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'''(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.

[[Image:Haydn.jpg|thumb|215px|Ritratto di Thomas Hardy, 1792]]

== Biografia ==

=== 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 XXXXXXXX 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

In [[1749]], Haydn had matured physically to the point that he was no longer able to sing high choral parts. On a weak pretext, he was summarily dismissed from his job. He evidently spent one night homeless on a park bench, but was taken in by friends and began to pursue a career as a freelance musician. During this arduous period, which lasted ten years, Haydn worked many different jobs, including valet–accompanist for the Italian composer [[Nicola Porpora]], from whom he later said he learned "the true fundamentals of composition". He laboured to fill the gaps in his training, and eventually wrote his first string quartets and his first opera. During this time Haydn's professional reputation gradually increased.

<!--, ([[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".

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 [[Johann Evangelist Haydn]], a [[tenor]] [[singer]].

===Struggles as a freelancer===

===The years as Kapellmeister===

[[Image:Haydnportrait.jpg|thumb|Portrait by Ludwig Guttenbrunn, ca. 1770]]In [[1759]], or [[1757]] according to the New Grove Encyclopedia, Haydn received his first important position, that of [[Kapellmeister]] (music director) for Count Karl von Morzin. In this capacity, he directed the count's small orchestra, and for this ensemble wrote his first symphonies. Count Morzin soon suffered financial reverses that forced him to dismiss his musical establishment, but Haydn was quickly offered a similar job (1761) as assistant Kapellmeister to the [[Esterhazy|Eszterházy]] family, one of the wealthiest and most important in the Austrian Empire. When the old Kapellmeister, [[Gregor Werner]], died in [[1766]], Haydn was elevated to full Kapellmeister.

As a [[livery|liveried]] servant of the Eszterházys, Haydn followed them as they moved among their three main residences: the family seat in [[Eisenstadt]], their winter palace in Vienna, and [[Eszterháza]], a grand new palace built in rural Hungary in the [[1760s]]. Haydn had a huge range of responsibilities, including composition, running the orchestra, playing [[chamber music]] for and with his patrons, and eventually the mounting of operatic productions. Despite the backbreaking workload, Haydn considered himself fortunate to have his job. The Eszterházy princes (first Paul Anton, then most importantly Nikolaus I) were musical connoisseurs who appreciated his work and gave him the conditions needed for his artistic development, including daily access to his own small orchestra.

In [[1760]], with the security of a Kapellmeister position, Haydn married. He and his wife, the former Maria Anna Keller, did not get along, and they produced no children. Haydn may have had one or more children with Luigia Polzelli, a singer in the Eszterházy establishment with whom he carried on a long-term love affair, and often wrote to on his travels.

During the nearly thirty years that Haydn worked in the Eszterházy household, he produced a flood of compositions, and his musical style became ever more developed. His popularity in the outside world also increased. Gradually, Haydn came to write as much for publication as for his employer, and several important works of this period, such as the [[Symphonies No. 82-87 (Haydn)|Paris symphonies]] ([[1785]]&ndash;[[1786|6]]) and the original orchestral version of [[The Seven Last Words of Christ]] ([[1786]]), were commissions from abroad.

Around [[1781]] Haydn established a friendship with [[Wolfgang Amadeus Mozart|Mozart]], whose work he had already been influencing by example for many years. According to later testimony by [[Stephen Storace]], the two composers occasionally played in [[string quartet]]s together. Haydn was hugely impressed with Mozart's work, and in various ways tried to help the younger composer. During the years 1782 to 1785, Mozart wrote a set of string quartets thought to be inspired by Haydn's Opus 33 series. On completion he dedicated them to Haydn, a very unusual thing to do at a time when dedicatees were usually aristocrats. The extremely close 'brotherly' Mozart-Haydn connection may be an expression of Freemasonic sympathies as well: Mozart and Haydn were members of the same Masonic lodge. Mozart joined in 1784 in the middle of writing those string quartets subsequently dedicated to his Masonic brother Haydn. This lodge was a specifically Catholic rather than a deistic one.

In [[1789]], Haydn developed another friendship with [[Maria Anna von Genzinger]] (1750–93), the wife of Prince Nicolaus's personal physician in Vienna. Their relationship, documented in Haydn's letters, was evidently intense but platonic. The letters express Haydn's sense of loneliness and melancholy at his long isolation at Eszterháza. Genzinger's premature death in 1793 was a blow to Haydn, and his [[Variations in F minor for piano (Haydn)|F minor variations]] for piano, Hob. XVII:6, which are unusual in Haydn's work for their tone of impassioned tragedy, may have been written as response to her death.

===The London journeys===

In [[1790]], Prince Nikolaus died and was succeeded by a thoroughly unmusical prince who dismissed the entire musical establishment and put Haydn on a pension. Thus freed of his obligations, Haydn was able to accept a lucrative offer from [[Johann Peter Salomon]], a German impresario, to visit [[England]] and conduct new symphonies with a large orchestra.

The visit ([[1791]]-[[1792|2]]), along with a repeat visit ([[1794]]-[[1795|5]]), was a huge success. Audiences flocked to Haydn's concerts, and he quickly achieved wealth and fame: one review called him "incomparable." Musically, the visits to England generated some of Haydn's best-known work, including the ''[[Symphony No. 94 (Haydn)|Surprise]]'', ''[[Symphony No. 100 (Haydn)|Military]]'', ''[[Symphony No. 103 (Haydn)|Drumroll]]'', and ''[[Symphony No. 104 (Haydn)|London]]'' symphonies, the ''[[Rider quartet|Rider]]'' quartet, and the ''[[Gypsy Rondo piano trio|Gypsy Rondo]]'' piano trio.

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]].

===Final years in Vienna===

Haydn actually considered becoming an English citizen and settling permanently, as composers such as [[Handel]] had before him, but decided on a different course. He returned to Vienna, had a large house built for himself, and turned to the composition of large religious works for chorus and orchestra. These include his two great oratorios [[The Creation]] and [[The Seasons (Haydn)|The Seasons]] and six [[Mass (music)|masses]] for the Eszterházy family, which by this time was once again headed by a musically-inclined prince. Haydn also composed the last nine in his long series of string quartets, including the ''[[Media:EMPEROR.MID|Emperor]]'', ''[[Sunrise quartet|Sunrise]]'', and ''[[Fifths quartet|Fifths]]'' quartets. Despite his increasing age, Haydn looked to the future, exclaiming once in a letter, "how much remains to be done in this glorious art!"

In [[1802]], Haydn found that an illness from which he had been suffering for some time had increased greatly in severity to the point that he became physically unable to compose. This was doubtless very difficult for him because, as he acknowledged, the flow of fresh musical ideas waiting to be worked out as compositions did not cease. Haydn was well cared for by his servants, and he received many visitors and public honours during his last years, but they cannot have been very happy years for him. During his illness, Haydn often found solace by sitting at the piano and playing [[Gott erhalte Franz den Kaiser]], which he had composed himself as a patriotic gesture in [[1797]]. This melody later became used for the [[Austria|Austrian]] and [[Germany|German]] [[national anthems]], and is the national anthem of the Federal Republic of Germany.

Haydn died in [[1809]] following an attack on Vienna by the French army under [[Napoleon]]. Among his last words was his attempt to calm and reassure his servants as [[cannon]] shots fell on the neighbourhood.

== 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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