Joseph Haydn

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Franz Joseph Haydn (1732 – 31 May 1809), an Austrian composer of the Classical period, was born in 1732.

He was instrumental in the development of chamber music, including the piano trios.

He has been named "Father of the Symphony" and "Father of the String Quartet" in honor of his contributions to musical form.

This isolated him from other composers and trends in music until the later part of his life, ensuring that he was "forced to be original."

Nevertheless, his music was extremely popular, and he was Europe's most well-known composer for a portion of his career. He was a mentor and mentor of Mozart, a Beethoven scholar, and the older brother of composer Michael Haydn.

Early life

Joseph Haydn was born in Rohrau, Austria, a village that at that time stood on the border with Hungary. Mathias Haydn, a wheelwright who also served as "Marktrichter," an office akin to a village mayor, was his father. Maria née Koller, Haydn's mother, had previously worked as a cook in the palace of Count Harrach, the presiding aristocrat of Rohrau. Neither parent could read music; however, Mathias, a journeyman performer who had taught himself to play the harp, was a bigoster. Haydn's later reminiscess that his childhood family was particularly gifted and enjoyed performing together and with their neighbors.

Haydn's parents knew that their son was musically gifted and knew that he would have no opportunity to obtain formal education in Rohrau. Haydn was destined to study as a musician because of this fact that, around the time Haydn was six years old, they accepted Johann Matthias Frankh, the schoolmaster and choirmaster in Hainburg. Haydn moved from Frankh to Hainburg, but he never met with his parents.

Haydn's life in the Frankh household was not easy, and he later described being hungry and humiliated by the filthy condition of his clothing. He began his musical studies at the University of Oxford and would soon play both harpsichord and violin. In the church choir, the people of Hainburg heard him sing in treble parts.

Haydn's singing in 1739 piqued the interest of those who heard him, because he was touring Vienna and searching for new choirboys. Haydn passed his audition with Reutter and moved to Vienna (1740), where he spent the next nine years as a chorister. Haydn was also believed to have attended Antonio Vivaldi's funeral in 1741.

Haydn, Reutter, Reutter's family, and the other four choirboys, who were all born in the Kapellhaus, which included his younger brother Michael in 1745. In addition to voice, violin, and keyboard, the choirboys were taught Latin and other school subjects as well as piano, guitar, and keyboard. Reutter provided Haydn with no assistance in the areas of music theory and composition, teaching him only two lessons in his entire time as chorister. Haydn obtained a lot of money by being a professional musician at St. Stephen's, one of Europe's best musical centers, but first and foremost musicians.

Reutter did not bother to ensure that Haydn was properly fed like Frankh before him. Haydn was inspired to perform well in the hopes of gaining more invitations to perform before aristocratic audiences, where the singers were usually served refreshments, as he later told his biographer Albert Christoph Dies.

Haydn had grown physically to the point that he was no longer able to sing high choral parts by 1749. Maria Theresa herself bemoaning Reutter about her singing, referring to it as "crowing." Haydn was outraged one day by a prank, sniping off a fellow chorister's pigtail. This was enough for Reutter: Haydn was first caned, but then was summarily dismissed and sent out into the streets. Johann Michael Spangler, a friend, who shared his family's crowded garrison with Haydn for a few months, had the good fortune to be admitted to him. Haydn embarked on a life as a freelance musician straight away.

Haydn struggled at first, as a music educator, as a street serenader, and eventually, as valet-accompanist for Italian composer Nicola Porpora, from whom he later said he learned "the true fundamentals of composition." He was also in Count Friedrich Wilhelm von Haugwitz's employ for a short time, playing the organ in the Bohemian Chancellery chapel at the Judenplatz.

Haydn, a chorister, had no formal education in music theory and composition, although he had no formal education in the art theory and composition. He worked his way into the text Gradus ad Parnassum by Johann Joseph Fux's text Gradus ad Parnassum and delved into Carl Philipp Emanuel Bach's work, whom he later acknowledged as a source of great power. "I did not leave my clavier until I played them through," Brown said of CPE Bach's first six keyboard sonatas, and whoever knows me well must admit that I owe a great deal to Emanuel Bach that I understood him and have studied him with care." Griesinger and Dieser (2005) investigated an encyclopedic treatise by Johann Mattheson, a German composer, in the 1750s.

Haydn began to gain a public following, first as the author of an opera, Der krumme Teufel, "The Limping Devil," written for comedian Joseph Felix von Kurz, whose stage name was "Bernardon." The work was first performed in 1753, but due to "offensive remarks," the censors censorship soon ended. Haydn also noticed that works he had simply given away were being advertised and sold in local music stores, apparently without annoyance. Haydn also worked for the Vienna court between 1754 and 1756. He was one of several musicians whose fees were billed for extra musicians at balls given to the imperial children during carnival season, as supplementary musicians in the imperial chapel (the Hofkapelle) in Lent and Holy Week.

