5 Fascinating Facts about Schubert and Lieder

Franz Schubert is often hailed as the king of the Lied—the German art song. Over the course of his short life, he composed more than 600 Lieder, transforming a relatively modest musical form into one of the most profound and expressive genres in classical music.

Here are five fascinating facts about Schubert’s remarkable contribution to the world of song:

1. The Prolific Songwriter

Between the ages of 17 and 31, Schubert wrote over 600 Lieder—an astonishing output considering his brief lifespan. His songs range from simple strophic tunes to complex dramatic miniatures. What set Schubert apart was his deep sensitivity to text and his ability to elevate poetry through music. He had a knack for choosing verses that resonated emotionally and intellectually, then setting them to music with unparalleled nuance and depth.

2. A New Role for the Piano

Before Schubert, the piano accompaniment in songs often played a secondary, supportive role. Schubert changed that. In his Lieder, the piano becomes an active storytelling partner, not just background harmony. In songs like Gretchen am Spinnrade or Erlkönig, the piano vividly paints spinning wheels, galloping horses, or stormy emotions, adding layers of meaning and drama to the text. This innovation influenced countless composers after him, including Schumann, Brahms, and even Hugo Wolf.

3. The Birth of the Song Cycle

Schubert didn’t just write individual songs—he pioneered the song cycle, a series of songs meant to be performed as a unified whole. His two most famous cycles, Die schöne Müllerin and Winterreise, are emotional journeys that follow a protagonist through love, loss, and longing. These cycles elevated the Lied to a new level of narrative and psychological complexity, paving the way for later works like Schumann’s Dichterliebe or Mahler’s Kindertotenlieder.

4. A Lifelong Love of Poetry

Schubert was as much a lover of poetry as he was of music. He was particularly drawn to the works of Goethe, Heine, Schiller, and Wilhelm Müller, whose verses inspired some of his most memorable songs. He often composed music to poems shortly after reading them—sometimes even on the same day. His settings brought new emotional resonance to the words, creating a seamless fusion of music and literature that remains a high point of Romantic art.

5. Intimate Music with Immense Impact

Though often performed in small settings—living rooms, salons, or intimate recital halls—Schubert’s Lieder have had a global and lasting impact. These seemingly modest songs are anything but simple: they capture the human experience with raw honesty and aching beauty. Whether it's the despair of Der Doppelgänger, the innocence of Heidenröslein, or the existential isolation of Der Leiermann, Schubert’s Lieder continue to move audiences with their emotional depth and timeless themes.

All in all…

Schubert’s Lieder are more than just songs—they’re windows into the soul. His pioneering work in the genre redefined how music and poetry could interact, creating art that speaks across time, language, and culture. Whether you're a longtime lover of classical music or new to the world of art song, Schubert’s Lieder offer a uniquely intimate and transformative listening experience.

Title page of Schubert’s Erlkönig

Discovering Fanny Hensel (Mendelssohn)

Discovering Fanny Hensel: A Trailblazing Composer of the Romantic Era

When discussing the great composers of the 19th century, names like Beethoven, Chopin, and Schumann often take center stage. However, one composer who deserves far more recognition is Fanny Hensel (née Mendelssohn). A gifted pianist and prolific composer, she made remarkable contributions to the Romantic era despite the societal limitations placed on women in music. Here are five fascinating facts about Fanny Hensel and her legacy.

A Musical Prodigy from Childhood

Born on November 14, 1805, in Hamburg, Germany, Fanny Mendelssohn was raised in a highly cultured and intellectual family. She showed prodigious musical talent from an early age, displaying an extraordinary ability at the piano. Her father, however, believed that composing and performing were not suitable careers for a woman, encouraging her instead to focus on domestic life. Despite these constraints, Fanny continued to compose and develop her skills, often working alongside her younger brother, Felix Mendelssohn.

A Prolific and Skilled Composer

Fanny Hensel composed over 450 works, including piano pieces, songs (Lieder), chamber music, and choral works. Her music is characterized by lyrical melodies, intricate harmonies, and expressive depth, embodying the rich Romantic tradition. Some of her most celebrated compositions include the piano cycle Das Jahr ("The Year"), which beautifully captures the essence of each month through evocative musical storytelling.

A Life in the Shadows of Her Brother

Fanny’s immense talent was often overshadowed by the fame of her brother, Felix Mendelssohn. In fact, some of her early compositions were published under his name, as women were generally discouraged from publishing music at the time. While Felix greatly admired her work, he remained hesitant about publicly supporting her career. Despite these challenges, Fanny continued to compose privately and host influential salon concerts at her home in Berlin, where prominent musicians and intellectuals gathered to experience her artistry.

Breaking Barriers Late in Life

It was only in the final years of her life that Fanny Hensel gained the confidence to publish her own compositions. In 1846, she released a collection of songs and piano works under her own name, receiving positive critical reception. This marked a significant step forward, demonstrating her perseverance and commitment to her craft despite the societal norms of the time.

A Legacy Rediscovered

Fanny Hensel passed away on May 14, 1847, at the age of 41, just months before her brother Felix. For many years, her music remained largely unknown. However, in recent decades, scholars and musicians have rediscovered her works, leading to a resurgence of interest in her compositions. Today, her music is performed and recorded worldwide, allowing audiences to appreciate her artistry and contributions to the Romantic repertoire.

Fanny Hensel’s story is one of talent, resilience, and determination in the face of societal constraints. While she may not have received the recognition she deserved in her lifetime, her music continues to inspire and enchant listeners today. Exploring her works offers a unique window into the world of Romantic music and ensures that her legacy as a composer is rightfully celebrated.

Fanny Hensel (Mendelsshon)

Discovering Ferdinand Ries

Discovering Ferdinand Ries: Beethoven’s Protégé and Prolific Composer

When discussing the great composers of the Classical and early Romantic eras, names like Beethoven, Mozart, and Haydn often dominate the conversation. However, one name that deserves more recognition is Ferdinand Ries. A student and close friend of Beethoven, Ries was a prolific composer and a significant figure in his own right. Here are five intriguing facts about Ferdinand Ries and his contributions to the world of music.

A Talented Protégé of Beethoven

Ferdinand Ries was born on November 28, 1784, in Bonn, Germany, into a musical family. His father, Franz Ries, was a violinist and a friend of Ludwig van Beethoven's family. Recognising Ferdinand's talent, Franz sent him to Vienna in 1801 to study with Beethoven. Under Beethoven's tutelage, Ries honed his skills as a pianist and composer. He not only learned technical proficiency but also absorbed Beethoven’s innovative spirit, which greatly influenced his own compositions.

An Accomplished Composer

While Ries is often remembered for his association with Beethoven, he was an accomplished composer in his own right. He composed a wide range of works, including symphonies, concertos, chamber music, piano works, and operas. His compositions are characterized by their lyrical melodies, dynamic contrasts, and innovative structures. Among his notable works are eight symphonies, numerous piano concertos, and a wealth of chamber music, which continue to be performed today.

