Haydn's Austrian Identity: Exploring His Cultural Roots

Joseph Haydn was an Austrian composer and one of the most important figures in the development of Classical music. He was born in Rohrau, Austria, in 1732 and died in Vienna in 1809. Haydn was a child prodigy and was sent to live with his cousin, a school principal and choirmaster, in Hainburg, where he received his early musical education. He later served as a chorister at St. Stephen's Cathedral in Vienna. Haydn went on to become a court musician for the wealthy Esterházy family and is credited with developing chamber music such as the string quartet and piano trio. His contributions to musical form have earned him the titles Father of the Symphony and Father of the String Quartet.

Haydn's early life and career

Joseph Haydn was born in Rohrau, Austria, in 1732. He was the second son of humble parents: his father was a wheelwright, and his mother, a cook. Haydn showed early promise in music, and after a couple of years of private lessons, he was enrolled in the choir of St. Stephen's Cathedral in Vienna when he was eight years old.

Haydn's life changed decisively when he was eight years old. The musical director of St. Stephen's Cathedral in Vienna had observed the boy on a visit to Hainburg and invited him to serve as a chorister at the Austrian capital's most important church. Haydn's parents accepted the offer, and thus in 1740, Haydn moved to Vienna. He stayed at the choir school for nine years, acquiring an enormous practical knowledge of music by constant performances but receiving little instruction in music theory. Haydn had to work hard to fulfill his obligations as a chorister, and when his voice changed, he was expelled from both the cathedral choir and the choir school.

With no money and few possessions, Haydn, at 17, was left to his own devices. He found refuge for a while in the garret of a fellow musician and supported himself with odd musical jobs. He undertook an arduous course of self-instruction through the study of musical works, notably those of Carl Philipp Emanuel Bach, and leading manuals of musical theory. A fortunate chance brought him to the attention of the Italian composer and singing teacher Nicola Porpora, who accepted him as an accompanist for voice lessons and corrected Haydn's compositions.

With persistence and energy, Haydn made progress. He was eventually introduced to the music-loving Austrian nobleman Karl Joseph von Fürnberg, in whose home he played chamber music. For the instrumentalists there, he wrote his first string quartets. Through the recommendation of Fürnberg, in 1758, Haydn was engaged as musical director and chamber composer for the Bohemian Count Ferdinand Maximilian von Morzin. Haydn was put in charge of an orchestra of about 16 musicians, and for this ensemble, he wrote his first symphony, as well as numerous divertimenti for wind band or for wind instruments and strings.

Haydn stayed only briefly with von Morzin as financial difficulties forced his patron to dismiss the orchestra. Soon, he was invited to enter the service of Prince Pál Antal Esterházy. The Esterházys were one of the wealthiest and most influential families of the Austrian Empire and boasted a distinguished record of supporting music. Haydn's employment by the Esterházy family proved decisive for his career, and he remained in their service until his death.

Haydn's time with the Esterházy family

Prince Paul Anton was a great lover of music and appreciated Haydn's talent. During his time with the Esterházy family, Haydn had access to a talented and well-funded orchestra, which allowed him to compose and perform his symphonies, operas, and other works. The prince expected Haydn to create new music for various occasions, and this led to a remarkably productive period in the composer's life. Haydn's duties included composing, conducting, and overseeing the musical life of the court, which included organizing concerts and teaching music to the prince's sisters.

Haydn's position provided him with a high degree of job security and artistic freedom. He was allowed to publish his works independently, which helped spread his reputation beyond the court. In 1762, Prince Nikolaus Esterházy, Paul Anton's brother, succeeded him, and Haydn's position was further solidified. Nikolaus was an even greater patron of the arts and expected Haydn to compose new works regularly. This led to the composition of numerous symphonies, concertos, and other works that have become staples of the classical music repertoire.

Life at the Esterházy court was not without its challenges. The family's lavish entertainment expectations placed demands on Haydn, requiring him to be versatile and adaptable in his compositions. He often had to compose quickly, sometimes completing a symphony in a matter of weeks. The court's remote location in Eisenstadt and later at Esterháza, the family's summer palace, also meant that Haydn was somewhat isolated from the broader musical world. However, this isolation also provided him with the peace and focus needed to compose prolifically.

During his time with the Esterházys, Haydn also had the opportunity to travel and perform in other parts of Europe, including Vienna and London. These trips broadened his horizons, introduced him to new musical influences, and helped spread his fame internationally. Haydn's nearly three-decade-long association with the Esterházy family was a defining feature of his career, providing him with the stability, resources, and artistic freedom he needed to compose some of the most enduring music of the classical era.

In summary, Haydn's time with the Esterházy family was a period of immense creative output and professional growth. It provided him with the ideal environment to develop his craft, and his contributions to the musical life of the court firmly established his reputation as one of the greatest composers of his time.

Haydn's friendship with Mozart

Joseph Haydn and Wolfgang Amadeus Mozart were friends, despite their relationship not being very well-documented. The evidence that they enjoyed each other's company, however, is strong.

