Franz Joseph Haydn was born in 1732 in the village of Rohrau in Lower Austria into the family of a carriage maker and a cook. His parents - passionate music lovers - often organized musical evenings at home, which greatly contributed to the awakening of young Franz Joseph's interest in this art, and the Austrian folk art, which he became acquainted with in his native land, was reflected in his best compositions.

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

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

“Along with schoolwork, I studied the art of singing, clavier and violin there from a very good craftsmen. 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, Reuther, who had a stern disposition, paid little attention to Joseph’s compositional experiments, and his service in the cathedral left little time for study. This is how the first nine years in Vienna flew by. And in 1749, Haydn was kicked out of the chapel without the slightest regret... The fact is that the young man’s voice began to break. Thus, seventeen-year-old Joseph Haydn was left to his own devices. There came years of need, odd jobs, self-teaching and still awkward musical experiments.

“Then my voice disappeared, and I had to eke out a miserable existence for eight whole years... I composed mostly at night, not knowing whether I had any gift for composition or not, and recorded my music diligently, but not quite correctly... "(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 youthful pranks that his comrades committed. This brought Joseph 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 The Lame-Footed Demon, created in 1751.

In 1755, Haydn's financial situation improved slightly thanks to his participation in the amateur musical evenings of the landowner Fürnberg. And in 1759, on the recommendation of the same Fürnberg, the composer received the position of bandmaster at the court of the Czech Count Maximilian Morcin. At his court there was a small chapel of twelve musicians, for which Haydn wrote divertimentos 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 a lot and hard. Among the works written, one can highlight the symphonies “Morning”, “Noon”, “Evening” (1761), masses, operas, and works for baritone.

In the early 70s. Haydn's music began to be permeated with sad and sometimes tragic motifs. The reason for this was an unsuccessful marriage (Haydn called his illiterate wife nothing more than “a fiend of hell”) and dissatisfaction with working for Esterhazy. This is how the “Mourning” and “Farewell” symphonies were born (1772).

Trying your hand at all births musical composition, greatest success Haydn achieved in the field instrumental music. He, like no one before him, subtly understood 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 Haydn's fame.

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 heritage:

Operas: " Lame demon"(Der krumme Teufel, libretto by I. F. Kurtz - Bernardon, based on the play by A. R. Lesage "Le Diable Boiteux", approx. 1751; entitled "The New Lame Demon" - Der neue krumme Teufel, post, 1758 G.); opera seria - "Acis and Galatea"(libretto by J.B. Migliavacca, 1762), "Desert Island" (L"lsola disabitata, libretto by P. Metastasio), "Armida"(libretto by Durandi based on the poem "Jerusalem Liberated" by Tasso, 1783), "Soul of a Philosopher"(L "Anima del filosofo, libretto by C. F. Badini, 1791); opera buffa - "Singer"(La Canterina, 1766), "Pharmacist"(Lo Speziale, libretto by C. Goldoni), "Fisherwomen"(Le Pescatrici, libretto by C. Goldoni, 1769), "Deceived Infidelity"(L"Infedelta delusa), "An Unexpected Meeting"(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" by Lorenzi); heroic-comic opera - "Roland the Paladin"(Orlando Рaladino, libretto by N. Porta based on the plot of the poem “The 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), "The Punished Thirst for Revenge, or the Burnt Down House"(Die bestrafte Rachgier, oder Das abgebrannte Haus, 1773), "On Saturday Eve"(Herebshabbas, 1773), "Abandoned Dido"(Didone ahbandonata, libretto by J. von Powersbach), Fourth part of Genovevens (Genovevens vierter Teil, libretto by J. von Powersbach, performed 1777)

