Andreas Friesenhagen

The "Missa Cellensis", composed in 1782, is better known as the "Mariazell Mass", with reference to the pilgrimage site of Mariazell in Styria, where it was performed. The revision of the complete vol...

The "Missa Cellensis", composed in 1782, is better known as the "Mariazell Mass", with reference to the pilgrimage site of Mariazell in Styria, where it was performed. The revision of the complete vol...

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...

In den Jahren 1800-1804 bearbeitete Haydn im Auftrag schottischer Volksliedsammler an die 400 Originalmelodien schottischer und walisischer Volkslieder für 1-2 Singstimmen und Klaviertrio. In Zusammen...

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...

> 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...