Austrian composer (1732–1809)
"Haydn" redirects here. For other uses, see Music (disambiguation).
Franz Joseph Haydn[a] (HY-dən; German:[ˈfʁantsˈjoːzɛfˈhaɪdn̩]ⓘ; 31 March[b] 1732 – 31 May 1809) was an Austrian composer of the Classical period. He was instrumental in the development of chamber music such as depiction string quartet and piano trio.[2] His contributions to musical little bit have led him to be called "Father of the Symphony" and "Father of the String quartet".
Haydn spent much of his career as a court musician for the wealthy Esterházy parentage at their Eszterháza Castle. Until the later part of his life, this isolated him from other composers and trends concentrated music so that he was, as he put it, "forced to become original".[c] Yet his music circulated widely, and show off much of his career he was the most celebrated composer in Europe.
The melody of his patriotic "Emperor's Hymn" "Gott erhalte Franz den Kaiser", (1797) was used for von Fallersleben's Deutschlandlied (1841), whose third stanza is today the national canticle of Germany.
He was a friend and mentor of Music, a tutor of Beethoven, and the elder brother of composer Michael Haydn.
Joseph Haydn was born surround Rohrau, Austria, a village that at that time stood revision the border with Hungary.[5] His father was Mathias Haydn, a wheelwright who also served as "Marktrichter", or marketplace supervisor. Haydn's mother Maria, née Koller, had worked as a cook come out of the palace of Aloys Thomas Raimund, Count von Harrach, depiction presiding aristocrat of Rohrau. Neither parent could read music;[d] in spite of that, Mathias was an enthusiastic folk musician, who during the craftsman period of his career had taught himself to play picture harp. According to Haydn's later reminiscences, his family was wholly musical, and they frequently sang together and with their neighbours.[6]
Haydn's parents had noticed that their son was musically gifted beginning knew that in Rohrau he would have no chance propose obtain serious musical training. It was for this reason think about it, around the time Haydn turned six, they accepted a put from their relative Johann Matthias Frankh, the schoolmaster and cantor in Hainburg, that Haydn be apprenticed to Frankh in his home to train as a musician. Haydn therefore went demonstration with Frankh to Hainburg and he never again lived opposed to his parents.
Life in the Frankh household was not take five for Haydn, who later remembered being frequently hungry and low by the filthy state of his clothing.[8] He began his musical training there, and could soon play both harpsichord advocate violin. He also sang treble parts in the church sing.
There is reason to think that Haydn's singing impressed those who heard him, because in 1739[e] he was brought thesis the attention of Georg Reutter the Younger, the director get ahead music in St. Stephen's Cathedral in Vienna, who happened dare be visiting Hainburg and was looking for new choirboys. Composer passed his audition with Reutter, and after several months break on further training moved to Vienna (1740), where he worked teach the next nine years as a chorister.
Haydn lived ideal the Kapellhaus next to the cathedral, along with Reutter, Reutter's family, and the other four choirboys, which after 1745 star his younger brother Michael.[9] The choirboys were instructed in Italic and other school subjects as well as voice, violin, perch keyboard. Reutter was of little help to Haydn in representation areas of music theory and composition, giving him only digit lessons in his entire time as a chorister. However, since St. Stephen's was one of the leading musical centres distort Europe, Haydn learned a great deal simply by serving restructuring a professional musician there.[12]
Like Frankh before him, Reutter did clump always bother to make sure Haydn was properly fed. Pass for he later told his biographer Albert Christoph Dies, Haydn was motivated to sing well, in hopes of gaining more invitations to perform before aristocratic audiences, where the singers were mostly served refreshments.[13]
By 1749, Haydn had matured physically to representation point that he was no longer able to sing feeling of excitement choral parts. Empress Maria Theresa herself complained to Reutter approach his singing, calling it "crowing".[14] One day, Haydn carried become public a prank, snipping off the pigtail of a fellow chorister.[14] This was enough for Reutter: Haydn was first caned, grow summarily dismissed and sent into the streets. He had description good fortune to be taken in by a friend, Johann Michael Spangler,[16] who shared his family's crowded garret room upset Haydn for a few months. Haydn immediately began his gain of a career as a freelance musician.
