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<!-- Il '''surrealismo''' è un movimento intellettuale, che ha coinvolto [[arte|arti visive]], [[letteratura]] e [[cinema]], nato negli anni 1920 a [[Parigi]]. La caratteristica comune a tutte manifestazioni surrealiste è la critica radicale alla razionalità cosciente, e la liberazione delle potenzialità immaginative dell'[[inconscio]] per il raggiungimento di uno stato conoscitivo "oltre" la realtà (''sur-realtà'').

'''(Franz) Joseph Haydn''' (31 marzo o 1 aprile 1732 - 31 maggio 1809) fu uno dei maggiori compositori del periodo classico. E' considerato il padre della sinfonia e del quartetto d'archi. Trascorse la maggior parte della sua lunga carriera in Austria, come musicista di corte presso la famiglia Esterházy.

La fede surrealista si manifestò spesso come ribellione alle convenzioni culturali e sociali, concepita come una trasformazione totale della vita, attraverso la libertà di costumi, la poesia e l'amore. Spesso, molti esponenti del surrealismo sposarono la causa del [[comunismo]] e dell'[[anarchismo]], per contribuire attivamente il cambiamento politico e sociale che avrebbe poi portato ad una partecipazone più generale alla ''surrealtà''.

[[Image:Haydn_portrait_by_Thomas_Hardy_%28small%29.jpg|thumb|215px|Ritratto di Thomas Hardy, 1792]]

Il movimento ebbe come principale teorico il poeta André Breton, che canalizzò la vitalità distruttiva del dadaismo. Nel primo [[Manifesto surrealista]] del [[1924]], definì così il surrealismo:

== Biografia ==

{{quote|Automatismo psichico puro, attraverso il quale ci si propone di esprimere, con le parole o la scrittura o in altro modo, il reale funzionamento del pensiero. Comando del pensiero, in assenza di qualsiasi controllo esercitato dalla ragione, al di fuori di ogni preoccupazione estetica e morale.}}

=== Infanzia ===

Joseph Haydn nacque da una famiglia di artigiani nel villaggio austriaco di Rohrau, al confine con l'Ungheria. Nonostante i genitori non sapessero leggere la musica, il padre era un arpista dilettante, e la famiglia - secondo i ricordi dello stesso Haydn - era "molto musicale" (il fratello Michael Haydn divenne anche lui compositore, mentre Johann Evangelist fu un apprezzato tenore). Il talento musicale di Joseph fu presto riconosciuto, e nel 1738 gli venne data la possibilità di studiare a Hainburg, presso Johann Matthias Franck, un parente maestro di coro. Così, dall'età di sei anni, Joseph Haydn lasciò per sepre la casa paterna.

==Philosophy==

A Hainburg Haydn soffrì non di rado la fame, ma imparò ben presto il clavicembalo e il violino, e cominciò a cantare le parti soliste di soprano nel coro della chiesa. Appena due anni più tardi, Georg von Reutter, direttore musicale della cattedrale di Vienna in viaggio in cerca di talenti, fu impressionato dalle doti canore di Haydn, che trovò un posto nella capitale come corista per i nove anni seguenti (gli ultimi quattro in compagnia del fratello Michael).

Surrealist philosophy emerged around [[1920]], partly as an outgrowth of [[Dada]], with French writer [[André Breton]] as its initial principal theorist.

In Breton's [[Surrealist Manifesto]] of [[1924]] he defines Surrealism as:

Il lavoro nella Cattedrale non fu molto utile al giovane Haydn né dal punto di vista materiale (continuò a patire occasionalmente la fame) né da quello didattico, visto che Reutter aveva poco da trasmettere ai suoi allievi. Tuttavia, la cattedrale di Vienna era uno dei luoghi cardine del mondo musicale europeo, e così Haydn poté apprendere e lavorare sulle nuove opere dei maggiori compositori contemporanei.

:'' '''Dictionary''': Surrealism, n.

=== Giovinezza ===

:'' '''Encyclopedia''': Surrealism. Philosophy. Surrealism is based on the belief in the superior reality of certain forms of previously neglected associations, in the omnipotence of dream, in the disinterested play of thought. It tends to ruin once and for all other psychic mechanisms and to substitute itself for them in solving all the principal problems of life."

Nel 1749, Haydn era maturato fisicamente al punto da non potere più cantare le parti più acute, e fu estromesso dal coro. Dopo una notte passata sotto le stelle, fu aiutato da alcuni amici e intraprese la carriera di musicista indipendente. Durante questo difficile periodo, durato fino al 1759, Haydn fece svariati lavori occasionali, incluso il valletto per il compositore italiano Nicola Porpora, dal quale imparò "i veri fondamenti della composizione musicale". Da autodidatta, completò la sua formazione musicale, scrivendo i suoi primi quartetti d'archi e la sua prima opera lirica. Nel frattempo, anche la fama di Haydn cresceva gradualmente.

Breton would later qualify the first of these definitions by saying "in the absence of ''conscious'' moral or aesthetic self-censorship", and by his admission, through subsequent developments, that these definitions were capable of considerable expansion.

===''Kapellmeister''===

Like those involved in Dada, adherents of Surrealism thought that the horrors of [[World War I]] were the culmination of the [[Industrial Revolution]] and the result of the rational mind. Consequently, irrational thought and dream-states were seen as the natural antidote to those social problems.

[[Image:Haydn_portrait_by_Thomas_Hardy_%28small%29.jpg|thumb|Ritratto di Ludwig Guttenbrunn, ca. 1770]]

While [[Dada]] rejected categories and labels and was rooted in negative response to the [[World War I|First World War]], Surrealism advocates the idea that ordinary and depictive expressions are vital and important, but that the sense of their arrangement must be open to the full range of imagination according to the [[Dialectic#Hegelian dialectic|Hegelian Dialectic]]. The Marxist dialectic and other theories, such as [[Freud]]ian theory, also played a significant role in some of the development of surrealist theory and, as in the work of such theorists as [[Walter Benjamin]] and [[Herbert Marcuse]], surrealism contributed to the development of Marxian theory itself.

Nel [[1759]], Haydn ricevette il primo incarico di rilievo, quello di maestro di cappella presso il conte Karl von Morzin. In questa veste, diresse la piccola orchestra del conte, per la quale scrisse le sue prime sinfonie. Improvvise ristrettezze finanziarie del conte lo forzarono la licenziare Haydn, che però trovò subito una nuova sistemazione come assistente maestro di cappella degli Esterházy, una delle famiglie più ricche e importanti dell'impero Austroungarico. Nel 1760 Haydn si sposò con Maria Anna Keller, dalla quale non ebbe figli. E' possibile che ne abbia avuti da Luigia Polzelli, cantante che lavorava anch'essa alla corte degli Esterházy.

The Surrealist diagnosis of the "problem" of the [[realism (arts)|realism]] and [[capitalism|capitalist]] civilization is a restrictive overlay of false rationality, including social and academic convention, on the free functioning of the instinctual urges of the human mind.

Alla morte del maestro di cappella, Gregor Werner, nel 1766, Haydn rilevò il suo posto, seguendo gli Esterházy nelle loro varie residenze: tra le sue mansioni, scrivere nuove composizioni, dirigere l'orchestra di corte, suonare musica da camera per e con i suoi protettori, e allestire rappresentazioni liriche. In ogni caso, nonostante l'impegno notevole, Haydn si considerava fortunato, dato che i principi Paul Anton e Nikolaus I erano raffinati intenditori di musica, che apprezzavano a dovere il suo lavoro e gli mettevano a disposizione tutto ciò di cui aveva bisogno.

Surrealist philosophy connects with the theories of psychiatrist [[Sigmund Freud]]. Freud asserted that [[unconscious mind|unconscious]] thoughts (the thoughts of which one is not aware) motivate human behavior, and he advocated [[free association]] (uncensored expression) and [[dream analysis]] to reveal unconscious thoughts.

Durante i quasi trent'anni passati al servizio della famiglia, Haydn compose una mole impressionante di opere, e andò via via affinando il proprio stile. La sua popolarità andava crescendo di conseguenza, e, gradualmente, cominciò a scrivere anche indipendentemente dall'ambiente di corte. Numerose opere di questo periodo (tra cui le sinfonie dalla n. 82 alla n. 87) furono infatti scritte su commissioni esterne.

It is through the practice of automatism, dream interpretation, and numerous other surrealist methods that Surrealists believe the wellspring of imagination and creativity can be accessed.

Attorno al 1781, Haydn strinse amicizia con Wolfgang Amadeus Mozart. Quest'ultimo, ancora giovane, era stato molto influenzato dal collega più anziano, e gli dedicò una serie di quartetti d'archi, pratica molto insolita in un'epoca in cui i dedicatari erano solitamente aristocratici. Si possono ricercare anche radici massoniche nell'amicizia fra i due musicisti, che erano infatti membri della stessa loggia cattolica.

