FRANZ JOSEPH HAYDN
(1732-1809)

 

 

Joseph Haydn is considered a prominent member of the Viennese Classical school and a leading composer of the 18th-century Classical period, along with composers Wolfgang Amadeus Mozart (1756-1791) and Ludwig van Beethoven (1770-1827). Regarded as the father of the symphony, "Haydn’s career is a story of many years of hard work, steady development, and ultimate fame and fortune" (Kerman 399).

 

Haydn's Childhood

In 1732, Franz Joseph Haydn was born in Rohrau, a village of southern Austria. Haydn came from a poor family who highly valued music. His brother, Johann Michael (1737-1806), also became a composer and worked for the Archbishop of Salzburg. Though his parents did not have any formal musical training (his father made wagon wheels for a living), the family included music as a natural part of life. As a young boy, Joseph learned folksongs and peasant dances from his parents. His father also played the harp while his mother sang. The music Haydn experienced as a child in an impoverished village later played an important role in the style of his compositions. Haydn commented on his modest childhood: "Young people can see from my example that something still may come from nothing. What I am today, moreover, is the product of utmost poverty" (qtd. in Downs 199). Influencing such composers as Mozart, Beethoven, Franz Schubert (1797-1828), and Johannes Brahms (1833-1897), the story of Franz Joseph Haydn’s rise from underprivileged child to high-ranked servant of nobility is truly remarkable.

Haydn’s musical talent was discovered at age five, and the child went to live in Hainburg with his uncle for more promising musical opportunities. In addition to academic subjects, Joseph Haydn studied singing and played different instruments. He also sang in the choir at St. Stephen’s Cathedral in Vienna under director Georg Reutter. Staying here until his voice changed at age 18, Haydn was actually dismissed for a petty teenage prank. The young musician was then on his own, and lived in poverty once again. In order to make financial ends meet, Haydn performed in the Vienna streets with other musicians, taught many students, and served as an accompanist. Despite his efforts, the desperate composer wrote: "I barely managed to stay alive by giving music lessons to children for about eight years" (qtd. in Kamien 234). During these difficult times, Haydn taught himself the art of composition and accompanied for composer and singer Nicola Porpora (1686-1768). Porpora also gave the young Joseph composition lessons as well as acquainted him with different musicians in Vienna. When composing his first works, Haydn was observed as writing "well into the night" (qtd. in Downs 202).

 

Haydn and the Esterházys

After brief employment by Count Karl Joseph Morzin in 1759, Haydn was hired in 1761 as assistant music director for the Esterházy family, a line of Hungarian princes who generously supported the arts. His promotion was truly admirable: "Haydn had effected the transition from apprentice to journeyman and from journeyman to master musician. Leaving behind his humble origins and memories of grinding poverty and frequent hunger, he became the indispensable Kapellmeister to one of the most powerful men in eastern Europe" (Downs 237). He remained with the Esterházys for more than 30 years, and considered himself extremely fortunate to have such generous patrons. The composer was 29 when he was recruited for the position, and immediately assumed awesome responsibilities. Constantly in demand, his duties included conducting the orchestra, teaching the singers, taking charge of instrument care and the music library, and composing at the Prince’s request. In addition to chamber music every day, he had to perform about two concerts and operas a week. In performances at the palace, Haydn played the violin and harpsichord, as well as conducted. The composer’s father spoke of "the joy of seeing his son in the uniform of that family, blue, trimmed with gold, and of hearing from the Prince many eulogies of the talent of his son" (qtd. in Downs 212).

Haydn’s first patron was Prince Paul Esterházy, who was succeeded by his brother Nikolaus after his death in 1762. Called the "Magnificent," Nikolaus built a palace in Hungary called Esterháza, which consisted of two performance halls, a theater, and an opera house. During Nikolaus’s reign, Haydn composed works to be performed at Esterháza as well as 150 pieces for the string baryton (a bowed instrument with two separate sets of strings) for the Prince to play. In 1766, the music director died, and Haydn was promoted from assistant to Kapellmeister. Nikolaus was succeeded by his son Anton in 1790, at which point Haydn was given more freedoms but a smaller salary. Despite profitable service to the Esterházys, Haydn wrote: "How sweet is some degree of liberty. The consciousness of no longer being a bond servant sweetens all my toil" (qtd. in Kamien 236).

