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Joseph Haydn


Joseph Haydn

rity benefits, including Tonkünstler-Societät programs with massed musical forces. He 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. A brief work, "Gott erhalte Franz den Kaiser" (the "Emperor's Hymn"; 1797), achieved great success and became "the enduring emblem of Austrian identity right up to the First World War" (Jones); in modern times it became (with different words) the national anthem of Germany.

During the later years of this successful period, Haydn faced incipient old age and fluctuating health, and he had to struggle to complete his final works. His last major work, from 1802, was the sixth mass for the Esterházys, the Harmoniemesse.

Retirement, illness, and death

By the end of 1803, Haydn's condition had declined to the point that he became physically unable to compose. He suffered from weakness, dizziness, inability to concentrate and painfully swollen legs. Since diagnosis was uncertain in Haydn's time, it is unlikely that the precise illness can ever be identified, though Jones suggests arteriosclerosis.[33]

The illness was especially hard for Haydn because the flow of fresh musical ideas waiting to be worked out as compositions (something he could no longer do) continued unabated. His biographer Dies reported a conversation from 1806:

[Haydn said] "I must have something to do -- usually musical ideas are pursuing me, to the point of torture, I cannot escape them, they stand like walls before me. If it's an allegro that pursues me, my pulse keeps beating faster, I can get no sleep. If it's an adagio, then I notice my pulse beating slowly. My imagination plays on me as if I were a clavier."[n 16] Haydn smiled, the blood rushed to his face, and he said "I am really just a living clavier."[n 17]

The winding down of Haydn's career was gradual. The Esterházy family kept him on as Kapellmeister to the very end (much as they had with his predecessor Werner long before), but they appointed new staff to lead their musical establishment: Johann Michael Fuchs in 1802 as Vice-Kapellmeister[34] and Johann Nepomuk Hummel as Konzertmeister in 1804.[35] Haydn's last summer in Eisenstadt was in 1803,[34] and his last appearance before the public as a conductor was a charity performance of The Seven Last Words on 26 December 1803. As debility set in, he made largely futile efforts at composition, attempting to revise a rediscovered Missa brevis from his teenage years and complete his final string quartet. The latter project was abandoned for good in 1805, and the quartet was published with just two movements.[36]

Haydn was well cared for by his servants, and he received many visitors and public honors during his last years, but they could not have been very happy years for him.[n 18] During his illness, Haydn often found solace by sitting at the piano and playing his Emperor's hymn.

A final triumph occurred on 27 March 1808 when a performance of The Creation was 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, Salieri (who led the performance) and by other musicians and members of the aristocracy. Haydn was both moved and exhausted by the experience and had to depart at intermission.[37]

The Bergkirche in Eisenstadt, site of Haydn's tomb

Haydn lived on for 14 more months. His final days were hardly serene, as in May 1809 the French army under Napoleon launched an attack on Vienna and on 10 May bombarded his neighborhood. According to Griesinger, "Four case shots fell, rattling the windows and doors of his house. He called out in a loud voice to his alarmed and frightened people, 'Don't be afraid, children, where Haydn is, no harm can reach you!'. But the spirit was stronger than the flesh, for he had hardly uttered the brave words when his whole body began to tremble."[38] More bombardments followed until the city fell to the French on 13 May.[39] Haydn, was, however, deeply moved and appreciative when on 17 May a French cavalry officer named Sulémy came to pay his respects and sang, skillfully, an aria from The Creation.[40]

On 26 May Haydn played his "Emperor's Hymn" with unusual gusto three times; the same evening he collapsed and was taken to what proved to be to his deathbed.[38] He died peacefully at 12:40 a.m. on 31 May 1809, aged 77.[39]

On 15 June, a memorial service was held in the Schottenkirche at which Mozart's Requiem was performed. Haydn's remains were interred in the local Hundsturm cemetery until 1820, when they were moved to Eisenstadt by Prince Nikolaus. His head took a different journey; it was stolen shortly after burial by phrenologists, and the skull was reunited with the other remains only in 1954; for details see Haydn's head.

Character and appearance

Haydn's signature on a work of music: di me giuseppe Haydn ("by me Joseph Haydn"). He writes in Italian, a language he often used professionally.

