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Recent Literature on Joseph Haydn

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.

Horst Walter. "Haydn-Bibliographie 1973-1983." Haydn-Studien 5 (1982-85), 205-306.

Horst Walter. "Haydn-Bibliographie 1984-1990." Haydn-Studien 6 (1986-94), 173-238.

Armin Raab. "Haydn-Bibliographie 1991-2001." Haydn-Studien 7 (2001), 79-214.

Armin Raab. "Haydn-Bibliographie 2002-2011." Haydn-Studien 10 (2010-13), 119-323.

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.

see also:
Else Radant Landon. "Index to Haydn Yearbook Vols. I-XX: Ballets, Cantatas, Names (18th/19th Centuries), Oratorios, Operas, Places, Plays." Haydn Yearbook 21 (1997), 31-75.



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."

Beghin, Tom, and Sander M. Goldberg, eds. Haydn and the Performance of Rhetoric. Chicago: University of Chicago Press, 2008. Reviews: Michael E. Ruhling, Journal of Musicological Research 28 (2009), 253-257; Nancy November, Eighteenth-Century Music 6 (2009), 245-247; Joseph Orchard, Notes 65 (2008-09), 301-303; W. Dean Sutcliffe, Music & Letters 92 (2011), 128-132; Mary Sue Morrow, Haydn 2/1 (Spring 2012). Hereafter "Rhetoric."

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 fully indexed here.)

Haydn-Studien. Veröffentlichungen des Joseph Haydn-Instituts, Köln, X/1. Munich: Henle, 2010. (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."

Murray, Sterling E., ed. Haydn and His Contemporaries. Ann Arbor: Steglein, 2011. Hereafter "Contemporaries."

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.

Anderson, Ellis. "The Earliest Biographies of Haydn and the Ideals of Normalcy." In Contemporaries, 13-27.

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.

Badley, Allan. "Two Composers and a Cellist: Haydn, Hofmann, and Joseph Weigl." Haydn 2/1 (Spring 2012).

Barckhan, Jascha, ed. Die grossen Komponisten II. Von Vivaldi bis Beethoven: Kurzbiographien und Essays zu einigen der bekanntesten Komponisten des 18. Jahrhunderts. Kompendium Junge Musikwissenschaft, 4. Berlin: Uni-Edition, 2012.

Bauman, Thomas. "Becoming Original: Haydn and the Cult of Genius." Musical Quarterly 87 (2004), 333-357.

Beeks, Graydon. "Haydn, Handel and the Concerts of Ancient Music." In Contemporaries, 28-38.

Berkahn, Jonathan. “Haydn: Forms of Expression, New Zealand School of Music, Wellington, 22-24 May 2009.” Eighteenth-Century Music 7 (2010), 179-181.

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.

______. “Rhetoric versus Truth: Listening to Haydn in the Age of Beethoven.” In Rhetoric, 109-128.

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.

Brügge, Joachim, and Ulrich Leisinger, eds. Aspekte der Haydn-Rezeption. Beiträge der gleichnamigen Tagung vom 20. bis 22. November 2009 in Salzburg. Klang-Reden. Schriften zur Musikalischen Rezeptions- und Interpretationsgeschichte, 6. Freiburg im Breslau: Rombach, 2011. Review by Christin Heitmann in Die Musikforschung 66 (2013), 74-75.

Carpenter, Alexander. “‘Newness Which Never Perishes’? Schoenberg’s Ambivalent Reception of Haydn.” Studia Musicologica 51 (2010), 215-224.

Celestini, Federico. “Aspekte des Erhabenen in Haydns Spätwerk.” Basler Jahrbuch für historische Musikpraxis 30 (2006), 79-98.

Chen, Jen-Yen. “Purcell, Handel, Haydn, and Mendelssohn: Anniversary Reflections, New College, Oxford, 27-29 March 2009.” Eighteenth-Century Music 7 (2010), 177-179.

Chesser, Richard, and David Wyn Jones, eds. The Land of Opportunity: Joseph Haydn and Britain. London: The British Library, 2013. Review by Andrew Thomson in MT 155 (Summer 2014).

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; Richard Will, Music and Letters 90 (2009), 287-289.

Cornaz, Marie. “The Discovery of Joseph Haydn’s Original Manuscript of the Pieces Hob. XIX:1 and Hob. XIX:2.” Haydn-Studien 10 (2010-13), 17-24.

