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Published online by Cambridge University Press: 25 July 2011
In 1787 Artaria, Haydn's publisher in Vienna, issued three versions of The Seven Last Words: the original orchestral version, a quartet arrangement prepared by the composer and a keyboard arrangement sanctioned by him. A year later, in September 1788, Artaria issued three of the recent ‘Paris’ Symphonies, Nos 84, 85 and 86, in an arrangement for quartet. While the quartet version of The Seven Last Words has always been accepted as part of the canon, the three quartet arrangements of the symphonies have been ignored. Sympathetic consideration of a range of evidence, including the bibliographical, historical and text-critical, suggests that Haydn may have been the author of these three quartets.
1 van Hoboken, Anthony, Joseph Haydn: Thematisch-bibliographisches Werkverzeichnis, volume 3 (Mainz: Schott, 1978), 46–47Google Scholar .
2 Larsen, Jens Peter, Three Haydn Catalogues. Drei Haydn Kataloge, second facsimile edition with a survey of Haydn's oeuvre (New York: Pendragon, 1979), xi–xiiiGoogle Scholar .
3 Hoboken, Joseph Haydn: Thematisch-bibliographisches Werkverzeichnis, volume 1 (Mainz: Schott, 1957), 359–441Google Scholar .
4 Pohl, Carl Ferdinand, Joseph Haydn, volume 1 (Berlin: A. Sacco, 1875), 337–338, 342–343Google Scholar .
5 Larsen, Jens Peter, Die Haydn-Überlieferung (Copenhagen: Einar Munksgaard, 1939), 150, 293Google Scholar . Landon, H. C. Robbins, ‘On Haydn's Quartets of Opera 1 and 2: Notes and Comments on Sondheimer's Historical and Psychological Study’, The Music Review 13/3 (1952), 186Google Scholar . Somfai, László, ‘Zur Echtheitsfrage des Haydn'schen “Opus 3”’, Haydn Yearbook 3 (1965), 153–165Google Scholar .
6 Tyson, Alan and Landon, H. C. Robbins, ‘Who Composed Haydn's Op. 3?’, The Musical Times 105 (July 1964), 506–507Google Scholar . Although published in 1965, Somfai's ‘Zur Echtheitsfrage’ was written before the article by Tyson and Landon.
7 ‘Haydn, Joseph’, in The New Grove Dictionary of Music and Musicians, second edition, ed. Sadie, Stanley and Tyrrell, John (London: Macmillan, 2001), volume 11, 231–232Google Scholar . ‘Haydn, Joseph’, in Die Musik in Geschichte und Gegenwart [Die ‘neue’ MGG], second edition, ed. Finscher, Ludwig, Personenteil, volume 8 (Kassel: Bärenreiter, 2002), 1010–1011Google Scholar .
8 Feder, Georg, ‘Apokryphe “Haydn”-Streichquartette’, Haydn-Studien 3/2 (1974), 125–150Google Scholar .
9 Weinmann, Alexander, ed., Johann Traeg: Die Musikalienverzeichnisse von 1799 und 1804 (Handschrift und Sortiment) (Vienna: Universal, 1973)Google Scholar .
10 A table that attempted to list extant manuscript and printed sources of arrangements of Haydn's music for quartet that circulated in Europe generally in his lifetime would easily exceed fifty items. For instance, RISM A/I lists a total of thirty-seven published editions of arrangements of symphonies, cassations/divertimentos, keyboard sonatas, piano trios and oratorios; most of these were published in Paris. Répertoire International des Sources Musical, Series A/I: Einzeldrucke vor 1800, volume 4 (Kassel: Bärenreiter, 1974), H 4139–H 4175Google Scholar .
11 The New Grove, second edition, volume 11, 232. Die ‘neue’ MGG, volume 8, 1011. Georg Feder, ‘Die Überlieferung und Verbreitung der handschriftlichen Quellen zu Haydns Werken’, Haydn-Studien 1/1 (1965), 19, 25.
12 Feder, Georg, ‘Die Bearbeitung von Haydns “Armida” für Streichquartett’, in Festschrift Otto Biba zum 60. Geburtstag, ed. Fuchs, Ingrid (Tutzing: Schneider, 2006), 113–126Google Scholar .
13 ‘Von wem die Arrangements stammen ist nicht bekannt, jedenfalls nicht von Haydn selbst … Solche Arrangements wurden in der Folge sehr beliebt, alles wurde arrangiert, übersetzt oder variiert. Sie bildeten eine Quelle des fortwährenden Ärgers sowie ewiger Rekriminationen und Prozesse für die Komponisten und Verleger.’ Artaria, Franz and Botstiber, Hugo, Joseph Haydn und das Verlagshaus Artaria. Nach den Briefen des Meisters an das Haus Artaria & Compagnie dargestellt (Vienna: Artaria, 1909), 64Google Scholar ; the quartet arrangements are included in a catalogue of publications of Haydn's music, 95.
