7/31/2019 Franz Joseph Haydn1

http://slidepdf.com/reader/full/franz-joseph-haydn1 1/7

Franz Joseph Haydn, (March 31, 1732  – May 31, 1809) was a leading composer  of the Classical period, called the

'Father of the Symphony' and 'Father of the String Quartet'. He used his second name, spelled in German 'Josef'. He

was the brother of  Michael Haydn, himself a highly regarded composer, and Johann Evangelist Haydn, 

a tenor  singer . 

 A life-long resident of   Austria, Haydn spent most of his career as a court musician for the wealthy Eszterházy family,

though very often the non-Hungarian spelling Esterhazy is used, on their remote estate. Being isolated from other 

composers and trends in music, he was, as he put it, 'forced to become original'.

Contents 

1 Life 

1.1 Childhood 

1.2 Struggles as a freelancer  

1.3 The years as Kapellmeister  

1.4 The London journeys 

1.5 Final years in Vienna 

2 Character and appearance 

3 Works 

3.1 Structure and character of the music 

3.2 Evolution of Haydn's Style 

4 Books about Haydn 

5 Catalogs 

6 See also 

6.1 Lists of works 

6.2 Articles on works by Joseph Haydn 

6.3 Other topics 

7 External links 

LifeChildhood

Haydn was born in 1732 in the Austrian village of  Rohrau near the border with Hungary. His father was Matthias

Haydn, a wheelwright who also served as 'Marktrichter', an office somewhat akin to village mayor. Haydn's mother,

the former Maria Koller, had previously worked as a cook in the palace of Count Harrach, the presiding aristocrat of 

Rohrau. Haydn himself was nicknamed Sepperl as a child. Neither parent could read music. However, Matthias was

7/31/2019 Franz Joseph Haydn1

http://slidepdf.com/reader/full/franz-joseph-haydn1 2/7

an enthusiastic folk musician, who during the journeyman period of his career had taught himself to play the harp. 

 According to Haydn's later reminiscences, his childhood family was extremely musical, and frequently sang together 

and with their neighbors.

Haydn's parents were perceptive enough to notice that their little son had musical talent, and they also knew that in

Rohrau he would have no chance to obtain any serious musical training. It was for this reason that they accepted a

proposal from their relative Johann Matthias Franck, the schoolmaster and choirmaster in Hainburg, that Haydn be

apprenticed to Franck in his home to train as a musician. Haydn thus went off with Franck to Hainburg (ten miles

away) and never again lived with his parents. At the time he was not quite six.

Life in the Franck household was not easy for Haydn, who later remembered being frequently hungry as well as

constantly humiliated by the filthy state of his clothing. However, he did begin his musical training there, and soon

was able to play both harpsichord and violin. The people of Hainburg were soon hearing him sing soprano parts in

the church choir.

There is reason to think that Haydn's singing impressed those who heard him, because two years later (1740), he

was brought to the attention of  Georg von Reutter , the director of music in St. Stephen's Cathedral in Vienna, who

was touring the provinces looking for talented choirboys. Haydn passed his audition with Reutter, and soon moved off 

to Vienna, where he worked for the next nine years as a chorister, the last four in the company of his younger brother  Michael. 

Like Franck before him, Reutter didn't always bother to make sure Haydn was properly fed. The young Haydn greatly

looked forward to performances before aristocratic audiences, where the singers sometimes had the opportunity to

satisfy their hunger by devouring the refreshments. Reutter also did little to further his choristers' musical education.

However, St. Stephen's was at the time one of the leading musical centers in Europe, where new music by leading

composers was constantly being performed. Haydn was able to learn a great deal by osmosis simply by serving as a

professional musician there.

Struggles as a freelancer

In 1749, Haydn had matured physically to the point that he was no longer able to sing high choral parts. On a weak

pretext, he was summarily dismissed from his job. He evidently spent one night homeless on a park bench, but wastaken in by friends and began to pursue a career as a freelance musician. During this arduous period, which lasted

ten years, Haydn worked many different jobs, including valet –accompanist for the Italian composer  Nicola Porpora, 

from whom he later said he learned 'the true fundamentals of composition'. He labored to fill the gaps in his training,

and eventually wrote his first string quartets and his first opera. During this time Haydn's professional reputation

gradually increased.

