Franz Joseph Haydn works list. Joseph Haydn: biography, interesting facts, creativity

Haydn wrote 104 symphonies, the first of which was created in 1759 for the chapel of Count Morzin, and the last - in 1795 in connection with a London tour.

The genre of the symphony in Haydn's work evolved from samples close to everyday and chamber music to the "Paris" and "London" symphonies, in which the classical laws of the genre, the characteristic types of thematics and development techniques were established.

The rich and complex world of Haydn's symphonies possesses remarkable qualities of openness, sociability, and focus on the listener. The main source of their musical language is genre-everyday, song and dance intonations, sometimes directly borrowed from folklore sources. Included in the complex process of symphonic development, they reveal new figurative, dynamic possibilities.

In Haydn's mature symphonies, the classical composition of the orchestra is established, including all groups of instruments (strings, woodwinds, brass, percussion).

Almost all Haydnian symphonies non-program, they don't have a particular plot. The exception is three early symphonies, named by the composer himself "Morning", "Noon", "Evening" (No. 6, 7, 8). All other names given to Haydn's symphonies and fixed in practice belong to the listeners. Some of them convey the general character of the work (“Farewell” - No. 45), others reflect the peculiarities of orchestration (“With a horn signal” - No. 31, “With a tremolo timpani” - No. 103) or accentuate some memorable image (“Bear” - No. 82, "Chicken" - No. 83, "Clock" - No. 101). Sometimes the names of symphonies are associated with the circumstances of their creation or performance ("Oxford" - No. 92, six "Paris" symphonies of the 80s). However, the composer himself never commented on the figurative content of his instrumental music.

Haydn's symphony acquires the meaning of a generalized "picture of the world", in which different aspects of life - serious, dramatic, lyrical-philosophical, humorous - are brought to unity and balance.

Haydn's symphonic cycle usually contains the typical four movements (allegro, andante , minuet and finale), although sometimes the composer increased the number of parts to five (symphonies "Noon", "Farewell") or limited to three (in the very first symphonies). Sometimes, in order to achieve a special mood, he changed the usual sequence of movements (Symphony No. 49 begins with a mournful adagio).

Completed, perfectly balanced and logically arranged forms of parts of the symphonic cycle (sonata, variation, rondo, etc.) include elements of improvisation, wonderful deviations of unexpectedness sharpen interest in the very process of thought development, which is always fascinating and full of events. Favorite Haydnian "surprises" and "pranks" helped the perception of the most serious genre of instrumental music.

Among the numerous symphonies created by Haydn for the orchestra of Prince Nicholas I Esterhazy, a group of minor symphonies of the late 60s - early 70s stands out. This is Symphony No. 39 ( g-moll ), No. 44 (“Funeral”, e- mall ), No. 45 ("Farewell", fis-moll) and No. 49 (f-moll, "La Passione , that is, related to the theme of the suffering and death of Jesus Christ).

"London" symphonies

Haydn's 12 "London" symphonies are considered the highest achievement of Haydn's symphony.

"London" the symphonies (Nos. 93-104) were written by Haydn in England during two tours arranged by renowned violinist and concert entrepreneur Salomon. The first six appeared in 1791-92, six more - in 1794-95, i.e. after Mozart's death. It was in the London Symphonies that the composer created his own stable type of symphony, unlike any of his contemporaries. This Haydn-typical symphony model is different:

All "London" symphonies open slow intros(except for the minor 95th). Introductions perform a variety of functions:

• They create a strong contrast in relation to the rest of the material of the first part, therefore, in its further development, the composer, as a rule, dispenses with a comparison of diverse themes;
• The introduction always begins with a loud affirmation of the tonic (even if it is of the same name, minor - as, for example, in Symphony No. 104) - which means that the main part of the sonata allegro can begin quietly, gradually and even immediately deviate into a different key, which creates the aspiration of the music forward to upcoming climaxes;
• Sometimes the material of the introduction becomes one of the important participants in the thematic dramaturgy. Thus, in Symphony No. 103 (Es-dur, "With a tremolo timpani") the major but gloomy theme of the introduction appears both in the elaboration and in coda I part, and in development it becomes unrecognizable, changing the pace, rhythm and texture.

sonata form in the London Symphonies is very peculiar. Haydn created this type of sonata allegro , in which the main and secondary themes do not contrast with each other and are often generally built on the same material. For example, expositions of symphonies No. 98, 99, 100, 104 are mono-dark. I parts Symphony No. 104( D-dur ) the song and dance theme of the main part is set out by only strings on p , only in the final cadence the whole orchestra enters, bringing with it perky fun (such a technique has become an artistic norm in the London Symphonies). In the section of the side part, the same theme sounds, but only in the dominant key, and in the ensemble with strings now woodwinds alternately perform.

In expositions I parts of symphonies No. 93, 102, 103 side themes are built on an independent, but not contrasting in relation to the main themes material. So, for example, in I parts Symphony No. 103 both themes of the exposition are fervent, cheerful, genre-wise close to the Austrian Lendler, both are major: the main one is in the main key, the secondary one is in the dominant one.

