQ, 45 (1959), 460–72

E.F. Schmid : ‘Haydns Oratorium “Il ritorno di Tobia”:

seine Entstehung und seine Schicksale’, AMw, 16 (1959),
292–313

M. Stern : ‘Haydns “Schöpfung”: Geist und Herkunft des

van Swietenschen Librettos: ein Beitrag zum Thema
“Säkularisation” im Zeitalter der Aufklärung’, Haydn-
Studien, 1/3 (1966), 121–98

D. McCaldin : ‘Haydn’s First and Last Work: the “Missa

brevis” in F major’, MR, 28 (1967), 165–72

A. Riedel-Martiny : ‘Das Verhältnis von Text und Musik in

Haydns Oratorien’, Haydn-Studien, 1/4 (1967), 205–40

H. Walter : ‘Gottfried van Swietens handschriftliche

Textbücher zu “Schöpfung” und “Jahreszeiten”’, Haydn-
Studien, 1/4 (1967), 241–77

E. Olleson : ‘The Origin and Libretto of Haydn’s

“Creation”’, Haydn Yearbook 1968, 148–68

I. Becker-Glauch : ‘Neue Forschungen zu Haydns

Kirchenmusik’, Haydn-Studien, 2/3 (1970), 167–241 [with
thematic catalogue of small sacred works]

M. Chusid : ‘Some Observations on Liturgy, Text and

Structure in Haydn’s Late Masses’, Studies in Eighteenth-
Century Music: a Tribute to Karl Geiringer, ed. H.C.R.

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 Landon and R.E. Chapman (New York and London, 1970),
125–35

A. Riethmüller : ‘Die Vorstellung des Chaos in der Musik:

zu Joseph Haydns Oratorium “Die Schöpfung”’, Convivium
cosmologicum: Helmut Hönl zum 70. Geburtstag, ed. A.
Ginnaras (Basle, 1973), 185–95

H.-J. Horn : ‘FIAT LVX: zum kunsttheoretischen

Hintergrund der “Erschaffung” des Lichtes in Haydns
Schöpfung’, Haydn-Studien, 3/2 (1974), 65–84

J.T. Berkenstock : The Smaller Sacred Compositions of

Joseph Haydn (diss., Northwestern U., 1975)

O. Moe : ‘Structure in Haydn’s The Seasons’, Haydn

Yearbook 1975, 340–48

J. Dack : The Origins and Development of the Esterházy

Kapelle in Eisenstadt until 1790 (diss., U. of Liverpool,
1976)

D. Heartz : ‘The Hunting Chorus in Haydn’s Jahreszeiten

and the “Airs de chasse” in the Encyclopédie’, Journal of
Eighteenth-Century Studies, 9 (1976), 523–39

J.P. Larsen : ‘Beethovens C-dur Messe und die Spätmessen

Joseph Haydns’, Beethoven Colloquium: Vienna 1977, 12–
19; Eng. trans. in Larsen (C1988)

O. Biba : ‘Beispiele für die Besetzungsverhältnisse bei

Aufführungen von Haydns Oratorien in Wien zwischen
1784 und 1808’, Haydn-Studien, 4/2 (1978), 94–104

G. Feder : ‘Haydns Korrekturen zum Klavierauszug der

“Jahreszeiten”’, Festschrift Georg von Dadelsen, ed. T.
Kohlhase and V. Scherliess (Neuhausen-Stuttgart, 1978),
101–12

H. Zeman : ‘Das Textbuch Gottfried van Swietens zu Josph

Haydns “Die Schöpfung”’, Die österreichische Literatur:
ihr Profil an der Wende vom 18. zum 19. Jahrhundert
(Graz, 1979), 403–25

V. Ravizza : Joseph Haydn: Die Schöpfung (Munich, 1981)

H. Unverricht : ‘Joseph Haydns Die sieben Worte Christi

am Kreuze in der Bearbeitung des Passauer
Hofkapellmeisters Joseph Friebert’, KJb, 65 (1981), 83–94

B. Edelmann : ‘Haydn’s Il ritorno di Tobia und der Wandel

des “Geschmacks” in Wien nach 1780’, Joseph Haydn:
Cologne 1982, 189–214

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 L.M. Kantner : ‘Das Messenschaffen Joseph Haydns und
seiner italienischen Zeitgenossen: ein Vergleich’, Joseph
Haydn: Cologne 1982, 145–59

J.P. Larsen : ‘Haydn’s Early Masses: Evolution of a Genre’,

American Choral Review, 24/2–3 (1982), 48–60; repr. in
Larsen (C1988)

H.E. Smither : ‘Haydn’s Il ritorno di Tobia und die

Tradition des italienischen Oratoriums’, Joseph Haydn:
Cologne 1982, 160–88

V. Kalisch : ‘Haydn und die Kirchenmusik: ein analytischer

Versuch am Beispiel des Benedictus der
Schöpfungsmesse’, Musik und Kirche, 54 (1984), 159–70

W. Michel : ‘Die Tobias-Dramen bis zu Haydns Oratorium

“Il ritorno di Tobia”’, Haydn-Studien, 5/3 (1984), 147–68

H.C.R. Landon, ed.: The Creation and The Seasons: the

Complete Authentic Sources for the Word-Books (Cardiff,
1985)

A.P. Brown : Performing Haydn’s ‘The Creation’:

Reconstructing the Earliest Renditions (Bloomington, IN,
1986)

G. Feder : ‘Die Jahreszeiten in der Vertonung von Joseph

Haydn’, Die vier Jahreszeiten im 18. Jahrhundert:
Langenburg 1983 (Heidelberg, 1986), 96–107

T. Göllner : Die Sieben Worte am Kreuz bei Schütz und

Haydn (Munich, 1986)

