Hwm- The Late 18Th Century: Haydn And Mozart- 14

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Franz Joseph Haydn (1732-1809)

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1. Early Years
a) Born in Rohrau a little town near the Hungarian border in what is now Austria
b) Received his first musical training from an uncle with whom he went to live with at
age 5 and 2 yrs later became a choirboy at St. Stephan's Cathedral in Vienna
c) After his voice changed, he lived precariously as a freelance musician - becoming
music director for Count Morizin in 1758 or 59

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Eszterhàza

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a) In 1761 he entered the service of Prince Paul Anton Esterhàza which lasted for
nearly 30 years
b) Ideal for a composer, as the court rivaled Versailles with two theaters - one for
opera and one for marionette plays, two large music rooms
c) Haydn built up the orchestra to about 25 players

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Haydn's Instrumental Music

a) The Symponies

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1: Symphonic Form
i- Classic symphony
a- demanded the most attention from its audience in the 1st movement
b- the 2nd movement offered calm and gentle melodic oasis to the
complexity and and contrasts of the 1st movement
c- the Minuet provided relaxation
i) written in a more popular style
ii) easier form for the listener to follow
iii) but too short to balance the preceding two movements as a closing
movement, relaxed spirit must be balanced with a buildup of tension,
climax, and release
d- Haydn developed a and Allegro or Presto in 2/4 or cut time to close after
the minuet
e- Overall Symphonic organization was then
i) I. Allegro
(1) Exposition
(2) Development
(3) Recapitulation
ii) II. Andante moderato
iii) III. Minuet & Trio
(1) Minuet
(2) Trio
iv) IV. Finale: Allegro or Presto

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First movement form

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a- typically the first movement Allegro alternates stable and unstable
periods
i) Stable periods
i) Stable periods
(1) tonality and their rhythmic and melodic profiles are consistent - but
they are not tension free
(2) the statements of the primary, secondary, and closing material are
usually phrased symmetrically - most often in balanced 4 measure
phrases and are clearly delimited by cadences
(3) the ideas are presented through a combination of string and wind
ensembles with some tutti puctuations
ii) Unstable periods
(1) in the exposition and mainly transitions
(a) are often tutti or culminate in a tutti
(b) characterized by nervous rhythmic energy, sequences,
modulatory thrusts, asymetrical phrasing, powerful harmonic
drive, and avoidance of cadences
(2) in the developement section
(a) least stable - they may draw material from various sections in
any order
(b) may contain episodes that are relaxed and relatively stable
(3) recapitulation though tonally stable endows the transitions with
unexpected deviations that add suspense to the anticipated arrival
of familiar thematic sections

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Minuet and Trio

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a- Minuet is always a two part form - || : a : || : a' (a) : ||
b- Trio is built on similar lines
i) same key as the Minuet - with possibly a change in mode
ii) shorter with a lighter orchestration
c- after the Trio, the Minuet returns (da capo)
d- results in a 3 part ABA form for the movement as a whole

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earliest symphonies (pre 1768) are in the early Classic three movement form
(derived from the Italian opera overture - "sinfonia

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(derived from the Italian opera overture - "sinfonia"
i- Allegro
ii- Andate - in the parellel minor or subdominant key
iii- Minuet or rapid gigue-like movement in 3/8 or 6/8
3: some other early symphonies are in a four movement form - Andante/Allegro/
Minuet/Presto recalling the slow-fast-slow-fast sequence of the sonata da
chiesa
4: Haydn soon adopted the standard Classic four movement form - I. Allegro, II.
Andante moderato, III. Minuet & Trio, IV. Allegro

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5: symphonies of 1768-1774 show a view of the symphony as a serious work
demanding close listening

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i- no longer light entertainment or delightful overture to an opera
ii- the deeply emotional and agitated character of the symphonies particularly
those in minor keys has been associated with the movement in literature
known as "Sturm und Drang"
6: symphonies of 1774-1788 show a smooth and assured exploitation of
orchestral resources
6: symphonies of 1774-1788 show a smooth and assured exploitation of
orchestral resources

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The Quartets

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1: quartets to 1781
i- in the sonata form movements Haydn adopted strategies peculiar to his
quartets
a- exposition almost always dominated by the first violin
b- after this exposition of primary subject, he usually chose a looser texture
in which the primary motives pass from one instrument to another
c- instead of tutti transitions used in his symphonies he favored loud
unisons or stark modulatory gestures
d- arrivals such as secondary thematic section in the recapitulation are
marked by subtle means not by cadence
e- the development sections are (in opus 20) nearly equal in length to the
exposition and recapitulation
f- motive first presented in the exposition are developed over the entire
movement
ii- fugue based movements - several of Haydn's contemporaries - Richter,
Carlos d'Ordoñez (1734-1786), and Gassmann - also included fugal
movements in their quartets

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Quartets 1785-1790

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i- increasing frequent use of monothematic first movements
ii- many slow movements are themes and variations

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Last Quartets

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i- frequently based his second thematic section on the first
ii- used the closing section to inject contrast
iii- his expanded harmonic frontiers froeshadowed Romantic harmony in his
chromatic progressions, uses of the augmented sixth chord, enharmonic
changes, and fanciful tonal shifts

