Ave Maria in F major MH72
Composer: Johann Michael Haydn (1737–1806), s.a.
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X |
X |
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Franz Josepf |
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Haydn |
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1732 |
1809 |
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Ave Maria |
SATB |
a cappella |
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X |
X |
X |
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Johann Michael |
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Haydn |
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1737 |
1806 |
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MH 72 |
Ave Maria in F major |
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Johann Michael |
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Haydn |
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1737 |
1806 |
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MH 382 |
Ave Maria in E |
SATB |
acc |
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X |
X |
X |
X |
X |
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Johann Michael |
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Haydn |
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1737 |
1806 |
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MH 388 |
Ave Maria in C major
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V (4); |
orch; org |
| Score / MIDI / Lyrics: not available |
Recording: not available |
A
biographical dictionary of musicians (ed.
Theodore Baker)
G. Schirmer, 1905 - Biography & Autobiography - 695 pages |
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Haydn, Johann Michael organist and
sacred composer brother of preceding
b Kohrau Sept 14 1737 d Salzburg Aug 10 1806
Soprano chorister with remarkable voice three octaves in compass at St
Stephen's Vienna 1745 55 replacing his brother Josef St vln and organ and
became asst org in 1757 Kapellm at Grosswardein in 1762 Concert metster and
director at Salzburg to Archbishop Sigismund and in 1777 organist of the
Cathedral and St Peter's church there He married the daughter of Kapellm
Lipp Maria Magda lena an excellent soprano singcr extolled by Mozart for her
virtues By the French occupation of Salzburg in 1800 he lost his property
but his brother and friends liberally assisted him and the Empress Maria
Theresa rewarded him handsomely for a mass composed at her command in which
she sang the soprano solos He opened a school of composition and educated
many distinguished pupils incl Reicha and Carl M v Weber In 1833 Martin Bi
schofsreiter a Benedictine monk published Partitur Fundamente a coll of
thoroughbass exercises written by MH for his scholars He comp a mass and
vespers for Prince Ester hazy who twice offered to make him vice A n pellm
of his chapel but II refused hoping the Salzburg chapel would be reorganized
He was elected a member of the Stockholm Academy A prolific composer his
best works were his sacred comp s which his brother held in high estimation
ranking them above his own He was chary of publication and declined
Breitkopf und Hand's frequent advances Works Vocal About 360 church comp s
including oratorios masses cantatas 2 requiems graduals etc also operas
operettas 4 part songs songs and canons in 4 and 5 parts Instr l 30
symphonies 1 sextet 3 quintets serenades marches 12 orch l minuets a vln
concerto 50 short organ pes etc A Biographische Skizze by Schinn and Otter
was publ at Salzburg 1808 |
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http://www.haydn.dk/mh_biog.php |
Michael Haydn was born on September the 14th 1737 in
Rohrau, Lower Austria on the domains of the Counts Harrach. As one of twelve
children born to wheelwright (and later Bürgermeister) Mathias Haydn and his
wife Anna Maria, née Koller, who had been a cook at the Harrack Castle. Most
of their children died in infancy. The oldest surviving, Franz Josef was
born on March 31st 1732.1 Michael, called Hanssmichl by his father, received
his first musical training in Rohrau, and in nearby Hainburg, where he was a
choirboy.10
In 1745 he followed in brother Josephs footsteps and became a chorister in
St.Stephen's Cathedral, Vienna. The choir was led by Kapellmeister Georg von
Reutter, with whom both of the boys had quite some trouble and often found
themselves punished by. On a visit in Vienna late in his life, Michael
passed the Choir school in company with some good friends and said: "In that
dear house for many a year I collected a trashing every week". On his first
appearance before Empress Maria Theresia, she was so moved by his beautiful
voice, that she presented him with 24 ducats. He sent half of the money back
to his father, who had just lost one of his animals. The other half he gave
Reutter for safekeeping and never saw them again.1
At St.Stephens he received rudimentary instruction in theory and practice of
music. He studied violin and organ with Reutter. And equally important, he
had the opportunity to hear and perform music of the leading composers of
that time.2 He became skilled enough in playing the organ to act as deputy
organist of St.Stephen's.3 He was a chorister until around 1752, but didn't
leave St.Stephen's until sometime around 1757. He attended the Jesuit
Seminary, studying history, geography and the classics and was well
educated. In 1753-4 one of his fellow students was Johann Georg
Albrechtsberger. He taught himself composition from Fux's 'Gradus ad
Parnassum'3 and soon showed unusual promise. His first known work came in
1754. The brilliant Missa in honorem Sanctissimae Trinitatis, which by far
outshines brother Josef's first works of the genre.