B.C. MacIntyre : The Viennese Concerted Mass of the

Early Classic Period (Ann Arbor, 1986)

H. Zeman : ‘Von der irdischen Glückseligkeit: Gottfried

van Swietens Jahreszeiten-Libretto: eine Utopie vom
natürlichen Leben des Menschen’, Die vier Jahreszeiten
im 18. Jahrhundert: Langenburg 1983 (Heidelberg, 1986),
108–20

W. Kirsch : ‘Vergangenes und Gegenwärtiges in Haydns

Oratorien: zur Dramaturgie der “Schöpfung” und der
“Jahreszeiten”’, Florilegium musicologicum: Hellmut
Federhofer zum 75. Geburtstag, ed. C.-H. Mahling
(Tutzing, 1988), 169–87

F. Krummacher : ‘Symphonische Verfahren in Haydns

späten Messen’, Das musikalische Kunstwerk: Festschrift
Carl Dahlhaus, ed. H. Danuser and others (Laaber, 1988),
455–81

A.P. Brown : ‘Haydn’s Chaos: Genesis and Genre’, MQ, 73

(1989), 18–59
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 D.W. Jones : ‘Haydn’s Missa sunt bona mixta malis and the
a cappella Tradition’, Music in Eighteenth-Century
Austria: Cardiff 1991, 89–111

W.A. Kumbier : ‘A “New Quickening”: Haydn’s The

Creation, Wordsworth and the Pictorialist Imagination’,
Studies in Romanticism, 30 (1991), 535–63

N. Temperley : Haydn: ‘The Creation’ (Cambridge, 1991)

L. Kramer : ‘Music and Representation: the Instance of

Haydn’s Creation ’, Music and Text: Critical Inquiries, ed.
S.P. Sher (Cambridge, 1992), 139–62

L. Kramer : ‘Haydn’s Chaos, Schenker’s Order; or,

Hermeneutics and Musical Analysis: Can they Mix?’,
19CM, 16 (1992–3), 3–17

A.P. Brown : ‘ The Creation and The Seasons: Some

Allusions, Quotations, and Models from Handel to
Mendelssohn’, CMc, no.51 (1993), 26–58

W.A. Kumbier : ‘Rhetoric in Haydn’s Applausus’, Haydn

Yearbook 1993, 213–65

B.C. MacIntyre : ‘Wiener Salve-Regina-Vertonungen und

Haydn’, Haydn-Studien, 6/4 (1994), 261–77

J. Webster : ‘Haydns Salve Regina in g-Moll (1771) und die

Entwicklung zum durchkomponierten Zyklus’, Haydn-
Studien, 6/4 (1994), 245–60

G. Chew : ‘Haydn’s Pastorellas: Genre, Dating and

Transmission in the Early Church Works’, Studies in
Music History Presented to H.C. Robbins Landon, ed. O.
Biba and D.W. Jones (London, 1996), 21–43

J. Webster : ‘The Creation, Haydn’s Late Vocal Music, and

the Musical Sublime’, Haydn and his World, ed. E. Sisman
(Princeton, NJ, 1997), 57–102

B.C. MacIntyre : Haydn: The Creation (New York, 1998)

J.W. McGrann : ‘Of Saints, Name Days, and Turks: Some

Background on Haydn’s Masses Written for Prince
Nikolaus II Esterházy’, JMR, 17 (1998), 195–210

J. Webster : ‘Haydn’s Sacred Vocal Music and the

Aesthetics of Salvation’, Haydn Studies, ed. W.D. Sutcliffe
(Cambridge, 1998), 35–69

G. Feder : Joseph Haydn: Die Schöpfung (Kassel, 1999)

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 K: Operas
L. Wendschuh : Über Joseph Haydn’s Opern (Halle, 1896)

R. Haas : ‘Teutsche Comedie Arien’, ZMw, 3 (1920–21),

405–15

H. Wirth : Joseph Haydn als Dramatiker: sein

Bühnenschaffen als Beitrag zur Geschichte der deutschen
Oper (Wolfenbüttel, 1940)

H.C.R. Landon : ‘Haydn’s Marionette Operas and the

Repertoire of the Marionette Theatre at Esterház Castle’,
Haydn Yearbook 1962, 111–99

G. Feder : ‘Einige Thesen zu dem Thema: Haydn als

Dramatiker’, Haydn-Studien, 2/2 (1969), 126–31

G. Feder: ‘Ein Kolloquium über Haydns Opern’, Haydn-

Studien, 2/2 (1969), 113–18 [incl. catalogue of roles in
Haydn’s operas]

E. Badura-Skoda : ‘“Teutsche Comoedie-Arien” und Joseph

Haydn’, Der junge Haydn: Graz 1970, 59–73

K. Geiringer : ‘From Guglielmi to Haydn: the

Transformation of an Opera’, IMSCR XI: Copenhagen
1972, 1, 391–5

H.C.R. Landon : ‘The Operas of Haydn’, NOHM, 7 (1973),

172–99

G. Feder : ‘Opera seria, opera buffa und opera semiseria

bei Haydn’, Opernstudien: Anna Amalie Abert zum 65.
Geburtstag, ed. K. Hortschansky (Tutzing, 1975), 37–55

A.P. Brown : ‘Tommaso Traetta and the Genesis of a Haydn

Aria (Hob. XXIVb:10)’, Haydn e il suo tempo: Siena 1979
[Chigiana, new ser., xvi (1979)], 101–42

L’avant-scène opéra, no.42 (1982) [Orlando paladino issue]

