These listings occupy two pages. The present page includes citations dealing with general Haydn studies as well as literature pertaining to his vocal works. Page two, available via this link, provides citations of literature on Haydn's instrumental music.
The major published Haydn bibliographies:
A. Peter Brown and James T. Berkenstock. "Joseph Haydn in Literature: A Bibliography."
Haydn-Studien 3 (1973-74), 173-352. Review by Jack Westrup in Music & Letters 56 (1975), 78-79.
Floyd K. Grave and Margaret K. Grave. Franz Joseph Haydn: A Guide to Research. Garland Composer Resource Manuals, 31. New York: Garland, 1990. Reviews: A. Peter Brown, Music & Letters 72 (1991), 595-97; Hollace A. Schafer, Notes 48 (1991-92), 1256-58.
The following books contain multiple items on Haydn. All
Haydn-related articles in them are cited in our bibliographies.
Allanbrook, Wye J., Janet M. Levy, and William P. Mahrt, eds. Convention in Eighteenth- and
Nineteenth-Century Music: Essays in Honor of Leonard G. Ratner. Festschrift Series, 10. Stuyvesant: Pendragon, 1992. Hereafter "Ratner Festschrift."
Biba, Otto, and David Wyn Jones, eds. Studies in Music History Presented to H. C. Robbins Landon on His Seventieth Birthday.
London: Thames and Hudson, 1996. Hereafter "Landon
Festschrift."
Bockholdt, Rudolf. Studien zur Musik der Wiener Klassiker. Eine Aufsatzsammlung zum 70. Geburtstag des Autors, ed. Christian Speck. Bonn: Beethoven-Haus, 2001. Hereafter "Bockholdt Studien."
Brandenburg, Sieghard, ed. Haydn, Mozart, & Beethoven: Studies
in the Music of the Classical Period: Essays in Honour of Alan Tyson. Oxford: Clarendon, 1998. Hereafter "Tyson
Festschrift." Review by Edward Olleson, Notes 56 (1999-2000), 941-942.
Danuser, Hermann, and Tobias Plebuch, eds. Musik als Text: Bericht über den Internationalen Kongress der Gesellschaft für Musikforschung Freiburg im Breisgau 1993, 2 vols. Kassel: Bärenreiter, 1998. Hereafter "Musik als Text."
Freeman, Robert N., ed. Joseph Haydn and the Eighteenth Century: Collected Essays of Karl Geiringer. Warren MI: Harmonie Park, 2002. Review by Malcolm S. Cole, Notes 60 (2003-04), 435-437. (Contents are not yet indexed here.)
Hortschansky, Klaus, ed. Traditionen--Neuansätze für Anna Amalie Abert (1906-1996). Tutzing: Hans Schneider, 1. Hereafter "Abert FS."
Jones, David Wyn, ed. Music in Eighteenth-Century Austria. Cambridge: Cambridge University Press, 1996. Hereafter "18th-Century Austria."
Laubenthal, Annegrit, and Kara Kusan-Windweh, eds. Studien zur Musikgeschichte. Eine Festschrift für Ludwig Finscher. Kassel: Bärenreiter, 1995. Hereafter "Finscher Festschrift."
Sisman, Elaine, ed. Haydn and His World. Princeton: Princeton University Press, 1997. Hereafter "Haydn and His World." Review by A. Peter Brown in Music & Letters 80 (1999), 286-289.
Sponheuer, Bernd, Siegfried Oechsle, and Helmut Hell, eds. Rezeption als Innovation. Untersuchungen zu einem Grundmodell der europäischen Kompositionsgeschichte. Festschrift für Friedhelm Krummacher zum 65. Geburtstag. Kassel: Bärenreiter, 2001. Hereafter "Krummacher FS."
Sutcliffe, W. Dean, ed. Haydn Studies. Cambridge: Cambridge University Press, 1998. Hereafter "Haydn Studies 1998." Reviews: James Dack, Music & Letters 81 (2000), 296-301; Ivan Hewitt,
Musical Times 140 (Autumn 1999), 63-65; Simon
Keefe, Notes 56 (1999-2000), 403-406.
Vikárius, László, and Vera Lampert, eds. Essays in Honor of László Somfai on His 70th Birthday: Studies in the Sources and the Interpretation of Music. Lanham MD: Scarecrow, 2005. Hereafter "Somfai FS."
Biography,
Letters,
General Studies, and
Miscellaneous
"The Acta Musicalia of the Esterhazy Archives (Nos. 175-200)." Haydn Yearbook
17 (1992), 1-89.
"The Acta Musicalia of the Esterhazy Archives (Nos. 201-279)." Haydn Yearbook 18 (1993),
115-196.
Autexier, Philippe A. La lyre maconne: Haydn, Mozart, Spohr, Liszt. Paris: Detrad/A.V.S., 1997.
Reviews: Serge Gut, Revue de musicologie 85 (1999), 370-71; Martin Wulfhorst, Notes 55 (1998-99), 662-66.
Bauman, Thomas. "Becoming Original: Haydn and the Cult of Genius." Musical Quarterly 87 (2004), 333-357.
Beghin, Tom, and Sander M. Goldberg, eds. Haydn and the Performance of Rhetoric. Chicago: University of Chicago Press, 2008.
