Joseph Haydn 's Lifelong Involvement With The String Quartet

Both Haydn and Beethoven are known as two of the greatest classical/romantic composers in the history of music. Haydn is identified as the father of modern symphony, as well as the father of the string quartet. He has played an essential role in developing the piano trio and the sonata form. Beethoven is also a widely recognized composer in Western music, his style joined the lull between the Classical and Romantic eras. Beethoven traveled to Vienna when he was young to study under Haydn. However, due to disputes and differences between the two composers, lessons only lasted for a little over a year. The teachings, if only for a short period, left a mark on Beethoven, and can be observed in his compositions.

As noted by Robert Hughes, "Beethoven was not only the embodiment of all that was before him, but also of that which was yet to come" (Hughes 486). The truth of this may be seen by comparing Beethoven's 5th Symphony in C Minor to Haydn, the father of Symphony, and his 95th in C Minor. While Haydn's symphony is both playful and dramatic, Beethoven's symphony is grander both in terms of scale and vision. He expands the size of the orchestra to incorporate the sounds swirling around, underlying, and depicting the arrival of Fate in a rhythm-driven, thematic symphony that takes Haydn's form and runs with it as though to the top of a mountain peak. This paper will analyze the symphonies by movement, according to form, size, structure, tonalities, melodies, orchestral sound and overall mood and effect.

Sonatas composed from 1773 to 1784 were intended as “public” works from the very beginning, with a clear conception of the taste, preferences, and instruments available to the musical public of Vienna. The Sonata in F Major, Hob. XVI: 23; L38 written in 1773 for solo harpsichord is the best known and most virtuosic of

Some of the great composers during this time were Franz Josef Haydn, Wolfgang Amadeus Mozart,

Mozart was a prolific and most influential composer of the classical era. As a mere toddler he began to observe his sister’s lessons with their father, developing a keen ear, and showing signs of surprising comprehension. His father, Leopold, was himself a successful composer, violinist and assistant concert master of the Salzburg Court. Both Mozart and his sister were tutored by their father, a dedicated and task-oriented pedagogue. Young Mozart progressed anon, excelling even above his father’s pedagogic genius. At the verdant age of six, he performed as a child prodigy at royal courts in London, Paris, and Zurich. Mozart’s youth was spent fully engaged in touring and performance. These tours were financed through donors and patrons. Through the years, and while abroad, Mozart met many accomplished musicians such as Johann

Haydn composed his Op. 74 quartets in the later years of his life between 1796 and 1797 and it was the last of his completed string quartets. The set of quartets were dedicated to the Hungarian Count Joseph Erdödy and were published in 1799. It was said that this selection of quartets was one of his “most ambitious chamber works” with his attempt of “emphasizing thematic continuity, seamlessly and continually passing motifs from one instrument to another” 1. The fourth of these quartets is nicknamed “Sunrise”. This is due to the exquisite rising theme heard in the first violin part at the beginning of the first movement from bar one to bar four as seen in Figure

Music is constantly changing. The Baroque period (1600-1750) and the Classical period (1750-1820) have both differences and similarities in elements such as form, texture, and dynamics. I will be comparing the first movement of Spring from the Four Seasons composed by Antonio Vivaldi and the first movement of Symphony No. 5 in C minor by Ludwig van Beethoven. I will construct a stylistic comparison of the two compositions and their musical stylings with regard to the periods of music of which they belong.

Early eighteenth century marked the beginning of the middle period, which was said to be the most productive period out of his three compositional periods as some of his most magnificent works were produced during this time (Lockwood, 194). In this paper, I will examine the heroic style - why it came about, what are some characteristics of ‘heroic’ music and through the analysis of a ‘product of the times’ (Taruskin) , compare the differences between the music of the heroic style and that of before. The middle period is also known as the heroic period from 1803 – 1812 is after the Viennese period and before the Late

Franz Joseph Haydn is one of the most recognizable names and characters of the Classical era. He is recognizes as the inventor of the string quartet, and tutored many other easily-recognizable musicians such as Ludwig van Beethoven and Amadeus Wolfgang Mozart. Haydn’s first experience with music was when he was eight, and he was recruited to sing as a choirboy at St. Stephen’s choir in Vienna. He eventually came to love the keyboard and violin, and supported himself in his early years by teaching and playing violin. His most famous pieces include: the "Rider" quartet and the Surprise, Military, Drumroll and London symphonies. The listening example: Symphony no. 94 is known as the Surprise Symphony, and is the second of the twelve London Symphonies.

Ludwig Van Beethoven was one of the most influential composers of his time. The decades around the 1800’s were years of many changes and Beethoven’s new approach to music was something that reflected that. “His symphonies, concertos, string quartets and piano sonatas are central to the repertory of classical music.” This essay will focus on the historical and theoretical aspects of the third movement of Sonata Op. 28 No. 15.

The early piano sonatas of Beethoven deserve special mention. Although his first published examples of concertos and trios and the first two symphonies are beneath the masterpieces of Mozart and Haydn, the piano sonatas bear an unmistakably Beethovian stamp: grandiose in scope and length, and innovative in their range of expression. The sonatas were able to move expression from terrible rage to peals of laughter to deep depression so suddenly. Capturing this unpredictable style in his music, a new freedom of expression which broke the bounds of Classical ideals, was to position Beethoven as a disturbed man in the minds of some of his contemporaries. Furthermore, he was to be seen as the father of Romanticism and the single most important innovator of music in the minds of those after him. (Bookspan 27).

Joseph Haydn was one of the most acclaimed composers of the Classical Era. Known as the father of the string quartet, he has created music that is withstanding the test of time and only becoming more eminent in today’s choice of literature. Hayden’s String Quartet in C Major, Op. 74, No. 1, Movement III, is one of so many that deserve a closer look and a keen eye to decipher. The use of elements such as balance, harmonic closure, form and modulations are easy to look over at first glance. However, through active listening and chord analysis, it becomes easier to absorb the material and thoroughly appreciate the masterpiece.

Franz Joseph Haydn was born on March 31, 1732 in Rohrau, Austria. At the the age of 8 he was recruited to sing at St.Stephen’s Cathedral in Vienna in the choir. The he learned how to play the piano and violin and then quit the choir. He was able to support himself by teaching others and playing the violin. While he was studying counterpoint and harmony. He was married to Maria Anna Keller, his mistress was Luigia Polzelli, and he had two sons Alois Anton and Nikolaus Pozelli. He Died on May 31, 1809 in Vienna, Austria at the age of 77.

(2) Schubert was one of the most prominent composers in the Romantic era. He was the first composer to live off only the money he got from composing. He wrote many compositions during his short lifetime, especially art songs (“OnMusic”).

Known primarily as the "father of string quartets", Joseph Haydn played an extremely important role in the development of the string quartet. When the composer first arrived on the scene, the usual name given to a "string quartet" composition was actually considered a 'divertimento '. This title was a general term to describe any “one on a part” type instrumental music that was compatible with a variety of different music scorings, styles and character. It wasn 't until about 1780 that modern titles/terms such as the quartet and quintet become common for 'serious ' chamber music in the now standard scoring. (Eisen, Grove, “String Quartet”) This change of terminology that happens during Haydn 's career does not imply that there was nothing 'serious ' being performed on strings prior to terminology change. In fact, examples of 'serious ' works can be found during Haydn 's op.9 (1769-70) early divertimentos, with a cello playing the bass line. This serious work of Haydn also incorporated a new idea within the world of string quartets, a four movement scheme. Throughout the four movements the textures were varied, having moments of a possible elaborated homophonic 'trio sonata style ', paired with a more contrapuntal polyphonic style.