James Webster writes of Haydn's public character thus: "Haydn's public life exemplified the Enlightenment ideal of the honnête homme (honest man): the man whose good character and worldly success enable and justify each other. His modesty and probity were everywhere acknowledged. These traits were not only prerequisites to his success as Kapellmeister, entrepreneur and public figure, but also aided the favorable reception of his music."[41] Haydn was especially respected by the Esterházy court musicians whom he supervised, as he maintained a cordial working atmosphere and effectively represented the musicians' interests with their employer; see Papa Haydn and the tale of the "Farewell" Symphony. Haydn had a robust sense of humor, evident in his love of practical jokes[42] and often apparent in his music, and he had many friends. For much of his life he benefited from a "happy and naturally cheerful temperament",[43] but in his later life, there is evidence for periods of depression, notably in the correspondence with Mrs. Genzinger and in Dies's biography, based on visits made in Haydn's old age.

"Laus Deo" ("praise be to God") at the conclusion of a Haydn manuscript.[n 19]

Haydn was a devout Catholic who often turned to his rosary when he had trouble composing, a practice that he usually found to be effective.[44] He normally began the manuscript of each composition with "in nomine Domini" ("in the name of the Lord") and ended with "Laus Deo" ("praise be to God").[45]

Haydn's primary character flaw was greed as it related to his business dealings. Webster writes: "As regards money, Haydn was so self-interested as to shock [both] contemporaries and many later authorities .... He always attempted to maximize his income, whether by negotiating the right to sell his music outside the Esterházy court, driving hard bargains with publishers or selling his works three and four times over; he regularly engaged in 'sharp practice' and occasionally in outright fraud. When crossed in business relations, he reacted angrily."[46] Webster notes that Haydn's ruthlessness in business might be viewed more sympathetically in light of his struggles with poverty during his years as a freelancer – and that outside of the world of business, in dealings, for example, with relatives and servants and in volunteering his services for charitable concerts, Haydn was a generous man.[46]

Haydn was short in stature, perhaps as a result of having been underfed throughout most of his youth. He was not handsome, and like many in his day he was a survivor of smallpox; his face was pitted with the scars of this disease.[n 20] His biographer Dies wrote: "...he couldn't understand how it happened that in his life he had been loved by many a pretty woman. 'They couldn't have been led to it by my beauty'".[47]

His nose, large and aquiline, was disfigured by the polypus he suffered during much of his adult life,[48] an agonizing and debilitating disease that at times prevented him from writing music.[49]

The original copy of "Gott erhalte Franz den Kaiser" in Haydn's hand


James Webster summarizes Haydn's role in the history of classical music as follows:[50] "He excelled in every musical genre... He is familiarly known as the 'father of the symphony' 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 and character of his music

A central characteristic of Haydn's music is the development of larger structures out of very short, simple musical 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.[n 21]

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 Mozart and Beethoven, his younger contemporaries who likewise excelled in this form of composition. Haydn was particularly fond of the so-called "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 sections, where he often rearranges the order of themes compared to the exposition and uses extensive thematic development.[n 22]

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.

Perhaps more than any other composer's, Haydn's music is known for its humor.[n 23] The most famous example is the sudden loud chord in the slow movement of his "Surprise" symphony; Haydn's many other musical jokes include numerous false endings (e.g., in the quartets Op. 33 No. 2 and Op. 50 No. 3), and the remarkable rhythmic illusion placed in the trio section of the third movement of Op. 50 No. 1.

Much of the music was written to please and delight a prince, and its emotional tone is correspondingly upbeat. This tone also reflects, perhaps, Haydn's fundamentally healthy and well-balanced personality. Occasional minor-key works, often deadly serious in character, form striking exceptions to the general rule. 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 "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 Op. 76 Nos. 3 and 5, the Symphonies No. 98 and 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 "scherzi" which are much faster, at one beat to the bar.

