臺灣博碩士論文加值系統

陳珮玢論文摘要1999年
奏鳴曲式（Sonata Allegro Form）是十八世紀器樂曲中，最具代表性的一種形式，而海頓則是發展這個曲式的重要作曲家。然而在面對何謂海頓奏鳴曲式的問題時，即使相關於海頓音樂之研究已有了相當的進展，且一般也能理解其音樂風格手法與莫札特音樂迥異之處，但是相關於海頓形式風格的描述，至今卻仍未能得到明確且妥善的界定與解釋，像海頓實際奏鳴曲式的架構呈現與風格形式，就不是“古典”一詞所能涵蓋與說明的。
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對於幾個與海頓奏鳴曲式息息相關的問題，如海頓奏鳴曲式的實際架構、單主題在海頓奏鳴曲式裡的意義、海頓主題類型所透露出的風格、以及牽扯到海頓奏鳴曲式傳承所自的問題，都是本論文著重的焦點。為了能充分瞭解海頓音樂的獨特性，並且避免因一些對於古典時期音樂的先決定義，而侷限了海頓音樂被描述的空間，本論文決定直接由海頓一百多首交響曲的第一樂章奏鳴曲式展開分析，並且配合以海頓環境的重建，與一些定型化概念議題的探討，來幫助研究與解釋海頓的奏鳴曲式呈現。
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關於海頓奏鳴曲式架構、主題及傳承，基本上可以作如下的說明：
1）海頓的奏鳴曲式主要是利用同一主題的變奏、發揮，以及動機發展手法來貫穿成一個樂章。其架構模式既不是十九、二十世紀定義的那個定型化的模式，也不是單純狹義的單主題（Monothematic）奏鳴曲式。如果要討論海頓在奏鳴曲式調性與主題段落間的關聯，那更不是一個公式所能解釋的，因此本論文試圖依據J. P. Larsen於1988年對奏鳴曲式的一些描述性文字，來分析海頓的奏鳴曲式，並據以證明海頓奏鳴曲式的多樣化與獨特性。
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2）海頓的主題類型完全是隨著其創作時期的不同，而具有各個階段的特色，而根據海頓交響曲第一樂章的奏鳴曲式，其主題大致有以下的幾種類型：接近巴洛克時期的一種續織型風格（Fortspinnungtypus）、樂段與樂句式的續織型風格Fortspinnungtypus、一般Periode與Satz (period and sentence)，以及接近抒情歌唱性質的Lyric-like Liedtypus。
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3）以海頓的成長過程、其所接觸到維也納音樂環境，以及當時維也納在新音樂形式風格的發展走向看來，海頓所受到的薰陶已無庸置疑。再比較其奏鳴曲式與G. Wagenseil形式風格間的相似處，更能肯定海頓音樂的傳承的確是以十八世紀前葉、中葉的維也納音樂為主軸。
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長期以來，海頓一直被視為是十八世紀古典時期的代表作曲家，而事實上其器樂曲形式的發展在此時期也深具影響力，不過對於其音樂究竟要如何定位？直接描述海頓的音樂呈現情形，將較視之為是古典風格形式的代表要來得有意義。
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Sonata Form（Sonata Allegro Form）is the most representative form among instrument compositions of the 18th Century. Among the composers of sonata forms, Joseph Haydn is the most significant one to the development of the form. However, what is a Haydn’s sonata form? So far there is no precise definition of the compositions of Haydn’s style. When approached with such a similar question, even a musical scholar who has done extensive research on the development of the musicals of Haydn and has a confident grip of music style and technique of W. A. Mozart would find it difficult to articulate. The structural style and form of Haydn’s sonata form cannot be summed up in term of classical.
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Several topics are highly relevant in exploring Haydn’s sonata forms: for example, the actual structure of the forms, the meaning of monothematic, the style presented, and the inspirational influence having given rise to the forms. These topics will be focused in this thesis. In order to fully explore the uniqueness and comprehensiveness of the musicals of Haydn and avoid the preoccupied definition of classical music, this thesis will study the first movements of over 100 symphonies composed by Haydn and analyze their sonata forms. The historical background of Haydn, coupled with further research on some precepts, will be reconstructed to assist the study and interpretation of Haydn’s sonata forms.
