Joseph Haydn biography. Joseph Haydn short biography

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). Among Haydn’s orchestral works, “Seven Words of the Savior on the Cross” and over 65 “divertimentos”, “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 works. The following are known from Haydn's vocal works: 3 oratorios, 14 masses, 13 offertories, cantatas, arias, duets, trios, etc. Haydn wrote another 24 operas, most of which were intended for the modest home theater of Count Esterhazy; Haydn himself did not want their execution in other places. 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 vibrant artistic interest to this day. Haydn completed the process of separating instrumental 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, etc. The sonata form of symphony and quartet, as developed by Haydn, served as the basis for instrumental music for the entire classical period.

Joseph Haydn. Best works

Haydn’s contribution to the development of orchestral style is also great: he was the first to initiate the individualization of each instrument, highlighting its characteristic, original properties. He often contrasts one instrument with another, one orchestral group with another. That is why Haydn’s orchestra is distinguished by a hitherto unknown life, a variety of sonorities, and expressiveness, especially in the last works, which were not without the influence of Mozart, who was Haydn’s friend and admirer. Haydn also expanded the quartet form, and by the nobility of his quartet style gave it a special and deep meaning in music. “Merry Old Vienna”, with its humor, naivety, warmth and, at times, unbridled playfulness, with all the conventions of the era of the minuet and braid, was reflected in the works of Haydn. But when Haydn needed to convey a deep, serious, passionate mood in music, here too he achieved a power unprecedented among his contemporaries; in this respect he is directly adjacent to Mozart and

We will conclude our story about the Viennese troika with a biography of Haydn. All of them - Beethoven, Mozart and Haydn - are connected in one way or another. Beethoven was younger than all of them, inspired by creativity and studied with Haydn. But we have already talked about it in other articles.

Now we have a slightly different task - to succinctly talk about the Vienna Troika. Later we will tell you more about it, but for now... let's return to our topic.

Representative of the Vienna Classical School Franz Joseph Haydn

Franz Joseph Haydn is a great Austrian composer, founder of classical instrumental music and the founder of the modern orchestra. Haydn is considered by many to be the father of the symphony and quartet.

Joseph Haydn was born on March 31, 1732 in the small town of Rohrau, Lower Austria, into the family of a wheelwright. The composer's mother was a cook. The love of music was instilled in little Joseph by his father, who was seriously interested in vocals. The boy had excellent hearing and a sense of rhythm, and thanks to these musical abilities he was accepted into the church choir in the small town of Gainburg. Later he will move to Vienna, where he will sing in the choir chapel at the Cathedral of St. Stefan.

Haydn had a wayward character, and at the age of 16 he was expelled from the choir - at a time when his voice began to break. He is left without a livelihood. In such a hopeless situation, the young man takes on various jobs. He even has to be a servant to the Italian singing teacher Nikolai Porpora. But even working as a servant, Haydn did not give up music, but took lessons from the composer.

Seeing the young man's love for music, Porpora offers him the position of valet companion. He held this position for about ten years. As payment for his work, Haydn received music theory lessons, from which he learned a lot about music and composition. Gradually, the young man’s financial situation improves, and his musical works are crowned with success. Haydn is looking for a wealthy patron, which is the imperial prince Pal Antal Esterhazy. Already in 1759, the young genius composed his first symphonies.

Haydn married quite late, at the age of 28, to Anna Maria Cller, and, as it turned out, unsuccessfully. Anna Maria often showed disrespect for her husband's profession. There were no children, which also played an important role, introducing additional discord into the family. But despite all this, Haydn was faithful to his wife for 20 years. But after so many years, he suddenly fell in love with 19-year-old Luigia Polzelli, an Italian opera singer, and even promised to marry her, but soon this passionate affection passed.

In 1761, Haydn became the second bandmaster at the court of the Esterhazy princes, one of the most influential families in Austria. During his rather long career at the Esterházy court, he composed a huge number of operas, quartets and symphonies (104 in total). His music evokes the admiration of many listeners, and his skill reaches perfection. He becomes famous not only in his homeland, but also in England, France, and Russia. In 1781, Haydn met, who became his close friend. In 1792 he met the young man and took him on as a student.

Joseph Haydn (31 March 1732 – 31 May 1809)

Upon arrival in Vienna, Haydn wrote his two famous oratorios: “The Creation of the World” and “The Seasons.” Composing the oratorio “The Seasons” was not easy, he was tormented by headaches and insomnia. After writing his oratorios, he writes almost nothing.