Evolution of Haydn's style

Haydn's early work dates from a period in which the compositional style of the High Handel) had gone out of fashion. This was a period of exploration and uncertainty, and Haydn, born 18 years before the death of Bach, was himself one of the musical explorers of this time.[n 24] An older contemporary whose work Haydn acknowledged as an important influence was Carl Philipp Emanuel Bach.[15]

Tracing Haydn's work over the six decades in which it was produced (roughly from 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. 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 a literary movement of about the same time, though it appears that the musical development actually preceded the literary one by a few years.[n 25] 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."[51] Some of the most famous compositions of this time are the "Trauer" (Mourning) Symphony No. 44, "Farewell" Symphony No. 45, the piano sonata in C minor (Hob. XVI/20, L. 33), and the six string quartets of Op. 20 (the "Sun" quartets), all from c. 1771–72. It was also around this time that Haydn became interested in writing fugues 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 "pure" music and toward the production of 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,[52] 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 "pure" music. The change made itself felt most dramatically in 1781, when Haydn published the six string quartets of Opus 33, announcing (in a letter to potential purchasers) that they were written in "a new and completely special way".[n 26] 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 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 Opus 33.[n 27]

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.[n 28] An important element of the popular style was the frequent use of folk or folk-like material, as discussed in the article 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.[53] Haydn's popular style can be heard in virtually all of his later work, including the twelve London symphonies, the late quartets and piano trios, and the two late oratorios.

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 (1798) and 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.[54]

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.[n 29]

Identifying Haydn's works

Haydn's works are listed in a comprehensive catalogue prepared by Anthony van Hoboken. This Hoboken catalogue provides each work with an identifying number, called its Hoboken number (abbreviation: H. or Hob.). The string quartets also have Hoboken numbers, but are usually identified instead by their opus numbers, which have the advantage of indicating the groups of six quartets that Haydn published together; thus for example the string quartet Opus 76, No. 3 is the third of the six quartets published in 1799 as Opus 76.


Performed by the Amigos do JPC with Pedro Carlos Silva (piano)

