Ludgwig van Beethoven

Ludwig van Beethoven was baptised on December 17th 1770 at Bonn. His family originated
from Brabant, in Belgium. His father was musician at the Court of Bonn, with a definite
weakness for drink. His mother was always described as a gentle, retiring woman, with a
warm heart. Beethoven referred to her as his "best friend". The Beethoven family consisted
of seven children, but only the three boys survived, of whom Beethoven was the eldest.

At an early age, Beethoven took an interest in music, and his father taught him day and night, on returning to the
house from music practice or the tavern. Without doubt, the child was gifted, and his father Johann envisaged
creating a new Mozart, a child prodigy.
On March 26th 1778, at the age of 7 1/2, Beethoven gave his first know public performance, at Cologne. His father
announced that he was 6 years old. Because of this, Beethoven always thought that he was younger than he actually
was. Even much later, when he received a copy of his baptism certificate, he thought that it belonged to his brother
Ludwig Maria, who was born two years before him, and died as a child.
But the musical and teaching talents of Johann were limited. Soon Ludwig learned music, notably the organ and
composition by renowned musicians, such as Gottlob Neefe. Neefe recognised the how extraordinarily talented
Beethoven was. As well as teaching him music, he made the works of philosophers, ancient and modern, known to
Beethoven.
In 1782, before the age of 12, Beethoven published his first work: 9 variations, in C Minor, for Piano, on a march by
Ernst Christoph Dressler (WoO 63). And the following year, in 1783, Neefe wrote in the "Magazine of Music",
about his student: "If he continues like this he will be, without doubt, the new Mozart".
In June 1784, on Neefe's recommendations, Ludwig was appointed organist of the court of Maximilian Franz,
Elector of Cologne. He was 14. This post enabled him to frequent new circles, other than those of his father and
friends of his family. Here he met people who were to remain friends for the rest of his life: The Ries family, the von
Breuning family and the charming Eleonore, Karl Amenda, the violinist, Franz Gerhard Wegeler, a doctor, and a
dear friend who also went to Vienna, etc.
At home, little by little, Ludwig replaced his father. Financially first of all, because Johann, often under the
influence of drink, was less and less capable of keeping up his role at the court. The young Beethoven felt
responsible for his two younger brothers, an idea he kept for the rest of his life, sometimes to the extent of being
excessive.
Prince Maximilian Franz was also aware of Beethoven's gift, and so he sent Beethoven to Vienna, in 1787, to meet
Mozart and to further his musical education. Vienna was, after all, the beacon city in terms of culture and music.
There exist only texts of disputable authenticity on the subject of this meeting between Mozart and Beethoven.
Mozart is thought to have said "Don't forget his name - you will hear it spoken often."!
But a letter called Beethoven back to Bonn: his mother was dying. The only person in his family with whom he had
developed a strong and loving relationship passed away on July 17th 1787.
Five years later, in 1792, Beethoven went back to Vienna, benefiting from another grant, for two years, by the
Prince Elector, again to pursue his musical education. He never went back to the town of his birth. His friend
Waldstein wrote to him: "You shall receive Mozart's spirit from Haydn's hands"...
At Vienna, the young musician took lessons with Haydn, then with Albrechtsberger and
Salieri. He captured the attention of, and astonished, Vienna, with his virtuosity and his
improvisations on piano. In 1794, Beethoven composed his opus 1, three trios for piano. The
following year, Beethoven made his first public performance at Vienna (an "Academy")
whereby each musician was to play his own work. Then followed a tour: Prague, Dresden,
Leipzig and Berlin before leaving for a concert in Budapest.

