Austria - 200th Anniversary of Joseph Haydn
1932 Silver 2 Shillings 28mm (11.86 grams) 0.640 Silver (0.2469 oz. ASW)
Reference: KM# 2848 
JOSEF HAYDN 1732-1932, Haydn facing left.
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Franz Joseph Haydn (31 March 1732 - 31 May 1809) was an Austrian composer of the Classical period. He was instrumental in the development of chamber music such as the piano trio. His contributions to musical form have earned him the epithets "Father of the Symphony" and "Father of the String Quartet".

Haydn spent much of his career as a court musician for the wealthy Esterházy family at their remote estate. Until the later part of his life, this isolated him from other composers and trends in music so that he was, as he put it, "forced to become original". Yet his music circulated widely, and for much of his career he was the most celebrated composer in Europe.

He was a friend and mentor of Mozart, a tutor of Beethoven, and the older brother of composer Michael Haydn.

James Webster writes of Haydn's public character thus: "Haydn's public life exemplified the Enlightenment ideal of the honnête homme (honest man): the man whose good character and worldly success enable and justify each other. His modesty and probity were everywhere acknowledged. These traits were not only prerequisites to his success as Kapellmeister, entrepreneur and public figure, but also aided the favorable reception of his music." Haydn was especially respected by the Esterházy court musicians whom he supervised, as he maintained a cordial working atmosphere and effectively represented the musicians' interests with their employer; see Papa Haydn and the tale of the "Farewell" Symphony. Haydn had a robust sense of humor, evident in his love of practical jokes and often apparent in his music, and he had many friends. For much of his life he benefited from a "happy and naturally cheerful temperament", but in his later life, there is evidence for periods of depression, notably in the correspondence with Mrs. Genzinger and in Dies's biography, based on visits made in Haydn's old age.

Haydn was a devout Catholic who often turned to his rosary when he had trouble composing, a practice that he usually found to be effective. He normally began the manuscript of each composition with "in nomine Domini" ("in the name of the Lord") and ended with "Laus Deo" ("praise be to God").

Haydn's early years of poverty and awareness of the financial precariousness of musical life made him astute and even sharp in his business dealings. Some contemporaries (usually, it has to be said, wealthy ones) were surprised and even shocked at this. Webster writes: "As regards money, Haydn...always attempted to maximize his income, whether by negotiating the right to sell his music outside the Esterházy court, driving hard bargains with publishers or selling his works three and four times over [to publishers in different countries]; he regularly engaged in 'sharp practice'" which nowadays might be regarded as plain fraud. But those were days when copyright was in its infancy, and the pirating of musical works was common. Publishers had few qualms about attaching Haydn's name to popular works by lesser composers, an arrangement that effectively robbed the lesser musician of livelihood. Webster notes that Haydn's ruthlessness in business might be viewed more sympathetically in light of his struggles with poverty during his years as a freelancer-and that outside of the world of business, in his dealings, for example, with relatives, musicians and servants, and in volunteering his services for charitable concerts, Haydn was a generous man - offering to teach the two infant sons of Mozart for free after their father's death. When Haydn died his was certainly comfortably off, but by middle class rather than aristocratic standards.

Haydn was short in stature, perhaps as a result of having been underfed throughout most of his youth. He was not handsome, and like many in his day he was a survivor of smallpox; his face was pitted with the scars of this disease. His biographer Dies wrote: "he couldn't understand how it happened that in his life he had been loved by many a pretty woman. 'They couldn't have been led to it by my beauty.'"

His nose, large and aquiline, was disfigured by the polyps he suffered during much of his adult life, an agonizing and debilitating disease that at times prevented him from writing music.

Works

James Webster summarizes Haydn's role in the history of classical music as follows: "He excelled in every musical genre. ... He is familiarly known as the 'father of the symphony' and could with greater justice be thus regarded for the string quartet; no other composer approaches his combination of productivity, quality and historical importance in these genres."

Structure and character of his music

A central characteristic of Haydn's music is the development of larger structures out of very short, simple musical motifs, often derived from standard accompanying figures. The music is often quite formally concentrated, and the important musical events of a movement can unfold rather quickly.

Haydn's work was central to the development of what came to be called sonata form. His practice, however, differed in some ways from that of Mozart and Beethoven, his younger contemporaries who likewise excelled in this form of composition. Haydn was particularly fond of the so-called monothematic exposition, in which the music that establishes the dominant key is similar or identical to the opening theme. Haydn also differs from Mozart and Beethoven in his recapitulation sections, where he often rearranges the order of themes compared to the exposition and uses extensive thematic development.^[u]

Haydn's formal inventiveness also led him to integrate the fugue into the classical style and to enrich the rondo form with more cohesive tonal logic (see sonata rondo form). Haydn was also the principal exponent of the double variation form-variations on two alternating themes, which are often major- and minor-mode versions of each other.

