Composers

Joseph Haydn

Violin
Cello
Piano
Voice
Harpsichord
Viola
Orchestra
French horn
Flute
Oboe
Song
Trio
Folk music
Symphony
Quartet
Divertimento
Sonata
Piece
Lied
Religious music
by popularity

#

10 Canzonets10 Minuets, Hob.IX:2212 Divertimenti12 Easy Pieces12 English Ballads, Hob.XXVIa:Anh.a 212 English Ballads, Hob.XXVIa:Anh.a 312 German Dances, Hob.IX:1012 German Dances, Hob.IX:Anh12 Minuets, Hob.IX:1112 Minuets, Hob.IX:812 Piano Trios12 Symphonies15 String Quartets arranged for Piano150 Scottish Songs, Hob.XXXIa:1-15018 String Trios2 Divertimenti2 Duos with Piano, Hob.XXVa:1-22 Minuets20 Piano Sonatas24 Lieder, Hob.XXVIa:1-2429 Canons3 Morceaux3 String Duos, Op.993 String Trios3 String Trios, Op.533 Symphonies3 Symphonies, Op.223 Symphonies, Op.513 Symphonies, Op.5230 berühmte Quartette31 Piano Trios34 Piano Sonatas36 Adagios4 Symphonies and Quartets, Op.1254 String Quartets6 Canzonettas, Hob.XXVIa:Anh.a 16 Divertimenti6 Divertimenti for String Trio6 Divertimentos, Hob.IV:6-116 English Canzonettas, Hob.XXVIa:25-306 English Canzonettas, Hob.XXVIa:31-366 Feldparthien, Hob.II.41-466 Flute Quartets, Op.56 German Dances6 Keyboard Sonatas, Hob.XVI:21-266 Keyboard Trios6 Psalms, Hob.XXIII:suppl.6 Sonates à 2 violons et basse, Op.86 Sonatinas6 String Duos, Op.66 String Trios6 String Trios, Op.56 Symphonies, Op.136 Trios or Sonatas, Op.116 Trios, Liv.16 Trios, Op.372 Baryton Trios, Hob.XI:25-968 Nocturnes, Hob.II:25–3283 Quartette9 Divertimenti

A

A Cold Frosty Morning, Hob.XXXIa:107A Complete Collection of Haydn's QuartettsA Country Lassie, Hob.XXXIa:144A Pastoral Song, Hob.XXVIa:27A prey to tender anguish, Hob.XXVIa:G1Abendlied zu Gott, Hob.XXVc:9Adagio in F major, Hob.XVII:9Ae fond Kiss, Hob.XXXIa:131An Iris, Hob.XXVIa:7An Thyrsis, Hob.XXVIa:8Arianna a Naxos, Hob.XXVIb:2ArmidaAs I cam down by yon Castle Wa', Hob.XXXIa:114Auch die sprödeste der Schönen, Hob.XXVI:18Auf meines Vaters Grab, Hob.XXVI:24Aus dem Danklied zu Gott, Hob.XXVc:8

B

Barbara Allen, Hob.XXXIa:11Baryton Trio in A major, Hob.XI:1Baryton Trio in A major, Hob.XI:10Baryton Trio in A major, Hob.XI:103Baryton Trio in A major, Hob.XI:108Baryton Trio in A major, Hob.XI:15Baryton Trio in A major, Hob.XI:16Baryton Trio in A major, Hob.XI:19Baryton Trio in A major, Hob.XI:2Baryton Trio in A major, Hob.XI:25Baryton Trio in A major, Hob.XI:29Baryton Trio in A major, Hob.XI:3Baryton Trio in A major, Hob.XI:33Baryton Trio in A major, Hob.XI:35Baryton Trio in A major, Hob.XI:38Baryton Trio in A major, Hob.XI:4Baryton Trio in A major, Hob.XI:46Baryton Trio in A major, Hob.XI:5Baryton Trio in A major, Hob.XI:51Baryton Trio in A major, Hob.XI:57Baryton Trio in A major, Hob.XI:6Baryton Trio in A major, Hob.XI:60Baryton Trio in A major, Hob.XI:66Baryton Trio in A major, Hob.XI:68Baryton Trio in A major, Hob.XI:7Baryton Trio in A major, Hob.XI:71Baryton Trio in A major, Hob.XI:75Baryton Trio in A major, Hob.XI:8Baryton Trio in A major, Hob.XI:86Baryton Trio in A major, Hob.XI:88Baryton Trio in A major, Hob.XI:9Baryton Trio in A major, Hob.XI:94Baryton Trio in A minor, Hob.XI:87Baryton Trio in B minor, Hob.XI:96Baryton Trio in C major, Hob.XI:101Baryton Trio in C major, Hob.XI:109Baryton Trio in C major, Hob.XI:110Baryton Trio in C major, Hob.XI:76Baryton Trio in C major, Hob.XI:82Baryton Trio in C major, Hob.XI:90Baryton Trio in C major, Hob.XI:93Baryton Trio in C major, Hob.XI:C2Baryton Trio in D major, Hob.XI:106Baryton Trio in D major, Hob.XI:107Baryton Trio in D major, Hob.XI:113Baryton Trio in D major, Hob.XI:114Baryton Trio in D major, Hob.XI:118Baryton Trio in D major, Hob.XI:120Baryton Trio in D major, Hob.XI:14Baryton Trio in D major, Hob.XI:27Baryton Trio in D major, Hob.XI:28Baryton Trio in D major, Hob.XI:31Baryton Trio in D major, Hob.XI:34Baryton Trio in D major, Hob.XI:36Baryton Trio in D major, Hob.XI:39Baryton Trio in D major, Hob.XI:40Baryton Trio in D major, Hob.XI:41Baryton Trio in D major, Hob.XI:42Baryton Trio in D major, Hob.XI:43Baryton Trio in D major, Hob.XI:44Baryton Trio in D major, Hob.XI:45Baryton Trio in D major, Hob.XI:48Baryton Trio in D major, Hob.XI:50Baryton Trio in D major, Hob.XI:52Baryton Trio in D major, Hob.XI:54Baryton Trio in D major, Hob.XI:56Baryton Trio in D major, Hob.XI:58Baryton Trio in D major, Hob.XI:61Baryton Trio in D major, Hob.XI:63Baryton Trio in D major, Hob.XI:64Baryton Trio in D major, Hob.XI:69Baryton Trio in D major, Hob.XI:72Baryton Trio in D major, Hob.XI:74Baryton Trio in D major, Hob.XI:78Baryton Trio in D major, Hob.XI:79Baryton Trio in D major, Hob.XI:81Baryton Trio in D major, Hob.XI:85Baryton Trio in D major, Hob.XI:91Baryton Trio in D major, Hob.XI:95Baryton Trio in F major, Hob.XI:100Baryton Trio in F major, Hob.XI:83Baryton Trio in G major, Hob.XI:111Baryton Trio in G major, Hob.XI:116Baryton Trio in G major, Hob.XI:123Baryton Trio in G major, Hob.XI:124Baryton Trio in G major, Hob.XI:26Baryton Trio in G major, Hob.XI:30Baryton Trio in G major, Hob.XI:32Baryton Trio in G major, Hob.XI:37Baryton Trio in G major, Hob.XI:47Baryton Trio in G major, Hob.XI:49Baryton Trio in G major, Hob.XI:53Baryton Trio in G major, Hob.XI:55Baryton Trio in G major, Hob.XI:59Baryton Trio in G major, Hob.XI:62Baryton Trio in G major, Hob.XI:65Baryton Trio in G major, Hob.XI:67Baryton Trio in G major, Hob.XI:70Baryton Trio in G major, Hob.XI:73Baryton Trio in G major, Hob.XI:77Baryton Trio in G major, Hob.XI:80Baryton Trio in G major, Hob.XI:84Baryton Trio in G major, Hob.XI:89Baryton Trio in G major, Hob.XI:92Be Kind to the Young Thing, Hob.XXXIa:54Bess and her Spinning Wheel, Hob.XXXIa:147Bid Me not forget, Hob.XXXIa:126Blink o'er the Burn, Sweet Betty, Hob.XXXIa:68Blue Bonnets, Hob.XXXIa:39Bonnie Wee Thing, Hob.XXXIa:102Bonny Kate of Edinburgh, Hob.XXXIa:94

