FRANZ JOSEPH I PROFESSIONAL
Indeed all three of their surviving male children became professional musicians, two of them famous composers. Mathias Haydn was ‘a great lover of music by nature’ (this phrase in Haydn’s laconic account is ordinarily taken as applying to Harrach, but it must be his father who was meant), who ‘played the harp without reading a note of music’ his mother sang the melodies. Haydn’s mother, Anna Maria Koller ( 1707–54), had before her marriage in 1728 been a cook at the Harrach castle. Rohrau was a possession of Count Karl Anton Harrach ( 1692–1758) his grandson Karl Leonhard ( 1765–1831) erected a monument to Haydn in the castle garden in 1793. His grandfather and his father, Mathias ( 1699–1763), were master wheelwrights Mathias also functioned as Marktrichter (magistrate) of the ‘market village’ (as Haydn called it) Rohrau, near Bruck an der Leitha. His immediate ancestors were not peasants (as legend has it), but artisans and tradespeople. Haydn was born into a family of primarily south German stock, albeit in an area of considerable ethnic diversity in which Croats and Hungarians were also prominent. The primary sources comprise an autobiographical letter of 1776 and brief biographies published just after his death by (in order of general reliability) Georg August Griesinger, Albert Christoph Dies, Giuseppe Carpani and Nicolas Etienne Framery, supplemented by parish registers, musical archives, dated autographs and the like. In the 20th century he was understood primarily as an ‘absolute’ musician (exhibiting wit, originality of form, motivic saturation and a ‘modernist’ tendency to problematize music rather than merely to compose it), but earnestness, depth of feeling and referential tendencies are equally important to his art.ĭocumentary information on Haydn’s life and musical activity before his employ by the Esterházy court in 1761 is scanty. 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. He excelled in every musical genre during the first half of his career his vocal works were as famous as his instrumental ones, although after his death the reception of his music focussed on the latter (except for The Creation). Since the early 19th century he has been venerated as the first of the three ‘Viennese Classics’ (Haydn, Mozart, Beethoven). Famous as early as the mid-1760s, by the 1780s he had become the most celebrated composer of his time, and from the 1790s until his death was a culture-hero throughout Europe. He began his career in the traditional patronage system of the late Austrian Baroque, and ended as a ‘free’ artist within the burgeoning Romanticism of the early 19th century. Neither he nor his contemporaries used the name Franz, and there is no reason to do so today. Austrian composer, brother of Michael Haydn. ( b Rohrau, Lower Austria, Mad Vienna, May 31, 1809).
M: Concertos for string or wind instruments.L: Dances, marches for orchestra/military band.H: Miscellaneous vocal works with keyboard.
Background, childhood, choirboy, 1732–c1749. Membranophones (Stretched Membrane Percussion) Music Business, Institutions and Organizations
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