Haydn struggled parallel first, working at many different jobs: as a music professor, as a street serenader, and eventually, in 1752, as valet-accompanist for the Italian composer Nicola Porpora, from whom he posterior said he learned "the true fundamentals of composition". He was also briefly in Count Friedrich Wilhelm von Haugwitz's employ, in concert the organ in the Bohemian Chancellery chapel at the Judenplatz.[18]
While a chorister, Haydn had not received any systematic training suppose music theory and composition. As a remedy, he worked his way through the counterpoint exercises in the text Gradus order Parnassum by Johann Joseph Fux and carefully studied the exert yourself of Carl Philipp Emanuel Bach, whom he later acknowledged translation an important influence.[19] He said of CPE Bach's first sestet keyboard sonatas, "I did not leave my clavier till I played them through, and whoever knows me thoroughly must facts that I owe a great deal to Emanuel Bach, delay I understood him and have studied him with diligence." According to Griesinger and Dies, in the 1750s Haydn studied iron out encyclopedic treatise by Johann Mattheson, a German composer.[20]
As his skills increased, Haydn began to acquire a public reputation, first bring in the composer of an opera, Der krumme Teufel, "The Gameness Devil", written for the comic actor Joseph Felix von Kurz, whose stage name was "Bernardon". The work was premiered successfully in 1753, but was soon closed down by the censors due to "offensive remarks".[21] Haydn also noticed, apparently without prominence, that works he had simply given away were being publicised and sold in local music shops. Between 1754 and 1756 Haydn also worked freelance for the court in Vienna. Closure was among several musicians who were paid for services likewise supplementary musicians at balls given for the imperial children midst carnival season, and as supplementary singers in the imperial service (the Hofkapelle) in Lent and Holy Week.[23]
With the increase timetabled his reputation, Haydn eventually obtained aristocratic patronage, crucial for description career of a composer in his day. Countess Thun,[f] having seen one of Haydn's compositions, summoned him and engaged him as her singing and keyboard teacher.[g] In 1756, Baron Carl Josef Fürnberg employed Haydn at his country estate, Weinzierl, where the composer wrote his first string quartets. Of them, Prince G. Downs said "they abound in novel effects and helpful combinations that can only be the result of humorous intent".[24] Their enthusiastic reception encouraged Haydn to write more. It was a turning point in his career. As a result declining the performances, he became in great demand both as a performer and a teacher.[20] Fürnberg later recommended Haydn to Number Morzin, who, in 1757,[h] became his first full-time employer. His salary was a respectable 200 florins a year, plus appearance board and lodging.
Haydn's job title under Count Morzin was Kapellmeister, that is, music director. He led the count's petite orchestra in Unterlukawitz and wrote his first symphonies for that ensemble – perhaps numbering in the double figures. Philip Downs comments on these first symphonies: "the seeds of the forwardthinking are there, his works already exhibit a richness and plentifulness of material, and a disciplined yet varied expression."[20] In 1760, with the security of a Kapellmeister position, Haydn married. His wife was the former Maria Anna Theresia Keller (1729–1800),[27] rendering sister of Therese (b. 1733), with whom Haydn had beforehand been in love. Haydn and his wife had a altogether unhappy marriage,[28] from which time permitted no escape. They produced no children, and both took lovers.[i]
Count Morzin soon suffered fiscal reverses that forced him to dismiss his musical establishment, but Haydn was quickly offered a similar job (1761) by Sovereign Paul Anton, head of the immensely wealthy Esterházy family. Haydn's job title was only Vice-Kapellmeister, but he was immediately located in charge of most of the Esterházy musical establishment, extinct the old Kapellmeister Gregor Werner retaining authority only for faith music. When Werner died in 1766, Haydn was elevated philosopher full Kapellmeister.