C

Capriccio in G major, Hob.XVII:1Cauld Kail in Aberdeen, Hob.XXXIa:55Cello Concerto No. 1Cello Concerto No. 2Cello Concerto No.5 in C major, Hob.VIIb:5Collection complète des quatuorsColonel Gardner, Hob.XXXIa:97Content, Hob.XXVIa:36Contredanse in D major, Hob.XXXIc:17bCumbernauld House, Hob.XXXIa:47Cupido, Hob.XXVIa:2

D

Dainty Davie, Hob.XXXIa:32Das böse Weib, Hob.XXVIIb:23Das Leben ist ein Traum, Hob.XXVI:21Das strickende Mädchen, Hob.XXVIa:1Dear Silvia, Hob.XXXIa:136Der erste Kuß, Hob.XXVIa:3Der Gleichsinn, Hob.XXVIa:6Der Sturm, Hob.XXIVa:8Der Verlassene, Hob.XXVIa:5Despair, Hob.XXVIa:28Die Harmonie in der Ehe, Hob.XXVc:2Die Landlust, Hob.XXVIa:10Die Worte des Erlösers am Kreuze, Hob.XX:2Die zu späte Ankunft der Mutter, Hob.XXVIa:12Divertimento in A major, Hob.IV:10Divertimento in A major, Hob.XVI:12Divertimento in A major, Hob.XVI:5Divertimento in A-flat major, Hob.XVI:46Divertimento in B-flat major, Hob.II:12Divertimento in B-flat major, Hob.II:42Divertimento in B-flat major, Hob.II:43Divertimento in B-flat major, Hob.II:46Divertimento in C major, Hob.II:11Divertimento in C major, Hob.II:14Divertimento in C major, Hob.II:7Divertimento in C major, Hob.IV:1Divertimento in C major, Hob.IV:8Divertimento in C major, Hob.XIV:3Divertimento in C major, Hob.XVI:1Divertimento in C major, Hob.XVI:10Divertimento in C major, Hob.XVI:3Divertimento in C major, Hob.XVI:7Divertimento in D major, Hob.deestDivertimento in D major, Hob.II:10Divertimento in D major, Hob.II:13Divertimento in D major, Hob.II:18Divertimento in D major, Hob.II:22Divertimento in D major, Hob.II:35Divertimento in D major, Hob.II:8Divertimento in D major, Hob.II:D10Divertimento in D major, Hob.II:D11Divertimento in D major, Hob.II:D18Divertimento in D major, Hob.II:D9Divertimento in D major, Hob.III:D3Divertimento in D major, Hob.IV:11Divertimento in D major, Hob.IV:6Divertimento in D major, Hob.XVI:19Divertimento in D major, Hob.XVI:4Divertimento in E major, Hob.II:37Divertimento in E-flat majorDivertimento in E-flat major, Hob.II:21Divertimento in E-flat major, Hob.II:24Divertimento in E-flat major, Hob.II:39Divertimento in E-flat major, Hob.II:41Divertimento in E-flat major, Hob.II:6Divertimento in E-flat major, Hob.IV:5Divertimento in E-flat major, Hob.XIV:1Divertimento in E-flat major, Hob.XVI:16Divertimento in E-flat major, Hob.XVI:45Divertimento in F major, Hob.II:15Divertimento in F major, Hob.II:16Divertimento in F major, Hob.II:20Divertimento in F major, Hob.II:23Divertimento in F major, Hob.II:33Divertimento in F major, Hob.II:44Divertimento in F major, Hob.II:45Divertimento in F major, Hob.II:5Divertimento in F major, Hob.XVI:9Divertimento in G major, Hob.deestDivertimento in G major, Hob.II:1Divertimento in G major, Hob.II:19Divertimento in G major, Hob.II:2Divertimento in G major, Hob.II:3Divertimento in G major, Hob.II:36Divertimento in G major, Hob.II:9Divertimento in G major, Hob.II:G1Divertimento in G major, Hob.II:G4Divertimento in G major, Hob.IV:2Divertimento in G major, Hob.IV:3Divertimento in G major, Hob.IV:4Divertimento in G major, Hob.IV:7Divertimento in G major, Hob.IV:9Divertimento in G major, Hob.X:4Divertimento in G major, Hob.XIV:13Divertimento in G major, Hob.XVI:11Divertimento in G major, Hob.XVI:8Donald and Flora, Hob.XXXIa:139Du sollst an einen Gott glauben, Hob.XXVIIa:1Duncan Davison, Hob.XXXIa:26Duncan Gray, Hob.XXXIa:34

E

Ein kleines Haus, Hob.XXVIa:45Eine sehr gewöhnliche Geschichte, Hob.XXVIa:4Eppie Adair, Hob.XXXIa:74

F

Fair Eliza, Hob.XXXIa:117Fantasia in C major, Hob.XVII:4Fidelity, Hob.XXVIa:30Fife and a' the lands about it, Hob.XXXIa:29Flötenuhr in C major, Hob.XIX:10Flötenuhr in C major, Hob.XIX:11Flötenuhr in C major, Hob.XIX:12Flötenuhr in C major, Hob.XIX:13Flötenuhr in C major, Hob.XIX:14Flötenuhr in C major, Hob.XIX:15Flötenuhr in C major, Hob.XIX:16Flötenuhr in C major, Hob.XIX:17Flötenuhr in C major, Hob.XIX:18Flötenuhr in C major, Hob.XIX:19Flötenuhr in C major, Hob.XIX:20Flötenuhr in C major, Hob.XIX:22Flötenuhr in C major, Hob.XIX:23Flötenuhr in C major, Hob.XIX:24Flötenuhr in C major, Hob.XIX:28Flötenuhr in C major, Hob.XIX:29Flötenuhr in C major, Hob.XIX:31Flötenuhr in C major, Hob.XIX:4Flötenuhr in C major, Hob.XIX:7Flötenuhr in C major, Hob.XIX:8Flötenuhr in C major, Hob.XIX:9Flötenuhr in D major, Hob.XIX:25Flötenuhr in E major, Hob.XIX:26Flötenuhr in F major, Hob.XIX:1Flötenuhr in F major, Hob.XIX:2Flötenuhr in F major, Hob.XIX:3Flötenuhr in F major, Hob.XIX:32Flötenuhr in F major, Hob.XIX:5Flötenuhr in F major, Hob.XIX:6Flötenuhr in G major, Hob.XIX:21Flötenuhr in G major, Hob.XIX:27Flötenuhr in G major, Hob.XIX:30Flötenuhrstücke, Hob.XIX:1-32Frae the Friends and Land I Love, Hob.XXXIa:105Fy gar rub her o'er wi' Strae, Hob.XXXIa:7

G

Galla Water, Hob.XXXIa:15Gegenliebe, Hob.XXVI:16Geistliches Lied, Hob.XXVI:17Gott erhalte Franz den KaiserGramachree, Hob.XXXIa:13Green Grow the Rashes, Hob.XXXIa:8Green Sleeves, Hob.XXXIa:112Guarda qui, che lo vedrai, Hob.XXVa:1

H

Hallow ev'n, Hob.XXXIa:63HarmoniemesseHer Absence will not Alter Me, Hob.XXXIa:100Heres a Health to My True Love, Hob.XXXIa:49Horn Concerto No. 1Horn Concerto No.2 in D major, Hob.VIId:4How can I be sad on my Wedding Day, Hob.XXXIa:36How Long and Dreary is the Night, Hob.XXXIa:67Hughie Graham, Hob.XXXIa:141