Surrealism also embraces [[idiosyncrasy]], while rejecting the idea of an underlying madness or darkness of the mind. [[Salvador Dalí]], who is considered to have been quite idiosyncratic, explained it as "The only difference between myself and a madman is I am not MAD!"

Nel 1789, iniziò una relazione platonica ma assai intensa con Maria Anna von Genzinger, moglie del medico personale del principe Nikolaus I Esterházy. La morte prematura di questa, quattro anni dopo, fu un duro colpo per Haydn: se ne può forse sentire un richiamo nelle Variazioni in fa minore per pianoforte (Hob XVII:6), insolitamente drammatiche.

Surrealists look to so-called "[[Primitivism (art)|primitive art]]" as an example of expression that is not self-censored.

=== Londra ===

The radical aim of Surrealism is to revolutionize human experience, including its personal, cultural, social, and political aspects, by freeing people from what is seen as false rationality, and restrictive customs and structures. As [[André Breton|Breton]] proclaimed, the true aim of Surrealism is "long live the social revolution, and it alone!".

Nel 1790, con la morte di Nikolaus I Esterházy, l'''ensemble'' musicale della corte venne smantellato, e Haydn messo in pensione. Il compositore, ormai non più giovane, si trovò così libero di accettare un'offerta economicamente vantaggiosa, fattagli dall'impresario Johann Peter Salomon: libero dagli impegni di corte, viaggiare in Inghilterra e dirigere sinfonie con una grande orchestra.

To this goal, at various times Surrealists have aligned with [[Communism|communism]] and [[Anarchism|anarchism]].

Il primo viaggio (1791-1792) e i successivi (1794-1795) furono un successo clamoroso. Il pubblico accorreva entusiasta ai concerti di Haydn, che acquistò in breve tempo fama e ricchezze. Dal punto di vista della produzione, i viaggi generarono alcune fra le opere più note di Haydn, tra cui le sinfonie n. 94 (''Sorpresa''), n. 100 (''Militare''), n. 103 (''Col rullo di timpani''), n. 104 (''London''), il quartetto Hob III:74 (''Il cavaliere'') e il trio con pianoforte ''Rondò all'ungherese''.

Not all Surrealists subscribe to all facets of the philosophy. Historically many were not interested in political matters, and this lack of interest created rifts in the Surrealism movement.

The only misstep in the venture was an opera, ''L'anima del filosofo'', which Haydn was contracted to compose, and paid a substantial sum of money for. Only one aria was sung at the time, and 11 numbers were published; the entire opera was not performed until [[1950]].

By the turn of the 21st century, Surrealist philosophy varied amongst Surrealist groups around the globe. Some Surrealist theorists have stated that Surrealism has somehow "gone beyond" or "superseded" philosophy, or that philosophy has been "outclassed" by Surrealism.

===Ritorno a Vienna===

== History of Surrealism==

Alla fine del Settecento, Haydn prese seriamente in considerazione la possibilità di diventare un cittadino inglese, ma alla fine tornò a Vienna, dove si fece costruire una grande casa e si dedicò alla composizione di grandi opere sacre per coro e orchestra: tra queste si ricordano i due grandi oratori ''La creazione'' e ''Le stagioni'', e sei messe per la famiglia Esterházy, che nel frattempo aveva ritrovato l'interesse per la musica. In questo periodo, Haydn scrisse anche gli ultimi nove quartetti per archi. E a dispetto della non più giovane età, esclamò in una lettera "quanto rimane ancora da fare in questa arte meravigliosa!".

[[Image:La Revolution Surrealiste cover.jpg|thumb|right|Cover of the first issue of ''[[La Révolution surréaliste]]'', December 1924.]]

In 1917, [[Guillaume Apollinaire]] coined the term "surrealism" in the program notes describing the ballet ''[[Parade (ballet)|Parade]]'' which was a collaborative work by [[Jean Cocteau]], [[Erik Satie]], [[Pablo Picasso]] and [[Léonide Massine]]:

Nel [[1802]], una malattia di cui soffriva da tempo si acutizzò improvvisamente: al dolore fisico si aggiungeva l'impossibilità di dedicarsi al lavoro di composizione, nonostante la creatività fosse sempre tumultuosa. Durante gli ultimi anni, fu assistito con cura dai suoi servitori, e ricevette abitualmente numerose visite e pubblici riconoscimenti. Morì nel 1809, durante un attacco delle armate napoleoniche su Vienna.

:''From this new alliance, for until now stage sets and costumes on one side and choreography on the other had only a sham bond between them, there has come about, in 'Parade', a kind of super-realism ('sur-réalisme'), in which I see the starting point of a series of manifestations of this new spirit ('esprit nouveau').'

Secondo la tradizione, le sue ultime parole sono state per tranquillizzare i suoi servitori durante il bombardamento su Vienna delle armate francesi.

The Surrealist movement mainly originated in the [[Dada]] movement. While the movement's most important center was Paris, it spread throughout Europe and to North America, [[Japan]] and the Caribbean during the course of the [[1920s]], [[1930s]] and [[1940s]], by the [[1960s]] to [[Africa]], [[South America]] and much of [[Asia]] and by the [[1980s]] to [[Australia]]. There have even been some manifestations of surrealism in [[Russia]] and [[China]]. Some historians mark the end of the movement at [[World War II]], some with the death of [[André Breton]], some with the death of [[Salvador Dalí]], while others believe that Surrealism continues as an identifiable movement.

Uno dei passatempi in cui trovava sollievo era suonare ''Gott erhalte Franz den Kaiser'' al pianoforte, un tema patriottico che aveva composto nel 1797. Successivamente, venne usato come inno austriaco e tedesco, ed è attualmente l'inno nazionale della Germania.

=== Split from Dada ===

Breton's [[Surrealist Manifesto]] of [[1924]] and the publication of the magazine ''[[La Révolution surréaliste]]'' (''The Surrealist Revolution'') marked the split from the more [[Dada]] oriented Surrealists centred round [[Tristan Tzara]].

Five years earlier, Breton and [[Philippe Soupault]] wrote the first "[[Surrealist automatism|automatic book]]" (spontaneously written), ''[[Les Champs Magnétiques]]''. By December of 1924, the publication ''[[La Révolution surréaliste]]'' edited by [[Pierre Naville]] and [[Benjamin Péret]] and later by Breton, was started. Also, a [[Bureau of Surrealist Research]] began in Paris and was at one time, under the direction of [[Antonin Artaud]].

<!--, ([[March 31]] or [[April 1]] [[1732]] &ndash; [[May 31]] [[1809]]) was a leading [[composer]] of the [[classical music era|Classical]] period, called the "Father of the Symphony" and "Father of the String Quartet".

In 1926, [[Louis Aragon]] wrote ''[[Le Paysan de Paris]]'', following the appearance of many Surrealist books, poems, pamphlets, automatic texts and theoretical works published by the Surrealists, including those by [[René Crevel]].

Although he is still often called "Franz Joseph Haydn", the name "Franz" was not used in the composer's lifetime. Scholars, along with an increasing number of music publishers and recording companies, now use the historically more accurate form of his name, rendered in English as "Joseph Haydn".

Many of the popular artists in [[Paris]] throughout the [[1920s]] and [[1930s]] were Surrealists, including [[René Magritte]], [[Joan Miró]], [[Max Ernst]], [[Salvador Dalí]], [[Alberto Giacometti]], [[Valentine Hugo]], [[Méret Oppenheim]], [[Man Ray]], [[Toyen]] and [[Yves Tanguy]]. Though Breton adored [[Pablo Picasso]] and [[Marcel Duchamp]] and courted them to join the movement, they did not join.

A life-long resident of [[Austria]], Haydn spent most of his career as a [[Noble court|court]] musician for the wealthy [[Esterhazy|Eszterházy]] family on their remote estate. Being isolated from other composers and trends in music until the later part of his long life, he was, as he put it, "forced to become original".

The Surrealists developed [[Surrealist techniques|techniques]] such as [[automatic drawing]] (developed by [[André Masson]]), [[automatic painting]], [[decalcomania]], [[Frottage (surrealist technique)|Frottage]], [[Surrealist techniques#Fumage|fumage]], [[Surrealist techniques#Grattage|grattage]] and [[Surrealist techniques#Parsemage|parsemage]] that became significant parts of Surrealist practice. ([[Automatism and the computer|Automatism]] was later adapted to the computer.) [[Surrealist games|Games]] such as the [[exquisite corpse]] also assumed a great importance in Surrealism.