Main Party:

Side party:

in sonatas developments"London" symphonies dominate motivated type of development. This is due to the dance nature of the themes, in which rhythm plays a huge role (dance themes are easier to divide into separate motives than cantilena ones). The most striking and memorable motive of the theme is developed, and not necessarily the initial one. For example, in development I parts Symphony No. 104 the motif of 3-4 measures of the main theme is developed as the most capable of changes: it sounds interrogatively and uncertainly, then menacingly and persistently.

Developing the thematic material, Haydn shows inexhaustible ingenuity. He uses bright tonal comparisons, register and orchestral contrasts, and polyphonic techniques. Topics are often strongly rethought, dramatized, although there are no major conflicts. The proportions of the sections are strictly observed - developments are most often equal to 2/3 of the expositions.

Haydn's favorite form slow parts are double variations, which are sometimes called "Haydnian". Alternating with each other, two themes vary (usually in the same keys), different in sonority and texture, but intonation close and therefore peacefully adjacent to each other. In this form, for example, the famous Andantefrom 103 symphonies: both of his themes are designed in folk (Croatian) color, in both the upward movement from T to D , dotted rhythm, alteration present IV fret stage; however, the minor first theme (strings) has a concentrated narrative character, while the major second (the whole orchestra) is marching and energetic.

First topic:

Second topic:

There are also ordinary variations in the "London" symphonies, as, for example, in Andantefrom 94 symphonies.Here a theme is varied, which is distinguished by its particular simplicity. This deliberate simplicity forces the flow of music to be suddenly interrupted by the deafening blow of the entire orchestra with timpani (this is the "surprise" with which the name of the symphony is associated).

Along with the variation, the composer often uses in slow parts and complex tripartite shape, as, for example, in Symphony No. 104. All sections of the three-part form here contain something new in relation to the initial musical thought.

By tradition, the slow parts of sonata-symphony cycles are the center of lyrics and melodious melody. However, Haydn's lyrics in symphonies clearly gravitate towards genre. Many of the themes of the slow movements are based on a song or dance basis, revealing, for example, the features of a minuet. It is significant that of all the "London" symphonies, the remark "melodious" is present only in the Largo 93 symphony.

Minuet - the only movement in the symphonies of Haydn, where there is a mandatory internal contrast. Haydn's minuets became the standard of vitality and optimism (it can be said that the composer's individuality - the traits of his personal character - manifested itself most directly here). Most often these are live scenes of folk life. Minuets prevail, carrying the traditions of peasant dance music, in particular, the Austrian Lendler (as, for example, in Symphony No. 104). A more gallant minuet in the "Military" symphony, whimsically scherzo (thanks to the sharp rhythm) - in Symphony No. 103.

Minuet of Symphony No. 103:

In general, the accentuated rhythmic sharpness in many of Haydn's minuets so alters their genre appearance that, in essence, leads directly to Beethoven's scherzos.

Minuet form - always complex 3-part da capo with a contrasting trio in the center. The trio usually contrasts gently with the main theme of the minuet. Very often only three instruments really play here (or, in any case, the texture becomes lighter and more transparent).

The finales of the "London" symphonies are without exception major and joyful. Here, Haydn's predisposition to the elements of folk dance was fully manifested. Very often, the music of the finals grows out of truly folk themes, as in Symphony No. 104. Its finale is based on a Czech folk melody, which is presented in such a way that its folk origin is immediately obvious - against the backdrop of a tonic organ point imitating bagpipes.

The finale maintains symmetry in the composition of the cycle: it returns to the fast tempo I parts, to effective activity, to a cheerful mood. final form - rondo or rondo sonata (in Symphony No. 103) or (less commonly) - sonata (in Symphony No. 104). In any case, it is devoid of any conflicting moments and rushes by like a kaleidoscope of colorful festive images.

If in Haydn's earliest symphonies the wind group consisted of only two oboes and two horns, then in the later, London symphonies, a complete paired composition of woodwinds (including clarinets) is systematically found, and in some cases also trumpets and timpani.

Symphony No. 100, G-dur was called "Military": in its Allegretto, the audience guessed the ceremonial course of the guards parade, interrupted by the signal of the military trumpet. In No. 101, D-dur, the Andante theme unfolds against the background of the mechanical "ticking" of two bassoons and pizzicato strings, in connection with which the symphony was called "The Hours".

On our website) wrote up to 125 symphonies (of which the first were designed for string orchestra, oboes, horns; the latter, in addition, for flute, clarinets, bassoons, trumpets and timpani). Of Haydn's orchestral compositions, the Seven Words of the Savior on the Cross and over 65 divertissements, cassations, etc. are also known. In addition, Haydn wrote 41 concertos for a wide variety of instruments, 77 string quartets, 35 trios for piano, violin and cellos, 33 trios for other instrumental combinations, 175 pieces for baritone (Count Esterhazy's favorite instrument), 53 piano sonatas, fantasies, etc., and many other instrumental pieces. Of Haydn's vocal works are known: 3 oratorios, 14 masses, 13 offertorias, cantatas, arias, duets, trios, etc. Haydn wrote 24 more operas, most of which were intended for the modest home theater of Count Esterhazy; Haydn himself did not want their execution elsewhere. He also composed the Austrian national anthem.