Works for choir and voices with orchestra: oratorios - "The Return of Tobias"(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 Kreize, text by I. Friebert, arrangement of Haydn’s orchestral piece of the same name, 1794; new text J. Haydn and G. van Swieten, around 1796), "Creation of the World"(Die Schopfung, text by G. van Swieten based on the poem " Lost Paradise"Milton, 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, around 1750), large organ mass Es-dur (1766), Mass in honor of Nicholas from above(Missa in honorem Sancti Nicolai, G-dur, 1772), Mass from above Cecilia(Missa Sanctae Caeciliae, c-minor, between 1769 and 1773), small organ mass (B-dur, 1778), Mariazelle Mass Mariazellermesse, C-dur, 1782), mass with timpani, or Mass of the Times war (Paukenmesse, C-dur, 1796), mass with theme "Holy, Holy"(Heiligmesse, B-dur, 1796), Nelson Mass(Nelson-Messe, d-moll, 1798), Mass Teresa(Theresienmesse, B major, 1799), mass with theme from the oratorio "Creation of the World"(Schopfungsmesse, B-dur, 1801), mass with wind instruments (Harmoniemesse, B-dur, 1802)

Various choral works: including - "Electing a Bandmaster"(Die Erwahlung eines Kapellmeisters, for soloists, choir and orchestra, circa 1790), "Storm"(The Storm, for soloists, chorus and orchestra, 1792), "Chorus of 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, Lamentations (Lamentatione, d-moll, about 1765), No. 30, "Hallelujah"(Alleluja, C-dur, 1765), No. 31, "With the horns playing, or On the pull"(Mit dem Hornsignal, oder Auf dem Anstand, D-dur, 1765), No. 43, "Mercury"(Es-dur, before 1772), No. 44, " Funeral Symphony"(Trauer symphonie, e-moll, before 1772), No. 45, "Farewell Symphony"(Abschiedssymphonie, also called - Symphony by Candlelight, 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 Tutor"(Der Schulmeister, Es-dur, 1774), No. 59, "Flame"(Feuersymphonie, A major, before 1769), No. 60, "Abstract"(Simfonia per la commedia intitolata "II Distratto", C-dur, not earlier than 1775), No. 63, "Rokselana"(La Roxelane, C major, circa 1777), No. 69, "Loudon"(Laudon, C major, 1778-1779), No. 73, "Hunting"(La Chasse, D-dur, 1781), No. 82, "Bear"(L"Ours, C-dur, 1786), No. 83, "Chicken"(La Poule, g-moll, 1785), No. 85, "Queen"(La Reine de France, B-dur, 1785-1786), No. 92, "Oxford"(Oxford, G-dur, about 1788), No. 94, "With a Timpani Strike, 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 edition of the string quartet op. 1, no. 5, 1754 or 1762), symphony-concerto 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 on order; cathedral in Cadiz, Spain, 1785, arranged for strings. quartet - op. 51, 1787; to the oratorio - around 1796)

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 wheels, 13 divertimentos with clavier

Works for ensemble of instruments:
47 divertimentos for different compositions of instruments, including 8 nocturnes for 9 instruments, 9 scherzos and 6 suites for 8 instruments, Children's Symphony; 83 strings, quartet for 2 violins, viola and cello, including titles: 6 solar (Sonnenquartette, op. 20. No. 4-Quarrel in Venice-The Row In Venice, D major, 1772), 6 Russian (Die russischen Quartet-ten, op. 33, also called Maidens - Jungfernquartette, No. 3 - Bird Quartet- Vogelquartett, C-dur, 1781), 6 Prussian (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, arrangement of the passion for orchestra of the same name, 1787), " Lark"(Lerchenquartett, D major, op. 64, 1790), "Rider"(Reiterquartett, c-moll, op. 74, no. 3, 1793), 6 Erdody-Quartettes (Erdody-Quartette, op. 76; no. 2-quartet with witches minuet - Quintenquartett mit dem Hexenmenuett, d-moll; no. 3 - Imperial - Kaiserquartett, C-dur; No. 4 - Sunrise - The Sunrise, B-dur, circa 1797), Unfinished(op. 103, B major, 1803)

Works 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 winds and strings

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

Works for piano 4 hands:
2 pieces, including variations (Teacher 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, about 439 songs in total including: 150 shots, songs published by W. Napier, 1792-1794; 187 Scottish, Irish and Welsh songs with words by R. Burns, W. Scott, etc., edited by Thompson, first in 1802; 65 different songs published by W. White, 1804 and 1807, besides 26 unpublished. folk songs, indicated by Haydn in the list of works)

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

Biography

Youth

Joseph Haydn (the composer himself never called himself Franz) was born on March 31, 1732 on the estate of the Counts of Harrach - the Lower Austrian village of Rohrau, near the border with Hungary, in the family of Matthias Haydn (1699-1763). His parents, who were seriously interested in vocals and amateur music-making, discovered musical abilities in the boy and in 1737 sent him to relatives in the city of Hainburg an der Donau, where Joseph began to study choral singing and music. In 1740, Joseph was noticed by Georg von Reutter, director of the chapel of Vienna's St. Stefan. Reutter took the talented boy to the choir, and he sang in the choir for nine years (including several years with his younger brothers).