Joseph Haydn: Cologne 1982 [incl. D. Altenburg: ‘Haydn

und die Tradition der italienischen Oper: Bemerkungen
zum Opernrepertoire des Esterházyschen Hofes’, 77–99;
G. Allroggen: ‘La canterina in den Vertonungen von Nicolà
Piccinni und Joseph Haydn’, 100–12; F. Lippmann: “Haydn
und die opera buffa: Vergleiche mit italienischen Werken
gleichen Textes’, 113–40]

Joseph Haydn: Vienna 1982 [incl. R. Steblin: ‘Key

Characteristics and Haydn’s Operas’, 91–100; E. Melkus:
‘Haydn als Dramatiker am Beispiel der Oper La vera
costanza’, 256–76; R. Strohm: ‘Zur Metrik in Haydns und
Anfossis “La vera costanza”’, 279–94; M. McClymonds:
‘Haydn and his Contemporaries: Armida abbandonata’,
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 325–32; D. Heartz: ‘Haydn’s Acide e Galatea and the
Imperial Wedding Operas of 1760 by Hasse and Gluck’,
332–40; S. Leopold: ‘Le pescatrici: Goldoni, Haydn,
Gassmann’, 341–9; G. Lazarevich: ‘Haydn and the Italian
Comic Intermezzo Tradition’, 376–84; H. Geyer-Kiefl:
‘Guglielmis Le pazzie d’Orlando und Haydns Orlando
paladino’, 403–13]

F. Lippmann : ‘Haydns “La fedeltà premiata” und

Cimarosas “L’infedeltà fedele”’, Haydn-Studien, 5/1
(1982), 1–15

G. Feder : ‘Haydn und Hasse’, Johann Adolf Hasse und die

Musik seiner Zeit: Siena 1983 [AnMc, no.25 (1987)], 305–
27

F. Lippmann : ‘Haydns opere serie: Tendenzen und

Affinitäten’, Studi musicali, 12 (1983), 301–31

M. Brago : ‘Haydn, Goldoni and Il mondo della luna ’,

Journal of Eighteenth-Century Studies, 17 (1984), 308–22

M. Hunter : ‘Haydn’s Sonata-Form Arias’, CMc, nos.37–8

(1984), 19–32

J.A. Rice : ‘Sarti’s Giulio Sabino, Haydn’s Armida, and the

Arrival of Opera Seria at Eszterháza’, Haydn Yearbook
1984, 181–98

G. Thomas : ‘Haydns deutsche Singspiele’, Haydn-Studien,

6/1 (1986), 1–63

B.A. Brown : ‘ Le pazzie d’Orlando, Orlando paladino, and

the Uses of Parody’, Italica, 64 (1987), 583–605

Joseph Haydn und die Oper seiner Zeit: Eisenstadt 1988

P. Debly : ‘Social Commentary in the Music of Haydn’s

Goldoni Operas’, Metaphor: a Musical Dimension:
Melbourne 1988, 51–68

G. Feder and G. Thomas : ‘Dokumente zur Ausstattung von

Lo speziale, L’infedeltà delusa, La fedeltà premiata,
Armida und anderen Opern Haydns’, Haydn-Studien, 6/2
(1988), 88–115

M. Hunter : ‘Text, Music and Drama in Haydn’s Italian

Opera Arias: Four Case Studies’, JM, 7 (1989), 29–57

C. Clark : ‘Intertextual Play and Haydn’s La fedeltà

premiata ’, CMc, no.51 (1993), 59–81

R. Wochnik : Die Musiksprache in den opere semiserie

Joseph Haydns unter besonderer Berücksichtigung von
‘L’incontro improvviso’ (Hamburg, 1993)

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 R. Green : ‘Representing the Aristocracy: the Operatic
Haydn and Le pescatrici ’, Haydn and his World, ed. E.
Sisman (Princeton, NJ, 1997), 154–200

J. Waldoff : ‘Sentiment and Sensibility in La vera costanza

’, Haydn Studies, ed W.D. Sutcliffe (Cambridge, 1998), 70–
119

N. Miller : ‘ Commedia per musica: Joseph Haydn Opern

für Esterháza’, in C. Dahlhaus: Europäische Romantik in
der Musik, 1 (Stuttgart, 1999), 243–353

L: Secular vocal
O.E. Deutsch : ‘Haydns Kanons’, ZMw, 15 (1932–3), 112–
24, 172

C. Hopkinson and C.B. Oldman : ‘Thomson’s Collections of

National Song, with Special Reference to the
Contributions of Haydn and Beethoven’, Edinburgh
Bibliographical Society Transactions, 2 (1938–9), 1–64
[with thematic catalogue]; see also Edinburgh
Bibliographical Society Transactions, iii (1949–51), 123–4;
suppl. in ‘Haydn’s Settings of Scottish Songs in the
Collections of Napier and Whyte’, Edinburgh
Bibliographical Society Transactions, iii (1949–51), 85–
120

K. Geiringer : ‘Haydn and the Folksong of the British

Isles’, MQ, 35 (1949), 179–208

F. Grasberger : Die Hymnen Österreichs (Tutzing, 1968)

A.P. Brown : ‘Joseph Haydn and Leopold Hofmann’s

“Street Songs”’, JAMS, 33 (1980), 356–83

O. Biba : Gott erhalte! Joseph Haydns Kaiserhymne

(Vienna, 1982) [with facs. of 1st edn]

A. Riethmüller : ‘Joseph Haydn und das Deutschlandlied’,

AMw, 44 (1987), 241–67

R. Bockholdt : ‘ Ein Mädchen, das auf Ehre hielt: eine

“sehr gewöhnliche Geschichte”: der Erzählton in den
Liedern und Instrumentalmusik von Joseph Haydn’,
Liedstudien: Wolfgang Osthoff zum 60. Geburtstag, ed. M.
Just and R. Wiesend (Tutzing, 1989), 185–202

