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La '''catalisi''' è un fenomeno [[chimica|chimico]] attraverso il quale la [[velocità di reazione|velocità di una reazione chimica]] viene cambiata drasticamente per l'intervento di una sostanza, detta [[catalizzatore]], che non viene consumata dal procedere della reazione stessa. Il termine deriva dal verbo greco καταλύειν (rompere).
'''(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.
Il principio generale della catalisi consiste nella variazione del [[meccanismo di reazione]], e quindi dei vari salti di [[energia di attivazione]] che i reagenti devono compiere per arrivare ai prodotti. L'effetto della catalisi è cinetico, e non [[termodinamica|termodinamico]]: agisce sugli stadi intermedi di una reazione, ma non ne modifica gli stati finali. Questo significa che la catalisi non influisce sulla possibilità o meno che una reazione ha di svolgersi.
[[Image:Haydn_portrait_by_Thomas_Hardy_%28small%29.jpg|thumb|215px|Ritratto di Thomas Hardy, 1792]]
Nella stragrande maggioranza dei casi, la catalisi porta all'aumento della velocità di reazione, ma ci sono anche casi in cui l'intervento di un catalizzatore abbassa la velocità (catalisi negativa).
== Biografia ==
In base allo stato in cui si trova il catalizzatore nell'ambiente di reazione si hanno due tipi di catalisi: [[catalisi omogenea]] se il catalizzatore è disciolto nel mezzo di reazione e [[catalisi eterogenea]] se il catalizzatore è ad esempio un solido finemente disperso in un ambiente di reazione fluido.
=== Infanzia ===
Con il termine catalisi si intende anche una branca della chimica, afferente in particolare alla [[chimica industriale]], che studia [[sintesi]], caratterizzazione, design e messa a punto di [[molecola|molecole]] adatte a coprire il ruolo di catalizzatori per il miglioramento o anche la messa in atto stessa delle più svariate reazioni.
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.
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).
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.
=== Giovinezza ===
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.
===''Kapellmeister''===
[[Image:Haydnportrait.jpg|thumb|Ritratto di Ludwig Guttenbrunn, ca. 1770]]
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.
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.
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.
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.
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.
=== Londra ===
[[Image:Gutenberg.net 13504 illus6.jpg|thumbnail|right|250px|Partitura manoscritta di Haydn, conservata al [[British Museum]]]]
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.
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''.
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]].
===Ritorno a Vienna===
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!".
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.
Secondo la tradizione, le sue ultime parole sono state per tranquillizzare i suoi servitori durante il bombardamento su Vienna delle armate francesi.
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.
<!--, ([[March 31]] or [[April 1]] [[1732]] – [[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".
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".
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".
Joseph Haydn was the brother of [[Michael Haydn]], himself a highly regarded composer, and [[Haydn]], a [[tenor]] [[singer]].
===Struggles as a freelancer===
===The years as Kapellmeister===
===The London journeys===
===Final years in Vienna===
== 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]].
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]].
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.
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.
[[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]]]]
== 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.
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.
=== Structure and character of the music ===
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.
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]].
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.
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.
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.
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.
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.
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.
=== 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.
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.
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.
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.
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.
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.
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.
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.
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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.
== 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]]
===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)]]
''Symphonies''
*[[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)
''Vocal works''
*[[Gott erhalte Franz den Kaiser]]
*[[The Creation]]
*[[The Seasons (Haydn)]]
*'[[Harmoniemesse]] (1802)
''Operas''
*[[La canterina]]
''Piano Sonatas''
*[[Piano Sonata No.33]] in C minor
*[[Piano Sonata No.38]] in F major
== Books about Haydn ==
Biography:
*''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.
Criticism and analysis:
*''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.
===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)]]
== 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]]-->
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