Biba, Otto. "Nachrichten über Joseph Haydn, Michael Haydn und Wolfgang Amadeus Mozart in der Sammlung handschriftlicher Biographien des Gesellschaft der Musikfreunde in Wien." In Landon Festschrift, 152-64.
______. "Joseph Haydn und John Wall Callnott: Eine Miszelle zu Haydns Londoner Bekanntkreis." Haydn Yearbook 20 (1996), 54-56; translation by H. C. Robbins Landon, 57-58.
Bonds, Mark Evan. "Haydn, Laurence Sterne, and the Origins of Musical Irony." Journal of the American Musicological Society 44 (1991), 57-91.
______. "The Sincerest Form of Flattery? Mozart's 'Haydn' Quartets and the Question of Influence." Studi musicali 22 (1993), 365-409.
Borthwick, E. Kerr. "The Latin Quotations in Haydn's London Notebooks." Music & Letters 71 (1990), 505-10. Cf. Borthwick, "Haydn's Latin Quotations: A Postscript." Music & Letters 75 (1994), 576-79.
Botstein, Leon. "The
Demise of Philosophical Listening: Haydn in the 19th Century." In Haydn and His World, 255-85.
______. "The Consequences of Presumed Innocence: The Nineteenth-Century Reception of Joseph Haydn." In Haydn Studies 1998, 1-34.
Braguinski, Nikita. "Köln, 23. bis 25. Juni 2005: 'Perspektiven und Aufgaben der Haydn-Forschung.'" Die Musikforschung 58 (2005), 428.
Brown, A. Peter. "Haydn and Mozart's 1773 Stay in Vienna: Weeding a Musicological Garden." Journal of Musicology 10 (1992), 192-230.
Clark, Caryl, ed. The Cambridge Companion to Haydn. Cambridge: Cambridge University Press, 2005. Reviews: Bryan Proksch, Notes 63 (2006-07), 349-351; Patricia Howard, “Whose Who?” Musical Times 147 (Spring 2006), 105-108; W. Dean Sutcliffe, Early Music 35 (2007), 125-127; Henning Bey, Eighteenth-Century Music 4 (2007), 307-310.
Cowgill, Rachel. "The London Apollonicon Recitals 1827-32: A Case-Study in Bach, Mozart and Haydn Reception." Journal of the Royal Musical
Association 123 (1998), 190-228.
"Documentary Report
on the Opening of Haydn's Tomb at Eisenstadt, 1909." Haydn Yearbook 17 (1992), 175-180.
Feder, Georg, and Walter Reicher, eds. Miscellanea. Referate zweier Haydn-Tagungen 2003. Eisenstädter Haydn-Berichte, 3. Tutzing: Hans Schneider, 2004.
______. "Dokumentarische Grundlagen in der Haydnforschung." Internationales musikwissenschaftliches Symposium im Rahmen der Internationalen Haydntage Eisenstadt, 13. und 14. September 2004. Referate und Diskussionen. Eisenstädter Haydn-Berichte, 5. Tutzing: Hans Schneider, 2006.
Finscher, Ludwig. Joseph Haydn und seine Zeit. Grosse Komponisten und ihre
Zeit. Laaber: Laaber, 2000. Review by W. Dean Sutcliffe in Eighteenth-Century Music 3 (2006), 327-330.
Friesenhagen, Andreas. “Eine Haydn-Diskographie als Werkzeug der Rezeptionsforschung.” Haydn-Studien 9 (2006), 68-81.
______. "Haydn's 'Entwurf-Katalog': Two Questions." In Tyson Festschrift, 65-84.
______. "Werkvarianten, Fremdarbeitungen und Vermarktung bei Haydn." In Musik als Text, 1, 266-270.
Gerlach, Sonja, and Gerhard Winkler. "Rätsel um ein lithographiertes Haydn-Augtograph." Haydn Studien 8 (2000), 63-68.
Heartz, Daniel. Haydn, Mozart and the Viennese School, 1740-1780. New York: Norton, 1994. Reviews: Robert N. Freeman, Notes 53 (1996-97), 765-67; Graham Hardie, Musicology Australia 21 (1998), 60; Patricia Howard, Musical Times 137 (Jan 1996), 32-33; David Wyn Jones, Music & Letters 78 (1997), 422-25; Ulrich Konrad, Mozart-Jahrbuch 1998, 228-32; John Winemiller, Eighteenth-Century Studies 30 (1996-97), 199-202.
Henzel, Christoph. "Von Wien nach Berlin: Neue
Dokumente zu den Beziehungen Haydns und Dittersdorfs zum preussischen Hof 1786/87." Jahrbuch des staatlichen Instituts für Musikforschung 1998, 106-114.
Holloway, Robin. "Haydn: The Musicians' Musician." In Haydn Studies 1998, 321-34.
Horwarthner, Maria. "Joseph Haydn's Library: Attempt at a Literary-Historical Reconstruction." In Haydn and His World, 395-462.
Hurwitz, Joachim. Joseph Haydn und die Freimauer. Schriftenreihe der
Internationalen Forschungsstelle "Demokratische Bewegnungen
in Mitteleuropa 1770-1850," 21. Frankfurt am Main: Peter Lang, 1996. Review by Georg Feder in Die Musikforschung 50 (1997), 361-62.
