FRANZ JOSEPH HAYDN

(b. 1732, d. 1809)

Christine Grace V. Manzala, MAME

18th-19th Century Western Music Cultures

Dr. Ivar Fojas

01 June 2020
INTRODUCTION

Charles Hazlewood (b. 14 November 1966) is the man from which the

creative vision of Paraorchestra comes. “Under his leadership, Paraorchestra

became the world’s first large-scale integrated ensemble of professional

disabled and non-disabled musicians who made their debut at the Closing

Ceremony of the London 2012 Paralympics and were the first ever orchestral

headliner at Glastonbury Festival.” “In 1995, Hazlewood won first prize in

the European Broadcasting Union Conducting Competition, and has since

conducted many of the world’s greatest orchestras, and multiple festivals

throughout the world.” In an interview, Hazlewood reiterated that the goal

of any classical concert is true inclusivity – “a genuine mix of able-bodied,

and disabled, black and white, and everything in between – not through

tokenism but sheer bloody talent. He goes on to say that every artist on

stage must engage and embrace the audience through his craft. “Whatever

music it is, however difficult it is, any worthwhile music will speak to any

audience if the intention is right. It is all about a mindset of sharing,

not showing. Music is communication, an act of love, not a display.”

SUMMARY

The Austrian Imperial Anthem was born when Franz Joseph Haydn came to

know the British national anthem, ‘God Save the King’. It is ironic that no

matter how exceedingly rich and powerful Great Britain was during the second

half of the 18th century, the nation was lacking in a national composer of

real genius. Great Britain had the reputation for insatiable appetite for

thrilling and spectacular entertainment. Johann Peter Salomon, a composer

and impresario influenced a foreigner of Austrian descent by the name of

Franz Joseph Haydn to come with him to London. Consequently, Haydn did not

hesitate to set foot. It was the beginning of a revolutionary musical

expedition in London.

The beginnings of Hadyn’s life in London was somehow a struggle as he

had to grapple with the sounds of the surrounding – a picture of London’s

noisy life in every level. But nevertheless, Haydn coped very well with the

environment. After all, he came to London not to perfect his art, as he had

already reached the peak of his career – revered and had received worldwide

success, but to enjoy himself. In fact, for Haydn, the industrialization in

London is much like form and structure in his music. His technique and style

in music is totally unpredictable, rooted from his zealous need for discovery

and constant curiosity. “The thing about Haydn’s music is, the structure is

the expression.”
 Over the next few years in London, Haydn was fondly called the ‘Father

of Symphony’ and wrote quite a number of the abstract-musical spectacle of

what is today known as the London symphonies. The most famous is the

Military, Symphony No. 100. In 1791, Haydn was launched to the London scene

by Salomon through a prestigious twelve-week series of subscription concerts

in Hanover Square Rooms. The London public was a demanding public that posed

a great challenge for Haydn as a commercial composer. During the 1790s,

British audiences wanted to be engaged even by small works. Haydn proved to

faring well in the arena of composition and musical performance that jived

with the appetite of the British public. What makes Haydn’s entry to London

triumphal is the sense of patriotism in the musical and extra-musical

meanings of his compositions. He came to London two years after the French

Revolution and his music was both serving the ends of entertainment and the

social condition of his time

Quite interesting, Haydn got to play on both Viennese and British

fortepianos prior to and even during his settlement in London. His

contemporaries were Handel, a celebrated artist for His Hallelujah Chorus

and Herschel (Eccho Catch), whose life did not just revolve around music

making but also created the most sophisticated telescopes of his day.

Herschel’s discovery of the planet Uranus and his fondness to the heavenly

bodies made a lasting impact on Haydn evidenced by his composition about the

musical universe, The Creation.

 Haydn’s roots go far back to Austria. He was a son of a rural wheel

right and had trained as a choirboy at St. Stephen’s Cathedral in Vienna.

In his 20s, he served for the Esterhazy family, particularly the Prince. He

created works for the pleasure of the Prince in the morning, at noon time

and the evening. His musicality juxtaposed with his style and technique of

communication and leadership eventually led to the attribution of what we

now know as Symphony nos. 6, 7, and 8. After a few years, Prince Nicholas

rewarded Haydn the post Head of Music. Concerning his personal life, Haydn

was believed to have had a significant relationship with an English widow

pianist named Rebecca Schroeter. As a commercial composer, he got himself

to deals with publishers that made sum of money during his time. There was

an increasing demand for Scottish folksongs during Haydn’s second visit to

London. Relatively, Auld Lang Syne was one of the hundreds of folksongs

that Haydn arranged. It was a completely successful journey in London for

Haydn during the last four years. In 1795, he made a final goodbye to London

and spent the last fourteen years of his life in Vienna, Austria. It was

this time that Haydn wrote the national anthem of Austria inspired by ‘God

Save the King’.

