User:Opus33/sandbox

This is my sandbox, used to work on drafts and to store material for future editing. My sandbox is not part of the real Wikipedia and you read it at your peril. :=)

Sample scores

$\relative a'' { \key a \minor \time 6/8 \partial 8 e8\p \grace { dis16 [ (e16 f 16] } e8.) dis16 e8 a, r a bes4 (b8_"cre-" c4) cis8_"scen-" d4 (dis8_"do" e8) r8 a\p g16 (f) e (d) c (b) a8 (gis8) }$

$\transpose c g \relative c' { \key c \minor \time 4/4 c4 e8 e g4 g % (text after the % is just a comment) <c es g>2 <c es g> % angle brackets create chords es4 d( ces b) % parentheses create slurs a4. r8 r8 a8 ~ a4 % r creates rests; ~ creates ties e-- e-> e-. g\fermata % accents and other signs \bar "|." }$

Historically informed performance

"We think it's better"
- https://www.sohipboston.org/what-is-hip

You get to hear all the musical lines

HH Society person, Gardiner:
Rosen on violins and pianos
Something on Brahm's piano
The instruments are played at their max
- Gardiner, whoever on the Moonlight Sonata
Tonal beauty
- singers, instruments
Articulation of the notes
- Stanley Ritchie

Sorting the negatives:

Recordings (Rosen)
Who knows what is authentic?
Haters -- what makes them so angry? Pinchas Zukerman quote, Scruton

Haydn's parrot

This link says he brought it with him on visits to Eisenstadt:
- https://books.google.com/books?id=UiWxNx2XGQ4C&pg=PT399&dq=haydn+parrot&hl=en&newbks=1&newbks_redir=0&sa=X&ved=2ahUKEwj3nb3B89CMAxWePkQIHdnFMeQ4MhDoAXoECA0QAw#v=onepage&q=haydn%20parrot&f=false
In fiction: Louisa of Prussia
They all seems to be quoting the same source -- is it Silverstolpe? Or perhaps Dies and Griesinger -- get these from library, as well as Hughes bio.
In the eighteenth century, parrots were rare and expensive pets. Prized for their colorful plumage, they were imported from Asia, Africa, and South America together with other luxury goods such as sugar, silk, and spices.10 Symbols of wealth and exotic taste, parrots also became objects of philosophical and linguistic curiosity, especially for their ability to mimic human speech. Papageno thus drew on the allure of the palavering bird, an allure shared by both Mozart and Joseph Haydn, both of whom kept birds as pets.
- Source: hayoung heidi lee https://academic.oup.com/oq/article/28/1-2/72/1558671
Lee cites something that looks good:
- Also, Haydn had a parrot who could sing the first line of Haydn’s song, “Gott erhalte Franz den Kaiser,” written in 1797 as a birthday anthem for Emperor Franz II.
- Vernon Gotwals, “Joseph Haydn’s Last Will and Testament,” The Musical Quarterly 47, no. 3 (July 1961): 337–341.
Gupfinger:
- Another historically known African grey parrot was the pet of the composer Joseph Haydn. Haydn had bought the exotic bird during a stay in London in 1791, and back in Vienna, he became his longtime housemate. The exotic bird aroused much attention in Viennese society due to his talent for speech and music. The grey parrot was able to whistle several tunes that Haydn composed.
- It is said that when a toast to the Austrian Emperor was pronounced and the glass was raised, the parrot whistled the melody of “Gott erhalte Franz den Kaiser”, which was composed by Haydn in 1797. When Joseph Haydn died in 1809, the grey parrot was part of his legacy. The composer’s parrot was finally auctioned off and was bought by Prince Johann of Lichtenstein for a huge price at the time. The taxidermy of the grey parrot is now on display as part of an exhibition in the Haydn Room at the House of Music in Vienna.