14 Hoboken, Werkverzeichnis, volume 1, 135, 146. Joseph Haydn Werke [JHW], series 1, volume 13: Pariser Sinfonien 2. Folge, ed. Gerlach, Sonja and Lippe, Klaus (Munich: Henle, 1999), 185Google Scholar .
15 RISM A/I, volume 4, h4142 and h4143; volume 12 (1992), h4142. This article uses the exemplar of the Artaria edition in A Wgm, IX 19707.
16 ‘Haydn, 3 of the most beautiful and newest symphonies arranged as quartets, for 2 violins, viola and violoncello, 3 florins’ (‘Haydn 3 der schönsten und neuesten Symphonien in Quartetten, auf 2 Violin, Viola und Violoncell gesetzt 3 fr.’), Wiener Zeitung, 27 September 1788.
17 Larsen, Three Haydn Catalogues, ix–xi, 3–36. Gerlach, Sonja, ‘Haydn's “Entwurf-Katalog”: Two Questions’, in Haydn, Mozart, and Beethoven: Studies in the Music of the Classical Period. Essays in Honour of Alan Tyson, ed. Brandenburg, Sieghard (Oxford: Oxford University Press, 1998), 65–84Google Scholar .
18 Larsen, Three Haydn Catalogues, xi–xiii, 53–119.
19 The existence of a copy for Pleyel was unknown until 2007, when it was sold at Sotheby's auction house. Sotheby's Music, London. Wednesday 23 May 2007, catalogue (London: Sotheby's, 2007), 54–57.
20 Seven manuscript sources for one or more of the arrangements survive: A GÖ, A Wgm, CZ K, CZ Pnm, CZ Pk, I Gl. None of these derives from Haydn. See JHW, series 1, volume 12: Pariser Sinfonien 1. Folge, Kritischer Bericht, ed. Hiroschi Nakano (Munich: Henle, 1979), 13; and JHW, 1/13, 182.
21 Landon, H. C. Robbins, ed. and trans., The Collected Correspondence and London Notebooks of Joseph Haydn (London: Barrie and Rockliff, 1949), 77Google Scholar ; Bartha, Dénes, ed., Joseph Haydn: Gesammelte Briefe und Aufzeichnungen. Unter Benützung der Quellensammlung von H. C. Robbins Landon (Kassel: Bärenreiter, 1965), 191–192Google Scholar . Both Landon and Bartha record a lost letter by Haydn dated 29 August 1788. This letter has since been rediscovered; it does not refer to any quartets. See Georg Feder and Franz Hermann Franken, ‘Ein wiedergefundener Brief Haydns an Artaria & Co.’, Haydn-Studien 5/1 (1982), 55–59.
22 For a history of the firm up to the mid-nineteenth century see Hilmar, Rosemary, Der Musikverlag Artaria & Comp.: Geschichte und Probleme der Druckproduktion (Tutzing: Schneider, 1977Google Scholar ). A chronological catalogue of the output of the publisher is provided in Weinmann, Alexander, Vollständiges Verlagsverzeichnis Artaria & Comp. (Vienna: Ludwig Krenn, 1952Google Scholar ). Five of Artaria's sales catalogues have been published in facsimile: Die Sortimentskataloge der Musikalienhandlung Artaria & Comp. in Wien aus den Jahren 1779, 1780, 1782, 1785 und 1788, ed. Otto Bibaand Ingrid Fuchs (Tutzing: Schneider, 2006). On various aspects of Artaria's business practice in the 1780s and 1790s see the following seminal series of articles by Ridgewell, Rupert: ‘Artaria's Music Shop and Boccherini'sMusic in Viennese Musical Life’, Early Music 33/2 (2005), 179–189Google Scholar ; ‘Artaria Plate Numbers and the Publication Process, 1778–1787’, in Music and the Book Trade, ed. Myers, Robin, Harris, Michael and Mandelbrote, Giles (London: British Library and Oak Knoll Press, 2008), 145–178Google Scholar ; ‘Biographical Myth and the Publication of Mozart's Piano Quartets’, Journal of the Royal Musical Association 135/1 (2010), 41–114Google Scholar ; ‘Mozart's Music on Sale in Vienna and Paris, 1780–1790’, in The Circulation of Music in Europe, 1600–1900: A Collection of Essays and Case Studies, ed. Rasch, Rudolf (Berlin: Berliner Wissenschafts-Verlag, 2008), 121–142Google Scholar ; ‘Mozart's Publishing Plans with Artaria in 1787: New Archival Evidence’, Music and Letters 83/1 (2002), 30–74CrossRefGoogle Scholar ; ‘Music Printing in Mozart's Vienna: The Artaria Press’,Fontes Artis Musicae 48/3 (2001), 217–236Google Scholar ; ‘Music Publishing and Economics’, in Music Publishing in Europe 1600–1900: Concepts and Issues, Bibliography, ed. Rasch, Rudolf (Berlin: Berliner Wissenschafts-Verlag, 2005), 80–103Google Scholar .