Prince Anton canceled most music at Esterháza shortly after his appointment to the throne, so Haydn had no responsibilities and could accept other promising offers. At the request and commission of concert manager Johann Peter Salomon (1745-1815), Haydn went to London in 1791, composing symphonies and other works for public performance. He conducted one concert each week and wrote six symphonies during the course of his stay. "The acclaim at Haydn’s concerts was so overwhelming that some movements of his symphonies had to be repeated" (Kamien 236). Needing a vacation from London, Haydn returned to Vienna through Bonn, where he met the young Ludwig van Beethoven. Beethoven traveled to Vienna in November of 1792 to study with Haydn, and later commented: "Though I had some instruction from Haydn, I never learned anything from him" (qtd. in Gmoser 34). But at the end of Haydn’s life, Beethoven graciously acknowledged the composer. Haydn went back to London in 1794, and the Prince died immediately after he left. During his second visit to London, the composer wrote another famous six symphonies. Twelve total pieces from both sojourns have come to be known as the famous "London" Symphonies. Haydn returned home to Vienna in 1795 because Anton’s successor, Nikolaus II, wanted to bring music back to the forefront of the court’s activities. The composer’s duties were small, so he could spend ample time working on other compositions of interest.

Haydn's Music

"It was Haydn’s historic role to help perfect the new instrumental language of the late eighteenth century" (Machlis & Forney 252), and Joseph Haydn’s two most important genres of composition are the symphonies and string quartets. "Of Haydn’s symphonies it may be said that they, like his quartets, are the spiritual birthplace of Beethoven" (Machlis & Forney 253). Over a period of about 45 years, he wrote over 100 symphonies. Many of these pieces bear names not actually given by the composer: Numbers 82-87 are called the "Paris" Symphonies, No. 100 is "Military," No. 101 is nicknamed "Clock," and 103 is called "Drumroll." Two of the best known Symphonies are those called "Farewell" (No. 45) and "Surprise" (No. 94). The "Farewell" Symphony was written so orchestra members at Esterháza could return home to their families in Vienna when the Prince had decided to extend the summer stay. Unhappily, the players complained to Haydn. In response, the composer wrote the last movement in which each player stopped, one at a time, put out his candle, and left the stage. They left for Vienna the next day, as the Prince had clearly understood the message. Premiered in the spring of 1792, the "Surprise" Symphony is so named for the crash of a loud chord in the midst of a soft theme. In response, the composer said, "It was my wish to surprise the public with something new, and to make a debut in a brilliant manner" (qtd. in Kamien 238). In reality, Haydn was involved in a somewhat jealous rivalry with his former student, Ignace Pleyel, and composed the symphony to outdo the other’s compositions and performances. In any case, "The 'Surprise' Symphony is an example of Haydn’s genius at making rich, complex music from the simplest phrases and themes" (Kamien 241).

Early symphonies of Joseph Haydn are in three contrasting movements of fast-slow-fast, but he later evolved to the late Classical, four-movement form of fast-slow-dance-fast. From 1768-1774, Haydn employed the Sturm und Drang (dramatic "storm and stress") style in these works, but later composed orchestral symphonies that were optimistic and happy. The "London" Symphonies are "indeed his crowning achievements . . . . all the elements are brought together on a grander scale, with more brilliant orchestration, more daring harmonic conceptions, intensified rhythmic drive, and, especially more memorable thematic inventions" (Grout 493).

"Haydn was a pathfinder for the classical style, a pioneer in the development of the symphony and string quartet" (Kamien 236). Writing 68 string quartets in his lifetime, he and Mozart inspired each other in this area. Haydn began writing string quartets in 1757 when he only had three other musicians with whom to work, and the genre later grew to be one of his most significant. Late quartets demand intense virtuosity from the performers as well as a texture in which the four instruments are equal partners.

In addition to the symphonies and string quartets, Haydn composed in many other genres. Among these are the operas, chamber music for the Prince’s baryton instrument, and keyboard pieces. They are all highly individual works, as Haydn disliked adhering to conventional practices. During the 1770s, Haydn wrote much instrumental music, including more than 18 keyboard sonatas and most of his operas. In the 1780s, the composer dedicated three piano sonatas to Princess Marie Esterházy (1784); wrote a set of string quartets for King Frederick William II of Prussia; composed five sets of trios for piano, violin, and cello; and wrote numerous songs, a few operas, and one Mass. A popular work today is Haydn’s Trumpet Concerto in E-flat Major from 1796. Written for a trumpet player in Vienna with a new type of instrument, this Concerto was forgotten until the 1930s. Reintroduced in this era, it became instantly famous. In addition to all of Joseph Haydn’s known compositions, many of his works were destroyed in a fire at Esterháza’s ballroom and opera houses in 1779.

