200 Years, Anniversary Joseph Haydn (1732-1809)

haydnmania: the 2009 anniversary

Archive for Mozart

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”.


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.

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.
from © Andreas Roseneder’s “Haydn-patch”-series, 2009:

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

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

“First Viennese School”: the 3 G’s

The three great classical composers, Haydn, Mozart and Beethoven, are commonly referred to as the First Viennese School. They never really worked together as a group, though especially Mozart and Haydn knew each other well, and have most certainly influenced each other. For example, Mozart dedicated some string quartets to Haydn, because he valued Haydn’s string quartets so much.

The 6 string quartets (“the Haydn-Quartetts”) Mozart dedicated to Haydn (composed between 1782 – 1785), influenced by Haydn’s “russian quartets”:
string quartet G-Dur KV 387 (1782) – 1st Haydn-Quartet
string quartet d-moll KV 421 (1783) – 2nd Haydn-Quartet
string quartet Es-dur KV 428 (1783) – 3rd Haydn-Quartet
string quartet “Jagd-Quartett” (=”hunting quartet”) B-dur KV 458 (1783) – 4th Haydn-Quartet
string quartet A-dur KV 464 (1785) – 5th Haydn-Quartet
string quartet C- Dur “Dissonanzen-Quartett” KV 465 (1783) – 6th Haydn-Quartet

In general they valued each other very much as composers, and as persons. For Beethoven, who was the “youngest” of the three, the other two were his big examples.

the answer to “poll #1: who said this?”

√ Joseph Haydn !
was the correct answer!

The story behind:

First, after having been granted an extended leave of absence from service at the Esterházy court, and having moved to Vienna at the end of 1790, at the age of 58 Joseph Haydn found himself in the position of a musician free to do as he pleased at the beginning of a possibliy long-planned personal career where he would earn his own way. The violonist Johann Peter Salomon invited him to do a concert series in England and Haydn seized the oppotunity at once. [ from the book “Joseph Haydn. Great Austrian Composer”]

Johann Peter Salomon (1745 – 1815),
painted by Thomas Hardy, London 1792
(picture from wikimedia commons)

For 5000 guilders, Haydn agreed to compose 27 pieces for London concert manager Johann Peter Salomon and to have them performed in concerts, conducting them himself. When Mozart expressed reservations that Haydn did not even speak English, he said:
“Meine Sprache verstehet die ganze Welt!” (original)
“My language is understood throughout the world!”(translation)
Looking back, Haydn often said the years in England (1791 – 1792, 1794 – 1795) were the happiest of his life. During those years Haydn reached the zenith of his fame.