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Franz Joseph Haydn: Symphonies
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Joseph Haydn was the first major figure to write numerous, successful, and well-known examples of ensemble variations. Instances occur in his Sonata for Violin and Piano in C Major and as the final movement of his Hornsignal Symphony in D major. W.A. Mozart's ensemble variations tend to be melodic variations.
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Attempts to get Haydn to England began with the Earl of Abingdon's invitation in 1782; throughout the decade the popular papers kept a running account of these efforts. During the 1780s Haydn composed operas, symphonies, and quartets that further expanded the horizons of those genres. When in Vienna he met and kept in touch with Mozart, whose music impressed him profoundly. In September 1790 Prince Nikolaus died. His son and successor, Anton, immediately disbanded the orchestra and opera at Esterháza. Haydn was given a stipend and permission to leave.
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The cataloguing of Haydn's works has been the object of considerable scholarship. It was begun in 1766 by Haydn himself, aided by the Esterházy court copyist Joseph Elssler, whose son Johann (1769-1843) later became Haydn's copyist and faithful servant. Haydn worked on this list until about 1805. Pohl prepared a MS catalogue, and for the Breitkopf and Härtel complete edition. Mandyczewski assembled his list of 104 symphonies (omitting 3 now acknowledged as such). Modern scholarship, led by H. C. Robbins Landon, has amended this list, and a thematic catalogue has been edited by Hoboken in which works are given Hob.
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In 1790, on the death of Prince Nikolaus of the Esterhazy family, Haydn was free to accept invitation from the London impresario J.P. Salomon to go to England. His first visit to London (1791-1792), for which he composed six symphonies and an opera (not produced), was a huge success. This was followed by six more symphonies. These works confirmed his reputation as the most original composer of the genre during his time. Inspired by Handel's oratorios he had heard in London, he composed two of his own: The Creation and The Seasons.
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The collecting and cataloguing of Haydn's works has been the object of considerable research. It was begun in 1766 by Haydn himself (sparked by a complaint of inattentiveness to his job), aided by the Esterházy court copyist Joseph Elssler, whose son Johann (1769-1843) later became Haydn's copyist and faithful servant. Haydn worked on this list until about 1805. In fact, his efforts may have proved an inspiration to Mozart, who began his own catalogue of works in 1784. No doubt not long after meeting Haydn in Vienna. Pohl prepared a manuscript catalogue, and for the Breitkopf and Härtel complete edition Mandyczewski assembled his list of 104 symphonies (but omitting 3 now acknowledged as being by Haydn). Modern scholarship, led foremost by H. C. Robbins Landon, has amended this list, and a modern thematic catalogue has been edited by Hoboken in which works are given Hob. numbers in the manner of Köchel's Mozart catalogue (though the numbering system chosen for Haydn’s works is much cleaner and less complicated!).
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Approximately 30 of Haydn's 108 symphonies have nicknames. Some are irrelevant to the music, and others are justified: the "Alleluia" symphony quotes the Alleluia chorus, the "Drumroll" has a prominent drum roll, and as expected the Symphony #31 in D, called the "Hornsignal," has a series of fanfares and posthorn signals in the first movement. It was in London during the first concert of the 1795 series that Symphony #96 earned the nickname "The Miracle Symphony." Haydn was presiding over the orchestra from his keyboard and a large portion of the crowd had left their seats and formed a crush at the gallery front to catch a better glimpse of Haydn. During the finale, a huge chandelier came crashing down in the seats that had been vacated. No one was hurt.
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