A Prolific Pianist and Performer

Ries was not only a composer but also an esteemed pianist. He toured extensively across Europe, performing his own works and those of other composers. His piano concertos, in particular, showcase his virtuosic skill and were well-received by audiences and critics alike. These tours helped to establish his reputation as a leading musician of his time and contributed to the spread of Beethoven's influence throughout Europe.

A Lifelong Advocate of Beethoven’s Music

Throughout his life, Ries remained a devoted advocate of Beethoven's music. He was one of the first to perform Beethoven’s piano concertos publicly, helping to popularize them. In addition to his performance career, Ries co-wrote a memoir about Beethoven with Franz Wegeler, providing valuable insights into Beethoven's life and work. This memoir remains an important historical document, offering a personal perspective on one of music's greatest geniuses.

Recognition and Legacy

Despite his talents and achievements, Ries's music fell into relative obscurity after his death on January 13, 1838. However, in recent years, there has been a resurgence of interest in his work. Modern recordings and performances have brought his music back to the attention of classical music enthusiasts. Ries’s compositions, particularly his symphonies and concertos, are now appreciated for their melodic richness, structural innovation, and emotional depth.

Ferdinand Ries may not be as widely known as some of his contemporaries, but his contributions to classical music are significant and deserving of recognition. As a student of Beethoven, he played a crucial role in disseminating his teacher's music, while also establishing his own legacy as a composer and pianist. Rediscovering Ries’s music allows us to gain a deeper appreciation for the rich tapestry of the Classical and early Romantic eras, and to celebrate the works of a composer who was truly ahead of his time. Whether you're a seasoned classical music aficionado or a curious newcomer, exploring the works of Ferdinand Ries offers a rewarding and enriching experience.

Ferdinand Ries

5 Fascinating Facts about Beethoven 5

5 Fascinating Facts About Beethoven 5

Ludwig van Beethoven's Fifth Symphony is one of the most recognisable and celebrated pieces of classical music in the world. Its iconic four-note motif and powerful orchestration have captivated audiences for over two centuries.
Here are five fascinating facts about this legendary symphony:

1. The Iconic Four-Note Motif

The opening motif of Beethoven's Fifth Symphony—da-da-da-da—is one of the most famous in classical music. This short, simple pattern of three short notes followed by a long one has become synonymous with Beethoven himself. Some speculate that the motif represents "fate knocking at the door," although there is no concrete evidence that Beethoven intended this specific interpretation. Regardless of its meaning, the motif sets the tone for the entire symphony and showcases Beethoven's genius in creating dramatic and memorable themes.

2. A Revolutionary Work

Beethoven's Fifth Symphony premiered on December 22, 1808, at the Theater an der Wien in Vienna. The concert was a marathon event, featuring several of Beethoven's works, including the Sixth Symphony, the Fourth Piano Concerto, and parts of the Mass in C. Despite the length and the less-than-ideal conditions of the premiere (the theater was cold, and the orchestra under-rehearsed), the Fifth Symphony stood out for its bold structure and emotional depth. It marked a turning point in Beethoven's career and in the history of symphonic music, pushing the boundaries of what a symphony could express.

3. Development During Personal Turmoil

Beethoven began working on the Fifth Symphony in 1804, a time when he was grappling with his increasing deafness and personal struggles. These challenges, however, seemed to fuel his creativity. The symphony, completed in 1808, reflects Beethoven's journey from despair to triumph. The first movement's dramatic tension, the lyrical second movement, the vigorous scherzo, and the triumphant final movement together create a narrative of overcoming adversity.

4. Innovative Orchestration

Beethoven's Fifth Symphony introduced several orchestral innovations. Notably, it was one of the first symphonies to include trombones, which added a powerful depth to the final movement. Beethoven also used piccolo and contrabassoon, expanding the symphonic palette. These additions helped to create a richer and more varied sound, influencing future generations of composers.

5. Enduring Legacy and Influence

The impact of Beethoven's Fifth Symphony on music and culture cannot be overstated. It has been used in countless films, television shows, and commercials, becoming a symbol of both classical music and Western culture. The symphony's structure and motifs have influenced many composers, from Brahms to Mahler, and its opening motif has even been referenced in popular music. The Fifth Symphony continues to be a staple in concert halls around the world, a testament to its enduring power and appeal.

All in all…

Beethoven's Fifth Symphony is more than just a piece of music; it is a landmark in the history of art. Its revolutionary approach, emotional depth, and innovative orchestration have secured its place as a cornerstone of the classical repertoire. Whether you're a seasoned classical music aficionado or a newcomer, the Fifth Symphony offers a profound and moving listening experience that continues to inspire and captivate audiences worldwide.

Title page of an original edition of Beethoven’s 5th Symphony

William Watts & Beethoven’s 5th

In the intricate tapestry of 19th-century London's musical scene, William Watts stands as a figure deeply intertwined with its formation, yet he is veiled in the shadows of history with little information about him having been recorded. Despite this, the preservation of his arrangements of Beethoven’s symphonies speaks volumes today, reflecting his profound understanding and appreciation of Beethoven’s compositions. Watts's adaptations are notable for their respectful treatment of the original works, faithfully preserving Beethoven’s intentions and musical essence.

The Early Years, Musical Education and the Chamber Musician

While the specifics of William Watts's upbringing and musical training remain elusive, his proficiency as a musician suggests an excellent education under the guidance of highly skilled teachers of the time. Records from the Philharmonic Society indicate his involvement in various chamber music concerts, often performing as a violinist or violist. 

We know that Watts played second violin in a string quartet with the violinist Mori who also arranged Beethoven’s works. The Australian Haydn Ensemble (AHE) performed Mori’s arrangement of Beethoven’s Seventh Symphony, for the same instrumentation as Watt’s arrangements of the 4th, 5th and 6th Symphonies in 2023. Watts left the quartet 1837 when a dispute occurred over the musicians' payment. Some insight into Watt’s personality is captured in a letter preserved by the British Library (detailed below) from Watts to Mori that outlines his dissatisfaction with the amount they were to be paid:

“You must feel assured that I am always flattered and delighted to be one of your accompanists, but when it is before a public audience, it becomes a matter of extreme attention and anxiety. I am perfectly aware that all the rehearsals, and perhaps more than we have had, are quite necessary for the well-being of the music. Therefore, your offer of terms would not pay me for the trouble and time so occupied. Under five guineas a concert, at the least, 5'.”

Chamber Arrangements of Beethoven's Symphonies

Among Watts's enduring contributions are his chamber arrangements of Beethoven's Symphonies 4, 5, and 6. Crafted with meticulous attention to detail, these arrangements offer audiences a fresh perspective on Beethoven's monumental works. Designed for intimate ensembles featuring 2 violins, 2 violas, cello, double bass, and flute, Watts's adaptations breathe new life into these symphonies, captivating modern audiences and reaffirming their timeless relevance. The Australian Haydn Ensemble (AHE) has played a significant role in reintroducing Watts's arrangements to contemporary audiences through modern premieres, ensuring that his legacy endures. Many Australian audience members have commented that hearing these works, that they felt they knew inside out, was a ‘revelation’ - in that they reveal new realisations to the listener that they had not noticed before. 