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The structure, theme, and heritage of Haydn’s sonata forms will be fully discussed and summarized in the following:
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(1) Haydn's sonata forms center on the thematic variation and motif development. These techniques are used to thread an entire movement. The mold of structure is unlike the standard mold defined in the 19th and 20th Centuries. Neither is it like a monthematic sonata form. The relationship between tonality and thematic sections cannot be synthesized in one formula. This thesis attempts to analyze the Haydn’s sonata forms in terms of the descriptions of sonata forms in 1988 authored by J. P. Larsen. It purports to prove the diversity and uniqueness of Haydn’s sonata forms.
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(2) The thematic forms of Haydn changed along his various stages. Each has its features and characteristics. Based on the first movements of the symphonies of Haydn, the thematic forms may be categorized as following: Baroque-like Fortspinnungtypus (one of the Baroque styles); Fortspinnungtypus in periods and sentences; regular periods and sentences; and lyric-like Liedtypus.
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(3) Haydn might have found its inspiration in his contemporary new music of Vienna. This proposition can be supported by Haydn's upbringing and initiation, the contemporary music environment of Vienna, and the style and trend of the new music of Vienna. The similarities between sonata forms of Haydn and the forms of G. Wagenseil, we can further ascertain that Haydn was heavily influenced by the Vienna music of earlier and middle 18th Century.
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For a long period of time, Haydn has been esteemed as a representative composer of the classical period of the 18th Century. In fact, his instrumental compositions have a great impact to musical development of that period. However, how do we position him in the history of music? Describing the revelation of his music directly would be more meaningful than merely regarding Haydn as a representative composer of the classical.

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致謝Acknowledgementsv
中、英文摘要Abstractvii
目錄Contentsx
圖表目錄Tables and Chartsxiii
譜例目錄Musical Examplesxiv
前言Foreword xviii
緒論Introduction1
一. 關於題目的訂定與研究範圍1
二. 論文前提 ─ 關於前古典（Pre-Classical）3
三. 關於海頓奏鳴曲式的架構、主題與傳承問題4
四. 研究方法與論文架構的設計7
五. 音樂史的記載與傳承觀念的澄清9
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第一章 海頓"奏鳴曲式"實際形式架構問題的再思15
第一節　音樂理論中的奏鳴曲式模式與海頓的關聯16
一. 分析海頓奏鳴曲式時所面臨的問題16
二. 奏鳴曲式（Sonata Allegro Form）詞義與實際曲式關係的探討
第二節　一般對海頓奏鳴曲式架構所產生的錯覺聯想23
一. 十九世紀以來音樂理論之描述可能造成的誤導24
二. 音樂史論述可能帶來的誤會34
第三節 ＊＊如何解釋海頓奏鳴曲式的呈現37
一. 認清音樂理論中的模式所帶來之束縛38
二. J. P. Larsen 對實際奏鳴曲式形式架構的描述法40
三. ***海頓奏鳴曲式呈示部的分析與解釋44
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第二章 海頓奏鳴曲式與“單主題Monothematic”關聯的探討
第一節 談《Monothematic》現象在音樂史上的地位64
一.《Monothematic》的界說與音樂形式65
二. 海頓奏鳴曲式與《Monothematic》間關係的再思69
第二節《Monothematic》在海頓奏鳴曲式裡的意義70
一. 察勘海頓成熟期作品與Monothematic現象的關聯71
二. 海頓的Monothematic是否關係著奏鳴曲式的發展演進
第三節 海頓早中期交響曲第一樂章主、屬調主題間的相互關係
一. 奏鳴曲式中狹義或廣義的《Monothematic》現象87
二. 非《Monothematic》現象93
三. 海頓奏鳴曲式的多主題現象97
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第三章 探討維也納對海頓奏鳴曲式的影響111