Joseph Haydn was the brother of [[Michael Haydn]], himself a highly regarded composer, and [[Haydn]], a [[tenor]] [[singer]].

Although sometimes considered exclusively French, Surrealism was international from the beginning, with both the Belgian and [[Czech and Slovak Surrealist Group|Czech groups]] developing early; the Czech group continues uninterrupted to this day. Some of what have been described as the most significant [[Surrealist theory|Surrealist theorists]] such as [[Karel Teige]] from Czechoslovakia, [[Shuzo Takiguchi]] from Japan, [[Octavio Paz]] from Mexico, also [[Aimé Césaire]] and [[René Menil]] from Martinique, who both started the Surrealist journal ''[[Tropiques]]'' in 1940, have hailed from other countries. The most radical of Surrealist methods have also originated in countries other than France, for example, the technique of [[Surrealist techniques#Cubomania|cubomania]] was invented by Romanian Surrealist [[Gherasim Luca]].

===Struggles as a freelancer===

=== Interwar Surrealism: Centrality of Breton ===

[[Image:Breton eluard.gif|thumb|right|200px|[[Paul Éluard]] and [[André Breton]]. ([[Man Ray]]. Private collection.)]]

Breton, as the leader of the Surrealist movement, not only published its most thorough explanations of its techniques, aims and ideas, but was the individual who drew in, and expelled, writers, artists and thinkers. Through the interwar period he formed the focus of Surrealist activity in Paris, and his writings were enormously influential in spreading Surrealism as a body of thought, in such works ''Nadja'' ([[1928]]), the ''Second Surrealist Manifesto'' ([[1930]]), ''Communicating Vessels'' ([[1932]]), and ''Mad Love'' ([[1937]]).

===The years as Kapellmeister===

To further the revolutionary aim of Surrealism, in 1927 [[André Breton|Breton]] and others joined the [[Communist Party]]. Breton was ousted from the Party in 1933.

===The London journeys===

The late 1920s were turbulent for the group as several individuals closely associated with Breton left, and several prominent artists entered.

Surrealism continued to expand in public visibility. The high water mark, in Breton's own estimation, was the 1936 [[London International Surrealist Exhibition]].

===Final years in Vienna===

In 1937, Breton (on visit to Mexico) and [[Leon Trotsky]] co-authored a ''[[Manifesto for an independent revolutionary art]]''[http://www.marxists.org/subject/art/lit_crit/works/rivera/manifesto.htm] on the need for a permanent revolution, and attacked [[Stalinism]] and [[Socialist realism]], as the "negation of freedom".

Surrealism also attracted writers from the United Kingdom to Paris including [[David Gascoyne]], who became friends with [[Paul Éluard]] and [[Max Ernst]], and translated [[André Breton|Breton]] and [[Salvador Dalí|Dalí]] into English. In 1935 he authored ''A Short Study of Surrealism'', and then returned to England during the World War II, where he roomed with [[Lucian Freud]] and continued to write in the Surrealist style for the remainder of his life.

== Character and appearance ==

Haydn was known among his contemporaries for his kindly, [[optimism|optimistic]], and congenial personality. He had a robust sense of humour, evident in his love of [[practical joke]]s and often apparent in his music. He was particularly respected by the Eszterházy court musicians whom he supervised, as he maintained a cordial working atmosphere and effectively represented the musicians' interests with their employer; see [[Papa Haydn]].

[[Acéphale]] was one splinter group that formed (mid-1930s). The group was comprised of some of those disaffected by Breton's increasing rigidity, and structured as a "secret society". Led by [[Georges Bataille|Bataille]], they published ''Da Costa Encyclopedia'' meant to coincide with the [[1947]] Surrealist exhibition in Paris.

Haydn was a devout [[Roman Catholicism|Catholic]] who often turned to his [[rosary]] when he had trouble composing, a practice that he usually found to be effective. When he finished a composition, he would write "Laus deo" ("praise be to God") or some similar expression at the end of the manuscript. His favourite hobbies were [[hunting]] and [[fishing]].

=== Surrealism during World War II ===

Haydn was short in stature, perhaps as a result of having been underfed throughout most of his youth. Like many in his day, he was a survivor of [[smallpox]] and his face was pitted with the [[scars]] of this disease. He was not handsome, and was quite surprised when women flocked to him during his London visits.

The rise of [[Adolf Hitler]] and the events of 1939 through 1945 in Europe, for a time overshadowed almost all else. However, after the war, Breton continued to write and espouse the importance of liberating of the human mind. For example in ''The Tower of Light'' in ([[1952]]).

In [[1941]], Breton went to the United States, where he founded the short lived magazine ''[[VVV]]'', which boasted high production values and a great deal of content. However, its content was increasingly in French, not English. It was American poet [[Charles Henri Ford]] and his magazine ''[[View (magazine)|View]]'' which offered Breton a channel for promoting Surrealism in the United States. Ford and Breton had an on/off relationship. Breton felt that Ford should work more specifically for Surrealism and Ford, for his part, resented what he felt to be Breton's attempts to make him "toe the line". Nevertheless, ''View'' published an interview between Breton and [[Nicolas Calas]], as well as special issues on [[Yves Tanguy|Tanguy]] and [[Max Ernst|Ernst]] and in [[1945]], on Marcel Duchamp.

About a dozen portraits of Haydn exist, although they disagree sufficiently that, other than what is noted above, we would have little idea what Haydn looked like were it not also for the existence of a lifelike wax bust and Haydn's death mask. Both are in the Haydnhaus in Vienna, a museum dedicated to the composer. All but one of the portraits show Haydn wearing the grey powdered [[wig]] fashionable for men in the 18th century, and from the one exception we learn that Haydn was bald in adulthood.

The ''[[View (magazine)|View]]'' special issue on Duchamp was crucial for the public understanding of Surrealism in America. It stressed his connections to Surrealist methods, offered interpretations of his work by Breton, as well as Breton's view that Duchamp represented the bridge between early modern movements, such as [[Futurism]] and [[Cubism]], to Surrealism.

[[Image:Gutenberg.net 13504 illus6.jpg|thumbnail|right|250px|Portion of an original manuscript by Haydn, in the [[British Museum]], from a biography of Haydn available from [[Project Gutenberg]]]]

Breton's return to France after the Second World War, began a new phase of surrealist activity in Paris, one which attracted considerable attention. Membership in the Paris Surrealist Group and interest in it, climbed to above pre-war levels.

== Works ==

Haydn is often described as the "father" of the classical [[symphony]] and [[string quartet]]. In fact, the symphony was already a well-established form before Haydn began his compositional career, with distinguished examples by Carl Philip Emmanuel Bach among others, but Haydn's symphonies are the earliest to remain in "standard" repertoire. His parenthood of the string quartet, however, is beyond doubt: he essentially invented this medium singlehandedly. He also wrote many [[piano sonata]]s, [[piano trio| piano trios]], [[divertimento]]s and [[mass (music)|masses]], which became the foundation for the [[Classical music era|Classical style]] in these compositional types. He also wrote other types of [[chamber music]], as well as [[opera | operas]] and [[concerto| concerti]], although such compositions are now less known. Although other composers were prominent in the earlier Classical period, notably [[Carl Philipp Emanuel Bach|C.P.E. Bach]] in the field of the keyboard [[sonata (music)|sonata]] (the [[harpsichord]] and [[clavichord]] were equally popular with the piano in this era) and [[Johann Christian Bach|J.C. Bach]] and [[Leopold Mozart]] in the symphony, Haydn was undoubtedly the strongest overall influence on musical style in this era.

Breton's critiques of [[rationalism]] and [[dualism]], found a new audience after the Second World War, as his argument that returning to old patterns of behavior would ensure a repeated cycle of conflict seemed increasingly prophetic to French intellectuals while the [[Cold War]] mounted. Breton's insistence that Surrealism was not an aesthetic movement, nor a series of techniques and tools, but instead the means for ongoing revolt against the reduction of humanity to market relationships, religious gestures and misery, meant that his ideas and stances were taken up by many, even those who had never heard of Breton, or read any of his work. The importance of living Surrealism was repeated by Breton and by those writing about him.

The development of [[sonata form]] into a subtle and flexible mode of musical expression, which became the dominant force in Classical musical thought, owed most to Haydn and those who followed his ideas. His sense of formal inventiveness also lead 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, that is variations on two alternating themes, which are often major and minor mode versions of each other.