Jones, David Wyn, ed. Oxford Composer Companions: Haydn. Oxford: Oxford University Press, 2002.
Joyce, Laurence. “Haydn and Salomon, and Their Visit to Herschel’s Telescope at Slough, June 1792.” Haydn-Studien 8 (2000-04), 289-292.
Lamkin, Kathleen. Esterhazy Musicians 1790 to 1809: Considered from New Sources in the Castle Forchtenstin Archives. Eisenstädter Haydn-Berichte, 6. Tutzing: Hans Schneider, 2007.
Knispel, Claudia Maria. "Vom Volkslied zur Nationalhymne." Musiktheorie 17 (2002), 195-207. On "Gott erhalte Franz den Kaiser."
Kowar, Helmut. “Wie aus einer ‘Mozart-Uhr’ eine ‘Haydn-Uhr’ wurde.” Haydn-Studien 9 (2006), 235-247.
Landon, H. C. Robbins. "A Letter from Dr Burney to Longman, Clementi & Co." Haydn Yearbook 17 (1992), 170-174.
Landon, H. C. Robbins, transcr. and ed. "An Englishman in Vienna and Eisenstadt Castle in 1748 and 1749." Haydn Yearbook 18 (1993), 197-212.
Landon, H. C. Robbins, comp. "18th and 19th Century Newspaper Articles Regarding Haydn and Contemporaries." Haydn Yearbook 21 (1997), 77-87.
Lanza, Andrea. Haydn. Polifonie. Turin: Il Mulino, 1999.
Lanza, Andrea, and Enzo Restagno, eds. Haydn: due ritratti e un diario, trans. Anna Rastelli. Biblioteca di cultura musicale: Documenti e saggi, 23. Turin: EDT, 2001.
Leisinger, Ulrich. Joseph Haydn und die Entwicklung des klassischen Klavierstils (bis ca.
1785). Neue Heidelberger Studien zur Musikwissenschaft, 23. Laaber: Laaber, 1995. Reviews: Georg Feder, Die Musikforschung 51 (1998), 108-09; Eva Hanau, Musiktheorie 11 (1996), 173-75.
Mahling, Christoph-Hellmut. "...hierauf musste ich deutsche und englische Lieder singen." Bemerkungen zu Joseph Haydn
als Sänger." In Festschrift für Winfried Kirsch zum 65. Geburtstag, ed. Peter Ackermann, Ulrike Kienzle, and
Adolf Nowak, 110-116. Frankfurter Beiträge zur Musikwissenschaft, 24. Tutzing: Hans Schneider, 1996.
Marnat, Marcel. Joseph Haydn: la mesure de son siecle. Les chemins de la musique. Paris: Fayard, 1995.
Mathew, Nicholas. “Heroic Haydn, the Occasional Work and ‘Modern’ Political Music.” Eighteenth-Century Music 4 (2007), 7-25.
Neubacher, Jurgen. "Die Webers, Haydn
und Der Aepfeldieb. Eine Untersuchung der Musikhandschrift
ND VII 168 der Staats- und Universitätsbibliothek Hamburg
Carl von Ossietzky." In Festschrift Christoph-Hellmut
Mahling zum 65. Geburtstag, ed. Axel Beer, Kristina
Pfarr, and Wolfgang Ruf, 989-1008. Mannheimer Studien zur Musikwissenschaft, 37. Tutzing: Hans Schneider, 1997.
Raab, Armin. “Haydns Briefe an den Verleger Boyer.” Haydn-Studien 8 (2000-04), 237-252.
______. “Vermarktung einer Fehlzuschreibung.” Haydn-Studien 8 (2000-04), 293-295.
Raab, Michael. "Zwischen Virtuosität und Fugengelehrtheit. Joseph Haydns 'Kaiserhymne' in den Bearbeitungen von Carl Czerny und Simon Sechter." Musiktheorie 17 (2002), 267-279.
Radant, Else, and H. C. Robbins Landon, commentary. "Dokumente aus den Esterhazy-Archiven in Eisenstadt und Forchtenstein, herausgegeben aus dem Nachlass von Janos Harich, I/Documents from the Esterhazy Archives in Eisenstadt and Forchtenstein, edited from Janos Harich's Papers, I." Haydn Yearbook 18 (1993) 1-109. Part II appears in Haydn Yearbook 19 (1994).
Raeburn, Christopher. "H. C. Robbins Landon and the Haydn Society: A Pioneering Musical Adventure." In Landon Festschrift, 227-33.
Rosenthal, Albi. "The Contract between Joseph Haydn and Frederick Augustus Hyde (1796)." In Landon Festschrift, 72-81.
Schafer, Hollace Ann. “A ‘Wisely Ordered “Phantasie”’: Joseph Haydn's Creative Process from the Sketches and Drafts for Instrumental Music.” Ph.D. diss., Brandeis University, 1987.
Scull, Tony. "More Light on Haydn's 'English Widow.'" Music & Letters 78 (1997), 45-55. Rebecca Schroeter.
Shohat, Yifat S. “Haydn's Musical Rhetoric: Compositional Strategy, Audience Reception, and Connection with Classical Oration.” Ph.D. diss., Rutgers University, 2006.
Sisman, Elaine. "Haydn, Shakespeare, and the Rules of Originality." In Haydn and His World, 3-56.
