Joseph Haydn: Abendlied zu Gott - Sheet music | Carus-Verlag

Joseph Haydn Abendlied zu Gott

Hob. XXVc:9

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full score Carus 40.282/10, ISMN 979-0-007-06631-4 8 pages, DIN A4, without cover Minimum order quantity: 20 copies
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  • As Kapellmeister to Prince Esterházy, Haydn composed numerous instrumental works and various operas, as well as making important contributions to the genre of church music, including fourteen Latin masses, of which only twelve are authentic or complete; these are complemented by motets and offertories, two important Te Deum settings, two Salve Reginas, a Stabat Mater, and the different versions of the Sieben Worte des Erlösers am Kreuze. The masses were composed continually between 1749 and 1802, except for the years 1783–1795, and therefore constitute the genre with which Haydn was occupied over the longest period of time. The six (authentic or complete) masses composed before 1782 are stylistically very different, and as well as short Missae breves there are more extended masses with rich orchestral scoring; by contrast the six so-called late masses, written from 1796 onwards, form a comparatively homogeneous group of more extensive works scored for large forces. With his two great oratorios Die Schöpfung (The Creation) (1798) and Die Jahreszeiten (The Seasons) (1801) Haydn established the tradition of the German oratorio for middle-class music making. Personal details
  • The publisher, church musician and teacher Günter Graulich is one of the major personalities in German publishing of the post-war period. With his wife Waltraud he founded Carus-Verlag Stuttgart in 1972, which he built up from a 2-person family firm to a medium-sized business with around 60 employees. A trained church musician and Kantor for many years at the Matthäuskirche Stuttgart, he also directed the Motettenchor Stuttgart for 50 years. With his choir he made LP and CD recordings, and undertook numerous concert tours to other European countries and America. Personal details

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Joseph Haydn: Abendlied zu Gott

Joseph Haydn: Abendlied zu Gott.

Ein Chorwerk, das sich bei Chören großer Beliebtheit erfreut, liegt nun in einer sehr schönen Partiturausgabe vor. Der Klavierpart ist von Haydn so gestaltet, dass typische Figuren bei einer Besetzung mit Orgel verloren gehen. Damit ist dieses Chorwerk wohl der Wiedergabe bei Chorkonzerten, aber auch bei festlichen Anlässen wie Ehrungen, Geburtstagsständchen und ähnlichen Gelegenheiten vorbehalten.

Walter Sengstschmid
Quelle: Singende Kirche 1987 Heft 4, S. 199

J. Haydn hat die sechs Textzeilen von Christian Fürchtegott Geliert recht ausführlich in Töne gesetzt. In den 130 Takten gibt es viele Textwiederholungen, die nicht nur durch polyphone Strukturen bedingt sind; Haydn nutzt sie zu neuer musikalischer Ausdrucksgestaltung, zur Intensivierung des vorhandenen musikalischen Materials. Die kompositorische Meisterschaft Haydns bürgt für einen klassischen Zuschnitt des Chorsatzes, der - zumindest in der musikalischen Gliederung - an die alte Motettenform erinnert. Die ganz unaufdringlich angelegte Klavierbegleitung hat, von wenigen Takten abgesehen, stützende Funktion. In einer adäquaten Interpretation sollten die kompositorische Disziplin des Werkes und seine auch in Steigerungen vorhandene innere Verhaltenheit hörbar werden.

Quelle: Musica Sacra 4/88

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