Haydn, Joseph

Austria
(1732 - 1809)

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Marches - Hob. VIII:1-8

INSTRUMENTATIONS :
TRUMPET
› Brass trio 2
FLUTE
› Flute and String Quartet 1

ARRANGERS :
› MAGATAGAN, MICHAEL 1
› Messerschmidt, Hans Jorgen 2

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Flute Sheet music ⮞ Flute and String Quartet ⮞ Joseph Haydn

Three Marches for Flute & Strings
Hob VIII:1-3
Joseph Haydn

Flute and String Quartet

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ViewDownload PDF : Three Marches (Hob VIII:1-3) for Flute & Strings (12 pages - 384.34 Ko)131x⬇

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Download MP3 : Three Marches (Hob VIII:1-3) for Flute & Strings 34x⬇ 464x

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Composer	Joseph Haydn (1732 - 1809)
Instrumentation	Flute and String Quartet
Style	Classical
Arranger Publisher	MAGATAGAN, MICHAEL (1960 - ) Follow this artist 95 Contact
Copyright	Public Domain
Franz Joseph Haydn (1732 – 1809) was an Austrian composer of the Classical period. He was instrumental in the development of chamber music such as the piano trio. His contributions to musical form have earned him the epithets "Father of the Symphony" and "Father of the String Quartet". He was born in Rohrau, Austria, a village that at that time stood on the border with Hungary. His father was Mathias Haydn, a wheelwright who also served as "Marktrichter", an office akin to village mayor. Haydn...(+) Franz Joseph Haydn (1732 – 1809) was an Austrian composer of the Classical period. He was instrumental in the development of chamber music such as the piano trio. His contributions to musical form have earned him the epithets "Father of the Symphony" and "Father of the String Quartet". He was born in Rohrau, Austria, a village that at that time stood on the border with Hungary. His father was Mathias Haydn, a wheelwright who also served as "Marktrichter", an office akin to village mayor. Haydn's mother Maria, née Koller, had previously worked as a cook in the palace of Count Harrach, the presiding aristocrat of Rohrau. Neither parent could read music; however, Mathias was an enthusiastic folk musician, who during the journeyman period of his career had taught himself to play the harp. According to Haydn's later reminiscences, his childhood family was extremely musical, and frequently sang together and with their neighbours. Haydn's parents had noticed that their son was musically gifted and knew that in Rohrau he would have no chance to obtain serious musical training. It was for this reason that, around the time Haydn turned six, they accepted a proposal from their relative Johann Matthias Frankh, the schoolmaster and choirmaster in Hainburg, that Haydn be apprenticed to Frankh in his home to train as a musician. Haydn therefore went off with Frankh to Hainburg and he never again lived with his parents. Life in the Frankh household was not easy for Haydn, who later remembered being frequently hungry and humiliated by the filthy state of his clothing. He began his musical training there, and could soon play both harpsichord and violin. The people of Hainburg heard him sing treble parts in the church choir. Haydn spent much of his career as a court musician for the wealthy Esterházy family at their remote estate. Until the later part of his life, this isolated him from other composers and trends in music so that he was, as he put it, "forced to become original". Yet his music circulated widely, and for much of his career he was the most celebrated composer in Europe. He was a friend and mentor of Mozart, a tutor of Beethoven, and the older brother of composer Michael Haydn. Haydn's early work dates from a period in which the compositional style of the High Baroque (seen in J.S. Bach and Handel) had gone out of fashion. This was a period of exploration and uncertainty, and Haydn, born 18 years before the death of Bach, was himself one of the musical explorers of this time. An older contemporary whose work Haydn acknowledged as an important influence was Carl Philipp Emanuel Bach. Tracing Haydn's work over the six decades in which it was produced (roughly from 1749 to 1802), one finds a gradual but steady increase in complexity and musical sophistication, which developed as Haydn learned from his own experience and that of his colleagues. Several important landmarks have been observed in the evolution of Haydn's musical style. In the late 1760s and early 1770s, Haydn entered a stylistic period known as "Sturm und Drang" ("storm and stress"). This term is taken from a literary movement of about the same time, though it appears that the musical development actually preceded the literary one by a few years. The musical language of this period is similar to what went before, but it is deployed in work that is more intensely expressive, especially in the works in minor keys. James Webster describes the works of this period as "longer, more passionate, and more daring". Some of the most famous compositions of this time are the "Trauer" (Mourning) Symphony No. 44, "Farewell" Symphony No. 45, the Piano Sonata in C minor (Hob. XVI/20, L. 33), and the six "Sun" Quartets Op. 20, all from c. 1771–72. It was also around this time that Haydn became interested in writing fugues in the Baroque style, and three of the Op. 20 quartets end with a fugue. Source: Wikipedia (https://en.wikipedia.org/wiki/Joseph_Haydn). Although originally composed for Piano, I created this Interpretation of the Three Marches (Hob VIII:1-3) for Flute & Strings (2 Violins, Viola & Cello).
Sheet central	Marches (3 sheet music)
	Added by magataganm, 10 May 2020