Recepción histórica de la música eclesiástica de Joseph Haydn en los archivos musicales catedralicios de la Comunidad Valenciana

José Aparisi Aparisi

doi:10.3989/anuariomusical.2008.63.32

The Historical Reception of Joseph Haydn’s Church Music in the Cathedral Archives of the Valencian Community

Authors

José Aparisi Aparisi Conservatorio Superior de Música de Valencia

DOI:

https://doi.org/10.3989/anuariomusical.2008.63.32

Keywords:

Joseph Haydn, church music, Valencian Community, Viennese classicism reception, source dating, manuscripts and musical prints

Abstract

As far as I know, no research has been done so far on the reception of Joseph Haydn’s music, particularly that concerning the liturgical repertoire, in Latin, in the main centres of production of church music in the Valencian Community. The first source with music by Haydn, dated in Valencia in 1789, when the musician’s composing activity was at its best —the organ part of the “Grosse Orgelsolomesse” (“Great Organ Solo Mass”)—, appears in Valencia only three years after he composed Die sieben letzten Worte unseres Erlösers am Kreuze (“The Seven Last Words of our Saviour on the Cross”) commissioned to Haydn by the Hermandad of the Santa Cueva in Cadiz. On the other hand, the number of compositions wrongly attributed to Joseph Haydn is, in all probability, much higher when it comes to church music than any other genre, which offers a wide and interesting fi eld to study.

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Published

2008-12-30

How to Cite

Aparisi Aparisi, J. (2008). The Historical Reception of Joseph Haydn’s Church Music in the Cathedral Archives of the Valencian Community. Anuario Musical, (63), 97–152. https://doi.org/10.3989/anuariomusical.2008.63.32

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Issue

No. 63 (2008)

Section

Articles

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