Perhaps more than any other composer's, Haydn's music is known for its humor. The most famous example is the sudden loud chord in the slow movement of his "Surprise" symphony; Haydn's many other musical jokes include numerous false endings (e.g., in the quartets Op. 33 No. 2 and Op. 50 No. 3), and the remarkable rhythmic illusion placed in the trio section of the third movement of Op. 50 No. 1.^[59]

Much of the music was written to please and delight a prince, and its emotional tone is correspondingly upbeat. This tone also reflects, perhaps, Haydn's fundamentally healthy and well-balanced personality. Occasional minor-key works, often deadly serious in character, form striking exceptions to the general rule. Haydn's fast movements tend to be rhythmically propulsive and often impart a great sense of energy, especially in the finales. Some characteristic examples of Haydn's "rollicking" finale type are found in the "London" Symphony No. 104, the String Quartet Op. 50 No. 1, and the Piano Trio Hob XV: 27. Haydn's early slow movements are usually not too slow in tempo, relaxed, and reflective. Later on, the emotional range of the slow movements increases, notably in the deeply felt slow movements of the quartets Op. 76 Nos. 3 and 5, the Symphonies No. 98 and 102, and the Piano Trio Hob XV: 23. The minuets tend to have a strong downbeat and a clearly popular character. Over time, Haydn turned some of his minuets into "scherzi" which are much faster, at one beat to the bar.

Evolution of Haydn's style

Haydn's early work dates from a period in which the compositional style of the High Baroque (seen in J.S. Bach and Handel) had gone out of fashion. This was a period of exploration and uncertainty, and Haydn, born 18 years before the death of Bach, was himself one of the musical explorers of this time. An older contemporary whose work Haydn acknowledged as an important influence was Carl Philipp Emanuel Bach.

Tracing Haydn's work over the six decades in which it was produced (roughly from 1749 to 1802), one finds a gradual but steady increase in complexity and musical sophistication, which developed as Haydn learned from his own experience and that of his colleagues. Several important landmarks have been observed in the evolution of Haydn's musical style.

In the late 1760s and early 1770s, Haydn entered a stylistic period known as "Sturm und Drang" ("storm and stress"). This term is taken from a literary movement of about the same time, though it appears that the musical development actually preceded the literary one by a few years. The musical language of this period is similar to what went before, but it is deployed in work that is more intensely expressive, especially in the works in minor keys. James Webster describes the works of this period as "longer, more passionate, and more daring". Some of the most famous compositions of this time are the "Trauer" (Mourning) Symphony No. 44, "Farewell" Symphony No. 45, the Piano Sonata in C minor (Hob. XVI/20, L. 33), and the six "Sun" Quartets Op. 20, all from c. 1771-72. It was also around this time that Haydn became interested in writing fugues in the Baroque style, and three of the Op. 20 quartets end with a fugue.

Following the climax of the "Sturm und Drang", Haydn returned to a lighter, more overtly entertaining style. There are no quartets from this period, and the symphonies take on new features: the scoring often includes trumpets and timpani. These changes are often related to a major shift in Haydn's professional duties, which moved him away from "pure" music and toward the production of comic operas. Several of the operas were Haydn's own work (see List of operas by Joseph Haydn); these are seldom performed today. Haydn sometimes recycled his opera music in symphonic works, which helped him continue his career as a symphonist during this hectic decade.

In 1779, an important change in Haydn's contract permitted him to publish his compositions without prior authorization from his employer. This may have encouraged Haydn to rekindle his career as a composer of "pure" music. The change made itself felt most dramatically in 1781, when Haydn published the six Op. 33 String Quartets, announcing (in a letter to potential purchasers) that they were written in "a new and completely special way". Charles Rosen has argued that this assertion on Haydn's part was not just sales talk but meant quite seriously, and he points out a number of important advances in Haydn's compositional technique that appear in these quartets, advances that mark the advent of the Classical style in full flower. These include a fluid form of phrasing, in which each motif emerges from the previous one without interruption, the practice of letting accompanying material evolve into melodic material, and a kind of "Classical counterpoint" in which each instrumental part maintains its own integrity. These traits continue in the many quartets that Haydn wrote after Op. 33.