Portrait of Joseph Haydn. Artist T. Hardy, 1791

Haydn's significance in the history of music is based mainly on his symphonies and quartets, which have not lost their lively artistic interest even today. Haydn was the finalist of that process of separating instrumental music from vocal music, which began long before him on the basis of dance forms and whose main representatives before Haydn were S. Bach, his son Em. Bach, Sammartini and others. The sonata form of the symphony and quartet, as developed by Haydn, served as the basis of instrumental music for the entire classical period.

Joseph Haydn. The best works

Haydn's merit is also great in the development of the orchestral style: he was the first to initiate the individualization of each instrument, highlighting its characteristic, original properties. One instrument with him is often opposed to another, one orchestral group to another. That is why Haydn's orchestra is distinguished by a hitherto unknown life, a variety of sonorities, expressiveness, especially in the last compositions, which did not remain without the influence of Mozart, who was a friend and admirer of Haydn. Haydn also expanded the form of the quartet, and by the nobility of his quartet style he gave it a special and profound significance in music. "Old cheerful Vienna", with its humor, naivety, cordiality and, at times, unbridled agility, with all the conventions of the era of the minuet and pigtails, was reflected in the works of Haydn. But when Haydn had to convey a deep, serious, passionate mood in music, he also achieved strength here, unprecedented among his contemporaries; in this respect he adjoins directly to Mozart and

Franz Joseph Haydn was born in 1732 in the village of Rorau in Lower Austria to a family of a carriage maker and a cook. His parents - passionate music lovers - often arranged musical evenings at home, which to no small extent contributed to the awakening of young Franz Josef's interest in this art, and the Austrian folk art, which he met in his native land, was reflected in his best compositions.

Haydn's talent manifested itself early - he had not only an excellent ear for music, but also a delightful voice that delighted those around him. An extraordinary child attracted the attention of a school teacher and church regent Frank, who accompanied him to the small town of Hainburg an der Donau, where Josef began to sing in the church choir, learned to read music, play the violin and harpsichord.

In 1740, the composer and bandmaster Georg Reuter arrived in Hainburg in search of gifted boys for the cathedral choir. Young Haydn could not but attract the attention of the maestro. As a result of this favorable combination of circumstances, Joseph ended up in Vienna, in the choir chapel at the Cathedral of St. Stephen. The talented young man had the opportunity to get a real musical education.

“Along with my school studies, I studied the art of singing, clavier and violin with very good masters there. I sang in treble, both in the cathedral and at court, with great success until the eighteenth year of my life,” Haydn recalled in 1776.

However, the head of the chapel, Reuter, who was distinguished by a stern disposition, paid little attention to Josef's composing experiments, and service in the cathedral left little time for study. So flew the first nine years in Vienna. And in 1749, Haydn was expelled from the chapel without the slightest regret ... The fact is that the young man's voice began to break. Thus, the seventeen-year-old Joseph Haydn was left to his own devices. Years of hardship, odd jobs, self-study and still awkward musical experiments followed.

“Then I lost my voice, and I had to drag out a miserable existence for eight whole years ... I composed mainly at night, not knowing if I had any gift for composition or not, and recorded my music diligently, but not quite right .. ." (from autobiographical notes of 1776)

Despite the difficult financial situation, he diligently studied the works of Emmanuel Bach, who became his favorite composer, and the theory of composition. At the same time, he did not shy away from the youthful pranks that his comrades arranged. This brought Josef closer to the everyday music of Vienna, which, together with Austrian folklore, was subsequently expressed in the work of Haydn.

At this time, he wrote sonatas for harpsichord. Their publication drew attention to the young composer.

Haydn's first major work was the opera Lame Demon, created in 1751.

In 1755, Haydn's financial situation improved slightly due to his participation in amateur musical evenings of the landowner Furnberg. And in 1759, on the recommendation of the same Furnberg, the composer received the post of bandmaster at the court of the Czech count Maximilian Morcin. At that court there was a small chapel of twelve musicians, for which Haydn wrote divertissements of an entertaining nature. His first symphonies were also written here.
In 1761, Haydn left Count Morcin and entered the service of the Hungarian prince Paul Anton Esterhazy, whose copella he led for thirty years until 1791.

During these years, the composer worked hard and hard. From the written one can distinguish the symphonies "Morning", "Noon", "Evening" (1761), masses, operas, works for baritone.

In the early 70s. Haydn's music began to permeate sad and sometimes tragic motifs. The reason for this was an unsuccessful marriage (Haydn called his illiterate wife nothing more than a "fiend") and dissatisfaction with the work of Esterhazy. So the "Funeral" and "Farewell" symphonies (1772) were born.

