Haydn, Mozart, & Beethoven: Studies in the Music of the Classical Period

By Sieghard Brandenburg | Go to book overview

Foreword

These essays in honour of Alan Tyson were presented to him in a rudimentary typescript on the occasion of his 65th birthday party at the Garrick Club on 27 October 1991, in the presence of a number of the contributors. Since that date, a great deal of additional work had to be done before the volume could see the light of day: new contributions were received, and all those essays originally submitted in German had to be translated into English, resubmitted to their authors for approval (in some cases for revision), and most recent bibliographical data incorporated. If this Festschrift is now being published after the honorand's 70th birthday, this in no way diminishes the timeliness of a tribute to an outstanding and versatile scholar whose contributions to musicology and the study of musical sources have brought him international recognition. The bibliography of his publications covers a wide field, ranging from psychoanalysis to rastrology: indeed, it is largely due to his seminal studies in the latter area that the examination of watermarks and paper in the analysis and dating of music manuscripts has become a widely accepted and practised discipline. His magnum opus, the monumental classification of the watermarks in all extant manuscripts of Mozart, was published as a separate double volume of the Neue Mozart-Ausgabe.

New aspects of Beethoven research initiated by Tyson are no less significant, such as his book on the English editions of Beethoven's compositions, proving the until then unsuspected importance of these sources for the establishing of correct texts. As editor of the newly published 'Briefwechsel Gesamtausgabe' of Beethoven complete correspondence ( 6 vols. Henle Verlag, Munich 1996-7), the undersigned acknowledges his great indebtedness to Tyson "'Prolegomena to a Future Edition of Beethoven's Letters'" (in Beethoven Studies 2, ed. A. Tyson, 1977) in determining the structure of his edition. If a planned full-scale biography of Beethoven had to be shelved in favour of the all-consuming Mozart researches, a shorter version written for the New Grove testifies to Tyson's mastery of the subject, as does his work on Beethoven letters. Publications on Haydn, Clementi, and others are further testimony to his versatility in presenting original topics relating to the music, music publishing, and scribal practices of the Classical period.

-v-

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