In the 1790s, stimulated by his England journeys, Haydn developed what Rosen calls his "popular style", a method of composition that, with unprecedented success, created music having great popular appeal but retaining a learned and rigorous musical structure. An important element of the popular style was the frequent use of folk or folk-like material (see Haydn and folk music). Haydn took care to deploy this material in appropriate locations, such as the endings of sonata expositions or the opening themes of finales. In such locations, the folk material serves as an element of stability, helping to anchor the larger structure. Haydn's popular style can be heard in virtually all of his later work, including the twelve "London" symphonies, the late quartets and piano trios, and the two late oratorios.

The return to Vienna in 1795 marked the last turning point in Haydn's career. Although his musical style evolved little, his intentions as a composer changed. While he had been a servant, and later a busy entrepreneur, Haydn wrote his works quickly and in profusion, with frequent deadlines. As a rich man, Haydn now felt that he had the privilege of taking his time and writing for posterity. This is reflected in the subject matter of The Creation (1798) and The Seasons (1801), which address such weighty topics as the meaning of life and the purpose of humankind and represent an attempt to render the sublime in music. Haydn's new intentions also meant that he was willing to spend much time on a single work: both oratorios took him over a year to complete. Haydn once remarked that he had worked on The Creation so long because he wanted it to last.

The change in Haydn's approach was important in the history of classical music, as other composers were soon following his lead. Notably, Beethoven adopted the practice of taking his time and aiming high.

Austria, officially the Republic of Austria (German: Republik Österreich), is a federal republic and a landlocked country of over 8.5 million people in Central Europe. It is bordered by the Czech Republic and Germany to the north, Hungary and Slovakia to the east, Slovenia and Italy to the south, and Switzerland and Liechtenstein to the west. The territory of Austria covers 83,879 square kilometres (32,386 sq mi). Austria's terrain is highly mountainous, lying within the Alps; only 32% of the country is below 500 metres (1,640 ft), and its highest point is 3,798 metres (12,461 ft). The majority of the population speak local Bavarian dialects of German as their native language, and Austrian German in its standard form is the country's official language. Other local official languages are Hungarian, Burgenland Croatian, and Slovene.

The origins of modern-day Austria date back to the time of the Habsburg dynasty when the vast majority of the country was a part of the Holy Roman Empire. From the time of the Reformation, many Northern German princes, resenting the authority of the Emperor, used Protestantism as a flag of rebellion. The Thirty Years War, the influence of the Kingdom of Sweden and Kingdom of France, the rise of the Kingdom of Prussia, and the Napoleonic invasions all weakened the power of the Emperor in the North of Germany, but in the South, and in non-German areas of the Empire, the Emperor and Catholicism maintained control. During the 17th and 18th centuries, Austria was able to retain its position as one of the great powers of Europe and, in response to the coronation of Napoleon as the Emperor of the French, the Austrian Empire was officially proclaimed in 1804. Following Napoleon's defeat, Prussia emerged as Austria's chief competitor for rule of a larger Germany. Austria's defeat by Prussia at the Battle of Königgrätz, during the Austro-Prussian War of 1866 cleared the way for Prussia to assert control over the rest of Germany. In 1867, the empire was reformed into Austria-Hungary. After the defeat of France in the 1870 Franco-Prussian War, Austria was left out of the formation of a new German Empire, although in the following decades its politics, and its foreign policy, increasingly converged with those of the Prussian-led Empire. During the 1914 July Crisis that followed the assassination of Archduke Franz Ferdinand of Austria, Germany guided Austria in issuing the ultimatum to Serbia that led to the declaration of World War I.

After the collapse of the Habsburg (Austro-Hungarian) Empire in 1918 at the end of World War I, Austria adopted and used the name the Republic of German-Austria (Deutschösterreich, later Österreich) in an attempt for union with Germany, but was forbidden due to the Treaty of Saint-Germain-en-Laye (1919). The First Austrian Republic was established in 1919. In the 1938 Anschluss, Austria was occupied and annexed by Nazi Germany.^[14] This lasted until the end of World War II in 1945, after which Germany was occupied by the Allies and Austria's former democratic constitution was restored. In 1955, the Austrian State Treaty re-established Austria as a sovereign state, ending the occupation. In the same year, the Austrian Parliament created the Declaration of Neutrality which declared that the Second Austrian Republic would become permanently neutral.

Today, Austria is a parliamentary representative democracy comprising nine federal states. The capital and largest city, with a population exceeding 1.7 million, is Vienna. Austria is one of the richest countries in the world, with a nominal per capita GDP of $52,216 (2014 est.). The country has developed a high standard of living and in 2014 was ranked 21st in the world for its Human Development Index. Austria has been a member of the United Nations since 1955, joined the European Union in 1995, and is a founder of the OECD. Austria also signed the Schengen Agreement in 1995, and adopted the euro in 1999.