Trying his hand at all kinds of musical composition, Haydn achieved the greatest success in the field of instrumental music. He, like no one before him, subtly understood the orchestral flavor, making a huge contribution to the development of this direction.

In the early 90s, Joseph Haydn made two trips to London. There, for Solomon's concerts, he created the best, according to contemporaries, symphonies, which further strengthened the glory of Haydn.

In recent years, Haydn lived in Vienna. Here the composer wrote his two famous oratorios: The Creation of the World (1798) and The Four Seasons (1801).
After 1802 Haydn stopped composing music. The composer died on May 31, 1809.

Musical legacy:

Operas: " lame demon"(Der krumme Teufel, libretto by J. F. Kurtz - Bernardon, based on the plot of A. R. Le Sage's play "Le Diable Boiteux", note 1751; under the title "The New Lame Demon" - Der neue krumme Teufel, post, 1758 G.); opera series - "Acis and Galatea"(libretto by J. B. Milyavacca, 1762), "Desert Island"(L "lsola disabitata, libretto by P. Metastasio), "Armida"(libretto by Durandi based on the poem "Jerusalem Delivered" by Tasso, 1783), "The Soul of a Philosopher"(L "Anima del filosofo, libretto by C. F. Badini, 1791); buffa operas - "Singer"(La Canterina, 1766), "Apothecary"(Lo Speziale, libretto by C. Goldoni), "Fisherwomen"(Le Pescatrici, libretto by C. Goldoni, 1769), "Deceived Infidelity"(L "Infedelta delusa), "Unforeseen Encounter"(L "Incontro improviso, libretto by C. Fribert based on the play by F. Dancourt, staged 1775), "Moon World"(II Mondo della luna, libretto by C. Goldoni, staged 1777), "True Constancy"(La Vera costanza, 1776), "Loyalty Rewarded"(La Fedelta premiata, based on the play "L" Infedelta fedde "Lorenzi); heroic-comic opera - "Roland the Paladin"(Orlando Raladino, libretto by N. Porta based on the plot of the poem "Furious Roland" by Ariosto); German puppet operas (called comic operas by Haydn) -
Philemon and Baucis, "Council of the Gods"(Der Gotterrat oder Jupiters Reise auf die Erde, prologue to Philemon and Baucis), "Punished Thirst for Revenge, or the Burnt House"(Die bestrafte Rachgier, oder Das abgebrannte Haus, 1773), "On Saturday Eve"(Herebschabbas, 1773), "Abandoned Dido"(Didone ahbandonata, libretto by J. von Powersbach), Fourth part of Genovefy (Genovevens vierter Teil, libretto by J. von Powersbach, performed 1777)

Works for choir and voices with orchestra: oratorio - "The Return of Tobiah"(El Ritorno di Tobia, text by G. G. Boccherini, 1774-1775), "Seven Words of the Savior on the Cross"(Die Sieben Worte des Erlosers am Kreuse, text by I. Fribert, arranged by Haydn's orchestral piece of the same name, 1794; new text by I. Haydn and G. van Swieten, circa 1796), "World creation"(Die Schopfung, text by G. van Swieten based on Milton's Paradise Lost, 1798), "Seasons"(Die Jahreszeiten, text by G. van Swieten based on the poem by J. Thomson, 1801)

14 masses, including: small mass (Missa brevis, F-dur, about 1750), large organ mass Es-dur (1766), Mass in honor of Nicholas(Missa in honorem Sancti Nicolai, G-dur, 1772), mass over caecilia(Missa Sanctae Caeciliae, c-moll, between 1769 and 1773), small organ mass (B-dur, 1778), Mariazelle mass Mariazellermesse, C-dur, 1782), mass with timpani, or Mass of the Times wars (Paukenmesse, C-dur, 1796), Mass with the theme "Holy, holy"(Heiligmesse, B-dur, 1796), Nelson Mass(Nelson-Messe, d-moll, 1798), Mass Teresa(Theresienmesse, B-dur, 1799), mass with a theme from the oratorio "World creation"(Schopfungsmesse, B-dur, 1801), Brass Mass (Harmoniemesse, B-dur, 1802)

Various choral works: including - "Election of the Kapellmeister"(Die Erwahlung eines Kapellmeisters, for soloists, choir and orchestra, circa 1790), "Storm"(The Storm, for soloists, choir and orchestra, 1792), "Chorus of the Danes"(Chor der Danen, 1796)