第一節 維也納與海頓音樂成長的關聯113
（一） 關於海頓生平與音樂創作的分期113
（二） 關於海頓早期創作階段與維也納的關聯115
第二節 重建海頓早期維也納的音樂環境118
一. 哈布斯堡王朝（Habsburg）下的維也納──具國際觀的音樂之都
二. 維也納音樂大融合的現象128
三. *海頓早期在維也納的所見所聞130
第三節 ＊＊維也納音樂家們對海頓曲式的直接影響133
一. 奧地利Baroque傳統的影響136
二. 維也納Pre-Classcial作曲家的影響145
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第四章 海頓的主題設計及其歷史意義159
第一節 抒情歌唱式主題類型與海頓主題159
第二節 ＊＊海頓奏鳴曲式裡的主題類型167
一. 由語法及風格界定海頓主題類型16
二. 由海頓交響曲第一樂章奏鳴曲式探討海頓的主題類型
第三節 海頓主題在音樂史上的定位186
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結論與研究心得Conclusions189
一. **採用H. C. Robbins Landon的海頓交響曲編號之助益
二. 海頓奏鳴曲式的單主題式發揮190
三. 關於海頓音樂在十八世紀的定位192
四. **Pre-Classical與海頓、莫札特的傳承關係193
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附錄Appendix197
**附錄一：
質疑曼汗樂派（Mannheim）對海頓曲式、音樂發展上的直接影響力
一. 曼汗發展的時間無法與海頓造成傳承之關係198
二. 曼汗的音樂語法不是曼汗獨享的特色203
三. 曼汗音樂的淵源與義大利、維也納的音樂關係密切207
四. 關於J. Stamitz交響曲的奏鳴曲式（Sonata Allegro Form）
附錄二：海頓的年表The Chronology of J. Haydn221
附錄三：重要事年表 Chronology224
參考資料Bibliography230

來源:
外文書籍、翻譯書籍、中文書籍、期刊、樂譜、有聲CD、LD等。
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一. 外文書籍
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Badura-Skoda, Eva, ed.. Joseph Haydn. M?hnchen: G. Henle Verlag, 1986.
Barrett-Ayres, Reginald. Joseph Haydn and the String Quartet. London: Barrie & Jenkins, 1974.
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Bent, Ian. Analysis. New York: W. W. Norton & Company, Inc., 1987.
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Bingley, William. Musical Biography. Vol. II. New York: Da Capo Press, 1971.
Brown, A. Peter. Joseph Haydn's Keyboard Music : sources and style. Bloomington: Indiana University Press,1986 .
C. P. E. Bach. Essay on the True Art of Playing Keyboard Instruments. Translated and Edited by William J. Mitchell. New York: W. W. Norton & Company, Inc., 1949.
Chwiatkowski, Jerzy. The Da Capo Catalog of Classical Music Compositions. New York: Da Capo Press, 1996.
Crocker, Richard L.. A History of Musical Style. New York : McGraw-Hill Book Co., 1966.
Cuyler, Louise. The Symphony. New York: Harcourt Brace Jovanovich, Inc., 1973.
Downs, Philip G.. Classical music. New York: W. W. Norton & Company, Inc., 1992.
Duckworth, William, and Edward Brown, Theoretical Foundations of Music, Belmont: Wadsworth Publishing Company Inc., 1978.
Engel, Hans. Musik der Zeiten und V?'lker. Wiesbaden: Breitkopf & H??rtel, 1968.
Ewen, David, ed. The Complete Book of Classical Music. London: Prentice-Hall, Inc., 1965.
Ferguson, Donald N.. A History of Musical Thought. New York : Appleton-Century-Crofts, 1948.
Fleming, William, and Frank Macomber. Musical Arts and Styles. Florida: the Board of Regents of the State of Florida, 1990.
Fubini, Enrico. The History of Music Aesthetics. Translated by Michael Hatwell. London: The Macmillan Press Limited, 1990.
Gay, Peter, and the Editors of Time-Life Books. Age of Enlightenment. New York: Time-Life Books, 1976.
Geiringer, Karl. Haydn: A Creative Life in Music. New York: W. W. Norton & Company, Inc., 1946.
Green, Douglass M.. Form in Tonal Music: An Introduction to Analysis. Florida: Holt, Rinehart and Winston, Incorporated, 1979.
Grout, Donald J., and Claude V. Palisca. A History of Western Music. Fourth Edition. New York: W. W. Norton & Company, Inc., Fourth Edition, 1988.
Hadow, W. H.. Sonata Form. London: Novello and Company, Limited., 1979.