W. Kumbier : ‘Haydn’s English Canzonettas:

Transformations in the Rhetoric of the Musical Sublime’,
The Scope of Words: in Honor of Albert S. Cook, ed. P.
Barker, S.W. Goodwin and G. Handwerk (New York, 1991),
73–93

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 J. Rushton : ‘Viennese Amateur or London Professional? A
Reconsideration of Haydn’s Tragic Cantata Arianna a
Naxos ’, Music in Eighteenth-Century Austria: Cardiff
1991, 232–45

A.P. Brown : ‘Musical Settings of Anne Hunter’s Poetry:

from National Song to Canzonetta’, JAMS, 47 (1994), 39–
89

B. Over : ‘Arianna travestita: Haydns Kantate Arianna a

Naxos in geistlichem Gewand’, Haydn-Studien, 7/3–4
(1998), 384–97

M: Orchestral
H. Kretzschmar : ‘Die Jugendsinfonien Joseph Haydns’,
JbMP 1908, 69–90

B. Rywosch : Beiträge zur Entwicklung in Joseph Haydns

Symphonik, 1759–1780 (Turbenthal, 1934)

A. Schering : ‘Bemerkungen zu J. Haydns

Programmsinfonien’, JbMP 1939, 9–27; repr. in Vom
musikalischen Kunstwerk, ed. F. Blume (Leipzig, 1949,
2/1951), 246–77

H.J. Therstappen : Joseph Haydns sinfonisches

Vermächtnis (Wolfenbüttel, 1941)

H.C.R. Landon : The Symphonies of Joseph Haydn

(London, 1955) [incl. thematic catalogues of authentic,
spurious and doubtful syms., pp.605–823]; suppl. (London,
1961)

J.P. Larsen : ‘The Symphonies’, The Mozart Companion,

ed. H.C.R. Landon and D. Mitchell (London and New York,
1956/R), 156–99

J.P. Larsen : ‘Probleme der chronologischen Ordnung von

Haydns Sinfonien’, Festschrift Otto Erich Deutsch, ed. W.
Gerstenberg, J. LaRue and W. Rehm (Kassel, 1963), 90–
104

E.K. Wolf : ‘The Recapitulations in Haydn’s London

Symphonies’, MQ, 52 (1966), 71–89

S. Gerlach : ‘Die chronologische Ordnung von Haydns

Sinfonien zwischen 1774 und 1782’, Haydn-Studien, 2/1
(1969), 34–66

J.H. van der Meer : ‘Die Verwendung der Blasinstrumente

im Orchester bei Haydn und seinen Zeitgenossen’, Der
junge Haydn: Graz 1970, 202–20

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 L. Nowak : ‘Die Skizzen zum Finale der Es-dur-Symphonie
GA 99 von Joseph Haydn’, Haydn-Studien, 2/3 (1970),
137–66

G. Thomas : ‘Studien zu Haydns Tanzmusik’, Haydn-

Studien, 3/1 (1973), 5–28; see also Jb für österreichische
Kulturgeschichte, ii: Joseph Haydn und seine Zeit (1972),
73–85

P.R. Bryan : ‘The Horn in the Works of Mozart and Haydn’,

Haydn Yearbook 1975, 189–255

A. Hodgson : The Music of Joseph Haydn: the Symphonies

(London, 1976)

K. Marx : ‘Über thematische Beziehungen in Haydns

Londoner Symphonien’, Haydn-Studien, 4/1 (1976), 1–19

M. Danckwardt : Die langsame Einleitung: ihre Herkunft

und ihr Bau bei Haydn und Mozart (Tutzing, 1977)

B. Sponheuer : ‘Haydns Arbeit am Finalproblem’, AMw,

34 (1977), 199–224

J.P. Larsen : ‘Zur Entstehung der österreichischen

Symphonietradition (ca. 1750–1775)’, Haydn Yearbook
1978, 72–80; Eng. trans. in Larsen (C1988)

M.L. Martinez-Göllner : Joseph Haydn: Symphonie Nr. 94,

Meisterwerke der Musik, 16 (Munich, 1979)

R. Bard : “‘Tendenzen” zur zyklischen Gestaltung in

Haydns Londoner Sinfonien’, GfMKB: Bayreuth 1981,
379–83

R. Bard : Untersuchungen zur motivischen Arbeit in

Haydns sinfonischem Spätwerk (Kassel, 1982)

M.S. Cole : ‘Haydn’s Symphonic Rondo Finales: their

Structural and Stylistic Evolution’, Haydn Yearbook 1982,
113–42

N. Zaslaw : ‘Mozart, Haydn and the sinfonia da chiesa ’,

JM, 1 (1982), 95–124

K.-H. Schlager : Joseph Haydn: Sinfonie Nr. 104 D-dur,

Meisterwerke der Musik, 37 (Munich, 1983)

S. Gerlach : ‘Haydns Orchesterpartituren: Fragen der

Realisierung des Texts’, Haydn-Studien, 5/3 (1984), 169–
83

R. Gwilt : ‘Sonata-Allegro Revisited’, In Theory Only, 7/5–6

(1984), 3–33

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 S.C. Fisher : Haydn’s Overtures and their Adaptations as
Concert Orchestral Works (diss., U. of Pennsylvania, 1985)

G. Schröder : ‘Über das “klassische Orchester” und

Haydns späte symphonische Instrumentation’, Musik-
Konzepte, no.41 (1985), 79–97

P. Benary : ‘Die langsamen Einleitungen in Joseph Haydns

Londoner Sinfonien’, Studien zur Instrumentalmusik:
Lothar Hoffmann-Erbrecht zum 60. Geburtstag, ed. A.
Bingmann and others (Tutzing, 1988), 239–51

