Haydn, Franz Joseph (1732-1809)

 Gary Smith

               Joseph Haydn has suffered through the decades under the image of “Papa” Haydn, the be-wigged Kapellmeister of a remote court offering up Classical Lite as opposed to any substantive works.  This is a malicious reduction of one of the pivotal composers in history.  Haydn was responsible for the maturing of Classical music by his measured development of all its genres and practices.  One might accept the point that he had fewer “great” works than Mozart or Beethoven, but over the long stretch of time that constituted the Classical Era, it was Haydn to whom the musical community kept looking to for quality works, for it was he who was constantly supplying them from the very start. His influence is felt everywhere in the music of that time.  For one example, while Beethoven may have considered Mozart the superior composer, it is Haydn whom you hear when listening to early Beethoven works. 

Haydn was born in Austria of pure German stock. This has been a point of importance in Europe, as various studies have attempted to claim Haydn as being Czech, or Croatian, or Hungarian or even of Gypsy stock, based on the apparent folk tunes and themes he used.  However, E. F. Schmid in 1934 collected decisive evidence to show Haydn’s roots were German. The son of a farmer-wheelwright, Haydn showed immediate music promise and at the age of 5 was given into the care of a Hainburg schoolmaster named Johann Mathias Franck, who taught him the rudiments of music, though Haydn recalled that he had often received “more thrashings than food” from his benefactor!  At 8 Haydn was “discovered” by Georg Reutter, who was looking for talented singers for the choir at St. Stephens’ Cathedral in Vienna.  Haydn was selected and went off with him to Vienna and became a choirboy, arriving in Vienna in the late spring of 1740.  For the next ten years, he was a prominent and well-liked member of the choir, but accounts differ as to whether he received much in the way of systematic musical training beyond singing.  Haydn did receive some training by all accounts, so at the least it can be said that his native talent in this area was not neglected so much as malnourished for these ten years. 

When his voice broke at 17, he left St. Stephen’s and lived at first in poverty as a music teacher. His quarters were in the Michaelhaus (still standing proudly in Vienna) in “a miserable little attic room without a stove.” Aside from teaching, he studied music on his own and played for money in various serenade groups and orchestras.  Also living in this house was the court poet Pietro Metastasio and the dowager Princess Esterházy, the mother of the two princes Haydn would be working for in the not-too-distant future.  Through contacts such as these Haydn was introduced to the composer Nicola Porpora.  This got Haydn engaged as an accompanist and valet to the composer.  While somewhat demeaning, this position allowed Haydn to take payment in the form of compositional and singing lessons, as well as in the Italian language.  Also, via this engagement with Porpora, Haydn was able to make further contacts in the music circles of Vienna. 

Porpora left Vienna sometime in 1752 or 53, which then saw Haydn working for two aristocratic patrons for the balance of the 1750s.  The first was with Karl Joseph Edler von Fürnberg, supplying mostly chamber music for small musical gatherings, which Haydn as well played in.  It was for these gatherings that the first quartets were composed.  However, this work was far more freelancing than a “position” as such, meaning that Haydn did not give up teaching.  But, through the efforts of von Fürnberg he was to meet Count Karl Joseph Franz Morzin.  Supposedly on von Fürnberg’s written recommendation in 1758 (or 1759, accounts differ), Haydn became music director to Count Morzin’s musical establishment for the fee of 200 gulden (say $ 9000 US), free room and meals at the staff table.  The Count maintained a small orchestra for which Haydn composed his first symphony.  This appointment was a godsend to the struggling composer, and he must have felt great elation at the prospects for the future.

Until, unfortunately, the Count dissipated his fortune (the word “squandered” is also applied here) and thus disbanded his musical establishment, probably in 1760.  Despite this loss, good fortune smiled upon Haydn once again.  Prince Nikolas Esterházy had heard Haydn’s initial symphony at the Count’s, and being pleased by it, offered the composer the vice-Kapellmeister post with his own musical establishment.  The contract for this is dated 1 May 1761, but some information exists to show that Haydn was with the Prince in 1760, so he may have had another lesser position before achieving this plum assignment.  Here, at Eisenstadt, Hungary, Haydn remained with the Esterházy household for 30 years, for both Prince Paul and his successor Prince Nikolaus, who reigned from 1762 to 1790, were passionate music-lovers. In 1766 Nikolaus built the palace of Eszterháza (modeled on Versailles, a common practice throughout Europe at this time) on the south side of the Neusiedlersee, spending the greater part of each year in this new home.