Performed by Kristian Cvetković

Performed by Kristian Cvetković

MIDI performance by Bernd Krueger

MIDI performance by Bernd Krueger

Performed by orchestra with cellist John Michel

Performed by orchestra with cellist John Michel

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  1. ^ a b See Haydn's name. "Franz" was not used during Haydn's lifetime and is avoided by scholars today ("Haydn, Joseph" by James Webster in Grove Music Online, accessed 18 January 2007).
  2. ^ The date is uncertain. Haydn himself told others he was born on this day (Geiringer (1982, 9); Jones (1810, 8)), but some of his family members reported 1 April instead (Geiringer). The difficulty arises from the fact that in Haydn's day official records recorded not the birth date but the date of baptism, which, in Haydn's case, was 1 April (Wyn Jones 2009, p. 2–3).
  3. ^ Haydn made the remark to his friend and biographer Georg August Griesinger; cited from English version by Vernon Gotwals (Griesinger 1963:17).
  4. ^ Haydn reported this in his 1776 Autobiographical sketch.
  5. ^ Finscher 2000, p. 12. Jones (2009:7) dates the visit to early summer, i.e. cherry season, since during the visit Reutter plied the child with fresh cherries as a means of inducing him to learn to sing a trill.
  6. ^ Various individuals bore the title "Countess Thun" over time. Candidates for the countess who engaged Haydn are (a) "the elder Countess Maria Christine Thun", (Webster 2002); (b) Maria Wilhelmine Thun (later a famous salon hostess and patroness of Mozart), (Volkmar Braunbehrens, 1990, Mozart in Vienna).
  7. ^ Webster 2002, p. 8. Webster expresses doubts, since the source is the early biography of Nicolas-Étienne Framery, judged (Webster 2002, p. 1) the least reliable of Haydn's early biographers.
  8. ^ This date is uncertain, since the early biography of Griesinger (1963) gives 1759. For the evidence supporting the earlier date see Landon & Jones (1988, p. 34) and Webster (2002, p. 10).
  9. ^ Mrs. Haydn's paramour (1770) was Ludwig Guttenbrunn, an artist who produced the portrait of Haydn seen above (Landon & Jones 1988, p. 109). Joseph Haydn had a long relationship, starting in 1779, with the singer Luigia Polzelli, and was probably the father of her son Antonio (Landon & Jones 1988, p. 116).
  10. ^ Robbins Landon and Jones (1988, 100) write: "Haydn's duties were crushing. We can notice the effect in his handwriting, which becomes hastier as the 1770s turn to the 1780s: the notation starts to become ever more careless in the scores and the abbreviations multiply."
  11. ^ This view is given, for instance, by Webster (2002, p. 13) and Landon & Jones (1988, p. 37).
  12. ^ According to Jones, the London visits yielded a net profit of 15,000 florins. Haydn continued to prosper after the visits and at his death left an estate valued at 55,713 florins. These were substantial sums; for comparison, the house he bought in Gumpendorf in 1793 (and then remodeled) cost only 1370 florins (all figures from Jones 2009:144–46).
  13. ^ From Burney's memoirs; quoted from Landon & Jones (1988, p. 234)
  14. ^ The premier performance did not take place until 1951, during the Florence May Festival. Maria Callas sang the role of Euridice. The opera and its history are discussed in Geiringer 1982, pp. 342–43.
  15. ^ The house, at Haydngasse 19, has since 1899 been a Haydn museum ([1], showUid]=27&cHash=0a55f69cfa).
  16. ^ Dies (1810:141). "Clavier" in the original German is ambiguous; literally "keyboard," it is used by extension to denote a keyboard instrument such as the piano or harpsichord.
  17. ^ Of Haydn's plight Rosen (1971/1997) wrote, "The last years of Haydn's life, with all his success, comfort, and celebrity, are among the saddest in music. More moving than the false pathos of a pauper's grave for Mozart ... is the figure of Haydn filled with musical ideas which were struggling to escape, as he himself said; he was too old and weak to go to the piano and submit to the discipline of working them out."
  18. ^ This is the view of Geiringer (cited below, p. 198), who gives the testimony of Haydn's early biographer Giuseppe Carpani.
  19. ^ The inscription continues (in abbreviations) "et Beatae Virgini Mariae et omnibus sanctis" ("and to the Blessed Virgin Mary and all the saints"). The image is taken from the 1900 edition of Grove's Dictionary of Music and Musicians; it does not identify the work in question.
  20. ^ The date of Haydn's bout with smallpox is not preserved. It was prior to the time he was hired by Countess Thun (i.e. as a young adult; see above), since it is recorded that when she first encountered Haydn she observed his scars as part of the generally poor impression his appearance made on her. See Geiringer (1983:34)
  21. ^ Sutcliffe (1989, p. 343) mentions this in a criticism of contemporary Haydn performance practice: "[Haydn's] music sometime seems to 'live on its nerves' ... 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."
  22. ^ Hughes (1970, p. 112) writes: "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."
  23. ^ See, for instance, Brendel (2001), which focuses on the humor of Haydn and Beethoven.
  24. ^ Rosen (1997, p. 57) writes, "the 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 Hughes (1970, pp. 111–112)
  25. ^ See Webster (2002, p. 18): "the term has been criticized: taken from the title of a play of 1776 by Maximilian Klinger, it properly pertains to a literary movement of the middle and late 1770s rather than a musical one of about 1768–1772."
  26. ^ Original German "Neu, gantz besonderer Art"; Sisman (1993, 219)
  27. ^ Rosen's case that Opus 33 represents a "revolution in style" (1971 and 1997, 116) can be found in chapter III.1 of (Rosen 1971 and 1997). For dissenting views, see Larsen (1980, p. 102) and Webster (1991).
  28. ^ Rosen discusses the popular style in ch. VI.1 of Rosen (1971 and 1997).
  29. ^ For discussion, see Antony Hopkins (1981) The Nine Symphonies of Beethoven, Heinemann, London, pp. 7–8.