Haydn was already a fairly well-known composer by the time Mozart was a child. His six string quartets, Opus 20 (1772), called the "Sun" Quartets, were widely circulated and are thought to have inspired the six early string quartets Mozart wrote during a 1773 visit to Vienna.

The two composers probably weren't able to meet until after Mozart's permanent relocation to Vienna in 1781. Haydn was required to spend most of his time at the palace of Eszterháza in Hungary, where his patron and employer Prince Nikolaus Esterházy preferred to live. During the winter months, the Prince would move to the ancestral palace in Eisenstadt, bringing Haydn with him. During these periods, Haydn would often make brief visits to Vienna, about 40km away.

The two men are thought to have crossed paths for the first time at a musicians' benefit concert in December 1783, which featured works by both composers. They quickly developed a deep friendship, with Mozart addressing Haydn as "Papa" and using the informal "du" form of speech in German, unusual considering the age gap between the two men.

Their friendship was further affirmed in 1785 when Mozart dedicated his six "Haydn" quartets to his older friend. Usually, compositions would have been dedicated to a wealthy patron or sponsor, but Mozart chose to dedicate these works to Haydn instead. Mozart described sending his six "sons" (six quartets) to his "best friend".

Haydn was very impressed with Mozart's new work. He heard the new quartets for the first time at a social occasion on 15 January 1785, at which Mozart performed the quartets with "my dear friend Haydn and other good friends". Mozart's father Leopold was present and, at that time, Haydn made a remark to Leopold that is now widely quoted:

> Before God and as an honest man I tell you that your son is the greatest composer known to me either in person or by name; he has taste, and, furthermore, the most profound knowledge of composition.

Haydn's view of Mozart is evident in a 1787 letter he wrote to a friend:

> If I could only impress on the soul of every friend of music, and on high personages in particular, how inimitable are Mozart's works, how profound, how musically intelligent, how extraordinarily sensitive! (for this is how I understand them, how I feel them) — why then the nations would vie with each other to possess such a jewel within their frontiers… but should reward him, too: for without this, the history of great geniuses is sad indeed, and gives but little encouragement to posterity to further exertions… It enrages me to think that this incomparable Mozart is not yet engaged in some imperial or royal court! Forgive me if I lose my head. But I love this man so dearly.

The last time Haydn saw Mozart was right before he left for London in December 1790, almost exactly a year before Mozart's untimely death. Haydn was distraught when he heard of Mozart's death, writing to their mutual friend Michael Puchberg,

> For some time I was quite beside myself over his death, and could not believe that Providence should so quickly have called away an irreplaceable man into the next world.

Haydn eulogized Mozart, saying, "Posterity will not see such a talent again in 100 years."

Haydn's time in England

During his time in London, Haydn composed twelve symphonies, known as the "London Symphonies" (Nos. 93-104), which are among his most famous and frequently performed works. These symphonies showcased Haydn's mature style, characterised by bold orchestration, vivid contrasts, and expansive forms. Additionally, he composed a series of string quartets (Op. 71 and Op. 74), which further solidified his reputation as the "father of the string quartet".

Haydn's contributions to piano literature during his time in England were also substantial. He composed several sonatas, which are now staples of the piano repertoire, including the three sonatas of Hob. XVI: 50, 51, and 52. These works demonstrate Haydn's innovative approach to the piano, featuring a greater range of dynamics, expanded keyboard use, and a more challenging technical demand, reflecting the capabilities of English pianos.

After two successful trips to London (1791-1792 and 1794-1795), Haydn returned to Vienna in 1795, where he composed the oratorios "The Creation" and "The Seasons", influenced by the grandeur and scale of the musical forms he had explored in London.

Haydn's death and legacy

Haydn died peacefully in his home in Vienna in 1809 at the age of 77. In the years leading up to his death, Haydn's health had been in decline. He suffered from weakness, dizziness, an inability to concentrate, and painfully swollen legs. Despite his ailments, the flow of fresh musical ideas continued, although he could no longer work them out as compositions.

Haydn's funeral was held the afternoon following his death. It was a simple affair due to the war. A more formal memorial service was held the following month, accompanied by Mozart's Requiem. Haydn's remains were initially interred in the local Hundsturm cemetery. In 1820, they were moved to Eisenstadt by Prince Nikolaus. Haydn's head, however, took a different journey. It was stolen by phrenologists shortly after burial and was only reunited with the rest of his remains in 1954.

Haydn's death did not mark the end of his legacy. He is remembered as one of the most important figures in the development of the Classical style in music during the 18th century. He is credited with helping establish the forms and styles for the string quartet and the symphony and is often referred to as the "Father of the Symphony" and the "Father of the String Quartet". Haydn was also an extremely prolific composer, with works including the London Symphonies, The Creation, Trumpet Concerto, and Cello Concerto No. 2 in D Major. His compositions are often characterised as light, witty, and elegant.

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