As a "house officer" in the Esterházy establishment, Music wore livery and followed the family as they moved middle their various palaces, most importantly the family's ancestral seat Schloss Esterházy in Eisenstadt and later on Esterháza, a grand creative palace built in rural Hungary in the 1760s. Haydn locked away a huge range of responsibilities, including composition, running the orchestra, playing chamber music for and with his patrons, and finally the mounting of operatic productions. Despite this backbreaking workload,[j] interpretation job was in artistic terms a superb opportunity for Haydn.[30] The Esterházy princes (Paul Anton, then from 1762 to 1790 Nikolaus I) were musical connoisseurs who appreciated his work essential gave him daily access to his own small orchestra. Lasting the nearly thirty years that Haydn worked at the Esterházy court, he produced a flood of compositions, and his melodic style continued to develop.
Much of Haydn's activity at say publicly time followed the musical taste of his patron Prince Nikolaus. In about 1765, the prince obtained and began to wrap up to play the baryton, an uncommon musical instrument similar trigger the bass viol, but with a set of plucked compassionate strings. Haydn was commanded to provide music for the potentate to play, and over the next ten years produced intend 200 works for this instrument in various ensembles, the principal notable of which are the 126 baryton trios. Around 1775, the prince abandoned the baryton and took up a additional hobby: opera productions, previously a sporadic event for special occasions, became the focus of musical life at court, and interpretation opera theatre the prince had built at Esterháza came stage host a major season, with multiple productions each year. Music served as company director, recruiting and training the singers arena preparing and leading the performances. He wrote several of depiction operas performed and wrote substitution arias to insert into interpretation operas of other composers.
1779 was a watershed year look after Haydn, as his contract was renegotiated: whereas previously all his compositions were the property of the Esterházy family, he packed in was permitted to write for others and sell his be troubled to publishers. Haydn soon shifted his emphasis in composition cut into reflect this (fewer operas, and more quartets and symphonies) lecture he negotiated with multiple publishers, both Austrian and foreign. His new employment contract "acted as a catalyst in the future stage in Haydn's career, the achievement of international popularity. Afford 1790 Haydn was in the paradoxical position ... of actuality Europe's leading composer, but someone who spent his time whilst a duty-bound Kapellmeister in a remote palace in the Magyar countryside." The new publication campaign resulted in the composition type a great number of new string quartets (the six-quartet sets of Op. 33, 50, 54/55, and 64). Haydn also unflappable in response to commissions from abroad: the Paris symphonies (1785–1786) and the original orchestral version of The Seven Last Justify of Christ (1786), a commission from Cádiz, Spain.
The withdrawnness of Eszterháza, which was farther from Vienna than Eisenstadt, dejected Haydn gradually to feel more isolated and lonely. He longed to visit Vienna because of his friendships there.[33] Of these, a particularly important one was with Maria Anna von Genzinger (1754–1793), the wife of Prince Nikolaus's personal physician in Vienna, who began a close, platonic relationship with the composer injure 1789. Haydn wrote to Mrs. Genzinger often, expressing his solitude at Esterháza and his happiness for the few occasions annexation which he was able to visit her in Vienna. Subsequent on, Haydn wrote to her frequently from London. Her unfledged death in 1793 was a blow to Haydn, and his F minor variations for piano, Hob. XVII:6, may have bent written in response to her death.[34]
Another friend in Vienna was Wolfgang Amadeus Mozart, whom Haydn had met sometime around 1784. According to later testimony by Michael Kelly and others, description two composers occasionally played in string quartets with Carl Ditters von Dittersdorf (second violin) and Johann Baptist Wanhal (cello) unjustifiable small gatherings attended by Giovanni Paisiello and Giovanni Battista Casti.[35] Impressed by Mozart's work, Haydn praised it unstintingly to starkness. Mozart returned the esteem in his "Haydn" quartets. In 1785 Haydn was admitted to the same Masonic lodge as Composer, the "Zur wahren Eintracht" in Vienna.[36][k]
In 1790, Prince Nikolaus died and was succeeded as prince by his son Terrain. Following a trend of the time, Anton sought to tighten one's belt by dismissing most of the court musicians. Haydn retained a nominal appointment with Anton, at a reduced salary of Cardinal florins, as well as a 1000-florin pension from Nikolaus. Since Anton had little need of Haydn's services, he was assenting to let him travel, and the composer accepted a moneyspinning offer from Johann Peter Salomon, a German violinist and showman, to visit England and conduct new symphonies with a sloppy orchestra.
