{"id":1192,"date":"2017-03-15T18:14:21","date_gmt":"2017-03-15T18:14:21","guid":{"rendered":"https:\/\/courses.lumenlearning.com\/vccs-tcc-music-rford\/?post_type=chapter&p=1192"},"modified":"2020-04-11T21:51:42","modified_gmt":"2020-04-11T21:51:42","slug":"haydn-mozart-beethoven-and-others","status":"web-only","type":"chapter","link":"https:\/\/courses.lumenlearning.com\/vccs-tcc-music-rford\/chapter\/haydn-mozart-beethoven-and-others\/","title":{"raw":"Composers of the time","rendered":"Composers of the time"},"content":{"raw":"FRANZ JOSEPH HAYDN -\u00a0 MOZART -\u00a0 BEETHOVEN\r\n\r\nFranz Joseph Haydn<\/b>\u00a0\u00a0 (1732\u00a0\u2013 1809) \u00a0was one of the most prominent and prolific\u00a0composers\u00a0of the\u00a0Classical period. His contributions to\u00a0musical form\u00a0have earned him the epithets \u201cFather of the\u00a0Symphony\u201d and \u201cFather of the\u00a0String Quartet\u201d.\r\n\r\nHaydn spent much of his career as a court musician for the wealthy Esterh\u00e1zy family at their remote estate.\u00a0\u00a0During the nearly thirty years that Haydn worked at the Esterh\u00e1zy court, he produced a flood of compositions, as his musical style continued to develop.<\/span>\r\n\r\nIn 1779, an important change in Haydn\u2019s 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 \u201cpure\u201d music. The change made itself felt most dramatically in 1781, when Haydn published the\u00a0six string quartets of Opus 33, announcing (in a letter to potential purchasers) that they were written in \u201ca new and completely special way\u201d.\u00a0Charles Rosen \u00a0 points out a number of important advances in Haydn\u2019s compositional technique that appear in these quartets, advances that mark the advent of the\u00a0Classical\u00a0style in full flower.\r\n\r\nIn the 1790s, stimulated by his England journeys, Haydn developed \u00a0his \u201cpopular style\u201d. \u00a0An important element of the popular style was the frequent use of folk-like material. \u00a0Haydn\u2019s popular style can be heard in virtually all of his later work.\r\n
\r\n\r\n\"\"\r\n
The house in Vienna (now\u00a0a museum)\r\nwhere Haydn lived in the last years of his life.<\/address>
\u00a0<\/address><\/address><\/div>\r\n<\/div>\r\nHaydn met Wolfgang Amadeus Mozart sometime around 1784. \u00a0He was hugely impressed with Mozart\u2019s 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\u201dHaydn\u201d quartets.\r\n
In 1790, Haydn had met the young\u00a0Ludwig van Beethoven\u00a0in his native city of\u00a0Bonn. \u00a0A final triumph occurred on March 27, 1808 when a performance of\u00a0The Creation<\/i>\u00a0was organized in his honor. The very frail composer was brought into the hall on an armchair to the sound of trumpets and drums and was greeted by Beethoven, \u00a0Haydn was both moved and exhausted by the experience and had to depart at intermission.<\/div>\r\n
James Webster summarizes Haydn\u2019s role in the history of classical music as follows:\u00a0\u201cHe excelled in every musical genre\u2026 He is familiarly known as the \u2018father of the symphony\u2019 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.\u201d<\/i><\/div>\r\n