I

I canna come ilke day to woo, Hob.XXXIa:140I do confess Thou art sae Fair, Hob.XXXIa:110I Dream'd I Lay, Hob.XXXIa:87I Had a Horse, Hob.XXXIa:17I Love My Love in Secret, Hob.XXXIa:3If a Body meet a Body, Hob.XXXIa:80If e'er Ye do Well it's a Wonder, Hob.XXXIa:95Il maestro e lo scolare, Hob.XVIIa:1Il mondo della lunaIl ritorno di TobiaI'm o'er Young to Marry Yet, Hob.XXXIa:30

J

Jamie come try Me, Hob.XXXIa:79Jeder meint, der Gegenstand, Hob.XXVI:13Jenny drinks nae water, Hob.XXXIa:132Jenny was Fair and Unkind, Hob.XXXIa:99Jockie and Sandie, Hob.XXXIa:91John Anderson, My Jo, Hob.XXXIa:2John of Badenyon, Hob.XXXIa:24John, come kiss me now, Hob.XXXIa:41Johnie Armstrong, Hob.XXXIa:109Joseph Haydns Werke

K

Kanzonetten und LiederKellyburn Braes, Hob.XXXIa:148Keyboard Concerto in C major, Hob.XVIII:1Keyboard Concerto in C major, Hob.XVIII:10Keyboard Concerto in C major, Hob.XVIII:5Keyboard Concerto in F major, Hob.XVIII:3Keyboard Concerto in F major, Hob.XVIII:6Keyboard Concerto in G major, Hob.XVIII:4Keyboard Concerto No. 11Keyboard Sonata in A major, Hob.XVI:26Keyboard Sonata in A major, Hob.XVI:30Keyboard Sonata in A-flat major, Hob.XVI:43Keyboard Sonata in B minor, Hob.XVI:32Keyboard Sonata in B-flat major, Hob.XVI:18Keyboard Sonata in B-flat major, Hob.XVI:41Keyboard Sonata in C major, Hob.XVI:15Keyboard Sonata in C major, Hob.XVI:21Keyboard Sonata in C major, Hob.XVI:35Keyboard Sonata in C major, Hob.XVI:48Keyboard Sonata in C-sharp minor, Hob.XVI:36Keyboard Sonata in D major, Hob.XVI:24Keyboard Sonata in D major, Hob.XVI:33Keyboard Sonata in D major, Hob.XVI:37Keyboard Sonata in D major, Hob.XVI:42Keyboard Sonata in D major, Hob.XVI:51Keyboard Sonata in D major, Hob.XVI:deestKeyboard Sonata in E major, Hob.XVI:22Keyboard Sonata in E major, Hob.XVI:31Keyboard Sonata in E-flat major, Hob.XVI:25Keyboard Sonata in E-flat major, Hob.XVI:28Keyboard Sonata in F major, Hob.XVI:23Keyboard Sonata in F major, Hob.XVI:29Keyboard Sonata in F major, Hob.XVI:47Keyboard Sonata in G major, Hob.XVI:27Keyboard Sonata in G major, Hob.XVI:39Keyboard Sonata in G major, Hob.XVI:40Keyboard Sonata in G major, Hob.XVI:G1Keyboard Sonata in G minor, Hob.XVI:44

L

La fedeltà premiataLa vera Costanza, Hob.XXVIII:8Lachet nicht, Mädchen, Hob.XXVI:14Lady Randolph's Complaint, Hob.XXXIa:127L'anima del filosofoLeader Haughs and Yarrow, Hob.XXXIa:27Liebes Mädchen hör mir zu, Hob.XXVIa:D1Liebeslied, Hob.XXVIa:11L'incontro improvvisoL'isola disabitataLizae Baillie, Hob.XXXIa:83Lob der Faulheit, Hob.XXVIa:22Logie of Buchan, Hob.XXXIa:73London SymphoniesLondon TriosLove will find out the Way, Hob.XXXIa:53

M

Maggie's Tocher, Hob.XXXIa:86Maggy Lauder, Hob.XXXIa:35Margret's Ghost, Hob.XXXIa:65Mary's Dream, Hob.XXXIa:1Mass in E-flat major, Hob.XXII:4Mass in G major, Hob.XXII:3McGregor of Ruara's Lament, Hob.XXXIa:81Melodies from the Piano SonatasMerry may the Maid Be, Hob.XXXIa:50Minna, Hob.XXVI:23Missa brevisMissa brevis Sancti Joannis de DeoMissa CellensisMissa Cellensis in honorem Beatissimae Virginis MariaeMissa in AngustiisMissa in tempore belliMissa Sancti Bernardi von OffidaMissa Sancti NicolaiMorag, Hob.XXXIa:143Mount your Baggage, Hob.XXXIa:42My Boy Tammy, Hob.XXXIa:18My Goddess Woman, Hob.XXXIa:120My Heart's in the Highlands, Hob.XXXIa:77My Mithers ay glowran o'er me, Hob.XXXIa:70My Nanny O!, Hob.XXXIa:37

N

Nithsdall's Welcome home, Hob.XXXIa:125Non nobis Domine, Hob.XXIIIa:1Notturno in C major, Hob.II:25Notturno in C major, Hob.II:29Notturno in C major, Hob.II:31Notturno in C major, Hob.II:32Notturno in F major, Hob.II:26Notturno in F major, Hob.II:28Notturno in G major, Hob.II:27Notturno in G major, Hob.II:30Now Westlin Winds, Hob.XXXIa:111

O

O Bonny Lass, Hob.XXXIa:89O can you Sew Cushions, Hob.XXXIa:48O fließ, ja wallend fließ in Zähren, Hob.XXVI:19O Let Me in this ae Night, Hob.XXXIa:61O liebes Mädchen, höre mich, Hob.XXVI:15O tuneful Voice, Hob.XXVIa:42O, For ane and Twenty Tam!, Hob.XXXIa:108Oboe ConcertoO'er Bogie, Hob.XXXIa:16O'er the Hills and far away, Hob.XXXIa:149O'er the Moor amang the Heather, Hob.XXXIa:122Oeuvres complettesOh Onochrie, Hob.XXXIa:85On a Bank of Flowers, Hob.XXXIa:142Orlando paladinoOverture in D major, Hob.Ia:4Overture in D major, Hob.Ia:7Overtures and Symphonies

P

Partita in B-flat major, Hob.XVI:2Partita in D major, Hob.XVI:14Partita in E major, Hob.XVI:13Partita in G major, Hob.XVI:6Peggy in Devotion, Hob.XXXIa:96Pentland Hills, Hob.XXXIa:33Piano Sonata Hob. XVI/20Piano Sonata Hob. XVI/34Piano Sonata Hob. XVI/38Piano Sonata Hob. XVI/49Piano Sonata Hob. XVI/50Piano Sonata Hob. XVI/52Piano SonatasPiano SonatePiano Trio in A major, Hob.XV:18Piano Trio in A major, Hob.XV:9Piano Trio in A-flat major, Hob.XV:14Piano Trio in B-flat major, Hob.XV:20Piano Trio in B-flat major, Hob.XV:38Piano Trio in B-flat major, Hob.XV:8Piano Trio in C major, Hob.XV:21Piano Trio in C major, Hob.XV:27Piano Trio in C major, Hob.XV:3Piano Trio in C major, Hob.XV:C1Piano Trio in C minor, Hob.XV:13Piano Trio in D major, Hob.XV:16Piano Trio in D major, Hob.XV:24Piano Trio in D major, Hob.XV:7Piano Trio in D minor, Hob.XV:23Piano Trio in E minor, Hob.XV:12Piano Trio in E-flat major, Hob.XV:10Piano Trio in E-flat major, Hob.XV:11Piano Trio in E-flat major, Hob.XV:22Piano Trio in E-flat major, Hob.XV:29Piano Trio in E-flat major, Hob.XV:30Piano Trio in E-flat minor, Hob.XV:31Piano Trio in F major, Hob.XV:17Piano Trio in F major, Hob.XV:2Piano Trio in F major, Hob.XV:37Piano Trio in F major, Hob.XV:39Piano Trio in F major, Hob.XV:4Piano Trio in F major, Hob.XV:6Piano Trio in F-sharp minor, Hob.XV:26Piano Trio in G major, Hob.XV:15Piano Trio in G major, Hob.XV:32Piano Trio in G major, Hob.XV:5Piano Trio in G minor, Hob.XV:1Piano Trio in G minor, Hob.XV:19Piano Trio No. 39Piano Trio No. 44Piano Trios, Op.27Piano Trios, Op.36Piano Trios, Op.40Piano Trios, Op.43Piano Trios, Op.57Piano Trios, Op.67Piano Trios, Op.71Piano Trios, Op.82Piano Trios, Op.86Piercing eyes, Hob.XXVIa:35Pleasing Pain, Hob.XXVIa:29