=== Post World War II Surrealism===

=== Structure and character of the music ===

There is no clear consensus about the end of the Surrealist movement: some historians suggest that the movement was effectively disbanded by WWII, others treat the movement as extending through the [[1950s]]. In 1959, [[Andre Breton]] organized an exhibiton in [[Spain]] called ''The Homage to Surrealism'' to celebrate the Fortieth Anniversary of Surrealism which exhibited works by [[Salvador Dalí]], [[Joan Miró]], [[Enrique Tábara]], and [[Eugenio Granell]]. Art historian [[Sarane Alexandrian]] ([[1970]]) states, "the death of André Breton in [[1966]] marked the end of Surrealism as an organized movement." However, some who knew Breton, and were part of groups he founded or approved have continued to be active well after his death. For example, the Czech Surrealist Group in Prague, though driven underground in [[1968]], re-emerged in the [[1990s]]; and in [[1976]] the largest-ever exhibition of international surrealism, the World Surrealist Exhibition, went up in Chicago. Still other groups and artists, not directly connected to Breton, have claimed the Surrealist label.

A central characteristic of Haydn's music is the development of larger structures out of very short, simple musical [[Motif (music)|motifs]], usually devised 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 musical practice formed the basis of much of what was to follow in the development of [[tonality]] and musical form. He took genres such as the [[symphony]], which were at the time shorter and subsidiary to more important [[vocal]] music, and slowly expanded their length, weight and complexity.

'''People involved in the (first) Paris Surrealist Group'''

Haydn's compositional practice was rooted in a study of the modal [[counterpoint]] of [[Johann Fux|Fux]], and the tonal [[homophonic]] styles which had become more and more popular, particularly the work of [[Gluck]] and [[Carl Philipp Emanuel Bach]]. Of the latter Haydn wrote, "without him, we know nothing". He believed in the importance of melody, especially one which could be broken down into smaller parts easily subject to contrapuntal combination. In this regard he anticipated [[Ludwig van Beethoven|Beethoven]].

*[[Louis Aragon]]

*[[Jean Arp]]

*[[Georges Bataille]]

*[[André Breton]]

*[[Luis Bunuel]]

*[[Claude Cahun]]

*[[Giorgio de Chirico]]

*[[Jean Cocteau]]

*[[René Crevel]]

*[[Salvador Dalí]]

*[[René Daumal]]

*[[Lise Deharme]]

*[[Robert Desnos]]

*[[Paul Éluard]]

*[[Max Ernst]]

*[[David Gascoyne]]

*[[Alberto Giacometti]]

*[[Valentine Hugo]]

*[[Michel Leiris]]

*[[René Magritte]]

*[[Roberto Matta]]

*[[Joan Miró]]

*[[André Masson]]

*[[Pierre Naville]]

*[[Méret Oppenheim]]

*[[Benjamin Péret]]

*[[Jacques Prévert]]

*[[Raymond Queneau]]

*[[Man Ray]]

*[[Philippe Soupault]]

*[[Tristan Tzara]]

*[[Yves Tanguy]]

*[[Toyen]]

*[[Remedios Varo]]

*[[Nancy Cunard]]

*[[André Thirion]]

*[[René Char]]

== Surrealism in the arts ==

Haydn's work became central to what was later described as [[sonata form]], and his work was central to taking the binary schematic of what was then called a "melodie". It was a form divided into sections, joined by important moments in the harmony which signalled the change. One of Haydn's important innovations (adopted by Mozart and Beethoven) was to make the moment of transition the focus of tremendous creativity. Instead of using stock devices to make the transition, Haydn would often find inventive ways to make the move between two expected keys.

In general usage, the term Surrealism is more often considered a movement in [[visual arts]] than the original cultural and philosophical movement. As with some other movements that had both philosophical and artistic dimensions, such as [[Romanticism|romanticism]] and [[Minimalism|minimalism]], the relationship between the two usages is complex and a matter of some debate outside the movement. Many Surrealist artists regarded their work as an expression of the philosophical movement first and foremost, and [[André Breton|Breton]] was explicit in his belief that Surrealism was above all a revolutionary movement. In addition, many surrealists and surrealist documents have declared that surrealism is not an [[art movement|artistic movement]] for a number of additional reasons, among which is the conception of the "artistic" manifestations of surrealism as just one form of manifestation among many, various conceptions of visual work being created which somehow "goes beyond" traditional conceptions of art or [[aesthetics]], or even the complete cessation of creative visual production. In addition, the art object/product - while an important part of the Surrealist process - is viewed as merely a "souvenir" of a vastly more critical journey, interesting only in so far as it is revelatory of that adventure.

Later [[musical theory|musical theorists]] would codify the formal organization in the following way:

*[[Sonata_allegro_form#The_basic_outline_of_a_Sonata-Allegro_movement|Introduction]]: If present in an extended form, a slower section in the dominant, often with material not directly related to the main themes, which would then rapidly transition to the

*[[Sonata_allegro_form#The_basic_outline_of_a_Sonata-Allegro_movement|Exposition]]: Presentation of thematic material, including a progression of [[tonality]] away from the home key. Unlike Mozart and Beethoven, Haydn often wrote expositions where the music that establishes the new key is similar or identical to the opening theme: this is called [[Sonata_form#Monothematic_expositions|monothematic]] sonata form.

*[[Sonata_allegro_form#The_basic_outline_of_a_Sonata-Allegro_movement|Development]]: The thematic material is led through a rapidly-shifting sequence of keys, transformed, fragmented, or combined with new material. If not present, the work is termed a "sonatina". Haydn's developments tend to be longer and more elaborate than those of Mozart, for example.

*[[Sonata_allegro_form#The_basic_outline_of_a_Sonata-Allegro_movement|Recapitulation]]: Return to the home key, where the material of the exposition is re-presented. Haydn, unlike Mozart and Beethoven, often rearranges the order of themes compared to the exposition: he also frequently omits passages that appeared in the exposition (particularly in the monothematic case) and adds [[coda (music)|codas]].

*[[Sonata_allegro_form#The_basic_outline_of_a_Sonata-Allegro_movement|Coda]]: After the close of the recapitulation on the [[tonic]], there may be an additional section which works through more of the possibilities of the thematic material.

=== Surrealism in visual arts ===

During this period the written music was structured by [[tonality]], and the sections of a work of the Classical era were marked by tonal cadences. The most important transitions between sections were from the exposition to the development and from the development to the recapitulation. Haydn focused on creating witty and often dramatic ways to make these transitions, by delaying them or by having them occur so subtly that it takes some time before it is established that the transition has happened. Perhaps paradoxically one of the ways in which Haydn did this was by reducing the number of different devices for harmonic transitions between, so that he could explore and develop the possibilities he found in the ones he regarded as most interesting.

'''Early visual arts Surrealism'''

Since so many of the artists involved in Surrealism came from the [[Dada]] movement, the demarcation between Surrealist and Dadaist art, as with the demarcation between Surrealism and [[Dada]] in general, is a line drawn differently by different scholars.

Perhaps this is why, more than any other composer, Haydn is known for the jokes that he put into his music. The most famous example is the sudden loud chord in his "[[Surprise symphony|Surprise]]" symphony, No. 94, but others are perhaps funnier: the fake endings in the quartets Op. 33 No. 2 and Op. 50 No. 3, or the remarkable rhythmic illusion placed in the trio section of Op. 50 No. 1.

The roots of Surrealism in the visual arts run to both [[Dada]] and [[Cubism]], as well as the abstraction of [[Wassily Kandinsky]] and [[Expressionism]], as well as [[Post-Impressionism]]. However, it was not the particulars of technique which marked the Surrealist movement in the visual arts, but an the creation of objects from the imagination, from automatism, or from a number of [[Surrealist techniques]].

Haydn's compositional practice influenced both Mozart and Beethoven. Beethoven began his career writing rather discursive, loosely organized sonata expositions; but with the onset of his "Middle period", he revived and intensified Haydn's practice, joining the musical structure to tight small motifs, often by gradually reshaping both the work and the motifs so that they fit quite carefully.

[[Image:MagrittePipe.jpg|thumb|left|200px|[[René Magritte]]'s "The Betrayal of Images" (1928-9)]]

The emotional content of Haydn's music cannot accurately be summarised in words, but one may attempt an approximate description. 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 [[Symphony No. 104 (Haydn)|"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 [[Symphony No. 102 (Haydn)|Symphony No. 102]], and the piano trio Hob XV: 23. The [[minuets]] tend to have a strong downbeat (and upbeat!) and a clearly popular character. Late in his career, perhaps inspired by the young Beethoven (who was briefly his student), Haydn began to write [[scherzo|scherzi]] instead of minuets, with a much faster tempo, felt as one beat to the measure.

[[André Masson|Masson]]'s [[automatic drawing]]s of [[1923]], are often used as a convenient point of difference, since these reflect the influence of the idea of the [[unconscious mind]].