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.

Damschroder, David. Harmony in Haydn and Mozart. Cambridge: Cambridge University Press, 2012. Reviews: Jan Miyake, Newsletter of the Mozart Society of America 17/1 (27 January 2013), 12-14; James MacKay, Haydn 3/2 (Fall 2013); Steven D. Mathews, Notes 70 (2013-14), 698-700.

Davison, Alan. “The Face of a Musical Genius: Thomas Hardy’s Portrait of Joseph Haydn.” Eighteenth-Century Music 6 (2009), 209-227.

Diergarten, Felix. "'At times even Homer nods off': Heinrich Christoph Koch's Polemic against Joseph Haydn." Music Theory Online 14/1 (2008)

______. “‘Auch Homere schlafen bisweilen’: Heinrich Christoph Kochs Polemik gegen Joseph Haydn.” Haydn-Studien 10 (2010-13), 78-92.

Dittrich, Marie-Agnes, Martin Eybl, and Reinhard Kapp, eds. Zyklus und Prozess. Joseph Haydn und die Zeit. Wiener Veröffentlichungen zur Musikgeschichte, 10. Vienna: Böhlau, 2012.

"Documentary Report on the Opening of Haydn's Tomb at Eisenstadt, 1909." Haydn Yearbook 17 (1992), 175-180.

Dolan, Emily I. "The Idea of Timbre in the Age of Haydn." Ph.D. dissertation, Cornell University, 2006.

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.

Fisher, Stephen C. “An English Traveler at Eszterháza in 1786.” Haydn-Studien 10 (2010-13), 74-77.

Friesenhagen, Andreas. “Eine Haydn-Diskographie als Werkzeug der Rezeptionsforschung.” Haydn-Studien 9 (2006), 68-81.

Gehring, Julia. “Köln, 4. bis 6. Juni 1009: ‘Retrospektive und Innovation. Der späte Joseph Haydn.’” Die Musikforschung 62 (2009), 373-374.

Gerlach, Sonja. "Johann Tost. Geiger und Grosshandlungsgremialist." Haydn-Studien 7 (1996-98), 344-365.

______. "Haydn's 'Entwurf-Katalog': Two Questions." In Tyson Festschrift, 65-84.

______. "Werkvarianten, Fremdarbeitungen und Vermarktung bei Haydn." In Musik als Text, 1, 266-270.

______. “Haydns Flötenuhrstücke. Überlegungenen und Ergänzungen auf Basis neuer Quellenfunde.” Haydn-Studien 10 (2010-13), 25-54.

Gerlach, Sonja, and Armin Raab. "Haydns Briefe an den Verleger Sieber." Haydn-Studien 10 (2010-13), 541-555.

Gerlach, Sonja, and Gerhard Winkler. "Rätsel um ein lithographiertes Haydn-Augtograph." Haydn Studien 8 (2000), 63-68.

Grant, Roger Mathew. “Haydn, Meter, and Listening in Transition.” Studia Musicologica 51 (2010), 141-152.

Green, Edward. "Haydn: Beyond the Anniversary." Journal of Musicological Research 28 (2009), 89-91.

Green, Emily H. “Haydn 2009: A Bicentenary Conference, Budapest and Eszterháza, 27-30 May 2009.” Eighteenth-Century Music 7 (2010), 182-184.

______. "A Patron among Peers: Dedications to Haydn and the Economy of Celebrity." Eighteenth-Century Music 8 (2011), 215-237.

Haimo, Ethan. "Haydn's Debt to Cimarosa." In Contemporaries, 39-55.

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.

______. Mozart, Haydn and Early Beethoven: 1781-1802. New York: Norton, 2008. Reviews: Paul Corneilson, Newsletter of the Mozart Society of America 13/2 (27 August 2009), 10-11; Patricia Howard, “Der ganze Heartz,” Musical Times 150 (Autumn 2009), 112-114; W. Dean Sutcliffe, Eighteenth-Century Music 8 (2011), 114-117; Ludwig Finscher, Die Musikforschung 63 (2010), 442-444, trans. Bruce Alan Brown, Newsletter of the Mozart Society of America 17/2 (27 August 2013), 6-7; Julian Rushton, Music & Letters 92 (2011), 486-488; Joan G. Gonzalez, Eighteenth-Century Studies 43 (2010), 540-541; Peter M. Alexander, Haydn 2/1 (Spring 2012).