Items for Nannerl

DONE Performances before 1781 in Salzburg -- see Solomon chapter. Wolfgang insisting that she charge two ducats.
Dissing Constanze -- the friendly letter, then the sad one. From Solomon. Done, but add Halliwell's opinion
DONE verify works Wolfgang wrote for her
Find the article about authenticity of portraits; deal with the one that NeoGaze sent. Not easy to find the main, German-language source.
The marriage to Berchtold wasn't entirely unhappy: give his and her testimony
Find the place where she tells visitors that Wolfgang is better -- Deutsch?
DONE Perhaps other female pianists of the time who were forced to stay amateur: Martines, Ployer, Auenbrugger ... was Bartolozzi an amateur? xxx not promising so far; hard to tell what their status was.
source lots of things

Draft: Fix the lead paragraph for Constanze

Maria Constanze Cäcilia Josepha Johanna Aloysia Mozart (née Weber; 5 January 1762 – 6 March 1842) was a Austrian singer. She is remembered primarily as the patient and supportive wife of Wolfgang Amadeus Mozart, who (from the evidence of his letters) loved her deeply. After the shock of Mozart's sudden death in 1791, she emerged from despair to become an effective businesswoman, working to support her family. In this capacity, she played an important role in preserving Mozart's legacy by supervising the posthumous publication of his compositions. On the negative side, she is thought by many modern historians [ xxx Wolff Hallowell Eisen to have create a false, too pathetic, biographical picture of her husband, which she did for understandable financial reasons.

Draft: Genre of Adelaide

As with other genres of Western art music, the label attached to "Adelaide" has not always been the same. For instance, on the title page, the work is called a cantata (German Kantate). The work was also included in Deutsche Grammophon's collection of Beethoven's solo music in the volume labeled Lieder, implying that its genre is described by the singular of this work, namely "Lied". The latter word basically means just "song," but over time it acquired a specialist meaning, "German art song performed by a vocal soloist with (usually) piano accompaniment". The latter meaning became more prominent after Beethoven's lifetime, as what we now call the "lieder canon" expanded with the work of Schubert, Schumann, Brahms, Wolf, Mahler, and other composers. But in Beethoven's day, the lied genre was not a firm concept yet, and so his songs could appear under different labels. Whojee Whatsee explains as follows:

While today Adelaide is found in the Lieder und Gesänge volume of Beethoven's complete works and is colloquially considered to be a German lied, across the nineteenth century its generic identity was far less clear. Beethoven referred to the work as a 'cantata'; other labels soon emerged in editions and reviews, including Gesang, ballade, romance, elegy, and lied, and often the work was published with no generic designation whatsoever.

The genre "cantata," given by Beethoven (or perhaps, his publisher) has also evolved in usage: the rediscovery of Bach's extraordinary series of cantatas, which took place after Beethoven's time, led to a widespread sense that the canonical sense of "cantata" denotes a work, usually with orchestra, chorus, and vocal soloists; and written in several movements. The Italian word says little in itself, meaning simply "work that is sung". — Preceding unsigned comment added by Opus33 (talk • contribs) 20:47, 10 October 2024 (UTC)

Haydn and Mozart

Some of the shortenings were just drive-by, but others need to be checked before restoring, notably, whence Mozart got his first copy of Fux, Gradus ad Parnassum.

Fix when things have calmed down a bit

Haydn and folk music -- massive unexplained deletions, Sept. 1, 2024
Wolfgang Amadeus Mozart‎ -- editor is confused about verb tenses, Sept. 15, 2024
On top of old smokey -- explain what Kuwohi is Sept. 21, 2024
Pop culture stuff on Moonlight Sonata, Sept. 22, 2024
Restore greed as blot on Haydn's character; longstanding
Confluences, put back the Gallery

In progress

To do

For Haydn:

was an Austrian composer of the Classical period. He composed prolifically in many genres, but especially in two genres that were new in his time: the symphony and string quartet. His works in these domains were influential and widely performed, establishing both genres as central for Western classical music, even to the present time; hence Haydn is often called the "Father of the Symphony" and "Father of the String quartet".^[1]^[2] His piano trios were also pioneering and critically admired,^[3] as were his two mature oratorios The Creation and The Seasons

Haydn's earliest works, naturally enough, are in genres that were accessible to him for purposes of performance. Thus the Missa brevis of 1750, his earliest surviving work, seems likely to have been composed for the musical forces of St. Stephen's Cathedral during Haydn's service there; perhaps with the composer and his younger brother taking the two parts for soprano solo. In the period of struggle after leaving St. Stephen's, Haydn wrote serenades for small ensemble gigs, as well as easy keyboard sonatas with which to teach his students. A serenading job led to a chance encounter with the actor and librettist Joseph Felix von Kurz [de] and the opportunity to compose a comic opera; see Der krumme Teufel. The first string quartets are said to have been written for the players that happened to be on hand in the household of Haydn's patron, Baron Fürnberg.

