(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 and 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 teacher of Beethoven, and the older brother of composer
Michael Haydn.

-Parents discovered him to be musically gifted

--Became an apprentice to his uncle, Johann Matthias Frankh, at the age of 6
---Became a choirboy at age 8 at St. Stephen’s cathedral in Vienna

Contributions:

Invented the ‘String Quartet’

-- musical ensemble of four string players – two violin players, a viola player and a cellist – or a piece
written to be performed by such a group.

Called the ‘Father of Symphonies’

-- he wrote about 104 symphonies during his lifetime, with “The Seasons”, ”The Creation” and
Symphony No. 104 as some of his famous works.
POWERPOINT PRESENTATION

Joseph Haydn (1732 – 1809) is a composer in the early Classical period, mastering the Classical style.
Commonly known as the father of symphonies, he has written about 104 symphonies during his lifetime.
For someone to contribute to a certain genre, he has to bring in ideas that either enforce the norm; or
bring in ideas that are new that people can build on. Overall, Haydn contributed to orchestral music by
establishing the Classical symphonic idiom, exploring virtuosity on the cello, and showcasing the abilities
of the trumpet.

As a composer of the early Classical period, Haydn established the style of the form of symphonies, and
the focus on motifs and harmonies. Haydn utilised the structure of fast-slow-dance-fast form for many
of his symphonies, including the Farewell Symphony No 45 and the London Symphony No 104. Also,
Haydn used the conventional sonata form in the latter symphony. His focus of motifs and harmonies can
be seen in Symphony 104, where the work begins with an assertive statement of notes from the D major
tonic chord. The ideas that follow afterward are also based more on motifs than on the continuity of
melody. Hence, it can be seen that Haydn has put emphasis on structure, motifs, and harmonies. It is
with such musical elements taken into consideration that Haydn is remembered.

Haydn explored the virtuosity of the cello in his cello concerto in D major. This particular concerto has
undergone many disputes as to whether it was an orginal work by Haydn due to its many complexities.
Despite that, the discovery of the original manuscript in Vienna in Haydn’s hand showed that Haydn
wrote it, but specifically so for his cello student, Kraft, to showcase his abilities on the instrument. This
work featured contrapuntal writing for the soloist, harmonics, melodies in octaves, very rapid runs, and
a high register for a cello. This differs greatly from the conservative Classical idiom, and pushes the
cello’s abilities to its limit, hence being a work ahead of his time. Through the exploration of such
techniques, it is conclusive that Haydn has contributed to orchestral music by such input.

Haydn also showcased the ability of the trumpet. Traditionally, the trumpet had no valves, and the
trumpeter had to vary his lip tension to produce pitches in the harmonic spectrum. It was easy to play
chromatic notes in the highest register, but very difficult in the lower registers. Hence, when Weidinger
invented a primitive version of a valve trumpet in 1793, it was radical, and expanded the abilities of the
trumpeter. The performer could now vary pitches by pushing the valves instead of merely his lip
tensions. The instrument cannot be showcased unless there is a piece that is written for it – so
Weidinger approached Haydn. In the trumpet Concerto in E flat major, Haydn required the trumpet to
play lyrical lines in the lower register in the first movement. In the second movement, trumpets would
typically be excluded, due to the nature of the slow movement that eschews virtuosity, and the
trumpet’s incompatability with lyrical tones. However, Haydn used the trumpet in the second
movement of this concerto, playing a lyrical line in C flat major, a technique close to impossible in the
trumpets that precedes this work. Hence, from such evidences of scoring, it can be said that Haydn has
intentionally showcased the ability of the new trumpet, and ushered in a new era of trumpet music.
In conclusion, Haydn has indeed contributed to the orchestral genre through the establishment of the
Classical idiom like the structure of symphonies and motif development; and has explored the abilities
and virtuosity of the instruments of the orchestra like the trumpet and the cello. Haydn’s works are
loved by many, and even inspired composers like Mozart and Beethoven who would build on the ideas
he left behind in history. As the father of symphonies, Haydn should not be neglected in any study of
orchestral music.