At this same point in time, Haydn married Maria Anna Aloysia Apollonia Keller, the ceremony taking place in St. Stephen’s Cathedral.  Haydn had fallen in love with her sister first though, but when that Keller daughter entered a convent, Haydn agreed to marry the eldest.  It was an unsatisfactory union from both sides. Obviously, she had not been Haydn’s first choice, which probably didn’t set well with her, and since she was devout religious and he was not, he felt she was much too fond of the clergy for his taste.  Maria, for her part, appears to have had absolutely no appreciation for the artist she married, as she appears to have been totally lacking of any understanding of her husband’s work.  Haydn is reported to have said of her: “It’s all the same to her if her husband is a cobbler or an artist.”  He, as the saying goes, found comfort elsewhere, putting it delicately as: “My wife was unable to bear children, and I was therefore less indifferent to the charms of other women.”  

One hears of the title Kapellmeister (or in this case, Vice-Kapellmeister) used during the Classical Era, but what did this position actually entail for the bearer of the title?  At Eszterháza initially, Haydn was subordinate to Gregor Werner, who by 1760 was old and tired.  Haydn’s position was really in fact that of the Kapellmeister, as he appears to have been put in charge of the musical establishment, allowing Werner to, in reality, retire.  Werner was still responsible for choral music; on all other occasions regarding musical performances, everything pertaining to music was assigned to Haydn.  What that entailed was that Haydn was responsible for organizing the musical events; hiring, training, disciplining and letting go musicians, composing music, acquiring and maintaining the music library, as well as seeing to it that instruments were purchased and maintained. At the time of his hiring, a new theater was under construction, so opera was to soon come under his charge as well.  Even with stage plays though, the Princes often wanted incidental music set for them, which Haydn was required to see to.  He was obligated to compose for the Prince as required and forbidden to sell or give away this music without direct permission.  To compose for others outside the household required special permission from the Prince as well.  Haydn was to dress and behave “…as befits an honest house officer in a princely court.”  Towards the musicians, he was to set an example of conduct for them and “…avoid undue familiarity in eating and drinking or otherwise in his relations with them, lest he should lose the respect due him.” As remuneration, Haydn initially received 400 gulden plus another 180 for expenses; by 1764 this had risen to 600 gulden plus 180 for expenses, or roughly $30,000 US.  In 1778 he became the organist as well, which added another 180 gulden, meaning he made about $40,000 US per annum from just his Kapellmeister duties.  This didn’t count any teaching or sales of his compositions, which did bring him progressively more income as the years went on. Finally, Eszterháza, being somewhat remote, presented the situation of being both inexpensive to live at and offering little opportunity to spend money on “luxuries.”  Haydn did however buy a house there, and kept chickens, two horses and probably a cow as well.  He had two servants eventually and while he was a major person of the Eszterháza household, he never acted as though he was anymore than a well-paid servant there.  Haydn was comfortable with who he was, and showed tremendous loyalty to the family that had lifted him out of poverty.

Though modeled on Versailles, the palace of Eszterháza was isolated, by distance and as well culturally from the rest of the Austrian Empire.  Haydn's art actually benefited from this seclusion. As he put it (probably making a virtue out of vice here) “There was no one near to confuse me, so I was forced to become original.”  What he may have meant there was that with few works by other composers crossing the threshold, his efforts in music could be centered more on expanding the forms he was comfortable with, as opposed to “competing” with other composers for position and acclaim.  As his music passed beyond the borders of Eszterháza , Haydn's fame spread throughout Austria, the German states and into Italy as well.  As his symphonies and quartets were published and circulated, the standard “bootleg” French editions began to appear in Paris and later in London. This was a standard problem throughout the Classical Era, as with no copyright protection granted composers (except, notably in England), once other than the original publisher seized a work, all monies from sales went into their pockets.

