200 Years, Anniversary Joseph Haydn (1732-1809)

haydnmania: the 2009 anniversary

Archive for fame

Haydn at Esterháza (Fertöd, Hungary)

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“…Well, here I sit in my wilderness – forsaken – like a poor waif – almost without any human society – melancholy – full of the memories of past glorious days – yes! past alas! – and who knows when these days shall return again? Those wonderful parties? Where the whole circle is one heart, one soul – all these beautiful musical evenings – which can only be remebered and not described – where are all these enthusiastic moments? – all gone – and gone for a long time…”

This is the beginning of one of Haydn’s remarkable letters, written to Maria Anna von Grenzinger in February 1790 shortly after his return to Eszterháza from the Christmas season in Vienna. This letter contains a rare glimpse of Haydn out of livery as “Capellmeister of His Highness the Prince (Esterházy) in whose service I live and die”, as Haydn had styled himself in another well-known letter, his autobiography of 1776.

When Baron Riesbeck visited Esterháza in the 1780s he observed that “The Neusiedler See, from which the castle is not far removed, makes miles of swamp and threatens in time to swallow up all the land right up to the Prince’s dwelling.” When Haydn used the term Einöde to refer to Esterháza he was perhaps translating the Hungarian term for the marshy plains of the area – puszta, which means “wilderness”.

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Haydn’s life at Esterháza apparently hinged on extremes of luxury and privation. Descriptions of the Hungarian Paradise invariably dwell on the lavish furnishings, exquisite collections, and dazzling theatrical entertainments that won it so many accolades.

At Esterháza Haydn lived with the other musicians, singers and traveling players in the Musicians’ Building, a two stried building of 250 rooms. It was from his appartment there that he wrote his letters to von Genzinger.

link to my article “visiting Esterháza Palace”

visiting Esterhàza Palace (Fertöd, Hungary)

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Whow, what an impressive ensemble: Esterháza Castle, at Fertöd, Hungary (google map) – just half an hour to go, from the Austria-Hungarian border at Sopron!
1767 Prince Nikolaus (later called “the Magnificent”) visited Versailles and became inspired to build this Castle – on a place that, at this time, was  “in the middle of nowhere”.
1768 also a Opera house was built there – the first performance was Haydn’s opera “Lo speciale”.

the 2 scultpures (here the model) of Haydn (left) and the Prince Esterházy (up on the balcony) will be built in bronce nest year.

the 2 scultptures (here the model) of Haydn (left) and the Prince Esterházy (up on the balcony) will be built in bronce next year.

The most famous and importend people of the aera have spent time here, e.g. Empress Maria Theresia loved to be a guest in Esterháza, ’cause “…if you want to listen to the best music you have to go to Esterháza…”.

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the male’s (prince’s) bedroom with the “secret” door:
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What I have to mention: all the people working in Esterháza were overwhelming friendly and gracious (special thanks to Erna and Tünde!), tried very patiently to answer all our questions and celebrated great hospitality. At least we spent more than 5 hours (!) there – and did not see yet the gigantic historic gardens!
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Prince Paul Anton still lives there, although the Esterháza Palace today belongs to the National Administration Departement of Historical Buildings.

Enjoy a visit there! And one of the exhibitions or one of the many concerts during the Haydn-anniversary-year!
On saturday, august 8, 2009 the opening event of an extraordinary exhibition of contemporary art starts at Esterháza Castle:
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Andreas Roseneder: “Haydn reloaded” – a modern painters view on the genius, his life and works and his surrounding. New paintings and objects as result of Roseneder’s artwork about Haydn.

link: www.mag.hu

international fame at lifetime: J.H.!

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One of the most eloquent visual illustrations of Joseph Haydn’s international fame was Goya’s magnificent portrait of the Spanish Duke of Alba holding a book of Haydn’s Four Songs with Pianoforte Accompaniment, now in the Prado.

originality due to isolation – Nikolaus Harnoncourt about Haydn

These days Nikolaus Harnoncourt‘s statement about Joseph Haydn was published.  He said, that Haydn was always willing to risk the newest. The reason was the isolation and originality of Haydn. He was not influenzed by others – the Esterházy Castle in Eisenstadt (where Haydn lived for 30 years) was far away from any scenery – and therefore Joseph Haydn didn’t have to continue any method or habit.