Works for orchestra: 104 symphonies, including No. 6, "Morning"(Le Matin, D-dur, 1761), No. 7, "Noon"(Le Midi, C-dur, 1761), No. 8, "Evening and Storm"(Le Soir e la tempesta, G-dur 1761), No. 22, "Philosopher"(Der Philosoph, Es-dur, 1764), No. 26, Laments (Lamentatione, d-moll, about 1765), No. 30, "Hallelujah"(Alleluja, C-dur, 1765), No. 31, "With the tune of a horn, or On the traction"(Mit dem Hornsignal, oder Auf dem Anstand, D-dur, 1765), No. 43, "Mercury"(Es-dur, until 1772), No. 44, " Funeral Symphony"(Trauer symphonie, e-moll, before 1772), No. 45, "Farewell Symphony"(Abschiedssymphonie, also called - Candlelight Symphony, fis-moll, 1772), No. 48, "Maria Teresa"(C major, circa 1773), No. 49, "Suffering"(La Passione, f-moll, 1768), No. 53, "Majestic"(L "Imperiale, D-dur, around 1775), No. 55, "School Mentor"(Der Schulmeister, Es-dur, 1774), No. 59, "Flame"(Feuersymphonie, A-dur, before 1769), No. 60, "Scattered"(Simfonia per la commedia intitolata "II Distratto", C-dur, no earlier than 1775), No. 63, "Roxelana"(La Roxelane, C-dur, circa 1777), No. 69, "Loudon"(Laudon, C-dur, 1778-1779), No. 73, "Hunting"(La Chasse, D-dur, 1781), No. 82, "Bear"(L "Ours, C-dur, 1786), No. 83, "Hen"(La Poule, g-moll, 1785), No. 85, "Queen"(La Reine de France, B-dur, 1785-1786), No. 92, "Oxford"(Oxford, G major, circa 1788), No. 94, "With a beat of timpani, or Surprise"(Mit dem Paukenschlag, The Surprise, G-dur, 1791), No. 100, "Military"(Die Militarsymphonie, G-dur, 1794), No. 101, "Watch"(Die Uhr, A-dur, 1794), No. 103, "With tremolo timpani"(Mit dem Paukenwirbel, Es-dur, 1795), No. 104, "Solomon"(D major, 1795)

In addition, symphonies: B-dur (circa 1760), B-dur (original version of string quartet op. 1, no. 5, 1754 or 1762), symphony-concert for violin, cello, oboe, bassoon and orchestra (B-dur , op. 84, 1792), 16 overtures, including 11 operas, 3 oratorios and overtures (C-dur and D-dur), passion for orchestra-Seven Words of the Savior on the Cross (for 2 flutes, 2 oboes, 2 bassoons, 4 horns, 2 trumpets, percussion and strings, commissioned by the Cathedral of Cadiz, Spain, 1785, arranged for strings, quartet - op. 51, 1787; in the oratorio - about 1796 G.)

Dancing: over 100 minuets for orchestra; over 30 German dances; 6 marches, including the Hungarian national march

Concertos for one and several instruments with orchestra: 35 concertos, including 2 for clavier, 4 for violin, 4 for cello, 3 for horn, 2 for baritone (bowed), one each for double bass, flute, trumpet, 2 baritones, 2 horns, 5 for 2- hurdy gurdy, 13 divertissements with clavier

Works for ensemble of instruments:
47 divertissements for various instruments, including 8 nocturnes for 9 instruments, 9 scherzos and 6 suites for 8 instruments, Children's Symphony; 83 strings, quartet for 2 violin, viola and cello, including the names: 6 solar (Sonnenquartette, op. 20. No. 4-Quarrel in Venice-The Row In Venice, D-dur, 1772), 6 Russian (Die russischen Quartet-ten, op. 33, also called Maiden's - Jungfernquartette, No. 3 - bird quartet- Vogelquartett, C-dur, 1781), 6 Prussians (Die preussischen Quartetten, op. 50, No. 6 - Frog Quartet - Froschquartett, D-dur, 1787), Seven words of the Savior on the cross(Die Sieben Worte des Erlosers am Kreuze, op. 51, arranged by the passion of the same name for orchestra, 1787), " Lark"(Lerchenquartett, D-dur, op. 64, 1790), "Rider"(Reiterquartett, c-moll, op. 74, no. 3, 1793), 6 Erdody-quartets (Erdody-Quartette, op. 76; no. 3 - Imperial - Kaiserquartett, C-dur; No. 4 - Sunrise - The Sunrise, B-dur, circa 1797), Unfinished(op. 103, B-dur, 1803)

Compositions for 3 instruments: trio -
41 trios for clavier, violin (or flute) and cello, 21 trios for 2 violins and cello, 126 trios for baritone (bowed), viola (violin) and cello, 11 trios for mixed wind and string instruments

Compositions for 2 instruments:
25 duets for baritones (bowed) and cello with or without bass, 6 duets for violin and viola

Works for piano 2 hands:
52 piano sonatas, 12 piano pieces, including andante with variations (t-moll, 1793), arietta with 18 (20) variations (A-dur, until 1768), 6 easy variations (C- dur, 1790), 91 clavier dances (including 53 minuets, 24 German dances, 5 country dances, 8 gypsy, 1 quadrille and 1 English dance)

Works for piano 4 hands:
2 pieces, including variations (Master and student - II Maestro e lo scolare), 32 pieces for music box

Arrangements of Scottish, Irish and Welsh songs for 1-2 voices with piano or trio (violin, cello, and piano, total about 439 songs including: 150 shotles, songs published by W. Napier, 1792-1794; 187 Scottish, Irish and Welsh songs to words by R. Burns, W. Scott and others, published by Thompson, for the first time in 1802; 65 different songs published by W. White, 1804 and 1807, in addition, 26 unpublished. folk songs listed by Haydn in the list of compositions)

