Franz Joseph Haydn：his life and his effect of classic music
Franz Joseph Haydn （1732-1809）
Haydn was born in 1732, the son of a wheelwright living in the village of Rohrau near the border with Hungary. His musical ability was recognized when he was a small child, and at age six he was sent to live relatives in nearby Hainburg, where he could be trained as a choral singer. In 1740, Haydn was noticed by Georg von Reutter, the director of music in St. Stephen's Cathedral in Vienna, who was touring the provinces looking for talented choirboys. Reutter took Haydn with him to Vienna, where Haydn worked for nine years as a chorister, the last four in the company of his younger brother Michael. Reutter often let his choristerss(pdf) go hungry and neglected their musical education, but Haydn certainly learned a great deal from being a professional musician at an early age in an important musical location.
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 was taken 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(pdf), from whom he later said he learned "the true fundamentals of composition". He labored to fill the gaps in his training, and eventually came to write his first string quartets and his first opera. During this time Haydn's professional reputation gradually increased.
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In 1759, Haydn received his first important position, that of Kapellmeister（pdf） (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 Esterhazy 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.
Schloss Esterhazy
As a liveried servant of the Esterhazy, Haydn followed them as they moved among their three main residences: the family seat in Eisenstadt（pdf）, their winter palace in Vienna, and Esterhaza， a grand new palace built in rural Hungary in the 1760s. Haydn had a huge range of responsibilities, including composition, running the orchestra, playingchamber music for and with his patrons, and eventually the mounting of operatic productions. Despite the backbreaking workload, Haydn considered himself fortunate to have his job. The Esterházy 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.
During the nearly thirty years that Haydn worked in the Esterházy 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 in string quartets together. Haydn was hugely impressed with Mozart's work; it is probably significant that around this time, Haydn largely ceased to compose operas and concertos – two of the genres where Mozart was at his strongest. Mozart, in contrast, worked hard to produce six string quartets that would live up to the standard of Haydn's recently completed Opus 33 series, and when they were completed Mozart dedicated the quartets to his friend.
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In 1790, Prince Nikolaus died and was succeeded by a thoroughly unmusical successor who dismissed the entire musical establishment and put Haydn on pension. Thus freed of his obligations, Haydn was able to accept a lucrative offer from Johann Peter Salomon（pdf）, a German impresario, to visit England and conduct his new symphonies with a large orchestra.
The visit (1791-2, with a repeat visit in 1794-5) was a huge success. Audiences flocked to Haydn's concerts, and he quickly achieved wealth and stardom. 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.
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 Esterhazy 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 Haydn, 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 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 the Austrian national anthem, which he had composed himself as a patriotic gesture in 1797.
Haydn's death occurred in 1809, following an attack on Vienna by the French army under Napoleon（web link）. Among his last words were his attempt to calm and reassure his servants as cannon shot fell on the neighborhood.
Haydn 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 Esterházy 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（web link）, who often turned to his rosary（web link） 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 piano sonata in C major （Brendel Alfred played the first movement）
Haydn is traditionally considered the father of the symphony and string quartet, and he did write the first well-known works in those genres. Besides the symphony and string quartet, Haydn also pioneered the development of sonata form, and was innovative in his writing of keyboard sonatas and of piano trios.
Haydn String Quartet op76 no3
A central characteristic of Haydn's music is the development of larger structures out of very short, simple musical motifs. The music is often quite formally concentrated, and the important musical events of a movement can unfold rather quickly.
The organizational principle for much of Haydn's work is sonata form, of which the basic elements — as they appear in Haydn — are as follows:
- Exposition: presentation of the initial musical material, followed by a modulation to the dominant（web link） key (creating an increase of musical tension), and a local resolution and cadence （web link）in the dominant. A notable feature of many of Haydn's expositions is that (unlike Mozart and Beethoven) he often uses no contrasting "second theme" at the appearance of the dominant; instead he repeats the opening theme or some modification thereof.
- Development: the musical material is rearranged, transformed, and often fragmented, moving through a series of more remote keys and often reaching a kind of crisis point, usually in the relative minor（web link） key.
- Recapitulation: the material of the exposition is presented again, this time remaining largely in the original key. Usually the recapitulation includes a "secondary development", occurring at the location where the exposition modulated to the dominant; this secondary development usually explores the subdominant（web link） key. Haydn, unlike Mozart and Beethoven, often rearranges the themes of the recapitulation into a different order.
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, developing very highly organized musical structures from extremely simple basic motifs.
Perhaps 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（PDF）", no. 94, but others are perhaps funnier: the fake endings in the quartets Op. 33 no. 2 and Op. 50 no. 3, or the remarkable rhythmic illusion placed in the trio of Op. 50 no. 1.
Haydn Symphony No 94 G major “surprise”
Haydn's early work dates from a period in which the compositional style of the High Baroque (seen in Bach andHandel's music) had gone out of fashion, but composers had not yet hit upon ways of writing music in the newly emerging idioms that would bear comparable weight. 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（web link）, the third son of Johann Sebastian.
Tracing Haydn's work over the five decades 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 （PDF）#45, the Piano Sonata #20 in C minor, and the six string quartets of Op. 20 (the "Sun" quartets), all dating from 1772. It also was around this time that Haydn became interested in writing fugues in theBaroque 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 style, and he spent much of the remainder of the 1770s composing and producing comic operas（WEB LINK）, such as Il Mondo della luna (The World of the Moon). Theseoperas, seldom performed today, satisfied the changing tastes of his employer.
In 1781, 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（PDF） 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. 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.
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