Life has been too stressful, and the composer’s strength is gradually leaving him. Haydn spent his last years in Vienna, in a small secluded house.

The great composer died on May 31, 1809. Later, the remains were transferred to Eisenstadt, where many years of his life passed.

104 symphonies, 83 quartets, 52 piano sonatas, 2 oratorios, 14 masses and 24 operas.

Vocal works:

Operas

• "The Lame Demon", 1751
• "Orpheus and Eurydice, or the soul of a philosopher", 1791
• "Pharmacist"
• "The Lunar World", 1777

Oratorios

• "World creation"
• "Seasons"

Symphonic music

• "Farewell Symphony"
• "Oxford Symphony"
• "Funeral Symphony"

Alexandrova Miroslava 6th grade

Report by Miroslava Aleksandrova, a student at the Lesnye Polyany Children's Music School

(6th grade, piano specialty, general development program) for a better perception of J. Haydn’s music,

understanding the peculiarities of the composer’s style, sound production inherent in the composer’s era.

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Characteristics of creativity. . . . . . . . . . . . . . . . . . . . . . . . . . . . .1

Sonata form. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .1

Biography

1. Childhood . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2
2. The first years of independent living. . . . . . . . . . . . . . . . . . . . . . . . 2
3. The period of creative maturity. . . . . . . . . . . . . . . . . . . . . . . . . . . . 2
4. Late period of creativity. . . . . . . . . . . . . . . . . . . . . . . . . . . . 3

The history of the creation of the piano. . . . . . . . . . . . . . . . . . . . . . . . . . . 4

Bibliography. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6

Characteristics of creativity

Franz Joseph Haydn– one of the most prominent representatives of the art of the Enlightenment. A great Austrian composer, he left a huge creative legacy - about 1000 works in a variety of genres. The main, most significant part of this heritage, which determined Haydn’s historical place in the development of world culture, consists of large cyclical works. This 104 symphonies (among them: “Farewell”, “Mourning”, “Morning”, “Noon”, “Evening”, “Children’s”, “Clock”, “Bear”, 6 Parisian, 12 London, etc.), 83 quartets ( six “Russians”, 52 keyboard sonatas, thanks to which Haydn gained fame as the founder of classical symphonism.

Haydn's art is deeply democratic. The basis of his musical style was folk art and music of everyday life. Haydn's music is imbued not only with the rhythms and intonations of folklore, but also with folk humor, inexhaustible optimism and vital energy. Most of the works are written in major keys.

Haydn created classic examples of symphonies, sonatas, and quartets. In the mature symphonies (London), the classical sonata form and the sonata-symphonic cycle were finally formed. A symphony has 4 parts, a sonata and a concerto have 3 parts.

Symphonic cycle

Part 1 is quick. Sonata allegro (man acts);

Part 2 is slow. Andante or Adagio (a person rests, reflects);

Part 3 - moderate. Minuet (man dancing);

Part 4 is quick. Final (a person acts together with everyone else).

Sonata form or sonata allegro form

Introduction – exposition – development – ​​reprise – coda

Exposition - includes the main and secondary batches, between which there is a binder, and the final batch completes the exhibition.

Development - central section of the formsonata allegro , as well as somefree And mixed forms where topics are developedexposition . Sometimes the development of sonata form includes an episode introducing a new theme, or is completely replaced by an episode on new musical material.

Reprise - a section of a musical work that sets out the repetition of musical material, in its original or modified form.

Koda (“tail, end, trail”) - an additional section possible at the endpiece of music and not taken into account when determining its structure.

Haydn's creative path lasted about fifty years, covering all stages of the development of the Viennese classical school - from its origins in the 60s of the 18th century until the heyday of Beethoven's work.

1. Childhood

Haydn was born on March 31, 1732 in the village of Rohrau (Lower Austria) in the family of a carriage maker; his mother was a simple cook. From the age of 5, he learned to play wind and string instruments, as well as the harpsichord, and sang in the church choir.

The next stage of Haydn's life is associated with the musical chapel at St. Stefan in Vienna. The head of the choir (Georg Reuther) traveled around the country from time to time to recruit new choristers. Listening to the choir in which little Haydn sang, he immediately appreciated the beauty of his voice and rare musical talent. The main musical wealth of Vienna is its diverse folklore (the most important prerequisite for the formation of a classical school).