Haimo, Ethan. Haydn’s Symphonic Forms: Essays in Compositional Logic. Oxford: Oxford University Press Inc., 1995.
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Heartz, Daniel. Haydn, Mozart and the Viennese School 1740-1780. New York: W. W. Norton & Company, Inc., 1995.
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二. 翻譯書籍、中文書籍
Butterworth, Neil. Haydn《海頓》。賴慈芸 譯。台北：智庫文化有限公司，1995年。
Dorling Kindersley Limited. Eyewitness Travel guides: Vienna Text & Illustrations《維也納》。毛羽 譯。台北：遠流出版事業股份有限公司，民國八十六年。
Durant, Will. The age of Voltaire: The Advancement of Learning, & The Attack upon Christianity《伏爾泰思想與宗教的衝突》。幼獅文化公司 編譯。台北：幼獅文化事業公司，民國八十四年。
Durant, Will. The Story of Philosophy《西洋哲學故事》。陳文林 譯。台北：志文出版社，1995年。
Hampson, Norman. The enlightenment《啟蒙運動》。李豐斌 譯。台北：聯經出版事業公司，民國七十三年。
Hauser, Arnold. The Social History of Art 《西洋社會藝術進化史》。邱彰 譯。Taipei: 雄獅圖書股份有限公司，1994。
Kerst & Krehbiel編。Mozart: The Man and The Artist《莫札特其人其事》。潘保基譯。 台北：世界文物出版社，民國八十四年。
McNeill, William H.. History of Western Civilization. 朱建東 等譯。台北：五南圖書出版公司，民國七十八年。
McNeill, William H.. The Rise of the West. 郭方 等譯。台北：五南圖書出版公司，民國七十九年。
Mumford, Lewis. The City in History: its Origins, its Transformations, and its Prospects《歷史中的城市》。宋俊嶺、倪文彥 譯。台北： 建築與文化出版社有限公司, 1994。
Nouveaux-Loisirs. Vienna《維也納》。貓頭鷹出版社譯。台北：貓頭鷹出版社，民國八十四年。
Raeburn, Michael, Alan Kendall主編。Classical Music and its Origins 《古典音樂源起》。Heritage of Music《西洋音樂百科全書》。黃寤蘭 中文版主編。台北：台灣麥克股份有限公司，第二冊。
St?'hr, Richard. Formenlehre《曲式學》。游昌發 主譯。台北：藝友出版社出版，民國七十三年。
Stromberg, Roland N.. An Intellectual History of Modern Europe《西洋思想史》。李小群與宋紹遠 譯。 台北：五南圖書出版工公司，民國七十九年。
人民音樂出版社編輯部編。《西洋音樂的風格與流派》。北京：人明民音樂出版社，1990年7月。
王曾才編著。《西洋近代史》。台北：國立編譯館。民國八十四年十二月。
光復書局。「民主思潮的興盛」，《新編圖說世界歷史》。台北：光復書局。民國八十年。
徐頌仁。《歐洲樂團之形成與配器之發展》。台北：全音出版社，民國七十二年。
高師寧 主編。《世界歷史三百題》。台北：建宏出版社，1997年。
郭?筄情C《德意志帝國史話》。台北：三民書局股份有限公司，民國八十一年。
游昌發。《曲式學入門》。台北：藝友出版社，民國八十一年。
曾瀚霈。《音樂認知與欣賞》。台北：幼獅文化事業股份有限公司，民國八十五年。
馮作民 編著。《西洋全史（十）產業革命》。台北：燕京文化事業股份有限公司，民國六十八年。
劉靖之。《神似與形似：劉靖之論翻譯》。台北：書林出版有限公司。民國八十五年。
劉祚昌等人主編。《世界史（近代史）》。北京：人民出版社，1994年。
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三. 期刊
Davis, Shelley. “H. C. Koch, the Classic Concerto, and the Sonata-From Retransition.” The Journal of Musicology II No.1 Winter (1983), 45?61.
Dearling, Robert.“Towards a new Hoboken.”Haydn Society Journal of Great Britain. No.13 (1993), 31?43.
Dumm, Robert. “The Keyboard Sonatas of Domenico Scarlatti.” Clavier 35 April (1996), 20?23.
