Editing Joseph Haydn (section)

===Years as Kapellmeister===
Haydn's job title under Count Morzin was ''[[Kapellmeister]]'', that is, music director. Like many aristocrats of the [[Austrian Empire]] at the time, the Count kept his own small orchestra, which Haydn led and composed for. His salary was a respectable 200 florins a year, plus free board and lodging.{{sfn|Redfern|1970|p=9}} The Count lived the typical aristocractic lifestyle: winters in fashionable Vienna, but in summer escaping the heat and dust of the city for the [[Morzin Palace, Dolní Lukavice|ancestral estate]] in the country; this was at [[Dolní Lukavice|Unterlukawitz]], now in the Czech Republic. Haydn and his musicians served their employer wherever he happened to be living.<ref>Webster and Feder (2001:10)</ref> For Count Morzin Haydn wrote his first symphonies (perhaps about 10-20; the number is unknown).<ref>Webster and Feder (2001:63) give their estimate of which of the Haydn symphonies date from his Morzin employment.</ref> [[Philip Downs]] comments on these first symphonies: "the seeds of the future are there, his works already exhibit a richness and profusion of material, and a disciplined yet varied expression."<ref name="Dodds-2015" /> 

[[File:AnnaHaydn.jpg|thumb|Haydn's wife. Unauthenticated miniature attributed to [[Ludwig Guttenbrunn]]]]
In 1760, with the security of a Kapellmeister position, Haydn married. His wife was the former Maria Anna Theresia Keller (1729–1800),<ref>[[Michael Lorenz (musicologist)|Michael Lorenz]], [http://michaelorenz.blogspot.co.at/2014/09/joseph-haydns-real-wife_11.html "Joseph Haydn's Real Wife"] (Vienna 2014). As Lorenz notes, the identity of Haydn's wife was mistaken for most of the history of Haydn scholarship.</ref> the sister of Therese (b. 1733), with whom Haydn had previously been in love. Haydn and his wife had an unhappy marriage,<ref>See, e.g., {{Harvnb|Geiringer|1982|pp=36–40}}, whose discusses the marriage in detail. Webster (2001) observes that all known records of their relationship come from Haydn's side and represent his point of view.</ref> from which the laws of the time permitted no escape. They produced no children, and both took lovers.{{efn|Mrs. Haydn's paramour (1770) was [[Ludwig Guttenbrunn]], an artist who produced the portrait of Haydn [[#Guttenbrunn|seen above]] {{Harv|Landon|Jones| 1988|p=109}}. Joseph Haydn had a long relationship, starting in 1779, with the singer [[Luigia Polzelli]], and was probably the father of her son Antonio {{Harv|Landon|Jones|1988|p=116}}.}}

[[File:The Esterhazy Palace in Vienna.jpg|thumb|Haydn's in-town work venue: the city palace of the Esterházys on the Wallnerstrasse in Vienna]]
[[File:Eisenstadt - Schloss Esterhazy.JPG|thumb|right|Schloss Esterházy, the family's traditional seat in [[Eisenstadt]]]]
Count Morzin soon suffered financial reverses that forced him to dismiss his musical establishment, but Haydn was quickly offered a similar job (1761) by Prince [[Paul II Anton Esterházy|Paul Anton]], head of the immensely wealthy [[House of Esterházy|Esterházy family]]. Haydn's job title was only Vice-Kapellmeister, but he was immediately placed in charge of most of the Esterházy musical establishment, with the old Kapellmeister [[Gregor Werner]] retaining authority only for church music. When Werner died in 1766, Haydn was elevated to full Kapellmeister.{{anchor|Guttenbrunn}}

[[File:Nikolaus Esterhazy.jpg|thumb|upright|left|Prince [[Nikolaus Esterházy]], Haydn's most important patron]]
[[File:Fertőd - The Eszterházy Castle or Palace.jpg|thumb|upright=1.3|[[Eszterháza]], the palace built by Prince Nikolaus in rural Hungary, where Haydn spent much of his career]]
As a "house officer" in the Esterházy establishment, Haydn wore [[livery]] and followed the family as they moved among their various palaces, most importantly the family's ancestral seat [[Schloss Esterházy]] in [[Eisenstadt]] and later on [[Esterháza]], a grand new palace built in rural Hungary in the 1760s. Haydn had a huge range of responsibilities, including composition, running the orchestra, playing [[chamber music]] for and with his patrons, and eventually the mounting of operatic productions. Despite this backbreaking workload,{{efn|{{harv|Landon|Jones|1988|p=100}} write: "Haydn's duties were crushing. We can notice the effect in his handwriting, which becomes hastier as the 1770s turn to the 1780s: the notation starts to become ever more careless in the scores and the abbreviations multiply."}} the job was in artistic terms a superb opportunity for Haydn.{{sfn|Webster|2002|p=13}}{{sfn|Landon|Jones|1988|p=37}} The Esterházy princes (Paul Anton, then from 1762 to 1790 [[Nikolaus Esterházy|Nikolaus I]]) were musical connoisseurs who appreciated his work and gave him daily access to his own small orchestra. During the nearly thirty years that Haydn worked at the Esterházy court, he produced a flood of compositions, and his musical style continued to develop.