Music for performances: to Italian comedies: "The Amazing Marchioness"(La Marchesa Nespola), "Widow"(La Vedova) "Doctor"(II Dottore), "Craned"(all compositions in 1762, staged in Eisenstadt, 1762); to the plays: "Fire"(Die Feuerbrunst, 1774), "Scattered"(Der Zerstreute, based on the play of the same name by J. F. Regnard), "Alfred, or the Patriot King"(based on "The Patriot King or Alfred and Elvira" by Bicknell, 1796)

Joseph Haydn was born on April 1, 1732 in Rorau, Austria. Parents, who had a special relationship with singing and playing music, very quickly discovered musical abilities in Josef. At the age of five he was sent to Hainburg an der Donau to live with relatives, where he began to study music and choral singing. In 1740, the director of the chapel of the Vienna Cathedral of St. Stefan Georg von Reutter, who later took him to the chapel. For nine years, Haydn sang in the choir, several of them with his brothers. He learned quickly, and over time he was given difficult solo parts. Haydn gained practical experience, as the church choir often performed at city weddings, funerals, other festivities, as well as at court celebrations, and this is not counting church hymns and rehearsals.

In 1749, Haydn was kicked out of the choir because of a broken voice. For the next ten years, Haydn changed several works, trying to catch up with the necessary knowledge in music education, studying composition theory and the work of Emmanuel Bach. He wrote the opera Lame Demon, about a dozen quartets, masses brevis, F-dur and G-dur (both still while participating in the choir), as well as his first symphony (1759).

In 1759 Haydn took the post of Kapellmeister at the court of Count Carl von Morzin. He has a small orchestra at his disposal, for which he writes his symphonies. In 1760, Haydn married Marie-Anne Keller; he was happy with her, although he regretted that they had no children.

After some time, Carl von Morzin is faced with financial problems, and he has to curtail the activities of his orchestra.

In 1761, Haydn was taken as the second Kapellmeister, now at the court of one of the most powerful and influential families of Austria-Hungary - the family of the princes Esterhazy. His responsibilities include conducting an orchestra, composing music, staging operas and chamber music. For 30 years of work at the court of Esterhazy, Haydn wrote many works, becoming more and more famous. During this period, together with Mozart and Beethoven, he forms the so-called. "Viennese classical music", characterized by its forms of instrumental music. The genre of symphony is gaining more and more popularity, in which homophonic-harmonic texture and polyphonic episodes that dynamize the musical sound prevail.

In 1790, Prince Esterhazy dies, and the orchestra is forced to disband. Haydn is looking for work again, and the following year he signs a contract to work in England. In subsequent times, Haydn continued to write, not only in England, but also in Austria. In London, he writes the symphonies recognized as the best for Solomon's concertos.

In Vienna, he wrote two of his famous oratorios: The Creation of the World (1798) and The Seasons (1801). The latter is rightfully considered a model, a standard of classicism in music. Thanks to these oratorios, Haydn gained a truly amazing popularity as a composer of instrumental music.

After these oratorios, he wrote less and less due to deteriorating health. After the "Harmoniemesee" in 1802, he left only an unfinished string quartet op. 103 and sketches from 1806. Haydn died on May 21, 1809.

During his life, Haydn wrote 104 symphonies, 52 piano sonatas, 83 quartets, oratorios, 14 masses, several operas.

One of the greatest composers of all time is Franz Joseph Haydn. Brilliant musician of Austrian origin. The man who created the foundations of the classical music school, as well as the orchestral and instrumental standard that we observe in our time. In addition to these merits, Franz Josef represented the Vienna Classical School. There is an opinion among musicologists that the musical genres of symphony and quartet were first composed by Joseph Haydn. The talented composer lived a very interesting and eventful life.

Read a brief biography of Joseph Haydn and many interesting facts about the composer on our page.

Short biography of Haydn

Haydn's biography began on March 31, 1732, when little Joseph was born in the fair commune of Rorau (Lower Austria). His father was a wheelwright and his mother worked as a kitchen maid. Thanks to his father, who loved to sing, the future composer became interested in music. Absolute pitch and an excellent sense of rhythm were bestowed on little Josef by nature. These musical abilities allowed the talented boy to sing in the Gainburg church choir. Later, Franz Josef, due to the move, will be admitted to the Vienna Choir Chapel at the Catholic Cathedral of St. Stephen.

Due to stubbornness, sixteen-year-old Josef lost his job - a place in the choir. This happened just at the time of the voice mutation. Now he has no income for existence. Out of desperation, the young man takes on any job. The Italian vocal maestro and composer Nicola Porpora took the youngster as his servant, but Josef found profit in this work as well. The boy delves into musical science and begins to take lessons from a teacher.