Q

Quartette für Klavier zu 4 HändenQuatuors pour deux violons, alto et violoncelle

R

Recollection, Hob.XXVIa:26Robin quo' she, Hob.XXXIa:72Roy's Wife of Alldivaloch, Hob.XXXIa:103

S

Sailor's Song, Hob.XXVIa:31Salve Regina in G minor, Hob.XXIIIb:2Sämmtliche QuartetteSaper vorrei se m'ami, Hob.XXVa:2Saw Ye my Father, Hob.XXXIa:5Saw ye my Peggy, Hob.XXXIa:56SchöpfungsmesseSextet in E-flat major, Hob.II:40She never told her love, Hob.XXVIa:34Shepherds, I have lost My Love, Hob.XXXIa:93She's fair and fause, Hob.XXXIa:121Sinfonia ConcertanteSinfonien und QuartetteSleepy Bodie, Hob.XXXIa:44Smith Newell PenfieldSonaten für Klavier zu zwei HändenSt. Kilda Song, Hob.XXXIa:19Stabat MaterSteer her up and had her gawin, Hob.XXXIa:78Strathallan's Lament, Hob.XXXIa:145Strephon and Lydia, Hob.XXXIa:150String Duo in A major, Hob.VI:2String Duo in A major, Hob.VI:A1String Duo in B-flat major, Hob.VI:3String Duo in B-flat major, Hob.VI:Anh.1String Duo in B-flat major, Hob.VI:Anh.3String Duo in B-flat major, Hob.VI:B1String Duo in D major, Hob.VI:D1String Duo in D major, Hob.VI:D2String Duo in E-flat major, Hob.VI:Anh.2String Duo in E-flat major, Hob.VI:Es2String Duo in F major, Hob.VI:1String Duo in F major, Hob.VI:F1String Duo in G major, Hob.VI:G1String Quartet in A major, Hob.III:24String Quartet in A major, Hob.III:36String Quartet in A major, Hob.III:60String Quartet in A major, Hob.III:7String Quartet in B minor, Hob.III:37String Quartet in B minor, Hob.III:68String Quartet in B-flat major, Hob.III:1String Quartet in B-flat major, Hob.III:12String Quartet in B-flat major, Hob.III:23String Quartet in B-flat major, Hob.III:40String Quartet in B-flat major, Hob.III:44String Quartet in B-flat major, Hob.III:5String Quartet in B-flat major, Hob.III:62String Quartet in B-flat major, Hob.III:67String Quartet in B-flat major, Hob.III:69String Quartet in B-flat major, Hob.III:78String Quartet in C major, Hob.III:19String Quartet in C major, Hob.III:32String Quartet in C major, Hob.III:39String Quartet in C major, Hob.III:45String Quartet in C major, Hob.III:57String Quartet in C major, Hob.III:6String Quartet in C major, Hob.III:65String Quartet in C major, Hob.III:72String Quartet in C major, Hob.III:77String Quartet in C minor, Hob.III:28String Quartet in D major, Hob.III:11String Quartet in D major, Hob.III:3String Quartet in D major, Hob.III:30String Quartet in D major, Hob.III:34String Quartet in D major, Hob.III:42String Quartet in D major, Hob.III:49String Quartet in D major, Hob.III:63String Quartet in D major, Hob.III:70String Quartet in D major, Hob.III:79String Quartet in D minor, Hob.III:22String Quartet in D minor, Hob.III:43String Quartet in D minor, Hob.III:76String Quartet in D minor, Hob.III:83String Quartet in E major, Hob.III:25String Quartet in E major, Hob.III:59String Quartet in E major, Hob.III:8String Quartet in E-flat major, Hob.III:2String Quartet in E-flat major, Hob.III:20String Quartet in E-flat major, Hob.III:27String Quartet in E-flat major, Hob.III:31String Quartet in E-flat major, Hob.III:38String Quartet in E-flat major, Hob.III:46String Quartet in E-flat major, Hob.III:64String Quartet in E-flat major, Hob.III:71String Quartet in E-flat major, Hob.III:80String Quartet in E-flat major, Hob.III:9String Quartet in F major, Hob.III:10String Quartet in F major, Hob.III:26String Quartet in F major, Hob.III:48String Quartet in F major, Hob.III:73String Quartet in F major, Hob.III:82String Quartet in F minor, Hob.III:35String Quartet in F minor, Hob.III:61String Quartet in F-sharp minor, Hob.III:47String Quartet in G major, Hob.III:21String Quartet in G major, Hob.III:29String Quartet in G major, Hob.III:4String Quartet in G major, Hob.III:41String Quartet in G major, Hob.III:58String Quartet in G major, Hob.III:66String Quartet in G major, Hob.III:75String Quartet in G major, Hob.III:81String Quartet in G minor, Hob.III:33String Quartet in G minor, Hob.III:74String Quartets, Op. 20String Quartets, Op. 33String Quartets, Op. 50String Quartets, Op. 64String Quartets, Op. 76String Quartets, Op.1String Quartets, Op.17String Quartets, Op.2String Quartets, Op.54String Quartets, Op.55String Quartets, Op.71String Quartets, Op.74String Quartets, Op.77String Quartets, Op.9String Trio in A major, Hob.V:7String Trio in A major, Hob.V:A1String Trio in B minor, Hob.V:3String Trio in B-flat major, Hob.V:18String Trio in B-flat major, Hob.V:8String Trio in B-flat major, Hob.V:B1String Trio in C major, Hob.V:16String Trio in D major, Hob.V:15String Trio in D major, Hob.V:D1String Trio in D major, Hob.V:D2String Trio in E major, Hob.V:19String Trio in E-flat major, Hob.V:11String Trio in E-flat major, Hob.V:17String Trio in E-flat major, Hob.V:4String Trio in F major, Hob.V:F1String Trio in G major, Hob.V:20String Trio in G major, Hob.V:G1String Trio in G major, Hob.V:G2String Trio in G major, Hob.V:G3Sympathy, Hob.XXVIa:33Symphonien für Pianoforte und ViolineSymphonien für Pianoforte zu 4 händenSymphonies for Violin and PianoSymphony ASymphony BSymphony in D major, Hob.I:D7Symphony in E-flat major, Hob.I:Es4Symphony No. 1Symphony No. 10Symphony No. 100Symphony No. 101Symphony No. 102Symphony No. 103Symphony No. 104Symphony No. 11Symphony No. 11Symphony No. 12Symphony No. 13Symphony No. 14Symphony No. 15Symphony No. 16Symphony No. 17Symphony No. 18Symphony No. 19Symphony No. 2Symphony No. 20Symphony No. 21Symphony No. 22Symphony No. 23Symphony No. 24Symphony No. 25Symphony No. 26Symphony No. 27Symphony No. 28Symphony No. 29Symphony No. 3Symphony No. 30Symphony No. 31Symphony No. 32Symphony No. 33Symphony No. 34Symphony No. 35Symphony No. 36Symphony No. 37Symphony No. 38Symphony No. 39Symphony No. 4Symphony No. 40Symphony No. 41Symphony No. 42Symphony No. 43Symphony No. 44Symphony No. 45Symphony No. 46Symphony No. 47Symphony No. 48Symphony No. 49Symphony No. 5Symphony No. 50Symphony No. 51Symphony No. 52Symphony No. 53Symphony No. 54Symphony No. 55Symphony No. 56Symphony No. 57Symphony No. 58Symphony No. 59Symphony No. 6Symphony No. 60Symphony No. 61Symphony No. 62Symphony No. 63Symphony No. 64Symphony No. 65Symphony No. 66Symphony No. 67Symphony No. 68Symphony No. 69Symphony No. 7Symphony No. 70Symphony No. 71Symphony No. 72Symphony No. 73Symphony No. 74Symphony No. 75Symphony No. 76Symphony No. 77Symphony No. 78Symphony No. 79Symphony No. 8Symphony No. 80Symphony No. 81Symphony No. 82Symphony No. 83Symphony No. 84Symphony No. 85Symphony No. 86Symphony No. 87Symphony No. 88Symphony No. 89Symphony No. 9Symphony No. 90Symphony No. 91Symphony No. 92Symphony No. 93Symphony No. 94Symphony No. 95Symphony No. 96Symphony No. 98Symphony No. 99