______. “In Werken denken: Die Erzeugnung musikalischer Bedeutung für Haydns vielgestaltiges Publikum.” Haydn-Studien 9 (2006), 13-32.
Spink, Ian. "Haydn at St. Paul's - 1791 or 1792?" Early Music 33 (2005), 273-280.
Thomas, Gunter. "Haydn's Copyist Peter Rampl." In Tyson Festschrift, 85-90.
Szerzö, Katalin. “Neue Dokumente zur Esterházy-Sammlung.” Haydn-Studien 9 (2006), 82-93.
Tolley, Thomas. "Music in the Circle of Sir William Jones: A Contribution to the History of Haydn's Early
Reputation." Music & Letters 73 (1992), 525-50. Responses by Owain Edwards (74 [1993], 652-53) and Ian Woodfield (75 [1994], 141-43).
______. "Haydn, the Engraver Thomas Park, and Maria Hester Park's 'Little Sonat.'" Music & Letters 82 (2001), 421-431.
Vignal, Marc. Haydn et Mozart. Les Chemins de la musique. Paris: Fayard, 2001. Review by Theo Hirsbrunner, Die Musikforschung 55 (2002), 454.
Viscidi, Florenzo. F. J. Haydn. Sinfonie, Quartetti e sonate. Padua: Biblioteca Cominiana, 1994. Review by Claudio Bolzan in Nuova rivista
musicale italiana 29 (1995), 322-23.
Winkler, Gerhard J. "Joseph Haydn's 'Experimental Studio' in Esterhaza," trans. Irene Zedlacher. Musical Quarterly 80 (1996),
341-47.
______. “‘Non omnis moriar.’ Sigismund Neukomms Rätselkanon auf Haydns Grab.” Haydn-Studien 8 (2000-04), 253-274.
Woodfield, Ian. "John Bland: London Retailer of the Music of Haydn and Mozart." Music & Letters 81 (2000), 210-244.
Zahn, Robert von. "Haydns Aufenthalt in Hamburg 1795." Haydn-Studien 6 (1986-94), 309-12.
______. "Köln, 18. und 19. Juni 1993: Internationale Konferenz Joseph Haydn." Die Musikforschung 47 (1994), 65-66.
Musical Style
Anson-Cartwright, Mark. "The Development Section in Haydn's
Late Instrumental Works." Ph.D. diss., City University of New York, 1998. Abstract in DAI 59/9 (March 1999),
3270-A.
Badura-Skoda, Eva. “Siciliana-Tempi and Haydn’s Sicilianos.” In Somfai FS, 127-138.
Ballstaedt, Andreas. "'Humor' und 'Witz' in Joseph Haydns Musik." Archiv fur Musikwissenschaft 55 (1998), 195-219.
Bellman, Jonathan. "Toward a Lexicon for the Style hongrois." Journal of Musicology 9 (1991), 214-37.
Bonds, Mark Evan. "Haydn's 'Cours complet de la composition' and the Sturm und Drang." In Haydn Studies 1998, 152-76.
Burstein, L. Poundie. "Surprising Returns: The VII# in Beethoven's Op. 18 No. 3, and Its Antecedents in Haydn." Music Analysis 17 (1998), 295-312.
Caplin, William E. Classical Form: A Theory of Formal Functions for the Instrumental Music of Haydn, Mozart and Beethoven. Oxford: Oxford University Press, 1998. Reviews: Warren Darcy, Music Theory Spectrum 22 (2000), 122-125; Michael Spitzer, Music & Letters 81 (2000), 110-115.
Chua, Daniel K. L. "Haydn as Romantic: A Chemical Experiment with Instrumental Music." In Haydn Studies 1998, 120-51.
Edwards, George. "Papa Doc's Recap Caper: Haydn and Temporal Dyslexia." In Haydn Studies 1998, 291-320.
Fulias, Ioannis. “Arga meri se morfes sonatas stin klassiki periodo. Symboli stin exelixi twn eidwn kai twn domikwn typwn mesa apo ta erga twn Haydn, Mozart kai Beethoven (me ekteni episkopisi tis theoritikis exelixis twn morfwn sonatas apo ton 18o ews ton 20o aiwna) [Slow Movements in Sonata Forms in the Classic Era. A Contribution to the Evolution of Genres and Structural Types through the Works of Haydn, Mozart, and Beethoven (with an Extensive Survey of the Theoretical Evolution of Sonata Forms from the 18th to the 20th Century)].” Ph.D. diss., University of Athens, 2005.
Grave, Floyd. "Metrical Dissonance in Haydn." Journal of Musicology 13 (1995), 168-202. Cf. Ira Braus, "Dancing to Haydn's Fiddle: A Reply to Floyd Grave's 'Metrical Dissonance in Haydn.'" Indiana Theory Review 17/1 (Spring 1996), 25-35; and Floyd Grave's reply in Indiana Theory Review 17/2 (Fall 1996), 150-154.
Hartunian, John. Haydn’s and Mozart’s Sonata Styles: A Comparison. Studies in the History and Interpretation of Music, 113. Lewiston NY: Edwin Mellen, 2005.