23 As revealed in Weinmann, Verlagsverzeichnis, 19, 21–23.
24 Landon, Correspondence, 37; Bartha, Briefe, 115.
25 Landon, Correspondence, 39; Bartha, Briefe, 120.
26 Landon, Correspondence, 41, 51–52, 87; Bartha, Briefe, 127, 148–149, 209.
27 Landon, Correspondence, 70–71; Bartha, Briefe, 179–180.
28 Landon, Correspondence, 61–62; Bartha, Briefe, 164–165.
29 Weinmann, Verlagsverzeichnis, 19, 23.
30 For full bibliographical details see Hoboken, Werkverzeichnis, volume 3, 43–44. The increasing sense of discrimination associated with the genre at the turn of the century, together with the emerging primacy of Haydn, Mozart and Beethoven, is a historical narrative that has yet to be fully articulated. As well as the published output of Artaria, the narrative would feature the popularity of the genre in socially exclusive aristocratic and bourgeois circles, the common practice of patrons owning a set of quartets for a period of time before the composer was allowed to distribute it to a buying public, and the repertoire of the private subscription concerts organized by Ignaz Schuppanzigh and Nicolaus Kraft. For a summary of the printed repertoire up to 1800 (but omitting all arrangements, including The Seven Last Words) and of the social culture that supported the genre see Walter, Horst, ‘Zum Wiener Streichquartett der Jahre 1780 bis 1800’, Haydn-Studien 7/3–4 (1998), 289–314Google Scholar .
31 This remark was first reported by Pohl, who claimed that it had been passed from father to son in the Artaria family; Pohl, Joseph Haydn, volume 1, 332. The two family members were probably Domenico Artaria (1775–1842) and August Artaria (1807–1893). The notion that Haydn's output of string quartets began with Op. 9 may have been current in the 1790s. The list of the composer's quartets in Traeg's catalogue of 1799 likewise begins with Op. 9; Weinmann, Johann Traeg, 63.
32 The plates of the orchestral version carry the number 114; when these were taken over unaltered, 113 was added alongside 114, indicating that they could be used to print the orchestral and the quartet versions; new plates were given the number 113, indicating that they were to be used for the quartet version only. Exemplar of Artaria print studied: GB Lbl.
33 See letter of 12 July 1787; Landon, Correspondence, 66; Bartha, Briefe, 172.
34 Tyson, Alan, ‘Haydn and Two Stolen Trios’, The Music Review 22/1 (1961), 21–27Google Scholar .
35 It is not known whether Eybler obliged. Letter of 27 March 1789; Landon, Correspondence, 81–82; Bartha, Briefe, 201.
36 Letter to Georg August Griesinger, 1 October 1801; Landon, Correspondence, 191; Bartha, Briefe, 380.
37 No. 84: CH Bps; a facsimile is to be found in the Hoboken Photogramm Archiv in A Wn. Only the slow introduction of No. 85 survives: D Bsb; No. 86: F Pn.
38 This alternation is not included in the list of corrections to the autograph score given in JHW, 1/13/2, 175.
39 These changes to the autograph score of the symphony are noted in JHW, 1/13/2, 175.
40 JHW does not document variant readings in the Artaria parts of the symphony. Exemplar of Artaria print studied: A Wst.
41 Somfai, László, ‘An Introduction to the Study of Haydn's String Quartet Autographs’, in The String Quartets of Haydn, Mozart and Beethoven: Studies of the Autograph Manuscripts, ed. Wolff, Christoph (Cambridge, MA: Harvard University Press, 1980), 5–51Google Scholar . Schafer, Hollace Ann, ‘“A wisely ordered Phantasie”: Joseph Haydn's Creative Process from the Sketches and Drafts for Instrumental Music' (PhD dissertation, Brandeis University, 1987)Google Scholar .
42 My translation. ‘Aus mangl der Zeit hab ich das 5te noch nicht setzen können, unterdessen aber ist dasselbe schon componiert.’ Bartha, Briefe, 172.
43 Dies, Albert Christoph, Biographische Nachrichten von Joseph Haydn (Vienna, 1810), ed. Seeger, Horst (Berlin: Henschelverlag, 1962), 209–210Google Scholar .