T

Te Deum in C major, Hob.XXIIIc:1Te Deum in C major, Hob.XXIIIc:2The Banks of Spey, Hob.XXXIa:57The Birks of Abergeldie, Hob.XXXIa:58The Black Eagle, Hob.XXXIa:66The Blythesome Bridal, Hob.XXXIa:20The Bonnie Grey ey'd Morn, Hob.XXXIa:101The Bonniest Lass in a' the Warld, Hob.XXXIa:25The Bonny Brucket Lassie, Hob.XXXIa:59The Brisk Young Lad, Hob.XXXIa:46The CreationThe Death of the Linnet, Hob.XXXIa:138The Ewy wi' the Crooked Horn, Hob.XXXIa:116The Flowers of Edinburgh, Hob.XXXIa:90The Gard'ner wi' his Paidle, Hob.XXXIa:45The Glancing of Her Apron, Hob.XXXIa:88The Lass of Livingston, Hob.XXXIa:23The Lea-rig, Hob.XXXIa:31The Maid's Complaint, Hob.XXXIa:84The Mermaid's Song, Hob.XXVIa:25The Mill, Mill O, Hob.XXXIa:92The Minstrel, Hob.XXXIa:115The Mucking of Geordie's Byre, Hob.XXXIa:51The Ploughman, Hob.XXXIa:10The Posie, Hob.XXXIa:113The Rose Bud, Hob.XXXIa:135The SeasonsThe Seven Last Words of ChristThe Shepherd Adonis, Hob.XXXIa:21The Shepherd's Son, Hob.XXXIa:106The Shepherd's Wife, Hob.XXXIa:128The Slave's Lament, Hob.XXXIa:137The Soger Laddie, Hob.XXXIa:60The Spirit's Song, Hob.XXVIa:41The Tears I shed, Hob.XXXIa:123The tither morn, Hob.XXXIa:130The Vain Pursuit, Hob.XXXIa:133The Waefu' Heart, Hob.XXXIa:9The Wanderer, Hob.XXVIa:32The Wawking of the Fauld, Hob.XXXIa:40The weary Pund o'Tow, Hob.XXXIa:129The Wee Wee Man, Hob.XXXIa:124The White Cockade, Hob.XXXIa:22The Widow, Hob.XXXIa:118TheresienmesseThis is no mine ain house, Hob.XXXIa:14Tho' for sev'n years and mair, Hob.XXXIa:146Thou'rt gane awa', Hob.XXXIa:12Tibby Fowler, Hob.XXXIa:52To Daunton Me, Hob.XXXIa:98Todlen hame, Hob.XXXIa:6Trios, Quartette und SymphonienTrost unglücklicher Liebe, Hob.XXVIa:9Trumpet Concerto

U

Unfinished Oratorio, Hob.XXIVa:9Up in the Morning Early, Hob.XXXIa:28

V

Variations in C major, Hob.XVII:5Variations in D major, Hob.XVII:7Variations in E-flat major, Hob.XVII:3Variations in F minorViolin Concerto in A major, Hob.VIIa:3Violin Concerto in C major, Hob.VIIa:1Violin Concerto in G major, Hob.VIIa:4*Violin Sonatas

W

Wat ye wha I met yestreen, Hob.XXXIa:69What can a young Lassie do, Hob.XXXIa:134When she came ben she bobet, Hob.XXXIa:62While Hopeless, Hob.XXXIa:104Whistle o'er the lave o't, Hob.XXXIa:76Widow, are Ye Waking, Hob.XXXIa:75Willie was a Wanton Wag, Hob.XXXIa:4Willy's Rare, Hob.XXXIa:82Woo'd and Married and a', Hob.XXXIa:38

Y

Ye Gods! was Strephon's Picture Blest, Hob.XXXIa:43Yon Wild Mossy Mountains, Hob.XXXIa:119Young Damon, Hob.XXXIa:71Young Jockey was the Blythest Lad, Hob.XXXIa:64