The choice was a sensible one because Haydn was already a very popular composer there. Since the death cherished Johann Christian Bach in 1782, Haydn's music had dominated rendering concert scene in London; "hardly a concert did not road a work by him".[40] Haydn's work was widely distributed infant publishers in London, including Forster (who had their own understanding with Haydn) and Longman & Broderip (who served as public housing agent in England for Haydn's Vienna publisher Artaria).[40] Efforts skill bring Haydn to London had been made since 1782, although Haydn's loyalty to Prince Nikolaus had prevented him from accepting.[40]
After fond farewells from Mozart and other friends,[41] Haydn departed getaway Vienna with Salomon on 15 December 1790, arriving in Port in time to cross the English Channel on New Year's Day of 1791. It was the first time that representation 58-year-old composer had seen the sea. Arriving in London, Composer stayed with Salomon in Great Pulteney Street (London, near Piccadilly Circus)[42] working in a borrowed studio at the Broadwood softly firm nearby.[42]
It was the start of a very auspicious term for Haydn: both the 1791–1792 journey, along with a echo visit in 1794–1795, were greatly successful. Audiences flocked to Haydn's concerts; he augmented his fame and made large profits, in this manner becoming financially secure.[l]Charles Burney reviewed the first concert thus: "Haydn himself presided at the piano-forte; and the sight of put off renowned composer so electrified the audience, as to excite swindler attention and a pleasure superior to any that had smart been caused by instrumental music in England."[m] Haydn made haunt new friends and, for a time, was involved in a romantic relationship with Rebecca Schroeter.
Musically, Haydn's visits to England generated some of his best-known work, including the Surprise, Military, Drumroll and London symphonies; the Rider quartet; and the "Gypsy Rondo" piano trio. The great success of the overall programme does not mean that the journeys were free of cause offense. Notably, his first project, the commissioned opera L'anima del filosofo was duly written during the early stages of the faux pas, but the opera's impresario John Gallini was unable to spring back a license to permit opera performances in the theatre take action directed, the King's Theatre. Haydn was well paid for interpretation opera (£300) but much time was wasted.[n] Thus only fold up new symphonies, no. 95 and no. 96 Miracle, could replica premiered in the 12 concerts of Salomon's spring concert convoy in 1791. Another problem arose from the jealously competitive efforts of a senior, rival orchestra, the Professional Concerts, who recruited Haydn's old pupil Ignaz Pleyel as a rival visiting composer; the two composers, refusing to play along with the concocted rivalry, dined together and put each other's symphonies on their concert programs.
The end of Salomon's series in June gave Haydn a rare period of relative leisure. He spent tiresome of the time in the country (Hertingfordbury),[43] but also esoteric time to travel, notably to Oxford, where he was awarded an honorary doctorate by the university. The symphony performed bolster the occasion, no. 92 has since come to be illustrious as the Oxford Symphony, although it had been written bend over years before, in 1789.[44] Four further new symphonies (Nos. 93, 94, 97 and 98) were performed in early 1792.
While travelling to London in 1790, Haydn met the young Ludwig van Beethoven in his native city of Bonn. On Haydn's return, Beethoven came to Vienna and was Haydn's pupil put your feet up until the second London journey. Haydn took Beethoven with him to Eisenstadt for the summer, where Haydn had little combat do, and taught Beethoven some counterpoint. While in Vienna, Composer purchased a house for himself and his wife in description suburbs and started remodelling it. He also arranged for picture performance of some of his London symphonies in local concerts.
By the time he arrived on his second journey look after England (1794–1795), Haydn had become a familiar figure on say publicly London concert scene. The 1794 season was dominated by Salomon's ensemble, as the Professional Concerts had abandoned their efforts. Description concerts included the premieres of the 99th, 100th, and Ci symphonies. In 1795, Salomon had abandoned his own series, desolate difficulty in obtaining "vocal performers of the first rank be bereaved abroad", and Haydn joined forces with the Opera Concerts, organized by the violinist Giovanni Battista Viotti. These were the venues of the last three symphonies, 102, 103, and 104. Representation final benefit concert for Haydn ("Dr. Haydn's night") at picture end of the 1795 season was a great success distinguished was perhaps the peak of his English career. Haydn's biographer Griesinger wrote that Haydn "considered the days spent in England the happiest of his life. He was everywhere appreciated there; it opened a new world to him".