=== Evolution of Haydn's Style ===

Haydn's early work dates from a period in which the compositional style of the High [[Baroque]] (seen in [[Johann Sebastian Bach|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]], the third son of Johann Sebastian.

Another example is Alberto Giacometti's [[1925]] ''Torso'', which marked his movement to simplified forms and inspiration from pre-classical sculpture. However, a striking example of the line used to divide Dada and Surrealism among art experts is the pairing of [[1925]]'s ''[[Von minimax dadamax selbst konstruiertes maschinchen]]'' with ''[[Le Baiser]]'' from [[1927]] by Max Ernst. The first is generally held to have a distance, and erotic subtext, where as the second presents an erotic act openly and directly. In the second the influence of Miró and Picasso's drawing style is visible with the use of fluid curving and intersecting lines and colour, where as the first takes a directness that would later be influential in movements such as [[Pop art]].

Tracing Haydn's work over the five decades in which it was produced (roughly, 1749 to 1802), one finds a gradual but ever increasing 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.

[[Giorgio de Chirico]] was one of the important joining figures between the philosophical and visual aspects of Surrealism. Between [[1911]] and [[1917]], he adopted a very primary colour palette, and unornamented epictional style whose surface would be adopted by others later. ''La tour rouge'' from [[1913]] shows the stark colour contrasts and illustrative style later adopted by Surrealist painters. His [[1914]] ''La Nostalgie du poete'' has the figure turned away from the viewer, and the juxtaposition of a bust with glasses and a fish as a relief which defies conventional realistic explanation. He was also a writer. His novel ''[[Hebdomeros]]'' presents a series of dreamscapes, with an unusual use of punctuation, syntax and grammar, designed to create a particular atmosphere and frame around its images. His images, including set designs for the [[Ballet Russe]], would create a decorative form of visual Surrealism, and he would be an influence on the two that would be even more closely associated with Surrealism in the public mind: [[Salvador Dalí|Dalí]] and [[Magritte]].

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 [[Sturm und Drang|literary movement]] of about the same time, though some scholars believe that Haydn was unaware of this literary development and that the change in his compositional style was entirely of his own making. 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 written in minor keys. Some of the most famous compositions of this period are the [[Symphony No. 45 (Haydn)|"Farewell" Symphony]] No. 45, the Piano Sonata in C minor (Hob. XVI/20, L. 33), and the six string quartets of Op. 20 (the "Sun" quartets), all dating from [[1772]]. It was also around this time that Haydn became interested in writing [[fugue]]s in the [[Baroque music|Baroque]] style, and three of the Op. 20 quartets end with such fugues.

In [[1924]], [[Joan Miró|Miro]] and [[André Masson|Masson]] applied Surrealism theory to painting explicitly leading to the ''La Peinture Surrealiste'' Exposition at Gallerie Pierre in [[1925]], which included work by [[Man Ray]], Masson, Klee and Miró among others. It confirmed that Surrealism had a component in the visual arts (though it had been initially debated whether this was possible), techniques from Dada, such as [[photomontage]] were used.

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 first movements now sometimes contain slow introductions, and the scoring often includes [[trumpet]]s 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 [[Opera buffa|comic operas]]. Several of the operas, such as ''[[Il Mondo della luna]]'' (''The World of the Moon''), were Haydn's own work; these are seldom performed today. Haydn sometimes recycled their overtures as symphony movements, which helped him continue his career as a symphonist during this hectic decade.

[[Galerie Surréaliste]] opened on [[March 26]], [[1926]] with an exhibition by [[Man Ray]].

In [[1779]], an important change in Haydn's [[contract law|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 string quartets of Opus 33, announcing (in a letter to potential purchasers) that they were written in "a completely new and 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 music era|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 Opus 33.

Breton published ''Surrealism and Painting'' in [[1928]] which summarized the movement to that point, though he continued to update the work until the [[1960s]].

In the [[1790s]], stimulated by his England journeys, Haydn developed what Rosen calls his "popular style", a way 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 music|folk]] or folk-like material, as discussed in the article [[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 [[oratorio]]s.

'''1930s'''

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 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 (Haydn)|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.

[[Dalí]] and [[Magritte]] created the most widely recognized images of the movement. Dalí joined the group in [[1929]], and participated in the rapid establishment of the visual style between [[1930]] and [[1935]].

The change in Haydn's approach was important in the [[history of music]], as other composers soon were following his lead. Notably, Beethoven adopted the practice of taking his time and aiming high. As composers were gradually liberated from dependence on the aristocracy, Haydn's late mode of work became the norm in Classical composition.

-->

Surrealism as a visual movement had found a method: to expose psychological truth by stripping ordinary objects of their normal significance, in order to create a compelling image that was beyond ordinary formal organization, in order to evoke empathy from the viewer.

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== Catalogues ==

Some of Haydn's works are referred to by [[opus number]]s, but ''Hob'' or ''Hoboken'' numbers, after [[Anthony van Hoboken]]'s 1957 classification, are also frequently used.

[[1931]] marked a year when several Surrealist painters produced works which marked turning points in their stylistic evolution: Magritte's ''[[La Voix des airs]]'' is an example of this process, where three large spheres representing bells hanging above a landscape. Another Surrealist landscape from this same year is [[Yves Tanguy|Tanguy]]'s ''[[Palais promontoire]]'', with its molten forms and liquid shapes. Liquid shapes became the trademark of Dalí, particularly in his ''[[The Persistence of Memory]]'', which features the image of clocks that sag as if they are made out of cloth.

== See also ==

===Lists of works===

*[[List of symphonies by Joseph Haydn]]

*[[List of masses by Joseph Haydn]]

*[[List of string quartets by Joseph Haydn]]

*[[List of operas by Joseph Haydn]]

The characteristics of this style: a combination of the depictive, the abstract, and the psychological, came to stand for the alienation which many people felt in the [[Modernism|modern]] period, combined with the sense of reaching more deeply into the psyche, to be "made whole with ones individuality".

===Articles on works by Joseph Haydn===

''Concertos''

*[[Violin Concerto in G major]]

*[[Violin Concerto in C major]]

*[[Cello Concerto No. 1 in C (Haydn)]]

*[[Cello Concerto No. 2 in D (Haydn)]]

Long after personal, political and professional tensions broke up the Surrealist group, Magritte and Dalí continued to define a visual program in the arts. This program reached beyond painting, to encompass photography as well, as can be seen from a Man Ray self portrait, whose use of assemblage influenced [[Robert Rauschenberg]]'s collage boxes.

''Symphonies''

During the [[1930s]] [[Peggy Guggenheim]], an important art collector married [[Max Ernst]] and began promoting work by other Surrealists such as [[Yves Tanguy]] and the British artist [[John Tunnard]]. However, by the outbreak of the [[Second World War]], the taste of the [[avant-garde]] swung decisively towards [[Abstract Expressionism]] with the support of key taste makers, including Guggenheim. However, it should not be easily forgotten that Abstract Expressionism itself grew directly out of the meeting of American (particularly New York) artists with European Surrealists self-exiled during WWII. In particular, [[Arshile Gorky]] influenced the development of this American art form, which - as Surrealism did - celebrated the instantaneous human act as the well-spring of creativity. The early work of many Abstract Expressionists reveals a tight bond between the more superficial aspects of both movements, and the emergence (at a later date) of aspects of Dadaistic humor in such artists as Rauschenberg sheds an even starker light upon the connection. Up until the emergence of Pop Art, Surrealism can be seen to have been the single most important influence on the sudden growth in American arts, and even in Pop, some of the humor manifested in Surrealism can be found, often turned to a cultural criticism.

