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Joseph Haydn

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"Haydn" redirects here. For other uses, see Haydn (disambiguation).

(Franz) Joseph Haydn (March 31, 1732 ? May 31, 1809) was an Austrian composer. He was one of the most prominent composers of the classical period, and is called by some the "Father of the Symphony" and "Father of the String Quartet".

A life-long citizen of Austria, Haydn spent much of his career as a court musician for the wealthy Hungarian Esterhazy family on their remote estate. Isolated from other composers and trends in music until the later part of his long life, he was, as he put it, "forced to become original"

During his lifetime, the composer was always known as Joseph Haydn. The form "Franz Joseph Haydn" is avoided by modern scholars and historians.

Joseph Haydn was the brother of Michael Haydn, himself a highly regarded composer, and Johann Evangelist Haydn, a tenor.

Childhood
Joseph Haydn was born in Rohrau, Austria, a village near the border with the Hungary. His father was Mathias Haydn, a wheelwright who also served as "Marktrichter", an office akin to village mayor. Haydn's mother, the former Maria Koller, had previously worked as a cook in the palace of Count Harrach, the presiding aristocrat of Rohrau. Neither parent could read music; however, Mathias was an enthusiastic folk musician, who during the journeyman period of his career had taught himself to play the harp. According to Haydn's later reminiscences, his childhood family was extremely musical, and frequently sang together and with their neighbours.

Haydn's parents had noticed that their son was musically talented and knew that in Rohrau he would have no chance to obtain any serious musical training. It was for this reason that they accepted a proposal from their relative Johann Matthias Franck, the schoolmaster and choirmaster in Hainburg, that Haydn be apprenticed to Franck in his home to train as a musician. Haydn therefore went off with Franck to Hainburg (seven miles away) and never again lived with his parents. He was five years old.

Life in the Franck household was not easy for Haydn, who later remembered being frequently hungry　as well as constantly humiliated by the filthy state of his clothing.　However, he did begin his musical training there, and soon was able to play both harpsichord and violin. The people of Hainburg were soon hearing him sing treble parts in the church choir.

There is reason to think that Haydn's singing impressed those who heard him, because two years later (in 1740) he was brought to the attention of Georg von Reutter, the director of music in St. Stephen's Cathedral in Vienna, who was touring the provinces looking for talented choirboys. Haydn passed his audition with Reutter, and soon moved off to Vienna, where he worked for the next nine years as a chorister, the last four in the company of his younger brother Michael.

Like Franck before him, Reutter did not always bother to make sure Haydn was properly fed. The young Haydn greatly looked forward to performances before aristocratic audiences, where the singers sometimes had the opportunity to satisfy their hunger by devouring the refreshments.^[8] Reutter also did little to further his choristers' musical education. However, St. Stephen's was at the time one of the leading musical centers in Europe, with many performances of new music by leading composers. Haydn was able to learn a great deal by observation, simply by serving as a professional musician there.　　　　　　　　

Map showing locations where Haydn lived or visited. For discussion, see Joseph Haydn: geographic key

Prince Nikolaus Esterhazy, Haydn's most important patron

By 1749, Haydn had finally matured physically to the point that he was no longer able to sing high choral parts. On a weak pretext, he was summarily dismissed from his job. He was sent into the streets with no home to go to.^[10] However, he had the good fortune to be taken in by a friend, Johann Michael Spangler, who for a few months shared with Haydn his family's crowded garret room. Haydn was able to begin immediately his pursuit of a career as a freelance musician.

During this arduous time, Haydn worked at many different jobs: as a music teacher, as a street serenader, and eventually as valet?accompanist for the Italian composer Nicola Porpora, from whom he later said he learned "the true fundamentals of composition"

When he was a chorister, Haydn had not received serious training in music theory and composition, which he perceived as a serious gap. To fill it, he worked his way through the counterpoint exercises in the text Gradus ad Parnassum by Johann Joseph Fux, and carefully studied the work of Carl Philipp Emanuel Bach, whom he later acknowledged as an important influence.

As his skills increased, Haydn began to acquire a public reputation, first as the composer of an opera, Der krumme Teufel "The Limping Devil", written for the comic actor Johann Joseph Felix Kurz, whose stage name was "Bernardon". The work was premiered successfully in 1753, but was soon closed down by the censors.^[13] Haydn also noticed, apparently without annoyance, that works he had simply given away were being published and sold in local music shops.

With the increase in his reputation, Haydn eventually was able to obtain aristocratic patronage, crucial for the career of a composer in his day. Countess Thun, having seen one of Haydn's compositions, summoned him and engaged him as her singing and keyboard teacher.^[16] Baron Carl Josef Furnberg employed Haydn at his country estate, Weinzierl, where the composer wrote his first string quartets. Furnberg later recommended Haydn to Count Morzin, who in 1757　became his first full time employer.
The years as Kapellmeister

Haydn's job title under Count Morzin was Kapellmeister, that is, music director. He led the count's small orchestra and wrote his first symphonies for this ensemble.