Singing in a choir was a good, but only school for Haydn. As his abilities developed, he was assigned difficult solo parts. Together with the choir, Haydn often performed at city festivals, weddings, funerals, and took part in court celebrations. One such event was the funeral service for Antonio Vivaldi in 1741.

Service at Esterhazy

The composer's creative heritage includes 104 symphonies, 83 quartets, 52 piano sonatas, oratorios (The Creation of the World and The Seasons), 14 masses, 26 operas.

List of essays

Chamber music

• 12 sonatas for violin and piano (including sonata in E minor, sonata in D major)
• 83 string quartet for two violins, viola and cello
• 7 duets for violin and viola
• 40 trios for piano, violin (or flute) and cello
• 21 trios for 2 violins and cello
• 126 trio for baritone, viola (violin) and cello
• 11 trios for mixed winds and strings

Concerts

35 concertos for one or more instruments with orchestra, including:

• four concertos for violin and orchestra
• two concertos for cello and orchestra
• two concertos for horn and orchestra
• 11 concertos for piano and orchestra
• 6 organ concerts
• 5 concertos for two-wheeled lyres
• 4 concertos for baritone and orchestra
• concert for double bass and orchestra
• concerto for flute and orchestra
• concerto for trumpet and orchestra

Vocal works

Operas

There are 24 operas in total, including:

• “The Lame Demon” (Der krumme Teufel), 1751
• "True Constancy"
• "Orpheus and Eurydice, or the Soul of a Philosopher", 1791
• "Asmodeus, or the New Lame Demon"
• "Acis and Galatea", 1762
• "The Desert Island" (L'lsola disabitata)
• "Armida", 1783
• “Fisherwomen” (Le Pescatrici), 1769
• "Deceived Infidelity" (L'Infedelta delusa)
• “An Unforeseen Meeting” (L’Incontro improviso), 1775
• "The Lunar World" (II Mondo della luna), 1777
• "True Constancy" (La Vera costanza), 1776
• "Loyalty Rewarded" (La Fedelta premiata)
• “Roland the Paladin” (Orlando Рaladino), a heroic-comic opera based on the plot of Ariosto’s poem “Roland the Furious”

Oratorios

14 oratorios, including:

• "Creation of the World"
• "Seasons"
• "Seven Words of the Savior on the Cross"
• "The Return of Tobias"
• Allegorical cantata-oratorio “Applause”
• oratorio hymn Stabat Mater

Masses

14 masses, including:

• small mass (Missa brevis, F-dur, around 1750)
• great organ mass Es-dur (1766)
• mass in honor of St. Nicholas (Missa in honorem Sancti Nicolai, G-dur, 1772)
• Mass of St. Caeciliae (Missa Sanctae Caeciliae, c-moll, between 1769 and 1773)
• small organ mass (B major, 1778)
• Mariazellermesse, C-dur, 1782
• Mass with timpani, or Mass during the war (Paukenmesse, C-dur, 1796)
• Mass Heiligmesse (B major, 1796)
• Nelson-Messe, d-moll, 1798
• Mass Theresa (Theresienmesse, B-dur, 1799)
• Mass with theme from the oratorio “The Creation of the World” (Schopfungsmesse, B-dur, 1801)
• mass with wind instruments (Harmoniemesse, B-dur, 1802)

Symphonic music

A total of 104 symphonies, including:

• "Oxford Symphony"
• "Funeral Symphony"
• 6 Paris Symphonies (1785-1786)
• 12 London Symphonies(1791-1792, 1794-1795), including symphony No. 103 “With tremolo timpani”
• 66 divertissements and cassations

Works for piano

• Fantasies, variations

Memory

• A crater on the planet Mercury is named after Haydn.