STRUCTURE AND CHARACTER OF HIS MUSIC<\/h3>\r\nA central characteristic of Haydn\u2019s music is the development of larger structures out of very short, simple musical\u00a0motifs, 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.\r\n\r\nHaydn\u2019s work was central to the development of\u00a0 sonata form.\u00a0His\u00a0 formal inventiveness also led him to integrate the\u00a0fugue in his classical style. His music is also known for its humor - perhaps, more than any other composer.\u00a0The most famous example of humor is the sudden loud chord in the slow movement of his \u201dSurprise\u201d symphony.\u00a0 Haydn\u2019s many other musical jokes include numerous false endings (e.g., in the quartets\u00a0Op. 33 No. 2\u00a0and\u00a0Op. 50 No. 3), and the remarkable rhythmic illusion placed in the trio section of the third movement of\u00a0Op. 50 No. 1.\r\n\r\nMuch of Haydn's music was written to please and delight a prince, and its emotional tone is correspondingly upbeat.\u00a0This character reflects, perhaps, Haydn\u2019s fundamentally healthy and well-balanced personality. Occasional minor-key works, often deadly serious in character, from striking exceptions to the general rule. Haydn\u2019s fast movements tend to be rhythmically propulsive and often impart a great sense of energy, especially in the finales. A characteristic example of Haydn\u2019s \u201crollicking\u201d finale type is found in the\u00a0\u201cLondon\u201d symphony\u00a0No. 104. Haydn\u2019s early slow movements are usually relaxed, and reflective. Later on, the emotional range of the slow movements increases. \u00a0The\u00a0minuets\u00a0tend to have a strong downbeat (first beat of each measure)\u00a0 and a\u00a0 popular character. Over time, Haydn made some of his minuets into \u201cscherzi\u201d which are much faster.\r\n\r\nThe return to Vienna in 1795 marked the last turning point in Haydn\u2019s 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 an established composer, Haydn now felt that he had the privilege of taking his time and writing for posterity. This is reflected in the subject matter of\u00a0The Creation<\/i>\u00a0(1798) and\u00a0The Seasons<\/i>\u00a0(1801), which address such weighty topics as the meaning of life and the purpose of humankind. They represent an attempt to render the sublime in music. Haydn\u2019s 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\u00a0The Creation<\/i>\u00a0so long because he wanted it to last.\r\n
\u00a0https:\/\/courses.lumenlearning.com\/music-app-rford\/wp-admin\/post.php?post=1429&action=edit<\/span><\/div>\r\nMozart<\/strong>\r\nHowever, a younger contemporary, Wolfgang Amadeus Mozart, brought his genius to Haydn's ideas and applied them to two of the major genres of the day: opera, and the virtuoso concerto. Whereas Haydn spent much of his working life as a court composer, Mozart wanted public success in the concert life. This meant composing \u00a0opera and \u00a0performing as a virtuoso. Haydn was not a virtuoso at the international touring level; nor was he seeking to create operatic works that could play for many nights in front of a large audience. Mozart wanted both. Stylistically, \u00a0Mozart had a taste for more chromatic chords (and greater contrasts in harmonic language generally), a greater love for creating a large number \u00a0of melodies in a single work, and a more Italianate sensibility in music as a whole. He found, in Haydn's music and later in his study of the polyphony of Bach, the means to discipline and enrich his gifts.\r\n
\r\n
\r\n\r\n[caption id=\"\" align=\"alignright\" width=\"225\"]\"The The Mozart family circa 1780. The portrait on the wall is of Mozart's mother.[\/caption]\r\n\r\n<\/div>\r\nHaydn hailed Mozart. He studied his works, and considered the younger man his only true peer in music. In Mozart, Haydn found a greater range of instrumentation, dramatic effect and melodic resource; the learning relationship moved in two directions.\r\n\r\nMozart's arrival in Vienna in 1780 brought an acceleration in the development of the classical style. There Mozart absorbed the fusion of Italianate brilliance and Germanic cohesiveness. His own taste for brilliant, rhythmically complex melodies and figures, long cantilena melodies, and virtuoso flourishes was merged with an appreciation for formal coherence and internal connection. \u00a0It is at this time in history that the \u00a0economic restrictions caused by \u00a0war and inflation halted a trend to larger orchestras and forced the disbanding or reduction of many theater orchestras. This pressed the classical style inwards: toward seeking greater ensemble and technical challenge. A premium \u00a0was placed on chamber music giving a further boost to the string quartet and other small ensemble groupings.\r\n\r\nDuring this decade public taste began, increasingly, to recognize that Haydn and Mozart had reached a higher standard of composition. By the time Mozart arrived at age 25, in 1781, the dominant styles of Vienna were recognizably connected to the emergence\u00a0 of the early classical style. \u00a0During this decade Mozart composed his most famous operas, his six late symphonies that helped to redefine the genre, and a string of piano concertos \u00a0that still stand at the pinnacle of these forms.\r\n\r\nThe importance of London in the classical period is often overlooked, but it served as the home to the Broadwood's factory for piano manufacturing and as the base for composers who, while less notable than the \"Vienna School\", had a decisive influence on what came later. They were composers of many fine works, notable in their own right. London's taste for virtuosity may well have encouraged the complex passage work and extended statements on tonic and dominant.\r\n\r\n\r\n<\/strong>\"Portrait\r\n<\/strong>\r\n
\r\n
Portrait of Beethoven by Joseph Karl Stieler, 1820<\/div>\r\n<\/div>\r\nBeethoven<\/strong>\r\n\r\nLudwig van Beethoven, the most fateful of the above described new generation launched his numbered works in 1794 with a set of three piano trios, which remain in the repertoire. Somewhat younger than the others, though equally accomplished because of his youthful study under Mozart and his native virtuosity, was Johann Nepomuk Hummel. Hummel who \u00a0studied under Haydn was a friend to Beethoven and Franz Schubert. Taken together, these composers can be seen as the vanguard of a broad change in style and the center of music for anticipating\u00a0 the Romantic period.\u00a0 .\r\n\r\n \r\n\r\n<\/div>","rendered":"

