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Haydn's early slow movements are usually not too slow in tempo, relaxed, and refective. Lateron, the emotional range o the slow movements increases

Infuence

Haydn was greatly infuenced by the composer C ! "ach#s $ 1714 –1788 % individual textures and&gures. nother explorer o the transitional era, C ! "ach exempli&ed empfndsamerstil(sensitive style#, through the use o harmonic colour and rhetorical pauses. )ramatic silenceswhen urther music is expected is a trademar* o Haydn#s music.

+agenseil. te-an.

His personal approach, an expressive and o ten turbulent one *nown as emp&ndsamer til or'sensitive style', applied the principles o rhetoric and drama to musical structures. "ach'sdynamism stands in deliberate contrast to the more mannered galant style also then in vogue. /0

1ther instrumental wor*s

1ther *eyboard wor*s 2 the *eyboard was his source o purest inspiration.

onata development

Haydn#s sonata orm also charted the evolution rom the "aro3ue suite, inclusive o dance orms,to the later Classical sonata.

4his sonata in speci&c

5ost sonatas are in ma6or *ey, in *eeping with the galant style. In the later sonatas, rollic*ing

energy o the &nale.

Works [edit ]

James Webster summarizes Haydn's role in the history of classical music as follows !He e"celled in e#ery musical$enre%%%% He is familiarly &nown as the 'father of the sym hony' and could with $reater (ustice be thus re$arded forthe strin$ )uartet* no other com oser a roaches his combination of roducti#ity+ )uality and historical im ortance inthese $enres%! [,-]

Structure and character of his music [edit ]

. central characteristic of Haydn's music is the de#elo ment of lar$er structures out of #ery short+ sim lemusical motifs + often deri#ed from standard accom anyin$ fi$ures% /he music is often )uite formally concentrated+and the im ortant musical e#ents of a mo#ement can unfold rather )uic&ly %[n -1]

Haydn's wor& was central to the de#elo ment of what came to be called sonata form % His ractice+ howe#er+ differedin some ways from that of 0ozart and eetho#en + his youn$er contem oraries who li&ewise e"celled in this form ofcom osition% Haydn was articularly fond of the so2called !monothematic e" osition! + in which the music thatestablishes the dominant &ey is similar or identical to the o enin$ theme% Haydn also differs from 0ozart and

eetho#en in his reca itulation sections+ where he often rearran$es the order of themes com ared to the e" ositionand uses e"tensi#e thematic de#elo ment% [n --]

Haydn's formal in#enti#eness also led him to inte$rate the fu$ue into the classical style and to enrich the rondo formwith more cohesi#e tonal lo$ic 3see sonata rondo form % Haydn was also the rinci al e" onent of the double

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#ariation form5#ariations on two alternatin$ themes+ which are often ma(or2 and minor2mode #ersions of eachother%

6erha s more than any other com oser's+ Haydn's music is &nown for its humor %[n - ] /he most famous e"am le isthe sudden loud chord in the slow mo#ement of his ! ur rise! sym hony * Haydn's many other musical (o&es includenumerous false endin$s 3e%$%+ in the )uartets 9 % :o% - and 9 % ,; :o% + and the remar&able rhythmic illusion

laced in the trio section of the third mo#ement of 9 % ,; :o% 1 %

0uch of the music was written to lease and deli$ht a rince+ and its emotional tone is corres ondin$ly u beat% [citation

needed ] /his tone also reflects+ erha s+ Haydn's fundamentally healthy and well2balanced ersonality% 9ccasional

minor2&ey wor&s+ often deadly serious in character+ form stri&in$ e"ce tions to the $eneral rule% Haydn's fastmo#ements tend to be rhythmically ro ulsi#e and often im art a $reat sense of ener$y+ es ecially in the finales%ome characteristic e"am les of Haydn's !rollic&in$! finale ty e are found in the !<ondon! sym hony :o% 1;4+ the

strin$ )uartet 9 % ,; :o% 1+ and the iano trio Hob => -7% Haydn's early slow mo#ements are usually not too slowin tem o+ rela"ed+ and reflecti#e% <ater on+ the emotional ran$e of the slow mo#ements increases+ notably in thedee ly felt slow mo#ements of the )uartets 9 % 7? :os% and ,+ the ym honies :o% @8 and 1;- + and the iano trioHob => - % /he minuets tend to ha#e a stron$ downbeat and a clearly o ular character% 9#er time+ Haydn turnedsome of his minuets into !scherzi! which are much faster+ at one beat to the bar%

Evolution of Haydn's style [edit ]

Haydn's early wor& dates from a eriod in which the com ositional style of the Hi$h aro)ue 3seenin ach and Handel had $one out of fashion% /his was a eriod of e" loration and uncertainty+ and Haydn+ born 18

years before the death of ach+ was himself one of the musical e" lorers of this time%[n -4]

.n older contem orarywhose wor& Haydn ac&nowled$ed as an im ortant influence was Aarl 6hili Bmanuel ach %[1?]