The Philharmonic Society and Musical Advocacy

Watts was the secretary of the Philharmonic Society from its inception in 1813 until 1847. The Philharmonic Society, later bestowed with the title 'Royal' in 1912, played a significant role in the history of classical music during the 19th century. Founded in 1813, its inception aimed to enrich London's cultural landscape by offering regular concerts featuring new musical compositions. Notably, the Society gained renown for commissioning Ludwig van Beethoven's Ninth Symphony, a milestone in its illustrious history. Its first concert in March 1813 showcased works by Haydn, Mozart, and Beethoven. Highlights of the Philharmonic Society's concerts include the UK premiere of Beethoven's Ninth Symphony in 1825, Felix Mendelssohn's Italian Symphony in 1833, and a diverse array of other premieres by composers such as Wagner, Berlioz, and Weber.

Title page of the original edition of Watt’s arrangements of Beethoven’s 4th, 5th and 6th Symphonies

Haydn’s ‘London’ arranged by Salomon

The London is the last of the twelve symphonies Haydn wrote for London audiences. In Germany, it is better known as the ‘Salomon’ symphony, in honour of that famous impresario. However, Symphony No. 104 was first performed in the context of the famous Giovanni Battista Viotti's Opera Concerts, not in Salomon's concert series in London.

It was Salomon, however, who penned the arrangement for flute and string quartet which is discussed here. He arranged all of the twelve London symphonies for this grouping. It was a lucrative pastime that fed a seemingly insatiable public appetite for chamber music. Originally scored for two flutes, two oboes, two clarinets, two bassoons, two horns, two trumpets, timpani and strings, the arrangement necessarily omits some elements of the original. Nevertheless, it retains the character and essence of the symphony, and often the transparency of the small ensemble is perfect for the musical effect. It takes great skill to reduce a work for large orchestra to a small ensemble, and Salomon clearly understood his craft. 

Today we will be looking at how the work sounds in its chamber version by Salomon. The dramatic D minor introduction of the London symphony is an example of one of the innovations which earned Haydn the epithet " The Father of the Symphony". Its sombre mood and relatively static motion is unusual for a Classical symphony. D major - the key of the symphony - arrives first with the uplifting Allegro. Haydn used a standard Classical structure, but filled it with evolving melodic fragments which constantly imitate each other and shift in unexpected directions. 

Things to Listen for:

1. 1st movement - Adagio - opening. Notice how Haydn creates a dramatic opening with two unison phrases followed by a more gentle third rendition. This is almost exactly the same as the opening of his famous ‘Seven Last Words’ 

2. Listen to the opening of the original full version of the work as compared to the chamber version by Salomon. The chamber version works really well and we don’t come away feeling ‘robbed’ of the essence of Haydn’s music. Salomon’s clever inclusion of the flute gives the illusion of a much bigger group. 

3. Note after the slow introduction at [2:05] Haydn completely changes the mood and we move into a bright and bubbly Allegro.

LISTEN HERE:

Example 1. Haydn’s London Symphony No. 104 Arranged by Salomon for chamber ensemble- AAM with the Salomon Quartet

Example 2. Full original orchestral version - AAM with Christopher Hogwood

Example 1

Example 2

Copyright © 2020 Australian Haydn Ensemble Inc. All rights reserved.

Haydn’s ‘Morning’ Symphony

Haydn’s Symphony No. 6 Le Matin (The Morning)

Haydn’s so called 'Times of Day' Symphonies are among his most popular works, and for good reason. The Le Matin (Morning) Symphony is without a doubt, one of his most beautiful compositions.

Haydn wrote the three 'times of day' symphonies (Le Matin, Le Midi and Le Soir) in 1761 when he first arrived to work for the Esterházy family. The prince requested that Haydn write works on the times of day theme, and it is thought that Haydn took this opportunity to win the favour of the resident musicians by including solos for various instruments throughout.

Interestingly, in the context of our two previous posts, we see another example of Haydn writing a ‘sunrise’ theme in the opening of the 1st movement of the Le Matin. He begins with soft strings and then builds by adding winds. This layering effect, combined with a long crescendo throughout the first phrase, creates the sense of the sun rising. Haydn then introduces a new section that features wind solos, commencing with the flute, to conjure up a sense of having ‘woken up’ and also incorporates elements of nature with ‘twiddling’ motifs that imitate bird calls. 

Things to listen for:

1. Observe how Haydn creates the sunrise effect at the opening with a gentle rising figure starting with the strings and then layers the entries of the winds. Can you hear how the gradual increase from soft to loud helps towards a feeling of the sun rising? 

2. Note how he completely changes the mood of the music with a switch from the opening ‘adagio’ tempo to ‘allegro’ at [0:55]. The music then becomes bouncy and jaunty. This creates a sense of having ‘woken up’. 

3. Can you hear at [1:33] how he passes the ‘bird’ motifs between the winds?

LISTEN HERE:
Recording: Australian Haydn Ensemble for ABC Classics

Copyright © 2020 Australian Haydn Ensemble Inc. All rights reserved.

Haydn’s Passion Symphony

It was long believed that the nickname La passione or ‘The Passion’ was derived from the nature of the music itself: the slow opening movement and its minor key modality in the context of Haydn’s ‘Sturm und Drang’ output which pointed to a serious, possibly sacred, subject. 

A source from the Northern German city of Schwerin in 1790 records the name ‘La Passione’  with Symphony No. 49 in association with a single performance during Holy Week there. It is also recorded that the work was performed on Passion Sunday in the crypt of the Göttweig Abbey in Lower Austria each year between 1774 and 1786. 

Other research suggests that, along with several other symphonies thought to be connected to theatrical works performed at Esterháza and in Vienna around the time of composition, this symphony was actually written as music for a well known play of the time -  "Il Quakuo [recte quacquero] di bel'humore" ( The Good-humoured Quaker). This lends support for the belief that the correct name should be more like ‘The Good Quaker’. 

The play ‘Die Quäker’ was the title under which Chamfort's 1764 comedy La jeune indienne was published in German. It was a popular stage piece in Vienna during the late 1760s and early 1770s which aligns with the time this work was written. 

Things to listen for:

1. 1st movement - The work opens with a slow and sombre theme that is also very beautiful. 

2. At [2:21] Listen for the sudden change in the pace of the music.

3. Last movement - [22:59] This is a very dramatic, fast paced movement that has youl on the edge of your seat. Notice how Haydn creates this effect by having the accompanying parts in the bass line play a continual pulsing quaver figure throughout.

LISTEN HERE

Recording: L'Estro Armonico, dir. Derek Solomons

Count Waldstein and Beethoven: A Crescendo of Support

Count Waldstein and His Patronage of Beethoven: A Crescendo of Support

In the pantheon of great composers, Ludwig van Beethoven stands as a towering figure whose works continue to resonate with audiences worldwide. Behind his prodigious talent and enduring legacy, there were several patrons who recognised his genius and provided the support necessary for his development. Among these patrons, Count Ferdinand von Waldstein holds a special place. His early encouragement and patronage of Beethoven were instrumental in shaping the career of one of music's greatest luminaries.