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Keyboard Sonatas

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1: early keyboard sonatas can be performed on a harpsichord, later pieces
require a pianoforte due to the dynamic markings
2: follow the same lines of development observed in the symphonies and quartets

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Haydn's Vocal Works

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b) songs for solo voice with keyboard are unpretintious
c) masses
1: true to Viennese tradition, Haydn interchanged solo voice and chorus
2: what was new was the prominent position he gave to the orchestra and his
pervasive adoption of symphonic style and even symphonic forms
d) oratorios - admired Handel - evident in his late masses and above all in the
oratorios

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Wolfgang Amadeus Mozart (1756-1791)

Early Years

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a) born in Salzburg - his father, Leopold Mozart served in the archbishops chapel
also wrote a celebrated treatise on violin playing, he dropped all to devote himself
to educating and exhibiting Wolfgang's talents
b) Wolfgang starting as a keyboard virtuoso soon became an accomplished organist
and violinist
c) produced his first minuets at the age of five, his first symphony just before his ninth
birthday, his first oratorio at eleven, and his first opera at twelve
d) thanks to his fathers education, he became familiar with every kind of music that
was being written or heard in contemporary western Europe - his work became a
synthesis of national styles - a mirror that reflected the music of a whole age -
illuminated by his own genius

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Early Works (Pre-1774)

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a) became interested early on in the works of Johann Gottfried Eckard (1735-1809)
and Johann Schobert (1720?-1767)
b) J.C. Bach whom Mozart met in London had an important and lasting influence on
the young Mozart
c) Haydn's music also became increasing important in the young composer's life

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Salzburg Years (1774-1781)

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a) From 1774 to 1781, Mozart lived chiefly in Salzburg - viewing it as a narrow
provincial life with limited opportunity
b) in 1777 he took a fruitless journey to Munich, Augsburg, Mannheim, and Paris
(with his mother who died in 1778)
c) 1781 he composed Idomeneo an opera for the city of Munich he then went to
Vienna to try his had as a freelance musician - like his contemporaries, he was a
commercial composer expecting his music to be performed, please an audience,
and make money
d) Serenades & Divertimentos - for garden parties, outdoor performances, weddings,
birthdays, or for concerts at the homes of friends & patrons
e) Piano & Violin sonatas
1: themes have a distinct melodic profile - balanced antecedent and consequent
phrases but often the second phrase is extended
2: the piano sonatas are closely related to his sonatas for piano and violin - in the
early years these duos were really piano pieces with optional violin
accompaniment
f) Solo Concertos - among the notable compositions of the Salzburg period

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The Vienna Years (1781 onward)

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a) he quite the service of the archbishop of Salzburg to settle in Vienna in 1781
b) most of the works that immortalized Mozart came were composed between the
ages of 25 & 35
c) principal influences on Mozart during the last 10 yrs of his life came from his
continuing study of Haydn and his discovery of J.S. Bach (seen in the increasing
contrapuntal nature of Mozart's later works)
1: introduced to J.S. Bach's work through Baron Gottfried van Swieten
2: became acquainted at a reading session at Swieten home of Art of the Fugue, &
Well-Tempered Keyboard

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Vienna Works

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d) piano works - most important of Vienna period are the Fantasia & Sonata in C
minor
e) chamber Works
1: The Haydn Quartets dedicated to Joseph Haydn as a token of his gratitude for
all that he had learned from the older composer
2: genius reveals itself most fully in his quintets for 2 violins, 2 violas, and cello
f) symphonies
1: those composed before 1782 served most often as concert or theatrical curtain
raisers
2: those in Vienna constituted the main feature on concert programs or at least
shared billing with concertos and arias
i- wrote only six in the last 10 yrs of his life while producing nearly sixty prior
ii- the latter symphonies show much time and thought to their compostion
g) concertos for piano & orchestra
1: wrote many as vehicles for his own concerts
2: can judge the rise & fall of his popularity in Vienna - three in 1782-83, four in
each of the next two seasons, three again in 1785-86, one for each of the next
two seasons, and then no more till the last year of his life
h) church music - his settings of sacred texts are not counted among his major works
i) opera - he believed poetry should serve the music rather than the contrary
1: favored librettos that were not ambitiously poetic
2: with Lorenzo da Ponte (1749-1838) the librettist, he raised the opera buffa to a
new level - with greater depth to the characters, intensifying the social tensions
between classes, and introducing moral issues

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Musical Styles

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a) ars combinatoria - the art of combination and permutation derived from
mathematics that was taught by 18th century music theorists as a means of
achieving melodic variety in composition
b) Classic piano concertos
1: preserve certain features of the Baroque concerto
i- follow the 3 movement fast-slow-fast sequence
ii- 1st movement is in a modified concerto-ritornello form
a- in a single key
b- contains a transitional tutti that reappears in various keys in the course of
the movement

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Other Composers

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1. Opera - Gluck, Piccinni, Paisiello, Salieri, Georg Benda (1722-1795), Pasquale
Anfossi (1727-1797), Antonio Sacchini (1730-1786), Domenico Cimarosa (1749
-1801)
2. Instrumental - Ignaz Holzbauer (1711-1783), Luigi Boccherini (1743-1805), Carl
Dittersdorf (1739-1799), Leopold Anton Kozeluch (1747-1818)