Haydn's fame grew with his fame, gaining aristocratic patronage, which was vital to the career of a composer in his day. Countess Thun was summoned by Countess Thun after seeing one of Haydn's works, who engaged him as her singing and keyboard instructor. Baron Carl Josef Fürnberg's first string quartets were published in 1756 at Weinzierl, where the composer rented Haydn at his country house. "They abound in novel effects and instrument combinations that can only be the result of amusing intent," Philip G. Downs said of them. Haydn's enthusiastic reception inspired him to write more. It was a turning point in his career. As a result of the performances, he has been in high demand both as a performer and a teacher. Haydn was later recommended by Fürnberg to Count Morzin, who, in 1757, became his first full-time employee. His compensation was based on a year of free board and lodging.

Under Count Morzin, Haydn's occupation was Kapellmeister, i.e. music director. He accompanied the count's modest orchestra in Unterlukawitz and wrote his first symphonies for the ensemble, perhaps in the double figures. "The seeds of the future are there, his creations already display a richness and profusion of content, and a disciplined yet varied expression," Philip Downs says of these first symphonies. Haydn married in 1760, with the safety of a Kapellmeister position. Maria Anna Theresia Keller (1729-1841), his sister of Therese (b. Haydn had been in love with her for 1733, with whom he had previously fallen in love. Haydn and his wife had a very unhappy marriage, which was why no one could have survived. They had no children, and all had to be concerned with lovers.

Count Morzin came back to work and compelled him to leave his musical career, but Haydn was soon given a similar position (1761) by Prince Paul Anton, the head of the wealthy Esterházy family. Haydn's original position was only Vice-Kapellmeister, but he was immediately put in charge of the majority of the Esterházy musical group, with the old Kapellmeister retaining authority only for church music. Haydn was promoted to full Kapellmeister when Werner died in 1766.

Haydn wore livery and followed the family as they travelled through their various palaces, most notable the family's ancestral home Schloss Esterház, a grand new palace built in rural Hungary in the 1760s, as a "house officer" in the Esterházy house. Haydn had a large number of roles, including composition, conducting chamber music for and with his patrons, and then the development of operatic performances. Despite the backbreaking work, Haydn had a fantastic opportunity in artistic terms, which was a fantastic opportunity for the artist. The Esterházy kings (Paul Anton, 1762-1990 Nikolaus I) were musical connoisseurs who adored his art and gave him daily access to his own intimate orchestra. Haydn composed a slew of compositions in the Esterházy court during his tenure, and his musical style continued to develop.

Haydn's heydays began with his patron Prince Nikolaus' musical preferences. The prince learned how to play the baryton, an unusual musical device similar to the bass viola, in 1765, but with a string of plucked sympathetic strings. Haydn was ordered to perform music for the prince and his guests, and over the next ten years, several ensembles, the most notable of which are the 126 baryton trios, were commissioned to produce 200 works for the instrument. Around 1775, the prince began a new hobby: opera performances, which had previously been a sporadic affair for special occasions, became the center of musical life at court, and the opera house the prince had built in Esterháza would host multiple productions per year. Haydn was the company's director, assisting in recruiting and preparing the singers, as well as directing and directing the performances. He wrote several of the operas and wrote substitute arias to insert into other composer's operas.

Haydn's 1779 was a watershed year for him as his contract was renegotiated: although most of his compositions were still owned by the Esterházy family, he was now licensed to write for others and sell his work to publishers. Haydn's focus on composition shifted to reflect this (less operas, more quartets, and symphonies) as he entered into negotiations with various publishers, both Austrian and foreign. His current work position "acted as a catalyst in Haydn's career's next step, as well as the attainment of international recognition." Haydn was in the strange situation of being Europe's top composer by 1790, but he was not living in a remote castle in the Hungarian countryside as a duty-bound Kapellmeister. A large number of new string quartets were created as a result of Op.'s six-quartet sets. (3, 50, 54/55, and 64). Haydn has penned responses to foreign commissions: the Paris symphonies (1785-1886) and the original orchestral version of The Seven Last Words of Christ (1786), a commission from Cádiz, Spain, were also produced in response.

Haydn became more isolated and lonely as a result of Eszterháza's remoteness, which was further from Vienna than Eisenstadt. He wanted to visit Vienna because of his acquaintances there. Maria Anna von Genzinger (1754–1793), Prince Nikolaus' personal physician in Vienna, who began a close, platonic friendship with the composer in 1789, was one of these. Haydn expressed his sadness at Esterháza and his joy for the few times he was able to visit her in Vienna. Haydn continued to write often from London later in life. Haydn's premature death in 1793 was a blow to him, as well as his F minor variations for piano, Hob. XVII:6, which may have been written in reaction to her death.