The Noble Patron: Count Ferdinand von Waldstein

Count Ferdinand Ernst Gabriel von Waldstein (1762-1823) was a Bohemian nobleman, soldier, and a passionate supporter of the arts. Born into an aristocratic family with a strong tradition of patronizing the arts, Waldstein was well-educated and cultured, with a deep appreciation for music. His dedication to fostering musical talent led him to become a significant benefactor to Ludwig van Beethoven during the composer's formative years.

Ludwig van Beethoven: The Budding Genius

Ludwig van Beethoven (1770-1827) is celebrated as one of the greatest composers in the history of Western music. Known for his symphonies, sonatas, and string quartets, Beethoven's music broke new ground and paved the way for the Romantic era. However, before he became the legendary figure we revere today, Beethoven was a young, ambitious musician seeking opportunities and support to hone his craft.

The Patronage

Count Waldstein's patronage of Beethoven began in the late 1780s when Beethoven was still in Bonn, his hometown. Waldstein recognized the young composer's extraordinary talent and took him under his wing, providing financial support, mentorship, and access to a network of influential contacts.

One of the most significant contributions Waldstein made to Beethoven's career was his role in facilitating the young composer's move to Vienna. Vienna was the cultural capital of Europe at the time, and it offered unparalleled opportunities for artistic development. In 1792, Waldstein wrote a famous letter of recommendation for Beethoven, addressing him as a "young giant" and predicting that he would receive "the spirit of Mozart from the hands of Haydn." This letter not only provided Beethoven with a strong endorsement but also connected him to the illustrious circles in Vienna.

The Impact on Beethoven's Career

The support from Count Waldstein had a profound impact on Beethoven's early career. Waldstein's encouragement and belief in his talent provided Beethoven with the confidence and means to pursue his ambitions in Vienna. Once there, Beethoven studied with Joseph Haydn and quickly established himself as a formidable pianist and composer.

Waldstein's influence is also immortalized in Beethoven's music. The "Waldstein Sonata" (Piano Sonata No. 21 in C major, Op. 53), composed in 1803-1804, is named in honor of the Count and is one of Beethoven's most celebrated piano sonatas. This sonata is a testament to their friendship and Waldstein's significant role in Beethoven's life.

The Legacy

The relationship between Count Waldstein and Ludwig van Beethoven exemplifies the transformative power of patronage in the arts. Waldstein's early support provided Beethoven with the resources and opportunities he needed to grow as a musician and composer. Their partnership highlights how enlightened and strategic patronage can help nurture and develop extraordinary talent.

Waldstein's legacy as a patron of Beethoven is etched in the annals of music history. His foresight in recognizing and supporting Beethoven's potential allowed the composer to flourish and create works that have become cornerstones of the classical repertoire. Today, Beethoven's compositions are celebrated worldwide, and the role of patrons like Count Waldstein in his journey serves as a reminder of the critical importance of support and mentorship in the arts.

As we listen to Beethoven's symphonies, sonatas, and other masterpieces, we are reminded of the pivotal figures who stood behind the scenes, offering their support and encouragement. Count Waldstein's patronage was a crucial element in the development of Beethoven's genius, contributing to a legacy of music that continues to inspire and move audiences to this day.

Haydn Saint Cecilia Mass

Haydn wrote two versions of this stunning mass and both have a connection to the pilgrimage Mariazell shrine in Styria (Austria). He marks both works with ‘Zell’ - meaning 'for Mariazell'. The first version was penned in 1766 and the second in 1782. The first version of the work is known as Missa cellensis, Hob. XXII:5, the full title is Missa cellensis in honorem Beatissimae Virginis Mariae (Zell Mass in honour of the most Blessed Virgin Mary) but it is also known as the Cäcilien-Messe. The second version, Missa cellensis, Hob. XXII:8, (full name Zell Missa cellensis fatta per il Signor Liebe de Kreutzner - Zell Mass made for Sir Liebe of Kreutzner), is often identified by the German name Mariazeller-Messe. It was commissioned by the officer Anton Liebe von Kreutzner on the occasion of his ennoblement for a 1782 performance at Mariazell. 

The original 1766 score was lost in a fire and so Haydn recomposed the work from memory in 1773. This, no doubt, gave him a chance to reflect on his initial setting and make some alterations and expansions.  Both works are in the key of C major and have the overall same instrumentation: strings, 2 oboes, 2 bassoons, and continuo. The entire mass is quite beautiful and moving. The spirit of this music is so bright, that one cannot help but feel uplifted by it! Listen and enjoy! Note that I have included two recordings here as the Lucy Crowe recording of the ‘Quonium’ is particularly beautiful. But please also enjoy the complete Richard Hickox recording of the work. 

Things to listen for:

1. The opening ‘Kyrie’ - Note how Haydn begins the work without an orchestral introduction. He starts immediately with a canonic theme on Kyrie that builds from the basses. This is underpinned with a pulsing orchestral accompaniment which builds in his favourite ‘sunrise’ way to around [0:14]. Note how this is a somewhat similar to the opening of his Symphony No. 6 ‘Le Matin’. Listen to how with each different ‘Kyrie’ he takes the listener to a different height or emotion.

2. The piece really then ‘begins’ after this at [0:48] where the soprano soloist is introduced. The orchestral texture changes and a faster tempo is taken up. The music really takes off at [1:04] where Haydn brings back the full choir and adds the timpani and trumpets to dramatic effect. 

3. In the ‘Quonium’ [Listen to second recording listed for this],  we are treated to arguably some of Haydn’s most stunning vocal writing. I have chosen a separate recording of Lucy Crowe to listen to for this movement as it is so stunningly executed. We hear some quite challenging vocal gymnastics throughout with many beautiful ornaments [Note 2:43]. She is also a wonderful performer to watch. 

LISTEN HERE:

Recording 1: Full Mass (Version 2) Performers: Susan Gritton, soprano; Louise Winter, alto; Mark Padmore, tenor; Stephen Varcoe, bass; Collegium Musicum 90 conducted by Richard Hickox.

Count Razumovsky and Beethoven: A Patron of the Arts

Count Razumovsky and His Patronage of Beethoven: A Patron of the Arts

Among the influential patrons who supported the genius of Ludwig van Beethoven, Count Andreas Kyrillovich Razumovsky stands out as a significant figure. His patronage not only provided Beethoven with the financial means and artistic encouragement necessary for his creative endeavors but also played a crucial role in the composition of some of the composer’s most profound works. The relationship between Count Razumovsky and Beethoven exemplifies the importance of patronage in the development of classical music.

The Noble Patron: Count Andreas Kyrillovich Razumovsky

Count Andreas Kyrillovich Razumovsky (1752-1836) was a Russian diplomat, nobleman, and ardent music lover. Born into an influential Ukrainian Cossack family, Razumovsky was well-educated and had a distinguished career in the Russian diplomatic service. He served as the Russian ambassador to Vienna, where he became a prominent figure in the city’s cultural and social life. Razumovsky was known for his refined taste in music and his commitment to supporting and promoting the arts.

Ludwig van Beethoven: The Prolific Composer

By the time Count Razumovsky became a patron, Ludwig van Beethoven was already an established composer and pianist in Vienna. However, it was during this period that Beethoven was composing some of his most innovative and ambitious works. The support and patronage from Razumovsky provided Beethoven with the stability and encouragement needed to explore new musical ideas and push the boundaries of his craft.

