Character and appearance [ edit ] Haydn's signature on a work of music: di me giuseppe Haydn ("by me Joseph Haydn"). He writes in Italian, a language he often used professionally. Laus Deo ("praise be to God") at the conclusion of a Haydn manuscript [s] Clark, Caryl; Day-O'Connell, Sarah, eds. (2019). The Cambridge Haydn Encyclopedia. Cambridge: University of Cambridge Press. ISBN 9781107129016. Sixty-seven scholars contribute over eighty entries as well as seven longer thematic essays on biography and identity, ideas, institutions, musical materials, people and networks, performance, and place. The 'Farewell' Symphony is arguably Haydn's most extraordinary composition. It is the only known eighteenth-century symphony in F sharp. It is his only symphony in five real movements; the last two constitute a run-on 'double finale', a Presto and the concluding 'farewell' movement; the latter is not only an Adagio, but ends in a different key from that in which it begins. The cycle is so highly organized as to justify the epithet 'through-composed'; the entire symphony prepares, and is resolved by, the apotheosis of the 'farewell' ending. After 1772, the earliest work that so much as approached it in these respects was Beethoven's Fifth Symphony. One of the most apt tributes to Haydn was spoken by the poet John Keats. Keats, dying of tuberculosis, was brought to Rome by his friends in November 1820, in the hope that the climate might help to mitigate his suffering. (The poet died a few weeks later on 23 February 1821, at the age of 25.) According to his friend Joseph Severn: [68]

Only two competitors should now be considered for available complete sets: Doráti's truly groundbreaking boxes of LPs from the 1970s with the Philharmonia Hungarica, now reissued by Decca ( 4781221) also on 33 CDs. This also offers alternative instrumentations for some of the symphonies – and is thus technically more complete. Then there is a cycle with a variety of conductors (including Wordsworth, Müller-Brühl, Drahos and Ward) and orchestras on Naxos ( 8.503400). Life in the Frankh household was not easy for Haydn, who later remembered being frequently hungry [7] and humiliated by the filthy state of his clothing. [8] He began his musical training there, and could soon play both harpsichord and violin. He also sang treble parts in the church choir. Hughes, Rosemary (1970). Haydn (Reviseded.). New York: Farrar, Straus and Giroux. ISBN 978-0-460-02281-1. Originally published in 1950. Gives a sympathetic and witty account of Haydn's life, along with a survey of the music. During the later years of this successful period, Haydn faced incipient old age and fluctuating health, and he had to struggle to complete his final works. His last major work, from 1802, was the sixth mass for the Esterházys, the Harmoniemesse. For discussion, see Antony Hopkins (1981) The Nine Symphonies of Beethoven, Heinemann, London, pp. 7–8.Jones, David Wyn (2009a). The Life of Haydn. Oxford University Press. Focuses on biography rather than musical works; an up-to-date study benefiting from recent scholarly research on Haydn's life and times. The Esterházy Summer Palace in Fertod, Hungary, completed in 1766, home for Haydn and his employer, Prince Esterházy Photograph: Csaba Krizsan/EPA Following the climax of the "Sturm und Drang", Haydn returned to a lighter, more overtly entertaining style. There are no quartets from this period, and the symphonies take on new features: the scoring often includes trumpets and timpani. These changes are often related to a major shift in Haydn's professional duties, which moved him away from "pure" music and toward the production of comic operas. Several of the operas were Haydn's own work (see List of operas by Joseph Haydn); these are seldom performed today. Haydn sometimes recycled his opera music in symphonic works, [71] which helped him continue his career as a symphonist during this hectic decade.

Rosen, Charles (1988). Sonata forms (2nded.). New York: Norton. . Further discussion of Haydn's style and technique as it relates to sonata form. The recording of five Mozart Violin Concertos with Isabel Faust (Harmonia Mundi, 2016) stands as the result of the prestigious cooperation with the great violinist.Haydn's formal inventiveness also led him to integrate the fugue into the classical style and to enrich the rondo form with more cohesive tonal logic (see sonata rondo form). Haydn was also the principal exponent of the double variation form—variations on two alternating themes, which are often major- and minor-mode versions of each other. Other comparable projected, incomplete or otherwise unavailable cycles are conducted by Derek Solomons in the 1980s on Saga; by Bruno Weil on Sony a little after the latter label took over and dropped the Saga rights. Hogwood (L'Oiseau Lyre) also began a complete cycle from which the later symphonies come off much better than his spare treatment of the earlier ones. Similarly Roy Goodman's period instrument performance cycle (on Hyperion) is incomplete. Harnoncourt (Warner Classics) also uses period instruments and, while respecting the definitive score of H.C. Robbins Landon, has some debatable tempi, as does Fey (Hänssler Classic), albeit on modern instruments, and in his own way as does Br&uumpl;ggen (Philips). So Fischer started in many ways with something of an open field for complete sets of the symphonies. He has made the most of it. The Andante is based on Haydn's own Lied Gegenliebe, Hob.XXVIa:16, composed in the spring or summer of 1781 but not published until 1784. Except for the arrangement of the keyboard accompaniment for strings, the initial statement is a literal transcription, including the interpolations and postlude for keyboard alone.

