Editing Joseph Haydn (section)

==Music==
{{see|List of compositions by Joseph Haydn|topic=Haydn's compositions}}

James Webster summarizes Haydn's role in the history of classical music as follows:{{sfn|Webster|Feder|2001}}

{{Blockquote|He excelled in every musical genre. [...] He is familiarly known as the "father of the symphony" because he composed 107 symphonies,<ref>{{cite web|url=https://www.classicfm.com/composers/haydn/|title=Franz Joseph Haydn (1732–1809): Composer: Biography, music and facts|publisher=[[Classic FM (UK)]]}}</ref> and could with greater justice be thus regarded for the string quartet; no other composer approaches his combination of productivity, quality and historical importance in these genres.}}

=== Structure ===
[[File:Haydn Kaiserlied Reinschrift.jpg|thumb|right|upright=1.3|Original copy of "{{lang|de|[[Gott erhalte Franz den Kaiser]]|italic=no}}" in Haydn's hand]]
A central characteristic of Haydn's music is the development of larger structures out of very short, simple musical [[Motif (music)|motifs]], often derived from standard accompanying figures. The music is often quite formally concentrated, and the important musical events of a movement can unfold rather quickly.  W. Dean Sutcliffe  mentions this in a criticism of contemporary Haydn performance practice: 

<blockquote>
[Haydn's] music sometime seems to 'live on its nerves'&nbsp;... It is above all in this respect that Haydn performances often fail, whereby most interpreters lack the mental agility to deal with the ever-changing 'physiognomy' of Haydn's music, subsiding instead into an ease of manner and a concern for broader effects that they have acquired in their playing of Mozart.<ref>Sutcliffe (1989:343)</ref>
</blockquote>

Haydn's work was central to the development of what came to be called [[sonata form]]. His practice, however, differed in some ways from that of [[Wolfgang Amadeus Mozart|Mozart]] and [[Ludwig van Beethoven|Beethoven]], his younger contemporaries who likewise excelled in this form of composition. Haydn was particularly fond of the so-called [[Sonata form#Monothematic expositions|monothematic exposition]], in which the music that establishes the dominant key is similar or identical to the opening theme. Haydn also differs from Mozart and Beethoven in his [[Recapitulation (music)|recapitulation]] sections, where he often rearranges the order of themes compared to the exposition and uses extensive [[thematic development]]. Of these "rearranged recapitulations", Rosemary Hughes writes

<blockquote>
 Having begun to 'develop', he could not stop; his recapitulations begin to take on irregular contours, sometimes sharply condensed, sometimes surprisingly expanded, losing their first tame symmetry to regain a balance of a far higher and more satisfying order.<ref>Hughes (1970:12)</ref>
</blockquote>

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.

=== Character ===

The Haydn scholar [[Karl Geiringer]] has emphasized the sheer joyfulness of much of Haydn's music:

<blockquote>
Out of Haydn's love for the beauties of our world grew the gaiety and affirmative spirit apparent throughout all his creative periods ... Even in his advanced age, this gaiety did not entirely desert him. Nurtured by ... a victorious optimism maintained through all the vicissitudes of a long and arduous life, this radiant joyfulness again and again manifested itself, and Haydn considered it his mission to let his fellow beings share in this unique gift.<ref>Geiringer (1982, 369). Geiringer supports his contention by quoting a letter Haydn wrote in old age, asserting that during his lifetime, when he found his work difficult, he was bolstered by the thought that his work might lighten the burden of the "weary and worn."</ref>
</blockquote>

The sense of bliss often evident in Haydn's music was also noticed by [[Charles Rosen]], who (describing a theme in the piano trio [[Hoboken catalog|Hob.]] XV:13), wrote of 

<blockquote>
Haydn's ability to create an emotion that was completely his own and that no other composer could duplicate -- a feeling of ecstasy that is completely unsensual, almost amiable. There is no recipe for producing this effect ...<ref>Rosen (1971/1997, 355)</ref>
</blockquote>

A modest number of Haydn's works are striking exceptions to this upbeat character. Some excursions into emotional darkness include [[The Seven Last Words of Christ (Haydn)|The Seven Last Words of Christ]], the ''largo'' movement of the string quartet [[String Quartets, Op. 76 (Haydn)|Op. 76 no. 5]], which Haydn marked "mesto" (sorrowful), and the widely admired coda section of his [[Variations in F minor]] for piano.