In 1760, with the security of a Kapellmeister position, Haydn married. His wife was the former Maria Anna Aloysia Apollonia Keller (1729?1800), the sister of Therese (b. 1733), with whom Haydn had previously been in love. Haydn and his wife had a completely unhappy marriage,^[19] from which the laws of the time permitted them no escape; and they produced no children. Both took lovers

Count Morzin soon suffered financial reverses that forced him to dismiss his musical establishment, but Haydn was quickly offered a similar job (1761) as Vice Kapellmeister to the Esterhazy family, one of the wealthiest and most important in the Austrian Empire. When the old Kapellmeister, Gregor Werner, died in 1766, Haydn was elevated to full Kapellmeister.

As a "house officer" in the Esterhazy establishment, Haydn wore livery and followed the family as they moved among their various palaces, most importantly the family's ancestral seat Schloss Esterhazy in Eisenstadt and later on Eszterhaza, 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 workload, the job was in artistic terms a superb opportunity for Haydn. The Esterhazy princes (first Paul Anton, then most importantly 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 Esterhazy court, he produced a flood of compositions, and his musical style continued to develop. His popularity in the outside world also increased. Gradually, Haydn came to write as much for publication as for his employer, and several important works of this period, such as the Paris symphonies (1785?1786) and the original orchestral version of The Seven Last Words of Christ (1786), were commissions from abroad.

Haydn also gradually came to feel more isolated and lonely, particularly as the court came to spend most of the year at Esterhaza, far from Vienna, rather than the closer-by Eisenstadt (Geiringer 1982, p. 60). Haydn particularly longed to visit Vienna because of his friendships there.

Of these, a particularly important one was with Maria Anna von Genzinger (1750?93), 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 Eszterhaza 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 F minor variations for piano, Hob. XVII:6, may have been written in response to her death.

Another friend in Vienna was Wolfgang Amadeus Mozart, whom Haydn met sometime around 1784. According to later testimony by Michael Kelly and others, the two composers occasionally played in string quartets together. Haydn was hugely impressed with Mozart's work and praised it unstintingly to others. Mozart evidently returned the esteem, as seen in his dedication of a set of six quartets, now called the "Haydn" quartets, to his friend. For further details see Haydn and Mozart.

In 1790, Prince Nikolaus died and was succeeded by a thoroughly unmusical prince who dismissed the entire musical establishment and put Haydn on a pension. Freed of his obligations, Haydn was able to accept a lucrative offer from Johann Peter Salomon, a German impresario, to visit England and conduct new symphonies with a large orchestra.

The visit (1791?1792), along with a repeat visit (1794?1795), was a huge success. Audiences flocked to Haydn's concerts; Haydn augmented his fame and made large profits, thus becoming financially secure. Charles Burney reviewed the first concert thus: "Haydn himself presided at the piano-forte; and the sight of that renowned composer so electrified the audience, as to excite an attention and a pleasure superior to any that had ever been caused by instrumental music in England."^[24]

Musically, the visits to England generated some of Haydn's best-known work, including the Surprise, Military, Drumroll, and London symphonies, the Rider quartet, and the "Gypsy Rondo" piano trio. The only misstep in the venture was an opera, Orfeo ed Euridice, also called L'Anima del Filosofo, which Haydn was contracted to compose, but whose performance was blocked by intrigues

Between visits, Haydn taught Ludwig van Beethoven. Beethoven found him unsatisfactory as a teacher and sought help from others; the relationship between the two was sometimes rather tense. For discussion of their relationship, see Beethoven and his contemporaries

Final years in Vienna

Haydn returned to Vienna in 1795, moved into a large house in the suburb of Gumpendorf, and turned to the composition of large religious works for chorus and orchestra. These include his two great oratorios (The Creation and The Seasons) and six masses for the Eszterhazy family, which by this time was once again headed by a musically-inclined prince. Haydn also composed instrumental music: the popular Trumpet Concerto and the last nine in his long series of string quartets, including the Fifths, Emperor, and Sunrise quartets.

In 1802, an illness from which Haydn had been suffering for some time had increased in severity to the point that he became physically unable to compose. This was doubtless very difficult for him because, as he acknowledged, the flow of fresh musical ideas waiting to be worked out as compositions did not cease. Haydn was well cared for by his servants, and he received many visitors and public honours during his last years, but they could not have been very happy years for him. During his illness, Haydn often found solace by sitting at the piano and playing Gott erhalte Franz den Kaiser, which he had composed himself as a patriotic gesture in 1797 (Geiringer 1982, pp. 161?2). This melody later was used for the Austrian and German national anthems.