Most assuredly, Haydn did not break his bonds with the Esterhazy. He

came back as a renowned composer and would write one piece per year for the

new Prince Esterhazy. Haydn’s, Sunrise movement from the oratorio, The

Creation clearly speaks about God’s transcendence and His glory declared by
the heavens. On the 31st of May in the year 1809, Haydn died peacefully in

his home in Vienna.

GUIDE QUESTIONS:

1. Who is Franz Joseph Haydn?

Franz Joseph Haydn was a son of a rural wheel right in Austria. He was

a trained choirboy at St. Stephen’s Cathedral. In his 20s, Haydn served

as musician/composer for Prince Esterhazy was able to produce or write

an enormous amount of music. Later in life, Haydn traveled to London

and there He made a blockbuster career as a musician/composer. He died

in 1805 in Vienna.

2. What was the cultural/social landscape of Great Britain during the

second half of the 18th century?

London was exceedingly rich and powerful. It was free, open and

progressive than any other countries in Europe. It was the most

industrialized city on the planet and was the seat for gold – meaning

a huge potential for earning. The British public had a reputation for

insatiable appetite for thrilling and spectacular entertainment.

3. What made Haydn a national composer of Great Britain?

Haydn took on the challenge to integrate his music and ideals to the

current social condition of London. He thought of ways to engage and

connect with the people through his music. Haydn’s sense of patriotism

reflected in his compositions appealed greatly to the British people

 whose sense of nationhood had been strengthened during and after the

French Revolution.

4. How would you describe Haydn’s music?

Haydn’s love for structure and form resonate in his music whether small

and large scale works. It is dramatic but not fictitious. It served to

entertain and empathize or see through the social conditions of his

day. It is profoundly grounded and divinely inspired – conveying

realities: beauty, order, peace, chaos, cessation of life and

relationships, and the glory of God. The comic aspect is also one

distinctive quality of his music.

5. What lessons can you draw from Haydn’s life?

His self-determination to carry out the responsibilities as a

musician/composer however or albeit the overwhelming challenges of the

times is commendable. His attitude towards excellence is praiseworthy.

He is a man who acknowledged the significant contribution of the people

from the past, at the present and in the future.

CONCLUSION

Franz Joseph Haydn is one of the composers in the late 18th century

who, I must say, rose from the ranks. From smallest of beginnings he

achieved universal acclaim. It is interesting how quite brave He was

for taking on the challenge of a major transition in his 60s. He moved

to London at the influence of Salomon and since then his musical career

flourished even further. The successes he experienced tripled.

As I reflect, his music “missionary” journey during the second

half of the 18th century up to his death largely contributed to the

history of western classical music tradition and practices. His musical

taste was nurtured early on through firsthand experiences with fine and

sophisticated compositions in the service of Prince Esterhazy. These

influences carried on up to the very last engagement he made with

musicians and performances in Vienna.

I am particularly fascinated with how Marshall Marcus described

Haydn’s comic style and wit in writing symphonies or music for the

string quartets. His musical jokes were an essential element that

distinguish Haydn from other composers of the period. On the other

hand, William Herschel was instrumental to walking Haydn through the

reality of a musical universe. His oratorio, The Creation was written

to put the listener “in a frame of mind where he is most susceptible to

the kindness and omnipotence of the Creator.” Ultimately, Haydn always

acknowledged that his talents were an unmerited gift and favor from

God.
SOURCES

Franz Joseph Haydn, BBC. https://www.youtube.com/watch?v=EDc2APzwT2w

https: www.charleshazlewood.com/about

https://www.google.com/amp/theartsdesk.com/new-music/10questions-conductor-charles-hazlewood

Reconsidering the Legacy of Haydn, ‘The Father of Symphony’, Chicago

Symphony Orchestra. 2018. https://csosoundsandstories.org/reconsidering-the-legacy-of-haydn-

the-father-of-the-symphony/

Kavanaugh, Patrick. Spirtual Lives of the Great Composers Revised and

Expanded. 1996. Zondervan Publishing House, Grand Rapids, Michigan 49530