Through the 1760’s and early 1770’s Haydn basically grappled with the problems inherent in learning how to run an operation such as the Eszterháza musical establishment.  Before this time he had been more or less a freelancing artist, but now he was a retained liveried composer to a prince who expected a smoothly running operation first, and genius second.  And with a theater now open and on the premises, he was expected to compose operas as well, something he had very limited exposure to previously.  It was a constantly testing challenge, but one that he successfully mastered. As he mastered the demands of his post, he gradually was given permission to accept outside commissions and to sell his scores directly to publishers for his personal profit. He composed extensively for every possible medium (just see the lists at the end of this work!) and through them pursued his own musical course. One that gently but firmly expanded the “envelope” of the Classical style.

The works within this initial timeframe that standout from the others would be his symphonies, which were increasing in depth and complexity.  After 1762, Haydn more or less abandoned the pre-classical, three-movement format that had developed out of Italian opera overtures (fast—slow—fast) and had moved on to a four-movement plan (fast—slow—dance—fast).  This change reflects stylistic transforming of late Baroque into the Classical style.  Haydn’s maturity was fully established by the Sturn und Drang symphonies of 1770-1774.  These works combined the symphonic technique of motivic development (inherent in a sonata-allegro format) with the art of counterpoint and proceeded to expand the intensity and variety of human emotion, as instrumental music had not consistently seen before. One should note especially the symphonies No.26 in d minor (Lamentatione) and No.44 in e minor (Trauer).  Symphony No. 26 is his first minor key work in this genre and with its somber intensity, quotations from the plainsong melodies of the Holy Week Liturgy and violent syncopations, must have seemed a revelation of what this form could be, and become.  Symphony No. 44 has an opening movement that is tragic and fiery, with a sadly beautiful Adagio.  Haydn at one point requested that this particular adagio be played at his funeral.  Finally, Haydn gave this work a minuet that is eerily and effectively contrapuntal, in the end again producing a work that gave much pause for thought among connoisseurs and colleagues.  Though he had been composing quartets almost from the start of his career, his quartet sets from this time (Op. 9, 17 and 20 in particular), expanded beyond the limits others were composing at.  These are milestones in the development of the genre and were avidly studied.  Haydn, however, was a practical man in that his compositional approach was essentially two-sided; he could change between an “expressive” style and a “functional” style without apparent difficulty, composing for household use on the one hand and on the other to experiment and expand.  The 18^th century, unlike the “progressive” 19^th, found no contradiction between these two approaches.

After 1772, Haydn’s musical development (conditioned by an edict from the Prince not “…to write so much learned ears”) is characterized by expert, self-assured craftsmanship, the use of more brilliant orchestral resources (adding trumpets and drums, for one) and further expansion of the sonata-allegro style he had picked up.  The works through the 1770’s into the early 1780’s provide a consistent musical structure within the genres so that it is possible for one to measure Haydn’s expanding development of his music.  These works show an instinctive sense of form, an expansion on the use of orchestral winds (notably the French horn) and the inclination (that grew into a trademark) for building musical development through the elaboration of small motives and themes. In 1784-5 he was commissioned by the Cadiz Cathedral to compose an oratorio without words on Christ's Seven Last Words on the Cross. Here Haydn expands one of his finer talents, his constant ability to find new and inventive solutions to limiting problems, and succeeds on a very high level. He was rightly proud of this work, and its challenge came at an opportune time for him.  The Parisian musical society Concert de la Loge Olympique commissioned him to compose 6 symphonies. These six works (Nos. 82-87) were composed in 1785-86 and are so personal and original that it is clear Haydn was setting out to create something entirely new and his own. In 1788-89, he composed three other symphonies for the Loge Olympique, (Nos. 90-92), the last of which was played at the conferring of his Honorary Doctorate of Music by Oxford University.  The “Oxford” represents the culmination of Haydn’s symphonic skills.  The following 12 are the justly famous “London” symphonies, which are in the end variations on the level the “Oxford” had reached.