S. Gerlach : ‘Haydns “chronologische” Sinfonienliste für

Breitkopf & Härtel’, Haydn-Studien, 6/2 (1988), 116–29

H. Krones : ‘“Meine Sprache versteht man durch die

ganze Welt’: das “redende Prinzip” in Joseph Haydns
Instrumentalmusik’, Wort und Ton im europäischen Raum:
Gedenkschrift für Robert Schollum, ed. H. Krones
(Vienna, 1989), 79–108

S.A. Edgerton : The Bass Part in Haydn’s Early

Symphonies: a Documentary and Analytical Study (diss.,
Cornell U., 1990)

G. Feder : ‘Joseph Haydns Konzerte: ihre Überlieferungs-

und Wirkungsgeschichte’, Beiträge zur Geschichte des
Konzerts: Festschrift Siegfried Kross, ed. R. Emans and M.
Wendt (Bonn, 1990), 115–24

D.P. Schroeder : Haydn and the Enlightenment: the Late

Symphonies and their Audience (Oxford, 1990)

J.L. Schwartz : ‘Periodicity and Passion in the First

Movement of Haydn’s “Farewell” Symphony’, Studies in
Musical Sources and Style: Essays in Honor of Jan LaRue,
ed. E.K. Wolf and E.H. Roesner (Madison, WI, 1990), 293–
338

E.R. Sisman : ‘Haydn’s Theater Symphonies’, JAMS, 43

(1990), 292–352

J. Webster : ‘The D-major Interlude in Haydn’s “Farewell”

Symphony’, Studies in Musical Sources and Style: Essays
in Honor of Jan LaRue, ed. E.K. Wolf and E.H. Roesner
(Madison, WI, 1990), 339–80

J. Webster : ‘On the Absence of Keyboard Continuo in

Haydn’s Symphonies’, EMc, 18 (1990), 599–608

S.C. Fisher : ‘Further Thoughts on Haydn’s Symphonic

Rondo Finales’, Haydn Yearbook 1992, 85–107

P. Weber-Bockholdt : ‘Joseph Haydns Sinfonien mit

langsamen ersten Sätzen’, Mf, 45 (1992), 152–61

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 A. Odenkirchen : Die Konzerte Joseph Haydns:
Untersuchungen zur Gattungstransformation in der
zweiten Hälfte des 18. Jahrhunderts (Frankfurt, 1993)

E. Haimo : Haydn’s Symphonic Forms: Essays in

Compositional Logic (Oxford, 1995)

A.P. Brown : ‘The Sublime, the Beautiful and the

Ornamental: English Aesthetic Currents and Haydn’s
London Symphonies’, Studies in Music History Presented
to H.C. Robbins Landon, ed. O. Biba and D.W. Jones
(London, 1996), 44–71

S. Gerlach : ‘Joseph Haydns Sinfonien bis 1774: Studien

zur Chronologie’, Haydn-Studien, 7/1–2 (1996), 1–287

M.E. Bonds : ‘The Symphony as Pindaric Ode’, Haydn and

his World, ed. E. Sisman (Princeton, NJ, 1997), 131–53

W. Steinbeck : ‘Die Konzertsatzform bei Haydn’,

Traditionen – Neuansätze: für Anna Amalie Abert (1906–
1996), ed. K. Hortschansky (Tutzing, 1997), 493–518

R. Will : ‘When God Met the Sinner, and Other Dramatic

Confrontations in Eighteenth-Century Instrumental
Music’, ML, 78 (1997), 175–209

B. Harrison : Haydn: the ‘Paris’ Symphonies (Cambridge,

1998)

J. Webster : ‘Haydn’s Symphonies between Sturm und

Drang and “Classical Style”: Art and Entertainment’,
Haydn Studies, ed. W.D. Sutcliffe (Cambridge, 1998), 218–
45

N: Chamber without keyboard

A. Sandberger : ‘Zur Geschichte des Haydn’schen
Streichquartetts’, Altbayerische Monatsschrift, 2 (1900),
41–64; rev. in Ausgewählte Aufsätze zur Musikgeschichte,
1 (Munich, 1921/R), 224–65

D.F. Tovey : ‘Franz Joseph Haydn’, Cobbett’s Cyclopedic

Survey of Chamber Music, 1 (London, 1929–30, 2/1963/R),
514–48; repr. as ‘Haydn’s Chamber Music’, Essays and
Lectures on Music (London, 1943), 1–64

F. Blume : ‘Joseph Haydns künstlerische Persönlichkeit in

seinen Streichquartetten, JbMP 1931, 24–48; repr. in
idem: Syntagma musicologicum: gesammelte Reden und
Schriften (Kassel, 1963), 526–51

W.O. Strunk : ‘Haydn’s Divertimenti for Baryton, Viola,

and Bass’, MQ, 18 (1932), 216–51

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 R. Sondheimer : Haydn: a Historical and Psychological
Study based on his Quartets (London, 1951)

H.C.R. Landon : ‘On Haydn’s Quartets of Opera 1 and 2:

Notes and Comments on Sondheimer’s Historical and
Psychological Study’, MR, 13 (1952), 181–6

H.R. Edwall : ‘Ferdinand IV and Haydn’s Concertos for the

“Lira Organizzata”’, MQ, 48 (1962), 190–203

W. Kirkendale : Fuge und Fugato in der Kammermusik des

Rokoko und der Klassik (Tutzing, 1966; Eng. trans.,
enlarged, 1979)

L. Finscher : ‘Joseph Haydn und das italienische

Streichquartett’, AnMc, no.4 (1967), 13–37

D. Bartha : ‘Thematic Profile and Character in the Quartet

Finales of Joseph Haydn (a Contribution to the Micro-
Analysis of Thematic Structure)’, SMH, 11 (1969), 35–62