Fruehwald, Scott. “A Method for Determining Authenticity by Style.” The journal of Musicological Research 5 No.4 (1985), 297?317.
Hunter, Mary. “Haydn’s Sonata-Form Arias.” Current Musicology Issue 37 (1984), 19?32.
Lenneberg, Hans. “Speculating About Sociology and Social History.” The Journal of Musicology VI Fall (1988), 409?420.
McCaldin, Denis. “Old and New in Haydn’s Symphony No 89 in F Major.” Haydn Society Journal of Great Britain No 16 1996, 1?13.
Picton, Howard.“Haydn and Steffan.”Haydn Society Journal of Great Britain. No.17 (1997), 11?19.
Pollack, Howard. “Some Thoughts on the Clavier in Haydn’s Solo Claviersonaten.” The Journal of Musicology IX No.1 Winter (1991), 74?91.
Shamgar, Beth. “Rhythmic Interplay in the Retransitions of Haydn’s Piano Sonatas.” The Journal of Musicology III No.1 Winter (1984), 55?68.
Sheldon, David. “The Concept Galant in the 18th Century.” The Journal of Musicological Research 9 No.2/3 (1989), 89?108.
Stewart, Andrew.“Robbins Landon at 70.”Haydn Society Journal of Great Britain. No.16 (1996), 9?14.
Winkler, Gerhard J.. “Joseph Haydn’s‘Experimental Studioin’Esterh?鶝a.” The Musical Quarterly Volume 80 No.2 Summer (1996), 341?347.
Winter, Robert S.. “The Bifocal Close and the Evolution of the Viennese Classical Style.” Journal of the American Musicological Society XLII No.2 Summer (1989), 275?337.
Wolf, Eugene K.. “Review Article on the History and Historigraphy of Eighteenth-
century Music: Reflections on Dahlhaus’s Die Musik des 18. Jahrhunderts.” The Journal of Musicological Research 10 No.3- 4 (1991).
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四. 樂譜
Symphony
Haydn, Joseph. Kritische Ausgabe samtlicher Symphonien Band I 1─ 12, + “A”, “B”. herausgegeben von H. C. Robbins Landon. Wien: Philharmonia, Universal Edition A. G., 1981.
. Kritische Ausgabe samtlicher Symphonien Band II 13─ 27. herausgegeben von H. C. Robbins Landon. Wien: Philharmonia, Universal Edition A. G., 1981.
. Kritische Ausgabe samtlicher Symphonien Band IV 41─ 49. herausgegeben von H. C. Robbins Landon. Wien: Philharmonia, Universal Edition A. G., 1981.
. Kritische Ausgabe samtlicher Symphonien Band V 50?57. herausgegeben von H. C. Robbins Landon. Wien: Philharmonia, Universal Edition A. G., 1981.
. Kritische Ausgabe samtlicher Symphonien Band VI 58?65. herausgegeben von H. C. Robbins Landon. Wien: Philharmonia, Universal Edition A. G., 1981.
. Kritische Ausgabe samtlicher Symphonien Band VII 66?73. herausgegeben von H. C. Robbins Landon. Wien: Philharmonia, Universal Edition A. G., 1981.
. Kritische Ausgabe samtlicher Symphonien Band VIII 74?81. herausgegeben von H. C. Robbins Landon. Wien: Philharmonia, Universal Edition A. G., 1981.
. Kritische Ausgabe samtlicher Symphonien Band IX 82?87. herausgegeben von H. C. Robbins Landon. Wien: Philharmonia, Universal Edition A. G., 1981.
. Kritische Ausgabe samtlicher Symphonien Band X 88?92. herausgegeben von H. C. Robbins Landon. Wien: Philharmonia, Universal Edition A. G., 1981.
. Kritische Ausgabe samtlicher Symphonien Band XI 93?98. herausgegeben von H. C. Robbins Landon. Wien: Philharmonia, Universal Edition A. G., 1981.
. Sinfonien 1761 bis 1763. herausgegeben von J?hrgen Braun und Sonja Gerlach. M?hnchen: G. Henle Verlag, 1990.
. Sinfonien 1764 und 1765. herausgegeben von Horst Walter. M?hnchen: G. Henle Verlag, 1964.
