Der büßende Sünder, MH 147 (Haydn, Michael)

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Introduction

 Complete Score
#109479 - 0.41MB, 34 pp. -  0.0/10 2 4 6 8 10 (0) - !N/!N/!N - 1062x

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PMLP220822-BussendeSunder.pdf
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Parts

Introduction

 Oboe 1
#108583 - 0.08MB, 2 pp. -  0.0/10 2 4 6 8 10 (0) - !N/!N/!N - 90x

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 Oboe 2
#108584 - 0.08MB, 2 pp. -  0.0/10 2 4 6 8 10 (0) - !N/!N/!N - 59x

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 Bassoon 1
#108585 - 0.09MB, 3 pp. -  0.0/10 2 4 6 8 10 (0) - !N/!N/!N - 60x

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 Bassoon 2
#108586 - 0.09MB, 2 pp. -  0.0/10 2 4 6 8 10 (0) - !N/!N/!N - 69x

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PMLP220822-BussendeSunder - I. Oboe.pdf
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Misc. Notes:

Differentiation between first and second bassoon is slightly different from H. C. Robbins Landon's edition. At letter Z, the two oboes are in unison for four measures after that they are are in thirds for three measures and unison again for the final measures; I neglected to indicate the divergence and final return to unison but I don't consider this a serious enough mistake to upload new files.

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 Horn 1 (F)
#108684 - 0.07MB, 2 pp. -  0.0/10 2 4 6 8 10 (0) - !N/!N/!N - 64x

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 Horn 2 (F)
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 Horn 3 (F)
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 Horn 4 (F)
#108687 - 0.07MB, 2 pp. -  0.0/10 2 4 6 8 10 (0) - !N/!N/!N - 59x

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PMLP220822-BussendeSunder - I. Horn in F.pdf
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Misc. Notes:

All four horns in F (valved) as opposed to having one pair of natural horns crooked in D and the other in F as was often done in the period for music in D minor, or having all horns making some awkward crook changes (as a literal reading of the original score of this piece would seem to suggest). The scholar interested in these matters may look at the H. C. R. L. edition; I see no reason to bother performers with this particular issue, interesting though it may be to some.

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 Violins I
#108878 - 0.12MB, 3 pp. -  0.0/10 2 4 6 8 10 (0) - !N/!N/!N - 84x

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 Violins II
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 Violas
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 Cellos
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 Basses
#109070 - 0.09MB, 3 pp. -  0.0/10 2 4 6 8 10 (0) - !N/!N/!N - 60x

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PMLP220822-BussendeSunder - Violin I.pdf
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Misc. Notes:

The page turns for the violins and violas are bad, but since I was able to get these down to three pages, I hope it's not too much of an inconvenience to performers.

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 Bass line with figures
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 Figured bass realization
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PMLP220822-BussendeSunder - LH Harpsichord.pdf
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General Information

Work Title Introduction to Der büßende Sünder
Alternative Title The Repentant Sinner
Composer Haydn, Michael
Opus/Catalogue Number MH 147, K VI:13
Key D minor
Movements/Sections 1
Year/Date of Composition 1771
First Performance 1771
First Publication 1967
Librettist Andreas Schachtner
Language German
Average Duration 3 minutes
Piece Style Classical
Instrumentation 3 sopranos, 3 tenors, SATB chorus, 2 oboes, 2 bassoons, 2 horns, strings, continuo (but see also comments below)


Misc. Comments

  • It was tradition in Salzburg under Archbishop Sigismund to have an oratorio for Lent co-authored by three composers. For Lent 1771, Schachtner's oratorio Die menschliche Wanderschaft consisted of three parts: I. Der laue Christ, II. Der büßende Sünder, and III. Der sterbende Fromme. Adlgaßer wrote the music for Part I, Haydn for II and Krinner for III.
  • According to Sherman & Thomas:
  1. Introduzione. Allegro. D minor, 3/8, 255mm
  2. Recitativo. Liebe: Hier ist der Ort, ...
  3. Aria. Allegro molto. G major, C. Glaube: Er ist der tolle Sünder ...
  4. Recitativo. Liebe: Getrost! Wir ...
  5. Aria. Andantino. C major, 2/4. Liebe: Ein Vater treibt mit scharfen Ruten ...
  6. Recitativo. Hoffnung: O Trost! O Lust! O Freude! ...
  7. Aria. Larghetto. F major, 3/4. Sünder: O Reu! erzeug in meinem Herzen ...
  8. Recitativo. Hoffnung: Betrübter, und darum begluckter ...
  9. Aria. Allegro spiritoso. A major, C. Sünder: Dir Gott! Sei ew'ger Dank, ...
  10. Duetto. Andante brioso. B-flat major, 2/4. Wollust, Friedliche Natur: Wir sind des Menschen Herr ...
  11. Recitativo. Sünder: O Worte! die mein Herz ...
  12. Aria. Vivace. E major, 6/8. Sünder: Wer mutigen Pferden den Zügel ...
  13. Recitativo. Liebe: Welch selten Wirkung ...
  14. Chorus. D major [Allegro?] Sei geprisen, holde Gnade ...
  • Three sopranos (Love, Hope and Delight), three tenors (Faith, Peaceful Nature, and the Sinner), SATB choir, 2 oboes, 2 bassoons, 2 horns, strings. Note there's only two horns (though H. C. R. L. does mention a second pair was a later addition). The presence of continuo is my supposition, though very well supported by Leopold Mozart's remark often quoted by Sherman and what Prof. Conway has told me about the ubiquitousness of continuo playing even in the absence of figures. Alonso del Arte 21:45, 12 July 2011 (UTC)
  • K VI/13, Lang I/248, V p23, R p32
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