The years as Kapellmeister

In 1759, or 1757 according to the New Grove Encyclopedia, Haydn received his first important position, that

of  Kapellmeister  (music director) for Count Karl von Morzin. In this capacity, he directed the count's small orchestra,

and for this ensemble wrote his first symphonies. Count Morzin soon suffered financial reverses that forced him to

dismiss his musical establishment, but Haydn was quickly offered a similar job (1761) as assistant Kapellmeister to

the Eszterházy family, one of the wealthiest and most important in the Austrian Empire. When the old

Kapellmeister, Gregor Werner , finally died in 1766, Haydn was elevated to full Kapellmeister.

 As a liveried servant of the Eszterházys, Haydn followed them as they moved among their three main residences: the

family seat in Eisenstadt, their winter palace in Vienna, andEszterháza, a grand new palace built in rural Hungary in

the 1760s. Haydn had a huge range of responsibilities, including composition, running the orchestra, playing chamber 

music for and with his patrons, and eventually the mounting of operatic productions. Despite the backbreaking

7/31/2019 Franz Joseph Haydn1

http://slidepdf.com/reader/full/franz-joseph-haydn1 3/7

workload, Haydn considered himself fortunate to have his job. The Eszterházy princes (first Paul Anton, then most

importantly Nikolaus I) were musical connoisseurs who appreciated his work and gave him the conditions needed for 

his artistic development, including daily access to his own small orchestra.

In 1760, with the security of a Kapellmeister position, Haydn married. He and his wife, the former Maria Anna Keller,

did not get along, and they produced no children. Haydn may have had one or more children with Luigia Polzelli, a

singer in the Eszterházy establishment with whom he carried on a long-term love affair, and often wrote to on his

travels.

During the nearly thirty years that Haydn worked in the Eszterházy household, he produced a flood of compositions,

and his musical style became ever more developed. His popularity in the outside world also increased. Gradually,

Haydn came to write as much for publication as for his employer, and several important works of this period, such as

the Paris symphonies (1785 –6) and the original orchestral version of  The Seven Last Words of Christ (1786), were

commissions from abroad.

 Around 1781 Haydn established a close friendship with Mozart, whose work he had already been influencing by

example for many years. The two composers enjoyed playing instring quartets together. Haydn was hugely

impressed with Mozart's work; it has been noted by Mozart scholars that after this time Haydn largely ceased to

compose operas and concertos &ndash: two of the genres where Mozart was at his strongest. Mozart spent thebetter part of three years from 1782 to 1785 to produce a set of six string quartets that he would dedicate to the older 

man.

The London journeys

In 1790, Prince Nikolaus died and was succeeded by a thoroughly unmusical prince who dismissed the entire musical

establishment and put Haydn on a pension. Thus freed of his obligations, Haydn was able to accept a lucrative offer 

from Johann Peter Salomon, a German impresario, to visit England and conduct new symphonies with a large

orchestra.

The visit (1791-2), along with a repeat visit (1794-5), was a huge success. Audiences flocked to Haydn's concerts,

and he quickly achieved wealth and fame: one review called him 'incomparable', and many were filled with gushing

language which reflected the acclaim his work received in London. Musically, the visits to England generated some of Haydn's best-known work, including the 'Surprise', 'Military', 'Drumroll', and 'London' symphonies, the 'Rider ' quartet,

and the 'Gypsy Rondo' piano trio.

The only misstep in the venture was an opera which Haydn was contracted to compose, and paid a substantial sum

of money for. Only one aria was sung at the time, and 11 numbers were published, the entire opera was not

performed until 1950.

Final years in Vienna

Haydn actually considered becoming an English citizen and settling permanently, but eventually took a different

course. He returned to Vienna, had a large house built for himself, and turned to the composition of large religious

works for chorus and orchestra. These include his two great oratorios The Creation and The Seasons and

six masses for the Eszterházy family, which by this time was once again headed by a musically-inclined prince.Haydn also composed the last nine in his long series of string quartets, including the 'Emperor ', 'Sunrise', and 'Fifths' 

quartets. Despite his increasing age, Haydn looked to the future, exclaiming once in a letter, 'how much remains to be

done in this glorious art!'