In fiction

• Stendhal published the lives of Haydn, Mozart, Rossini and Metastasio in letters.

In numismatics and philately

Literature

• // Encyclopedic Dictionary of Brockhaus and Efron: In 86 volumes (82 volumes and 4 additional ones). - St. Petersburg. , 1890-1907.
• Alshvang A. A. Joseph Haydn. - M.-L. , 1947.
• Kremlev Yu. A. Joseph Haydn. Essay on life and creativity. - M., 1972.
• Novak L. Joseph Haydn. Life, creativity, historical significance. - M., 1973.
• Butterworth N. Haydn. - Chelyabinsk, 1999.
• J. Haydn - I. Kotlyarevsky: the mystery of optimism. Problems of mutual interaction between science, pedagogy, theory and practice of illumination: Collection of scientific works / Editorial. - L.V. Rusakova. VIP. 27. - Kharkiv, 2009. - 298 p. - ISBN 978-966-8661-55-6. (Ukrainian)
• Dies. Haydn's Biography. - Vienna, 1810. (German)
• Ludwig. Joseph Haydn. Ein Lebensbild. - Nordg., 1867. (German)
• Pohl. Mozart und Haydn in London. - Vienna, 1867. (German)
• Pohl. Joseph Haydn. - Berlin, 1875. (German)
• Lutz Gorner Joseph Haydn. Sein Leben, seine Musik. 3 CDs mit viel Musik nach der Biographie von Hans-Josef Irmen. KKM Weimar 2008. - ISBN 978-3-89816-285-2
• Arnold Werner-Jensen. Joseph Haydn. - München: Verlag C. H. Beck, 2009. - ISBN 978-3-406-56268-6. (German)
• H. C. Robbins Landon. The Symphonies of Joseph Haydn. - Universal Edition and Rockliff, 1955. (English)
• Landon, H. C. Robbins; Jones, David Wyn. Haydn: His Life and Music. - Indiana University Press, 1988. - ISBN 978-0-253-37265-9. (English)
• Webster, James; Feder, George(2001). "Joseph Haydn." The New Grove Dictionary of Music and Musicians. Published separately as a book: (2002) The New Grove Haydn. New York: Macmillan. 2002. ISBN 0-19-516904-2

Notes

Links

	Franz Joseph Haydn in Wikiquote

Introduction

Franz Joseph Haydn (German) Franz Joseph Haydn, April 1, 1732 - May 31, 1809) - Austrian composer, representative of the Viennese classical school, one of the founders of such musical genres as the symphony and string quartet. The creator of the melody, which later formed the basis of the anthems of Germany and Austria-Hungary.

1. Biography

1.1. Youth

Joseph Haydn (the composer himself never called himself Franz) was born on April 1, 1732 in the Lower Austrian village of Rohrau, near the border with Hungary, in the family of Matthias Haydn (1699-1763). His parents, who were seriously interested in vocals and amateur music-making, discovered musical abilities in the boy and in 1737 sent him to relatives in the city of Hainburg an der Donau, where Joseph began to study choral singing and music. In 1740, Joseph was noticed by Georg von Reutter, director of the chapel of the Vienna Cathedral of St. Stefan. Reutter took the talented boy to the choir, and he sang in the choir for nine years (including several years with his younger brothers). Singing in a choir was a good, but only school for Haydn. As his abilities developed, he was assigned difficult solo parts. Together with the choir, Haydn often performed at city festivals, weddings, funerals, and took part in court celebrations.

In 1749, Joseph's voice began to break and he was kicked out of the choir. The subsequent ten-year period was very difficult for him. Josef took on various jobs, including being a servant of the Italian composer Nicola Porpora, from whom he also took composition lessons. Haydn tried to fill in the gaps in his music education, diligently studying the works of Emmanuel Bach and the theory of composition. The harpsichord sonatas he wrote at this time were published and attracted attention. His first major works were two brevis masses, F-dur and G-dur, written by Haydn in 1749 even before he left the chapel of St. Stefan; opera “The Lame Demon” (not preserved); about a dozen quartets (1755), the first symphony (1759).