The Patronage

Count Razumovsky’s patronage of Beethoven was instrumental in several ways. Razumovsky commissioned Beethoven to compose a set of string quartets, which led to the creation of the renowned "Razumovsky" Quartets (Op. 59). These quartets are among Beethoven’s most celebrated chamber works and are noted for their structural innovation, emotional depth, and technical demands. The "Razumovsky" Quartets reflect Beethoven’s growing maturity as a composer and his ability to blend classical forms with his unique expressive style.

Razumovsky’s patronage also extended beyond financial support. He provided Beethoven with access to his extensive library of musical scores, which included works by composers such as Haydn, Mozart, and Bach. This access allowed Beethoven to study and draw inspiration from the works of his predecessors, further enriching his own compositions.

Razumovsky’s personal involvement in Beethoven’s career also included organizing private concerts and gatherings at his residence, where Beethoven’s works were performed for an elite audience of Vienna’s cultural and intellectual elite. These events helped to raise Beethoven’s profile and provided him with valuable opportunities to showcase his music to influential patrons and critics.

The Impact on Beethoven's Career

The support from Count Razumovsky had a profound impact on Beethoven’s career. The "Razumovsky" Quartets, in particular, represent a significant milestone in Beethoven’s development as a composer. These works are characterized by their bold harmonic language, intricate counterpoint, and expansive forms, which were groundbreaking at the time and have since become central to the string quartet repertoire.

Razumovsky’s patronage also provided Beethoven with the financial stability needed to focus on his artistic pursuits without the immediate pressures of economic hardship. This support allowed Beethoven to take greater creative risks and to explore new musical territories, resulting in some of his most innovative and enduring compositions.

The Legacy

The relationship between Count Razumovsky and Ludwig van Beethoven highlights the vital role of patronage in the arts. Razumovsky’s support provided Beethoven with the resources and encouragement needed to create some of his most significant works. Their partnership is a testament to the transformative power of enlightened patronage and its ability to foster artistic innovation and excellence.

Count Razumovsky’s legacy as a patron is immortalized in the masterpieces that Beethoven composed during their association. Today, as we listen to the "Razumovsky" Quartets and other works by Beethoven, we are reminded of the important contributions of patrons like Razumovsky. Their support helped to nurture the creative genius of composers, enabling them to produce music that continues to inspire and move audiences around the world.

Through his patronage of Beethoven, Count Razumovsky not only enriched the cultural life of his time but also left an indelible mark on the history of classical music. His legacy endures in the music that he helped to bring into existence, underscoring the enduring importance of patronage in the arts.

Prince Esterházy and Haydn: A Symphonic Partnership

Prince Esterházy and His Patronage of Joseph Haydn: A Symphonic Partnership

In the rich tapestry of classical music history, the patronage of Prince Esterházy stands out as one of the most significant relationships between a noble patron and a composer. This unique partnership between Prince Nikolaus Esterházy and Joseph Haydn, often referred to as the "Father of the Symphony," played a crucial role in shaping the course of Western music. The support and opportunities provided by the Esterházy family enabled Haydn to reach unprecedented heights in his career, leading to the creation of some of his most celebrated works.

The Noble Patron: Prince Nikolaus Esterházy

Prince Nikolaus Esterházy (1714-1790), known as "The Magnificent" due to his lavish lifestyle and love for the arts, was a member of one of Hungary's most illustrious noble families. The Esterházy family had a long tradition of supporting music and the arts, and Nikolaus continued this legacy with great enthusiasm. He was a connoisseur of music, theater, and fine arts, transforming his court into a vibrant cultural hub.

Joseph Haydn: The Court Composer

Joseph Haydn (1732-1809) is a towering figure in classical music, credited with establishing the foundations of the symphony and string quartet. His innovative compositions and prolific output earned him international acclaim. Haydn’s relationship with the Esterházy family began in 1761 when he was appointed Vice-Kapellmeister and later promoted to Kapellmeister, a position he held for nearly three decades.

The Patronage

Prince Nikolaus Esterházy's patronage of Haydn was instrumental in providing the composer with the resources and environment necessary for his creative endeavors. The prince's estate, Esterháza, often referred to as the "Hungarian Versailles," was the epicenter of Haydn's musical activities. The estate boasted a magnificent opera house, a marionette theater, and numerous other venues where Haydn's compositions were regularly performed.

Prince Nikolaus's patronage extended beyond financial support. He provided Haydn with a stable position, a reliable income, and a stimulating environment filled with artistic activity. This stability allowed Haydn to focus on composing, experimenting, and perfecting his craft without the financial uncertainties that plagued many of his contemporaries.

One of the most notable aspects of Nikolaus's patronage was his personal interest in Haydn's work. The prince was not just a passive supporter but an active participant in the musical life of the court. He commissioned numerous works from Haydn, including symphonies, operas, and chamber music, and often discussed music with the composer, providing feedback and encouragement.

The Impact on Haydn's Career

The support from Prince Nikolaus Esterházy had a profound impact on Haydn's career. It was during his time at Esterháza that Haydn composed many of his most famous works, including the "Paris Symphonies" and "London Symphonies." The prince's patronage also enabled Haydn to experiment with new forms and ideas, leading to significant developments in his style and musical expression.

The close relationship between Haydn and Prince Nikolaus is perhaps best exemplified by the "Farewell Symphony" (Symphony No. 45). Composed in 1772, this symphony was a subtle protest by Haydn on behalf of his musicians, who were anxious to return to their families after an extended stay at Esterháza. The symphony ends with musicians leaving the stage one by one, a clever and poignant gesture that reportedly prompted the prince to grant his musicians leave.

The Legacy

The partnership between Prince Nikolaus Esterházy and Joseph Haydn is a shining example of how enlightened patronage can nurture and elevate artistic talent. Nikolaus's commitment to supporting Haydn not only provided the composer with the means to create but also enriched the cultural fabric of the Esterházy court.

The legacy of this patronage is evident in the enduring popularity and influence of Haydn's music. The works composed during his time at Esterháza continue to be celebrated for their innovation, elegance, and emotional depth. Prince Nikolaus's support enabled Haydn to become one of the most important figures in classical music, leaving an indelible mark on the art form.

Today, as we enjoy Haydn's symphonies, string quartets, and operas, we are reminded of the vital role that patronage plays in the arts. The collaboration between Prince Nikolaus Esterházy and Joseph Haydn remains a testament to the power of visionary support in fostering creative genius and shaping the course of cultural history.

Haydn’s D Major Harpsichord Concerto

Joseph Haydn's Keyboard Concerto No. 11 in D major was written between 1780 and 1783, and published in 1784. It was originally composed for harpsichord or fortepiano and scored for an orchestra in a relatively undeveloped galant style characteristic of Haydn’s early works, and has a lively Hungarian Rondo finale. It also displays some similarities to Mozart's piano concertos reflective of a later style. 