Z

Zufriedenheit, Hob.XXVI:20
Wikipedia
Franz Joseph Haydn (/ˈhaɪdən/; German: [ˈfʁants ˈjoːzɛf ˈhaɪdn̩] (listen); 31 March 1732 – 31 May 1809) was an Austrian composer of the Classical period. He was instrumental in the development of chamber music such as the piano trio. His contributions to musical form have earned him the epithets "Father of the Symphony" and "Father of the String Quartet".
Haydn spent much of his career as a court musician for the wealthy Esterházy family at their Eszterháza Castle. Until the later part of his life, this isolated him from other composers and trends in music so that he was, as he put it, "forced to become original". Yet his music circulated widely, and for much of his career he was the most celebrated composer in Europe.
He was a friend and mentor of Mozart, a tutor of Beethoven, and the older brother of composer Michael Haydn.
Joseph Haydn was born in Rohrau, Austria, a village that at that time stood on the border with Hungary. His father was Mathias Haydn, a wheelwright who also served as "Marktrichter", an office akin to village mayor. Haydn's mother Maria, née Koller, had previously worked as a cook in the palace of Count Harrach, the presiding aristocrat of Rohrau. Neither parent could read music; however, Mathias was an enthusiastic folk musician, who during the journeyman period of his career had taught himself to play the harp. According to Haydn's later reminiscences, his childhood family was extremely musical, and frequently sang together and with their neighbours.
Haydn's parents had noticed that their son was musically gifted and knew that in Rohrau he would have no chance to obtain serious musical training. It was for this reason that, around the time Haydn turned six, they accepted a proposal from their relative Johann Matthias Frankh, the schoolmaster and choirmaster in Hainburg, that Haydn be apprenticed to Frankh in his home to train as a musician. Haydn therefore went off with Frankh to Hainburg and he never again lived with his parents.
Life in the Frankh household was not easy for Haydn, who later remembered being frequently hungry and humiliated by the filthy state of his clothing. He began his musical training there, and could soon play both harpsichord and violin. The people of Hainburg heard him sing treble parts in the church choir.
There is reason to think that Haydn's singing impressed those who heard him, because in 1739 he was brought to the attention of Georg von Reutter, the director of music in St. Stephen's Cathedral in Vienna, who happened to be visiting Hainburg and was looking for new choirboys. Haydn passed his audition with Reutter, and after several months of further training moved to Vienna (1740), where he worked for the next nine years as a chorister.
Haydn lived in the Kapellhaus next to the cathedral, along with Reutter, Reutter's family, and the other four choirboys, which after 1745 included his younger brother Michael. The choirboys were instructed in Latin and other school subjects as well as voice, violin, and keyboard. Reutter was of little help to Haydn in the areas of music theory and composition, giving him only two lessons in his entire time as chorister. However, since St. Stephen's was one of the leading musical centres in Europe, Haydn learned a great deal simply by serving as a professional musician there.
Like Frankh before him, Reutter did not always bother to make sure Haydn was properly fed. As he later told his biographer Albert Christoph Dies, Haydn was motivated to sing well, in hopes of gaining more invitations to perform before aristocratic audiences—where the singers were usually served refreshments.
By 1749, Haydn had matured physically to the point that he was no longer able to sing high choral parts. Empress Maria Theresa herself complained to Reutter about his singing, calling it "crowing". One day, Haydn carried out a prank, snipping off the pigtail of a fellow chorister. This was enough for Reutter: Haydn was first caned, then summarily dismissed and sent into the streets. He had the good fortune to be taken in by a friend, Johann Michael Spangler, who shared his family's crowded garret room with Haydn for a few months. Haydn immediately began his pursuit of a career as a freelance musician.
Haydn struggled at first, working at many different jobs: as a music teacher, as a street serenader, and eventually, in 1752, as valet–accompanist for the Italian composer Nicola Porpora, from whom he later said he learned "the true fundamentals of composition". He was also briefly in Count Friedrich Wilhelm von Haugwitz's employ, playing the organ in the Bohemian Chancellery chapel at the Judenplatz.
While a chorister, Haydn had not received any systematic training in music theory and composition. As a remedy, he worked his way through the counterpoint exercises in the text Gradus ad Parnassum by Johann Joseph Fux and carefully studied the work of Carl Philipp Emanuel Bach, whom he later acknowledged as an important influence. He said of CPE Bach's first six keyboard sonatas, "I did not leave my clavier till I played them through, and whoever knows me thoroughly must discover that I owe a great deal to Emanuel Bach, that I understood him and have studied him with diligence." According to [[Griesinger and Dies, in the 1750s Haydn studied an encyclopedic treatise by Johann Mattheson, a German composer.
As his skills increased, Haydn began to acquire a public reputation, first as the composer of an opera, Der krumme Teufel, "The Limping Devil", written for the comic actor Joseph Felix von Kurz [de], whose stage name was "Bernardon". The work was premiered successfully in 1753, but was soon closed down by the censors due to "offensive remarks". Haydn also noticed, apparently without annoyance, that works he had simply given away were being published and sold in local music shops. Between 1754 and 1756 Haydn also worked freelance for the court in Vienna. He was among several musicians who were paid for services as supplementary musicians at balls given for the imperial children during carnival season, and as supplementary singers in the imperial chapel (the Hofkapelle) in Lent and Holy Week.
With the increase in his reputation, Haydn eventually obtained aristocratic patronage, crucial for the career of a composer in his day. Countess Thun, having seen one of Haydn's compositions, summoned him and engaged him as her singing and keyboard teacher. In 1756, Baron Carl Josef Fürnberg employed Haydn at his country estate, Weinzierl, where the composer wrote his first string quartets. Of them, Philip G. Downs said "they abound in novel effects and instrumental combinations that can only be the result of humerous intent". Their enthusiastic reception encouraged Haydn to write more. It was a turning point in his career. As a result of the performances, he became in great demand both as a performer and a teacher. Fürnberg later recommended Haydn to Count Morzin, who, in 1757, became his first full-time employer. His salary was a respectable 200 florins a year, plus free board and lodging.
Haydn's job title under Count Morzin was Kapellmeister, that is, music director. He led the count's small orchestra in Unterlukawitz and wrote his first symphonies for this ensemble - perhaps numbering in the double figures. Philip Downs comments of these first symphonies: "the seeds of the future are there, his works already exhibit a richness and profusion of material, and a disciplined yet varied expression." In 1760, with the security of a Kapellmeister position, Haydn married. His wife was the former Maria Anna Theresia Keller (1729–1800), the sister of Therese (b. 1733), with whom Haydn had previously been in love. Haydn and his wife had a completely unhappy marriage, from which time permitted no escape. They produced no children, and both took lovers.
Count Morzin soon suffered financial reverses that forced him to dismiss his musical establishment, but Haydn was quickly offered a similar job (1761) by Prince Paul Anton, head of the immensely wealthy Esterházy family. Haydn's job title was only Vice-Kapellmeister, but he was immediately placed in charge of most of the Esterházy musical establishment, with the old Kapellmeister Gregor Werner retaining authority only for church music. When Werner died in 1766, Haydn was elevated to full Kapellmeister.
As a "house officer" in the Esterházy establishment, Haydn wore livery and followed the family as they moved among their various palaces, most importantly the family's ancestral seat Schloss Esterházy in Kismarton (today Eisenstadt, Austria) and later on Esterháza, 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 this backbreaking workload, the job was in artistic terms a superb opportunity for Haydn. The Esterházy princes (Paul Anton, then from 1762–1790 Nikolaus I) were musical connoisseurs who appreciated his work and gave him daily access to his own small orchestra. During the nearly thirty years that Haydn worked at the Esterházy court, he produced a flood of compositions, and his musical style continued to develop.
Much of Haydn's activity at the time followed the musical taste of his patron Prince Nikolaus. In about 1765, the prince obtained and began to learn to play the baryton, an uncommon musical instrument similar to the bass viol, but with a set of plucked sympathetic strings. Haydn was commanded to provide music for the prince to play, and over the next ten years produced about 200 works for this instrument in various ensembles, the most notable of which are the 126 baryton trios. Around 1775, the prince abandoned the baryton and took up a new hobby: opera productions, previously a sporadic event for special occasions, became the focus of musical life at court, and the opera theater the prince had built at Esterháza came to host a major season, with multiple productions each year. Haydn served as company director, recruiting and training the singers and preparing and leading the performances. He wrote several of the operas performed and wrote substitution arias to insert into the operas of other composers.
1779 was a watershed year for Haydn, as his contract was renegotiated: whereas previously all his compositions were the property of the Esterházy family, he now was permitted to write for others and sell his work to publishers. Haydn soon shifted his emphasis in composition to reflect this (fewer operas, and more quartets and symphonies) and he negotiated with multiple publishers, both Austrian and foreign. His new employment contract "acted as a catalyst in the next stage in Haydn's career, the achievement of international popularity. By 1790 Haydn was in the paradoxical position ... of being Europe's leading composer, but someone who spent his time as a duty-bound Kapellmeister in a remote palace in the Hungarian countryside." The new publication campaign resulted in the composition of a great number of new string quartets (the six-quartet sets of Op. 33, 50, 54/55, and 64). Haydn also composed in response to commissions from abroad: the Paris symphonies (1785–1786) and the original orchestral version of The Seven Last Words of Christ (1786), a commission from Cádiz, Spain.