Wolfgang Amadeus Mozart, Haydn's second cousin in Vienna, was also a pupil of Mozart, who died in 1784. The two composers appeared together in string quartets occasionally, according to later testimony by Michael Kelly and others. Haydn was incredibly impressed with Mozart's career and praised it vociferously to others. Mozart has clearly restored esteem to his friend, as shown in his dedication to a group of six quartets now known as the "Haydn" quartets. Haydn was admitted to the same Masonic temple as Mozart in Vienna in 1785, "Zur wahren Eintracht."

Prince Nikolaus died and was succeeded as king by his son Anton in 1790. Anton attempted to save money by dismissing the majority of the court players, breaking with a trend of the time. Haydn retained a nominal appointment with Anton for 400 florins, as well as a 1000-florin pension from Nikolaus. Since Anton had no need of Haydn's services, he was able to bring him to England and conduct new symphonies with a large orchestra.

Haydn was already a well-known composer, so the decision was a logical one. Haydn's music dominated London's concert scene since Johann Christian Bach's death in 1782; "not a single concert featured a work by him." Publishers in London, including Forster (who had their own deal with Haydn) and Longman & Broderip (who worked as an agent in England for Haydn's Vienna publisher Artaria), were among Haydn's most well-known publishers. Haydn's attempts to bring him Haydn to London had been planned since 1782, but Haydn's allegiance to Prince Nikolaus barred him from accepting.

Haydn departed from Vienna with Salomon on December 15, 1790, arriving in Calais in time to cross the English Channel on New Year's Day 1791, after fond farewells from Mozart and others. It was the first time that the 58-year-old composer had seen the sea for the first time. Haydn stayed with Salomon in Great Pulteney Street (London, near Piccadilly Circus) as a student at the Broadwood piano company nearby after arriving in London.

It was the start of a very auspicious period for Haydn, as well as a repeat visit in 1794-1795, which was extremely fruitful. Audiences flocked to Haydn's concerts; he increased his fame and made significant money, ensuring that the estate was financially secure. "Haydn himself presided at the piano-forte; and the spectacle of that renowned composer so captivated the audience that it rivaled none that had ever been inspired by instrumental music in England" was described by Charles Burney. Haydn made many new acquaintances and was involved in a romantic relationship with Rebecca Schroeter for a time.

Haydn's visits to England inspired some of his finest work, including the Surprise, Military, Drumroll, and London symphonies; the Rider quartet; and the "Gypsy Rondo" piano trio. The company's high success does not mean that the journeys were without difficulties. Interestingly, his very first work, the commissioned opera L'anima del filosofo, was written during the early stages of the trip, but opera's impresario John Gallini was unable to obtain a license to allow opera performances in the King's Theatre, which he directed, but notably. Haydn was pleasantly compensated for the opera (£300), but a lot of time was wasted. So far, there are only two new symphonies, no. No. 95 and no. The 96 Miracle might be the first concert in Salomon's spring concert series, which were dated 1791. The two composers, who refused to participate in the concocted conflict, dined together and set each other's symphony on their concert programs, resulting in another issue: the Personal Concerts, Haydn's old student Ignaz Payneel as a rival visiting composer; the two composers, who refused to participate in the concocted conflict, posed another problem.

Haydn enjoyed a rare period of relative repose at the end of Salomon's series in June. He spent some time in the country (Hertingfordshire), but he also took time to travel, most notably to Oxford, where he was awarded an honorary doctorate by the university. No. There were no symphony players on the occasion. Although it had been written in 1789, the Oxford Symphony has since been known as the Oxford Symphony. Four more new symphonies have been added to the mix (Nos). In early 1792, the 93, 94, 97, and 98 were executed.

Haydn had encountered Ludwig van Beethoven in Bonn, England, while heading to London in 1790. Beethoven returned to Vienna on Haydn's return to the city and was Haydn's pupil until the second London journey. Haydn took Beethoven and Beethoven with him to Eisenstadt for the summer, where Haydn had little to do and Beethoven gave Beethoven a counterpoint. Haydn and his wife bought a house in Vienna and started renovating it. He also arranged the appearance of some of his London symphonies in local concerts.

Haydn had become a well-known figure on London's concert scene by the time he arrived in England (1794-1955). Salomon's orchestra ruled the 1794 season, while Professional Concerts had halted their attempts. The performances featured the premieres of the 99th, 100th, and 101st symphonies. Salomon had discarded his own line for 1795, citing difficulties in finding "vocal artists of the first rank from abroad," and Haydn joined Opera Concerts, led by violinist Giovanni Battista Viotti. The last three symphonies, 102, 103, and 104, were held in these symphonies. Haydn's night (Dr. Haydn's night) was a huge success, and it was certainly the best night of his English career. Haydn's biographer, Sophie Griesinger, wrote that the days spent in England were the best of his life. He was always appreciative; it opened a new one to him.

