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Haydn and Mozart
Joseph Haydn (1732-1809)
Became the most celebrated composer of his day.
As a boy, he learned violin and harpsichord. At age 8, he joined the choir at St. Stephen’s
Cathedral in Vienna, where he sang for the next nine years.
At age 19, Haydn could no longer sing the high parts. He snipped off the pig-tails of a
fellow chorister and was expelled from the choir (after receiving a caning).
Haydn spent the night on a park bench.
He was taken in by another chorister, Michael Spangler.
Haydn began his career as a freelance musician.
He worked as a street musician, taught lessons, and eventually worked as an accompanist
for Italian composer Nicola Porpora.
Because he had no training in composition, he worked through the exercises in
Johann Fux’s Gradus ad Parnassum and studied works by C.P.E. Bach.
In 1752 he attracted attention with his singspiel Der krumme Teufel (The Limping Devil).
He caught the attention of aristocratic patrons including the Countess Thun and
Baron Carl Joseph Fürnberg. In 1757, Count Morzin became his first full-time employer.
As Kappelmeister, he wrote his earliest symphonies for Morzin’s orchestra and was
financially secure enough to marry Maria Keller. It was an unhappy marriage.
Divorce was illegal and there were no children. Both took lovers.
Just as Morzin’s finances were in trouble, Haydn was offered a similar position for the
much wealthier Esterházy family.
The Esterházys had an enormous palace called Esterháza. Like Versailles, it had its own
concert hall (now called Haydnsaal), an orchestra, opera singers, and chamber musicians.
Haydn worked for four Esterházy princes:
Prince Paul Anton 1761-1762
Prince Nikolaus I (1762-1790)
Prince Anton (1790-1795)
Prince Nikolaus II (1795-1809)
Nikolaus I was an enthusiastic patron of music who played an instrument called the
Baryton (resembling a bass viola da gamba, but with extra resonating strings that could
be plucked like a harp). Haydn wrote about 165 chamber music compositions for the
Baryton. Early each week, the prince would meet with Haydn to discuss music for the
coming weekend. Haydn was expected to compose, rehearse and conduct whatever music
was desired. Though isolated, Haydn spent almost 30 years perfecting his craft in an ideal
environment. Still, he could not leave without asking permission. All of his music at that
time was the property of the Esterházy family, he was not allowed to publish or share it
with the outside world (although it leaked out anyway). In 1779, a new contract allowed
him to sell his music abroad.
Around 1784, Haydn and Mozart became friends. They occasionally played through
string quartets together. Haydn was a major influence on Mozart. Joseph Boulogne (le
Chevalier de Saint-Georges), negotiated a contract for six symphonies now known as the
“Paris Symphonies” (composed between 1785 and 1786). Saint-Georges also edited the
symphonies for publication.
In 1790, Nikolaus’ son Anton disbanded the Esterházy orchestra in order to save money.
Haydn was given a pension to go and live in Vienna. He accepted a young student named
Beethoven. After almost 30 years, Haydn was now free to travel. In 1791 and again in
1794, Haydn traveled to England, where his friend Peter Salomon helped him organize
concerts. Haydn’s last 12 symphonies were written for London. He received an honorary
Doctorate from Oxford University. After hearing Handel’s Messiah for the fist time in
London, he burst into tears and cried “He is the Master of us all!” Haydn went on to write
two oratorios of his own (see below).
Mozart’s Requiem was performed at Haydn’s memorial service in 1809.
Haydn’s Music
Symphonies- Haydn composed approximately 106 symphonies. For many years the
official number was 104. Others have since been discovered that don’t fit into the old
numbering system.
Most of his symphonies have four movements:
I- Sonata Allegro (often with a slow introduction)
II- A slow movement
III- A Minuet and Trio
IV- A fast finale, usually in sonata or rondo form
All of the movements are in the tonic key except the slow movement, which is in a
related key. Haydn’s format became the standard for composers of his time.
The earliest symphonies composed for Count Morzin are typically scored for two oboes,
two horns, and strings. Most are in only three movements.
Between 1761-67, his early years with the Esterházy family, the previous instrumentation
is often augmented with flutes, bassoons, and other instruments.
1768-72, his symphonies were played in the “mirrored” hall (Haydnsaal). The twelve
symphonies of this period are longer and more rhythmically complex. Many of these
symphonies reflect the character of a literary movement called Sturm und Drang
(thunder and lightening). Six of the symphonies are in minor keys. Dynamic extremes,
sudden contrasts, crescendos, and sforzatos are used to startling effect. In general, the
symphonies project an emotional, agitated character.
1773-81, Haydn mixed lighter popular elements with dramatic ones
1781-91, Haydn begins selling his symphonies to patrons and publishers abroad.
Typical orchestration included: flute, 2 oboes, two bassoons, two horns, strings, and
sometimes timpani and trumpets. The “Paris” symphonies (Nos. 82-87) were composed
at this time.