In 1802, Haydn found that an illness from which he had been suffering for some time had increased greatly in

severity, to the point that he became physically unable to compose. This was doubtless very difficult for him,

because, as he acknowledged, the flow of fresh musical ideas waiting to be worked out as compositions did not

cease. Haydn was well cared for by his servants, and he received many visitors and public honors during his last

7/31/2019 Franz Joseph Haydn1

http://slidepdf.com/reader/full/franz-joseph-haydn1 4/7

years, but they cannot have been very happy years for him. During his illness, Haydn often found solace by sitting at

the piano and playing Gott erhalte Franz den Kaiser , which he had composed himself as a patriotic gesture in 1797.

This melody later became used for the  Austrian and German national anthems. 

Haydn died in 1809, following an attack on Vienna by the French army under  Napoleon. Among his last words was

his attempt to calm and reassure his servants as cannon shots fell on the neighborhood.

Character and appearanceHaydn was known among his contemporaries for his kindly, optimistic, and congenial personality. He had a robust

sense of humor, evident in his love of  practical jokes and often apparent in his music. He was particularly respected

by the Eszterházy court musicians whom he supervised, as he maintained a cordial working atmosphere and

effectively represented the musicians' interests with their employer.

Haydn was a devout Catholic, who often turned to his rosary when he got stuck in composing, a practice that he

usually found to be effective. When he finished a composition, he would write 'Laus deo' ('praise be to God') or some

similar expression at the end of the manuscript. His favorite hobbies were hunting and fishing.

Haydn was short in stature, perhaps as a result of having been underfed throughout most of his youth. Like many in

his day, he was a survivor of  smallpox, and his face was pitted with the scars of this disease. He was not handsome,and was quite surprised when women flocked to him during his London visits. The various portraitists who drew or 

painted Haydn during his lifetime each took a different path in attempting to portray the attractive personality instead

of the ugly face; hence no two surviving portraits of Haydn are alike.

WorksHaydn is credited as the 'father' of the classical symphony and string quartet, and also wrote many piano

sonatas, piano trios, divertmenti and masses, which became the foundation for the Classical style in these

compositional types. He also wrote other types of  chamber music, as well as operas and concerti, although such

compositions are now less known. Although other composers were prominent in the earlier Classical period,

notably C.P.E. Bach in the field of the keyboar dsonata (the harpsichord and clavichord were equally popular with thepiano in this era) and J.C. Bach and Leopold Mozart in the symphony, Haydn was undoubtedly the strongest overall

influence on musical style in this era.

The development of  sonata form into a subtle and flexible mode of musical expression, which became the dominant

force in Classical musical thought, was based foremost on Haydn and those who followed his ideas. His sense of 

formal inventiveness also lead him to integrate the fugue into the classical style, and to enrich the rondo form with

more cohesive tonal logic, (see sonata rondo form). Another example of Haydn's inventiveness was his creation of 

the double variation form, that is variations on two alternating themes.

Structure and character of the music

 A central characteristic of Haydn's music is the development of larger structures out of very short, simple

musical motifs, usually devised from standard accompanying figures. The music is often quite formally concentrated,and the important musical events of a movement can unfold rather quickly. Haydn's musical practice formed the basis

of much of what was to follow in the development of  tonality and musical form. He took genres such as

the symphony, which were, at that time, shorter and subsidiary to more important vocal music, and slowly expanded

their length, weight and complexity.

Haydn's compositional practice was rooted in a study of the modal counterpoint of  Fux, and the

tonal homophonic styles which had become more and more popular, particularly the work of  Gluck and Carl Philipp

Emanuel Bach, of the later Haydn wrote 'without him, we know nothing'. He believed that the search for an

7/31/2019 Franz Joseph Haydn1

http://slidepdf.com/reader/full/franz-joseph-haydn1 5/7

appropriate melody was essential to the creation of good music, and carefully constructed his around countrapunctal

devices, so that it could be overlayed with itself in a variety of ways, and the fragments could be worked with

individually, and still retain some degree of unique character.