In 1759, the composer received the position of bandmaster at the court of Count Karl von Morzin, where Haydn was under the leadership of a small orchestra, for which the composer composed his first symphonies. However, soon von Mortsin begins to experience financial difficulties and ceases his musical project.

In 1760 Haydn married Maria Anna Keller. They did not have children, which the composer greatly regretted.

1.2. Service with Esterhazy

In 1761, a fateful event occurred in Haydn's life - he was taken as the second bandmaster at the court of the Esterhazy princes, one of the most influential and powerful aristocratic families of Austria-Hungary. The duties of the conductor include composing music, leading the orchestra, playing chamber music for the patron and staging operas.

During his almost thirty-year career at the Esterházy court, the composer composed large number works, his fame is growing. In 1781, while staying in Vienna, Haydn met and became friends with Mozart. He gives music lessons to Sigismund von Neukom, who later became his close friend.

Throughout the 18th century, in a number of countries (Italy, Germany, Austria, France and others), processes of formation of new genres and forms of instrumental music took place, which finally took shape and reached their peak in the so-called “Viennese classical school” - in the works of Haydn, Mozart and Beethoven . Instead of polyphonic texture, homophonic-harmonic texture acquired great importance, but at the same time, polyphonic episodes were often included in large instrumental works, dynamizing the musical fabric.

1.3. Free musician again

In 1790, Nikolaus Esterházy died, and his successor, Prince Anton, not being a music lover, dissolved the orchestra. In 1791, Haydn received a contract to work in England. Subsequently he works extensively in Austria and Great Britain. Two trips to London, where he wrote his best symphonies for Solomon's concerts, further strengthened Haydn's fame.

Haydn then settled in Vienna, where he wrote his two famous oratorios: “The Creation of the World” and “The Seasons.”

Passing through Bonn in 1792, he meets the young Beethoven and takes him on as a student.

Haydn tried his hand at all types of musical composition, but not in all genres his creativity manifested itself with equal force. In the field of instrumental music, he is rightly considered one of the greatest composers of the second half of the 18th and early 19th centuries. Haydn's greatness as a composer was most manifested in his two final works: the great oratorios “The Creation of the World” (1798) and “The Seasons” (1801). The oratorio “The Seasons” can serve as an exemplary standard of musical classicism. Towards the end of his life, Haydn enjoyed enormous popularity.

Work on oratorios undermined the composer's strength. His last works were “Harmoniemesse” (1802) and the unfinished string quartet op. 103 (1803). The last sketches date back to 1806; after this date, Haydn did not write anything else. The composer died in Vienna on May 31, 1809.

The composer's creative heritage includes 104 symphonies, 83 quartets, 52 piano sonatas, oratorios (The Creation of the World and The Seasons), 14 masses, and operas.

A crater on Mercury is named after Haydn.

2. List of essays

2.1. Chamber music

8 sonatas for violin and piano (including sonata in E minor, sonata in D major)

83 string quartets for two violins, viola and cello

6 duets for violin and viola

41 trios for piano, violin (or flute) and cello

21 trios for 2 violins and cello

126 trio for baritone, viola (violin) and cello

11 trios for mixed winds and strings

2.2. Concerts

35 concertos for one or more instruments with orchestra, including:

four concertos for violin and orchestra

two concertos for cello and orchestra

two concertos for horn and orchestra

11 concertos for piano and orchestra

6 organ concerts

5 concertos for two-wheeled lyres

4 concertos for baritone and orchestra

concert for double bass and orchestra

concerto for flute and orchestra

concerto for trumpet and orchestra

13 divertimentos with clavier

2.3. Vocal works

There are 24 operas in total, including:

“The Lame Demon” (Der krumme Teufel), 1751

"True Constancy"

"Orpheus and Eurydice, or the Soul of a Philosopher", 1791

"Asmodeus, or the New Lame Demon"

"Pharmacist"

"Acis and Galatea", 1762

"The Desert Island" (L'lsola disabitata)

"Armida", 1783

“Fisherwomen” (Le Pescatrici), 1769

"Deceived Infidelity" (L'Infedelta delusa)

