![]() The two distinct geographic disseminations of Michael Haydn’s music are investigated-one emanating from his early years in and around Vienna up until 1763, and the other from Salzburg once he settled there in 1763. This evaluation confirms that the early cataloguers accounted for the vast majority of Michael Haydn’s authentic compositions and that numerous works currently ascribed to the composer should be considered spurious or, at best, of uncertain authorship. It is then possible to construct a history of the composer’s manuscript collections. ![]() This study also evaluates the contemporaneous thematic catalogues prepared by several of Michael Haydn’s associates in Salzburg around the time of his death in 1806 and relates them to the dissemination of the composer’s musical estate. ![]() This study concludes that the common attribution on many 18th-century performance parts, which read simply to “Haydn,” was generally understood to mean Joseph Haydn-even in Michael Haydn’s Salzburg. Joseph Haydn’s reputation made it less obligatory to include his first name, especially at institutions that did not customarily acquire works by Michael. These works merged into a Viennese “Haydn” transmission largely associated with Joseph Haydn, whose growing fame stimulated just such an amalgamation. This study illustrates how Michael Haydn’s pre-Salzburg works were at significant risk of being misattributed to his brother. ![]() This has proven to be a vexing problem to Haydn scholars who seek to distinguish between works by Joseph and Michael. ![]() Due to the international reputation that Joseph attained in the 1760s, many 18th-century sources increasingly came to bear only the name “Haydn,” omitting the first name. The Austrian composer, Michael Haydn, was the older brother of the more famous Joseph Haydn. ![]()
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