Much of Haydn's activity at the time followed the musical taste of his patron Prince Nikolaus. In about 1765, the prince obtained and began to learn to play the [[baryton]], an uncommon musical instrument similar to the bass [[viol]], but with a set of plucked [[sympathetic strings]]. Haydn was commanded to provide music for the prince to play, and over the next ten years produced about 200 works for this instrument in various ensembles, the most notable of which are the 126 [[Baryton trios (Haydn)|baryton trios]]. Around 1775, the prince abandoned the baryton and took up a new hobby: opera productions, previously a sporadic event for special occasions, became the focus of musical life at court, and the opera theatre the prince had built at Esterháza came to host a major season, with (per Jones) "a schedule that soon rivalled any private or public opera house in Europe."<ref>Jones (2009b:75)</ref> Haydn served as ''de facto'' company director, recruiting and training the singers and preparing and leading the performances. He wrote [[List of operas by Joseph Haydn#Composed during Haydn's service for the Eszterházy family|several of the operas performed]] and wrote substitution [[aria]]s to insert into the operas of other composers.

1779 was a watershed year for Haydn, as his contract was renegotiated: whereas previously all his compositions were the property of the Esterházy family, he now was permitted to write for others and sell his work to publishers. Haydn soon shifted his emphasis in composition to reflect this (fewer operas, and more quartets and symphonies) and he negotiated with multiple publishers, both Austrian and foreign. His new employment contract "acted as a catalyst in the next stage in Haydn's career, the achievement of international popularity. By 1790 Haydn was in the paradoxical position ... of being Europe's leading composer, but someone who spent his time as a duty-bound Kapellmeister in a remote palace in the Hungarian countryside."{{sfn|Jones|2009b|p=136}} The new publication campaign resulted in the composition of a great number of new string quartets (the six-quartet sets of Op. [[String Quartets, Op. 33 (Haydn)|33]], [[String Quartets, Op. 50 (Haydn)|50]], 54/55, and [[String Quartets, Op. 64 (Haydn)|64]]). Haydn also composed in response to commissions from abroad: the [[Paris symphonies]] (1785–1786) and the original orchestral version of ''[[The Seven Last Words of Christ (Haydn)|The Seven Last Words of Christ]]'' (1786), a commission from [[Cádiz]], Spain.

The remoteness of [[Eszterháza]], which was farther from Vienna than Eisenstadt, led Haydn gradually to feel more isolated and lonely.{{sfn|Geiringer|1982|p=60}} He longed to visit Vienna because of his friendships there.<ref>For details see {{Harvnb|Geiringer|1982|loc=Chapter 6}}</ref> Of these, a particularly important one was with [[Maria Anna von Genzinger]] (1754–1793), the wife of Prince Nikolaus's personal physician in Vienna, who began a close, platonic relationship with the composer in 1789. Haydn wrote to Mrs. Genzinger often, expressing his loneliness at Esterháza and his happiness for the few occasions on which he was able to visit her in Vienna. Later on, Haydn wrote to her frequently from London. Her premature death in 1793 was a blow to Haydn, and his [[Variations in F minor|F minor variations]] for piano, Hob. XVII:6, may have been written in response to her death.<ref>{{Harvnb|Geiringer|1982|p=316}}, citing Robbins Landon.</ref>

Another friend in Vienna was [[Wolfgang Amadeus Mozart]], whom [[Haydn and Mozart|Haydn had met]] sometime around 1784. According to later testimony by [[Michael Kelly (tenor)|Michael Kelly]] and others, the two composers occasionally played in [[string quartet]]s with [[Carl Ditters von Dittersdorf]] (second violin) and [[Johann Baptist Wanhal]] (cello) for small gatherings attended by [[Giovanni Paisiello]] and [[Giovanni Battista Casti]].<ref>{{harvnb|Deutsch|1965|p=234}}; {{harvnb|Keefe|2023|p=1}}; {{harvnb|Webster|Feder|2001|loc=§3.4}}</ref> Impressed by Mozart's work, Haydn praised it unstintingly to others. Mozart returned the esteem in his [[Haydn Quartets (Mozart)|"Haydn" quartets]]. In 1785 Haydn was admitted to the same [[Masonic lodge]] as Mozart, the "''Zur wahren Eintracht''" in Vienna.<ref>{{cite web|url=https://www.austria.info/uk/things-to-do/cities-and-culture/joseph-haydn-life-and-works/in-the-services-of-esterhazy|title=In the Services of Esterházy|website=austria.info|access-date=17 December 2018|archive-date=18 November 2018|archive-url=https://web.archive.org/web/20181118035258/https://www.austria.info/uk/things-to-do/cities-and-culture/joseph-haydn-life-and-works/in-the-services-of-esterhazy|url-status=dead}}</ref>{{efn|There is no evidence that Haydn ever attended a meeting after his admittance ceremony,{{sfn|Larsen|1980}} and he was dropped from the lodge's rolls in 1787.}}