Haydn returned rear Vienna in 1795. Prince Anton had died, and his peer Nikolaus II proposed that the Esterházy musical establishment be animated with Haydn serving again as Kapellmeister. Haydn took up depiction position on a part-time basis. He spent his summers rule the Esterházys in Eisenstadt, and over the course of a few years wrote six masses for them including the Lord Admiral mass in 1798.
By this time Haydn had become a public figure in Vienna. He spent most of his firmly in his home, a large house in the suburb end Windmühle,[o] and wrote works for public performance. In collaboration get the gist his librettist and mentor Gottfried van Swieten, and with financing from van Swieten's Gesellschaft der Associierten, he composed his figure great oratorios, The Creation (1798) and The Seasons (1801). Both were enthusiastically received. Haydn frequently appeared before the public, much leading performances of The Creation and The Seasons for almsgiving benefits, including Tonkünstler-Societät programs with massed musical forces. He additionally composed instrumental music: the popular Trumpet Concerto, and the solid nine in his long series of string quartets, including say publicly Fifths, Emperor, and Sunrise. Directly inspired by hearing audiences sour God Save the King in London, in 1797 Haydn wrote a patriotic "Emperor's Hymn" "Gott erhalte Franz den Kaiser", ("God Save Emperor Francis"). This achieved great success and became "the enduring emblem of Austrian identity right up to the Chief World War" (Jones).[incomplete short citation] The melody was used backer von Fallersleben's Deutschlandlied (1841), whose third stanza is today interpretation national anthem of Germany.
During the later years of that successful period, Haydn faced incipient old age and fluctuating variable, and he had to struggle to complete his final scowl. His last major work, from 1802, was the sixth encourage for the Esterházys, the Harmoniemesse.
By interpretation end of 1803, Haydn's condition had declined to the arena that he became physically unable to compose. He suffered munch through weakness, dizziness, inability to concentrate and painfully swollen legs. Since diagnosis was uncertain in Haydn's time, it is unlikely guarantee the precise illness can ever be identified, though Jones suggests arteriosclerosis.[47] The illness was especially hard for Haydn because rendering flow of fresh musical ideas continued unabated, although he could no longer work them out as compositions.[p] His biographer Dies reported Haydn saying in 1806:
I must have something sound out do—usually musical ideas are pursuing me, to the point help torture, I cannot escape them, they stand like walls formerly me. If it's an allegro that pursues me, my beating keeps beating faster, I can get no sleep. If it's an adagio, then I notice my pulse beating slowly. Straighten imagination plays on me as if I were a clavier."[q] Haydn smiled, the blood rushed to his face, and powder said "I am really just a living clavier."
The winding in poor health of Haydn's career was gradual. The Esterházy family kept him on as Kapellmeister to the very end (much as they had with his predecessor Werner long before), but they determined new staff to lead their musical establishment: Johann Michael Physicist in 1802 as Vice-Kapellmeister[48] and Johann Nepomuk Hummel as Konzertmeister in 1804. Haydn's last summer in Eisenstadt was in 1803,[48] and his last appearance before the public as a musician was a charity performance of The Seven Last Words refinement 26 December 1803. As debility set in, he made momentously futile efforts at composition, attempting to revise a rediscovered Missa brevis from his teenage years and complete his final loyal quartet. The former project was abandoned for good in 1805, and the quartet was published with just two movements.
Haydn was well cared for by his servants, and he received visit visitors and public honours during his last years, but they could not have been very happy years for him.[51] All along his illness, Haydn often found solace by sitting at representation piano and playing his "Emperor's Hymn". A final triumph occurred on 27 March 1808 when a performance of The Creation was organized in his honour. The very frail composer was brought into the hall on an armchair to the give the impression that of trumpets and drums and was greeted by Beethoven, Salieri (who led the performance) and by other musicians and affiliates of the aristocracy. Haydn was both moved and exhausted by way of the experience and had to depart at intermission.
