Unsere Datenschutzrichtlinien wurden am Freitag 31 Januar 2020 aktualisiertMehr InformationenOK
Bachtrack logo
Flagge von Österreich

Komponist: Haydn, Joseph (1732-1809)

Veranstaltungen zu klassischer Musik, Oper, Ballett und Tanz finden | Haydn

HamburgLondon Philharmonic Orchestra / Chen / Eschenbach

London Philharmonic Orchestra
Mendelssohn Bartholdy, Haydn
London Philharmonic Orchestra; Christoph Eschenbach; Ray Chen

BambergBarbara Hannigan conducts and sings

© Marco Borggreve
Bartók, Haydn, Ligeti, Kurtág
Bamberger Symphoniker; Barbara Hannigan; Ilian Garnetz; Luigi Gaggero

LiverpoolJulian Bliss & Vasily Petrenko

Arensky, Weber, Haydn
Royal Liverpool Philharmonic Orchestra; Vasily Petrenko; Julian Bliss

LondonWinters, Maderna, Haydn & Shostakovich

London Symphony Orchestra
Winters, Maderna, Haydn, Schostakowitsch
London Symphony Orchestra; Gianandrea Noseda

StockholmHaydn, Schumann

Stockholms Konserthusstiftelse
Haydn, Schumann
Königliches Philharmonisches Orchester Stockholm; Franz Welser-Möst
Neue Kritikenmehr...

Ein liebenswürdiges Konzert mit dem COE in Berlin

Sir Simon Rattle © Oliver Helbig
Das Chamber Orchestra of Europe und Sir Simon Rattle verzaubern in der Philharmonie mit Beethoven und Haydn.

Kosmos Beethoven: historische Schnitzeljagd in Knechtsteden

Tobias Koch, Kerstin Dietl und Andreas Post © Michael Rathmann
Trotz Makel führte die Beethovennacht in eine leuchtende Hoffnung, die den guten Willen anerkennt, Neugehörtes und den herausragenden Solisten Tobias Koch würdigt.

Zahme Geister auf Besuch bei der Styriarte

Christa Schönfeldinger © styriarte | Wagner

Schön, aber ohne den letzten Funken Spannung, erklang in der Helmut-List-Halle allerlei Gespenstisches.


Der talentierte Mr. Wellber und die Münchner Philharmoniker

Omer Meir Wellber © Tato Baeza
Bei seinem Gastdirigat bei den Münchner Philharmonikern schlüpfte Omer Meir Wellber in viele Rollen und bot dem Publikum in der Philharmonie ein spektakuläres Programm zwischen neu und alt.

Herzinnig und keck: Herbert Blomstedts Bruckner und Haydn in Bamberg

Herbert Blomstedt © Andreas Herzau
Die Bamberger Symphoniker musizieren voll schwärmerischer Begeisterung mit ihrem Ehrendirigenten.

Haydn, as Naxos puts it, is the subject of many paternity suits. Chamber music fans revere him as the father of the string quartet. He pioneered the a highly structured form of music where different instruments converse with each other. During the course of this conversation, the themes they play are transformed and developed, all the while training your ear to anticipate the pleasure of a return to the home key.

While Haydn didn't actually invent the term "symphony" (the word dates back at least to Gabrieli in 1597), his output of 104 symphonies transformed the genre and formed the base from which romantic and modern symphonies were derived.

Haydn did not have an easy life: the son of a wheelwright, he left the family home at six in the hope of a musical career via the church choir, from which he was unceremoniously dismissed when his voice broke. He was frequently hungry, and it was not until 1761 that he achieved stable employment with the Esterházy family, a job which was to last over thirty years.

In spite of his hard life and bouts of debilitating illness, his music is suffused with good humour, and he was respected by his contemporaries as a model of good character.

David Karlin, December 2008

Click here for a page of Haydn Trivia...

Biography of Haydn by the BBC's Terry Barfoot

Haydn trained as a choirboy at St Stephen’s Cathedral in Vienna before embarking upon his long career. His first appointment was as music director at Lukavec, but financial problems soon closed Count Morzin’s orchestra and terminated this employment.

In 1761 Haydn entered the service of the Esterházy family, where he remained for thirty years. Beginning as Vice-Kapellmeister, he took over the leading position in 1766, succeeding Gregor Werner. In the early years of this service Haydn’s orchestra comprised at least six violins, three violas, three cellos and two double-basses, together with pairs of oboes and horns, with other instruments added occasionally.