Beethoven made numerous acquaintances at Vienna. Everybody in the musical and aristocratic world admired the
young composer. These music-lovers were Beethoven's greatest supporters. He became angry regularly with one or
another of them, often making honourable amends soon afterwards. His talent excused his excessive, impulsive
behaviour.
In 1800, Beethoven organised a new concert at Vienna including, notably, the presentation of his first symphony.
Although today we find this work classical, and close to the works of Mozart and Haydn, at the time certain listeners
found the symphony strange, overly extravagant, and even risqué. This genius, Beethoven, who was still a young,
new composer, was already pushing the established boundaries of music.
In 1801 Beethoven confessed to his friends at Bonn his worry of becoming deaf. At Heiligenstadt, in 1802, he wrote
a famous text which expressed his disgust at the unfairness of life: that he, a musician, could become deaf was
something he did not want to live through. But music made him carry on. And he wrote that he knew that he still had
many other musical domains to explore, to discover, and to pass on. Beethoven did not commit suicide, rather,
knowing that his handicap was getting worse and worse, he threw himself into his greatest works: exceptional
sonatas for piano (notably The Storm, opus 31), the second and the third symphonies- The Eroica - and of course
many more.
Beethoven wrote this third symphony in honour of a great man, Bonaparte. He was seen as the liberator of the
people, opening, from the French Revolution, a door to hope. When the First Consul declared himself Emporor,
Beethoven became enraged and scowled out Bonaparte's name from the score.
On April 7th 1805 the Eroica symphony was played for the first time.
Meanwhile, Beethoven had finally finished his opera, Leonore, the only opera he ever wrote. He wrote and re-wrote
four different overtures. The name of the opera therefore changed to Fidelio, against the wishes of the composer.
November 20th 1805 was the date of the opening performance … before a thin audience of French officers. This
was because Napolean, head of the army, had captured Vienna for the first time. This happened again in 1809.
In the years that followed, the creative activity of the composer became intense. He composed many symphonies,
amongst which were the Pastoral, the Coriolan Overture, and the famous Letter for Elise. He took on many students,
those he found young and attractive, and he therefore fell in love with several of them. The Archbishop Rudolph,
brother of the emperor, also became his student, his friend and eventually one of his benefactors.
In 1809, Beethoven wanted to leave Vienna, at the invitation of Jérome Bonaparte. His long-standing friend, the
Countess Anna Marie Erdödy, kept him at Vienna with the help of his wealthiest admirers: the Archbishop Rudolph,
the Prince Lobkowitz and the Prince Kinsky. These men gave Beethoven an annual grant of 4 000 florins, allowing
him to live without financial constraint. The only condition was that Beethoven was not to leave Vienna. Beethoven
accepted. This grant made him the first independent composer. Before this contract musicians and composers alike
(even Bach, Mozart and Haydn), became servants in the houses of wealthy aristocratic families. They were thus part
of the domestic staff, with no more rights than any other, but with the added task of composition and performance.
Thus, for the musician of the day, Beethoven had outstanding circumstances: he was free to write what he wanted,
when he wanted, under command or not, as he pleased.
In 1812, Beethoven went for hydrotherapy at Teplitz, where he wrote his ardent letter to "The Immortal Beloved".
This letter which was found in a secret draw with the Heiligenstadt Testament, has not stopped the theories and
suppositions of researchers and biographers ever since. Numerous women amongst his students and friends have
been, in turn, proposed as the recipient of this letter. Unless a new document is discovered (perhaps within the
possessions of a private collector) it is likely that the truth about this mysterious woman will remain a secret.
At the end of July 1812, Beethoven met Goethe, under the organisation of Bettina Brentano. These two great men
admired each other, but didn't understand each other. The composer found the poet too servile, and the poet last
estimation was that Beethoven was "completely untamed". Beethoven admired Goethe, he put to music several of
his poems. I always regretted not having been better understood by Goethe.
Then one of his benefactors, the Prince Lobkowitz, fell into financial difficulty, and the Prince Kinski died from
falling off his horse. Kinski's descendant decided to put an end to the financial obligations towards Beethoven. Here
started one of the composer's many attempts at saving his financial independence.
The Czech Johann Nepomuk Maelzel took up contact with Beethoven. Inventor of genius, and probably inventor of
the metronome, Maelzel had already met Beethoven and had created various devices to help Beethoven with his
hearing: acoustic cornets, a listening system linking up to the piano, etc. In 1813, Beethoven composed 'The Victory
of Wellington', a work written for a mechanical instrument made by Maelzel, the "panharmonica" (or
"panharmonicon"). But it was above all the metronome which helped evolve music and Beethoven, who had taken
interest straight away, noted scrupulously the markings on his scores, so that his music could be played how he
wished.