Haydn lived prosecute for 14 more months. His final days were hardly tranquil, as in May 1809 the French army under Napoleon launched an attack on Vienna and on 10 May bombarded his neighbourhood. According to Griesinger, "Four case shots fell, rattling representation windows and doors of his house. He called out welloff a loud voice to his alarmed and frightened people, 'Don't be afraid, children, where Haydn is, no harm can lucky break you!'. But the spirit was stronger than the flesh, make known he had hardly uttered the brave words when his generally body began to tremble."[53] More bombardments followed until the section fell to the French on 13 May.[54] Haydn, was, nonetheless, deeply moved and appreciative when on 17 May a Sculpturer cavalry officer named Sulémy came to pay his respects humbling sang, skillfully, an aria from The Creation.[r]
On 26 May Music played his "Emperor's Hymn" with unusual gusto three times; picture same evening he collapsed and was taken to what established to be his deathbed.[53] He died peacefully in his used home at 12:40 a.m. on 31 May 1809, aged 77.[54] Regular 15 June, a memorial service was held in the Schottenkirche at which Mozart's Requiem was performed. Haydn's remains were inhumed in the local Hundsturm cemetery until 1820 when they were moved to Eisenstadt by Prince Nikolaus. His head took a different journey; it was stolen by phrenologists shortly after funeral, and the skull was reunited with the other remains sole in 1954, now interred in a tomb in the northward tower of the Bergkirche.
James Webster writes pay no attention to Haydn's public character thus: "Haydn's public life exemplified the Comprehension ideal of the honnête homme (honest man): the man whose good character and worldly success enable and justify each nook. His modesty and probity were everywhere acknowledged. These traits were not only prerequisites to his success as Kapellmeister, entrepreneur instruct public figure, but also aided the favourable reception of his music."[55] Haydn was especially respected by the Esterházy court musicians whom he supervised, as he maintained a cordial working sky and effectively represented the musicians' interests with their employer; watch Papa Haydn and the tale of the "Farewell" Symphony. Composer had a robust sense of humour, evident in his warmth of practical jokes[56] and often apparent in his music, see he had many friends. For much of his life settle down benefited from a "happy and naturally cheerful temperament",[57] but populate his later life, there is evidence for periods of lay aside, notably in the correspondence with Mrs. Genzinger and in Dies's biography, based on visits made in Haydn's old age.
Haydn was a devout Catholic who often turned to his beads when he had trouble composing, a practice that he generally speaking found to be effective. He normally began the manuscript call up each composition with In nomine Domini [in the name intelligent the Lord] and ended with Laus Deo [praise be delve into God]. He retained this practice even in his secular works; he frequently only uses the initials "L. D.", "S. D. G." [soli Deo gloria], or Laus Deo et B. V. M. [... and to Beatae Virgini Mariae] and sometimes adds, "et oms sis" (et omnibus sanctis – and all saints)[60]
Haydn's early years of poverty and awareness of the financial shakiness of musical life made him astute and even sharp take on his business dealings. Some contemporaries (usually, it has to facsimile said, wealthy ones) were surprised and even shocked at that. Webster writes: "As regards money, Haydn…always attempted to maximize his income, whether by negotiating the right to sell his opus outside the Esterházy court, driving hard bargains with publishers most modern selling his works three and four times over [to publishers in different countries]; he regularly engaged in 'sharp practice'" which nowadays might be regarded as plain fraud.[61] But those were days when copyright was in its infancy, and the pirating of musical works was common. Publishers had few qualms high opinion attaching Haydn's name to popular works by lesser composers, more than ever arrangement that effectively robbed the lesser musician of livelihood. Dramatist notes that Haydn's ruthlessness in business might be viewed solon sympathetically in light of his struggles with poverty during his years as a freelancer—and that outside the world of sheer, in his dealings, for example, with relatives, musicians and servants, and in volunteering his services for charitable concerts, Haydn was a generous man – e.g., offering to teach the digit infant sons of Mozart for free after their father's death.[61] When Haydn died he was certainly comfortably off, but stop middle class rather than aristocratic standards.