By the time of the early 1780’s he had become friends with Mozart, for whom he had the highest admiration. Their works from this date (1781) betray passages of mutual influence. Mozart frequently acknowledged his personal debt to Haydn as a major influence on his developing style, while Haydn, in his more direct way, simply declared that Mozart was “a God in music.”  Mozart, in one grand show of gratitude towards Haydn, composed 6 string quartets (k.387, K.421, K.428, K.458, K.464 and K.465), which were played for Haydn on 15 January 1785. Later, when they were published, Mozart wrote a heartfelt dedication to Haydn that accompanied them. Through them one understands Mozart’s remark, “It was from Haydn that I first learned the true way to compose quartets.”  Though we have little information on how much the two composers stayed in touch, we do know that Mozart was much moved and saddened by Haydn’s departure for England.  “We are probably saying our last farewell in this life,” he is reported to have told Haydn, with tears in his eyes. He was correct, but from the wrong perspective.  Haydn assumed that Mozart meant the remark as a reference to his own advanced age, not the prospect of Mozart’s early passing.  Mozart, for his part, defended Haydn from any attacks made within his hearing.  The composer Kozeluch once assured Mozart that he would never composed a quartet the way Haydn had, to which Mozart replied: “Nor should I, but do you know why?  Because neither you or I would have had so good an idea.” To another critic, Mozart declared that if they melted both he and the critic and poured them together, the two of them would not equal one Haydn.

For his part, Haydn was equally as generous.  When Leopold Mozart visited his son In Vienna later on in 1785, Haydn said to him upon their meeting: “I say to you before God, as an honest man, that your son is the greatest composer I know, personally or by name: he has taste and, in addition, the most profound knowledge of composition.”  Later on in England, Haydn was to declare that Mozart was the most extraordinary, original and comprehensive musical genius that was ever known in this or any age.  When he received news in England of Mozart’s death, he wrote: “Posterity will not see such a talent again in a hundred years!” (He was and is still correct; it’s been over 200 years now and counting.) The chronicler Dr. Charles Burney later overheard Haydn tell listeners; “He was a truly great musician.  I have been often flattered by my friends with having some genius; but he was much my superior.” 

Haydn's life at Eszterháza ended in 1790 when Prince Nikolaus died and his successor dismissed the musicians, leaving Haydn his salary and title, though without obligations of any kind.  In effect, it was a pension. Haydn left the estate for Vienna where he accepted an invitation from the visiting impresario J. P. Salomon to visit London. Efforts had been made in the past to engage Haydn for a concert series in London.  All attempts had failed, for one or another reasons.  Salomon had been in Cologne to engage soloists for his concerts when heard of the passing of Prince Esterházy.  Knowing what this could mean, he at once set off for Vienna, arriving at Haydn’s home unannounced to declare to the somewhat startled Haydn: “I am Salomon from London and have come to fetch you.  Tomorrow we shall conclude an agreement.”  He stayed in England from January 1791 to the middle of 1792, being fêted, lionized, and entertained by royalty. He completed his symphonies No. 93-98 on this visit, when he was deeply impressed by the 1791 Handel Festival in Westminster Abbey. In July 1791 the honorary degree of Doctor of Music was conferred on him by Oxford University. The “Oxford” Symphony (No. 92) was given at this event, as Haydn had not completed any new works yet while in England, but he had brought some of his latest works for use, or sale. On his return to Vienna he bought a house there and accepted Beethoven as a pupil, which began an uneasy relationship for both great men. (In the end, Beethoven moved on to other teachers such as Schenk and Albrechtsberger; men who could teach him the craft without tending to influence his style).  In 1794 he visited England again, having been commissioned by Salomon to write 6 new symphonies. This 2nd visit lasted from February 1794 to August 1795 and was even more successful artistically and, especially, financially than the first. Haydn’s profits are estimated as being as high as 15,000 gulden, which equates over to approximately $600,000 US. He was wealthy beyond his dreams when he returned to Vienna after the second and final tour.  

By this time the Esterházy family had now reconstituted their musical establishment and in turn had sent a request to Haydn asking for his return to Eszterháza as Kapellmeister. Though he really was under no obligation to do so, out of loyalty to the family that had given him so much over the decades, he returned to service.  In effect though, he assumed the role that Werner had held as Kapellmeister over 30 years earlier.  Haydn composed only for special occasions and was allowed to concentrate on his work as a composer, letting others (notably Hummel for one) take over the actually running of the musical establishment. However, as the story goes, there was one change of note.  The latest Prince Esterházy at one point in a discussion early on was edging into being severe with Haydn on some point of business.  Haydn’s measured reply was that one shouldn’t talk to “A Doctor of Music from Oxford” in that fashion.  The Prince paused and addressed Haydn as “Herr Doktor” from then on, moderating his approach to the celebrated composer.