FRANZ JOSEPH HAYDN –\u00a0 MOZART –\u00a0 BEETHOVEN<\/p>\n

Franz Joseph Haydn<\/b>\u00a0\u00a0 (1732\u00a0\u2013 1809) \u00a0was one of the most prominent and prolific\u00a0composers\u00a0of the\u00a0Classical period. His contributions to\u00a0musical form\u00a0have earned him the epithets \u201cFather of the\u00a0Symphony\u201d and \u201cFather of the\u00a0String Quartet\u201d.
\n
\nHaydn spent much of his career as a court musician for the wealthy Esterh\u00e1zy family at their remote estate.\u00a0\u00a0During the nearly thirty years that Haydn worked at the Esterh\u00e1zy court, he produced a flood of compositions, as his musical style continued to develop.<\/span><\/p>\n

In 1779, an important change in Haydn\u2019s 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 \u201cpure\u201d music. The change made itself felt most dramatically in 1781, when Haydn published the\u00a0six string quartets of Opus 33, announcing (in a letter to potential purchasers) that they were written in \u201ca new and completely special way\u201d.\u00a0Charles Rosen \u00a0 points out a number of important advances in Haydn\u2019s compositional technique that appear in these quartets, advances that mark the advent of the\u00a0Classical\u00a0style in full flower.<\/p>\n

In the 1790s, stimulated by his England journeys, Haydn developed \u00a0his \u201cpopular style\u201d. \u00a0An important element of the popular style was the frequent use of folk-like material. \u00a0Haydn\u2019s popular style can be heard in virtually all of his later work.<\/p>\n

\n

\"\"<\/p>\n

\n
<\/address>\n
The house in Vienna (now\u00a0a museum)
\nwhere Haydn lived in the last years of his life.<\/address>\n
\u00a0<\/address>\n<\/div>\n<\/div>\n

Haydn met Wolfgang Amadeus Mozart sometime around 1784. \u00a0He was hugely impressed with Mozart\u2019s 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\u201dHaydn\u201d quartets.<\/p>\n

In 1790, Haydn had met the young\u00a0Ludwig van Beethoven\u00a0in his native city of\u00a0Bonn. \u00a0A final triumph occurred on March 27, 1808 when a performance of\u00a0The Creation<\/i>\u00a0was organized in his honor. The very frail composer was brought into the hall on an armchair to the sound of trumpets and drums and was greeted by Beethoven, \u00a0Haydn was both moved and exhausted by the experience and had to depart at intermission.<\/div>\n
James Webster summarizes Haydn\u2019s role in the history of classical music as follows:\u00a0\u201cHe excelled in every musical genre\u2026 He is familiarly known as the \u2018father of the symphony\u2019 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.\u201d<\/i><\/div>\n

STRUCTURE AND CHARACTER OF HIS MUSIC<\/h3>\n

A central characteristic of Haydn\u2019s music is the development of larger structures out of very short, simple musical\u00a0motifs, 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.<\/p>\n

Haydn\u2019s work was central to the development of\u00a0 sonata form.\u00a0His\u00a0 formal inventiveness also led him to integrate the\u00a0fugue in his classical style. His music is also known for its humor – perhaps, more than any other composer.\u00a0The most famous example of humor is the sudden loud chord in the slow movement of his \u201dSurprise\u201d symphony.\u00a0 Haydn\u2019s many other musical jokes include numerous false endings (e.g., in the quartets\u00a0Op. 33 No. 2\u00a0and\u00a0Op. 50 No. 3), and the remarkable rhythmic illusion placed in the trio section of the third movement of\u00a0Op. 50 No. 1.<\/p>\n

Much of Haydn’s music was written to please and delight a prince, and its emotional tone is correspondingly upbeat.\u00a0This character reflects, perhaps, Haydn\u2019s fundamentally healthy and well-balanced personality. Occasional minor-key works, often deadly serious in character, from striking exceptions to the general rule. Haydn\u2019s fast movements tend to be rhythmically propulsive and often impart a great sense of energy, especially in the finales. A characteristic example of Haydn\u2019s \u201crollicking\u201d finale type is found in the\u00a0\u201cLondon\u201d symphony\u00a0No. 104. Haydn\u2019s early slow movements are usually relaxed, and reflective. Later on, the emotional range of the slow movements increases. \u00a0The\u00a0minuets\u00a0tend to have a strong downbeat (first beat of each measure)\u00a0 and a\u00a0 popular character. Over time, Haydn made some of his minuets into \u201cscherzi\u201d which are much faster.<\/p>\n