Franz Joseph Haydn [a] ( / ˈ h aɪ d ən/ HY-dən, German: [ˈfʁants ˈjoːzɛf ˈhaɪdn̩] ⓘ; 31 March [b] 1732–31 May 1809) was an Austrian composer of the Classical period. He was instrumental in the development of chamber music such as the string quartet and piano trio. [2] His contributions to musical form have led him to be called "Father of the Symphony" and "Father of the String Quartet". [3] [4] Find sources: "Joseph Haydn"– news · newspapers · books · scholar · JSTOR ( May 2017) ( Learn how and when to remove this template message) This is the most famous among Haydn's 'Sturm und Drang' symphonies, owing both to its programme and to its unique style and construction. Every year, the Esterházy court spent the warm season at Prince Nikolaus's new and splendid, but remote, summer castle 'Eszterháza'. With the exception of Haydn and a few other privileged individuals, the musicians were required to leave their families behind in Eisenstadt. Haydn's biographer Griesinger tells the story as follows:Tolley, Thomas (2017). " 'Divorce a la mode': The Schwellenberg Affair and Haydn's Engagement with English Caricature". Music in Art: International Journal for Music Iconography. 42 (1–2): 273–307. ISSN 1522-7464. Celestini, Federico (2010). "Aspekte des Erhabenen in Haydns Spätwerk". In Celestini, Federico; Dorschel, Andreas (eds.). Arbeit am Kanon. Vienna: Universal Edition. pp.16–41. ISBN 978-3-7024-6967-2. On the sublime in Haydn's later works; in German. Anthony van Hoboken prepared a comprehensive catalogue of Haydn's works. The Hoboken catalogue assigns a catalog number to each work, called its Hoboken number (abbreviated H. or Hob.). These Hoboken numbers are often used in identifying Haydn's compositions.

Sisman, Elaine (1993). Haydn and the Classical Variation. Cambridge: Harvard University Press. ISBN 978-0-674-38315-9. Furthermore the ensemble worked with such acclaimed soloists as Giuliano Carmignola, Sol Gabetta, Katia and Marielle Labèque, Viktoria Mullova, and Giovanni Sollima. The choice was a sensible one because Haydn was already a very popular composer there. Since the death of Johann Christian Bach in 1782, Haydn's music had dominated the concert scene in London; "hardly a concert did not feature a work by him". [41] Haydn's work was widely distributed by publishers in London, including Forster (who had their own contract with Haydn) and Longman & Broderip (who served as agent in England for Haydn's Vienna publisher Artaria). [41] Efforts to bring Haydn to London had been made since 1782, though Haydn's loyalty to Prince Nikolaus had prevented him from accepting. [41]In the late 1760s and early 1770s, Haydn entered a stylistic period known as " Sturm und Drang" ("storm and stress"). This term is taken from a literary movement of about the same time, though it appears that the musical development actually preceded the literary one by a few years. [x] The musical language of this period is similar to what went before, but it is deployed in work that is more intensely expressive, especially in the works in minor keys. James Webster describes the works of this period as "longer, more passionate, and more daring". [70] Some of the most famous compositions of this time are the "Trauer" (Mourning) Symphony No. 44, "Farewell" Symphony No. 45, the Piano Sonata in C minor (Hob. XVI/20, L. 33), and the six "Sun" Quartets Op. 20, all from c. 1771–72. It was also around this time that Haydn became interested in writing fugues in the Baroque style, and three of the Op. 20 quartets end with a fugue. His ethereal treble tones lasted until he was 16, a fact noticed by the Habsburg Empress, Maria Theresa, who uttered her famous criticism: "That boy doesn't sing, he crows!". Haydn left the choir in memorable fashion - snipping off the pigtail of one his fellow choirboys - and was publicly caned.