Between 1796 and 1802 he wrote 6 magnificent settings of the Mass, each unique and distinct. In 1797 he composed his Gott erhalte Franz den Kaiser, which was adopted as Austria's national anthem. He had admired the English “God Save the King” and wanted to honor his own monarch in a similar manner.  But his chief pre-occupation at this time was his oratorio Die Schöpfung (The Creation), first published privately in Vienna, 1798. This was followed by Die Jahreszeiten (The Seasons), published in 1801. Both of these works had Baron Gottfried van Swieten working on their text. Apparently the Baron tended to take more than his share of the credit for the success of these works, which annoyed Haydn.  Especially when the Baron, an amateur composer, began to offer Haydn suggestions on what needed to be done musically!

During these later years Haydn became “the grand old man” of music.  He was made an honorary citizen of Vienna, of various musical societies across Europe, and was awarded many medals for his compositions, etc.  Foreign visitors called to pay their respects, which pleased him very much. He kept composing, but it was becoming more difficult for him to submit himself to the rigors of working out the music. From 1803 onwards, his health and strength began to decline.  Composition declined and then basically ceased.  Though he made several more public appearances, at first conducting and then finally just attending, he gradually withdrew from public life and stayed at home. His last public appearance was for a performance of The Creation at the hall of the old university, given in 1808, with Salieri conducting and Beethoven in the audience to honor his old teacher. 

Joseph Haydn died on 31 May 1809 during Napoleon’s occupation of Vienna.  He had not wanted to go into the inner town with the threat of combat all around, so he had settled into his house in Gumpendorf.  After Vienna surrendered to French forces, Napoleon had a guard of honor placed in front of his house. But Haydn, already weak, began to quickly lose strength and died quietly at home.  On 1 June, Corpus Christi, he was buried at the Hurdsturm Cemetery; a memorial mass was given for him at the Gumpendorf church the following day.  Later, on 15 June, a great memorial service was held in the Schottenkirche in the inner city of Vienna, at which Mozart’s Requiem K.626 was performed, under the direction of Joseph Eybler.  The major people in the musical world of Vienna were in attendance to say their last farewell to a composer who had been an inseparable part of European music for almost 50 years.

A final indignity was bestowed on him, though.  Days after he was buried, persons involved in the study of phrenology (the study of heads and skulls to determine character and intelligence, in other words, nitwit science) dug up his grave and removed the head.  Haydn’s skull passed through several hands before being safely stored in a museum in Vienna.  Finally in the 1950’s it was restored to the rest of his remains, since moved to Hungary. Given that Mozart’s skull might have been stored away as well, it seems a cosmic joke that the two close friends and colleagues should end up at the end emulating one another once again, if only inadvertently!

If Haydn's life was comparatively uneventful, his vast output of music is notable for the number of surprises and delights contained in nearly every work. Yet though the number and magnitude of Haydn masterpieces are constantly amazing, his music for many decades failed to exert as powerful a sway over the public as that of Mozart and Beethoven. He is regarded as the ‘father’ of the symphony (which he wasn’t) and of the string quartet, but some delectable Haydn lies in his vocal music, in his oratorios, masses, and in his operas (which, while not of the caliber of Mozart’s, are still in process of re-evaluation). In all his music his inventive flair seems practically inexhaustible. Haydn delights in exploiting the capabilities of solo instruments and virtuoso performers, and within every genre in which he worked he enlarged, extended, and re-shaped the material he touched. Not revolutionary, but evolutionary motion describes the breadth of Haydn’s compositional span.  The symphonies are a remarkable example of his development of a particular form, hallmarked by deep feeling, drama, wit, and, in the final 12, a near-Mozartian perfection of all these qualities combined. But much the same can be said of his quartets and masses (especially the later ones); nor should his keyboard sonatas be overlooked. In fact, one shouldn’t overlook any of Haydn’s work. 