Including fourteen Masses, Haydn produced a considerable amount of church music. Best known is the "Lord Nelson" Mass from 1798. Composed late in his life, two famous oratorios have metaphors for nature and "were so popular that choruses and orchestras were formed at the beginning of the nineteenth century for the sole purpose of performing them" (Kamien 236). The Creation dates from 1798, and is likened in quality to George Frideric Handel’s Messiah. An offer to set the text had actually been turned down by Handel before Haydn accepted. Based on the biblical book of Genesis and Paradise Lost by Milton, the texts are by Baron Gottfried van Swieten (1733-1803), a diplomat who also wrote the lyrics for Haydn’s Seven Last Words on the Cross (1785). A stubborn, disagreeable man, Gottfried didn’t always get along with Haydn. The Creation was featured in 1808 at Haydn’s very last performance. Considered Haydn’s last sizable composition, a famous secular choral work entitled The Seasons dates from 1801. This is based on text by English literary poet James Thomson. In all religious works, Haydn would begin by writing "in the name of the Lord," and would end with "praise be to God" or "to God alone, the glory."

 

Haydn's Style

Recognized as one of the leading composers of the Classical period, "It was really Haydn who pioneered the Viennese style, and he handled it with a mastery that was not exceeded by any of the other composers" (Kerman 170). Joseph Haydn’s music employed peasant melodies (folk tunes of contrasting dynamics and colors) he had known since childhood combined with his own stylistic techniques. Achieving a sense of interest and contrast through dynamics, rhythms, and the use of different keys, his melodic themes were written skillfully. It was "possible for him to build a whole movement out of a single main theme" (Kamien 237). Emphasis on melodies that contain humor and wit project much optimism, similar to Haydn’s personality (Kamien 236). Combining all the elements of the composer’s style, "It was in his expressive harmony, structural logic, and endlessly varied moods that the mature Classical style seemed to be fully realized for the first time" (Machlis & Forney 253).

 Haydn's Personality

"As a man, he is friendly, artless, and undesigning; As a husband, affectionate, tender, and exemplary; As a performer, neat, elegant, and expressive; As a composer, chaste, masterly, and original" (qtd. by the European Magazine in October 1784 in Downs 425). An optimistic person with paternal feelings, Haydn was called "Papa" by the members of his orchestra and was respected throughout the Western world. Promoting universal brotherhood, he became a Freemason at Mozart’s invitation in 1785. Despite his cheerful disposition, Haydn’s marriage was an unhappy one. Marrying the sister of the woman he truly loved, Joseph discovered that his wife was an aloof woman. Later, the couple separated, but never divorced. Haydn had extensive affairs with Luigia Polzelli, a singer and wife of a violinist in the Esterházy court. Involved with a widow in London named Rebecca Shroeter, also, they never married, even after the death of both of their spouses.

In 1776, Haydn wrote an autobiographical work, oddly listing his great compositions as three operas, an Italian oratorio named "The Return of Tobias," and the Stabat Mater setting from 1767 (Downs 505). But the great instrumental works, masses, and oratorios of the 1780s and 90s were yet to be written. Speaking stylistically of all his landmark musical creations, Haydn relayed: "At the thought of God, my heart leaps for joy and I cannot help my music doing the same" (qtd. in Machlis & Forney 253).

 Haydn's Death

As Haydn’s health declined at the age of 77, Napoleon’s troops were invading Vienna. However, Napoleon Bonaparte put military protection around the composer’s house, fully aware of Joseph Haydn’s importance. Despite Napoleon’s efforts, the composer stayed true to Austria, and even wrote its national anthem in 1797. "Haydn’s achievement places him beside Mozart and Beethoven as one of the great humanists of music" (Downs 474), and the British thought him to be the greatest composer in the world (Kerman 493). Mozart’s Requiem Mass was performed at Franz Joseph Haydn’s funeral in 1809, where the composer was mourned by a world who knew his musical worth.