Research Point: Franz
Joseph Haydn
Haydn was one of the most influential composers of the classical period
and during his career, composed over 100 symphonies. Born in 1732 in Austria to
a very poor family with three sisters and two brothers, Summerer (2006) describes
how Haydn’s father was a lover of music and as a child Haydn enjoyed vocal folk
music and harp, pretending he could play the violin using two wooden
sticks.
Biography.com (2011) writes that Haydn was recruited into a choir in
Vienna. After leaving the choir he provided keyboard and violin tutoring to
support himself as he continued his studies into counterpoint and harmony. After working alongside composer Nicola
Porpora, Haydn was named a ‘court musician’ for the influential Hungarian
Esterhazy family. As Haydn found himself
isolated from current musical trends, he was forced to compose using a distinct
sense of individuality and originality.
However, the course material argues that Hayden would have been able to
‘keep up to date with musical
developments’ through visiting musicians and composers.
Biography.com (2011) continues to describe how Haydn’s popularity grew
both within and outside the palace, and he began producing music for
publication in the Esterhazy name.
However, Haydn was reported to have been extremely unhappy as he missed
his peers, such as Mozart, back in Vienna. When the Esterhazy Prince released
him from court, Haydn moved to England to conduct new symphonies.
Haydn was said to have returned to Vienna in 1795 and took a part-time
position working for the Esterhazy family once again. Despite his demise in health towards the end
of his career, Haydn was greatly revered in Vienna and indeed around
Europe.
Biography.com (2011) write:
“Haydn is remembered as the
first great symphonist and the composer who essentially invented the string
quartet. The principal engineer of the classical style, Haydn exerted influence
on the likes of Mozart, his student Ludwig van Beethoven and scores of others.”
Listening notes of pieces by Haydn can be found in my listening
log.
Research Point: Wolfgang
Amadeus Mozart
Melograni (2007:xi) writes
that from a very young age, Mozart was considered a prodigy in music, stating:
“He could read any piece
of music at sight, improvise on a theme suggested to him, and name any note
produced by any instrument or even a bell, a drinking glass, or a mechanical
clock.”
Sherrane (n.d.), writes that Mozart’s father, Leopold, was a violinist,
composer and Vice-Kapellmeister at the court of the Archbishop of Salzburg. Due
to his father’s position, Mozart spent large portions of his childhood
travelling around Europe, absorbing many different musical ideas and
techniques, thereby creating his own distinctive style.
Upon returning from a tour in 1773, Mozart was employed by the ruler of
Salzburg, Prince Archbishop Heirnoymus Colloredo. During this time Mozart had the opportunity
to write many pieces in different genres, such as symphonies, sonatas, string
quartets, serenades and even a few Operas.
Sherrane (n.d.) continues to write that in 1777, at the age of 21,
Mozart went on tour to Munich, Mannheim and Paris, this time with his mother. At this time, Mozart was hoping to secure a
position outside his home town of Salzburg. However, following the sudden death
of his mother and with no job prospects, he return to Salzburg in 1779 to
become a court organist. Most importantly, Sherrane (n.d.) writes that when
Mozart was finally dejected from his position in court in 1781, he became one
of the first musicians in history to work freelance.
Wolgang-amadeus.at [online]
(n.d.), describes how Mozart’s move to Vienna was a catalyst in the success of
his career and personal life. During his
time in Vienna, Mozart took part in many competitions and performances and met
composers such as Muzio Clementi; beginning to build an extremely successful
virtuoso career. During this time,
Mozart became close friends with Franz Joseph Haydn (see above) and the two
would often perform ‘impromptu’ string quartet performances. It is clear that Haydn’s influence only stood
to create further dimensions to Mozart’s work. His Sting Quartet No. 15 (1783), amongst five others, were claimed to
be dedicated to Haydn.
However, Sherrane (n.d.) writes that despite Mozart’s extreme talent
for composition, by 1790 his poor money management skills led him to write to
friends, describing himself and his family as in desperate times, begging for
money. At the age of just 36, Mozart
died and was buried in Vienna by Emperor Joseph. As was often the case at the time, he was buried
in a common, unmarked grave. Sherrane
(n.d.) closes by writing:
“The influence of Mozart on
the composers that followed cannot be emphasized too strongly. He was idolized
by such late nineteenth century composers as Richard Wagner and Peter Tchaikovsky;
and his music came to influence the neo-classical
compositions of Igor Stravinsky and Sergei Prokofiev in the twentieth century.”
Listening notes of pieces by Mozart can be found in my listening
log.
Research Point: Other
Influential Classical Composers
Muzio Clementi
Tucker (1996) describes Muzio Clementi as one of the most influential composers
of the Classical period. Born in 1752
in Rome, Clementi’s family was not of a musical inclination, but Muzio began
learning piano, and later voice and composition, with his local
choirmaster. By the age of 9, Clementi
was the church organist and by his 14th birthday, his parents had
decided to send him to England to study music in greater depth.
In his early 20’s, Clementi had become a very well known musician and
had composed a number of piano Sonatas, dedicated to Haydn, which established
the most often used form for the Sonata.
Later in his career Clementi
undertook various concerts and tours across Europe, showcasing his musical
talents. He became immensely popular
across the continent, making himself very wealthy. During this time he met, and became a rival
of, Mozart.
Tucker (1996) writes:
“Clementi’s musical output
was immense and included 106 piano sonata, eight works for one and two piano
ensembles, a book of etudes, and numerous symphonies and orchestral works.”
He continues to describe how, in addition to his musical works,
Clementi, with John Longman, established a successful piano factory and
publishing company. However, by the turn
of the 19th century, Clementi’s popularity began to wane as
composers such as Haydn and Beethoven overshadowed his work.
Notes of pieces composed by Clementi can be found in my listening log.
Luigi Boccherini
Asociatciรณn Luigi Boccherini (2013) write that Luigi
Boccherini was born in 1743, in Lucca, Italy, to a family largely focused on
music. Luigi’s father was an established
double-bass player who was frequently employed and commissioned by the
city-state of Lucca.
From a very young age, Luigi showed a natural aptitude for the arts
(playing the violin and violincella), as did his brother and sister who later
became an opera librettist and ballerina respectively. Boccherini’s first professional teacher,
after a very short period, actually had to stop tutoring him due to Boccherini
overtaking him in terms technique. In
his teenage years, Boccherini was sent to Rome to further his mastery of music.
In months he had achieved ‘full maturity’ as a performer.
Throughout his career Boccherini wrote numerous pieces and toured
Europe with many groups and as a soloist.
It is believed that Boccherini wrote over 500 pieces in total, gaining
employments and commissions both in his hometown of Lucca and throughout
Europe.
Notes of pieces by Boccherini can be found in my listening log.
Johann Stamitz
Born in the former Czechoslovakia in 1717, Stamitz was responsible for
over 74 symphonies, concertos and chamber music. He is thought to be a
major composer in the transition between the Baroque and Classical eras (Smith,
1996).
Parry (2003) describes Stamitz as a violinist and composer who first
attracted attention at the coronation of the Karl VII in Prague. Appointed to the Mannheim Court in Germany,
Stamitz was a well-paid court musician and concert master who established the
compositional style known as the ‘Mannheim School’ (see next section). In addition, Stamitz was credited with
developing the Sonata form and introducing distinct contrast into symphonic
movements.
Prone to Violin (2012) writes
that perhaps Stamitz provided the “missing link between [J.S.] Bach and Haydn.”
My thoughts on pieces composed by Stamitz can be found in my listening
log.
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