Constant participation in the performance of music - not only church music, but also opera - developed Haydn most of all. In addition, the Reuther Chapel was often invited to the imperial palace, where the future composer could hear instrumental music.

1. 1749-1759 – the first years of independent life in Vienna

This 10th anniversary was the most difficult in Haydn's entire biography, especially at first. Without a roof over his head, without a penny in his pocket, he was extremely poor. Having bought several books on music theory from a second-hand bookseller, Haydn independently studied counterpoint, became acquainted with the works of the greatest German theorists, and studied the keyboard sonatas of Philipp Emmanuel Bach. Despite the vicissitudes of fate, he retained both his openness of character and his sense of humor, which never betrayed him.

Gradually, the young musician gains fame in the musical circles of Vienna. Since the mid-1750s, he was often invited to participate in home musical evenings in the house of a wealthy Viennese official (named Fürnberg). For these home concerts, Haydn wrote his first string trios and quartets (18 in total).

In 1759, on the recommendation of Fürnberg, Haydn received his first permanent position - the position of conductor in the home orchestra of the Czech aristocrat, Count Morcin. It was written for this orchestraHaydn's first symphony– D major in three parts. This was the beginning of the formationViennese classical symphony. Two years later, Morcin disbanded the choir due to financial difficulties, and Haydn entered into a contract with the richest Hungarian magnate, a passionate fan of music -Paul Anton Esterhazy.

1. The period of creative maturity

Haydn worked in the service of the princes of Esterhazy for 30 years: first as vice-kapellmeister (assistant), and after 5 years as chief-kapellmeister. His duties included not only composing music. Haydn had to conduct rehearsals, maintain order in the chapel, be responsible for the safety of notes and instruments, etc. All of Haydn’s works were the property of Esterhazy; the composer did not have the right to write music commissioned by others, and could not freely leave the prince’s possessions. Most were written for the Esterházy Chapel and Home TheaterHaydn symphonies (in the 1760s ~ 40, in the 70s ~ 30, in the 80s ~ 18), quartets and operas. A total of 24 operas in different genres, among which the most organic genre for Haydn was buffa . For example, the opera “Loyalty Rewarded” enjoyed great success with the public. In the mid-1780s, the French public became acquainted with six symphonies called “Parisian” (Nos. 82-87, they were created specifically for the Paris “Olympic Box Concerts”).

1. Late period of creativity.

In 1790, Prince Miklos Esterhazy died, bequeathing Haydn a lifelong pension. His heir dissolved the chapel, retaining the title of conductor for Haydn. Completely freed from service, the composer was able to fulfill his old dream - to travel outside of Austria.

In the 1790s, he made 2 tours to London at the invitation of the organizer of the “Subscription Concerts”, violinist I. P. Salomon (1791-92, 1794-95). Written on this occasion"London" symphonies completed the development of this genre in Haydn’s work and confirmed the maturity of Viennese classical symphonism. The English public enthusiastically received Haydn's music.At Oxford he was awarded an honorary doctorate of music.

Inspired by Handel's oratorios heard in London, Haydn wrote 2 secular oratorios -"World creation"(1798) and "Seasons" (1801). These monumental, epic-philosophical works, affirming the classical ideals of beauty and harmony of life, the unity of man and nature, worthily crowned the composer’s creative path.

On May 31, 1809, Haydn passed away in the midst of Napoleonic campaigns, when French troops had already occupied the capital of Austria. During the siege of Vienna, Haydn consoled his loved ones:“Don’t be afraid, children, where Haydn is, nothing bad can happen.”.

History of the piano

Piano - This is an amazing musical instrument, perhaps the most perfect. It exists in two varieties - grand piano and upright piano . You can perform any piece of music on the piano, be it orchestral, vocal, instrumental, as well as any modern composition, music from films, cartoons or pop songs. The piano repertoire is the most extensive. Great composers of different eras composed music for this instrument.

In 1711, Bartolomeo Cristofori invented a keyboard instrument in which hammers struck the strings directly, sensitively responding to the touch of a finger on the key. A special mechanism allowed the hammer to quickly return to its original position after hitting the string, even if the performer continued to keep his finger on the key. The new instrument was first called "Gravecembalo col piano e forte", later shortened to "Piano forte". And even later it acquired its modern name “ Piano."

