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
6 - Haydn in Plain Sight: A Reception History of Matisse’s The Music Lesson
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
It is the winter of 2021. Like many parents around the world, I have donned the new hat of home-school administrator. My children are high-school age, so they resist oversight (as expected), but I have come to see that they do not need much (who knew?). My role is simply to find suitable remote-learning resources. Again, I am pleasantly surprised, and relieved: high-school level art history, for example, seems to be an especially engaging subject online, given the potential for abundant accurately coloured images, flexible user interfaces, and up-to-date critical content. This happy realisation hits me as I notice that the unfamiliar hat has slipped off the side of my head: I am no longer surveying the resources for the kids’ sakes, but rather I am absorbed, of my own accord, in a lesson on Fauvism.
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- Haydn Studies 2 , pp. 127 - 154Publisher: Cambridge University PressPrint publication year: 2025
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