The remoteness of Eszterháza, which was farther from Vienna than Kismarton, led Haydn gradually to feel more isolated and lonely. He longed to visit Vienna because of his friendships there. Of these, a particularly important one was with Maria Anna von Genzinger (1754–1793), the wife of Prince Nikolaus's personal physician in Vienna, who began a close, platonic relationship with the composer in 1789. Haydn wrote to Mrs. Genzinger often, expressing his loneliness at Esterháza and his happiness for the few occasions on which he was able to visit her in Vienna. Later on, Haydn wrote to her frequently from London. Her premature death in 1793 was a blow to Haydn, and his F minor variations for piano, Hob. XVII:6, may have been written in response to her death.
Another friend in Vienna was Wolfgang Amadeus Mozart, whom Haydn had met sometime around 1784. According to later testimony by Michael Kelly and others, the two composers occasionally played in string quartets together. Haydn was hugely impressed with Mozart's work and praised it unstintingly to others. Mozart evidently returned the esteem, as seen in his dedication of a set of six quartets, now called the "Haydn" quartets, to his friend. In 1785 Haydn was admitted to the same Masonic lodge as Mozart, the "Zur wahren Eintracht [de]" in Vienna.
In 1790, Prince Nikolaus died and was succeeded as prince by his son Anton. Following a trend of the time, Anton sought to economize by dismissing most of the court musicians. Haydn retained a nominal appointment with Anton, at a reduced salary of 400 florins, as well as a 1000-florin pension from Nikolaus. Since Anton had little need of Haydn's services, he was willing to let him travel, and the composer accepted a lucrative offer from Johann Peter Salomon, a German violinist and impresario, to visit England and conduct new symphonies with a large orchestra.
The choice was a sensible one because Haydn was already a very popular composer there. Since the death of Johann Christian Bach in 1782, Haydn's music had dominated the concert scene in London; "hardly a concert did not feature a work by him". Haydn's work was widely distributed by publishers in London, including Forster (who had their own contract with Haydn) and Longman & Broderip (who served as agent in England for Haydn's Vienna publisher Artaria). Efforts to bring Haydn to London had been undertaken since 1782, though Haydn's loyalty to Prince Nikolaus had prevented him from accepting.
After fond farewells from Mozart and other friends, Haydn departed Vienna with Salomon on 15 December 1790, arriving in Calais in time to cross the English Channel on New Year's Day of 1791. It was the first time that the 58-year-old composer had seen the ocean. Arriving in London, Haydn stayed with Salomon in Great Pulteney Street (London, near Piccadilly Circus) working in a borrowed studio at the Broadwood piano firm nearby.
It was the start of a very auspicious period for Haydn; both the 1791–1792 journey, along with a repeat visit in 1794–1795, were greatly successful. Audiences flocked to Haydn's concerts; he augmented his fame and made large profits, thus becoming financially secure. Charles Burney reviewed the first concert thus: "Haydn himself presided at the piano-forte; and the sight of that renowned composer so electrified the audience, as to excite an attention and a pleasure superior to any that had ever been caused by instrumental music in England." Haydn made many new friends and, for a time, was involved in a romantic relationship with Rebecca Schroeter.
Musically, Haydn's visits to England generated some of his best-known work, including the Surprise, Military, Drumroll and London symphonies; the Rider quartet; and the "Gypsy Rondo" piano trio. The great success of the overall enterprise does not mean that the journeys were free of trouble. Notably, his very first project, the commissioned opera L'anima del filosofo was duly written during the early stages of the trip, but the opera's impresario John Gallini was unable to obtain a license to permit opera performances in the theater he directed, the King's Theatre. Haydn was well paid for the opera (£300) but much time was wasted. Thus only two new symphonies, no. 95 and no. 96 Miracle, could be premiered in the 12 concerts of Salomon's spring concert series. Another problem arose from the jealously competitive efforts of a senior, rival orchestra, the Professional Concerts, who recruited Haydn's old pupil Ignaz Pleyel as a rival visiting composer; the two composers, refusing to play along with the concocted rivalry, dined together and put each other's symphonies on their concert programs.
The end of Salomon's series in June gave Haydn a rare period of relative leisure. He spent some of the time in the country (Hertingfordbury), but also had time to travel, notably to Oxford, where he was awarded an honorary doctorate by the University. The symphony performed for the occasion, no. 92 has since come to be known as the Oxford Symphony, although it had been written in 1789.
While traveling to London in 1790, Haydn had met the young Ludwig van Beethoven in his native city of Bonn. On Haydn's return, Beethoven came to Vienna and was Haydn's pupil up until the second London journey. Haydn took Beethoven with him to Eisenstadt for the summer, where Haydn had little to do, and taught Beethoven some counterpoint. While in Vienna, Haydn purchased a house for himself and his wife in the suburbs and started remodeling it. He also arranged for the performance of some of his London symphonies in local concerts.
By the time he arrived on his second journey to England (1794–1795), Haydn had become a familiar figure on the London concert scene. The 1794 season was dominated by Salomon's ensemble, as the Professional Concerts had abandoned their efforts. The concerts included the premieres of the 99th, 100th, and 101st symphonies. For 1795, Salomon had abandoned his own series, citing difficulty in obtaining "vocal performers of the first rank from abroad", and Haydn joined forces with the Opera Concerts, headed by the violinist Giovanni Battista Viotti. These were the venue of the last three symphonies, 102, 103, and 104. The final benefit concert for Haydn ("Dr. Haydn's night") at the end of the 1795 season was a great success and was perhaps the peak of his English career. Haydn's biographer Griesinger wrote that Haydn "considered the days spent in England the happiest of his life. He was everywhere appreciated there; it opened a new world to him".
Haydn returned to Vienna in 1795. Prince Anton had died, and his successor Nikolaus II proposed that the Esterházy musical establishment be revived with Haydn serving again as Kapellmeister. Haydn took up the position on a part-time basis. He spent his summers with the Esterházys in Eisenstadt, and over the course of several years wrote six masses for them.
By this time Haydn had become a public figure in Vienna. He spent most of his time in his home, a large house in the suburb of Windmühle, and wrote works for public performance. In collaboration with his librettist and mentor Gottfried van Swieten, and with funding from van Swieten's Gesellschaft der Associierten, he composed his two great oratorios, The Creation (1798) and The Seasons (1801). Both were enthusiastically received. Haydn frequently appeared before the public, often leading performances of The Creation and The Seasons for charity benefits, including Tonkünstler-Societät programs with massed musical forces. He also composed instrumental music: the popular Trumpet Concerto, and the last nine in his long series of string quartets, including the Fifths, Emperor, and Sunrise. Directly inspired by hearing audiences sing God Save the King in London, in 1797 Haydn wrote a patriotic "Emperor's Hymn" Gott erhalte Franz den Kaiser, ("God Save Emperor Francis"). This achieved great success and became "the enduring emblem of Austrian identity right up to the First World War" (Jones). The melody was used for von Fallersleben's Deutschlandlied (1841), which was written as part of the German unification movement and whose third stanza is today the national anthem of the Federal Republic of Germany. (Modern Austria uses an anthem with music by Mozart.)
During the later years of this successful period, Haydn faced incipient old age and fluctuating health, and he had to struggle to complete his final works. His last major work, from 1802, was the sixth mass for the Esterházys, the Harmoniemesse.
By the end of 1803, Haydn's condition had declined to the point that he became physically unable to compose. He suffered from weakness, dizziness, inability to concentrate and painfully swollen legs. Since diagnosis was uncertain in Haydn's time, it is unlikely that the precise illness can ever be identified, though Jones suggests arteriosclerosis. The illness was especially hard for Haydn because the flow of fresh musical ideas continued unabated, although he could no longer work them out as compositions. His biographer Dies reported Haydn saying in 1806:
"I must have something to do—usually musical ideas are pursuing me, to the point of torture, I cannot escape them, they stand like walls before me. If it's an allegro that pursues me, my pulse keeps beating faster, I can get no sleep. If it's an adagio, then I notice my pulse beating slowly. My imagination plays on me as if I were a clavier." Haydn smiled, the blood rushed to his face, and he said "I am really just a living clavier."
The winding down of Haydn's career was gradual. The Esterházy family kept him on as Kapellmeister to the very end (much as they had with his predecessor Werner long before), but they appointed new staff to lead their musical establishment: Johann Michael Fuchs in 1802 as Vice-Kapellmeister and Johann Nepomuk Hummel as Konzertmeister in 1804. Haydn's last summer in Eisenstadt was in 1803, and his last appearance before the public as a conductor was a charity performance of The Seven Last Words on 26 December 1803. As debility set in, he made largely futile efforts at composition, attempting to revise a rediscovered Missa brevis from his teenage years and complete his final string quartet. The latter project was abandoned for good in 1805, and the quartet was published with just two movements.
Haydn was well cared for by his servants, and he received many visitors and public honors during his last years, but they could not have been very happy years for him. During his illness, Haydn often found solace by sitting at the piano and playing his "Emperor's Hymn". A final triumph occurred on 27 March 1808 when a performance of The Creation was organized in his honour. The very frail composer was brought into the hall on an armchair to the sound of trumpets and drums and was greeted by Beethoven, Salieri (who led the performance) and by other musicians and members of the aristocracy. Haydn was both moved and exhausted by the experience and had to depart at intermission.