*[[Symphony No. 1 (Haydn)|Symphony No. 1]] (1757 or 1758)

*[[Symphony No. 6 (Haydn)|Symphony No. 6, "Le Matin"]] (1761)

*[[Symphony No. 6 (Haydn)|Symphony No. 7, "Le Midi"]] (1761)

*[[Symphony No. 6 (Haydn)|Symphony No. 8, "Le Soir"]] (1761)

*[[Symphony No. 13 (Haydn)|Symphony No. 13]] (1763)

*[[Symphony No. 22 (Haydn)|Symphony No. 22, "The Philosopher"]] (1764)

*[[Symphony No. 23 (Haydn)|Symphony No. 23]] (1764)

*[[Symphony No. 24 (Haydn)|Symphony No. 24]] (1764)

*[[Symphony No. 39 (Haydn)|Symphony No. 39]]

*[[Symphony No. 44 (Haydn)|Symphony No. 44, "Trauersinfonie"]] (1770)

*[[Symphony No. 43 (Haydn)|Symphony No. 43, "Merkur/Mercury"]] (1770-1771)

*[[Symphony No. 42 (Haydn)|Symphony No. 42]] (1771)

*[[Symphony No. 45 (Haydn)|Symphony No. 45, "Farewell"]] (1772)

*[[Symphony No. 46 (Haydn)|Symphony No. 46]] (1772)

*[[Symphony No. 47 (Haydn)|Symphony No. 47]] (1772)

*[[Symphony No. 54 (Haydn)|Symphony No. 54]] (1774)

*[[Symphony No. 56 (Haydn)|Symphony No. 56]] (1774)

*[[Symphony No. 53 (Haydn)|Symphony No. 53]] (c.1779)

*[[Symphonies No. 76-78 (Haydn)]] (1783)

*[[Symphonies No. 82-87 (Haydn)]] 'Paris' (1785-86)

*[[Symphony No. 88 (Haydn)|Symphony No. 88]] (1787)

*[[Symphony No. 90 (Haydn)|Symphony No. 90]] (1788)

*[[Symphony No. 91 (Haydn)|Symphony No. 91]] (1788)

*[[Symphony No. 92 (Haydn)|Symphony No. 92, "Oxford"]] (1789)

*[[Symphony No. 94 (Haydn)|Symphony No. 94, "Surprise"]] (1791)

*[[Symphony No. 96 (Haydn)|Symphony No. 96]] (called "Miracle") (1791)

*[[Symphony No. 98 (Haydn)|Symphony No. 98]] (1792)

*[[Symphony No. 100 (Haydn)|Symphony No. 100, "Military Symphony"]] (1794)

*[[Symphony No. 101 (Haydn)|Symphony No. 101, "The Clock"]] (1794)

*[[Symphony No. 102 (Haydn)|Symphony No. 102]] (1795)

*[[Symphony No. 103 (Haydn)|Symphony No. 103, "Drumroll"]] (1795)

*[[Symphony No. 104 (Haydn)|Symphony No. 104, "London"]] (1795)

'''World War II and beyond'''

''Vocal works''

*[[Gott erhalte Franz den Kaiser]]

*[[The Creation]]

*[[The Seasons (Haydn)]]

*'[[Harmoniemesse]] (1802)

[[Image:ElleLogeLaFolie_1970.jpg|thumb|400px|right|[[Roberto Matta]]. ''Elle Loge La Folie'', oil on canvas, 1970.]]

''Operas''

As with many artistic movements in Europe, the coming of the Second World War proved disruptive: both because of the rift between [[André Breton|Breton]] and [[Salvador Dalí|Dalí]] over Dalí's support for [[Francisco Franco]], and because of a diaspora of the members of the Surrealist movement itself. Dalí said to remain a Surrealist forever was like "painting only eyes and noses", and declared he had embarked on a "classic" period; [[Max Ernst]] in [[1962]] said "I feel more affinity for some German Romantics". [[Magritte]] began painting what he called his "solar" or "[[Renoir]]" style.

*[[La canterina]]

The works continued. Many Surrealist artists continued to explore their vocabularies, including Magritte. Many members of the Surrealist movement continued to correspond and meet. (In [[1960]], Magritte, Duchamp, Ernst, and Man Ray met in Paris.) While Dalí may have been excommunicated by Breton, he neither abandoned the themes from the [[1930s]], including references to the "persistence of time" in a later painting, nor did he become a depictive "pompier". His classic period did not represent so sharp a break with the past as some descriptions of his work might portray.

''Piano Sonatas''

During the [[1940s]] Surrealism's influence was also felt in England and America. [[Mark Rothko]] took an interest in bimorphic figures, and in England [[Henry Moore]], [[Lucian Freud]], [[Francis Bacon (painter)|Francis Bacon]] and [[Paul Nash]] used or experimented with Surrealist techniques. However, [[Conroy Maddox]], one of the first British Surrealists, beginning in [[1935]], remained within the movement, organizing an exhibition of current Surrealist work in [[1978]], in response to an exhibition which infuriated him because it did not properly represent Surrealism. The exhibition, titled ''Surrealism Unlimited'' was in Paris, and attracted international attention. He held his last one man show in [[2002]], just before his death in [[2005]].

*[[Piano Sonata No.33]] in C minor

*[[Piano Sonata No.38]] in F major

Magritte's work became more realistic in its depiction of actual objects, while maintaining the element of juxtaposition, such as in [[1951]]'s ''Personal Values'' and [[1954]]'s ''Empire of Light''. Magritte continued to produce works which have entered artistic vocabulary, such as ''Castle in the Pyrenees'' which refers back to ''Voix'' from [[1931]], in its suspension over a landscape.

== Books about Haydn ==

Biography:

Other figures from the Surrealist movement were expelled, [[Roberto Matta]] for example, but by their own description "remained close to Surrealism."

*''Haydn'' by Rosemary Hughes (New York: Farrar Strauss and Giroux 1970, out of print) gives a sympathetic and witty account of Haydn's life, along with a survey of the music.

*Another biography, based on the most recent scholarship, is James Webster and Georg Feder's contribution to ''[[The New Grove Dictionary of Music and Musicians]]'' (New York: Grove, 2001). This article was published separately as a book: ''The New Grove Haydn'' (New York: Macmillan 2002, ISBN 0195169042).

*''Haydn: Chronicle and Works'', by [[H. C. Robbins Landon]] (Bloomington, IN: Indiana University Press, 1976-1980), is a near-exhaustive compilation of the information we have about Haydn's life.

Many new artists explicitly took up the Surrealist banner for themselves, some following what they saw as the path of Dalí, others holding to views they derived from Breton. Duchamp continued to produce sculpture and, at his death, was working on an installation with the realistic depiction of a woman viewable only through a peephole. [[Dorothea Tanning]] and [[Louise Bourgeois]] continued to work, for example with Tanning's ''Rainy Day Canape'' from [[1970]].

Criticism and analysis:

The [[1960s]] saw an expansion of Surrealism with the founding of [[West Coast Surrealist Group|The West Coast Surrealist Group]] as recognized by Breton's personal assistant [[Jose Pierre]] and also [[Surrealist Movement in the United States]].

*''The Classical Style'' by [[Charles Rosen]] (2nd ed., New York: Norton 1997; ISBN 0393317129) is the essential work, covering much of Haydn's output, and explicating Haydn's central role in the creation of the classical style.

That Surrealism has remained commercially successful and popularly recognized has lead many people associated with the Breton's Surrealist group to criticise more general uses of the term. They argue that many self-identified Surrealists are not grounded in Breton's work and the techniques of the movement.

===Other topics===

*[[Authentic performance]] (standards prevalent in Haydn's day)

*[[Gottfried van Swieten]]

*[[Johann Peter Salomon]]

*[[Haydn and folk music]]

*[[List of Austrians in music]]

*[[List of Austrians]]

*[[Papa Haydn|"Papa" Haydn]]

*[[Social history of the piano]] (Haydn's musical parents)

*[[Turkish music (style)]]

Surrealistic art remains enormously popular with museum patrons. In [[2001]] [[Tate Modern]] held an exhibition of Surrealist art that attracted over 170,000 visitors in its run. Having been one of the most important of movements in the Modern period, Surrealism proceeded to inspire a new generation seeking to expand the vocabulary of art.

== External links ==

*[http://www.carolinaclassical.com/articles/haydn.html Joseph Haydn and the Classical Era.]

*[http://www.musicologie.org/Biographies/h/haydn.html musicologie.org] in French

*[http://www.hr/darko/etf/hadow3.html Excerpts from the book ''A Croatian Composer: Notes toward the study of Joseph Haydn'', by William H. Hadow.]

*[http://www.anecdotage.com/browse.php?category=people&who=Haydn A page of anecdotes about Haydn]

*[http://www.pianosociety.com/index.php?id=203 Piano Society - Haydn] - Biography and various free recordings in MP3 format.

*{{IckingArchive|idx=Haydn|name=Joseph Haydn}}

<!--REMOVED. Please see Discussion page for why this link should not be included. *Full text of the biography ''[http://www.gutenberg.net/etext/3788 Haydn]'' by J. Cuthbert Hadden, 1902, from [[Project Gutenberg]]-->

===Surrealism in literature===

<nowiki>

The first surrealist work, according to Breton, was ''Les Champs Magnétiques'' ([[1921]] “Magnetic Fields”), which was actually a collaboration with the French poet and novelist [[Philippe Soupault]]. But even before that, in [[1919]], [[André Breton|Breton]], [[Soupault]] and [[Aragon]] had already published the magazine ''Littérature'', which contained automatist works and accounts of dreams. The magazine and the portfolio both showed their disdain for literal meanings given to objects and focused rather on the undertones, the poetic undercurrents present. Not only did they give emphasis to the poetic undercurrents, but also to the connotations and the overtones which “exist in ambiguous relationships to the visual images.”