Haydn’s association with Gypsy music has been well established in his use of Hungarian tunes in his early divertimento and notturnos as well as the famous ‘Gypsy’ piano trio. This influence is no surprise given the location of his main employment with the Esterházy family in the centre of Hungary. There were no doubt numerous performances by Gypsy musicians at the court festivals.  

The last movement of the D major harpsichord concerto is entitled Rondo all’Ungarese (Hungarian Rondo). We hear many of the gypsy traits with the use of syncopated rhythms, crushed gracenotes. 

Things to listen for:

1. Notice how Haydn creates variety by opening the movement with the harpsichord solo shadowed by the strings and then fills out the theme at [0:09] where the full orchestra comes in with the Rondo theme. 

2. Listen for the interesting crushed ‘gypsy’ grace notes he features in the harpsichord part at [0:20] 

3. Pure joy happens at [0:40] with an extremely jolly unison version of the Hungarian theme is employed. This is one of my most favourite moments in the whole movement. 

LISTEN HERE:

Recording: The Australian Haydn Ensemble with Erin Helyard. Guest leader: Marc Destrubé

Haydn’s Gypsy Trio

In 1795 Haydn composed a set of three piano trios. The no. 39 in G Major, the second in the set, has come to be one of his most well-known works of the genre. It is sometimes nicknamed the "Gypsy" because of its Rondo finale in 'Hungarian' style. 

Haydn dedicated the set of three piano trios to his student Rebecca Schroeter, a pianist whom he formed a close friendship with during his time in London. Soon after his first arrival in London, Haydn received a letter from Schroeter seeking his services as a teacher. Schroeter was a widow in her 40’s and quite a bit younger than Haydn who was 58 at the time. 

She wrote him 22 letters over the course of their friendship, sent gifts, and even copied music for him. Haydn was not only flattered, but admitted to equal interest in his student. He made the statement to his first biographer: “Though I was 60  years old, she was still loving and amiable, and in all likelihood I would have married her if I had been single.” Upon his second sojourn in London in 1794, Haydn stayed in rooms near Mrs. Schroeter’s home, an arrangement that one might imagine was to their mutual satisfaction. It was during this visit that he dedicated the three piano trios to her. 

The first movement of the trio is a lovely pleasing theme and variations, each alternating with one in minor mode. This is followed by a Poco adagio in E-flat major. The finale of the work, from which the work gained its nickname, is entitled Presto Rondo all’Ongarese (Rondo in the Gypsy style) and is a dazzling moto perpetuo alternating with gypsy dance-like sections. This is one of the earliest known examples of what is called ‘style hongrois’ - or the representation of Hungarian Gypsy (‘Romungro’) music in classical music. As discussed in previous posts, Haydn must have been familiar with Hungarian Gypsy music thanks to his posting with the Esterházy family in the centre of Hungarian territory. But to the English audiences and amateur musicians of the time who might have listened or played the work in their private salons, it must have been a fantastic awakening to the folk music of the day. 

Things to listen for:

1. First movement - opening. Haydn states the lovely opening theme with the violin. Notice how he shadows the violin with the piano part. This is then ‘answered’ with short comments from the cello. The violin though remains the ear’s focus throughout. 

2. Listen to the opening of the last movement [11:01] - The first ‘melody’ you hear is the Rondo theme. In this type of movement, the theme is traditionally interspersed with another ‘different’ section of contrasting material. Notice how Haydn presents the Rondo theme first in the piano and then repeats it in the violin and finally with the violin and piano both playing it. This kind of rapid and relentless semiquaver writing is known as a ‘moto perpetuo’. 

3.  At [11:43] we hear the first contrasting section where the Gypsy elements of the movement become more apparent. Notice how Haydn begins to move towards more ‘rustic’ themes by introducing strong accents on certain crucial punctuating notes. 

4. By [12:10] we are really getting the full-blown Gypsy effects. Haydn switches to a minor mode and uses a whole range of tools such as pizzicato, accents and offbeat rhythms to capture the Hungarian folk style. 

LISTEN HERE

Recording: Trio Wanderer for Harmonia Mundi 

Prince Lobkowitz and Beethoven: A Harmonious Alliance

Prince Lobkowitz and His Patronage of Beethoven: A Harmonious Alliance

Among the many patrons who played crucial roles in the life and career of Ludwig van Beethoven, Prince Franz Joseph Maximilian von Lobkowitz stands out as one of the most significant. His unwavering support and dedication to Beethoven’s music provided the composer with the means to explore new artistic frontiers and produce some of his most celebrated works. The relationship between Prince Lobkowitz and Beethoven highlights the essential role of patronage in the flourishing of artistic genius.

The Noble Patron: Prince Franz Joseph Maximilian von Lobkowitz

Prince Franz Joseph Maximilian von Lobkowitz (1772-1816) was a Bohemian aristocrat, statesman, and one of the wealthiest noblemen in the Habsburg Empire. An enthusiastic patron of the arts, Lobkowitz was deeply passionate about music. His family maintained a long tradition of supporting musicians and composers, and his court was a vibrant center of cultural activity. Lobkowitz was known for his discerning taste and his commitment to fostering musical talent, making him an invaluable patron to many artists of his time.

Ludwig van Beethoven: The Revolutionary Composer

By the time Beethoven began receiving support from Prince Lobkowitz, he was already recognized as a formidable composer and pianist. However, it was during this period that Beethoven was transitioning from his early Classical style to the more expressive and innovative works that would define his middle and late periods. The financial and moral support from Lobkowitz played a pivotal role in this artistic evolution.

The Patronage

Prince Lobkowitz’s patronage of Beethoven was multifaceted and enduring. One of the most significant aspects of his support was the commissioning and hosting of performances of Beethoven’s works. Lobkowitz’s palace in Vienna was the site of the first private performance of Beethoven’s Third Symphony, the "Eroica," which is dedicated to the prince. This groundbreaking symphony marked a turning point in Beethoven’s career and in the history of classical music, showcasing his shift towards more dramatic and expansive compositions.

Lobkowitz also provided Beethoven with an annual stipend, which granted the composer financial stability and the freedom to pursue his artistic ambitions without the immediate pressures of economic survival. This support was crucial during periods when Beethoven was struggling with his increasing deafness and personal challenges.

Beyond financial support, Lobkowitz’s personal encouragement and intellectual engagement with Beethoven’s music were invaluable. The prince’s enthusiasm for Beethoven’s compositions and his willingness to facilitate their performance and dissemination helped to elevate the composer’s reputation and broaden the audience for his music.

The Impact on Beethoven's Career

The support from Prince Lobkowitz had a profound impact on Beethoven’s career. It enabled him to compose and perform some of his most ambitious works, including the "Eroica" Symphony, the Fifth and Sixth Symphonies, and the "Razumovsky" String Quartets, which were also dedicated to Lobkowitz. These works are characterized by their emotional depth, structural innovation, and technical brilliance, and they have become central to the classical music repertoire.

Lobkowitz’s patronage also helped Beethoven to secure commissions and performances in prestigious venues, further establishing his reputation as one of the leading composers of his time. The prince’s support was instrumental in allowing Beethoven to push the boundaries of musical expression and to develop his unique voice as a composer.