In 1795, Haydn returned to Vienna. Prince Anton had died and Nikolaus II, his heir, suggested that the Esterházy musical institution be revived with Haydn as Kapellmeister. Haydn took up the position on a part-time basis. He spent his summers with the Esterházys in Eisenstadt, and wrote six masses for them, including the Lord Nelson Mass in 1798.

Haydn had become a public figure in Vienna by this time. He spent the majority of his time in his house, a large house in Windmühle's suburb, and wrote articles on public performance. He created his two important oratorios, The Creation (1798) and The Seasons (1801), in collaboration with his librettist and mentor Gottfried van Swieten and with support from van Swieten's Gesellschaft der Associierten. Both were enthusiastically welcomed. Haydn appeared before the public, many leading performances of The Creation and The Seasons for charitable causes, including Tonkünstler-Societät programs with large musical forces. He also produced instrumental music: the famous Trumpet Concerto, and the last nine in his long line of string quartets, including the Fifths, Emperor, and Sunrise. In 1797, Haydn wrote a patriotic "Emperor's Hymn" (God Save Emperor Francis), a direct result of being inspired by audiences' singing God Save the King in London. This was a huge success, and "the enduring symbol of Austrian identity right up to the First World War" (Jones). The melody was used in von Fallersleben's Deutschlandlied (1841), which was written as part of the German unification movement and whose third stanza is now the national anthem of Germany's Federal Republic. (Modern Austria uses a different anthem)

Haydn's later years of this prosperous period were marked by incipient old age and fluctuating health, and he had to try to finish his final works. The Harmoniemesse was his sixth major work for the Esterházys.

Haydn's health had worsened to the point that he was unable to compose by the end of 1803. He suffered from hunger, dizziness, inability to concentrate, and painfully swollen legs. Since diagnosis was uncertain in Haydn's time, it's unlikely that the precise disease can ever be identified, though Jones suggests arteriosclerosis. Haydn's illness was particularly difficult because the flow of new musical ideas continued unabated, but he couldn't continue to create them as compositions. Haydn's biographer Dies told Haydn that in 1806: Haydn was an infant.

Haydn's career was defertile. The Esterházy family ruled him until the very end (much as they had with his predecessor Werner long before), but they did not fire Johann Fuchs, the Austrian emperor, and Johann Nepomuk Hummel as Kapellmeister in 1804. Haydn's last summer in Eisenstadt was in 1803, and his last public appearance as a conductor was on December 26, 1803. As debility set in, he made largely futile attempts at composition, attempting to resurrect a lost Missa brevis from his teenage years and complete his final string quartet. In 1805, the former venture was abandoned for good, and the quartet was published in only two movements.

Haydn was well cared for by his staff, and he has received many visitors and public accolades during his last years, but they may not have been as joyful as he was growing up. Haydn found solace in his illness by playing his "Emperor's Hymn" as a musician. On the 27th of March 1808, a triumph was announced in his honour. Beethoven, Salieri (who conducted the performance) and other musicians and citizens of the aristocracy welcomed the remarkably fragile composer into the hall on an armchair to the sounds of trumpets and drums. Haydn was both moved and ill by the experience, and he was forced to leave early at intermission.

Haydn lived for 14 months. His last days in Vienna were anything but peaceful, as the French army under Napoleon launched an attack on Vienna in May 1809 and shelled his neighborhood on May ten. "Four case shots fell, rattling the windows and doors of his house," Griesinger said. "Don't be afraid, children, where Haydn is, no harm can reach you," he yelled out in a blatant and frightened crowd.' However, the spirit was stronger than the flesh, because he had barely spoken the brave words when his whole body began to tremble. More bombardments followed until the city was blasted to the French on May 13th. Haydn was still mourning and grateful when, on May 17, a French cavalry officer named Sulémy arrived to pay his respects and perform an aria from The Creation.

Haydn performed his "Emperor's Hymn" three times on May 26; the same evening he collapsed and was led to what appeared to be his deathbed. He died peacefully in his own home at 12:40 a.m. on May 31, 1809, at the age of 77. On June 15, a memorial service was held in the Schottenkirche, where Mozart's Requiem was performed. Haydn's remains were laid to rest in the local Hundsturm cemetery until 1820, when they were moved to Eisenstadt by Prince Nikolaus. His head went on a different route; it was stolen by phrenologists right after burial and returned to his body in 1954, which is now embedded in a tomb in the Bergkirche's north tower.

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