Perhaps more than any other composer's, Haydn's music is known for its humour; specifically, incongruous musical passages heard as jokes.{{efn|[[Steven Isserlis]] calls him "the funniest of the great composers" (preface to Richard Wigmore, ''The Faber Pocket Guide to Haydn'' (Faber, 2011)). {{Harvtxt|Brendel|2001}} focuses on the humour of both Haydn and Beethoven. {{harvtxt|Rosen|1997|p=111}} attributes to Haydn "an aptitude for the facetious that no other composer enjoyed".}} The most famous example is the sudden loud chord in the slow movement of his [[Symphony No. 94 (Haydn)|"Surprise" symphony]]; Haydn's many other musical jokes include numerous [[False ending#Music|false endings]] (e.g., in the quartets [[String Quartets, Op. 33 (Haydn)|Op. 33 No. 2]] and [[String Quartets, Op. 50 (Haydn)|Op. 50 No. 3]]), and the remarkable rhythmic illusion placed in the trio section of the third movement of [[String Quartets, Op. 50 (Haydn)#Opus 50, No. 1|Op. 50 No. 1]].<ref>The means by which Haydn fools the listener as to the location of the downbeat are discussed by Danuta Mirka (2009) ''Metric Manipulations in Haydn and Mozart: Chamber Music for Strings, 1787–1791'', Oxford University Press, pp. 197–198.</ref>

Haydn's fast movements tend to be rhythmically propulsive and often impart a great sense of energy, especially in the finales. Some characteristic examples of Haydn's "rollicking" finale type are found in the [[Symphony No. 104 (Haydn)|"London" Symphony No. 104]], the String Quartet Op. 50 No. 1, and the Piano Trio Hob XV: 27. Haydn's early slow movements are usually not too slow in tempo, relaxed, and reflective. Later on, the emotional range of the slow movements increases, notably in the deeply felt slow movements of the quartets [[String Quartets, Op. 76 (Haydn)|Op. 76 Nos. 3 and 5]], the [[Symphony No. 98 (Haydn)|Symphonies No. 98]] and [[Symphony No. 102 (Haydn)|102]], and the Piano Trio Hob XV: 23. The [[minuets]] tend to have a strong downbeat and a clearly popular character. Over time, Haydn turned some of his minuets into "[[Scherzo|scherzi]]" which are much faster, at one beat to the bar.

===Evolution of Haydn's style===
Haydn's lifetime overlapped substantially with those of the most celebrated masters of [[Baroque music]]: he was born 18 years before the death of [[Johann Sebastian Bach|J. S. Bach]] and 27 years before that of [[George Frideric Handel|Handel]]. Yet the models that influenced him, according to [[Karl Geiringer]], were not at all these composers, but rather the leaders in the earliest development of the emerging [[Classical period (music)|Classical]] style, particularly in Vienna: his employer [[Johann Georg Reutter]], [[Georg Christoph Wagenseil]], and [[Georg Matthias Monn ]] -- none of whom wrote music that is widely played today.<ref>Geiringer (1982:207)</ref> This was a period of exploration and uncertainty, and Haydn was himself one of the musical explorers of this time.<ref>{{Harvtxt|Rosen|1997|p=57}}. "[T]he period from 1750 to 1775 was penetrated by eccentricity, hit-or-miss experimentation, resulting in works which are still difficult to accept today because of their oddities". Similar remarks are made by {{Harvtxt|Hughes|1970|pp=111–112}}.</ref> Fairly early in his career Haydn discovered, and quickly came to revere, the music of a composer from outside Vienna, J. S. Bach's son  [[Carl Philipp Emanuel Bach]]. Geiringer emphasizes how Haydn was struck by the emotional depth of Bach's work: "Up to then he had been familiar with the gay and superficial idiom of the musical [[rococo]]; here he found compositions that deeply stirred and excited him.".<ref name="Geiringer30" />

Tracing Haydn's subsequent work over the six decades in which it was produced (he composed from about 1749 to 1802), one finds a gradual but steady increase in complexity and musical sophistication, which developed as Haydn learned from his own experience and that of his colleagues.<ref>For this view see, for instance, Geiringer (1982:367). Webster (2001:73-74) expresses distaste for the idea that Haydn's music "progressed" over time, but even he feels compelled to say that "other things equal, a later work of Haydn will be more complex and concentrated than an earlier one."</ref> Several important landmarks have been observed in the evolution of Haydn's musical style.

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 [[Sturm und Drang|a literary movement]] of about the same time, though it appears that the musical development actually preceded the literary one by a few years.{{efn|See {{Harvtxt|Webster|2002|p=18}}: "the term has been criticized: taken from the title of a play of 1776 by [[Friedrich Maximilian Klinger|Maximilian Klinger]], it properly pertains to a literary movement of the middle and late 1770s rather than a musical one of about 1768–1772".}} 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".{{sfn|Webster|2002|p=18}} Some of the most famous compositions of this time are the [[Symphony No. 44 (Haydn)|"Trauer" (Mourning) Symphony No. 44]], [[Symphony No. 45 (Haydn)|"Farewell" Symphony No. 45]], the Piano Sonata in C minor (Hob. XVI/20, L. 33), and the [[String Quartets, Op. 20 (Haydn)|six "Sun" Quartets Op. 20]], all from c. 1771–72. It was also around this time that Haydn became interested in writing [[fugue]]s in the Baroque style, and three of the Op. 20 quartets end with a fugue.

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 instrumental music and toward the production of [[Opera buffa|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,{{sfn|Webster|Feder|2001|loc=section 3.iii}} which helped him continue his career as a symphonist during this hectic decade.