Haydn died at the end of May in 1809, shortly after an attack on Vienna by the French army under Napoleon. He was 77. Among his last words was his attempt to calm and reassure his servants when cannon shot fell in the neighborhood (Geiringer 1982, p. 189). "My children, have no fear, for where Haydn is, no harm can fall." Two weeks later, a memorial service was held in the Schottenkirche on June 15, 1809, at which Mozart's Requiem was performed.（From Wikipedia, the　free encyclopedia）

左の大天使ミカエルは　槍と胆汁の器と酢に浸した海綿を刺した草の茎を
右の大天使ガブリエルは　十字架と４本の釘を持っています

どちらもイエスの処刑に用いられたもので
受難の運命を知った幼いイエスが、母マリアに助けを求めています
今にも落ちそうなサンダルに心境があらわされています

Year Schedule of My Next stages；（Details and Updated)
Die Jahreszeiten(The Seasons）Underconstruction　Midi　Link
Feb 7(Sat2009　)TISConcert　Oota Kumin Hall APRICO, Kamata

Nov.2,2008 Cherubini :Requiem(St.Luke International Chapel) By St.Luke International Chapel Choir and Requiem Choir Priest：Simon Petro Noriaki Ueda　Conductor：Choir Master Ignacio Tadashi Ohtake　

Christmas Concerts - December 2008

Feb. 7, 2009 (Saturday)6:30 p.m.Joseph Haydn Die Jahreszeiten (The Seasons)

Tokyo International Singers Conductor: Marcel L’Esperance Soloists: Yoko Yasui, soprano; Mitsuhiko Ohno, tenor; Tetsuro Kitamura, baritone Tokyo New City Ensemble Oota Kumin Hall APRICO, Kamata

The British Embassy Choir Tokyo Haydn & Mendelssohn Bicentenary Choral Concert

Mendelssohn :Psalm 43 : Richte mich, Gott Psalm 22 : Mein Gott, mein Gott, warum hast du mich verlassen?
Heilig Hear my prayer Psalm 42 : Wie der Hirsch schreit nach dem frischem Wasser
Conductor:Steven Morgan BEC Festival Orchestra
Free Entry-Donations gratefully accepted

3/18（Sun）:Schubert Mass No.６ Concert Conducted by：Bon Fujisaki　Senzoku Orchestra　 Venue：　Maeda-hallSenzoku Maeda Hall(SENZOKU MUSIC College)　

By　：Senzoku Gakuen college of Music　Kanai seminar
Co-By　：Franz Schubert Society
　2/18(Sun）Charity Concert　 Program：Schubert Mass No.６、Kyrie,Gloria　Sopranos solo,Piano & Organa soloソプラ Venue：Catholic Saginuma Church　14：30ｐｍ　Tichet Price:￥2000（To be donated for Church renewal Construction)

　Bruckner　《Mass No.３"Mass in F minor" 》　Brahms 《Nanie 》
Feb.10 2007(Sat)　at　7:00Pm
Tokyo International Singers　With Tokyo City orchestra
Conducted by: Marcel L'Esperance 　Venue:New Suginami Hall New Suginami-ku Large Hall March　１８（Sun):　Schubert Mass No.６ Concert Program：Schubert　Mass　No.６　Conductor　：　 Orchestra　：Senzoku Gakuen Orchestra　Bon Fujisaki(Planned) Venue：　Senzoku Maeda Hall　　By　：Senzoku Gakuen college of Music　Kanai seminar Co-By　：Franz Schubert Society
Countdown Concert of Beethoven No.9 at ＩＫＳＰＩＡＲＩ
19pm in Dec.31 Disney Resort
Directed by Takashi Kinoshita　Urayasu City Orchestra
◆Solists◆
Soprano：Toshimi Nagayasu　Alto：Tomoko Kasahara　Tenor：Izumi Furusawa　Bass：Licht Furusawa
Chorus：IKSPIARI CountDown No.9 Chorus　Chorus Director：Licht Furusawa
　Gloria chapel in ShinagawaMessiah：
Dec.5(Tue)　at　６ｐｍ　Venue：Gloria chapel
Program：Oratorio　Messiah　HWV.56 G.F.Handel
Conducted by：Keizo Fujimoto
St.Luke's International Hospital, Chapel Choir
Summer Concert Program
Date: Aug.27(Sun) 2006 arround　10:30　after the Service
Place: Karuizawa Shaw Memorial Chapel
Program：O saviour of the world（J.Goss＆A.Somervell)、
Haec dies（J.Arcadert＆W.Byrd)
Ave verum corpus（E.Elgar＆W.A.Mozart)

Karuizawa Shaw Memorial Chapel

Prof.KanaiSeminar's Ensemble & Schubert Mass No.6 Concert
July.15（Sat):13:30～SCHUBERT　Choir(Soli）（Will take Solo part together with students）
Program：Schubert　Mass　No.6　Conductor　：　Mayumi Motomura
Orchestra　：Senzoku Gakuen Orchestra　
Venue：　Nissay Theater Pilotis　Nissay Theater Performance Schedule
　By　：Senzoku Gakuen college of Music　Kanai seminar
Co-By　：Franz Schubert Society

Quarto Incontro Musicale
Main sponsor;Studiolo(Italian Language School)
EVENING FOR iTALIAN ARIAS AND CANZONE　
（I　SANG　Mozart：Dalla sua pace　AND　Non ti scordar di me
Sept.16(Sun)July　２００６　　１