Henke, Matthias. Joseph Haydn. Munich: Deutscher Taschenbuch Verlag, 2009.

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.

Hiles, Karen L. "Haydn's Heroic Decades: Music, Politics, and War, 1790-1809." Ph.D. dissertation, Columbia University, 2009.

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.

Hunter, Mary, and Richard Will, eds. Engaging Haydn: Culture, Context, and Criticism. Cambridge: Cambridge University Press, 2012. Review by Balász Mikusi in Notes 70 (2013-14), 457-460.

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. The Life of Haydn. Musical Lives. Cambridge: Cambridge University Press, 2009. Reviews: Balázs Mikusi, Notes 66 (2009-10), 749-750; Floyd Grave, Ad Parnassum 8/16 (2010); Katalin Komlós, Studia Musicologica 51 (2010), 225-228.

______. “Becoming a Complete Kapellmeister: Haydn and Mattheson’s Der vollkommene Capellmeister.” Studia Musicologica 51 (2010), 29-40.

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.

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.

Lamkin, Kathleen. Esterhazy Musicians 1790 to 1809: Considered from New Sources in the Castle Forchtenstin Archives. Eisenstädter Haydn-Berichte, 6. Tutzing: Hans Schneider, 2007.

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.

Lowe, Melanie. "The Art of Transition: After Haydn Year 2009." Journal of Musicology 27 (2010), 1-8.

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.

McVeigh, Simon. “Trial by Dining Club: The Instrumental Music of Haydn, Clementi, and Mozart at London’s Anacreontic Society.” In Music and Performance Culture in Nineteenth-Century Britain: Essays in Honour of Nicholas Temperley, ed. Bennett Zon. Farnham: Ashgate, 2012. Pp. 105-138.

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.

Pasha, Mohammed J. “A Comparison of Variation Techniques in Haydn and Mozart.” M. A. thesis, University of Houston, 2011.

Pelgen, Franz Stephan. “Wiederaufgefundenes Empfehlungsschreiben des Fürsten Kaunitz vom 13. Dezember 1790 für Joseph Haydns erste Reise nach London.” Haydn-Studien 10 (2010-13), 71-73.

Pesic, Peter. “Haydn’s Wanderer.” Haydn-Studien 8 (2000-04), 275-288.

Pratl, Josef. Acta Forchtensteiniana. Die Musikdokumente im Esterházy-Archiv auf Burg Forchtenstein. Tutzing: Hans Schneider, 2009. Review by Christin Heitmann, Die Musikforschung 65 (2012), 281-282.

Proksch, Bryan. "Vincent d'Indy as Harbinger of the Haydn Revival." Journal of Musicological Research 28 (2009), 162-188.

______. "'Forward to Haydn!': Schenker's Politics and the German Revival of Haydn." Journal of the American Musicological Society 64 (2011), 319-348.

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.

______. “Perspektiven der Haydn-Forschung nach dem Abschluss der Gesamtausgabe.” Studia Musicologica 51 (2010), 243-258.

______. "Ein Porträt des Künstlers als alter Mann. Joseph Haydn und seine Biographen." Haydn-Studien 10 (2010-13), 369-380.

Raab, Armin, Christine Siegert, and Wolfram Steinbeck, eds. Das Haydn-Lexikon. Laaber: Laaber, 2010. Review by Ann-Katrin Zimmermann, Die Musikforschung 65 (2012), 279-281.

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.

Rice, John A. "Did Haydn Attend the Handel Commemoration in Westminster Abbey?" Early Music 40 (2012), 73-80.

Ronge, Julia. "Was Beethoven bei Haydn wirklich gelernt hat." Haydn-Studien 10 (2010-13), 492-503.

______. "Beethoven's Studies with Joseph Haydn (With a Postscript on the Length of Beethoven's Bonn Employment)," trans. John Wilson. The Beethoven Journal 28/1 (Summer 2013), 4-25.

Rosenthal, Albi. "The Contract between Joseph Haydn and Frederick Augustus Hyde (1796)." In Landon Festschrift, 72-81.

Ruhling, Michael. "Haydn Documents in North America: Library of Congress Collection of Joseph and Michael Haydn Holograph Photographs." Haydn 3/2 (Fall 2013).