In 1759 the famous Benedictine Monastery of Göttweig, accuired a Mass in C
major from Michael. None of Joseph's appear before 1762.11 Also in 1759,
Michael had undertaken a pilgrimage walk to Mariazell and composed an Ave
Regina for the Benedictine priory there.1
In 1760 he was appointed Kapellmeister to the Bishop of Grosswardein, Count
Adam Patáchich. Grosswardein, then Southern Hungary, today Oradea in
Northwestern Rumania. Here he apparently had to rely on supplemental
earnings from his works to make a living, and he left in April 1762.2 At
some point during the next year he appeared in Salzburg, where he was to
remain until his death.
On August 14, 1763 he was appointed concertmaster and court composer to the
archiepiscopal establishment, under Prince-Archbishop Siegmund, Count von
Schrattenbach. He quickly rose to a position of prominence in the Salzburg
Kapelle, surpassing by far the abilities of his older colleagues.
On August 17th 1768 he married Maria Magdalena Lipp, daughter of the second
organist of the Cathedral. Maria Magdalena was a singer at the Salzburg
Court, known to have taken part in Mozart's early operas. They had a
daughter, Aloisia Josefa in january 1770, but she died only a few days
before her first birthday.
Michaels relationship with the young Mozart (Wolfgang Amadeus), seems to
have been very fine. Although Mozart occationally made some rude remarks
about Michael in his letters, he was very impressed with Michael's music.
There is little evidence of a teacher/pupil relationship, but Mozart often
studied Michaels works and on several occations found direct inspiration in
them. They coorporated on a work and on a couple of occations helped
supplying works for each other. They maintained contact, even when Mozart
left for Vienna.
The relationship with Mozart senior (Leopold), was a little more tricky.
Michael was a highly qualified competitor to the posts in Salzburgs music
life. Leopold was generally both positive and supportive towards Michael,
but from time to time, and when Wolfgang was in need for a position, Leopold
could become equally negative and withdraw his support. This is not so
surprising. Family comes first and Leopold always worked hard on behalf of
his beloved children.5
In 1781 he overtook the post of organist of the Cathedral in Salzburg, when
young Mozart permanantly left for Vienna. At this point he already held the
same post in the churches of the Holy Trinity and of St.Peter. These posts
he took over from Anton Adlgasser in 1777. He was also teaching at the
chapel boy's college. in 1787 he became violin instructor for the court
(succeeding Leopold Mozart on his death).
The most famous of Michaels pupils was probably Carl Maria von Weber (1786 -
1826) whom he taught counterpoint around 1798. Another was Anton Diabelli
(1781 - 1858), who wrote a 'Trauermarsch' when Michael Died. Other pupils
were Sigismund Neukomm (1778 - 1858), Ignaz Assmayr (1790 - 1862) and Joseph
Woelfl (1772 - 1812).
In December 1800 Salzburg was taken by the French and Michael had some of
his property seized, including a months salary. To help him, Joseph sent him
money and a gold watch. And Empress Maria Theresia commissioned a mass and
later a Requiem. Around this time, he visits Joseph in Eisenstadt, where he
was offered the position as second Kapellmeister. This he refused however,
hoping that conditions would improve in Salzburg. They did, but not nearly
as he had expected and in a letter to his brother dated February 1804,
Michael clearly regrets having turned down the Prince's 'generous offer'. He
was also offered a position in Florence, to run the music for the Grand Duke
of Tuscany.11
His reputation as a composer grew far beyond the confines of Salzburg and
Austria and in 1804 he became a member of the Royal Swedish Academy of
Music.
Michael died on August 10th 1806 in Sanktpetrischen Haus in Festungsgasse,
Salzburg. He was buried at St.Peter's Churchyard (Petersfriedhof), where a
monument today can be seen. This place of honour is maintained by members of
the St.Peter's community.
Michael maintained a lifelong friendship with the Benedictine brothers of
the Abbey of St.Peter in Salzburg. A relationship that still today remains
one of the monastery's proudest distinctions. He lived in one of the abbey
houses.
The following description of Michael was given by one of the monks of
St.Peter, Gabriel Hutter. 'His character was quiet, discreet modesty. Drink
and gambling were far removed from him, moderation in thinking, speaking,
even in judging other musical works, were what made him beloved and valued'.
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Page last modified:
March 13, 2013
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