The Academy of 1814 regrouped his work, as well as the seventh and eighth symphonies. This was also the time of
the re-writing of Leonore as Fidelio, Beethoven's only opera. This work eventually became successful before the
public.
Then the Congress of Vienna met, which brought together all the heads of state to decided the future of Europe after
Napoleon. This was one of Beethoven's moment of glory. He was invited to play many times, bringing him
recognition and admiration of which he could be truly proud.
On November 15th 1815, Kaspar Karl, Beethoven's brother, died. He left behind his wife, whom the composer
referred to as 'The queen of the night' due to the pastimes of the widow, as well as a son, Karl, who was 9. Here
Beethoven's life was to change dramatically. His brother had written that he wished Karl's guardianship to be
exercised by both his wife and his brother Ludwig. Beethoven took this role very seriously, but the 45 year old
celibate who could no longer hear found it difficult to live with and understand a child, and then a young man. This
cohabitation was the cause of a new trial against the mother of the child, a generation conflict and numerous
troubles.
In 1816, Carl Czerny (future teacher of Franz Liszt and once Beethoven's student) became Karl's music teacher, but
didn't find the talent in the boy which Beethoven hoped him to posses. At this time , he ended his cycle of lieders 'To
the distant loved one'and drafted the first theme for his ninth symphony.
Two years later, the Archduke Rudolph became Cardinal and Beethoven began composing his mass in D. It was
never ready for the intronisation, but the work was rich beyond compare.
Gioachino Rossini triumphed in Vienna in 1822 where he met Beethoven again. The language barrier and
Beethoven's deafness meant that they could only exchange brief words. The Viennese composer tolerated Italian
opera only in moderation - he found it lacked seriousness.
The ninth symphony was practically finished in 1823, the same year as the Missa Solemnis. Liszt, who was 11, met
Beethoven who came to his concert on April 13th. He congratulated the young virtuoso heartily who, years later,
transcribed the entirety of Beethoven's symphonies for piano.
May 7th 1824 was the date of the first playing of the ninth symphony and despite musical difficulties, and problems
in the sung parts, it was a success. Unfortunately it was not financially rewarding. Financial problems constantly
undermined the composer. He always had money put to one side, but he was keeping it for his nephew.
Then began the period of the last quartets, which are still difficult even for today's audience, which knows how to
interpret his other works. He started to compose his tenth symphony.
In 1826, Beethoven caught cold coming back from his brother's place, with whom he had rowed again. The illness
complicated other health problems from which Beethoven had suffered all his life. He passed away encircled by his
closest friends on March 26th 1827, just as a storm broke out.

The funeral rites took place at the church of the Holy Trinity. It is estimated that between 10 000 and 30 000 people
attended. Franz Schubert, timid and a huge admirer of Beethoven, without ever having become close to him, was
one of the coffin bearers, along with other musicians. Schubert died the next year and was buried next to Beethoven.
The actor Heinrich Anschütz read the funeral prayer written by Franz Grillparzer, (a great writer), in front of the
doors of theWähring cemetery (now Schubert Park).
 Wolfgang Amades Mozart

Life
Mozart was born in Salzburg in modern-day Austria, but at the time was the capital of a small
independent Archbishopric within the Holy Roman Empire. He was baptized on the day after his birth
at St. Rupert's Cathedral as Johannes Chrysostomus Wolfgangus Theophilus Mozart.

The full version of Mozart's name fluctuated considerably during his lifetime; for details, see the article
Mozart's name.

The years of travel

Mozart's musical ability started to become apparent when he was a toddler. He was the son of Leopold
Mozart, one of Europe's leading musical pedagogues, whose influential textbook Versuch einer
gründlichen Violinschule ('Essay on the fundamentals of violin playing') was published in 1756, the same
year as Mozart's birth. Mozart received intensive musical training from his father, including instruction
in both the piano and violin. Musically, he developed very rapidly and began to compose his own works
at the age of five.