The direct predecessors of the piano are considered harpsichords and clavichords . The piano has a huge advantage over these musical instruments; it is the ability to vary the dynamics of sound, the ability to reproduce a huge range of shades from pp and p to several f. At ancient instruments harpsichord and clavichord There are a number of differences.

Clavichord - a small musical instrument with a quiet sound corresponding to its size. It appeared in the late Middle Ages, although no one knows exactly when. When you press a clavichord key, one string associated with this key is sounded. In order to reduce the size of the instrument, the number of strings clavichord was often less than the number of keys. In this case, one string served (through an appropriate mechanism) several keys. Clavichord bright colors and sound contrasts are not typical. However, depending on the nature of the keystroke, the melody played on the clavichord may be given some sonic flexibility, and even more, a certain vibration may be imparted to the tones of the melody. The clavichord had one string for each key, or two - like this clavichord called "connected". Being a very quiet instrument, clavichord still allowed me to make crescendos and diminuendos.

In contrast to the subtle and soulful sonority clavichord, harpsichord has a more sonorous and brilliant playing. By pressing the harpsichord key, from one to four strings can be brought into sound at the request of the performer. During the heyday of harpsichord art, there were a number of varieties of harpsichords. Harpsichord , most likely, was invented in Italy in the 15th century. The harpsichord has one or two manuals (less often three), and the sound is produced by plucking the string with a bird's feather plectrum (like a pick) when pressing a key. The harpsichord's strings are parallel to the keys, like a modern piano, and not perpendicular, like a clavichord and modern piano . The sound of a concert harpsichord - quite sharp, but weak for playing music in large halls, so composers inserted a lot of melismas (decorations) into harpsichord pieces to ensure long

the notes could sound quite extended. Harpsichord It was also used for accompaniment to secular songs, in chamber music and for playing the digital bass part in an orchestra.

Clavichord

Harpsichord

Bibliography

E.Yu.Stolova, E.A.Kelkh, N.F.Nesterova “Musical literature”

L. Mikheeva “Encyclopedic Dictionary of a Young Musician”

I.A.Braudo “Clavesti and clavichord”

D.K.Salin “100 Great Composers”

M.A. Zilberkvit “School library. Haydn"

Yu.A. Kremlev “J. Haydn. Essay on life and creativity"

L. Novak “I. Haydn. Life, creativity, historical significance"

MBU DO Children's Music School Lesnye Polyany

Report on the topic: F. J. Haydn

Completed by: 6th grade student

piano major

Alexandrova Miroslava

Checked by: Elisova Nonna Lvovna

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

Joseph Haydn 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 carriage maker 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. Stephen's Cathedral. Reutter took the talented boy to the chapel, and for nine years (from 1740 to 1749) he sang in the choir (including several years with his younger brothers) of St. Stephen's Cathedral in Vienna, where he also learned to play instruments.

The chapel was the only school for little 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.

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 and for a time being an accompanist for the Italian composer and singing teacher Nicola Porpora, from whom he also took composition lessons. Haydn tried to fill the gaps in his musical education by diligently studying the works of Emmanuel Bach and the theory of composition. The study of the musical works of his predecessors and the theoretical works of J. Fuchs, J. Matteson and others compensated for Joseph Haydn's lack of systematic musical education. 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 before he left the chapel of St. Stephen's Cathedral.

In the 50s of the 18th century, Joseph wrote a number of works that marked the beginning of his fame as a composer: the Singspiel (opera) “The New Lame Demon” (staged in 1752, Vienna and other cities of Austria - has not survived to this day), divertissements and serenades , string quartets for the musical circle of Baron Furnberg, about a dozen quartets (1755), first symphony (1759).

In the period from 1754 to 1756, Haydn worked at the Viennese court as a free artist. In 1759, the composer received the position of Kapellmeister (musical director) at the court of Count Karl von Morzin, where Haydn found himself with a small orchestra, for which the composer composed his first symphonies. However, von Mortzin soon began to experience financial difficulties and stopped his musical project.

In 1760, Haydn married Maria Anna Keller. They did not have children, which the composer greatly regretted. His wife treated his professional activities very coldly and used his scores for curlers and stands for pate. It was an extremely unhappy marriage, and the laws of the time did not allow them to separate. Both took lovers.

After the disbandment of the musical project of the financially failed Count von Morzin (1761), Joseph Haydn was offered a similar job with Prince Paul Anton Esterhazy, the head of the extremely wealthy Esterhazy family. Haydn initially held the position of vice-kapellmeister, but he was immediately allowed to lead most of Esterházy's musical institutions, along with the old Kapellmeister Gregor Werner, who retained absolute authority only for church music.

