Introduction: In Search of Haydn: Part One (02:00)
Experts talk about Haydn's legacy, especially in relation to Mozart and Beethoven.
Young Haydn became a choir boy at St. Stephen's in Vienna; background in the Catholic church helped shape his outlook and music. Conditions were Spartan.
Early Composing Career (02:09)
Haydn began teaching music, writing his own pieces for use as teaching tools. Early sonatas are therefore simple, but have characteristic sparkle.
Amid aristocratic competition to patronize musicians, Haydn won positions in Vienna. His account of his first experience of sexual tension is quoted.
Haydn fell in love with a girl, but her family intended her for a convent; he instead married her older sister, Maria Anna.
Haydn became deputy music master to Prince Paul Anton Esterhazy at his palace at Eisenstadt, a prestigious position.
Morning, Noon, Evening (02:56)
Classical paintings at the Eisenstadt palace inspired Haydn's symphonies about morning, noon and evening (symphonies 6, 7 and 8.)
Cello Concertos (03:31)
Haydn is important to cellists due to compositions such as his Cello Concerto in C.
Spiritual Element to Music (02:58)
Hear Haydn's Keyboard Concerto no. 4 in G. A conductor discusses how Haydn sprinkles music with his spirituality; beautiful, slow movements show sensitivity.
Contrasted with Beethoven and Mozart (02:08)
Haydn wants to please and entertain, while Mozart and Beethoven wanted to impress with songs that showcase their pianistic abilities. Hear symphony 30 in C.
Increasing Wealth (02:53)
Haydn's salary at Eisenstadt increased; visit the house he bought next to the palace and learn about his life and wealth at this time.
Haydn's employer Prince Nikolaus created a palace intended to rival Versailles, with two concert halls, where Haydn played.
Finding Genius (02:59)
Only around 40 did Haydn truly find his genius. Hear keyboard sonata 34. Hear Haydn's description of a growing, tentative willingness to break convention.
Playful Composition (03:49)
Haydn played games with musical conventions. The humor or surprise in his music was overt, whereas in Mozart it was subtle and hidden; an expert demonstrates the contrast.
C Major Sonata (01:46)
A pianist comments on unconventional decisions Haydn made in the C major sonata.
Conveying Hint (02:27)
Prince Nicolas's orchestra tired of being away from home playing at Eszterháza. The musicians walk off one by one in Haydn's symphony 45.
Style of Sonatas (02:06)
Haydn's sonatas were private projects; they are different from his public symphonies, emotional and sensitive rather than wild. Hear keyboard sonata 47.
Haydn began composing operas, and directed his own and other operas at Eszterháza. Hear some of Lo Speziale and La fedelta permiata.
Caliber of Operas (01:04)
Mozart revolutionized opera, leaving Haydn's operas overshadowed. Haydn never had a writer of Da Ponte's talent, but his composition is excellent.
Philemon and Baucis (01:41)
"Wenn am weiten Firmamente," the song Aret sings upon resurrection in "Philemon and Baucis," conveys wonder.
Writing For Soprano (02:45)
Hear "Navicella da vento agitato" from "La Marchesa Nespola". A soprano talks about what Haydn's operas are like to sing.
Music Reflects Text (01:40)
Haydn wrote opera music such that it matched his text; a song about a sea storm is an example.
Credits: In Search of Haydn: Part One (00:44)
Credits: In Search of Haydn: Part One
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