______. "Haydn Documents in North America: Boston Handel and Haydn Society Part Books from 1827 and 1828." Haydn 3/2 (Fall 2013)

Schafer, Hollace Ann. “A ‘Wisely Ordered “Phantasie”’: Joseph Haydn's Creative Process from the Sketches and Drafts for Instrumental Music.” Ph.D. dissertation, Brandeis University, 1987.

Schirlbauer, Anna. “Nicolaus Zmeskall und die Initialen ‘NZ’ auf einigen Abschriften von Werken J. Haydns und A. Zimmermanns.” Studia Musicologica 49 (2008), 49-71.

Schrock, Dennis. Performance Practices in the Classical Era as Related by Primary Resources and as Illustrated in the Music of W. A. Mozart and Joseph Haydn. Chicago: GIA, 2011.

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. dissertation, Rutgers University, 2006.

Siegert, Christine, Gernot Gruber, and Walter Reicher, eds. Joseph Haydn im 21. Jahrhundert. Bericht über das Symposium der Österrichischen Akademie der Wissenwschaften, der Internationalen Joseph Haydn Privatstiftung Eisenstadt und der Esterházy Privatstiftung vom 14. bis 17. Oktober 2009 in Wien und Eisenstadt. Eisenstädter Haydn-Berichte, 8. Tutzing: Hans Schneider, 2013.

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.

Somfai, László. “Trends, Accomplishment, Deficiency in Haydn Performance Today.” Haydn-Studien 9 (2006), 58-67.

______. “Clever Orator versus Bold Innovator.” In Rhetoric, 213-228.

Spink, Ian. "Haydn at St. Paul's - 1791 or 1792?" Early Music 33 (2005), 273-280.

Stapert, Calvin R. Playing Before the Lord: The Life and Work of Joseph Haydn. Grand Rapids: William B. Eerdmans, 2014.

Stendhal. Lives of Haydn, Mozart and Metastasio, trans. Richard W. Coe. Surrey: Calder, 2010.

Szerzö, Katalin. “Neue Dokumente zur Esterházy-Sammlung.” Haydn-Studien 9 (2006), 82-93.

Thomas, Gunter. "Haydn's Copyist Peter Rampl." In Tyson Festschrift, 85-90.

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.

______. “Comic Readings and Tragic Readings: Haydn’s Observations on London Audience Responses in 1791.” Studia Musicologica 51 (2010), 153-178.

Tyre, Jess. "Reviving the Classic, Inventing Memory: Haydn’s Reception in Fin-de-Siècle France." Haydn 2/1 (Spring 2012).

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.

Webster, James. “Rosen’s Modernist Haydn.” In Variations on the Canon: Essays on Music from Bach to Boulez in Honor of Charles Rosen on His Eightieth Birthday, ed. Robert Curry, David Gable, and Robert L. Marshall, 283-290. Rochester: University of Rochester Press, 2008.

______. “Haydn’s Sensibility.” Studia Musicologica 51 (2010), 13-27.

Wigmore, Richard. The Faber Pocket Guide to Haydn. London: Faber and Faber, 2009.

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. dissertation, 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.

______. “Mid-Section Cadences in Haydn’s Sonata-Form Movements.” Studia Musicologica 51 (2010), 91-107.

______. “True or False: Re-Assessing the Voice-Leading Role of Haydn’s So-Called ‘False Recapitulations.’” Journal of Schenkerian Studies 5 (2011)

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; Floyd Grave, Music Theory Online 4/6 (1998)

Chua, Daniel K. L. "Haydn as Romantic: A Chemical Experiment with Instrumental Music." In Haydn Studies 1998, 120-51.

Diergarten, Felix. "'The True Fundamentals of Composition': Haydn's Partimento Counterpoint." Eighteenth-Century Music 8 (2011), 53-75.

Edwards, George. "Papa Doc's Recap Caper: Haydn and Temporal Dyslexia." In Haydn Studies 1998, 291-320.

Enselein, Thomas. Der Kontrapunkt im Instrumentalwerk von Joseph Haydn. Musicolonia, 5. Cologne: Dohr, 2008. Publ. of his dissertation, Hochschule fûr Musik, Cologne, 2008. Review by Christoph Flamm in Die Musikforschung 66 (2013), 174-175.

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. dissertation, 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.

______. “Galant Style, Enlightenment, and the Paths from Minor to Major in Later Instrumental Works by Haydn.” Ad Parnassum 7/13 (2009), 9-41.