{{commons|Joseph Haydn}}

Because surrealist writers seldom (if ever) appear to organize their thoughts and the images they present, some people find much of their work difficult to "parse". This notion however is a superficial comprehension, prompted no doubt by Breton's initial emphasis on automatic writing as the main route toward a higher reality. But - as in Breton's case itself - much of what is presented as purely automatic is actually edited and very "thought out". Breton himself later admitted that automatic writing's centrality had been overstated, and other elements were introduced, especially as the growing involvement of visual artists in the movement forced the issue, since "automatic painting" required a rather more strenuous set of approaches. Thus such elements as collage were introduced, arising partly from an ideal of startling juxtapositions as revealed in Pierre Reverdy's poetry. And - as in Magritte's case (where there is no obvious recourse to either automatic techniques or collage) the very notion of convulsive joining became a tool for revelation in and of itself. Surrealism was meant to be always in flux - to be more modern than modern - and so it was natural there should be a rapid shuffling of the philosophy as new challenges arose.

[[Category:1732 births|Haydn, Joseph]]

[[Category:1809 deaths|Haydn, Joseph]]

[[Category:Classical era composers|Haydn, Joseph]]

[[Category:Viennese composers|Haydn, Joseph]]

[[Category:Austrian musicians|Haydn, Joseph]]

[[Category:Austrian composers|Haydn, Joseph]]

[[Category:Composers for lute|Haydn, Joseph]]

[[Category:The Enlightenment]]

[[Category:Freemasons|Haydn, Joseph]]

Surrealists revived interest in [[Isidore Ducasse]], known by his pseudonym “Le Comte de Lautréamont” and for the line “beautiful as the chance meeting on a dissecting table of a sewing machine and an umbrella”, and [[Arthur Rimbaud]], two late [[19th century]] writers believed to be the precursors of Surrealism.

[[ar:جوزيف هايدن]]

[[bs:Joseph Haydn]]

Examples of surrealist literature are [[René Crevel]]'s, ''Mr. Knife Miss Fork'', [[Louis Aragon]]'s, ''Irene's Cunt'', [[André Breton]]'s, ''Sur la route de San Romano'', [[Benjamin Peret]]'s, ''Death to the Pigs'', [[Antonin Artaud]]'s, ''Le Pese-Nerfs''.

[[ca:Franz Joseph Haydn]]

[[cy:Josef Haydn]]

===Surrealism in music===

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:''Main article: [[Surrealism (music)]].''

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In the [[1920s]] several composers were influenced by Surrealism, or by individuals in the Surrealist movement. Among these were [[Bohuslav Martinu]], [[André Souris]], and [[Edgard Varèse]], who stated that his work ''Arcana'' was drawn from a dream sequence. Souris in particular was associated with the movement: he had a long, if sometimes spotty, relationship with [[Magritte]], and worked on [[Paul Nouge]]'s publication ''Adieu Marie''.

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French composer [[Pierre Boulez]] wrote a piece called ''explosante-fixe'' (1972), inspired by Breton's ''mad love''.

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[[Germaine Tailleferre]] of the French group Les Six wrote several works which could be considered to be inspired by Surrealism, including the 1948 Ballet "Paris-Magie" (scenario by [[Lise Deharme]], who was closely linked to Breton), the Operas "La Petite Sirène" (book by Philippe Soupault) and "Le Maître" (book by Eugène Ionesco). Tailleferre also wrote popular songs to texts by Claude Marci, the wife of Henri Jeanson, whose portrait had been painted by Magritte in the 1930s.

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Even though Breton by [[1946]] responded rather negatively to the subject of music with his essay ''Silence is Golden,'' later Surrealists have been interested in - and found parallels to - Surrealism in the improvisation of [[jazz]] (as alluded to above), and the [[blues]] (Surrealists such as [[Paul Garon]] have written articles and full-length books on the subject). Jazz and blues musicians have occasionally reciprocated this interest. For example, the [[1976 World Surrealist Exhibition]] included such performances by [[Honeyboy Edwards]].

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Surrealists have also influenced [[reggae]] and, later, [[hip hop music|rap]] and some rock/pop bands such as [[The Psychedelic Furs]]. In addition to musicians who have been influenced by Surrealism (including some influence in rock — the title of the [[1967]] [[psychedelic music|psychedelic]] [[Jefferson Airplane]] album ''[[Surrealistic Pillow]]'' was obviously inspired by the movement), such as the experimental group [[Nurse With Wound]] (whose album title ''Chance meeting on a dissecting table of a sewing machine and umbrella'' is taken from a line in [[Lautreamont]]'s ''Maldoror''). Surrealist music has included such explorations as those of [[Hal Rammel]]. More importantly, the ideas of chance have been used by such modern musical artists as [[David Bowie]] [[Brian Eno]] who - in turn - have sometimes mentioned either [[Dada|Dadaists]] or Surrealists in their work.

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===Surrealism in film===

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An avant-garde movement in the arts stressing Freudian and Marxist ideas, unconscious elements, irrationalism, and the symbolic association of ideas. Dreamlike and bizarre surrealist movies were produced roughly from 1924 to 1931, primarily in France, though there are still surrealistic elements in the works of many directors.

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Surrealist [[film]]s include ''[[Un chien andalou]]'' and ''[[L'Âge d'Or]]'' by [[Luis Buñuel]] and [[Dalí]]. [[Jean Cocteau]] made history in the film world with what is considered to be his surrealist masterpiece, the Orphic Trilogy. These films included The Blood of a Poet (his directoral debut), Orpheus, and Testament of Orpheus (his last film). There is also a strong surrealist influence present in [[Alain Resnais]]'s ''[[Last Year at Marienbad]]''

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Surrealist and film theorist [[Robert Benayoun]] has written books on [[Tex Avery]], [[Woody Allen]], [[Buster Keaton]] and the [[Marx Brothers]].

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Some have described [[David Lynch]] as a Surrealist filmmaker. He has never participated in the Surrealist movement or in any Surrealist activity, but there are arguably some aspects of many of his films that are of Surrealist interest, although - despite his work's superficial resemblance to many of the Surrealist images - his overall vision tends to be socially conservative, which is not an ideal promoted by Surrealism at large. Much the same problem can be seen in the work of [[David Cronenberg]], whose films - seemingly surreal in their visual components - are often conservative in their content, usually admonishing and punishing those who would go in search of "more reality."

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[[Jan Bucquoy]] and [[André Delvaux]] (the latter in the tradition of the ''magic realism'') are the only representatives of the Belgian surrealist school in cinema.

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The truest aspects of Surrealism in film are often found in passing frames of a larger film; the sudden emergence of the uncanny into the "normal" which may or may not be further explored in the rest of the film. The original group spent hours going from film to film, often not finishing one before seeking another, partly in hopes of catching just such [[ephemeral]] moments, and partly with the idea of "stitching together" a film in their own minds out of the disparate parts. Such an "[[aesthetic]]" is actually very commonplace today, with countless television stations and the advent of the remote control: people will often skip through the channels looking for that one image which transcends the ordinary.

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===Surrealism in television===

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Some have found the [[television]] series ''[[The Prisoner]]'' to be of Surrealist interest.

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[[Tex Avery]] cartoons originated on film in the 1930s and 1940s, but millions more know his famous characters from Saturday morning cartoons replayed during the 1970s: [[Bugs Bunny]], [[Daffy Duck]], etc.

===Surrealism in politics===

During the 1980s, behind the Iron Curtain, Surrealism entered into the politics, and this thanks to an underground artistic opposition movement known as the [[Orange Alternative]]. The Orange Alternative created in 1981 by [[Waldemar Fydrych]] alias "Major", a graduate of history and art history at the University of [[Breslavia]], used surrealism symbology and terminology in its large scale happenings organized in the major Polish cities during the [[Jaruzelski]] regime and painted surrealist dwarf graffiti on spots covering up anti-regime slogans. Major himself was the author of the so-called "Manifest of Socialist Surrealism". In this Manifest, he stated that the socialist (communist) system had become so surrealistic that it could be seen as an expression of art itself.

== Impact of Surrealism ==

While Surrealism is typically associated with the arts, it has been said to transcend them; Surrealism has had an impact in many other fields. In this sense, Surrealism does not specifically refer only to self-identified "Surrealists", or those sanctioned by Breton, rather, it refers to a range of creative acts of revolt and efforts to liberate imagination.