His relationship with the Esterházy establishment, first at Eisenstadt and from 1767 at Esterháza (the new palace modelled on Versailles), enabled Haydn to view his isolation positively: "Cut off from the world, I was forced to become original." His development was crucial to the evolution of the classical style. While he did not invent the symphony or the string quartet, more than any other composer he guided these genres from infancy to maturity. It is hardly surprising that he inspired Mozart and other composers beyond.

The palace of Esterháza contained an opera house, and after 1777 opera became Haydn’s priority for several years. The "heroic-comic drama" Orlando paladino of 1782 gained an international reputation, with performances in Vienna and Prague. Mixing seria and buffa styles, dramatic recitatives and dazzling arias combine with comic characterisation; the bluff squire Pasquino even has a patter catalogue aria. Other fine operas include La vera constanza (True Constancy) and La fedeltà premiata (Loyalty Rewarded).

Haydn composed more than a hundred symphonies and was imaginatively independent, his works invariably having special personalities. Several begin with slow movements in ‘church sonata’ style, including No. 22, The Philosopher (1764) and No. 49, La Passione (1768). He also contributed to the expressive Sturm und Drang (Storm and Stress) style, in which emotional intensity reacted against the more superficial galant style, as for instance in Symphony No. 44, Trauer (1772). Meanwhile, Haydn became famous throughout Europe, and in 1785 he received a prestigious commission from "Le Concert de la Loge olympique". The resulting Paris Symphonies (Nos. 82-87) were his most ambitious and sophisticated to date.

In 1790 Prince Nikolaus died, and Haydn was allowed to leave. The impresario Johann Peter Salomon travelled in person to invite him to London. He accepted, and between 1791 and 1795 composed twelve symphonies, Nos. 93-104, which are his crowning achievement. His finales particularly are miracles of intellectual organisation, combining with music’s most pointed wit.

Haydn led the way in developing the string quartet. Towards the end of his life he told his publisher that his acknowledged quartets should begin with Opus 9 (1771), omitting the first eighteen compositions. There is close development of the music, rather than the easier entertainment style. He also claimed his Opus 33 quartets (1781) were written 'in a new and special way'. Although mere sales talk, the boast is justified by the music, which inspired Mozart to return to quartet writing with a series of compositions that he dedicated to Haydn. By now there was a sophisticated public who might perform and hear the music over and over again, whereas symphonies could seldom be repeated. The process of understanding a continuum of developing sounds was quite new, and it was why these years brought music of such lucidity.

The ‘Tost’ Quartets, Opus 54, 55 and 64, were composed for the Viennese merchant Johann Tost, who had worked at Esterháza. The boundaries between drawing room and concert room were disappearing, and the Opus 71 and Opus 74 use the same devices, including slow introductions, as the London symphonies. The final quartets came after Haydn’s return to Vienna. In 1797 the Opus 76 set was composed, two years before the two last completed quartets, Opus 77. How fitting that the same patron, Prince Lobkowitz, simultaneously commissioned the first quartets, Opus 18, of the young Beethoven.

The keyboard sonatas display a variety of forms and moods, as well as taxing the dexterity of the player. Haydn’s London visits yielded his finest sonatas, including the marvelous C major, whose opening Allegro is symphonic in scale and scope.

The trip to London, which included the experience of seeing the sea for the first time in his life, released a new flow of creativity from Haydn. Following his return to Vienna, he remained at the summit of his creative powers, in trios and quartets, the magnificent oratorios The Creation and The Seasons, and the six Masses for Princess Marie Josepha Hermenegild. His final years, however, brought the misfortune of ill health and little creative work was possible. He died in Vienna on 31st May 1809, aged 77.