Hoyt, Peter A. "The 'False Recapitulation' and the Conventions of Sonata Form." Ph.D. dissertation, University of Pennsylvania, 1999. Abstract in DAI 60/4 (October 1999), 930-A.
Imeson, Sylvia. "'Ridentem Dicere Verum': Reflexive Aspects of Haydn's Instrumental Style, c. 1768-72." Canadian University Music Review 11/1 (1991), 50-67.
Josephson, Nors S. "Modulatory Patterns in Haydn's Late Development Sections." Haydn Yearbook 17 (1992), 181-191.
London, Justin Marc. "The Interaction between Meter and Phrase Beginnings and Endings in the Mature Instrumental Music of Haydn and Mozart." Ph.D. diss., University of Pennsylvania, 1990. Abstract in DAI 52/1 (Jul 1991), 16-A.
Malloch, William. "The
Minuets of Haydn and Mozart: Goblins or Elephants?" Early Music 21 (1993), 429-35.
Mirka, Danuta. “Das Spiel mit der Kadenz.” Die Musikforschung 57 (2004), 18-35.
Müller-Arp, Eberhard. Die langsame Einleitung bei Haydn, Mozart und Beethoven. Tradition und Innovation in der Instrumentalmusik der Wiener Klassik. Hamburger Beiträge zur Musikwissenschaft, 41. Eisenach: Karl Dieter Wagner, 1992. Review by Konrad Küster in Die Musikforschung 48 (1995), 85-86.
Page, Janet Kathleen. "Wind Instruments in the Music of Joseph Haydn, 1785-1798: Studies in Orchestration, Compositional Process, and Musical Structure." Ph.D. diss., Duke University, 1993. Abstract in DAI 54/9 (Mar 1994), 3260-A.
Pethö, Csilla. "Style Hongrois: Hungarian Elements in the Works of Haydn, Beethoven, Weber and Schubert." Studia Musicologica 41 (2000), 199-284.
Proksch, Bryan Jeffrey. “Cyclic Coherence in the Instrumental Music of Haydn and Mozart.” Ph.D. diss., University of North Carolina at Chapel Hill, 2006.
Sisman, Elaine R. Haydn and the Classical Variation. Studies in the History of Music, 5. Cambridge MA: Harvard University Press, 1993. Reviews: Floyd Grave, Current Musicology 55 (1993), 88-93; Peter A. Hoyt, Music Theory Spectrum 19 (1997), 264-84; Laszlo Somfai, Notes 51 (1994-95), 912-14; W. Dean Sutcliffe, Music & Letters 76 (1995), 442-44.
Spitzer, Michael. "The Retransition as Sign: Listener-Oriented Approaches to Tonal Closure in Haydn's Sonata-Form Movements." Journal of the Royal Musical Association 121 (1996), 11-45.
______. "Haydn's Reversals: Style Change, Gesture and the Implication-Realization Model." In Haydn Studies 1998, 177-217.
Suurpaa, Lauri. "Continuous Exposition and Tonal Structure in Three Late Haydn Works." Music Theory Spectrum 21 (1999), 174-199. First movements of symphony no. 96 and string quartets opp. 74/3 and 76/2.
Wheelock, Gretchen A. Haydn's Ingenious Jesting with Art: Contexts of Musical Wit and Humor. New York: Schirmer, 1992. Reviews: Geoffrey Chew, Music & Letters 75 (1994), 77-82; Dianne Dugaw, Eighteenth-Century Studies 29 (1995-96), 229-34; Peter A. Hoyt, Music Theory Spectrum 19 (1997), 264-84; James William Sobaskie, Notes 50 (1993-94), 955-56.
Operas
Archipowa, Arina, and Erhard Hexelschneider. "Hat Wilhelm Kuchelbecker den Text von Haydns Il ritorno di Tobia ins Russische übersetzt?" Haydn-Studien 7 (1996-98), 404-408.
Bardi, Terézia. “Newly Found Inventories of Esterhézy Sceneries.” Haydn-Studien 9 (2006), 94-106.
Biba, Otto. "Gustav Mahler über Haydns Lo speziale." Haydn Yearbook 21 (1997), 23-26; English translation at pp. 27-30.
______. "Opernarie: Konzertarie oder Kantate?" Haydn Yearbook 22 (1998), 76-88. On "Ah come il core mi palpita." Translation at p. 81, three facsimiles at p. 86.
Buch, David J. “Supernatural Imagery in Haydn’s Theater Music.” Haydn-Studien 9 (2006), 137-147.
La Circe: Complete Facsimile of the First Edition of the 1789 Libretto." Haydn Yearbook 22 (1998), 1-25.
Clark, Caryl Leslie. "The Opera Buffa Finales of Joseph Haydn." Ph.D. diss., Cornell University, 1991. Abstract
in DAI 52/8 (Feb 1992), 3121-A.
______.
"Haydn and Mozart as Composers of Opera." Studies in Music from the University of Western Ontario 14 (1993), 79-103.
______. "Intertextual Play and Haydn's La fedelta premiata." Current Musicology 51 (1993), 59-81.
______. "A 'lieto fine' for La canterina." Haydn Yearbook 20 (1996), 17-23.
Debly, Patricia Anne. "Joseph Haydn and the dramma giocoso." Ph.D. diss., University of Victoria (BC), 1993. Abstract in DAI
55/9 (Mar 1995), 2625-A.