In 1779, an important change in Haydn's contract permitted him to publish his compositions without prior authorization from his employer. This may have encouraged Haydn to rekindle his career as a composer of instrumental music. The change made itself felt most dramatically in 1781, when Haydn published the [[String Quartets, Op. 33 (Haydn)|six Op. 33 String Quartets]], announcing (in a letter to potential purchasers) that they were written in "a new and completely special way".{{efn|Original German "Neu, gantz besonderer Art"{{sfn|Sisman|1993|p=219}}}} [[Charles Rosen]] has argued that this assertion on Haydn's part was not just sales talk but meant quite seriously, and he points out a number of important advances in Haydn's compositional technique that appear in these quartets, advances that mark the advent of the [[Classical music era|Classical]] style in full flower. These include a fluid form of phrasing, in which each motif emerges from the previous one without interruption, the practice of letting accompanying material evolve into melodic material, and a kind of "Classical [[counterpoint]]" in which each instrumental part maintains its own integrity. These traits continue in the many quartets that Haydn wrote after Op. 33.{{efn|Rosen's case that Opus 33 represents a "revolution in style" (1971 and 1997, 116) can be found in chapter III.1 of {{harvtxt|Rosen|1997}}. For dissenting views, see {{Harvtxt|Larsen|1980|p=102}} and {{Harvtxt|Webster|1991}}. For discussion of the development of the same trend in Haydn's style in the symphonies that preceded the Opus 33 quartets see {{harvtxt|Rosen|1988|pp=181–186}}.}}

In the 1790s, stimulated by his England journeys, Haydn developed what Rosen calls his "popular style", a method of composition that, with unprecedented success, created music having great popular appeal but retaining a learned and rigorous musical structure.{{efn|Rosen discusses the popular style in ch. VI.1 of {{harvtxt|Rosen|1997}}.}} An important element of the popular style was the frequent use of [[folk music|folk]] or folk-like material (see [[Haydn and folk music]]). Haydn took care to deploy this material in appropriate locations, such as the endings of sonata expositions or the opening themes of finales. In such locations, the folk material serves as an element of stability, helping to anchor the larger structure.{{sfn|Rosen|1997|pp=333–337}} Haydn's popular style can be heard in virtually all of his later work, including the twelve [[London symphonies|"London" symphonies]], the late quartets and piano trios, and the two late [[oratorio]]s.

The return to Vienna in 1795 marked the last turning point in Haydn's career. Although his musical style evolved little, his intentions as a composer changed. While he had been a servant, and later a busy entrepreneur, Haydn wrote his works quickly and in profusion, with frequent deadlines. As a rich man, Haydn now felt that he had the privilege of taking his time and writing for posterity. This is reflected in the subject matter of ''[[The Creation (Haydn)|The Creation]]'' (1798) and ''[[The Seasons (Haydn)|The Seasons]]'' (1801), which address such weighty topics as the meaning of life and the purpose of humankind and represent an attempt to render the sublime in music. Haydn's new intentions also meant that he was willing to spend much time on a single work: both oratorios took him over a year to complete. Haydn once remarked that he had worked on ''The Creation'' so long because he wanted it to last.{{sfn|Geiringer|1982|p=158}}

The change in Haydn's approach was important in the history of classical music, as other composers were soon following his lead. Notably, Beethoven adopted the practice of taking his time and aiming high.{{efn|For discussion, see [[Antony Hopkins]] (1981) ''The Nine Symphonies of Beethoven'', Heinemann, London, pp. 7–8.}}

===Catalogues===
[[Anthony van Hoboken]] prepared a comprehensive catalogue of Haydn's works. The [[Hoboken catalogue]] assigns a catalogue number to each work, called its Hoboken number (abbreviated H. or Hob.). These Hoboken numbers are often used in identifying Haydn's compositions.

Haydn's string quartets also have Hoboken numbers, but they are usually identified instead by their [[opus number]]s, which have the advantage of indicating the groups of six quartets that Haydn published together. For example, the string quartet [[String Quartets, Op. 76 (Haydn)#Opus 76 No. 3 ("Emperor")|Opus 76, No. 3]] is the third of the six quartets published in 1799 as Opus 76.

===Instruments===
An "[[Anton Walter]] in Wien" fortepiano used by the composer is now on display in the ''Haydn-Haus Eisenstadt''.<ref>{{Cite journal|last=Latcham|first=Michael|date=1997|title=Mozart and the Pianos of Gabriel Anton Walter|jstor=3128423|journal=[[Early Music (journal)|Early Music]]|volume=25|issue=3|pages=383–400|doi=10.1093/earlyj/XXV.3.383|issn=0306-1078}}</ref> In Vienna in 1788 Haydn bought himself a fortepiano made by Wenzel Schantz. When the composer was visiting London for the first time, an English piano builder, [[John Broadwood]], supplied him with a concert grand.<ref>{{Cite journal|last=Badura-Skoda|first=Eva|author-link=Eva Badura-Skoda|title=Mozart's Walter fortepiano|doi=10.1093/earlyj/xxviii.4.686|journal=[[Early Music (journal)|Early Music]]|year=2000|volume=XXVIII|issue=4|pages=686|issn=1741-7260}}</ref>