In addition to Surrealist ideas that are grounded in the ideas of [[Georg Wilhelm Friedrich Hegel|Hegel]], [[Karl Marx|Marx]] and [[Sigmund Freud|Freud]], surrealism is seen by its advocates as being inherently dynamic and as dialectic in its thought. Surrealists have also drawn on sources as seemingly diverse as [[Clark Ashton Smith]], [[Montague Summers]], [[Fantomas]], [[The Residents]], [[Bugs Bunny]], [[comic strips]], the obscure poet [[Samuel Greenberg]] and the [[hobo]] writer and humourist [[T-Bone Slim]]. One might say that Surrealist strands may be found in movements such as [[Free Jazz]] ([[Don Cherry (jazz)|Don Cherry]], [[Sun Ra]], etc.) and even in the daily lives of people in confrontation with limiting social conditions. Thought of as the effort of humanity to liberate imagination as an act of insurrection against society, surrealism finds precedents in the [[alchemy|alchemists]], possibly [[Dante Alighieri|Dante]], [[Hieronymus Bosch]], [[Donatien Alphonse Francois de Sade|Marquis de Sade]], [[Charles Fourier]], [[Comte de Lautreamont]] and [[Arthur Rimbaud]]. Surrealists believe that ''non-Western'' cultures also provide a continued source of inspiration for Surrealist activity because some may strike up a better balance between instrumental reason and the imagination in flight than Western culture. Surrealism has had an identifiable impact on radical and revolutionary politics, both directly -- as in some surrealists joining or allying themselves with radical political groups, movements and parties -- and indirectly -- through the way in which surrealists' emphasis on the intimate link between freeing the imagination and the mind and liberation from repressive and archaic social structures. This was especially visible in the [[New Left]] of the 1960s and 1970s and the French revolt of May 1968, whose slogan "All power to the imagination" arose directly from French surrealist thought and practice.

Some [[artist]]s, such as [[H.R. Giger]] in [[Europe]], who won an [[Academy Awards|Academy Award]] for his stage set, and who also designed the "creature," in the movie ''[[Alien (movie)|Alien]],'' have been popularly called "Surrealists," though Giger is a [[Visionary art|visionary artist]] and he does not claim to be surrealist.

[[The Society for the Art of Imagination]] has come in for particularly bitter criticism from a self-labeled surrealist movement (although this criticism has been characterized by at least one anonymous individual as coming from "the Marxists [sic] Surrealist groups, who maintain small contingents worldwide;" he has also pointed out what he considers the hypocrisy of any Surrealist criticism of the Society for the Art of Imagination given that [[Kathleen Fox]] designed the cover of issue 4 of the bulletin of the [[Groupe de Paris du Mouvement Surrealiste]] and also participated in the [[2003]] Brave Destiny[http://wahcenter.net/exhibits/2003/surreal/index.html] show at the [[Williamsburg Art & Historical Center]]. Though some presented ''Brave Destiny'' as the largest-ever exhibit of Surrealist artists, the show was officially billed as exhibiting "Surrealism, Surreal/[[Conceptual art|Conceptual]], Visionary, [[Fantastic art|Fantastic]], [[Symbolism]], [[Magic Realism]], [[the Vienna School]], [[Neuve Invention]], [[Outsider art|Outsider]], [[Na?ve art|Na?ve]], [[the Macabre]], [[the Grotesque|Grotesque]] and [[Singulier Art]].)"

==Critiques of Surrealism==

Surrealism has been critiqued from several perspectives:

[[Freud]] initiated the psychoanalytic critique of surrealism with his remark that what interested him most about the surrealists was not their unconscious but their conscious. His meaning was that the manifestations of and experiments with psychic automatism highlighted by surrealists as the liberation of the unconscious were highly structured by ego activity, similar to the activities of the dream censorship in dreams, and that therefore it was in principle a mistake to regard surrealist poems and other art works as direct manifestations of the unconscious, when they were indeed highly shaped and processed by the ego. In this view, the surrealists may have been producing great works, but they were products of the conscious, not the unconscious mind, and they deceived themselves with regard to what they were doing with the unconscious. In psychoanalysis proper, the unconscious does not just express itself automatically but can only be uncovered through the analysis of resistance and transference in the psychoanalytic process.

[[Feminists]] have in the past critiqued the surrealist movement for being, despite the occasional few celebrated woman surrealist painters and poets, fundamentally a male movement and a male fellowship. They believe that it adopts typical male attitudes toward women, such as worshipping them symbolically in stereotypical romantic but sexist ways, as representing higher values and truths, putting them on a pedestal, making them into objects of desire and of mystery. This is carried out in a characteristically sexist manner, keeping women in a subordinate role in the surrealist movement and in the personal lives of the surrealists themselves.

[[Marxists]] have critiqued the surrealists for being revolutionaries merely in their own minds, whilst living the lives of self-indulgent bourgeois intellectuals, who were not serious collaborators of actual social and political revolutionary movements and actions, although a number of them did so collaborate as individuals.

==See also==

'''Techniques, games and humor'''

*[[Surrealist games]]

*[[Surreal humour]]

*[[Surrealist techniques]]

'''Related art movements and genres'''

*[[Cacophony Society]]

*[[Dada]]

*[[Fluxus]]

*[[Hysterical realism]] and [[Maximalism]]

*[[Post-Surrealism]]

*[[Situationism]]

==Sources==

'''[[André Breton]]'''

* André Breton, ''Manifestoes of Surrealism'' containing the 1<SUP>st</SUP>, 2<SUP>nd</SUP> and introduction to a possible 3<SUP>rd</SUP> Manifesto, and in addition the novel ''The Soluble Fish'' and political aspects of the Surrealist movement. ISBN 0472179004.

* ''What is Surrealism?: Selected Writings of André Breton''. ISBN 0873488229.

* André Breton, ''Conversations: The Autobiography of Surrealism'' (Gallimard [[1952]]) (Paragon House English rev. ed. [[1993]]). ISBN 1569249709.

* André Breton. ''The Abridged Dictionary of Surrealism'', reprinted in:

** Marguerite Bonnet, ed. ([[1988]]). ''Oeuvres complètes'', 1:328. Paris: Éditions Gallimard.

'''Other sources'''

* Guillaume Appollinaire ([[1917]], [[1991]]). Program note for ''Parade'', printed in ''Oeuvres en prose complètes'', 2:865-866, Pierre Caizergues and Michel Décaudin, eds. Paris: Éditions Gallimard.

* Gerard Durozoi, ''History of the Surrealist Movement'' (translated by Alison Anderson, University of Chicago Press). [[2004]]. ISBN 0226174115.

* [[Franklin Rosemont|Rosemont, Franklin]], ''Surrealism and Its Popular Accomplices'' San Francisco, CA: City Lights Books ([[1980]]). ISBN 087286121X.

* Brotchie, Alastair and Gooding, Mel, eds. ''A Book of Surrealist Games'' Berkeley, CA: Shambhala ([[1995]]). ISBN 1570620849.

* Moebius, Stephan. ''Die Zauberlehrlinge. Soziologiegeschichte des [[Collège de Sociologie]]. Konstanz: UVK [[2006]]. (About the [[College of Sociology]], its members and sociological impacts).

*Maurice Nadeau, History of Surrealism (Cambridge, Mass.: Belknap Press, 1989). ISBN 0674403452.

* Alexandrian, Sarane. ''Surrealist Art'' London: Thames & Hudson, [[1970]].

* Melly, George ''Paris and the Surrealists'' Thames & Hudson. [[1991]].

* Lewis, Helena ''The Politics Of Surrealism'' [[1988]]

* [[Mary Ann Caws|Caws, Mary Ann]] ''Surrealist Painters and Poets: An Anthology'' [[2001]] MIT Press

==External links==

Academic resources/'Classical' Surrealism:

*[http://www.tcf.ua.edu/Classes/Jbutler/T340/SurManifesto/ManifestoOfSurrealism.htm ''Manifesto of Surrealism'' by André Breton. 1924.]

*[http://www.site-magister.com/surrealis.htm Surrealism] (in French)

*[http://pers-www.wlv.ac.uk/~fa1871/whatsurr.html ''What is Surrealism?'' Lecture by Breton, Brussels 1934]

*[http://www.madsci.org/~lynn/juju/surr/surrealism.html The Surrealism Server]

*[http://pomaranczowa-alternatywa.republika.pl Happenings by the Orange Alternative]

*[http://www.serbiansurrealism.com/ The Surrealist Movement in Serbia] +

*[http://www.libcom.org/history/articles/surrealism-politics/index.php The radical politics of Surrealism, 1919-1950] - an article looking at Surrealism and Surrealists' connections to anarchist, socialist and working class politics

* [http://www.gerard-bertrand.net/index.htm Franz Kafka and Marcel Proust, the 2 Albums], "recomposed photographs", in a rather surrealist spirit.-->