/racin$ Haydn's wor& o#er the si" decades in which it was roduced 3rou$hly from 174@ to 18;- + one finds a$radual but steady increase in com le"ity and musical so histication+ which de#elo ed as Haydn learned from hisown e" erience and that of his collea$ues% e#eral im ortant landmar&s ha#e been obser#ed in the e#olution ofHaydn's musical style%

Cn the late 17?;s and early 177;s+ Haydn entered a stylistic eriod &nown as ! turm und Dran$ ! 3!storm andstress! % /his term is ta&en from a literary mo#ement of about the same time+ thou$h it a ears that the musicalde#elo ment actually receded the literary one by a few years% [n -,] /he musical lan$ua$e of this eriod is similar towhat went before+ but it is de loyed in wor& that is more intensely e" ressi#e+ es ecially in the wor&s in minor &eys%James Webster describes the wor&s of this eriod as !lon$er+ more assionate+ and more darin$%! [, ] ome of themost famous com ositions of this time are the !/rauer! 30ournin$ ym hony :o% 44+ !Earewell! ym hony :o% 4,+

the iano sonata in A minor 3Hob% =>CF-;+ <% + and the si" strin$ )uartets of 9 % -; 3the ! un! )uartets + all fromc% 1771–7-% Ct was also around this time that Haydn became interested in writin$ fu$ues in the aro)ue style+ andthree of the 9 % -; )uartets end with a fu$ue%

Eollowin$ the clima" of the ! turm und Dran$!+ Haydn returned to a li$hter+ more o#ertly entertainin$ style% /hereare no )uartets from this eriod+ and the sym honies ta&e on new features the scorin$ often includes trum etsand tim ani % /hese chan$es are often related to a ma(or shift in Haydn's rofessional duties+ which mo#ed him awayfrom ! ure! music and toward the roduction of comic o eras % e#eral of the o eras were Haydn's own wor&3see <ist of o eras by Jose h Haydn * these are seldom erformed today% Haydn sometimes recycled his o eramusic in sym honic wor&s+ [,4] which hel ed him continue his career as a sym honist durin$ this hectic decade%

Cn 177@+ an im ortant chan$e in Haydn's contract ermitted him to ublish his com ositions without riorauthorization from his em loyer% /his may ha#e encoura$ed Haydn to re&indle his career as a com oser of ! ure!music% /he chan$e made itself felt most dramatically in 1781+ when Haydn ublished the si" strin$ )uartets of 9 us

+ announcin$ 3in a letter to otential urchasers that they were written in !a new and com letely s ecial way!% [n

-?] Aharles Gosen has ar$ued that this assertion on Haydn's art was not (ust sales tal&+ but meant )uite seriously*and he oints out a number of im ortant ad#ances in Haydn's com ositional techni)ue that a ear in these)uartets+ ad#ances that mar& the ad#ent of the Alassical style in full flower% /hese include a fluid form of hrasin$+ inwhich each motif emer$es from the re#ious one without interru tion+ the ractice of lettin$ accom anyin$ materiale#ol#e into melodic material+ and a &ind of !Alassical counter oint ! in which each instrumental art maintains its owninte$rity% /hese traits continue in the many )uartets that Haydn wrote after 9 us % [n -7]

Cn the 17@;s+ stimulated by his Bn$land (ourneys+ Haydn de#elo ed what Gosen calls his ! o ular style!+ a methodof com osition that+ with un recedented success+ created music ha#in$ $reat o ular a eal but retainin$ a learnedand ri$orous musical structure %[n -8] .n im ortant element of the o ular style was the fre)uent use of fol& or fol&2li&ematerial+ as discussed in the article Haydn and fol& music % Haydn too& care to de loy this material in a ro riate

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locations+ such as the endin$s of sonata e" ositions or the o enin$ themes of finales% Cn such locations+ the fol&material ser#es as an element of stability+ hel in$ to anchor the lar$er structure% [,,] Haydn's o ular style can beheard in #irtually all of his later wor&+ includin$ the twel#e <ondon sym honies + the late )uartets and iano trios+ andthe two late oratorios %

/he return to >ienna in 17@, mar&ed the last turnin$ oint in Haydn's career% .lthou$h his musical style e#ol#edlittle+ his intentions as a com oser chan$ed% While he had been a ser#ant+ and later a busy entre reneur+ Haydnwrote his wor&s )uic&ly and in rofusion+ with fre)uent deadlines% .s a rich man+ Haydn now felt that he had the

ri#ile$e of ta&in$ his time and writin$ for osterity% /his is reflected in the sub(ect matter of The Creation 317@8and The Seasons 318;1 + which address such wei$hty to ics as the meanin$ of life and the ur ose of human&ind+and re resent an attem t to render the sublime in music% Haydn's new intentions also meant that he was willin$ tos end much time on a sin$le wor& both oratorios too& him o#er a year to com lete% Haydn once remar&ed that hehad wor&ed on The Creation so lon$ because he wanted it to last% [,?]

/he chan$e in Haydn's a roach was im ortant in the history of classical music + as other com osers were soonfollowin$ his lead% :otably+ eetho#en ado ted the ractice of ta&in$ his time and aimin$ hi$h% [n -@]