. Sinfonien 1767-1772. herausgegeben von C.-G. Stellan M?'rner. M?hnchen: G. Henle Verlag, 1966.
. Sinfonien 1773 und 1774. herausgegeben von Wolfgang Stockmeier . M?hnchen: G. Henle Verlag, 1966.
. Sinfonien um 1775/76. herausgegeben von Wolfgang Stockmeier. M?hnchen: G. Henle Verlag, 1970.
. Pariser Sinfonien. herausgegeben vom Joseph Haydn-Institt, K?'ln under der leitung von Georg Feder. M?hnchen: G. Henle Verlag, 1971.
. Londoner Sinfonien. herausgegeben vom Joseph Haydn-Institt, K?'ln under der leitung von Georg Feder. M?hnchen: G. Henle Verlag, 1963.
. Symphonies Nos. 1?5. New York: Belwin Mills Publishing Corp..
. Symphonies Nos. 13?18. New York: Edwin F. Kalmus.
. Symphonies Nos. 23?27. New York: Edwin F. Kalmus.
. Symphonies Nos. 32?35. New York: Edwin F. Kalmus.
. Symphonies Nos. 36?40. New York: Edwin F. Kalmus.
. Symphonies Nos. 41?43. New York: Edwin F. Kalmus.
. Symphony No. 48 C Major “Maria Theresa”. edited by Ernst Praetorius. London: Ernst Eulenburg Ltd., 1976.
. Symphony No. 45 f-sharp minor. Japan: Ongaku-No-Tomo, 1990.
. Symphony No. 52 c minor. edited by Harry Newstone. London: Ernst Eulenburg Ltd., 1964.
. Symphony No. 59 A Major. edited by Gwilym Beechey. London: Ernst Eulenburg Ltd., 1971.
. Symphony No. 60 C Major “Il Distratto”. edited by Gwilym Beechey. London: Ernst Eulenburg Ltd., 1967.
. Sinfonia Nr. 83 “La Poule”. edited by Foder Akos. Budapest: EMB Editio Musica, 1982.
. Symphony No. 85 bB Major “Le Reine”. edited by Ernst Praetorius. London: Ernst Eulenburg Ltd., 1936.
. Symphony No.86 D Major. New York: Edwin F. Kalmus.
. Sinfonie Nr. 88 G Dur. edited by Jancsovics. Budapest: EMB Editio Musica, 1980.
. Symphony No. 92 G Major “Oxford”. edited by H. C. Robbins Landon. Japan: Ongaku-No-Tomo, 1962.
. Symphony No. 94 G Major “Surprise”. edited by H. C. Robbins Ladon. Japan: Ongaku-NoTomo, 1965.
. Symphony No. 100 G Dur. Japan: Zen-On Music Co., Ltd., 1963.
. Symphony No. 101 D Major “The Clock”. edited by H. C. Robbins Ladon. Japan: Ongaku-No-Tomo, 1967.
. Symphony No. 104 D Major “London”. edited by H. C. Robbins Ladon. Japan: Ongaku-No-Tomo, 1967.
Mozart, W. A.. Symphonies Nos. 27?31 . New York: Belwin Mills Publishing Corp..
Badura-Skoda Eva, and Kenneth E. Rudolf, ed.. Carl Ditters von Dittersdorf, Georg Matthias Monn, and Johann Christoph Mann. Series B volume I of The Symphony 1720 ? 1840. ed.. Barry S. Brook. 60 vols. New York: Garland Publisher, Inc., 1982.
Kucaba, John, ed.. Georg Christoph Wagenseil: Fifteen Symphonies. Series B volume III of The Symphony 1720 ? 1840. ed.. Barry S. Brook. 60 vols. New York: Garland Publisher, Inc., 1982.
. The Symphony 1720?1840. Series B Volume VI. New York: Garland Publisher, Inc., 1982.
. The Symphony 1720?1840. Series B Volume XIII. New York: Garland Publisher, Inc., 1982.
Hill, George R., ed.. Florian Leopold Gasmann: Seven Symphonies. Series B volume X of The Symphony 1720 ? 1840. ed.. Barry S. Brook. 60 vols. New York: Garland Publisher, Inc., 1982.