The Legacy

The relationship between Prince Lobkowitz and Ludwig van Beethoven exemplifies the transformative power of patronage in the arts. Lobkowitz’s unwavering support and commitment to Beethoven’s music provided the composer with the resources and encouragement needed to create some of his most enduring works. Their partnership is a testament to the crucial role that patrons play in fostering artistic innovation and excellence.

Prince Lobkowitz’s legacy as a patron is immortalized in the masterpieces that Beethoven composed during their association. Today, as we listen to Beethoven’s symphonies, string quartets, and other compositions, we are reminded of the vital contributions of patrons like Lobkowitz. Their support helped to nurture the creative genius of composers, enabling them to produce works that continue to inspire and move audiences around the world.

Through his patronage of Beethoven, Prince Lobkowitz not only enriched the cultural life of his time but also left an indelible mark on the history of classical music. His legacy endures in the music that he helped to bring into existence, underscoring the enduring importance of enlightened patronage in the arts.

The Enlightened Patron: Baron Gottfried van Swieten

Baron van Swieten and His Patronage of Haydn, Mozart, and Beethoven: A Confluence of Genius

In the vibrant musical landscape of late 18th-century Vienna, one patron stands out for his extraordinary influence and support of three of the greatest composers of all time: Joseph Haydn, Wolfgang Amadeus Mozart, and Ludwig van Beethoven. Baron Gottfried van Swieten, a diplomat, librarian, and music enthusiast, played a pivotal role in fostering the careers of these musical giants. His patronage not only provided them with financial and moral support but also helped shape the course of Western classical music.

The Enlightened Patron: Baron Gottfried van Swieten

Baron Gottfried van Swieten (1733-1803) was an Austrian nobleman of Dutch origin, known for his cultured intellect and passion for music. Educated in the Enlightenment tradition, van Swieten was a man of letters and a dedicated supporter of the arts. His various roles, including serving as the Austrian ambassador to Berlin and as the Prefect of the Imperial Library in Vienna, positioned him at the heart of cultural and intellectual life in Europe.

Van Swieten’s love for music, particularly the works of Johann Sebastian Bach and George Frideric Handel, made him a key figure in the promotion of their music, which had fallen out of favor at the time. His efforts to revive these works had a profound impact on the musical tastes of his era and influenced the composers he patronized.

Joseph Haydn: The Symphony and the Oratorio

Joseph Haydn, often called the "Father of the Symphony," was already an established composer when he came into contact with van Swieten. However, it was van Swieten's encouragement and support that led Haydn to explore new musical territories. Van Swieten introduced Haydn to the oratorios of Handel, inspiring him to compose his own great oratorios, including "The Creation" and "The Seasons." These works are considered some of Haydn's most significant contributions to choral music.

Van Swieten’s patronage provided Haydn with the intellectual and financial resources needed to undertake these large-scale compositions. His salons offered Haydn a platform to perform and refine his works, contributing to their eventual success and enduring legacy.

Wolfgang Amadeus Mozart: The Bridge to the Baroque

Wolfgang Amadeus Mozart's relationship with van Swieten was both professional and personal. Van Swieten, an ardent admirer of Bach and Handel, introduced Mozart to their music. This introduction had a profound influence on Mozart, who began incorporating Baroque elements into his compositions. This is particularly evident in his choral and instrumental works, which exhibit the contrapuntal complexity characteristic of Bach and Handel.

Van Swieten also commissioned Mozart to arrange several of Handel’s works for performance at his private concerts. These arrangements include the famous reorchestrations of "Messiah," "Acis and Galatea," and "Alexander's Feast." Through these projects, van Swieten not only provided financial support but also helped Mozart deepen his understanding and appreciation of Baroque music, enriching his compositional style.

Ludwig van Beethoven: The Mentor and Promoter

Ludwig van Beethoven’s association with van Swieten began soon after Beethoven arrived in Vienna. Recognizing the young composer’s immense talent, van Swieten became one of Beethoven's early patrons, offering him both financial assistance and valuable guidance. Van Swieten invited Beethoven to his musical gatherings, where he could interact with other musicians and patrons, perform his works, and gain exposure to a wider audience.

One of the most significant contributions van Swieten made to Beethoven’s career was his support of Beethoven's early compositions. He encouraged Beethoven to explore the works of Bach and Handel, much like he had done with Mozart. This influence is evident in Beethoven’s fugal writing and his use of counterpoint, which became more pronounced in his later works, particularly in his late string quartets and the "Missa Solemnis."

The Legacy

Baron van Swieten’s patronage of Haydn, Mozart, and Beethoven represents a unique confluence of intellectual support, financial assistance, and cultural influence. His deep appreciation for the music of the past and his foresight in recognizing the potential of these composers helped shape the course of Western classical music. Through his support, van Swieten not only facilitated the creation of some of the most enduring works in the classical repertoire but also helped bridge the musical traditions of the Baroque and Classical eras.

Van Swieten’s legacy as a patron is immortalized in the music of Haydn, Mozart, and Beethoven. His commitment to fostering artistic talent and his passion for music left an indelible mark on the history of classical music, demonstrating the profound impact that enlightened patronage can have on the arts. Today, as we celebrate the masterpieces of these composers, we also honor the visionary patronage of Baron Gottfried van Swieten, whose support helped bring their genius to the world.

Queen Maria Therese | A Harmonious Legacy

Queen Maria Therese and Her Patronage of Joseph Haydn: A Harmonious Legacy

In the annals of music history, few relationships between a royal patron and a composer have been as fruitful and significant as that between Queen Maria Therese and Joseph Haydn. The late 18th century was a period of great cultural and musical flourishing, and at the heart of this era was the Austrian court, where Maria Therese played a pivotal role in nurturing the arts. Her support and patronage of Joseph Haydn, one of the greatest composers of the classical era, not only elevated his career but also enriched the musical landscape of the time.

The Royal Patroness: Queen Maria Therese

Queen Maria Therese of Naples and Sicily (1772-1807) was an influential figure in the Austrian court. Born into the Bourbon family, she became the Holy Roman Empress, German Queen, Archduchess of Austria, and Queen of Hungary and Bohemia through her marriage to Emperor Francis II. Maria Therese was known for her intellectual pursuits, deep piety, and a genuine love for the arts. Her court was a beacon of cultural activity, attracting some of the most talented artists, musicians, and intellectuals of the time.

Joseph Haydn: The Prodigious Composer

Joseph Haydn (1732-1809) is often referred to as the "Father of the Symphony" and the "Father of the String Quartet" due to his significant contributions to these musical forms. His works laid the groundwork for future composers and had a lasting impact on the development of classical music. Haydn's relationship with the Austrian court began long before Maria Therese's time, with his early patronage coming from the Esterházy family. However, it was under the patronage of Maria Therese and her court that Haydn's career truly flourished in the public eye.

The Patronage

Maria Therese's support for Haydn was multifaceted. She not only provided financial assistance but also offered a platform for his music to be performed and appreciated by the elite of European society. The Queen's patronage extended beyond mere funding; it included personal encouragement and the commissioning of works, which allowed Haydn the freedom to experiment and refine his musical style.