Harnoncourt also said that Haydn had his own ( excellent & international !) orchester and his own audience, so he was extremely independent.
Haydn was an exception owing to those circumstances.

Nikolaus Harnoncourt himself became tasted by Haydn’s music in his student years. Even his parents liked to play chamber music of Haydn. When Nikolaus Harnoncout founded the Concentus with his wife they had just Haydn on their first program!

How would he describe Haydn? – he was asked.

“…If someone has an idea of Haydn, then I would describe Haydn as one of the few musical universal genius. And the second sentence would be: With an extra bit of humour,” said Harnoncourt.

Harnoncourt conducts Haydn (2009, vienna) – video:


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Spring begins (on saturday, 21 march 09) with a special Haydn-evening at “3sat”-TV
with
“Joseph Haydn: my language is understood throughout the world” (at 20.15 p.m.) and

Joseph Haydn’s  “Te Deum für Fürst Nikolaus Esterhazy” C-Dur HOB 23 (at 23.05 p.m.)

(3sat on Satelite: “ASTRA” (1F) auf 19,2 Degree East, Transponder 10, vertical Polarisation, Frequenz 11,347 Ghz, Stereo 7.02 / 7.20, Monoton on 6.50 )

links:
Nikolaus Harnoncourt conducts the Haydn-Anniversary-Opening (warning: no tickets available !!!), here the program on his personal website
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“Haydn explosive” – extraordinary tribute to the former employee

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the brochure-cover in the style of “tableau vivant”: “Haydn explosive”, © Esterházy Foundation (picture is a link to the big image, have a look!)
The picture shows some of the protagonists/artists of “Haydn explosive”, e.g. the man with the guitar is the famous Jazz-musician Wolfgang Muthspiel, ….

The Esterházy Private Foundation, successor of the employers of Joseph Haydn (- first Prince Paul Anton Esterházy, later Nikolaus I. Esterházy), the Esterházy management tributes their former employee with extraordinary concerts, exhibitions and a symposion in this year.
What inspired me at once was the – in the truest sense of the word fantastic – advertising concept of “Haydn explosive”:
I became hooked on more pictures like those in the official Esterházy Program!

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The Esterhazy Foundation (domiciled in Eisenstadt and owner of the Esterházy Castle there) has become pioneer and a model for contemporary, modern presentations and events during the recent years. For the first time there is a big culture organizer in Burgenland (East Austria), able to keep up with the innovative “global players” and open minded in their culture work – in comparison to the, more conservative (“business as usual”), official Haydnfestival in Eisenstadt.
Paul Esterházy featured Joseph Haydn, who walked on new ways with his music (that’s a way we call “contemporary” today, yes!) – his successors feature today’s contemporary art!
Thats the way it should be!
“..That’s the way (aha)… I like it (aha) …!!!..”

“Haydn Explosive. A European career at the court of the Esterházy Princes”
programs, dates, locations, information: here

Haydn, the avantgardist

Not only Mozart, also the music publishers and organizers at Haydn’s lifetime knew immediately that there was a composer on completely new ways.
“Nobody can do almost everything as well as Haydn”, Mozart said. For Mozart Haydn was his great role model. (he dedicated 6 string-quartetts to Haydn, more)
Even the implementation of joke  and humor into the music, the evolution of the string quartet and the symphony composition characterized the genius of Haydn.
Generations had – and will have – fun with Haydn’s musically jokes, e.g. with the “Farewell-Symphony”.

sometimes humor is a good way …

Haydn’s clear advice to his employer and sovereign Prince Esterházy, the “Farewell Symphony” was part of the New Years Concert program this year and amused along with the audience at the “Wiener Konzertverein” also millions who watched the concert on TV.