In 1766, a fateful event occurred in Haydn’s life - after the death of Gregor Werner, he was elevated to the rank of bandmaster at the court of the Esterhazy princes, one of the most influential and powerful aristocratic families in Austria. The duties of the bandmaster included composing music, leading the orchestra, playing chamber music for the patron and staging operas.

The year 1779 becomes a turning point in the career of Joseph Haydn - his contract was revised: while previously all his compositions were the property of the Esterhazy family, he was now allowed to write for others and sell his works to publishers.

Soon, taking this circumstance into account, Haydn shifted the emphasis in his compositional activity: he wrote fewer operas and created more quartets and symphonies. In addition, he is in negotiations with several publishers, both Austrian and foreign. Of Haydn's new employment contract, Jones writes: “This document acted as a catalyst towards the next stage of Haydn's career - the achievement of international popularity. By 1790, Haydn found himself in a paradoxical, if not strange, position: as Europe's leading composer, but bound by a previously signed contract, he was spending his time as conductor in a remote palace in the Hungarian countryside.

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

On February 11, 1785, Haydn was initiated into the Masonic lodge “Toward True Harmony” (“Zur wahren Eintracht”). Mozart was unable to attend the dedication because he was attending a concert with his father Leopold.

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.

Thus, the years of service (1761-1790) with the Hungarian princes Esterházy contributed to the flourishing of Haydn’s creative activity, the peak of which was in the 80s - 90s of the 18th century, when mature quartets were created (starting with opus 33), 6 Paris (1785- 86) symphonies, oratorios, masses and other works. The whims of the patron of the arts often forced Joseph to give up his creative freedom. At the same time, working with the orchestra and choir he led had a beneficial effect on his development as a composer. Most of the composer's symphonies (including the widely known Farewell (1772)) and operas were written for the Esterházy Chapel and home theater. Haydn's trips to Vienna allowed him to communicate with the most prominent of his contemporaries, in particular with Wolfgang Amadeus Mozart.

In 1790, Prince Nikolai Esterhazy died, and his son and successor, Prince Anton Esterhazy, not being a music lover, disbanded the orchestra. In 1791, Haydn received a contract to work in England. Subsequently he worked extensively in Austria and Great Britain. Two trips to London (1791-1792 and 1794-1795) at the invitation of the organizer of the “Subscription Concerts”, violinist I. P. Zalomon, where he wrote his best symphonies for Zalomon’s concerts (12 London (1791-1792, 1794-1795) symphonies) , broadened their horizons, further strengthened their fame and contributed to the growth of Haydn’s popularity. In London, Haydn attracted huge audiences: Haydn's concerts attracted huge numbers of listeners, which increased his fame, contributed to the collection of large profits and, ultimately, allowed him to become financially secure. In 1791, Joseph Haydn was awarded an honorary doctorate from Oxford University.

While passing through Bonn in 1792, he met the young Beethoven and took him on as a student.

Haydn returned and settled in Vienna in 1795. By that time, Prince Anton had died and his successor Nicholas II proposed to revive the musical institutions of Esterházy under the leadership of Haydn, again acting as conductor. Haydn accepted the offer and took the offered position, albeit on a part-time basis. He spent his summer with Esterhazy in the city of Eisenstadt, and over the course of several years wrote six masses. But by this time Haydn had become a public figure in Vienna and spent most of his time in his own large house in Gumpendorf, where he wrote several works for public performance. Among other things, in Vienna Haydn wrote two of his famous oratorios: “The Creation of the World” (1798) and “The Seasons” (1801), in which the composer developed the traditions of the lyrical-epic oratorios of G. F. Handel. Joseph Haydn's oratorios are marked by a rich, everyday character that is new to this genre, a colorful embodiment of natural phenomena, and they reveal the composer's skill as a colorist.

Haydn tried his hand at all types of musical composition, but his creativity did not manifest itself with equal force in all genres. 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. The greatness of Joseph Haydn as a composer was maximally 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. In subsequent years, this successful period for Haydn’s work is faced with the onset of old age and failing health - now the composer must fight to complete his begun works. Work on oratorios undermined the composer's strength. His last works were “Harmoniemesse” (1802) and the unfinished string quartet opus 103 (1802). By about 1802, his condition had deteriorated to the point that he became physically unable to compose. The last sketches date back to 1806; after this date, Haydn did not write anything else.