Porpora could not fail to notice that Josef had genuine feelings for music, and on this basis, the famous composer decides to offer the young man an interesting job - to become his personal valet companion. Haydn held this position for almost ten years. The maestro paid for his work mainly not with money, he studied music theory and harmony with the young talent for free. So the talented young man learned many important musical fundamentals in different directions. Over time, Haydn's material problems slowly begin to disappear, and his initial compositional works are successfully accepted by the public. At this time, the young composer writes the first symphony.

Despite the fact that in those days it was already considered "too late", Haydn only at the age of 28 decides to start a family with Anna Maria Keller. And this marriage was unsuccessful. According to his wife, Josef did not have a decent profession for a man. Over the course of two decades of living together, the couple did not have children, which also affected the unsuccessfully established family history. With all these troubles, the musical genius has been a faithful husband for 20 years. But an unpredictable life brought Franz Josef together with the young and charming opera singer Luigia Polzelli, who was only 19 years old when they met. Passionate love befell them, and the composer promised to marry her. But the passion faded rather quickly, and he did not keep his promise. Haydn seeks patronage among rich and powerful people. In the early 1760s, the composer got a job as the second bandmaster in the palace of the influential Esterhazy family (Austria). For 30 years, Haydn has been working at the court of this noble dynasty. During this time, he composed a huge number of symphonies - 104.

Haydn did not have many close friends, but one of them was - Amadeus Mozart . Composers meet in 1781. After 11 years, Joseph is introduced to the young Ludwig van Beethoven, whom Haydn makes his student. Service at the palace ends with the death of the patron - Josef loses his position. But the name of Franz Joseph Haydn has already thundered not only in Austria, but also in many other countries such as: Russia, England, France. During his time in London, the composer earned almost as much in one year as he did in 20 years as bandmaster for the Esterházy family, his former employers.

The last work of the composer is the oratorio "The Seasons". He composes it with great difficulty, he was hampered by a headache and problems with sleep.

The great composer dies at the age of 78 (May 31, 1809). Joseph Haydn spent his last days in his house in Vienna. Later it was decided to transport the remains to the city of Eisenstadt.

Interesting Facts

• It is generally accepted that Joseph Haydn's birthday is March 31st. But, in his certificate, another date was indicated - April 1. According to the composer's diaries, such a minor change was made in order not to celebrate his holiday on "April Fool's Day".
• Little Josef was so talented that at the age of 6 he could play the drums! When the drummer, who was supposed to take part in the Great Week procession, suddenly died, Haydn was asked to replace him. Because the future composer was not tall, due to the peculiarities of his age, then a hunchback walked in front of him, who had a drum tied on his back, and Josef could calmly play the instrument. The rare drum still exists today. It is located in the Hainburg Church.
• The young Haydn's singing voice was so impressive that he was asked to join the choir school at St. Stephen's Cathedral in Vienna when the boy was only five years old.
• The choirmaster of St. Stephen's Cathedral suggested that Haydn be subjected to a certain operation to prevent the breakage of his voice, but fortunately the father of the future composer stepped in and prevented this.
• When the composer's mother died at the age of 47, his father quickly married a young maid, who was 19 years old. The difference between the age of Haydn and the stepmother was only 3 years, and the "son" turned out to be older.

• Haydn loved a girl who for some reason decided that life in a monastery was better than family life. Then the musical genius called the elder sister of his beloved, Anna Maria, to marry. But this thoughtless decision did not lead to anything good. The wife turned out to be grumpy, and not understanding her husband's musical hobbies. Haydn wrote that Anna Maria used his music manuscripts as kitchen utensils.
• In the biography of Haydn there is an interesting legend about the name of the String Quartet f-moll "Razor". One morning, Haydn was shaving with a dull razor, and when his patience snapped, he shouted that if he were given a normal razor now, he would give his wonderful work for this. At that moment, John Blend was nearby, a man who wanted to publish the composer's manuscripts, which no one had yet seen. After hearing this, the publisher did not hesitate to hand over their English steel razors to the composer. Haydn kept his word and presented the new work to the guest. Thus, the String Quartet received such an unusual name.
• It is known that Haydn had a very strong friendship with Mozart. Mozart greatly respected and revered his friend. And if Haydn criticized the work of Amadeus or gave any advice, Mozart always listened, Joseph's opinion for the young composer was always in the first place. Despite the peculiar temperaments and age difference, the friends had no quarrels and disagreements.
• "Miracle" - this is the name attributed to symphonies No. 96 in D-dur and No. 102 in B-dur. All this is due to one story that happened after the concert of this work ended. People rushed to the stage to thank the composer and bow before him for the most beautiful music. As soon as the audience was at the front of the hall, a chandelier fell behind them with a crash. There were no casualties - and it was a miracle. Opinions differ on the premiere of which particular symphony this amazing incident occurred.
• The composer suffered for more than half his life with polyps in his nose. This became known to the surgeon, and part-time Josef's good friend John Henter. The doctor recommended to come to him for an operation, which Haydn first decided on. But, when he came to the office where the operation was to take place and saw 4 big assistant surgeons, whose task was to hold the patient during the painful procedure, the brilliant musician got scared, broke out and shouted loudly. In general, the idea of ​​getting rid of polyps has sunk into oblivion. As a child, Josef suffered from smallpox.

