Andreas Friesenhagen

La "Missa Cellensis", compuesta en 1782, es más conocida como la "Misa de Mariazell", en referencia al lugar de peregrinación de Mariazell, en Estiria, donde se interpretó. La revisión del volumen com...

La "Missa Cellensis", compuesta en 1782, es más conocida como la "Misa de Mariazell", en referencia al lugar de peregrinación de Mariazell, en Estiria, donde se interpretó. La revisión del volumen com...

Schon zu Haydns Lebzeiten trug die Sinfonie Nr. 26 den Beinamen 'Lamentazione', obwohl nicht nachgewiesen ist, dass dieser von Haydn stammt. Das Werk muss vor 1770 entstanden sein. Im ersten und zweit...

Schon zu Haydns Lebzeiten trug die Sinfonie Nr. 26 den Beinamen 'Lamentazione', obwohl nicht nachgewiesen ist, dass dieser von Haydn stammt. Das Werk muss vor 1770 entstanden sein. Im ersten und zweit...

Schon zu Haydns Lebzeiten trug die Sinfonie Nr. 26 den Beinamen 'Lamentazione', obwohl nicht nachgewiesen ist, dass dieser von Haydn stammt. Das Werk muss vor 1770 entstanden sein. Im ersten und zweit...

Schon zu Haydns Lebzeiten trug die Sinfonie Nr. 26 den Beinamen 'Lamentazione', obwohl nicht nachgewiesen ist, dass dieser von Haydn stammt. Das Werk muss vor 1770 entstanden sein. Im ersten und zweit...

Schon zu Haydns Lebzeiten trug die Sinfonie Nr. 26 den Beinamen 'Lamentazione', obwohl nicht nachgewiesen ist, dass dieser von Haydn stammt. Das Werk muss vor 1770 entstanden sein. Im ersten und zweit...

London, with its bustling musical scene, always provided Haydn with welcome surroundings at a time when the flute was extraordinarily popular among English amateurs. The Earl of Abingdon, an accomplis...

Though not nearly as well-known as the 'London Trios,' these six delightful divertimentos are Haydn's first pieces of chamber music to expressly call for the flute. Straightforward and full of Haydn's...

Haydn's three Symphonies nos. 90-92 might rightly be dubbed his 'Paris Symphonies Part II', as they were commissioned in 1788/89, likewise by the Société Olympique, for which Haydn had already compose...

> Based on the Henle Complete Edition of the 'Works of Joseph Haydn' > Orchestral parts in a large format (25.5 x 32.5 cm) Like its companions Nos. 90 and 91, Haydn's Symphony No. 92 in G major was wr...

> Based on the Henle Complete Edition of the 'Works of Joseph Haydn' > Orchestral parts in a large format (25.5 x 32.5 cm) Like its companions Nos. 90 and 91, Haydn's Symphony No. 92 in G major was wr...

> Based on the Henle Complete Edition of the 'Works of Joseph Haydn' > Orchestral parts in a large format (25.5 x 32.5 cm) Like its companions Nos. 90 and 91, Haydn's Symphony No. 92 in G major was wr...

> Based on the Henle Complete Edition of the 'Works of Joseph Haydn' > Orchestral parts in a large format (25.5 x 32.5 cm) Like its companions Nos. 90 and 91, Haydn's Symphony No. 92 in G major was wr...

> Based on the Henle Complete Edition of the 'Works of Joseph Haydn' > Orchestral parts in a large format (25.5 x 32.5 cm) Like its companions Nos. 90 and 91, Haydn's Symphony No. 92 in G major was wr...

> Based on the Henle Complete Edition of the 'Works of Joseph Haydn' > Orchestral parts in a large format (25.5 x 32.5 cm) Like its companions Nos. 90 and 91, Haydn's Symphony No. 92 in G major was wr...

Urtext aus/from: Joseph Haydn Werke, G. Henle Verlag München

Urtext aus/from: Joseph Haydn Werke, G. Henle Verlag München

Urtext aus/from: Joseph Haydn Werke, G. Henle Verlag München

Urtext aus/from: Joseph Haydn Werke, G. Henle Verlag München

Urtext aus/from: Joseph Haydn Werke, G. Henle Verlag München

Urtext aus/from: Joseph Haydn Werke, G. Henle Verlag München

This edition clarifies a performance aspect of Haydn's Symphony in G major that has long been misunderstood: in m. 1 of the second movement (Largo) the viola, violoncello and several wind instrument p...

This edition clarifies a performance aspect of Haydn's Symphony in G major that has long been misunderstood: in m. 1 of the second movement (Largo) the viola, violoncello and several wind instrument p...

This edition clarifies a performance aspect of Haydn's Symphony in G major that has long been misunderstood: in m. 1 of the second movement (Largo) the viola, violoncello and several wind instrument p...