The composer died in Vienna. He died at the age of 77 on May 31, 1809, shortly after the attack on Vienna by the French army led by Napoleon. Among his last words was an attempt to calm his servants when a cannonball fell in the vicinity of the house: “Do not be afraid, my children, for where Haydn is, no harm can happen.” Two weeks later, on June 15, 1809, a funeral service was held in the Scottish Monastery Church (German: Shottenkirche), at which Mozart's Requiem was performed.

The composer created 24 operas, wrote 104 symphonies, 83 string quartets, 52 piano (clavier) sonatas, 126 trios for baritone, overtures, marches, dances, divertiments for orchestra and various instruments, concertos for clavier and other instruments, oratorios, various pieces for clavier, songs, canons, arrangements of Scottish, Irish, Welsh songs for voice with piano (violin or cello if desired). Among the works are 3 oratorios (“Creation of the World”, “Seasons” and “Seven Words of the Savior on the Cross”), 14 masses and other spiritual works.

Haydn's most famous operas:

“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'Infedeltà 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 Fedeltà premiata)
“Roland the Paladin” (Orlando Рaladino), a heroic-comic opera based on the plot of Ariosto’s poem “Roland the Furious.”

Haydn's most famous masses:

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).

FRANZ JOSEPH HAYDN

ASTROLOGICAL SIGN: ARIES

NATIONALITY: AUSTRIAN

MUSICAL STYLE: CLASSICISM

IMPORTANT WORK: “STRING QUARTET IN D MINOR”

WHERE HAVE YOU HEARD THIS MUSIC: IN NUMEROUS WEDDING SCENES ON SCREEN. INCLUDING THE FILM “WEDDING STICKERS”.

WORDS OF WISDOM: “I WAS SEPARATED FROM THE WORLD. THERE WAS NO ONE AROUND TO EMBARRASS OR HURT ME. I WAS DOOMED TO BE ORIGINAL."

For thirty years Joseph Haydn was a servant. Admittedly, a high-ranking servant, and yet, like an ordinary cook, he listened to the orders of his masters every day.

A servant, by definition, is obliged to constantly bow, shuffle his feet and fawn in every possible way, but the advantages of his position are also obvious. For many years, Haydn had an audience always ready to listen to his works, a quality orchestra at hand and leisure to pursue what most interested him in music.

Of course, Haydn was happy when he was finally left to his own devices, but he never denied the benefits that his years of service brought him. These experiences helped him develop into one of the most original - and influential - composers of his time.

STRONG IN TALENT, RICH IN POVERTY

Haydn was born into a family of wheelwrights in the Austrian village of Rohrau near the Hungarian border. His father Matthias independently learned to play the harp and on long winter evenings amused himself by playing folk melodies. Matthias's second son, Josef, sang along with his father in a beautiful high voice from an early age. The parents noted that the boy hit the notes surprisingly accurately. Rohrau had little to offer a musically gifted child, and when Haydn was only six years old, he was sent to the city of Hainburg to live with an elderly relative, a schoolteacher.

Haydn spent two years in Hainburg, comprehending various wisdom, but truly tempting horizons opened up before him when the director of the chapel of Vienna's St. Stephen's Cathedral was passing through the city. Having heard the young Haydn sing, the Viennese musician assigned him to the cathedral boys' choir.

Alas, boy sopranos are destined for a short life. As a teenager, Haydn, worried about his future, seriously considered saving his voice by joining the ranks of castrati, but his father somehow found out about his plans and urgently went to Vienna to prevent his son from carrying them out. When Haydn's voice broke, the choir director immediately fired him. A sixteen-year-old boy found himself on the street with three shirts, a shabby coat and extensive musical knowledge.

FRAU HAYDN'S CULINARY SECRET

By luck, Haydn met a sympathetic acquaintance who did not allow him to sleep on the street. After some time, Haydn “got rich” so much that he was able to rent a place for himself in Vienna - a miserable room on the sixth floor without a stove and even without a window; but he managed to scrape together the piano, and he didn’t need anything else.

Playing in Viennese orchestras, which occasionally performed his own compositions, Haydn gradually attracted the attention of noble music lovers, and in 1759 he received the position of bandmaster at the court of Count Karl von Morzin. Thus, the young man had enough money to get married. He fell in love with Teresa Keller, the daughter of a priest, but his parents decided to give Teresa a nun. However, the Kellers, with a trained eye, saw a good groom in Haydn, and persuaded him to marry Teresa’s sister, Maria Anna.