I. Saslav : Tempos in the String Quartets of Joseph Haydn

(diss., Indiana U., 1969)

H. Unverricht : Geschichte des Streichtrios (Tutzing,

1969)

H. Unverricht : ‘Zur Chronologie der Barytontrios von

Joseph Haydn’, Symbolae historiae musicae: Hellmut
Federhofer zum 60. Geburtstag, ed. F.W. Riedel and H.
Unverricht (Mainz, 1971), 180–89

L. Somfai : “‘Ich war nie ein Geschwindschreiber …”:

Joseph Haydns Skizzen zum langsamen Satz des
Streichquartetts Hoboken III:33’, Festskrift Jens Peter
Larsen, ed. N. Schiørring, H. Glahn and C.E. Hatting
(Copenhagen, 1972), 275–84

L. Finscher : Studien zur Geschichte des Streichquartetts,

i: Die Entstehung des klassischen Streichquartetts: von
den Vorformen zur Grundlegung durch Joseph Haydn
(Kassel, 1974)

O. Moe : ‘Texture in Haydn’s Early Quartets’, MR, 35

(1974), 4–22

J. Webster : ‘Towards a History of Viennese Chamber

Music in the Early Classical Period’, JAMS, 27 (1974),
212–47

J. Webster : ‘The Chronology of Haydn’s String Quartets’,

MQ, 61 (1975), 17–46

J. Webster : ‘Freedom of Form in Haydn’s Early String

Quartets’, Haydn Studies: Washington DC 1975, 522–30

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 F. Salzer : ‘Haydn’s Fantasia from the String Quartet,
Opus 76, No.6’, Music Forum, 4 (1976), 161–94

J. Webster : ‘Violoncello and Double Bass in the Chamber

Music of Haydn and his Viennese Contemporaries, 1750–
1780’, JAMS, 29 (1974), 413–38

J. Webster : ‘The Bass Part in Haydn’s Early String

Quartets’, MQ, 63 (1977), 390–424

L. Somfai : ‘An Introduction to the Study of Haydn’s String

Quartet Autographs’, The String Quartets of Haydn,
Mozart and Beethoven: Cambridge, MA, 1979, 5–51

J. Webster : ‘The Significance of Haydn’s String Quartet

Autographs for Performance Practice’, The String
Quartets of Haydn, Mozart and Beethoven: Cambridge,
MA, 1979, 62–95

T. Crawford : ‘Haydn’s Music for Lute’, Le luth et sa

musique II: Tours 1980, 69–86

L. Somfai : ‘Opus-Planung und Neuerung bei Haydn’,

SMH, 22 (1980), 87–110

W. Konold : ‘Normerfüllung und Normverweigerung beim

späten Haydn am Beispiel des Streichquartetts op.76 Nr.
6’, Joseph Haydn: Cologne 1982, 54–73

E. Kubitschek : ‘Die Flötentrios Hob. IV:6–11’, Joseph

Haydn: Vienna 1982, 419–26

E.R. Sisman : ‘Haydn’s Baryton Pieces and his Serious

Genres’, Joseph Haydn: Vienna 1982, 426–35

B.S. Brook : ‘Haydn’s String Trios: a Misunderstood

Genre’, CMc, no.36 (1983), 61–77

C.A. Gartrell : The Baryton: the Instrument and its Music

(diss., U. of Surrey, 1983) [chap.13, Esterházy]

W. Steinbeck : ‘Mozart’s “Scherzi”: zur Beziehung

zwischen Haydns Streichquartetten op.33 und Mozarts
Haydn-Quartetten’, AMw, 41 (1984), 208–31

H. Keller : The Great Haydn Quartets: their Interpretation

(London, 1986)

J. Neubacher : Finis coronat opus: Untersuchungen zur

Technik der Schlussgestaltung in der Instrumentalmusik
Joseph Haydns, dargestellt am Beispiel der
Streichquartette (Tutzing, 1986)

L. Somfai : “‘Learned Style” in Two Late String Quartet

Movements of Haydn’, SMH, 28 (1986), 325–49

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 S.E. Tepping : Fugue Process and Tonal Structure in the
String Quartets of Haydn, Mozart, and Beethoven (diss.,
Indiana U., 1987)

M. Bandur : Form und Gehalt in den Streichquartetten

Joseph Haydns: Studien zur Theorie der Sonatenform
(Pfaffenweiler, 1988)

J. Webster : ‘Haydns frühe Ensemble-Divertimenti:

Geschlossene Gattung, meisterhafter Satz’,
Gesellschaftsgebundene instrumentale
Unterhaltungsmusik des 18. Jahrhunderts: Eichstätt 1988,
87–103

N. Schwindt-Gross : Drama und Diskurs: zur Beziehung

zwischen Satztechnik und motivischem Prozess am
Beispiel der durchbrochenen Arbeit in den
Streichquartetten Haydns und Mozarts (Laaber, 1989)

G. Edwards : ‘The Nonsense of an Ending: Closure in

Haydn’s String Quartets’, MQ, 75 (1991), 227–54

A.P. Brown : ‘Haydn and Mozart’s 1773 Stay in Vienna:

Weeding a Musicological Garden’, JM, 10 (1992), 192–230

W.D. Sutcliffe : Haydn: String Quartets, op.50 (Cambridge,

1992)

M.E. Bonds : ‘The Sincerest Form of Flattery? Mozart’s

“Haydn” Quartets and the Question of Influence’, Studi
musicali, 22 (1993), 365–409

