Discusses the life and career of the eighteenth-century Austrian composer.

The Time of Joseph Haydn: From Sultan Mahmud I to Sultan Mahmud II (r.1730-1839), the second volume of Ottoman Empire and European Theatre, explores the relationship between Western playwrights, composers and visual artists of the eighteenth-century and Turkish-Ottoman culture, as well as the interest of Ottoman artists in European culture. Twenty-seven contributions by renowned experts shed light on the mutual influences that affected society and art for both Europeans and Ottomans. Successor to the first volume of the series, The Age of Mozart and Sultan Selim III (1756-1808), this book examines the compositions of Joseph Haydn (1732-1809) and his contemporaries along with events in the Ottoman political era during the time span from Sultan Mahmud I (b.1696, r.1730-1754) to Sultan Mahmud II (b.1785, r.1808-1839). Taking Haydn's Türkenopern ('Turkish operas') Lo speziale (1768) and L'incontro improvviso (1775) as the departure point, the articles collected in this publication reflect the growth of research in the area of cultural transfers between the Ottoman Empire and non-Ottoman Europe, as expressed in theatre, music and the visual arts. Contributions by: Emre Aracı, Annemarie Bönsch, Reinhard Buchberger, Bertrand Michael Buchmann, Necla Çıkıgil, Caryl Clark, Matthew Head, Caroline Herfert, Bent Holm, Michael Hüttler, Hans-Peter Kellner, Adam Mestyan, Isabelle Moindrot, Walter Puchner, Günsel Renda, Geoffrey Roper, Orlin Sabev, Çetın Sarıkartal, Käthe Springer-Dissmann, Suna Suner, Frances Trollope, Hans Ernst Weidinger, Daniel Winkler, Larry Wolff, Mehmet Alaaddin Yalçınkaya, Netice Yıldız, Clemens Zoidl.

Franz Joseph Haydn s importance in the history of music is so great that it would be difficult to summarize his achievements in a few paragraphs. He inherited the sonata from Bach and made it into a great form of musical expression. He established the symphony, preparing the way for Mozart and Beethoven. He is often called the father of the string quartet. In fact, Mozart commented that it was from Haydn that he learned how to compose for four-stringed instruments. Haydn possessed a sunny disposition and a lovable nature. He was extremely generous and had a warm heart. He is quoted as saying, Anybody can see by the look of me that I am a good-natured sort of fellow. Much of his good nature can be heard in his music, which lives on nearly 200 years after is death in 1809.

Analyzing the final three decades of Haydn’s career, this book uses the composer as a prism through which to examine urgent questions across the humanities. In this far-reaching work of music history and criticism, Nicholas Mathew reimagines the world of Joseph Haydn and his contemporaries, with its catastrophic upheavals and thrilling sense of potential. In the process, Mathew tackles critical questions of particular moment: how we tell the history of the European Enlightenment and Romanticism; the relation of late eighteenth-century culture to incipient capitalism and European colonialism; and how the modern market and modern aesthetic values were—and remain—inextricably entwined. The Haydn Economy weaves a vibrant material history of Haydn’s career, extending from the sphere of the ancient Esterházy court to his frenetic years as an entrepreneur plying between London and Vienna to his final decade as a venerable musical celebrity, during which he witnessed the transformation of his legacy by a new generation of students and acolytes, Beethoven foremost among them. Ultimately, Mathew asserts, Haydn’s historical trajectory compels us to ask what we might retain from the cultural and political practices of European modernity—whether we can extract and preserve its moral promise from its moral failures. And it demands that we confront the deep histories of capitalism that continue to shape our beliefs about music, sound, and material culture.

Presenting a fresh perspective on the life and work of Joseph Haydn, this biography probes the darker side of Haydn's personality, his commercial opportunism and double dealing, his penny-pinching and his troubled marriage.

In London he was, as we have seen, something of a "lion," but it is doubtful if he enjoyed the conventional diversions of the beau monde. Yet he liked the company of ladies, especially when they were personally attractive. That he was never at a loss for a compliment may perhaps be taken as explaining his frequent conquests, for, as he frankly said himself, the pretty women "were at anyrate not tempted by my beauty."-from "Haydn: The Man"This 1902 biography of the 18th-century Austrian composer is highly informative, focusing not only on the "tranquil career" of Franz Joseph Haydn but his private life, too, his "long, sane, sound, and on the whole fortunate existence." Hadden finds the drama inherent in Haydn's life, in his European travels and hobnobbing with royalty, making this a vastly entertaining work. The useful appendices include a catalog of Haydn's works, a selection of his personal correspondence, and his last will and testament.Scottish writer and musician JAMES CUTHBERT HADDEN (1816-1914) also wrote biographies of Chopin, Handel, and Mendelssohn.

A Choral Worship Cantata in SATB voicing composed by Franz Joseph Haydn, edited by Robert Shaw and Alice Parker.