Editing Michael Haydn (section)

==Works==
[[Musicology|Musicologist]] [[Karl Geiringer]] has claimed that Michael Haydn has not received the recognition he deserves from posterity, taking the view that his church music, his choruses for male voices, and many of his instrumental works are on a respectable level and ought to be revived.<ref>{{Cite journal|last=Geiringer|first=Karl|author-link=Karl Geiringer|title=Review of Michael Haydn|jstor=890157|journal=[[Notes (journal)|Notes]]|series=Second Series|volume=9|issue=4|date=September 1952|page=619|doi=10.2307/890157}}</ref>

Michael Haydn never compiled a thematic catalog of his works, nor did he ever supervise the making of one. The earliest catalog was compiled in 1808 by Nikolaus Lang for his 'Biographische Skizze' (Biographical Sketch). In 1907 Lothar Perger compiled a catalogue of his orchestral works, the [[Perger-Verzeichnis]], for ''[[Denkmäler der Tonkunst in Österreich]]'', which is somewhat more reliable than Lang's catalog and attaches P. (for Perger) numbers to many of Haydn's instrumental works. And in 1915 Anton Maria Klafsky undertook a similar work for Michael's sacred vocal music. In 1982, Charles H. Sherman, who has edited scores of many of his symphonies for Doblinger, published a chronological catalog of them which some recording companies have adopted. Later, in 1991, Sherman joined forces with T. Donley Thomas to publish a chronological catalog of Michael's complete works using a single continuous range of numbers after [[Ludwig Ritter von Köchel]]'s pioneering catalog of all Mozart's works and [[Otto Erich Deutsch]]'s similar comprehensive compendium for all Schubert's works. Further important amendments to the Sherman/Thomas catalogue have been made by Dwight Blazin.<ref>Dwight Blazin, "Michael Haydn and the 'Haydn Tradition': A Study of Attribution, Chronology and Source Transmission" (PhD diss., New York University, 2004), 235–354</ref>

The task of cataloging Michael's music is made easier by the fact that he almost always entered the date of completion on his manuscripts.<ref>[[H. C. Robbins Landon]], ''The Symphonies of Joseph Haydn'' (London: Universal Edition & Rockliff, 1955): "Michael ... dated his manuscripts with a most satisfying exactitude."</ref> Guesswork as to date was necessary only where autograph manuscripts did not survive.

[[File:Michael Haydn, St Peters Church, Salzburg, image by Scott Williams.jpg|thumb|500px|St. Peter's Church in Salzburg and the entrance to the Michael Haydn Library]]
Haydn's sacred choral works are generally regarded as his most important; his musical taste and skill showed themselves best in his church compositions, which were already in his lifetime regarded as old-fashioned.<ref>{{Cite journal|last=C.|first=M.|date=April 1953|title=Review of ''Michael Haydn: Ein Vergessener Meister'' by Hans Jancik|jstor=730844|journal=[[Music & Letters]]|volume=34|number=2|pages=160–161|publisher=Oxford University Press}}</ref> Some of these works include the ''[[Requiem pro defuncto Archiepiscopo Sigismundo]]'' (Requiem for the death of Archbishop Siegmund) in C minor, which greatly influenced the ''[[Requiem (Mozart)|Requiem]]'' by [[Wolfgang Amadeus Mozart|Mozart]]; ''[[Missa Hispanica]]'' (which he exchanged for a diploma at [[Stockholm]]); his magnificent last St. Francis [[mass (music)|Mass]] in D minor; the motet ''Lauda Sion'' which he wished to have sung at his funeral; and a set of graduals, forty-two of which are reprinted in [[Anton Diabelli]]'s ''Ecclesiasticon''. He wrote several settings of the mass ordinary in German by [[Franz Seraph von Kohlbrenner]], named ''[[Deutsches Hochamt]]''.

Haydn was also a prolific composer of secular music, including 41 [[symphony|symphonies]] and wind partitas, and multiple [[concerto]]s and [[chamber music]] including a [[string quintet]] in C major once thought to have been by his brother Joseph. There was another case of posthumous mistaken identity involving Michael Haydn: for many years, the G major symphony now known to be Michael Haydn's [[Symphony No. 25 (Michael Haydn)|Symphony No. 25]] was thought to be Mozart's [[Symphony No. 37 (Mozart)|Symphony No. 37]] and assigned as [[Köchel catalogue|K.]] 444. The confusion arose because an autograph was discovered with the opening movement of the symphony in Mozart's hand and the rest in another's hand. It is now known that Mozart composed the slow introduction to the first movement but the rest of the work is by Michael.

Several of Michael Haydn's works influenced Mozart. Three examples are first, the ''Te Deum'' "which Wolfgang was later to follow very closely in K. 141";{{sfn|Kenyon|p=44}} secondly the finale of the [[Symphony No. 23 (Michael Haydn)|Symphony No. 23]] which influenced the finale of the [[String Quartet No. 14 (Mozart)|G major Quartet]], K. 387; and lastly the (fugal) transition and (non-fugal) closing theme of the G major second subject expositions of the finales of both Michael's Symphony No. 28 (1784) and Mozart's monumental last Symphony No. 41 (''Jupiter'') (1788), both in C major.