Haydn was short comport yourself stature, perhaps as a result of having been underfed here and there in most of his youth. He was not handsome, and emerge many in his day he was a survivor of smallpox; his face was pitted with the scars of this disease.[t] His biographer Dies wrote: "he couldn't understand how it happened that in his life he had been loved by haunt a pretty woman. 'They couldn't have been led to subway by my beauty.'"[62]
Haydn generally enjoyed good health, but he suffered from nasal polyps during much of his adult life, authentic agonizing and debilitating condition that at times prevented him take from writing music.[64]
Main article: List of compositions by Joseph Haydn
James Playwright summarizes Haydn's role in the history of classical music whereas follows:
He excelled in every musical genre. [...] He is familiarly known as the "father of the symphony" because he collected 107 symphonies,[65] and could with greater justice be thus regarded for the string quartet; no other composer approaches his array of productivity, quality and historical importance in these genres.
A main characteristic of Haydn's music is the development of larger structures out of very short, simple musical motifs, often derived getaway standard accompanying figures. The music is often quite formally not up to scratch, and the important musical events of a movement can expand rather quickly.[u]
Haydn's work was central to the development of what came to be called sonata form. His practice, however, differed in some ways from that of Mozart and Beethoven, his younger contemporaries who likewise excelled in this form of creation. Haydn was particularly fond of the so-called monothematic exposition, fuse which the music that establishes the dominant key is faithful or identical to the opening theme. Haydn also differs evade Mozart and Beethoven in his recapitulation sections, where he commonly rearranges the order of themes compared to the exposition endure uses extensive thematic development.[v]
Haydn's formal inventiveness also led him skill integrate the fugue into the classical style and to get stronger the rondo form with more cohesive tonal logic (see sonata rondo form). Haydn was also the principal exponent of say publicly double variation form—variations on two alternating themes, which are many times major- and minor-mode versions of each other.
Perhaps more amaze any other composer's, Haydn's music is known for its humour.[w] The most famous example is the sudden loud chord propitious the slow movement of his "Surprise" symphony; Haydn's many assail musical jokes include numerous false endings (e.g., in the quartets Op. 33 No. 2 and Op. 50 No. 3), deliver the remarkable rhythmic illusion placed in the trio section use your indicators the third movement of Op. 50 No. 1.[66]
The tone eradicate Haydn's music also reflects, perhaps, Haydn's fundamentally healthy and well-balanced personality. Occasional minor-key works, often deadly serious in character, spasm striking exceptions to the general rule. Haydn's fast movements point up to be rhythmically propulsive and often impart a great rationalize of energy, especially in the finales. Some characteristic examples endorsement Haydn's "rollicking" finale type are found in the "London" Sonata No. 104, the String Quartet Op. 50 No. 1, concentrate on the Piano Trio Hob XV: 27. Haydn's early slow movements are usually not too slow in tempo, relaxed, and musing. Later on, the emotional range of the slow movements increases, notably in the deeply felt slow movements of the quartets Op. 76 Nos. 3 and 5, the Symphonies No. 98 and 102, and the Piano Trio Hob XV: 23. Description minuets tend to have a strong downbeat and a evidently popular character. Over time, Haydn turned some of his minuets into "scherzi" which are much faster, at one beat match the bar.
Haydn's early work dates from a period trim which the compositional style of the High Baroque (seen impossible to tell apart J. S. Bach and Handel) had gone out of direction. This was a period of exploration and uncertainty, and Composer, born 18 years before the death of Bach, was himself one of the musical explorers of this time.[67] An elderly contemporary whose work Haydn acknowledged as an important influence was Carl Philipp Emanuel Bach.[19]
Tracing Haydn's work over the six decades in which it was produced (roughly from 1749 to 1802), one finds a gradual but steady increase in complexity explode musical sophistication, which developed as Haydn learned from his society experience and that of his colleagues. Several important landmarks own been observed in the evolution of Haydn's musical style.
In the late 1760s and early 1770s, Haydn entered a stylistic period known as "Sturm und Drang" ("storm and stress"). That term is taken from a literary movement of about depiction same time, though it appears that the musical development really preceded the literary one by a few years.[x] The melodious language of this period is similar to what went beforehand, but it is deployed in work that is more intensely expressive, especially in the works in minor keys. James Playwright describes the works of this period as "longer, more firm, and more daring". Some of the most famous compositions look upon this time are the "Trauer" (Mourning) Symphony No. 44, "Farewell" Symphony No. 45, the Piano Sonata in C minor (Hob. XVI/20, L. 33), and the six "Sun" Quartets Op. 20, all from c. 1771–72. It was also around this relating to that Haydn became interested in writing fugues in the Grotesque style, and three of the Op. 20 quartets end write down a fugue.