1791-94, The “London” symphonies are considered his greatest symphonic
achievements.
Timpani and trumpets are standard and the clarinet is frequently used.
The woodwinds and string bass are more independent.
String Quartets- Haydn is considered the first great master of quartets, often described as
a conversation between the four players. Many of the quartets were intended for
amateurs.
47 Keyboard sonatas and 29 keyboard triosUsually intended for amateur performers
Three movements (fast-slow-fast)
15 Operas- He held his vocal works in higher esteem than his instrumental compositions
(the opposite of his current reputation). Much of Haydn’s time at Esterháza was spent
composing or producing operas. His are rarely performed today.
12 Masses- His last six are large-scale works set for chorus, four soloists, and orchestra
with timpani and trumpets. His masses feature fugal writing for both the chorus and
orchestra.
2 OratoriosThe Creation (1798)
The Seasons (1801)
Published in both English and German, they are inspired by Handel.
Wolfgang Amadeus Mozart (1756-1791)
Mozart and Haydn were friends and admired each other. Although Mozart was 24 years
younger, both were considered equals and, together, defined the music of their time.
When a young Ludwig van Beethoven came to Vienna in 1792, their music was the
standard.
Mozart was a remarkable child prodigy.
His father Leopold (1719-1787) was a violinist and composer for the archbishop of
Salzburg. Leopold published a well-known treatise on violin playing in 1756. He
sacrificed his own career in order to promote the musical lives of Wolfgang and his sister
Nannerl (1751-1829)
Mozart toured throughout Europe between 1762 and 1773. He performed on keyboard
and violin in aristocratic homes as well as in public concerts. He was seen as a wonder of
nature. He composed minuets at age five, a symphony before turning nine, and his first
opera at age twelve. Mozart absorbed musical ideas from the places he traveled.
Between 1769 and 1773, he spent much time in Italy. He studied counterpoint with
Giovanni Battista Martini and composed operas and string quartets.
Salzburg (1774-1781)
Like his father, he worked for the archbishop of Salzburg, composing music for mass and
other celebrations. At times, Mozart played the organ. Over time, he grew tired of the
restrictions of his employment. He received a commission to compose the opera
Idomeneo (1781).
Vienna (1781-1791)
Encouraged by the success of Idomeneo, he left the archbishop to freelance in Vienna.
Another operatic success came with The Abduction from the Harem (Die Entführung aus
dem Serail, 1782).
He taught piano and composition students.
He performed both private and public concerts as a pianist.
He composed on commission.
He organized his own concerts for money.
In 1787, he was appointed chamber-music composer to the emperor.
In 1788, however, he had financial problems, which led to borrowing money.
Mozart’s late works show an increasing interest in counterpoint, inspired by J.S. Bach.
Mozart was buried in a commoner’s grave (subject to excavation after ten years).
Piano Music: 19 piano sonatas, as well as fantasias, rondos, variations, and piano duets.
Chamber Music: 26 string quartets, and numerous other chamber pieces, including
Mozart’s favorite work, the Quintet for Piano and Winds, K. 452.
Serenades and Divertimentos:
Mozart composed them for garden parties and outdoor performances but treated the
music seriously.
Eine Kleine Nacht Musik (K. 525, 1787) is the most famous of these.
It can be played by a string quintet or a string orchestra.
Concertos: 23 Piano concertos and 15 others for various solo instruments.
J. C. Bach was a major influence. The two met when young Mozart was touring London.
Symphonies: Approximately 55 (numbered to 41 for many years, before more were
discovered) Only six were written in his Vienna years, each is considered a masterpiece:
Haffner Symphony, K. 385 (1782)
Linz Symphony, K. 425 (1783)
Prague Symphony, K. 504 (1786)
Symphony in E-flat Major, K. 543 (1788)
Symphony in G Minor, K. 550 (1788)
Jupiter Symphony, K. 551 (1788)
Operas: 20 operas and singspiele (operettas in German with spoken dialogue)
After Die Entführung aus dem Serail, which firmly established his reputation as an opera
composer, he set three librettos of Lorenzo Da Ponte (see the previous chapter):
The Marriage of Figaro (1786)
Don Giovanni (Don Juan, 1787)
Così fan tutte (Thus do all women, 1790)
The Magic Flute (die Zauberflöte) was composed and premiered during the last year of
his life along with an opera seria La clemenza di Tito (The mercy of Titus)
Zauberflöte weaves Masonic symbolism into a fairy tale singspiel that is one of his most
beloved works.
Church Music: 17 Masses, 1 Requiem Mass, numerous choral pieces and solos.
His Masses followed the current symphonic-operatic conventions with standard fugal
sections.
Upon his death, Mozart was finishing his Requiem Mass, some of which was completed
by his student Franz Xaver Süssmayr (1766-1803)