“An Unforeseen Meeting” (L’Incontro improviso), 1775

"The Lunar World" (II Mondo della luna), 1777

"True Constancy" (La Vera costanza), 1776

"Loyalty Rewarded" (La Fedelta premiata)

heroic-comic opera “Roland the Paladin” (Orlando Рaladino, based on the poem “The Furious Roland” by Ariosto)

Oratorios

14 oratorios, including:

"Creation of the World"

"Seasons"

"Seven Words of the Savior on the Cross"

"The Return of Tobias"

Allegorical cantata-oratorio “Applause”

oratorio hymn Stabat Mater

14 masses, including:

small mass (Missa brevis, F-dur, around 1750)

great organ mass Es-dur (1766)

mass in honor of St. Nicholas (Missa in honorem Sancti Nicolai, G-dur, 1772)

Mass of St. Caeciliae (Missa Sanctae Caeciliae, c-moll, between 1769 and 1773)

small organ mass (B major, 1778)

Mariazellermesse, C-dur, 1782

Mass with timpani, or Mass during the war (Paukenmesse, C-dur, 1796)

Mass Heiligmesse (B major, 1796)

Nelson-Messe, d-moll, 1798

Mass Theresa (Theresienmesse, B-dur, 1799)

Mass with theme from the oratorio “The Creation of the World” (Schopfungsmesse, B-dur, 1801)

mass with wind instruments (Harmoniemesse, B-dur, 1802)

2.4. Symphonic music

A total of 104 symphonies, including:

"Farewell Symphony"

"Oxford Symphony"

"Funeral Symphony"

6 Paris Symphonies (1785-1786)

12 London Symphonies (1791-1792, 1794-1795), including Symphony No. 103 “With tremolo timpani”

66 divertissements and cassations

2.5. Works for piano

Fantasies, variations

52 piano sonatas

Joseph Haydn in fiction George Sand “Consuelo” References:

German name pronunciation (info)

There is no reliable information about the composer’s date of birth; official data only speaks of Haydn’s baptism, which occurred on April 1, 1732. Reports by Haydn himself and his relatives about the date of his birth vary - it could be March 31 or April 1, 1732.

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

The genre of the symphony in Haydn’s work evolved from examples close to everyday and chamber music, to the “Paris” and “London” symphonies, in which the classical patterns of the genre were established, characteristic types thematic themes and development techniques.

Rich and complex world Haydn's symphonies have 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 imaginative, 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 of Haydn's symphonies non-programmatic they do not have any specific plot. The exception is three early symphonies, called by the composer himself “Morning”, “Noon”, “Evening” (Nos. 6, 7, 8). All other names given to Haydn's symphonies and established in practice belong to the listeners. Some of them transmit general character works (“Farewell” - No. 45), others reflect the peculiarities of the orchestration (“With a horn signal” - No. 31, “With a tremolo of timpani” - No. 103) or emphasize some memorable image (“Bear” - No. 82, “Chicken” " - No. 83, "Clock" - No. 101). Sometimes the names of symphonies are related to the circumstances of their creation or performance (“Oxford” - No. 92, six “Paris” symphonies of the 80s). However, the composer himself never commented figurative content his instrumental music.

Haydn's symphony takes on 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 movements to five (symphonies “Noon”, “Farewell”) or limited himself 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).

Complete, ideally balanced and logically constructed forms of parts of the symphonic cycle (sonata, variation, rondo, etc.) include elements of improvisation, remarkable deviations and surprises sharpen interest in the very process of thought development, which is always fascinating and filled with events. Haydn’s favorite “surprises” and “practical jokes” helped to perceive 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 from the late 60s - early 70s stands out. This is symphony No. 39 ( g-moll ), No. 44 (“Mourning”, e- moll ), 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

The highest achievement of Haydn's symphony is his 12 “London” symphonies.