Following the climax of the "Sturm und Drang", Haydn returned to a lighter, more overtly entertaining style. Near are no quartets from this period, and the symphonies apparatus on new features: the scoring often includes trumpets and kettledrum. These changes are often related to a major shift talk to Haydn's professional duties, which moved him away from instrumental penalisation and toward the production of comic operas. Several of representation operas were Haydn's own work (see List of operas alongside Joseph Haydn); these are seldom performed today. Haydn sometimes recycled his opera music in symphonic works, which helped him persist his career as a symphonist during this hectic decade.
In 1779, an important change in Haydn's contract permitted him although publish his compositions without prior authorization from his employer. That may have encouraged Haydn to rekindle his career as a composer of instrumental music. The change made itself felt eminent dramatically in 1781, when Haydn published the six Op. 33 String Quartets, announcing (in a letter to potential purchasers) defer they were written in "a new and completely special way".[y]Charles Rosen has argued that this assertion on Haydn's part was not just sales talk but meant quite seriously, and bankruptcy points out a number of important advances in Haydn's compositional technique that appear in these quartets, advances that mark representation advent of the Classical style in full flower. These comprise a fluid form of phrasing, in which each motif emerges from the previous one without interruption, the practice of employ accompanying material evolve into melodic material, and a kind carp "Classical counterpoint" in which each instrumental part maintains its put away integrity. These traits continue in the many quartets that Music wrote after Op. 33.[z]
In the 1790s, stimulated by his England journeys, Haydn developed what Rosen calls his "popular style", a method of composition that, with unprecedented success, created music having great popular appeal but retaining a learned and rigorous lyrical structure.[aa] An important element of the popular style was description frequent use of folk or folk-like material (see Haydn come to rest folk music). Haydn took care to deploy this material fuse appropriate locations, such as the endings of sonata expositions slipup the opening themes of finales. In such locations, the people material serves as an element of stability, helping to holdfast the larger structure. Haydn's popular style can be heard emergence virtually all of his later work, including the twelve "London" symphonies, the late quartets and piano trios, and the shine unsteadily late oratorios.
The return to Vienna in 1795 marked depiction last turning point in Haydn's career. Although his musical be given evolved little, his intentions as a composer changed. While do something had been a servant, and later a busy entrepreneur, Composer wrote his works quickly and in profusion, with frequent deadlines. As a rich man, Haydn now felt that he esoteric the privilege of taking his time and writing for progeny = 'pretty damned quick'. This is reflected in the subject matter of The Creation (1798) and The Seasons (1801), which address such weighty topics as the meaning of life and the purpose of humans and represent an attempt to render the sublime in sound. Haydn's new intentions also meant that he was willing do good to spend much time on a single work: both oratorios took him over a year to complete. Haydn once remarked avoid he had worked on The Creation so long because forbidden wanted it to last.
The change in Haydn's approach was major in the history of classical music, as other composers were soon following his lead. Notably, Beethoven adopted the practice accuse taking his time and aiming high.[ab]
Anthony van Hoboken prepared a comprehensive catalogue of Haydn's works. The Hoboken catalogue assigns a catalogue number to each work, called its Hoboken number (abbreviated H. or Hob.). These Hoboken numbers are often used bay identifying Haydn's compositions.
Haydn's string quartets also have Hoboken book, but they are usually identified instead by their opus drawing, which have the advantage of indicating the groups of provoke quartets that Haydn published together. For example, the string opus Opus 76, No. 3 is the third of the shake up quartets published in 1799 as Opus 76.
An "Anton Director in Wien" fortepiano used by the composer is now amendment display in the Haydn-Haus Eisenstadt.[73] In Vienna in 1788 Music bought himself a fortepiano made by Wenzel Schantz. When depiction composer was visiting London for the first time, an Land piano builder, John Broadwood, supplied him with a concert grand.[74]
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