Book contents
- Haydn Studies 2
- Haydn Studies 2
- Copyright page
- Contents
- Figures
- Tables
- Music Examples
- Contributors
- Acknowledgements
- 1 The Many Haydns of Musicology
- 2 Understanding Haydn’s Il ritorno di Tobia through Tonkünstler-Societät Oratorio Traditions Established by Its Founder Florian Leopold Gassmann
- 3 Listening Again to Haydn’s Night Watchman
- 4 Haydn’s Last Heroine: Hanne, The Seasons, and the Culture of Sensibility
- 5 Framing Haydn: Canons ‘As Pictures’ in the Composer’s Kabinett
- 6 Haydn in Plain Sight: A Reception History of Matisse’s The Music Lesson
- 7 The Premiere of Haydn’s Orfeo in Florence (1951)
- 8 ‘So Elusive and Yet So Palpable’: Performers Imagine Haydn
- 9 ‘Admired across the Sea’: Importing Late Haydn into Early New Zealand
- Select Bibliography
- Index
9 - ‘Admired across the Sea’: Importing Late Haydn into Early New Zealand
Published online by Cambridge University Press: 18 October 2025
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Book contents
- Haydn Studies 2
- Haydn Studies 2
- Copyright page
- Contents
- Figures
- Tables
- Music Examples
- Contributors
- Acknowledgements
- 1 The Many Haydns of Musicology
- 2 Understanding Haydn’s Il ritorno di Tobia through Tonkünstler-Societät Oratorio Traditions Established by Its Founder Florian Leopold Gassmann
- 3 Listening Again to Haydn’s Night Watchman
- 4 Haydn’s Last Heroine: Hanne, The Seasons, and the Culture of Sensibility
- 5 Framing Haydn: Canons ‘As Pictures’ in the Composer’s Kabinett
- 6 Haydn in Plain Sight: A Reception History of Matisse’s The Music Lesson
- 7 The Premiere of Haydn’s Orfeo in Florence (1951)
- 8 ‘So Elusive and Yet So Palpable’: Performers Imagine Haydn
- 9 ‘Admired across the Sea’: Importing Late Haydn into Early New Zealand
- Select Bibliography
- Index
Summary
Musicologists have started to engage critically with the international reach of Haydn’s music and the claims of ‘universal language’. Miguel Ángel Marín has shown that Haydn was a significant virtual presence in Spain; Thomas Tolley has explored Carpani’s assertions that Haydn composed a ‘New World’ symphony; W. Dean Sutcliffe has documented the discovery of three autographs from Haydn’s Op. 50 in Australia; and Peter Walls considers The Creation in colonial New Zealand. Melanie Wald-Fuhrmann has stepped back to consider the style, aesthetics, and ideas behind the claims of universality; and Nicholas Mathew has discussed what it meant for Haydn and his music to go abroad as a cultural product in the composer’s era.
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- Haydn Studies 2 , pp. 207 - 232Publisher: Cambridge University PressPrint publication year: 2025
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