The return to Vienna in 1795 marked the last turning point in Haydn\u2019s 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 an established composer, Haydn now felt that he had the privilege of taking his time and writing for posterity. This is reflected in the subject matter of\u00a0The Creation<\/i>\u00a0(1798) and\u00a0The Seasons<\/i>\u00a0(1801), which address such weighty topics as the meaning of life and the purpose of humankind. They represent an attempt to render the sublime in music. Haydn\u2019s 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\u00a0The Creation<\/i>\u00a0so long because he wanted it to last.<\/p>\n

\u00a0https:\/\/courses.lumenlearning.com\/music-app-rford\/wp-admin\/post.php?post=1429&action=edit<\/span><\/div>\n

Mozart<\/strong>
\nHowever, a younger contemporary, Wolfgang Amadeus Mozart, brought his genius to Haydn’s ideas and applied them to two of the major genres of the day: opera, and the virtuoso concerto. Whereas Haydn spent much of his working life as a court composer, Mozart wanted public success in the concert life. This meant composing \u00a0opera and \u00a0performing as a virtuoso. Haydn was not a virtuoso at the international touring level; nor was he seeking to create operatic works that could play for many nights in front of a large audience. Mozart wanted both. Stylistically, \u00a0Mozart had a taste for more chromatic chords (and greater contrasts in harmonic language generally), a greater love for creating a large number \u00a0of melodies in a single work, and a more Italianate sensibility in music as a whole. He found, in Haydn’s music and later in his study of the polyphony of Bach, the means to discipline and enrich his gifts.<\/p>\n

\n
\n
\"The<\/p>\n

The Mozart family circa 1780. The portrait on the wall is of Mozart’s mother.<\/p>\n<\/div>\n<\/div>\n

Haydn hailed Mozart. He studied his works, and considered the younger man his only true peer in music. In Mozart, Haydn found a greater range of instrumentation, dramatic effect and melodic resource; the learning relationship moved in two directions.<\/p>\n

Mozart’s arrival in Vienna in 1780 brought an acceleration in the development of the classical style. There Mozart absorbed the fusion of Italianate brilliance and Germanic cohesiveness. His own taste for brilliant, rhythmically complex melodies and figures, long cantilena melodies, and virtuoso flourishes was merged with an appreciation for formal coherence and internal connection. \u00a0It is at this time in history that the \u00a0economic restrictions caused by \u00a0war and inflation halted a trend to larger orchestras and forced the disbanding or reduction of many theater orchestras. This pressed the classical style inwards: toward seeking greater ensemble and technical challenge. A premium \u00a0was placed on chamber music giving a further boost to the string quartet and other small ensemble groupings.<\/p>\n

During this decade public taste began, increasingly, to recognize that Haydn and Mozart had reached a higher standard of composition. By the time Mozart arrived at age 25, in 1781, the dominant styles of Vienna were recognizably connected to the emergence\u00a0 of the early classical style. \u00a0During this decade Mozart composed his most famous operas, his six late symphonies that helped to redefine the genre, and a string of piano concertos \u00a0that still stand at the pinnacle of these forms.<\/p>\n

The importance of London in the classical period is often overlooked, but it served as the home to the Broadwood’s factory for piano manufacturing and as the base for composers who, while less notable than the “Vienna School”, had a decisive influence on what came later. They were composers of many fine works, notable in their own right. London’s taste for virtuosity may well have encouraged the complex passage work and extended statements on tonic and dominant.<\/p>\n


\n<\/strong>\"Portrait
\n<\/strong><\/p>\n

\n
Portrait of Beethoven by Joseph Karl Stieler, 1820<\/div>\n<\/div>\n

Beethoven<\/strong><\/p>\n

Ludwig van Beethoven, the most fateful of the above described new generation launched his numbered works in 1794 with a set of three piano trios, which remain in the repertoire. Somewhat younger than the others, though equally accomplished because of his youthful study under Mozart and his native virtuosity, was Johann Nepomuk Hummel. Hummel who \u00a0studied under Haydn was a friend to Beethoven and Franz Schubert. Taken together, these composers can be seen as the vanguard of a broad change in style and the center of music for anticipating\u00a0 the Romantic period.\u00a0 .<\/p>\n

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