Leopold soon realized that he could earn a substantial income by showcasing his son as a Wunderkind
in the courts of Europe. Mozart's older sister, Maria Anna, nicknamed 'Nannerl', was a talented pianist
and often accompanied her brother on Leopold's tours. Mozart wrote a number of piano pieces, in
particular duets and duos, to play with her. On one occasion when Mozart became ill, Leopold
expressed more concern over the loss of income than over Mozart's well-being. Constant travel and cold
weather may have contributed to his subsequent illness later in life.

During his formative years, Mozart completed several journeys throughout Europe, beginning with an
exhibition in 1762 at the Court of the Prince of Bavaria in Munich, then in the same year at the
Imperial Court in Vienna. A long concert tour soon followed, (three and a half years) which took him
with his father to the courts of Munich, Mannheim, Paris, London, The Hague, again to Paris, and
back home via Zurich, Donaueschingen, and Munich. They went to Vienna again in late 1767 and
remained there until December 1768.

Mozart's birthplace at 9 Getreidegasse, Salzburg, Austria

After one year spent in Salzburg, three trips to Italy followed: From December 1769 to March 1771,
August to December 1771, and October 1772 to March 1773. During the first of these trips, Mozart met
G.B. Martini in Bologna, and was accepted as a member of the famous Accademia Filarmonica. A
highlight of the Italian journey, which is now an almost legendary tale, occurred when he heard
Gregorio Allegri's Miserere once in performance, then wrote it out in its entirety from memory, only
returning a second time to correct minor errors.

In September of 1777, accompanied only by his mother, Mozart began a tour of Europe that included
Munich, Mannheim, and Paris, where she died.

During his trips, Mozart met a great number of musicians and acquainted himself with the works of
other great composers: Amongst them were J.S. Bach, G.F. Handel, and Joseph Haydn. Even non-
musicians caught his attention: He was so taken by the sound created by Benjamin Franklin's glass
harmonica, he composed several pieces of music for it.

Mozart in Vienna
In 1781, Mozart visited Vienna in the company of his employer, the harsh Prince-Archbishop
Colloredo, and had a falling out with him. According to Mozart's own testimony, he was dismissed
literally 'with a kick in the seat of the pants.' Despite this, Mozart chose to settle and develop his
career in Vienna after its aristocracy began to take an interest in him.

On August 4, 1782, he married Constanze Weber against his father's wishes. He and Constanze had six
children, of whom only two survived infancy. Neither of these two, Karl Thomas (1784–1858) or Franz
Xaver Wolfgang (1791–1844), married or had children.

1782 was an auspicious year for Mozart's career; his opera The Abduction from the Seraglio was a
great success, and he began a series of concerts at which he premiered his own piano concertos as
conductor and soloist.

As an adult, Mozart became a Freemason and worked fervently and successfully to convert his father
before his death in 1787. His late opera The Magic Flute includes Masonic themes and allegory. He was
in the same Masonic Lodge as Joseph Haydn.

Mozart's life was fraught with financial difficulty and illness. Often, he received no payment for his
work, and what sums he did receive were quickly consumed by his extravagant lifestyle.

Mozart spent the year 1786 in Vienna in an apartment which may be visited today at Domgasse 5
behind St. Stephen's Cathedral; it was here that Mozart composed Le nozze di Figaro in 1786.

Final illness and death

Mozart's final illness and death are difficult scholarly topics, obscured by Romantic legends and replete
with conflicting theories. Scholars disagree about the course of decline in Mozart's health--particularly
at what point Mozart became aware of his impending death, and whether this awareness influenced his
final works. The Romantic view holds that Mozart declined gradually, and that his outlook and
compositions paralleled this decline. In opposition to this, some contemporary scholarship points out
correspondence from Mozart's final year indicating that he was in good cheer, as well as evidence that
Mozart's death was sudden and a shock to his family and friends.

The actual cause of Mozart's death is also a matter of conjecture. His death record listed 'hitziges
Frieselfieber' ('severe miliary fever'), a description that does not suffice to identify the cause as it
would be diagnosed in modern medicine. In fact, dozens of theories have been proposed, which include
trichinosis, mercury poisoning, and rheumatic fever. The contemporary practice of bleeding medical
patients is also cited as a contributing clause.