Gruber, Gernot. "Der späte Haydn, ein modernes Kanondenken und die Konstruktion des Klassischen." Haydn-Studien 10 (2010-13), 360-368.

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.

Konrad, Ulrich. "'Ihm schweben öfters Ideen vor, wodurch seine Kunst noch viel weiter gebracht werden könnte.' Überlegungen zum Spätwerk Joseph Haydns." Haydn-Studien 10 (2010-13), 335-359.

Leikin, Anatole. “Thematic Rapprochement in the Recapitulations of Haydn, Mozart, and Beethoven.” Ad Parnassum 6/12 (2008), 41-67.

London, Justin Marc. "The Interaction between Meter and Phrase Beginnings and Endings in the Mature Instrumental Music of Haydn and Mozart." Ph.D. dissertation, University of Pennsylvania, 1990. Abstract in DAI 52/1 (Jul 1991), 16-A.

Ludwig, Alexander. "Hepokoski and Darcy’s Haydn." Haydn 2/2 (Fall 2012)

MacKay, James. “Musical Proporation and Formal Function in Classical Sonata Form: Three Case Studies from Late Haydn and Early Beethoven.” Theory and Practice 29 (2004), 39-68.

Malloch, William. "The Minuets of Haydn and Mozart: Goblins or Elephants?" Early Music 21 (1993), 429-35.

Miller, Norbert. "Griesenavantgardismus. Thomas Mann und der Mythos des Spätwerks." Haydn-Studien 10 (2010-13), 504-532.

Mirka, Danuta. “Das Spiel mit der Kadenz.” Die Musikforschung 57 (2004), 18-35.

______. Metric Manipulations in Haydn and Mozart: Chamber Music for Strings, 1787-1791. Oxford Studies in Music. Oxford: Oxford University Press, 2009. Reviews: David Temperley, Journal of Music Theory 53 (2009), 305-328; Balázs Mikusi, Notes 67 (2010-11), 346-348; W. Dean Sutcliffe, Early Music 38 (2010), 600-602; Mark Anson-Cartwright, Music & Letters 92 (2011), 125-128; Justin London, Eighteenth-Century Music 8 (2011), 331-334; Harald Krebs, Music Theory Online 17/3 (2011); Matthew Riley, Music Analysis 21 (2012), 251-258.

Miyake, Jan. “Readdressing Haydn’s Formal Models: Common Paths Through Expositions.” Theory and Practice 34 (2009), 31-46.

______. "Middles and Muddles: Haydn's Compositional Style and Sonata Forms." In Contemporaries, 100-114.

Morrow, Mary Sue. "Haydn and the Analysis Wars: A View from the Sidelines." Haydn 3/2 (Fall 2013).

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.

Neuwirth, Markus. “Does a ‘Monothematic’ Expositional Design Have Tautological Implications for the Recapitulation? An Alternative Approach to ‘Altered Recapitulations’ in Haydn.” Studia Musicologica 51 (2010), 369-385.

Page, Janet Kathleen. "Wind Instruments in the Music of Joseph Haydn, 1785-1798: Studies in Orchestration, Compositional Process, and Musical Structure." Ph.D. dissertation, 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. dissertation, University of North Carolina at Chapel Hill, 2006.

Riley, Matthew. "Haydn's Missing Middles." Music Analysis 30 (2011), 37-57.

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.

Yust, Jason. "Methods of Large-Scale Rhythmic and Tonal Organization as Stylistic Features of Haydn's Instrumental Music." In Contemporaries, 76-99.

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.

Brohl, Christof. “Studien zu Josef Haydns Semiseria-Opern (La vera costanza, La fedeltà premiata, Orlando Paladino).” Ph.D. dissertation, Bonn, in progress.

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. dissertation, 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.

______. Haydn’s Jews: Representation and Reception on the Operatic Stage. Cambridge: Cambridge University Press, 2009. Reviews: Paul Christiansen, Notes 67 (2010-11), 114-116; Klára Móricz, Cambridge Opera Journal 22 (2010), 109-114; Diana R. Hallman, Eighteenth-Century Music 9 (2012), 121-123.

______. “Haydn’s Judaizing of the Apothecary.” Studia Musicologica 51 (2010), 41-60.

Debly, Patricia Anne. "Joseph Haydn and the dramma giocoso." Ph.D. dissertation, 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.