  1. ^ Smallman, Basil (1992). The Piano Trio: Its History, Technique, and Repertoire. Oxford University Press. pp. 16–19.  
  2. ^ Rosen 1997, pp. 43–54
  3. ^ Dies 1963, pp. 80–81
  4. ^ Griesinger 1963, p. 9
  5. ^ Dies 1963, p. 82
  6. ^ Jones (2009, 12–13)
  7. ^ Finscher 2000, p. 12
  8. ^ Griesinger 1963, p. 10
  9. ^ Landon & Jones 1988, p. 27
  10. ^ Dies 1963, p. 87
  11. ^ a b Dies (1810, 89)
  12. ^ Geiringer 1982, p. 27
  13. ^ Larsen 1980, p. 8
  14. ^ Rita Steblin, 'Haydns Orgeldienste "in der damaligen Gräfl. Haugwitzischen Kapelle"', in: Wiener Geschichtsblätter 65/2000, pp. 124–34.
  15. ^ a b Geiringer 1982, p. 30
  16. ^ Geiringer 1982, pp. 30–32
  17. ^ Griesinger 1963, p. 15
  18. ^ Dexter Edge, 'New Sources for Haydn's Early Biography', unpublished paper given at the AMS Montréal, 7 November 1993, (see The New Grove Dictionary of Music and Musicians (2001), vol. 11, p. 265).
  19. ^ Source for this paragraph: Geiringer 1982, pp. 34–35
  20. ^ Michael Lorenz, "Joseph Haydn's Real Wife" (Vienna 2014)
  21. ^ See, e.g., Geiringer 1982, pp. 36–40
  22. ^ Jones (2009b:136)
  23. ^ Geiringer 1982, p. 60
  24. ^ For details see Geiringer 1982, Chapter 6
  25. ^ Geiringer 1982, p. 316, citing Robbins Landon.
  26. ^ Jones (2009a)
  27. ^ Geiringer (1982, 96)
  28. ^ a b c Jones (2009:325)
  29. ^ For narratives of Haydn's last days in Mozart's company, see Haydn and Mozart
  30. ^ a b Jones (2009b:137)
  31. ^ "Oxford Symphony, article by Jane Holland in Jones (2009b:266)
  32. ^ Geiringer 1982, pp. 131–35
  33. ^ For symptoms see (Jones 2009a:146); for the arteriosclerosis hypothesis see Jones (2009b:216).
  34. ^ a b Jones (2009:209)
  35. ^ Jones (2009:214-215)
  36. ^ Jones (2009:213)
  37. ^ Source for this paragraph: Geiringer (1982:186–187)
  38. ^ a b Griesinger (1810:50)
  39. ^ a b Jones (2009b:142)
  40. ^ "Mit Würd' und Hoheit angetan", the aria narrating the creation of humankind; Griesinger (1810:51):. According to the less-reliable Dies, the date was 25 May, the officer's name was Sulimi, and he sang an aria from The Seasons (Dies 1810:193).
  41. ^ Webster 2002, p. 44
  42. ^ Griesinger 1963, p. 20; Dies 1963, pp. 92–93
  43. ^ Dies 1963, p. 91
  44. ^ Griesinger 1963, p. 54
  45. ^ Larsen 1980, p. 81
  46. ^ a b New Grove, online edition, "Haydn, Joseph", section 6
  47. ^ Dies 1963, p. 157; translation taken from Robbins Landon and Jones 1988.
  48. ^ Hadden 2010, p. 158
  49. ^ Cohen, Jack (1998), "The agony of nasal polyps and the terror of their removal 200 years ago", The Laryngoscope 108(9): 1311–1313 (September 1998).
  50. ^ New Grove, online edition, article "Joseph Haydn"; downloaded 3 Feb. 2007
  51. ^ Webster 2002, p. 18
  52. ^ Webster and Feder 2001, section 3.iii
  53. ^ Rosen (1997 and 2001), 333–337
  54. ^ Geiringer 1982, p. 158