Haydn lived on for 14 more months. His final days were hardly serene, as in May 1809 the French army under Napoleon launched an attack on Vienna and on 10 May bombarded his neighborhood. According to Griesinger, "Four case shots fell, rattling the windows and doors of his house. He called out in a loud voice to his alarmed and frightened people, 'Don't be afraid, children, where Haydn is, no harm can reach you!'. But the spirit was stronger than the flesh, for he had hardly uttered the brave words when his whole body began to tremble." More bombardments followed until the city fell to the French on 13 May. Haydn, was, however, deeply moved and appreciative when on 17 May a French cavalry officer named Sulémy came to pay his respects and sang, skillfully, an aria from The Creation.
On 26 May Haydn played his "Emperor's Hymn" with unusual gusto three times; the same evening he collapsed and was taken to what proved to be to his deathbed. He died peacefully in his own home at 12:40 a.m. on 31 May 1809, aged 77. On 15 June, a memorial service was held in the Schottenkirche at which Mozart's Requiem was performed. Haydn's remains were interred in the local Hundsturm cemetery until 1820, when they were moved to Eisenstadt by Prince Nikolaus. His head took a different journey; it was stolen by phrenologists shortly after burial, and the skull was reunited with the other remains only in 1954, now interred in a tomb in the north tower of the Bergkirche.
James Webster writes of Haydn's public character thus: "Haydn's public life exemplified the Enlightenment ideal of the honnête homme (honest man): the man whose good character and worldly success enable and justify each other. His modesty and probity were everywhere acknowledged. These traits were not only prerequisites to his success as Kapellmeister, entrepreneur and public figure, but also aided the favorable reception of his music." Haydn was especially respected by the Esterházy court musicians whom he supervised, as he maintained a cordial working atmosphere and effectively represented the musicians' interests with their employer; see Papa Haydn and the tale of the "Farewell" Symphony. Haydn had a robust sense of humor, evident in his love of practical jokes and often apparent in his music, and he had many friends. For much of his life he benefited from a "happy and naturally cheerful temperament", but in his later life, there is evidence for periods of depression, notably in the correspondence with Mrs. Genzinger and in Dies's biography, based on visits made in Haydn's old age.
Haydn was a devout Catholic who often turned to his rosary when he had trouble composing, a practice that he usually found to be effective. He normally began the manuscript of each composition with "in nomine Domini" ("in the name of the Lord") and ended with "Laus Deo" ("praise be to God").
Haydn's early years of poverty and awareness of the financial precariousness of musical life made him astute and even sharp in his business dealings. Some contemporaries (usually, it has to be said, wealthy ones) were surprised and even shocked at this. Webster writes: "As regards money, Haydn…always attempted to maximize his income, whether by negotiating the right to sell his music outside the Esterházy court, driving hard bargains with publishers or selling his works three and four times over [to publishers in different countries]; he regularly engaged in 'sharp practice'” which nowadays might be regarded as plain fraud. But those were days when copyright was in its infancy, and the pirating of musical works was common. Publishers had few qualms about attaching Haydn's name to popular works by lesser composers, an arrangement that effectively robbed the lesser musician of livelihood. Webster notes that Haydn's ruthlessness in business might be viewed more sympathetically in light of his struggles with poverty during his years as a freelancer—and that outside of the world of business, in his dealings, for example, with relatives, musicians and servants, and in volunteering his services for charitable concerts, Haydn was a generous man – offering to teach the two infant sons of Mozart for free after their father's death. When Haydn died he was certainly comfortably off, but by middle class rather than aristocratic standards.
Haydn was short in stature, perhaps as a result of having been underfed throughout most of his youth. He was not handsome, and like many in his day he was a survivor of smallpox; his face was pitted with the scars of this disease. His biographer Dies wrote: "he couldn't understand how it happened that in his life he had been loved by many a pretty woman. 'They couldn't have been led to it by my beauty.'"
His nose, large and aquiline, was disfigured by the polyps he suffered during much of his adult life, an agonizing and debilitating disease that at times prevented him from writing music.
James Webster summarizes Haydn's role in the history of classical music as follows: "He excelled in every musical genre. ... He is familiarly known as the 'father of the symphony' and could with greater justice be thus regarded for the string quartet; no other composer approaches his combination of productivity, quality and historical importance in these genres."
A central characteristic of Haydn's music is the development of larger structures out of very short, simple musical motifs, often derived 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 work was central to the development of what came to be called sonata form. His practice, however, differed in some ways from that of Mozart and Beethoven, his younger contemporaries who likewise excelled in this form of composition. Haydn was particularly fond of the so-called monothematic exposition, in which the music that establishes the dominant key is similar or identical to the opening theme. Haydn also differs from Mozart and Beethoven in his recapitulation sections, where he often rearranges the order of themes compared to the exposition and uses extensive thematic development.
Haydn's formal inventiveness also led 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—variations on two alternating themes, which are often major- and minor-mode versions of each other.
Perhaps more than any other composer's, Haydn's music is known for its humor. The most famous example is the sudden loud chord in the slow movement of his "Surprise" symphony; Haydn's many other musical jokes include numerous false endings (e.g., in the quartets Op. 33 No. 2 and Op. 50 No. 3), and the remarkable rhythmic illusion placed in the trio section of the third movement of Op. 50 No. 1.
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 "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 Symphonies No. 98 and 102, and the Piano Trio Hob XV: 23. The minuets tend to have a strong downbeat and a clearly popular character. Over time, Haydn turned some of his minuets into "scherzi" which are much faster, at one beat to the bar.
One of the most apt tributes to Haydn was spoken by the poet John Keats. Keats, dying of tuberculosis, was brought to Rome by his friends in November 1820, in the hope that the climate might help to mitigate his suffering. (The poet died a few weeks later on 23 February 1821, at the age of 25.) According to his friend Joseph Severn: "About this time he expressed a strong desire that we had a pianoforte, so that I might play to him, for not only was he passionately fond of music, but found that his constant pain and o'erfretted nerves were much soothed by it. This I managed to obtain on loan, and Dr. Clark procured me many volumes and pieces of music, and Keats had thus a welcome solace in the dreary hours he had to pass. Among the volumes was one of Haydn's Symphonies, and these were his delight, and he would exclaim enthusiastically, 'This Haydn is like a child, for there is no knowing what he will do next.' "
Haydn's early work dates from a period in which the compositional style of the High Baroque (seen in J. S. 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.
Tracing Haydn's work over the six decades in which it was produced (roughly from 1749 to 1802), one finds a gradual but steady increase in 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 literary movement of about the same time, though it appears that the musical development actually preceded the literary one by a few years. 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 in minor keys. James Webster describes the works of this period as "longer, more passionate, and more daring". Some of the most famous compositions of this time are the "Trauer" (Mourning) Symphony No. 44, "Farewell" Symphony No. 45, the Piano Sonata in C minor (Hob. XVI/20, L. 33), and the six "Sun" Quartets Op. 20, all from c. 1771–72. It was also around this time that Haydn became interested in writing fugues in the Baroque style, and three of the Op. 20 quartets end with a fugue.
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 scoring often includes trumpets 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 comic operas. Several of the operas were Haydn's own work (see List of operas by Joseph Haydn); these are seldom performed today. Haydn sometimes recycled his opera music in symphonic works, which helped him continue his career as a symphonist during this hectic decade.
In 1779, an important change in Haydn's 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 Op. 33 String Quartets, announcing (in a letter to potential purchasers) that they were written in "a new and completely 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 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 Op. 33.
In the 1790s, stimulated by his England journeys, Haydn developed what Rosen calls his "popular style", a method 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 or folk-like material (see 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 oratorios.
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 that 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 (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 classical music, as other composers were soon following his lead. Notably, Beethoven adopted the practice of taking his time and aiming high.
Anthony van Hoboken prepared a comprehensive catalogue of Haydn's works. The Hoboken catalogue assigns a catalog number to each work, called its Hoboken number (abbreviated H. or Hob.). These Hoboken numbers are often used in identifying Haydn's compositions.
Haydn's string quartets also have Hoboken numbers, but they are usually identified instead by their opus numbers, which have the advantage of indicating the groups of six quartets that Haydn published together. For example, the string quartet Opus 76, No. 3 is the third of the six quartets published in 1799 as Opus 76.
An “Anton Walter in Wien” fortepiano used by the composer is now on display in Haydn-Haus in Eisenstadt [de]. In Vienna in 1788 Haydn bought himself a fortepiano made by Wenzel Schantz. When the composer was visiting London for the first time, an English piano builder John Broadwood supplied him with a concert grand.