Once Haydn became a Kapellmeister with his own orchestra, he composed symphonies in profusion; of these early symphonies, the ones most performed today are probably include the "time of day" symphonies that initiated his service for the Esterhazy family, No. 6, "Le Matin", "No. 7, "Le Midi", and "No. 8, "Le Soir" (morning-midday-evening; the numbering is unlikely to be accurate); another fairly well-known work is Symphony No. 22, called "The Philosopher".

The recruitment drive by Prince Paul Anton that obtained Haydn as leader also sought out top virtuosi to play in the orchestra. This was reflected in the large number of solo passages in the early Esterházy symphonies, as well as in the composition of concertos. Of the latter, the best known today is the Cello Concerto in C, written for Joseph Franz Weigl,. This work was rediscovered in 1961 and is now highly popular among cellists.

Repair
- Masonry and Magic Flute: mention it, but don't allow the total garbage stuff
- Mozart's composition method: K. 309, channel Konrad and quote the letter
- Urtext edition: Rosen, web guy for editor-created error

Books you are mining
- Cambridge Mozart Encyclopedia
- Jones 2009a The Life of Haydn
- Jones 2009b Oxford composer companions: Haydn
- Heartz Haydn Mozart Beethoven -- see pencil marks, there are helpful ones
- Stafford, Mozart Myths
- Wolff, Mozart at the Gateway to his Fortune

Haydn
- The missing bio section: 2nd visit to London

Mozart
- Where did people say his operas are difficult? Deutsch p. 315, the Emperor felt this way.

Gottfried van Swieten
- Haydn wanted to switch librettists for his next oratorio, The Last Judgment
- His symphony performed in the Augarten.
- His taking care of Mozart's kids after their father died. To what extent? Did he renege?

Emanuel Schikaneder
- 1789: His secret depravity in Regensburg and possibly covert departure. His reply to the censuring masons. See the book about the published MF libretto for this.
- His skill as singer

Bartolomeo Cristofori and fortepiano
- Go back to Pollens and use it to source things more thoroughly.
- Pollens seems to think that Maffei's diagram was accurate for the time
- Write an article on the piano before Cristofori. Difficult to title it without committing POV! Source: Pollens's book.
- Cristofori was part of the Prince's crew of musicians, it would appear - Pollens
- Pollens has a whole book written since I worked on this -- find and mine

Double variation
- add incipits?
- Find and read Sisman's book on the topic.

article on Rondo variations?
- e.g. as in Haydn's Gypsy Rondo trio
- There are quite a few of these, I think.

Links to Neue Mozart Ausgabe

"The basic instructions are at {{NMA}}. In this case, I obtained the volume and page numbers for the scores and the critical reports by a) expanding the list for "Serie IV Orchesterwerke" at NMA; b) opening the scores and critical reports for numbers 62 & 63 (Tänze · Band 1 & 2); c) navigating to their respective title page: the page number is then shown in the browser's address box." -- From Michael Bednarek, 10 March 2009

Other

User:Opus33/Luchese stuff Bleah.

^ Rosen 1997, pp. 43–54.
^ Webster & Feder 2001.
^ See in particular chapter xxx of Rosen (1997), who calls them "some of the greatest music ever written" (p. xxx); as well as Smallman, Basil (1992). The Piano Trio: Its History, Technique, and Repertoire. Oxford University Press. pp. 16–19. ISBN 978-0-19-318307-0.

[FOOTNOTERosen199743–54-1] Rosen 1997, pp. 43–54.

[FOOTNOTEWebsterFeder2001-2] Webster & Feder 2001.

[3] See in particular chapter xxx of Rosen (1997), who calls them "some of the greatest music ever written" (p. xxx); as well as Smallman, Basil (1992). The Piano Trio: Its History, Technique, and Repertoire. Oxford University Press. pp. 16–19. ISBN 978-0-19-318307-0.

[1]

[2]

[3]