Joseph Haydn, Symphony Nr45, “The Farewell-Symphony”, last movement, in Vienna (Austria) on New Years Day by the Vienna Philharmonic Orchestra Vienna’s “New Years Day Concert 2009”, Conductor: Daniel Barrenboim.

Have fun with Haydn and the Vienna Philharmonic Orchestra!!

for more information read one of my further articles about the “farewell Symphony” here

crazy lovers …

“Chi vive amante… – Ich weiß, dass derjenige, der als Liebhaber lebt, verrückt ist”
(“I know that the one who lives as lover is crazy”)

… is the title of an actually exhibition at Vienna’s Mozarthaus to the 200th anniversary of the death of Joseph Haydn.
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Hieronymus Loeschenkohl: Joseph Haydn, Schattenriss, in: Wiener Musik- und Theater-Almanach auf das Jahr 1786 © Signatur G 87278, Mozarthaus Vienna

The main exhibit of the show is a fair-copy autograph score of the insertion aria “Chi vive amante”, which Haydn had composed for Francesco Bianchi’s opera “Alessandro nell’Indie” for the performance at Esterháza Palace in 1787. The exhibition – which is presented in co-operation with the Vienna City Library – focuses on the autograph score of this aria, which was written in the same year as Mozart’s “Don Giovanni”. In addition to this score there will be registers and libretti, which elucidate the historical context between this work and other operas of that era. The libretto of the then Viennese court poet Pietro Metastasio, on which the opera is based, was not only set to music by Bianchi but several other composers as well. Three printed versions of the libretto referring to the compositions by Baldassare Galuppi (1752), Leonardo Vinci (1783) and a community of composers (1773) will be on view.

Another focus is the historical context of this Haydn aria. Operas of other composers, which were created in Vienna at about the same period as the above-mentioned fragment will be presented: Mozart’s “Don Giovanni” of course, of which the facsimile of a score written by Mozart himself will be shown, or a contemporary copy of the score of “Axur, re d’Ormus” by Antonio Salieri, who at that time had just returned to Vienna from Paris. His opera is an adaptation of the French original version entitled “Tarare” for the Imperial Court Theatre in Vienna. It probably is Salieri’s most important opera. Vicente Martín y Soler, who is famous for his quotation from “Una cosa rara” in Mozart’s “Don Giovanni”, published his opera “L’arbore di Diana” in 1787. The exhibition will present a print of the piano score of the overture and a series of twelve German dances of this opera.
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from © Andreas Roseneder’s “Haydn-patch”-series, 2009:
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The reception of the aria is another essential aspect on which the exhibition will centre. So far three critical scientific editions have been published on this subject – in 1937 by the then head of the music division of “Städtische Sammlungen” (the predecessor of today’s Vienna City Library), in 1961 by the renowned Haydn expert H. C. Robbins Landon and, finally, in 2000 by Robert von Zahn in the scope of a complete edition of Haydn’s works. All three editions will be represented in the exhibition in order to document the increasing knowledge on this particular piece of music, which has been compiled over the years. All exhibits are part of the stock of the Vienna City Library. Complementary texts will provide the visitors of the exhibition with interesting background information.

“Chi vive amante… – Ich weiß, dass derjenige, der als Liebhaber lebt, verrückt ist”
Exhibition to the 200th anniversary of the death of Joseph Haydn
23 January – 3 May 2009
www.mozarthausvienna.at

Haydn at Esterházy theatre

Haydn directing a performance of his opera Lincontro improvviso in the Esterházy theatre in 1775. ©The Bridgeman Art Library

Haydn directing a performance of his opera L'incontro improvviso in the Esterházy theatre in 1775. ©The Bridgeman Art Library

Guardian’s author Stephen Moss on his “Haydn-Tripp”

An interesting story about his tripp to discover Haydn and “Haydn-Land” wrote Stephen Moss on january 1st 2009 for the “Guardian”.
An article about the “exclusivity” of Haydn – in comparison to Mozart and Beethoven.

– read the article here

– have a look on his pictures here