Fuhrmann, Wolfgang. “Das Fest und die Schrift oder: Warum Haydn nicht als Opernkomponist berüühmt geworden ist.” Studien zur Musikwissenschaft 56 (2010)

Green, Rebecca. "Power and Patriarchy in Haydn's Goldoni Operas." Ph.D. dissertation, 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.

Jerome, Erin W. "Disguise, Deception, and the Development of Haydn's Voice in the Comic Operas of 1766-1777." Ph.D. dissertation, Braideis University, 2011.

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.

Martin, Nathan. “Formenlehre Goes to the Opera: Examples from Armida and Elsewhere.” Studia Musicologica 51 (2010), 387-404.

Matveyeva, Elena. “Musikalny teatr Yosefa Gaidna [Joseph Haydn's Musical Theater].” Ph.D. dissertation, 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.

______. “Altpapierverwertung im 18. Jahrhundert: Fragmente in den Aufführungsmaterialen des Esterházy’schen Opernbetriebs.” Studia Musicologica 51 (2010), 277-301.

"Lo speziale: Complete Facsimile of the First Edition of the 1768 Libretto." Haydn Yearbook 21 (1997), 2-72.

Thomas, Gunter. "Eine Notiz zu Haydns 'Acide.'" Haydn-Studien 6 (1986-94), 304-308.

______. "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. dissertation, 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.

Wilker, Ulrich. "Haydns 'letzte Oper.' Die Bearbeitung von L'isola disabitata im Jahr 1802." Haydn-Studien 10 (2010-13), 453-446.

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." Ph.D. dissertation, Hamburg, 1992. Publ. as 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.

Biba, Otto. "Haydns Kirchenmusikdienste für Graf Haugwitz." Haydn-Studien 6 (1986-94), 278-287.

Bowdidge, Mark Andrew. "A Conductor's Analysis of the 'Lord Nelson Mass' by Franz Joseph Haydn." D.M.A. dissertation, 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.

Clark, Caryl. "Haydn's Conversion Masses." Journal of Musicological Research 28 (2009), 189-211.

Demaree, Robert W., and Don V Moses. The Masses of Joseph Haydn: History, Style, Performance. Rochester Hills MI: Classical Heritage, 2008. Review: Bruce C. Macintyre, Haydn 1/1 (Spring 2011).

Friesenhagen, Andreas. "Strategien der Texthausdeutung in Haydns späten Messen." Haydn-Studien 10 (2010-13), 419-431.

Green, Edward. "The Technique of Chromatic Completion in Haydn's Late Masses." Haydn 1/1 (Spring 2011)

Harasim, Clemens. “Die deutschsprachigen Fassungen von Haydns Stabat mater.” Studia Musicologica 51 (2010), 259-275.

Heidrich, Jürgen. "Zur Reception der Messen Joseph Haydns im frühen 19. Jahrhundert." Haydn-Studien 10 (2010-13), 404-418.

Helms, Marianne. “Ein Schwesterwerk der ‘Nelsonmesse’? Zur Edition von Haydns Te Deum Hob. XXIIIc:2.” Haydn-Studien 9 (2006), 157-175.

Ickstadt, Peter. Die Messen Joseph Haydns. Studien zu Form und Verhältnis von Text und Musik. Musikwissenschaftliche Publikationen, 31. Hildesheim: Olms, 2009. Publ. of his dissertation, “Die Messen von Joseph Haydn: Studien zu Form und verhältnis von Text und Musik,” Musikwissenschaftliches Institut, Saarbrûcken, 2008.

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.

Leoff, Bruno. "Haydn und der Cäcilianismus. Rezeption und Aspekte der Liturgietauglichkeit des geistlichen Chorwerks von Joseph Haydn in der kirchenmusikalischen Praxis des 19. Jahrhunderts." Ph.D. dissertation, Hochschule für Musik und Darstellende Kunst, Frankfurt, 2010.

Litzel, Susanne. “Die Messen von Joseph Haydn, W. A. Mozart und L. van Beethoven. Ein Beitrag zur Gattungsgeschichte der Messe.” Ph.D. dissertation, 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.

Mikusi, Balázs. "'The Dew-Dropping Morn...Miserere nobis': Haydn's Worst Joke Reconsidered." Journal of Musicological Research 28 (2009), 212-222.

November, Nancy. "Haydn's Nelson Mass in Recorded Performance." Sacred Music 136 (Winter 2009), 26.