• Haydn has a Symphony with timpani beats, or it is also called "Surprise". The history of the creation of this symphony is interesting. Josef periodically toured London with the orchestra, and one day he noticed how some of the audience fell asleep during the concert or were already having beautiful dreams. Haydn suggested that this happens because the British intelligentsia are not used to listening to classical music and have no special feelings for art, but the British are a people of traditions, so they always attended concerts. The composer, the soul of the company and the merry fellow, decided to act cunningly. After a short thought, he wrote a special symphony for the English public. The work began with quiet, smooth, almost lulling melodic sounds. Suddenly, in the process of sounding, a drum beat and thunder of timpani were heard. Such a surprise was repeated in the work more than once. Thus, Londoners no longer fell asleep in concert halls where Haydn conducted.
• When the composer died, he was buried in Vienna. But later it was decided to rebury the remains of the genius of music in Eisenstadt. When opening the grave, it was discovered that Josef's skull was missing. It was a trick of two friends of the composer who took their own head by bribing people in the cemetery. For almost 60 years (1895-1954), the skull of the Viennese classic was located in the museum (Vienna). It wasn't until 1954 that the remains were reunited and buried together.

• Mozart was delighted with Haydn and often invited him to his concerts, and Joseph reciprocated the young child prodigy and often played with him in a quartet. It is noteworthy that at the funeral of Haydn sounded "Requiem" by Mozart who died 18 years before his friend and teacher.
• A portrait of Haydn can be found on the German and Soviet postage stamps issued in 1959 on the 150th anniversary of the composer's death, and on the Austrian 5 euro coin.
• The German anthem and the old Austro-Hengen anthem owe their music to Haydn. After all, it was his music that became the basis of these patriotic songs.

Films about Joseph Haydn

Based on Haydn's biography, many informative documentaries have been shot. All these films are interesting and captivating. Some of them tell more about the composer's musical achievements and discoveries, while others tell various facts from the personal life of the Viennese classic. If you have a desire to get to know this musical figure better, then we bring to your attention a small list of documentaries:

• Film company "Academy media" filmed a 25-minute documentary film "Haydn" from the series "Famous Composers".
• In the vastness of the Internet you can find two interesting films "In Search of Haydn". The first part lasts a little over 53 minutes, the second 50 minutes.
• Haydn is described in some episodes from the documentary section "History by Notes". From episodes 19 to 25, each of which lasts less than 10 minutes, you can explore interesting biographical data of the great composer.
• There is a short documentary from Encyclopedia Chanel about Joseph Haydn that is only 12 minutes long.
• An interesting 11-minute film about Haydn's perfect pitch can also be easily found on the Internet "Perfect pitch - Franz Joseph Haydn".

• In Gaia Ritchie's 2009 Sherlock Holmes, the Adagio from String Quartet No. 3 in D-dur is heard during the scene, where Watson and his fiancée Mary dine with Holmes at a restaurant called The Royal.
• The 3rd movement of the cello concerto is used in the 1998 English film Hilary and Jackie.
• The Piano Concerto is featured in Steven Spielberg's Catch Me If You Can.
• The minuet from the 33rd sonata is inserted into the musical accompaniment of the film "The Runaway Bride" (a continuation of the famous film "Pretty Woman").
• Adagio e cantibile from Sonata No. 59 is used in The Vampire Diaries 1994 starring Brad Pitt.
• Sounds of the string quartet B-dur "Sunrise" are heard in the horror film "Relic" in 1997.
• In the magnificent film "The Pianist", which received 3 Oscars, Haydn's quartet No. 5 sounds.
• Also, string quartet #5 comes from the music for the 1998 films Star Trek: Uprising and Fort
• Symphonies #101 and #104 can be found in the 1991 film "Lord of the Tides".
• The 33rd string quartet is used in the 1997 comedy George of the Jungle.
• The third part of string quartet No. 76 "Emperor" can be found in the films "Casablanca" 1941, "Bullworth" 1998, "Cheap Detective" 1978, and "The Dirty Dozen".
• The Trumpet Concerto is featured in "The Big Deal" with Mark Wahlberg.
• In Bicentennial Man, based on the book of the brilliant science fiction writer Isaac Asimov, you can hear Haydn's symphony No. 73 "The Hunt".

Haydn House Museum

In 1889, the Haydn Museum was opened in Vienna, which is located in the composer's house. For 4 whole years, Josef slowly built his "corner" from the money earned during the tour. Initially, there was a low house, which, at the behest of the composer, was rebuilt by adding floors. The second floor was the residence of the musician himself, and below he settled his assistant Elsper, who copied the notes of Haydn.

Almost all exhibits in the museum are the personal property of the composer during his lifetime. Handwritten notes, painted portraits, the instrument that Haydn worked on, and other interesting things. It is unusual that the building has a small room designed Johannes Brahms . Johannes greatly respected and honored the work of the Viennese classic. This hall is filled with his personal belongings, furniture and tools.