Haydn's work became central to what was later described as the sonata form, and his work was central to taking the

binary schematic of what was then called a 'melodie'. It was a form divided into sections, joined by important

moments in the harmony which signalled the change. One of Haydn's important innovations, one which was adopted

by Mozart and Beethoven, was to make the moment of transition the focus of tremendous creativity, instead of using

stock devices to make the transition, Haydn would often find inventive ways to make the move between two expected

keys.

Later musical theorists would codify the formal organization in the following way:

  Introduction: If present in an extended form, a slower section in the dominant, often with material

not directly related to the main themes, which would then rapidly transition to the

  Exposition: Presentation of thematic material, including a progression of  tonality away from the

home key. Unlike Mozart and Beethoven, Haydn often wrote expositions where the music that

establishes the new key is similar or identical to the opening theme: this is

called monothematic sonata form.

  Development: The thematic material is led through a rapidly-shifting sequence of keys,

transformed, fragmented, or combined with new material. If not present, the work is termed a

'sonatina'. Haydn's developments tend to be longer and more elaborate than those of Mozart, for

example.

  Recapitulation: Return to the home key, where the material of the exposition is re-presented.

Haydn, unlike Mozart and Beethoven, often rearranges the order of themes compared to the

exposition: he also frequently omits passages that appeared in the exposition (particularly in the

monothematic case) and adds codas. 

  Coda: After the close of the recapitulation on the tonic, there may be an additional section which

works through more of the possibilities of the thematic material.

During this period the written music was structured by tonality, and the sections of a work of the Classical era were

marked by tonal cadences. The most important transitions between sections were from the exposition to the

development, and from the development to the recapitulation. Haydn focused on creating witty and often dramatic

ways to make these transitions, by delaying them, or by having the occur so subtly that it takes some time before it is

established that the transition has, in fact happened. Perhaps paradoxically one of the ways in which Haydn did this

was by reducing the number of different devices for harmonic transitions between, so that he could explore and

develop the possibilities he found in the ones he regarded as most interesting. This is perhaps why more than any

other composer, Haydn is known for the jokes that he put into his music. The most famous example is the sudden

loud chord in his 'Surprise symphony|Surprise' symphony, No. 94, but others are perhaps funnier: the fake endings in

7/31/2019 Franz Joseph Haydn1

http://slidepdf.com/reader/full/franz-joseph-haydn1 6/7

the quartets Op. 33 No. 2 and Op. 50 No. 3, or the remarkable rhythmic illusion placed in the trio section of Op. 50

No. 1.

Haydn's compositional practice influenced both Mozart and Beethoven. Beethoven began his career writing rather 

discursive, loosely organized sonata expositions; but with the onset of his 'Middle period', he revived and intensified

Haydn's practice, joining the musical structure to tight small motifs, often by gradually reshaping both the work and

the motifs so that they fit quite carefully.

The emotional content of Haydn's music cannot accurately be summarized in words, but one may attempt an

approximate description. Much of the music was written to please and delight a prince, and its emotional tone is

correspondingly upbeat; this tone also reflects, perhaps, Haydn's fundamentally healthy and well-balanced

personality. Occasional minor-key works, often deadly serious in character, form striking exceptions to the general

rule. Haydn's fast movements tend to be rhythmically propulsive, and often impart a great sense of energy, especially

so in the finales. Some characteristic examples of Haydn's 'rollicking' finale type are found in the 'London'

symphony No. 104, the string quartet Op. 50 No. 1, and the piano trio Hob XV: 27. Haydn's slow movements, early in

his career, are usually not too slow in tempo, relaxed, and reflective. 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 Symphony

No. 102, and the piano trio Hob XV: 23. The minuets tend to have a strong downbeat (and upbeat!) and a clearly

popular character. Late in his career, perhaps inspired by the young Beethoven (who was briefly his student), Haydn

began to write scherzi instead of minuets, with a much faster tempo, felt as one beat to the measure.

Evolution of Haydn's Style

Haydn's early work dates from a period in which the compositional style of the High Baroque (seen

in Bach and Handel) had gone out of fashion. This was a period of exploration and uncertainty, and Haydn, born 18

years before the death of Bach, was himself one of the musical explorers of this time. An older contemporary whose

work Haydn acknowledged as an important influence was Carl Philipp Emanuel Bach, the third son of Johann

Sebastian.