Biographical sources

  •   A translation from the original German: "Biographische Nachrichten von Joseph Haydn nach mündlichen Erzählungen desselben entworfen und herausgegeben" ("Biographical accounts of Joseph Haydn, written and edited from his own spoken narratives") (1810). Camesinaische Buchhandlung, Vienna. One of the first biographies of Haydn, written on the basis of 30 interviews carried out during the composer's old age.
  •   Highly detailed discussion of life and work; in German.
  •   The first edition was published in 1946 with Karl Geiringer as the sole author.
  •   A translation from the original German: "Biographische Notizen über Joseph Haydn" (1810). Leipzig. Like Dies's, a biography produced from interviews with the elderly Haydn.
  • Hadden, James Cuthbert (2010). Haydn (Reissue ed.). London: Cambridge University Press.  
  • Hughes, Rosemary (1970). Haydn (Revised ed.). New York:   Originally published in 1950. Gives a sympathetic and witty account of Haydn's life, along with a survey of the music.
  • Jones, David Wyn (2009a) The Life of Haydn. Oxford University Press. Focuses on biography rather than musical works; an up-to-date study benefiting from recent scholarly research on Haydn's life and times.
  • Jones, David Wyn (2009b) Oxford Composer Companions: Haydn. Oxford University Press. A one-volume encyclopedia with detailed contributions from many Haydn scholars.
  • Landon, H.C. Robbins (1976–1980). Haydn: Chronicle and Works. Bloomington, IN: Indiana University Press.   An extensive compilation of original sources in five volumes.
  •   Biography chapters by Robbins Landon, excerpted from Robbins Landon (1976–1980) and rich in original source documents. Analysis and appreciation of the works by Jones.
  • Larsen, Jens Peter (1980). "Joseph Haydn".  
  • Webster, James; Feder, Georg (2001). "Joseph Haydn".   Careful scholarship with little subjective interpretation; covers both life and music, and includes a very detailed list of works.

Criticism and analysis sources

  •   On jokes in Haydn and Beethoven.
  • Celestini, Federico (2010). "Aspekte des Erhabenen in Haydns Spätwerk". In Celestini, Federico; Dorschel, Andreas. Arbeit am Kanon. Vienna: Universal Edition. pp. 16–41.   On the sublime in Haydn's later works; in German.
  • Clark, Caryl, ed. (2005). The Cambridge Companion to Haydn. Cambridge: Cambridge University Press.   Covers each of the genres Haydn composed in as well as stylistic and interpretive contexts and performance and reception.
  • Griffiths, Paul (1983). The String Quartet. New York: Thames and Hudson.  
  • Hughes, Rosemary (1966). Haydn String Quartets. London: BBC.  A brief (55 page) introduction to Haydn's string quartets.
  •   First edition published in 1971. Covers much of Haydn's output and seeks to explicate Haydn's central role in the creation of the classical style. The work has been influential, provoking both positive citation and work (e.g., Webster 1991) written in reaction.
  • Sisman, Elaine (1993) Haydn and the classical variation. Cambridge: Harvard University Press. ISBN 0-674-38315-X.
  • Sutcliffe, W. Dean (1989). "Haydn's Musical Personality".  
  • Sutcliffe, W. Dean (1992). Haydn, string quartets, op. 50. Cambridge: Cambridge University Press.   Covers not just Op. 50 but also its relevance to Haydn's other output as well as his earlier quartets.
  • Webster, James (1991). Haydn's "Farewell" symphony and the idea of classical style: through-composition and cyclic integration in his instrumental music. Cambridge: Cambridge University Press.   This book focuses on a single work, but contains many observations and opinions about Haydn in general.

External links

  • Haydn material in the BBC Radio 3 archives
  • Haydn Festival Eisenstadt
  • Albert Christoph Dies: (German) Biographische Nachrichten von Joseph Haydn. Wien: Camesinaische Buchhandlung, 1810.
  • Haydn's Late Oratorios: The Creation and The Seasons by Brian Robins
  • Full text of the biography Haydn by J. Cuthbert Hadden, 1902, from Project Gutenberg. The end of book contains documentary material including a number of Haydn's letters. Alternatively scanned copy Haydn at
  • Works by or about Joseph Haydn in libraries (WorldCat catalog)
  • No Royal Directive: Joseph Haydn and the String Quartet by Ron Drummond
  •, with biography (French)
  • 'Haydn – Quartet in F minor, Op.20 No.5', Lecture by Professor Roger Parker, with the Badke Quartet, Gresham College, 8 April 2008 (available for video, audio and text download).
  • Haydn anniversary page on Bachtrack, includes lists of live performances
  • Joseph Haydn at the Internet Movie Database
  • Joseph Haydn (character) at the Internet Movie Database

Scores and recordings

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