The collecting and cataloguing of Haydn's works has been the object of considerable research. It was begun in 1766 by Haydn himself (sparked by a complaint of inattentiveness to his job), aided by the Esterházy court copyist Joseph Elssler, whose son Johann (1769-1843) later became Haydn's copyist and faithful servant. Haydn worked on this list until about 1805. In fact, his efforts may have proved an inspiration to Mozart, who began his own catalogue of works in 1784.  No doubt not long after meeting Haydn in Vienna.  Pohl prepared a manuscript catalogue, and for the Breitkopf and Härtel complete edition Mandyczewski assembled his list of 104 symphonies (but omitting 3 now acknowledged as being by Haydn). Modern scholarship, led foremost by H. C. Robbins Landon, has amended this list, and a modern thematic catalogue has been edited by Hoboken in which works are given Hob. numbers in the manner of Köchel's Mozart catalogue (though the numbering system chosen for Haydn’s works is much cleaner and less complicated!).

SYMPHONIES: Nos. 1-5 (1757); No.6 in D (Le Matin), No.7 in C (Le Midi), No.8 in G (Le Soir) (c.1761); No.9 in C (c.1762); No.10 in D (c.1761); No.11 in Eb (c.1760); No.12 in E, No.13 in D (1763); No.14 in A, No.15 in D (1764); No.16 in Bb, No.17 in F, No.18 in G, No.19 in D, No.20 in C (all before 1766, prob. 1761-2); No.21 in A, No.22 in Eb (The Philosopher), No. 23 in G, No.24 in D (1764); No.25 in C (c.1761-3); No.26 in D minor (Lamentatione) (c.1770); No.27 in G (c.1760); No.28 in A, No.29 in E, No.30 in C (Alleluia), No.31 in D (Horn Signal) (1765); No.32 in C, No.33 in C (c.1760); No.34 in D minor (c.1766); No.35 in Bb (1767); No.36 in Eb (c.1761-5); No.37 in C (c.1757); No.38 in C (Echo) (c.1766-8); No.39 in G minor (c.1768); No.40 in F (1763); No.41 in C (c.1769); No.42 in D (1771); No.43 in Eb (Merkur), No.44 in E minor (Trauer) (c.1771); No.45 in F# minor (Abschied), No.46 in B, No.47 in G (1772); No.48 in C (Maria Theresia) (c.1768-9); No.49 in F minor (La Passione) (1768); No.50 in C (1773); No.51 in Bb, No.52 in C minor (c. 1771-3); No.53 in D (L'Impériale) (c.1780); No. 54 in G, No.55 in Eb (Der Schulmeister), No.56 in C (1774); No.57 in D (1774); No.58 in F, No.59 in A (Feuersymphonie) (c.1776-8); No.60 in C (Il Distratto) (1774); No.61 in D (1776); No.62 in D, No.63 in C (La Roxolane) (c.1780); No.64 in A (c.1775); No.65 in A (c.1771-3); No.66 in Bb, No.67 in F, No.68 in Bb, No.69 in C (Laudon) (c.1778); No.70 in D (1779); No.71 in Bb (c.1779-80); No.72 in D (c.1763-5); No.73 in D (La Chasse) (1780-1); No.74 in Eb (1780); No.75 in D (1779); No.76 in Eb, No.77 in Bb, No.78 in C minor (1782); No.79 in F, No.80 in D minor, No.81 in G (1783-4); No. 82 in C (Bear) (1786); No.83 in G minor (La Poule) (1785); No.84 in Eb (1786); No.85 in Bb (La Reine) (1785); No.86 in D (1786); No.87 in A (1785); No.88 in G, No.89 in F (c.1787); No.90 in C, No.91 in Eb (1788); No.92 in G (Oxford) (1789); No.93 in D, No.94 in G (Surprise), No.95 in C minor, No.96 in D (Miracle) (1791, London); No.97 in C (1792, London); No.98 in Bb (c.1792, London); No.99 in Eb (1793, Austria); No.100 in G (Military), No.101 in D (Clock), No.102 in Bb (1794, London); No.103 in Eb (Paukenwirbel, Drum Roll), No.104 in D (London) (1795, London).

CONCERTOS: vc. in C (c.1765), in D (1783); Klavier in D (c.1784), Klavier and str. in G; hn. No.1 in D (1762), No.2 in D (c.1764); 2 hn. and str. in Eb; for lira organizzata No.1 in C, No.2 in G, No.3 in G, No.4 in F, No.5 in F (c.1786); org. conc. (1756); for tpt. in Eb (1796); for vn. No.1 in A, No.2 in C, No.3 in G (c.1765); for vn., pf., and str. in F (1766); Sinfonia Concertante in Bb for ob., bn., vn., vc. (1792).

