Concert Life Lifts Off: Franz Joseph Haydn (1 gen 1725 anni – 1 gen 1800 anni)

Descrizione:

The rise of public concerts and the increasing prominence of the genre of the symphony can be seen in the career of Franz Joseph Haydn. The symphony began as a kind of entertainment music, its origins closely connected with opera overture that were sometimes perforemd separately. It developed through the mid-eighteenth century in centers like Milan, where Giovanni Battista Samartini wrote his four-movement Sinfonia in G in the galant style. Also influential in the development of the symphony was teh celebrated orechestra of the Mannheim court, known for its virtuosic playing and special dynamic effects. Other early compsoers of symphonies included Johann Stamitz, JC Bach, and CPE Bach.

In 1761, Haydn was hired by the Esterhazys, the leading noble family in Hungary, and spent the next three decades serving as the music director in their various palaces. He composed an enormous amount of music for the family, including most of his 106 symphonies. In the 1770s Haydn wrote some boldly experimental, emotionally intense works in minor keys, often associated with the German literary movement known as Sturm und Dran (Storm and Stress), which depicted violent moods and social alienation. Later in his life Haydn began to compose symphonies for public concerts abroad. After the death of his patron, Prince Nikolaus Esterhazy in 1790, he enjoyed a second career writing in London, where he made two extended trips and composed his last twelve "London" symphonies (No.s 93-104). Haydn also made important contributions to chamber music, especially with string quartets. In choral music, his crowning achievement was teh oratorio The Creation, which opens with a pictorial depiction of Chaos that preceded the biblical creation.




\Thus the freestanding orchestral symphony, produced in such great numbers all over Europe beginning in the 1720s and 30s, was originally a genre of entertainment music, usually performed in the evenings and sometimes outdoors. These pieces served as aristocratic party music, which over the century, responding to the growth of cities and their wealtheir inhabitant, became increasingly available to a wider public. In the course of symphonies becoming public, they gradually became the pretext for the occasions at which they were performed, rather than their mere accompaniment, no longer background music but the main event themselves. The growth of the symphony thus paralleled the growth of the public concert as we know it today. This, in turn, paralleled a vastly expanding taste for aesthetically attractive or emotionally stirring instrumental music, sought out for the sake of its sheer sensuous, imaginative, and expressive appeal.

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