Mozart's death occurred while he was working on his final composition, the Requiem.

According to popular legend, Mozart was penniless and forgotten when he died, and was buried in a
pauper's grave. In fact, though he was no longer as fashionable in Vienna as he had once been, he
continued to have a well paid job at court and receive substantial commissions from more distant parts
of Europe, Prague in particular. Many of his begging letters survive, but they are evidence not so much
of poverty than his ability to always spend more than he earned. He was not buried in a mass grave but
a regular communal grave according to the 1783 laws.
In 1809, Constanze married Danish diplomat Georg Nikolaus von Nissen (1761–1826). Being a fanatic of
Mozart, he edited vulgar passages out of many of the composer's letters and wrote a Mozart biography.

Works, musical style and innovations

See also: Musical works of Mozart.

Mozart was a prolific composer and wrote for many genres. Among his best works are his operas, the
piano concertos, his symphonies, string quartets and string quintets. Mozart also wrote voluminously
for solo piano, chamber music, masses and other religious music, dances, divertimenti, and other
forms of light entertainment.

Influence
Many important composers since Mozart's time have worshipped or been in awe of Mozart. Beethoven
told his pupil Ries that he (Beethoven) would never be able to think of a melody as great as that of the
first movement of Mozart's Piano concerto No. 24, and paid homage to Mozart by writing variations on
several of his themes; for example, the two sets of Variations for Cello and Piano on themes from
Mozart's Magic Flute, and cadenzas to several of the Mozart's piano concertos, most notably the Piano
concerto No. 20 K. 466. After the only meeting between the two composers, Mozart noted that
Beethoven would 'give the world something to talk about.' As well, Tchaikovsky wrote his Mozartiana
in praise of him; Mahler died with the word 'Mozart' on his lips.

The Köchel catalog

In the decades following Mozart's death there were several attempts to catalog his compositions, but
was not until 1862 that Ludwig von Köchel, a Viennese botanist, mineralogist, and educator,
succeeded in this enterprise. Köchel's book of 551 pages was entitled Chronological-Thematic
Catalogue of the Complete Musical Works of WOLFGANG AMADE MOZART. The prefix K or KV which
accompanies catalog numbers assigned to Mozart's works, instead of Opus, are derivative of Köchel's
name. Köchel catalog numbers not only attempt to establish chronology, but also give a helpful
shorthand to refer to Mozart's works. Many of his famous works are referred to now by only their Köchel
catalog number; for example, the Piano concerto in A major is often referred to simply as 'K. 488.'

In 1937, Alfred Einstein published a corrected and expanded edition of the Köchel catalog. The next
revised edition of the catalog was published in 1964; this version is most commonly in use today. A new
revision of the catalog is in preparation.

The Myth of Mozart

Mozart is unusual among composers for being the subject of many legends and myths. An example is
the story that Mozart composed his Requiem with the belief it was for himself. Some of these myths
may be based in fact, but sorting out fabrications from real events is a vexing and continuous task for
Mozart scholars. Dramatists and screenwriters, free from responsibilities of scholarship, have found
excellent material amongst these legends.

An especially popular case is the supposed rivalry between Mozart and Antonio Salieri; this is the
subject of Aleksandr Pushkin's play Mozart and Salieri, Nicolai Rimsky-Korsakov's opera Mozart et
Salieri, and Peter Shaffer's play Amadeus; the last of these has been made into a feature-length film
of the same name. In fact, Salieri admired Mozart. Shaffer's play attracted criticism for portraying
Mozart as vulgar and loutish, a characterization felt by many to be unfairly exaggerated. Indeed, Salieri
does very well out of the play and even better out of the magnificent portrayal of himself by F. Murray
Abraham in the film of the play. Most people hadn't heard of him. The attendent at the cemetery
where Mozart's memorial lies responded 'Who?' when asked 'What about Salieri, where is he buried?'
 Joseph Haydn
Life
Childhood

Map showing locations where Haydn lived or visited. For discussion, see List of residences of
Joseph Haydn.