Pedersen, Keith Ernest. "The Sonata/Fugue in Haydn's Sacred Choral Music." D.M.A. dissertation, 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. dissertation, 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.

Wolter, Bruno. "Haydn und der Cäcilianismus. Rezeption und Aspekte der Liturgietauglichkeit des geistlichen Chorwerks von Joseph Haydn in der kirchenmusikalischen Praxis des 19. Jahrhunderts." Ph.D. dissertation, Hochschule für Musik und darstellende Kunst, Frankfurt am Main, 2014.

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. dissertation, Indiana University, 2003.

Dolan, Emily I. “The Work of the Orchestra in Haydn’s Creation.” 19th-Century Music 34 (2010-11), 3-38.

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.

Fuhrmann, Wolfgang. "Die Ordnung der Idylle - Haydns späte Oratorien." Jahrbuch des Staatlichen Instituts für Musikforschung Preußischer Kulturbesitz 2008/09, 169-195.

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. dissertation, The Louisiana State University and Agricultural and Mechanical College, 1998. Abstract in DAI 59/6 (December 1998), 1824-A.

Groves, Stephen. "The Picturesque Oratorio: Haydn’s Art in Nature’s Clothing." Music & Letters 93 (2012), 479-512.

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.

______. “Recalling the Sublime: The Logic of Creation in Haydn’s Creation.” Eighteenth-Century Music 6 (2009), 41-57.

Laubhold, Lars E. “‘... was mein Bruder in seinen Chören mit der Ewigkeit treibt...’: Quellen zur frühen Rezeption von Joseph Haydns Schöpfung in Salzburg.” Haydn-Studien 10 (2010-13), 55-70.

Loeser, Martin. “Zur Rezeption der Oratorien Haydns in Paris zwischen 1800 und 1850: Institutionelle und ästhetische Aspekte.” Studia Musicologica 51 (2010), 201-213.

Loughridge, Deirdre. "Haydn's Creation as an Optical Entertainment." Journal of Musicology 27 (2010), 9-54.

Lowe, Melanie. "Creating Chaos in Haydn's Creation." Haydn 3/1 (Spring 2013).

MacIntyre, Bruce C. Haydn: The Creation. Monuments of Western Music. New York: Schirmer Books, 1998.

Malina, János. "Haydn and The Creation in Buda, March 1800." Haydn 3/1 (Spring 2013).

Morscher, Editha. "Oberschützen, 23. und 24. November 2009: 'Joseph Haydns Oratorium "Die Jahreszeiten."'" Die Musikforschung 63 (2010), 174-175.

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.

Rogers, John. "'Begin at the Beginning': Milton, Handel, Haydn, and the Origins of The Creation." Haydn 2/2 (Fall 2012).

Scholz, Gottfried. Haydns Oratorien. Ein musikalischer Werführer. Munich: C. H. Beck, 2008.

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.

Siegert, Christine. "Il ritorno di Tobia, Die Schöpfung und das italienische Oratorium in Wien." Jahrbuch des Staatlichen Instituts für Musikforschung Preußischer Kulturbesitz 2008/09, 143-160.

Sisman, Elaine. “The Voice of God in Haydn’s Creation.” In Somfai FS, 159-173.

Spitzer, Michael. "Haydn's Creation as Late Style: Parataxis, Pastoral, and the Retreat from Humanism." Journal of Musicological Research 28 (2009), 223-248.

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.

Weinert, William. "Review: The Creation Performance Editions." Haydn 3/1 (Spring 2013).


Other Vocal Music

Balázs, Mikusi. “Between Tradition, Innovation and Utopia: Haydn’s mehrstimmige Gesänge.” Studia Musicologica 51 (2010), 179-191.

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.

Brown, Marshall. “The Poetry of Haydn’s Songs: Sexuality, Repetition, Whimsy.” In Rhetoric, 229-250.

Dack, James. “Haydn’s First English Text: The Madrigal ‘Hark, the Wild Uproar of the Winds!’ (The Storm).” Haydn-Studien 9 (2006), 195-209.

Day-O’Connell, Sarah. “The Composer, the Surgeon, His Wife and Her Poems: Haydn and Anatomy of the English Canzonetta.” Eighteenth-Century Music 6 (2009), 77-112.

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.

______. "Ein neu entdecktes Haydn-Autograph in Oslo." Haydn-Studien 10 (2010-13), 533-540.

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