Wolf, Eugene K., and Jean K. Wolf, ed.. The Symphony at Mannheim: Johann Stamitz and Christian Cannabich. Series C volume III of The Symphony 1720?1840. ed.. Barry S. Brook. 60 vols. New York: Garland Publisher, Inc., 1982.
Keyboard Sonata
Bach, C. P. E. Klaviersonaten auswahl Band III. Herausgeben von Darrell M. Berg. Munchen: G. Henle Verlag, 1989.
Haydn, Joseph. Complete Piano Sonata Vol I. edited by Georg Feder. Munchen: G. Henle Verlag, 1970.
. Complete Piano Sonata Vol II. edited by Georg Feder. Munchen: G. Henle Verlag, 1970.
. Complete Piano Sonata Vol III. edited by Georg Feder. Munchen: G. Henle Verlag, 1966.
Others
Classical & Modern Works: Orchestral Excerpts from the Symphonic Repertoire. Edited by Gingold. Vol. III. New York: International Music Company.
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五. 有聲CD、LD
Haydn, Joseph. The Symphonies. Philharmonia Hungarica. Cond. Antal Dorati. The Decca Record 448 531-2, 1996.
. Symphonies Nos.12, 44, 64. Apollo Ensemble. Cond. John Hsu. Dorian Recordings Dor-90226, 1995.
. The “STURM & DRANG” Symphonies Volume 1“FIRE”. The English Concert. Cond. Trevor Pinnock. ARCHIV 427-661-2, 1989.
. The “STURM & DRANG” Symphonies Volume 4 “MERCURY”. The English Concert. Cond. Trevor Pinnock. ARCHIV 429-400-2, 1990.
. The “STURM & DRANG” Symphonies Volume 5 “TRAUER”. The English Concert. Cond. Trevor Pinnock. ARCHIV 427-756-2, 1990.
. Symphonies Vol. 8 Nos. 23, 24 & 61. Northern Chamber Orchestra. Cond. Nicholas Ward. NAXOS 8.550723, 1994.
. Symphonies Vol. 10 Nos 30, 55 & 63. Northern Chamber Orchestra. Cond. Nicholas Ward. NAXOS 8.550757, 1994.
. Symphonies c.1760-63, Nos. 3, 14, 15, 17, 19, 20, 25, 33, 36, 108. The Academy of Ancient Music. Cond. Christopher Hogwood. L’oiseau-Lyre 436 592-2, 1993.
. “Symphonies nos. 6, 7, 8, 22, 48, 53, 82, 83, 92, 94, 95, 96, 99, 101, 104.” 15 Symphonies. Digiital Recording ToCo 921 401-2, ca.1990-92.
. The “Paris” Symphonies Hob. I: 82-86. Berliner Philharmoniker. Cond. Herbert Von Karajan. Digital Recording 445 532-2, 1981.
. Symphonies nos. 88, 100 & 102. Columbia Symphony Orchestra and New York Philharmonnic. SONY SMK 64 485, 1996.
. Symphonies 97 & 98. London Philharmonic Orchestra. Cond. Sir georg Solti. DECCA 433 396-2, 1992.
. “Hob.XVI: 27?32.” Piano Sonatas vol. II Nos. 42?47. Piano: Jen?Z Jando. NAXOS 8.550844, 1993.
. “Hob.XVI:21?26.” Piano Sonatas vol. IV Nos. 36?41. Piano: Jen?Z Jando. NAXOS 8.553127, 1994.
. “Hob.XVI: 35?39.” Piano Sonatas vol. V Nos. 48?52. Piano: Jen?Z Jando. NAXOS 8.553128, 1994.
. String Quartets Op. 33 nos. 1-3, Op. 1 no. 3. Weller Quartet. DECCA 443 691-2, 1992.
. String Quartets Op. 1 Nr. 1, Op. 64 Nr. 5, op. 74 Nr. 3. Hagen Quartett. Digital Recording 423 622-2, 1989.
LD
Christopher Hogwood. Haydn at Esterhazy ─ including Symphonies 23, 28 & 29. The Academy of Ancient Music. Cond. Christopher Hogwood. London: The Decca Record Co. LTD., 1991.