One of the most notable instances of Maria Therese's patronage was her influence on the commissioning of Haydn's famous "Masses." The Queen's devotion to the Catholic faith and her desire to enhance the liturgical music of the court chapel led to the creation of some of Haydn's most exquisite religious compositions. These masses, characterised by their grandeur and complexity, remain central pieces in the choral repertoire.

The Impact on Haydn's Career

The support from Queen Maria Therese and the Austrian court provided Haydn with stability and the resources needed to innovate and compose some of his most significant works. This period saw the creation of numerous symphonies, string quartets, and operas that solidified Haydn's reputation as a master composer.

Moreover, the exposure Haydn received through performances at court events and public concerts helped him gain international acclaim. The endorsement of a royal patron like Maria Therese was a powerful testament to his talent and artistry, drawing attention from other patrons and musicians across Europe.

The Legacy

The relationship between Queen Maria Therese and Joseph Haydn serves as a testament to the importance of patronage in the arts. Their partnership exemplifies how royal support can nurture and elevate creative talents, leading to the creation of timeless works that continue to inspire generations.

Maria Therese's legacy as a patron of the arts is intertwined with Haydn's enduring influence on classical music. Her commitment to fostering musical excellence not only benefited Haydn but also enriched the cultural heritage of Austria and beyond. Today, as we listen to Haydn's symphonies and masses, we are reminded of the harmonious collaboration between a visionary queen and a genius composer—a relationship that has left an indelible mark on the history of music.

Haydn Op. 33 String Quartet No. 1

Title page of an early edition of Haydn’s opus 33 string quartets.

The Op. 33 String Quartets were written in the summer and autumn of 1781 for the Viennese publisher Artaria. This opus has the nickname the "Russian" quartets, because Haydn dedicated the quartets to the Grand Duke Paul of Russia. Other quartets in the opus have their own nicknames, but this first quartet does not, yet it is a stunningly beautiful work. 

Haydn wrote that his Op. 33 quartets were “new and special”. He also states that “I have written none for ten years.” Haydn obviously considered this passing of time important and possibly he thought that his style of writing had developed during the period. From the late 1760’s up until this time he had written more operas for Prince Esterházy and possibly this influenced his future output.

The Op. 33 Quartet No. 1 is in B minor, one of relatively few quartets that he set in the minor key. The work opens with a ‘bright’ and positive theme in the violin accompanied by the viola alone but is quickly overtaken by a dark and insistent theme on the cello. This movement is followed by a dramatic ‘Scherzo’ in the minor and innocent ‘trio’ in the major. Haydn follows this with a virtuosic and singing style ‘andante’ aria movement. At times one hears echoes of his Seven Last Words. The finale of the quartet is a fiendishly difficult and virtuosic movement with glimmers of Bohemian folk music.

Things to listen for:

1. Note the very first notes of the 1st movement of the quartet - Haydn starts with the first violin accompanied alone by the viola, as mentioned above. He creates an interesting dialogue between the parts.

2. Hear how Haydn builds a climax out of the cello part with a rising ‘layering’ effect of the other voices peaking at  [0:11] and then after a short dramatic pause, briefly reintroduces the parts in a melancholic canon before bringing back the former cello motif. 

3. At [6:02] - Listen to how Haydn again uses a canon effect between the different parts which relates to the opening cello theme in its melodic shape.

LISTEN HERE:

Recording: Quatuor Mosaïques

Copyright © 2020 Australian Haydn Ensemble Inc. All rights reserved.

Haydn’s Cello Concerto in C Major

The Cello Concerto No. 1 in C major, by Joseph Haydn was composed around 1761-65 for longtime friend Joseph Franz Weigl, then the principal cellist of Prince Nicolaus's Esterházy Orchestra. 

Haydn recommended Weigl to the post of principal cellist with the Esterházy orchestra not long after his own appointment in 1761. Presumably he played the cello solos in the times of day Symphonies - Le Matin, Le Midi and Le Soir. The cello concerto we know and love today was lost for years and was only known due to Haydn’s listing in his own catalogue (the Entwuf Cataloge). A copy of the score was discovered in the Radenín collection at the Prague National Museum in 1961.  It has become one of his most famous works.

After the orchestral exposition of the first movement, the solo instrument plays the opening theme with chords using all four strings. Virtuosity is developed further by the use of rapidly repeating notes, the very high range, and quick contrasts of register. This movement is dominated by a single theme, although the theme itself includes several motives that Haydn develops separately. Near the end, a cadenza is played.

Things to listen for:

1. Haydn begins the first movement by introducing the theme straight away in the violins. Note at [0:20] he explores a conversational ‘moment of doubt’ with an interlude with some questioning fragments in the violins that are answered by the winds before moving on to a more positive affirmation at [0:27]. One particularly beautiful moment is at [0:41] where the violins momentarily play on their own (without basso) - accompanied only by the second violins. 

2. The cello solos commences at [1:20]. Note how Haydn starts the cello part with the same brushed chord that he uses in the opening of the movement with the violins.

3. Listen to the change that comes at [3:19]. After the preceding full orchestral section, Haydn completely changes the texture and we hear an echo of the earlier ‘lighter’ violin duet. Haydn then layers this with the introduction of the bass parts at [3:27] before we hear some ‘snapped’ ornaments at [3:32].

LISTEN HERE:

Recording: The Australian Haydn Ensemble, Soloist Daniel Yeadon, Leader Skye McIntosh 

Haydn’s ‘Creation’

Title page of the first published edition of Haydn’s monumental Oratorio - The Creation

This incredible oratorio was written between 1797 and 1798. Haydn depicts the creation of the world, as told in Genesis. It also draws from the Psalms and Milton’s work Paradise Lost. It is truly one of his most moving and uplifting works. 

The oratorio as a musical form was first developed in seventeenth-century Italy. Handel later transformed the form into a more extended and powerful choral music-drama that became extremely popular in eighteenth and nineteenth-century England. It is thought that Haydn was inspired by hearing works such as Handel’s Israel in Egypt when he visited London. 

The Creation represents a considerable step forward in the development of the form. Haydn creates an intense and moving opening with vivid and moving orchestral colour. 

At the first performance, the effect was overwhelmingly powerful for audiences. One of Haydn’s friends gave the account that “. . . at that moment when light broke out for the first time, one would have said that rays darted from the composer’s burning eyes.  The enchantment of the electrified Viennese was so general that the orchestra could not proceed for some minutes,”. 

Listen to the Academy of Ancient Music perform Part 1 under the direction of Christopher Hogwood.

Things to listen for:

1. Opening - Observe how Haydn creates the sense of the beginning of existence with a combination of smooth muted strings punctuated by dramatic interjections from the timpani, along with thoughtful rhythmic woodwind solo flourishes.

2.  Note how Haydn returns to muted strings in between the more rhythmic sections to create contrast.

3.  Light moment - the incredible moment when Haydn depicts the creation of light at 7’13'‘.

LISTEN HERE:

Soprano: Emma Kirkby Tenor: Anthony Rolfe-Johnson Bass: Michael George New College Choir, Oxford Academy of Ancient Music Chorus and Orchestra Christopher Hogwood.

Copyright © 2020 Australian Haydn Ensemble Inc. All rights reserved.