G.J. Winkler : ‘Opus 33/2: zur Anatomie eines

Schlusseffekts’, Haydn-Studien, 6/4 (1994), 288–97

H. Danuser : ‘Das Ende als Anfang: Ausblick von einer

Schlussfigur bei Joseph Haydn’, Studien zur
Musikgeschichte: eine Festschrift für Ludwig Finscher,
ed. A. Laubenthal and K. Kusan-Windweh (Kassel, 1995),
818–27

H. Walter : ‘Zum Wiener Streichquartett der Jahre 1780

bis 1800’, Haydn-Studien, 7/3–4 (1998), 289–314

W. Drabkin : A Reader’s Guide to Haydn’s Early Quartets

(Westport, CT, and London, 2000)

O: Keyboard
NewmanSCE

H. Abert : ‘Joseph Haydns Klavierwerke’, ZMw, 2 (1919–

20), 553–73; ‘Joseph Haydns Klaviersonaten’, iii (1920–
21), 535–52

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 H. Schenker : ‘Haydn: Sonate Es Dur’ [H XVI:52], Der
Tonwille, 1 (1922), 3–21

H. Schenker : ‘Haydn: Sonate C Dur’ [H XVI:50], Der

Tonwille, 2 (1923), 15–18

H. Schenker : ‘Vom Organischen der Sonatenform’,

Meisterwerk in der Musik, 2 (Munich, 1926/R; Eng. trans.,
1996), 43–54; Eng. trans., JMT, xii (1968) [H XVI:44, 1st
movt]

E.F. Schmid : ‘Joseph Haydn und die Flötenuhr’, ZMw, 14

(1931–2), 193–221

H. Schenker : Fünf Urlinie-Tafeln (New York, 1933; Eng.

trans., 1969, with new introduction and glossary by F.
Salzer as Five Graphic Music Analyses) [Pf Sonata H XVI:
49]

W.O. Strunk : ‘Notes on a Haydn Autograph’, MQ, 20

(1934), 192–205

D.F. Tovey : ‘Haydn: Pianoforte Sonata in E flat, No.1’,

Essays in Musical Analysis: Chamber Music (London,
1944/R), 93–105 [H XVI:52]

G. Feder : ‘Probleme einer Neuordnung der

Klaviersonaten Haydns’, Festschrift Friedrich Blume, ed.
A.A. Abert and W. Pfannkuch (Kassel, 1963), 92–103

F. Eibner : ‘Die authentische Klavierfassung von Haydns

Variationen über “Gott erhalte”’, Haydn Yearbook 1970,
281–306

G. Feder : ‘Haydns frühe Klaviertrios: eine Untersuchung

zur Echtheit und Chronologie’, Haydn-Studien, 2/4 (1970),
289–316

G. Feder : ‘Wieviel Orgelkonzerte hat Haydn

geschrieben?’, Mf, 23 (1970), 440–44

E.F. Schmid : ‘Neue Funde zu Haydns Flötenuhrstücken’,

Haydn-Studien, 2/4 (1970), 249–55

H. Walter : ‘Haydns Klaviere’, Haydn-Studien, 2/4 (1970),

256–88

H. Walter : ‘Das Tasteninstrument beim jungen Haydn’,

Der junge Haydn: Graz 1970, 237–48

A.P. Brown : ‘The Structure of the Exposition in Haydn’s

Keyboard Sonatas’, MR, 36 (1975), 102–29

B. Wackernagel : Joseph Haydns frühe Klaviersonaten:

ihre Beziehungen zur Klaviermusik um die Mitte des 18.
Jahrhunderts (Tutzing, 1975)
Page 603 of 607
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 L. Steinberg : Sonata Form in the Keyboard Trios of
Joseph Haydn (diss., New York U., 1976)

L. Somfai : Joseph Haydn zongoraszonátái:

hangszerválasztás és eloadói gyakorlat, mufaji tipológia és
stílselemzés (Budapest, 1979; Eng. trans., with C.
Greenspan, 1995, as The Keyboard Sonatas of Joseph
Haydn: Instruments and Performance Practice, Genres
and Styles)

P. Badura-Skoda : ‘Beiträge zu Haydns Ornamentik’,

Musica, 36 (1982), 409–18; Eng. trans., Piano Quarterly,
no.135 (1986), 38–48

M. Fillion : The Accompanied Keyboard Divertimenti of

Haydn and his Viennese Contemporaries (c. 1750–1780)
(diss., Cornell U., 1982)

W.S. Newman : ‘Haydn as Ingenious Exploiter of the

Keyboard’, Joseph Haydn: Vienna 1982, 43–53

A.W.J.G. Ord-Hume : Joseph Haydn and the Mechanical

Organ (Cardiff, 1982)

R. Kamien : ‘Aspects of Motivic Elaboration in the Opening

Movement of Haydn’s Piano Sonata in C♯ minor’, Aspects
of Schenkerian Theory, ed. D. Beach (New Haven, CT,
1983), 77–93

J. Neubacher : “‘Idee” und “Ausführung’’: zum

Kompositionsprozess bei Joseph Haydn’, AMw, 41 (1984),
187–207

B. Shamgar : ‘Rhythmic Interplay in the Retransitions of

Haydn’s Piano Sonatas’, JM, 3 (1984), 55–68

A.P. Brown : Joseph Haydn’s Keyboard Music: Sources and

Style (Bloomington, IN, 1986)

K. Komlós : ‘Haydn’s Keyboard Trios Hob. XV:5–17:

Interaction between Texture and Form’, SMH, 28 (1986),
351–400

K. Komlós : ‘The Viennese Keyboard Trio in the 1780s:

Sociological Background and Contemporary Reception’,
ML, 68 (1987), 222–34

S.P. Rosenblum : Performance Practices in Classic Piano

Music (Bloomington, IN, 1988)