"Facsimile of Libretto for Haydn's La canterina." Haydn Yearbook 20 (1996),
3-16.
"Facsimile of Libretto for Haydn's Le
pescatrici." Haydn Yearbook 20 (1996), 28-53.
"Facsimile of Libretto of Haydn's Philemon und Baucis (1773)." Haydn Yearbook 22 (1998), 44-75.
Green, Rebecca. "Power and Patriarchy in Haydn's Goldoni Operas." Ph.D. diss., University of Toronto, 1995. Abstract in DAI 56/12 (Jun 1996), 4601-A.
______. "Representing the Aristocracy: The Operatic Haydn and Le pescatrici." In Haydn and His World, 154-200.
Johnston, Glen. "Armida, Haydn and Opera Seria: Reputations, Interpretations, and a Musical Dichotomy." BMus thesis, Sydney Conservatorium of Music, University of Sydney, 1997.
Lorber, Martin. "Das Joseph Haydn zugeschriebene Singspiel 'Die reisende Ceres.'"
Die Musikforschung 50 (1997), 80-86.
La Maga Circe: Complete Facsimile of Anfossi's Libretto (1788)." Haydn Yearbook 22 (1998), 26-43.
Matveyeva, Elena. “Musikalny teatr Yosefa Gaidna [Joseph Haydn's Musical Theater].” Ph.D. diss., Moscow State Conservatory, 2000.
Rietman, Katie. "A Haydn Opera Meets the Mainstream." Historical Performance 7 (1994), 7-11. Lo speziale.
Sas, Agnes. "Rediscovered Documents from the Esterhazy Collection (The Engraver's Copy of Pal Esterhazy's Harmonia caelestis; the Libretto of Joseph Haydn's Acide)." Studia musicologica 34 (1992), 167-85.
Schloen, Silke. “Armida postum – Eine Warnung vor nachträglichen Kritischen Berichten.” Haydn-Studien 9 (2006), 148-156.
Siegert, Christine. “Die Fassungen der Arie ‘Dove mai s’è ritrovata’ aus Pasquali Anfossis Oper I viaggiatori felici.” Haydn-Studien 9 (2006), 107-136.
"Lo speziale: Complete Facsimile of the First Edition of the 1768 Libretto." Haydn Yearbook 21 (1997), 2-72.
______. "Haydn und J.O.H. Schaum." Haydn-Studien 7 (1996-98), 366-383.
Waldoff, Jessica. "Sentiment and Sensibility in La vera costanza." In Haydn Studies 1998, 70-119.
Waritschlager, Bernhard. “Die Opera seria bei Joseph Haydn. Studien zu Form und Struktur musikalischer Affektdramaturgie und Figurentypologisierung in Armida und L'Anima del filosofo ossia Orfeo ed Euridice.” Ph.D. diss., Hochschule für Musik und Theater, Munich, 2005. Published as Musikwissenschaftliche Schriften der Hochschule für Musik und Theater München, 2. Tutzing: Hans Schneider, 2005. Reviews: Caryl Clark, Notes 63 (2006-07), 352-353; Christine Siegert, Die Musikforschung 59 (2006), 394-395; John A. Rice, Music & Letters 88 (2007), 660-661.
Winkler, Gerhard J. "Haydns 'L'anima del filosofo' - eine musiktheatralische Herausforderung?" Österreichische Musikzeitung 50 (1995), 283-287.
Winkler, Gerhard J., ed. Joseph Haydn und die Oper seiner Zeit. Bericht über das Internationale Symposion im Rahmen der "Haydn-Tage" Winter 1988 Eisenstadt, 8.-10. 12. 1988. Wissenschaftliche Arbeiten aus dem Burgenland, 90. N.p.: N.p., 1992. Review by Sibylle Dahms in Die Musikforschung 49 (1996), 196-97.
Wochnik, Regina. Die Musiksprache in den opere semiserie Joseph Haydns unter besonderer Berücksichtigung von L'incontro
improvviso. Hamburger Beiträge zur Musikwissenschaft, 42. Eisenach: Karl Dieter Wagner, 1993. Review by Hartmut
Krones in Die Musikforschung 50 (1997), 117-18.
Zahn, Robert von. "Budapest/Eszterháza, 9. und 10. Mai 2003: 'Das Opernhaus in Eszterháza--Vergangenheit und Zukunft?'" Die Musikforschung 56 (2003), 405.
Sacred Music
Arnold, Ben. "War Music and Its Innovations." Music Review 55 (1994), 52-57. Missa in tempore belli.
Bowdidge, Mark Andrew. "A Conductor's Analysis of the 'Lord Nelson Mass' by Franz Joseph Haydn." D.M.A. diss., Southwestern Baptist Theological Seminary, 1998. Abstract in
DAI 59/4 (October 1998), 998-A-999-A.
Chew, Geoffrey. "Haydn's Pastorellas: Genre, Dating and Transmission in the Early Church Works." In Landon Festschrift,
21-43.
Helms, Marianne. “Ein Schwesterwerk der ‘Nelsonmesse’? Zur Edition von Haydns Te Deum Hob. XXIIIc:2.” Haydn-Studien 9 (2006), 157-175.
Jones, David Wyn. "A Spanish Source for Haydn's 'Non nobis, Domine.'" Haydn Yearbook 17 (1992), 167-169.