© Terry Barfoot/BBC

8 Notturno for the King of Naples, Hob IIAllegro di moltoArianna a Naxos - Kantate, Hob.XXVIb:2Cellokonzert Nr. 1 in C-Dur, Hob.VIIb:1Cellokonzert Nr. 2 in D-Dur, Hob.VIIb:2Die Jahreszeiten, Hob.XXI:3Die Schöpfung, Hob.XXI:2Die Schöpfung, Hob.XXI:2: Vorstellung des ChaosDie Sieben Letzten Worte unseres Erlösers am Kreuze (Orchesterfassung)Die sieben letzten Worte unseres Erlösers am Kreuz, Op. 51 Nr.1: L'Introduzione, Maestoso ed adagioDivertimento in G major "Der Geburtstag", Hob.II:2Fantasia (Capriccio) in C major, Hob XVII:4II mondo della luna: overtureKlavierkonzert in D-Dur, Hob XVIII:11Klaviersonate in Es-Dur, Hob XVI:52Klaviertrio Nr. 43 in C-Dur, Hob XV:27Klaviertrio in G-Dur, "Zigeunerrondo", Hob XV:25Messe Nr. 12 in B-Dur "Schöpfungsmesse", Hob.XXII:13Miseri noi, misera Patria - Kantate, Hob.XXIVa:7Oboenkonzert in C-Dur, Hob VIIg:C1Piano Sonata in B minor, Hob XVI:32Piano Sonata in E flat major, Hob XVI:49Piano Sonata in G major, Hob XVI:40Piano Trio no. 4 in F major, Hob XV:39Piano Trio no. 41 in E flat minor, Hob XV:31Sinfonia Concertante B-Dur für Oboe, Fagott, Violine und Cello, Hob I: 105Stabat Mater, Hob. XXbisStreichquartett Nr. 30 in Es-Dur „The Joke", Op.33 Nr.2, Hob III:38Streichquartett Nr. 53 in D-Dur "Die Lerche", Op.64 Nr.5, Hob. III:63Streichquartett Nr. 61 d-Moll "Fifths," Op.76 Nr. 2, Hob III: 76Streichquartett Nr. 62 C-Dur "Kaiserquartett", Op.76 Nr. 3, Hob III: 77Streichquartett Nr. 68 in d-Moll, Op.103, Hob III:83String Quartet in G major, Op.81 No. 1, Hob III:81String Quartet no. 11 in D minor, Op.9 no.4, Hob III:22String Quartet no. 23 in F minor, Op.20 no.5, Hob III:35String Quartet no. 27 in D major, Op.20 no.4, Hob III:34String Quartet no. 31 in B minor, Op.33 no.1, Hob III:37String Quartet no. 65 in E flat major, Op.76 no.6, Hob III:80String Quartet no. 66 in G major "Lobkowitz", Op.77 no.1, Hob III:81String Quartet no. 67 in F major, Op.77 No.2, Hob III:82Symphonie Nr. 101 in D-Dur "Die Uhr", Hob.I:101Symphonie Nr. 104 in D-Dur "London", Hob.I:104Symphonie Nr. 31 in D-Dur "Hornsignal", Hob.I:31Symphonie Nr. 39 in G-Dur, Hob.I:39Symphonie Nr. 44 in e-Moll "Trauersymphonie", Hob.I:44Symphonie Nr. 48 in C-Dur "Maria Theresia", Hob.I:48Symphonie Nr. 49 in f-Moll "La Passione", Hob.I:49Symphonie Nr. 53 in D-Dur "L'Impériale", Hob.I:53Symphonie Nr. 59 in A-Dur "Feuersymphonie", Hob.I:59Symphonie Nr. 6 in D-Dur "Le Matin", Hob.I:6Symphonie Nr. 60 in C-Dur "Il distratto", Hob.I:60Symphonie Nr. 64 in A-Dur "Tempora mutantur", Hob.I:64Symphonie Nr. 7 in C-Dur "Le midi", Hob.I:7Symphonie Nr. 75 in D-Dur, Hob.I:75Symphonie Nr. 8 in G-Dur "Le soir", Hob.I:8Symphonie Nr. 82 in C-Dur "Der Bär", Hob.I:82Symphonie Nr. 84 in Es-Dur "In nomine Domini", Hob.I:84Symphonie Nr. 85 in B-Dur "La Reine", Hob.I:85Symphonie Nr. 86 in D-Dur, Hob.I:86Symphonie Nr. 89 in F-Dur, Hob.I:89Symphonie Nr. 90 in C-Dur, Hob.I:90Symphonie Nr. 94 G-Dur "Überraschung", Hob.I:94Symphonie Nr. 99 in Es-Dur, Hob.I:99Te Deum in C-Dur für Kaiserin Maria TheresiaTrio Nr. 16 in D-Dur für Flöte, Cello und Klavier, Hob.XV:16Trompetenkonzert in Es-Dur, Hob.VIIe:1Violinkonzert Nr. 4 in G-Dur, Hob.VIIa:4