If this union inspired anyone with trembling hopes, they were very soon dispelled into dust. Maria Anna, being older than her husband, had a grumpy character, but her most unforgivable flaw - from her husband's point of view - was that she was not at all interested in music. “She doesn’t care who to marry - a shoemaker or an artist,” Haydn complained. They had no children, and after a few years, family life was reduced to scenes of jealousy and mutual insults. Rumor has it that Frau Haydn used her husband's scores as baking paper.

FROM DIRT TO KINGS

Despite family difficulties, Haydn was doing well. In 1761, he was taken as assistant bandmaster to Prince Pal Antal Esterházy, a wealthy and influential Hungarian nobleman, imperial field marshal and, incidentally, patron of musicians. Haydn was required to conduct the well-trained Esterhazy orchestra and choir and compose music for both daily use and special occasions, and in return the composer was entitled to an enviable salary, comfortable housing and a generous subsidy for the purchase of clothing. The Esterhazy family was so pleased with Haydn that they did not want to part with him when Prince Pal Esterhazy died and the title passed to his younger brother Miklas, who later appointed Haydn as chief bandmaster.

The high position did not negate the fact that Haydn remained in the position of a servant - his contract contained an unambiguous requirement to appear to the prince every day for orders. Haydn spent a lot of time and effort pleasing the proud prince and courtiers; his letters are full of flattering phrases (“I kiss the hem of your robe”!), without which a servant’s appeal to a noble nobleman would be unthinkable. One of Haydn's most difficult responsibilities was mediating between the orchestra members and the court; For his kindness and generosity towards musicians, he was nicknamed Pope Haydn.

THE CLEAVELINE OF THE FLIRTATING COUNTESS SO AMAZED THE YOUNG AND UNMARRIED HAYDN, SITTING AT THE HARPIRDSIAN, THAT THE POOR GUY THROWED IN A FIRE.

Every spring, the princely court traveled to the Esterházy country estate, where they remained until late autumn. The winters in Vienna were pitifully short, and Haydn ended up spending thirty years away from musical life. In isolation, he was forced to experiment at his own risk. Having neither the brilliant intuition of Mozart nor the selfless interest of Bach in music theory, Haydn moved forward in unimpressive leaps, but slowly, step by step. Over time, he became a remarkable composer and musical reformer. He transformed the symphonic form, making it what we know it today. In fact, he created the string quartet, once and for all defining its structure, within which composers have been creating ever since. Although many of Haydn's works appeared only with the sole purpose of pleasing the tastes of his patrons (he wrote countless trios with the participation of Prince Miklash's favorite string instrument - a baritone, now out of use - and many comic operas for the court theater on the Esterhazy estate), Joseph Haydn nevertheless created and other works, those that won the recognition of listeners for their harmony, grace and life-affirming intonation.

FINALLY FREE

Almost thirty years of forced seclusion ended in 1790 with the death of Prince Miklash. Miklash was succeeded by his son Anton, who was not inclined towards music. As a result, Haydn gained freedom in his professional life. (In his personal life, he also felt free from obligations; for some time now he and Maria Anna had lived separately, and Haydn had affairs on the side, invariably decent.) He toured England and Italy on triumphal tours, conducting his own compositions, and performed in Vienna several times.

Prince Anton died in 1795 and was succeeded by Miklash II, who decided to revive the musical glory of the House of Esterházy. Since this Miklas Esterházy, unlike his predecessors, did not intend to live in the wilderness of the countryside, Haydn returned to service - more out of courtesy than out of sincere zeal. During these years, Haydn worked on the oratorios “The Creation of the World” and “The Seasons,” which are now considered his best works: the composer’s ingenuity and the beauty of the works are truly undeniable. With the advent of the new, nineteenth century, Haydn lost both strength and health. His final years were marred by the atrocities of the war between Austria and Napoleonic France. On May 12, 1809, the French began a powerful bombardment of Vienna, cannonballs falling a few meters from Haydn's house. The Austrian capital soon capitulated, but the French placed a guard of honor at Haydn's doorstep. He died on May 31, just after midnight.

