Der büßende Sünder, MH 147 (Haydn, Michael)

Movements/SectionsMov'ts/Sec's 1
Composition Year 1771
Genre Categories Sacred oratorios; Oratorios; Religious works; For 6 voices, mixed chorus, orchestra; For voices and chorus with orchestra; Scores featuring the voice; Scores featuring the soprano voice; Scores featuring the tenor voice; Scores featuring mixed chorus; Scores featuring the orchestra; German language

Contents

Performances

Sheet Music

Full Scores

Introduction

 Complete Score
#109479 - 0.41MB, 34 pp. -  0.0/10 2 4 6 8 10 (-) - !N/!N/!N - 1699×⇩ - Alonso del Arte

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Editor Alonso del Arte
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Parts

Introduction

 Oboe 1
#108583 - 0.08MB, 2 pp. -  0.0/10 2 4 6 8 10 (-) - !N/!N/!N - 182×⇩ - Alonso del Arte

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⇒ 14 more: Oboe 2 • Bassoon 1 • Bassoon 2 • Horn 1 (F) • Horn 2 (F) • Horn 3 (F) • Horn 4 (F) • Bass line with figures • Figured bass realization • Violins I • Violins II • Violas • Cellos • Basses

 Oboe 2
#108584 - 0.08MB, 2 pp. -  0.0/10 2 4 6 8 10 (-) - !N/!N/!N - 134×⇩ - Alonso del Arte

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 Bassoon 1
#108585 - 0.09MB, 3 pp. -  0.0/10 2 4 6 8 10 (-) - !N/!N/!N - 132×⇩ - Alonso del Arte

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 Bassoon 2
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 Horn 1 (F)
#108684 - 0.07MB, 2 pp. -  0.0/10 2 4 6 8 10 (-) - !N/!N/!N - 173×⇩ - Alonso del Arte

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 Horn 2 (F)
#108685 - 0.08MB, 2 pp. -  0.0/10 2 4 6 8 10 (-) - !N/!N/!N - 132×⇩ - Alonso del Arte

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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 (-) - !N/!N/!N - 135×⇩ - Alonso del Arte

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 Bass line with figures
#109364 - 0.10MB, 3 pp. -  0.0/10 2 4 6 8 10 (-) - !N/!N/!N - 136×⇩ - Alonso del Arte

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 Figured bass realization
#109365 - 0.14MB, 6 pp. -  0.0/10 2 4 6 8 10 (-) - !N/!N/!N - 148×⇩ - Alonso del Arte

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 Violins I
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 Violins II
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 Violas
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 Cellos
#108931 - 0.09MB, 2 pp. -  0.0/10 2 4 6 8 10 (-) - !N/!N/!N - 132×⇩ - Alonso del Arte

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 Basses
#109070 - 0.09MB, 3 pp. -  0.0/10 2 4 6 8 10 (-) - !N/!N/!N - 134×⇩ - Alonso del Arte

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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. 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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General Information

Work Title Introduction to Der büßende Sünder
Alternative. Title The Repentant Sinner
Composer Haydn, Michael
Opus/Catalogue NumberOp./Cat. No. MH 147, K VI:13
I-Catalogue NumberI-Cat. No. IMH 3
Key D minor
Movements/SectionsMov'ts/Sec's 1
Year/Date of CompositionY/D of Comp. 1771
First Performance. 1771
First Publication. 1967
Librettist Johann Andreas Schachtner (1731–95)
Language German
Average DurationAvg. Duration 3 minutes
Composer Time PeriodComp. Period Classical
Piece Style Classical
Instrumentation 3 sopranos, 3 tenors, SATB chorus, 2 oboes, 2 bassoons, 2 horns, strings, continuo (but see also comments below)

Navigation etc.

  • 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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