Joseph Haydn (1732–1809) was an Austrian composer. In 1740-1749 he sang in the choir of the St. Stephen Cathedral in Vienna and studied violin, clavier and organ performance. In 1753-1756 he worked as an accompanist for the Italian composer and teacher Nicola Porpora, with whom he studied composition. In 1761-1790 he was Kappelmeister for the Esterházy princes: before 1766 in Eisenstadt, and then in their residence in Eszterháza, where he wrote most of his compositions. In 1792, while living in Vienna, Haydn taught Beethoven. Haydn spent the years 1791–1792 and 1794–1795 mostly in London. He spent his last years in Vienna.
Haydn is a representative of the Viennese Classical school. He was conducive to the formation of the classical genres (the symphony, the sonata, the concerto for solo instruments with orchestra and the string quartet), forms (primarily sonata form and the sonata-symphonic cycle), principles of development (motivic and thematic development) and the ensemble of the orchestra (the so-called double).
The composer’s music is distinguished for its versatility of content, strictness and commensurability of proportions and the prevalence of light-hearted, cheerful moods. It combines philosophical profundity with unpretentious implementation of everyday-life and humorous images.
In his music Haydn incorporated the achievements of Austrian, German, Italian, French and Czech composers who worked prior to him. Many of his divertimentos and trios were composed in the traditions of the music-making of Viennese common folks. The composer’s musical output is distinguished by its breadth of ties with vernacular musical traditions; it demonstrates the influence of Austrian, German, Hungarian, Slavic and Croatian folklore.
Haydn’s string quartets and symphonies of the 1750s and 1760s retain their connection with vernacular suite genres. His compositions from the 1770s already demonstrate lyrical and dramatic tendencies, which appeared as the result of the influence of C.P.E. Bach’s music and the “Sturm und Drang” trend in literature (the “Trauer Symphony,” the “Farewell Symphony” and the string quartets). A turning point for the composer turned out to be the creation of the “Russian Quartets” (1781), which he dedicated to Grand Duke Paul of Russia. They solidified the classical instrumental style, which reached its apex in the “Paris Symphonies” (1785–1786) and the “London Symphonies” (1791–1795). The turn of the 18th and 19th centuries saw the emergence of the composer’s finest vocal-orchestral compositions – the oratorios “Die Schöpfung” (“The Creation” and “Die Jahreszeiten” (“The Seasons”).
Among his musical compositions are operas; works for soloists, chorus and orchestra, including “The Seven Last Words of Our Savior on the Cross,” “Die Schöpfung” (“The Creation” and “Die Jahreszeiten” (“The Seasons”), masses, cantatas, 2 “Te Deum” masses, “Stabat Mater;” solo cantatas and arias for voice and orchestra; music for orchestra – over 100 symphonies, including the 12 “London” symphonies,” overtures, dances and marches; concertos for solo instruments with orchestra, including concertos for clavier, violin and cello; works for chamber ensembles; works for piano – for two-hand piano: sonatas, short pieces, dances, pieces for four-hand piano, works for one or several voices and piano, including songs.