STRING QUARTETS: Op.1 (6 qts., 1760); Op.2, Nos. 7-12 (Nos. 9 and 11, with 2 hn. added) (1755-60); Op.9 (6 qts., 1771); Op.17, Nos. 25-30 (1771); Op.20, Nos. 31-6 (1772); Op.33, Nos. 37-42 (1781); Op.42, No.43 (1758); Op.50, Nos. 44-9 (c.1787); Op.51, Nos. 50-6 (1785, Seven Last Words from the Cross); Op.54, Nos. 57-9 (c.1788); Op.55, Nos. 60-2 (c.1788); Op.64, Nos. 63-8 (c.1790); Op.71, Nos. 69-71 (1793); Op.74, Nos. 72-4 (1793); Op.76, Nos. 75-80 (c.1797); Op.77, Nos. 81-2 (c.1799); Op. 103, No.83 (1802-3).

KEYBOARD: 62 sonatas (c. 1761-94), Variations in F minor (1793).

OPERAS: 20 were comp., some of the first ones being lost. The extant 15 include La Canterina (1766); Lo Speziale (1768); Le Pescatrici (1769); L'infedeltà delusa (1773); L'incontro improvviso (1775); Il mondo della luna (1777); La vera costanza (1777-8, rev. 1785); L'isola disabitata (1779, rev. 1802); La fedeltà premiata (1780, rev. 1782); Orlando Paladino (1782); Armida (1783); Orfeo ed Euridice (1791); also 5 puppet operas incl. Philemon und Baucis (1773) and Dido (1776).

MASSES: No.1 in F (Missa brevis) (1750); No.2 in Eb (Grosse Orgelmesse) (1766); No.3 in C (St Cecilia) (1776); No.4 in G (1772); No.5 in Bb (Kleine Orgelmesse) (c.1775); No.6 in C (Mariazellermesse) (1782); No.7 in C (In tempore belli—Paukenmesse) (1796); No.8 in Bb (Heiligmesse) (1796); No.9 in D minor (Nelson) (1798); No.10 in Bb (Theresien-messe) (1799); No.11 in Bb (Schöpfungsmesse) (1801); No.12 in Bb (Harmoniemesse) (1802). Also a Mass in G (c.1750).

CANTATAS & ORATORIOS: Stabat Mater (1767); Applausus (1768); Il Ritorno di Tobia (1774-5); Die sieben letzten Worte unseres Erlösers am Kreuz (The Seven Last Words of Our Saviour on the Cross, 1st version (str. qt.) 1785, choral version 1795-6); Die Schöpfung (The Creation) (1796-8); Die Jahreszeiten (The Seasons) (1799-1801).

CHAMBER MUSIC: 32 pf. trios; 6 sonatas for klavier and vn.; flute qts; lute qts.; divertimentos for str. trio; str. trios; 126 baryton trios; 32 pieces for mechanical clocks; and Notturnos for lira organizzata.

SOLO CANTATAS: Arianna a Naxos for sop. (1790); Berenice che fai (1795).

VOCAL: qts. and trios (1796 and 1799); Alfred—Chorus of the Danes (1796); 12 canzonettas to English words for solo voice and pf. (1794-5) incl. My mother bids me bind my hair, Spirit's Song, Piercing Eyes, She never told her love; 450 arrangements of British folk-songs (1791-1805).

Sources:

Braunbehrens, Volkmar  Mozart in Vienna 1781-1791 Grove Weidenfeld, New York 1986

Clive, Peter  Mozart and His Circle: A Biographical Dictionary  Yale University Press, New Haven  1993

Concise Oxford Dictionary of Music  Oxford University Press  1996

Harrison, Max  Liner Notes to the Philips Set “Haydn Name Symphonies” 1996

Larsen, Jens Peter  The New Grove Haydn  W.W. Norton & Company, New York  1982

Sisman, Elaine (Ed.)  Haydn and His World Princeton University Press, Princeton 1997

Sadie, Stanley (Ed.)  The New Groves Dictionary of Music and Musicians 2^nd Edition   Groves Dictionaries, New York  2000

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