"London" The symphonies (Nos. 93-104) were written by Haydn in England, during two tours arranged by the famous violinist and concert entrepreneur Salomon. The first six appeared in 1791-92, another six - 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 typical Haydn model of the symphony is different:

All London symphonies open slow intros(except minor 95th). Introductions serve a variety of functions:

• They create a strong contrast in relation to the rest of the material in the first part, therefore, in its further development, the composer, as a rule, does without comparing disparate themes;
• The introduction always begins with a loud statement of the tonic (even 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 another key, which creates the direction of the music forward to the coming climaxes;
• Sometimes the introduction material becomes one of the important participants in thematic drama. Thus, in symphony No. 103 (Es-dur, “With tremolo timpani”) the major but gloomy opening theme appears both in the development and in coda I part, and in development it becomes unrecognizable, changing tempo, rhythm and texture.

Sonata form in the “London Symphonies” is very unique. Haydn created this type of sonata allegro , in which the main and secondary themes are not contrasting with each other and are often generally based on the same material. For example, the expositions of symphonies No. 98, 99, 100, 104 are monotonous. I parts Symphony No. 104( D-dur ) song and dance theme main party laid out by strings alone p , only in the final cadence does the whole orchestra enter, bringing with them fervent fun (this technique has become an artistic norm in the “London” symphonies). In the side part section, the same theme sounds, but only in the dominant key, and now the woodwinds and woodwinds alternately perform in the ensemble with strings.

In exhibitions I parts of symphonies No. 93, 102, 103 secondary themes are built on independent, but not contrasting in relation to the main topics material. So, for example, in I parts Symphony No. 103 Both themes of the exposition are perky, cheerful, in terms of genre they are close to the Austrian landler, both are major: the main one is in the main key, the secondary one is in the dominant key.

Main party:

Side batch:

In sonatas developments"London" symphonies dominate motive type of development. This is due to the dance nature of the themes, in which rhythm plays a huge role (dance themes are more easily divided into individual motifs than cantilena themes). 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 a motive of 3-4 bars is being developed main topic, as the most capable of change: he sounds either questioning and uncertain, or menacing and persistent.

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

Haydn's favorite form slow parts are double variations, which are sometimes called “Haydnian”. Alternating with each other, two themes vary (usually in namesake keys), different in sonority and texture, but intonationally close and therefore peacefully adjacent to each other. In this form it is written, for example, the famous Andantefrom 103 symphonies: both of its themes are in folk (Croatian) flavor, both play out the upward movement from T to D , dotted rhythm, alteration present IV fret degree; however, the minor first theme (strings) is focused and narrative in nature, while the major second theme (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 we vary a theme that is particularly simple. This deliberate simplicity causes the flow of music to suddenly be interrupted by a deafening blow from the entire orchestra with timpani (this is the “surprise” with which the name of the symphony is associated).

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

According to tradition, the slow parts of sonata-symphonic cycles are the center of lyrics and melodious melodicism. However, Haydn's lyrics in the symphonies clearly gravitate towards genre. Many of the themes of the slow movements are based on a song or dance basis, revealing, for example, features of a minuet. It is significant that of all the “London” symphonies, the direction “singingly” is present only in the Largo 93rd symphony.

Minuet - the only movement in Haydn’s symphonies where internal contrast is necessarily present. Haydn's minuets became a standard of vital energy and optimism (one could say that the composer's individuality - the traits of his personal character - manifested themselves most directly here). Most often these are live scenes folk life. Minuets predominate, bearing the traditions of peasant dance music, in particular, the Austrian landler (as, for example, in Symphony No. 104). A more gallant minuet in the “Military” Symphony, a fanciful scherzo (thanks to the sharp rhythm) in Symphony No. 103.

Minuet of symphony No. 103:

In general, the emphasized rhythmic sharpness in many of Haydn’s minuets so modifies their genre appearance that, in essence, it directly leads to Beethoven’s scherzos.

The form of the minuet is always a 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 actually play here (or, in any case, the texture becomes lighter and more transparent).

The finales of the “London” symphonies are all, without exception, major and joyful. Here Haydn's predisposition to the elements of folk dance was fully demonstrated. Very often the music of finales grows out of truly folk themes, as in Symphony No. 104. Its ending is based on a Czech folk melody, which is presented in such a way that it folk origin 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 often) - 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 full pair 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 decorous progress of the guards parade, interrupted by the sound of a military trumpet. In No. 101, D-dur, the Andante theme unfolds against a background of mechanical “ticking” of two bassoons and pizzicato strings, which is why the symphony was called “The Hours”.