STRANGE MISADVENTIONS OF HAYDN'S HEAD

Since the war was raging around, Haydn was buried in a hurry. However, in 1814, Prince Miklash II asked permission to transport the composer’s ashes to the Esterházy estate in Eisenstadt. The body was exhumed, but when officials opened the coffin, they discovered to their horror that the body was missing its head.

The hunt for Haydn's head began immediately. And it turned out that two passionate enthusiasts of phrenology - a science now defunct, but very popular in the nineteenth century (phrenology claimed to determine personality traits by lumps on the skull) - bribed a gravedigger in order to get the composer's head. These two would-be phrenologists, Rosenbaum and Peters, kept Haydn's skull in a custom-made black box.

When the headless body was brought to Eisenstadt, Prince Esterhazy felt deeply insulted. He ordered police to search Peters' home, but later learned that Rosenbaum's wife had hidden the skull in a straw mattress and was lying on the bed during the search, pretending to be asleep. As a result, the prince paid the Rosenbaums, and in exchange for an impressive check, they gave him a skull - according to their assurances, an authentic one.

In the end, Haydn's skull ended up in one of the Vienna museums, where it lay until 1954, when Prince Pal Esterhazy reunited the composer's body with his head in a burial place, which is located in the Austrian city of Eisenstadt (Burgenland). So, 131 years later, Haydn regained integrity.

LITTLE DRUMMER

Johann Matthias Frank, a relative and guardian of the young Haydn in Hainburg, led a local orchestra that played at city holidays and funerals. The sudden death of the drummer put Frank in a very difficult position, and he had no choice but to quickly teach the seven-year-old Haydn, who had discovered early musical talent, to play the drum. But the trouble was that the drum was too heavy for the little boy. The quick-witted Frank found a hunchback who agreed to tie a drum on his back, and young Haydn marched cheerfully and lightly through the streets of Hainburg, beating out the rhythm on the hunchback walking in front of him.

FRIENDS FOREVER

Haydn met Mozart in Vienna in 1781, and they became immediate friends, despite their 24-year age difference. Each recognized the other's genuine musical talent. Mozart claimed that he learned the art of string quartets from Haydn, and Haydn once declared to Mozart’s father: “I will tell you on honor and call the Lord to witness, your son is the greatest composer I know.”

Mozart died while Haydn was on a long absence from London. At first, Haydn refused to believe in his friend’s death, hoping that these were just false rumors. But the sad news was confirmed, and Haydn fell into deep sorrow. Many years later, in 1807, when one of his friends started talking about Mozart, Haydn burst into tears. “Sorry,” he said, “every time I hear the name Mozart, I must, must mourn him.”

STOP THE MUSIC!

In 1759, having received his first lucrative position as a house musician for Count Karl von Morzin, Haydn was a fairly young man whose professional employment and high moral standards had until then protected him from acquaintance with the joys of the flesh.

One day, while Haydn was sitting at the harpsichord, the pretty Countess von Morzin leaned over to look at the notes he was playing from, and the virgin Haydn had a magnificent view of the Countess's cleavage. The musician felt feverish and stopped playing. The Countess inquired what was the matter, and Haydn exclaimed: “But, Your Excellency, such a spectacle would make anyone give up!”

Haydn had an extraordinary sense of humor as a composer. The musicians of the Esterhazy court orchestra, missing their relatives, were upset every time the move to the city from the village estate was again postponed, and Haydn figured out how to unobtrusively express their feelings in the next symphony that he was composing. His Farewell Symphony lacks the usual grand finale, instead the musicians complete their parts one by one and, when finished, each blows out the candle and leaves. At the very end, only the first violins remain on stage. The prince took the hint: the next day after the performance of the “Farewell” symphony, he gave the command to prepare for departure.

Another symphony was intended specifically for the London public, who, as Haydn noted, had the unpleasant habit of dozing off during the slow movements. For his next symphony, Haydn composed an incredibly gentle, calm Andante: at the end of this slow movement the sounds completely died away, and then in the ensuing silence the orchestra exploded with music and the thunder of the timpani. At the premiere, the audience almost jumped out of their seats - and thus the “Surprise” symphony was born.

SWEN ENEMIES

Although Haydn's friends knew full well that the composer had not lived with his wife for a long time, the level of mutual hostility between the spouses never ceased to surprise them. One day, a certain friend noticed a large stack of unopened letters on Haydn’s desk. “Oh, this is from my wife,” the composer explained. - She writes to me once a month, and I answer her once a month. But I don’t open her letters and I’m almost sure that she doesn’t read mine.”

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