______. "Haydn's Missa sunt bona mixta malis and the a cappella Tradition." In 18th-Century Austria, 89-111.
Litzel, Susanne. “Die Messen von Joseph Haydn, W. A. Mozart und L. van Beethoven. Ein Beitrag zur Gattungsgeschichte der Messe.” Ph.D. diss., Technische Universitälin, 1990.
MacIntyre, Bruce C. "Wiener Salve-Regina-Vertonungen und Haydn." Haydn-Studien 6 (1986-94), 261-277.
McGrann, Jeremiah W. "Of Saints, Name Days, and Turks: Some Background on Haydn's Masses Written for Prince Nikolaus II Esterhazy." Journal of Musicological Research 17 (1998), 195-210.
Pedersen, Keith Ernest. "The Sonata/Fugue in Haydn's Sacred Choral Music." D.M.A. diss., University of Illinois at Urbana-Champaign, 1997. Abstract in DAI 58/6 (Dec 1997), 1980-A.
Raab, Armin. “Funktionen des Unisono: Dargestellt an den Streichquartetten und Messen von Joseph Haydn.” Ph.D. diss., Nürnberg, 1988. Published, Frankfurt am Main: Haag und Herchen, 1990.
Schmitz, Heinz Walter. "Joseph Haydn und Joseph Freibert: zwei Komponisten und ein Werk." Mitteilungen der Internationalen Stiftung Mozarteum 47/3-4 (1999), 66-82.
Webster, James. "Haydns Salve Regina in g-Moll (1771) und die Entwicklung zum durchkomponierten Zyklus." Haydn-Studien 6 (1986-94), 245-260.
______. "Haydn's Sacred Vocal Music and the Aesthetics of Salvation." In Haydn Studies 1998, 35-69.
Oratorios
Brown, A. Peter. "The Creation and The Seasons: Some Allusions, Quotations, and Models from
Handel to Mendelssohn." Current Musicology 51 (1993), 26-58.
Burleigh, Betsy L. “Haydn's The Seasons: Rhetorical Analysis as a Key to Performance.” D.M. diss., Indiana University, 2003.
Eppelsheim, Jürgen. "Tradition und Veranderung. Beobachten an den Fagottpartien von Joseph Haydns Schopfung." In Altes im Neuen. Festschrift Theodor Göllner zum 65. Geburtstag, ed. Bernd Edelmann and Manfred Hermann Schmid, 257-267. Münchner Veröffentlichungen zur Musikgeschichte, 51. Tutzing: Hans Schneider, 1995.
Feder, Georg. Joseph Haydn: Die Schöpfung. Bärenreiter Werkeinführungen.
Kassel: Barenreiter, 1999. Review: Michael Zywietz, Die Musikforschung 55 (2002), 208.
Fulmer, Cassandra R. "The Role of the Bass Trombone in Haydn's 'Die Schöpfung,' Beethoven's Ninth Symphony, and Brahms's Fourth Symphony: A Tutorial Focusing on Historical Background and Preparation Suggestions." D.M.A. diss., The Louisiana State University and Agricultural and Mechanical College, 1998. Abstract in DAI 59/6 (December 1998), 1824-A.
Head, Matthew. "Music with 'No Past'? Archaeologies of Joseph Haydn and The Creation." 19th-Century Music 23 (1999-2000), 191-217.
Irving, Howard. "William Crotch on 'The Creation.'" Music & Letters 75 (1994), 548-60.
Jenkins, Neil. "Haydn's The Creation: On Preparing a New English Text." Early Music Review 111 (Feb 2006), 16-21.
Kramer, Lawrence. "Haydn's Chaos, Schenker's Order; or, Hermeneutics and Musical Analysis: Can They Mix?" 19th-Century Music
16 (1992-93), 3-17.
MacIntyre, Bruce C. Haydn: The Creation. Monuments of Western Music. New York: Schirmer Books, 1998.
Oppermann, Annette. "Schreibraum und Denkraum: Joseph Haydns Skizzen zur 'Schöpfung.'" Die Musikforschung 56 (2003), 375-381.
______. “Haydns Schöpfung: Werkgenese und Edition. Möglichkeiten und Grenzen der Gesamtausgabe bei der Dokumentation von Entstehung und Revision eines Werkes.” Haydn-Studien 9 (2006), 176-194.
Schwab, Heinrich W. "Zur 'Idee, ein Chaos in Musik zu setzen.' Ästhetische Auseinandersetzungen im Gefolge der ersten Aufführungen von Josef Haydns Schöpfung in Kopenhagen (1801)." In Festschrift Walter Wiora zum 90. Geburtstag (30. Dezember 1996), ed. Christoph-Hellmut Mahling and Ruth Seiberts, 426-445. Mainzer Studien zur Musikwissenschaft, 35. Tutzing: Hans Schneider, 1997.
Sisman, Elaine. “The Voice of God in Haydn’s Creation.” In Somfai FS, 159-173.
Temperley, Nicholas. Haydn: The Creation. Cambridge Music Handbooks. Cambridge: Cambridge University Press, 1991. Reviews: A. Peter Brown, Journal of Musicological Research 12 (1992), 85S-91S; Peter Williams, Music & Letters 73 (1992), 280-82.