F. Krummacher : ‘Klaviertrio und sinfonischer Satz: zum

Adagio aus Haydns Sinfonie Nr.102’, Quaestiones in
musica: Festschrift für Franz Krautwurst, ed. F. Brusniak
and H. Leuchtmann (Tutzing, 1989), 325–35

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 W.D. Sutcliffe : The Piano Trios of Haydn (diss., U. of
Cambridge, 1989)

U. Leisinger : Joseph Haydn und die Entwicklung des

klassischen Klavierstils bis ca. 1785 (Laaber, 1994)

W. Petty : ‘Cyclic Integration in Haydn’s E♭ Piano Sonata

Hob. XVI:38’, Theory and Practice, 19 (1994), 31–55

J. Brauner : Studien zu den Klaviertrios von Joseph Haydn

(Tutzing, 1995)

K. Komlós : Fortepianos and their Music: Germany, Austria

and England (Oxford, 1995)

T. Beghin : ‘Haydn as Orator: a Rhetorical Analysis of his

Keyboard Sonata in D major, Hob. XVI:42’, Haydn and his
World, ed. E. Sisman (Princeton, NJ, 1997), 201–54

B. Harrison : Haydn’s Keyboard Music: Studies in

Performance Practice (Oxford, 1997)

J. Webster : ‘The Triumph of Variability: Haydn’s

Articulation Markings in the Autograph of Sonata no.49 in
E-flat’, Haydn, Mozart, & Beethoven: … Essays in Honour
of Alan Tyson, ed. S. Brandenburg (Oxford, 1998), 33–64

P: Reputation
L. de La Laurencie : ‘L’apparition des oeuvres d’Haydn à
Paris’, RdM, 13 (1932), 191–205

M.D.H. Norton : ‘Haydn in America (before 1820)’, MQ, 18

(1932), 309–37

L. Schrade : ‘Das Haydn-Bild in den ältesten Biographien’,

Die Musikerziehung, 9 (1932), 163–9, 200–13, 244–9

A. Sandberger : ‘Zur Einbürgerung der Kunst Josef

Haydns in Deutschland’, NBeJb 1935, 5–25

F. Lesure : ‘Haydn en France’, Konferenz zum Andenken

Joseph Haydns: Budapest 1959, 79–84

K.G. Fellerer : ‘Zum Joseph-Haydn-Bild im frühen 19.

Jahrhundert’, Anthony van Hoboken: Festschrift, ed. J.
Schmidt-Görg (Mainz, 1962), 73–86

A. Palm : ‘Unbekannte Haydn-Analysen’, Haydn Yearbook

1968, 169–94 [analyses by Momigny]

M.S. Cole : ‘Momigny’s Analysis of Haydn’s Symphony no.

103’, MR, 30 (1969), 261–84

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 B. Steinpress : ‘Haydns Oratorien in Russland zu
Lebzeiten des Komponisten’, Haydn-Studien, 2/2 (1969),
77–112

C. Höslinger : ‘Der überwundene Standpunkt: Joseph

Haydn in der Wiener Musikkritik des 19. Jahrhunderts’, Jb
für österreichische Kulturgeschichte, i/2: Beiträge zur
Musikgeschichte des 18. Jahrhunderts (1971), 116–42

A.P. Brown : ‘The Earliest English Biography of Haydn’,

MQ, 59 (1973), 339–54

I. Lowens : ‘Haydn in America’, Haydn Studies:

Washington DC 1975, 35–48

R. Stevenson : ‘Haydn’s Iberian World Connections’, Inter-

American Music Review, 4/2 (1981–2), 3–30

G. Feder : ‘Joseph Haydn 1982: Gedanken über Tradition

und historische Kritik’, Joseph Haydn: Vienna 1982, 597–
611

U. Tank : ‘Joseph Haydns geistliche Musik in der

Anschauung des 19. Jahrhunderts’, Joseph Haydn:
Cologne 1982, 215–62

D.W. Jones : ‘Haydn’s Music in London in the Period 1760–

1790’, Haydn Yearbook 1983, 144–72

M.S. Morrow : Concert Life in Haydn’s Vienna: Aspects of

a Developing Musical and Social Institution (New York,
1989); see also review by D. Edge, Haydn Yearbook 1992,
108–66

G.A. Wheelock : ‘Marriage à la Mode: Haydn’s

Instrumental Works “Englished” for Voice and Piano’, JM,
8 (1990), 357–97

T. Tolley : ‘Music in the Circle of Sir William Jones: a

Contribution to the History of Haydn’s Early Reception’,
ML, 73 (1992), 525–50

S. McVeigh : Concert Life in London from Mozart to

Haydn (Cambridge, 1993)

H. Irving : ‘William Crotch on “The Creation”’, ML, 75

(1994), 548–60

L. Botstein : ‘The Demise of Philosophical Listening:

Haydn in the 19th Century’, Haydn and his World, ed. E.
Sisman (Princeton, NJ, 1997), 255–85

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 L. Botstein : ‘The Consequences of Presumed Innocence:
the Nineteenth-Century Reception of Joseph Haydn’,
Haydn Studies, ed. W.D. Sutcliffe (Cambridge, 1998), 1–34
See also from The New Grove Dictionary of Opera: Joseph
Haydn; Anima del filosofo, L’; Armida; Canterina, La;
Fedeltà premiata, La (‘Fidelity Rewarded’); Feuersbrunst,
Die; Incontro improvviso, L’; Infedeltà delusa, L’; Isola
disabitata, L’; Mondo della luna, Il; Orlando paladino;
Pescatrici, Le; Philemon und Baucis; Speziale, Lo; and
Vera costanza, La

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