000			01790nab a2200181 c 4500
001			myd_86558
003			ES-MaCDM
005			20240917124641.0
008			181003s2011 sp ||||fr 00| u|spa u
040			_aES-MaCDM
100	1		_aFriesenhagen, Andreas _d1965- _9112264
245	0		_aHaydn's symphonies _b problems of instrumentation and performance tradition _cFriesenhagen, Andreas
260			_c2011: _bOxford University Press, _aLondon; Oxford
520			_aRESUMEN: To this day, joshep Haydn´s symphonies are often performed and recorded in a way that does not reflect the composer´s intentions. This includes certain variants of intrumentation such the performance of "violoncello obbligato" with a single instrument, tha additions of trumpets and timpani, or the use of horns in high C.Using the cello part of the slow movement of Symphony no.102 as an example, I argue that Haydn, in spite of the "solo" designation at the beginning of the movement alone. The same applies to most passages for cello "solo" in his late symphonies. Additionally, it can be established from the sources that before 1768 Haydn did not write for horns in high C and that tha parts for trumpets and timpani in some of the early symphonies did not originate with the composer. The fact that these alternative instrumentations, though inauthentic, have found widespread acceptance in today´s performances is demonstrated by selected recordings from the 1950s to the present. A short survey of the hiitory of Haydn´s symphonies on disc serves as an introduction. Keywords: Joseph Haydn, performing traditions, recording, Antal Dorati, Adam Fischer, Christopher Hogwood.
773	0		_tEarly Music _072886 _wmyd_16029 _gVol. 39, núm. 2,May. 2011, p. 253
903			_a86558 _b86558
942			_cART
999			_c122984 _d122984