Tracing Haydn's work over the five decades in which it was produced (roughly, 1749 to 1802), one finds a gradual but

ever increasing complexity and musical sophistication, which developed as Haydn learned from his own experience

and that of his colleagues. Several important landmarks have 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).

This term is taken from a literary movement of about the same time, though some scholars believe that Haydn was

unaware of this literary development and that the change in his compositional style was entirely of his own making.

The musical language of this period is similar to what went before, but it is deployed in work that is more intensely

expressive, especially in the works written in minor keys. Some of the most famous compositions of this period are

the 'Farewell' Symphony No. 45, the Piano Sonata No. 20 in C minor, and the six string quartets of Op. 20 (the 'Sun'

quartets), all dating from 1772. It was also around this time that Haydn became interested in writing fugues in

the Baroque style, and three of the Op. 20 quartets end with such fugues.

Following the climax of the 'Sturm und Drang', Haydn returned to a lighter, more overtly entertaining style. There areno quartets from this period, and the symphonies take on new features: the first movements now sometimes contain

slow introductions, and the scoring often includes trumpets and timpani. These changes are often related to a major 

shift in Haydn's professional duties, which moved him away from 'pure' music and toward the production of  comic

operas. Several of the operas, such as Il Mondo della luna  (The World of the Moon ), were Haydn's own work; these

are seldom performed today. Haydn sometimes recycled their overtures as symphony movements, which helped him

continue his career as a symphonist during this hectic decade.

7/31/2019 Franz Joseph Haydn1

http://slidepdf.com/reader/full/franz-joseph-haydn1 7/7

In 1779, an important change in Haydn's contract permitted him to publish his compositions without prior 

authorization from his employer. This may have encouraged Haydn to rekindle his career as a composer of 'pure'

music. The change made itself felt most dramatically in 1781, when Haydn published the six string quartets of Opus

33, announcing (in a letter to potential purchasers) that they were written in 'a completely new and special

way'. Charles Rosen has argued that this assertion on Haydn's part was not just sales talk, but meant quite seriously;

and he points out a number of important advances in Haydn's compositional technique that appear in these quartets,advances that mark the advent of the Classical style in full flower. (See above, for their influence on Mozart.) These

include a fluid form of phrasing, in which each motif emerges from the previous one without interruption, the practice

of letting accompanying material evolve into melodic material, and a kind of 'Classical counterpoint' in which each

instrumental part maintains its own integrity. These traits continue in the many quartets that Haydn wrote after Opus

33.

In the 1790s, stimulated by his England journeys, Haydn developed what Rosen calls his 'popular style', a way of 

composition that, with unprecedented success, created music having great popular appeal but retaining a learned

and rigorous musical structure. An important element of the popular style was the frequent use of  folk or folk-like

material, as discussed in the article Haydn and folk music. Haydn took care to deploy this material in appropriate

locations, such as the endings of sonata expositions or the opening themes of finales. In such locations, the folk

material serves as an element of stability, helping to anchor the larger structure. Haydn's popular style can be heardin virtually all of his later work, including the twelve London symphonies, the late quartets and piano trios, and the two

late oratorios. 

The return to Vienna in 1795 marked the last turning-point in Haydn's career. Although his musical style evolved little,

his intentions as a composer changed. While he had been a servant, and later a busy entrepreneur, Haydn wrote his

works quickly and in profusion, with frequent deadlines. As a rich man, Haydn now felt he had the privilege of taking

his time and writing for posterity. 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 humankind, and

represent an attempt to render the sublime in music. Haydn's new intentions also meant that he was willing to spend

much time on a single work: both oratorios took him over a year to complete. Haydn once remarked that he had

worked on The Creation so long because he wanted it to last.

The change in Haydn's approach was important in the history of music, as other composers soon were following his

lead. Notably, Beethoven adopted the practice of taking his time and aiming high. As composers were gradually

liberated from dependence on the aristocracy, Haydn's late mode of work became the norm in Classical composition.