______. "Haydn's Tempos in The Creation." Early Music 19 (1991), 235-45.
Webster, James. "The Creation, Haydn's Late Vocal Music, and the Musical Sublime." In Haydn and His
World, 57-102.
______. "Das Erhabene in Haydns Oratorien 'Die Schöpfung' und 'Die Jahreszeiten.'" In Musik als Text, 1, 134-144.
Other Vocal Music
Bockholdt, Rudolf. "Ein Mädchen, das auf Ehre hielt: eine 'sehr gewöhnliche Geschichte.' Der Erzählton in Liedern und Instrumentalmusik von Joseph Haydn." In Bockholdt Studien, 39-59.
Böhmer, Karl. "Scena di Berenice. Der Metastasio-Kanon als Kontext für Konzertarien Mozarts und Haydns." Mozart-Jahrbuch 2000, 1-27.
Breitner, Karin, ed. Katalog Sammlung van Hoboken in der Musiksammlung der Österreichischen Nationalbibliothek, Band 9: Joseph Haydn, Vokalmusik (Hob. XX/2-XXXI). Tutzing: Hans Schneider, 1991. Review by Stephen C. Fisher, Notes 50 (1993-94), 566-68.
Dack, James. “Haydn’s First English Text: The Madrigal ‘Hark, the Wild Uproar of the Winds!’ (The Storm).” Haydn-Studien 9 (2006), 195-209.
Edwards, Warwick. “New Insights into the Chronology of Haydn’s Folksong Arrangements: Reading between the Lines of the George Thomson Correspondence.” Haydn-Studien 8 (2000-04), 325-340.
Friesenhagen, Andreas. “‘For an Obscure Music Seller’: Haydns Bearbeitungen schottischer Lieder für William Whyte.” Haydn-Studien 8 (2000-04), 357-378.
Gerlach, Sonja. "'Deutchlands Klage...'--Eine Haydn unterschobene Kantata auf den Tod Friedrichs des Grossen." Haydn Studien 8 (2000-04), 39-62.
“Haydns Bearbeitungen schottischer Volkslieder. Bericht über das Symposium 21.-22. Juni 2002.” Haydn-Studien 8/4 (2004), 299-412. Review by Michael Jube, Die Musikforschung 59 (2006), 81-82.
Hiller, Egbert. "Köln, 21. und 22. Juni 2002: Symposium 'Joseph Haydns Bearbeitungen scottischer Volkslieder.'" Die Musikforschung 55 (2002), 422-423.
Komlos, Katalin. "She Never Told Her Love." Musical Times 140 (Autumn 1999), 36-41. Canzonetta H. XXVIa:34. Cf. reply by Michael Graubart, Musical Times 140 (Winter 1999), 3.
Kumbier, William A. "Rhetoric and
Expression in Haydn's Applausus Cantata." Haydn Yearbook 18 (1993), 213-265.
McCue, Kirsteen. “Thomson’s Collections in Their Scottish Cultural Context.” Haydn-Studien 8 (2000-04), 305-324.
McCulloch, Derek. "Die charmante Dame im Spiegel. Zu dem Lied Hob. XXXIc:17." Haydn-Studien 7 (1996-98), 398-403.
Mikusi, Balázs. “‘Learned Style’ in Two Lessing Settings by Haydn.” Eighteenth-Century Music 1 (2004), 29-46.
November, Nancy. “Haydn’s Melancholy Voice: Lost Dialectics in His Late Chamber Music and English Songs.” Eighteenth-Century Music 4 (2007), 71-106.
Over, Berthold. "Arianna travestita. Haydns Kantate Arianna a Naxos in geistlichem Gewand." Haydn-Studien 7 (1996-98), 384-397.
Padmanabhan, Mekala. “Joseph Haydn's German Lieder: Context--Criticism--Reception.” Ph.D. diss., University of Nottingham, 2006.
Poss, Leslie Sue. "The Development of the European Partsong Genre Beginning in the Sixteenth Century and Culminating with the 'Mehrstimmige Gesänge' of Joseph Haydn." D.M.A. diss., University of Alabama, 1996. Abstract in DAI 57/12 (Jun 1997), 4979-A.
Rushton, Julian. "Viennese Amateur or London Professional? A Reconsideration of Haydn's Tragic Cantata Arianna a Naxos." In 18th-Century Austria, 232-45.
Rycroft, Marjorie. “Haydns Volksliedbearbeitungen—von Neukomm? Über die Authentizität einiger Bearbeitungen.” Haydn-Studien 8 (2000-04), 341-356.
Town, Stephen. "A Contrafactum by Joseph Haydn." American Choral Review 34/1 (Winter/Spring 1992), 4-6.
Trembath, Shirley. "Joseph Haydn's XII Lieder für das Clavier (erster Teil) of 1781: Song Cycle or Collection?" Studien zur Musikwissenschaft 43 (1994), 145-57.
Weber-Bockholdt, Petra. "'Gott erhalte...' als Lied unter Joseph Haydns Liedern." Musiktheorie 17 (2002), 215-223.
______. “Komposition oder Begleitung. Ein Vergleich der Bearbeitungen schottischer Lieder von Haydn und Beethoven.” Haydn-Studien 8 (2000-04), 401-412.
