Ingrid Fuchs

About the Participants

Ingrid Fuchs


Ingrid Fuchs was born in Vienna and studied musicology (Universität Wien) and cello (Universität für Musik und darstellende Kunst Wien). From 1981-99, she served on the staff of the Committee for Musicological Research at the Austrian Academy of Sciences (Vienna), and from 1986-96 as general secretary of the Austrian Musicological Society. She has been vice-director of the Archives of the Gesellschaft der Musikfreunde (Vienna) since September 1999. In addition, she has collaborated on numerous international musicological projects, conferences, and exhibitions, and is a regular speaker at musicological conferences across Europe, the United States, Canada and Japan. Her publications span the music of the 18th, 19th and 20th centuries.

Conference Paper: “The Viennese Musical Salon in the Time of Joseph Haydn: Ladies and Gentlemen as Hosts and Performers”

  • Abstract:
    • When H.C. Robbins Landon came to Vienna after World War II, he soon found access to house concerts and lively house music activity. He frequently reported how impressed he was to find still the same traditions of music-making, as already described by Karl Geiringer, which in Haydn’s time had been known as ‘musical salon’ and for which Haydn had composed a substantial number of his works. I would, therefore, like to present new findings concerning the musical salon and its significance for Haydn at this conference.

      One the one hand, contemporary manuscript sources pertaining to the piano and chamber music tradition in Vienna in the 1780s previously not noticed in Haydn research are introduced and evaluated. Some of these handwritten sources were found in Slovakian archives which had long been practically inaccessible. On the other hand, the question is examined: Who were the first performers and purchasers of Haydn’s piano and chamber music works in Vienna? Furthermore, Haydn’s own activities in the bourgeois musical salons will be described. Emphasis is placed on the depiction of the educational ideals of the era in which music enjoyed central significance, albeit with differing gender-specific objectives in musical training. In this context, admiring and critical contemporary voices are quoted. These observations, corroborated by remarkable contemporary sources, can be confirmed by an examination of the dedicatees of Haydn’s works. The explanations are supported by in part unpublished pictorial source material (watercolors, copper engravings) of piano and chamber music productions in the musical salon, i.e. in the house music tradition and in semi-public house concerts which were musical as well as social events and as such, with a view to the origination of his chamber music and piano music, formative for Haydn.