Joseph Haydn was born in Rohrau, Austria, a village near 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;[7] 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.[8]
Haydn's parents had noticed that their son was musically gifted and knew that in Rohrau he would have no chance to
obtain any serious musical training. It was for this reason that 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 (seven miles away) and never again lived
with his parents. He was six years old.
Life in the Frankh household was not easy for Haydn, who later remembered being frequently hungry[9] as well as
constantly humiliated by the filthy state of his clothing.[10] However, he did begin his musical training there, and
soon was able to play both harpsichord and violin. The people of Hainburg were soon hearing him sing treble parts
in the church choir.
There is reason to think that Haydn's singing impressed those who heard him, because he was soon[11] brought to the
attention of Georg von Reutter, the director of music in St. Stephen's Cathedral in Vienna, who was touring the
provinces looking for talented choirboys. Haydn passed his audition with Reutter, and in 1740 moved to Vienna,
where he worked for the next nine years as a chorister, after 1745 in the company of his younger brother Michael.
Haydn lived in Reutter's home with the other five choirboys. He was instructed in Latin and other school subjects as
well as voice, violin, and keyboard.[12] 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.[13] However, since St. Stephen's was one of
the leading musical centers in Europe, Haydn was able to learn a great deal simply by serving as a professional
musician there.[14]
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 very well, in hopes of gaining more invitations to
perform before aristocratic audiences—where the singers were usually served refreshments.[15]

St. Stephen's Cathedral, Vienna

[edit] Struggles as a freelancer

By 1749, Haydn had finally matured physically to the point that he was no longer able to sing high choral parts. On
a weak pretext, he was summarily dismissed from his job. He was sent into the streets with no home to go to.[16]
However, he had the good fortune to be taken in by a friend, Johann Michael Spangler, who for a few months shared
with Haydn his family's crowded garret room. Haydn was able to begin immediately his pursuit of a career as a
freelance musician.
During this arduous time, Haydn worked 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".[17]
When he was a chorister, Haydn had not received serious training in music theory and composition, which he
perceived as a serious gap. To fill it, 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.[18]
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 Johann Joseph Felix Kurz, whose stage name was
"Bernardon". The work was premiered successfully in 1753, but was soon closed down by the censors.[19] Haydn
also noticed, apparently without annoyance, that works he had simply given away were being published and sold in
local music shops.[20] 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.[21]
With the increase in his reputation, Haydn eventually was able to obtain aristocratic patronage, crucial for the career
of a composer in his day. Countess Thun,[22] having seen one of Haydn's compositions, summoned him and engaged
him as her singing and keyboard teacher.[23] In 1756, Baron Carl Josef Fürnberg employed Haydn at his country
estate, Weinzierl, where the composer wrote his first string quartets. Fürnberg later recommended Haydn to Count
Morzin, who, in 1757,[24] became his first full time employer.[25]
[edit] The years as Kapellmeister

Haydn portrait by Ludwig Guttenbrunn, painted ca. 1791-2, depicts Haydn ca. 1770

Haydn's job title under Count Morzin was Kapellmeister, that is, music director. He led the count's small orchestra
and wrote his first symphonies for this ensemble. In 1760, with the security of a Kapellmeister position, Haydn
married. His wife was the former Maria Anna Aloysia Apollonia 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,[26]
from which the laws of the time permitted them no escape; and they produced no children. Both took lovers.[27]
Count Morzin soon suffered financial reverses that forced him to dismiss his musical establishment, but Haydn was
quickly offered a similar job (1761) as Vice Kapellmeister to the Esterházy family, one of the wealthiest and most
important in the Austrian Empire. When the old Kapellmeister, Gregor Werner, died in 1766, Haydn was elevated to
full Kapellmeister.

View of Eszterháza

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 Eisenstadt and later
on Eszterháza, 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 workload, the job was in artistic terms a superb opportunity for
Haydn.[28] The Esterházy princes (first Paul Anton, then most importantly Nikolaus I) were musical connoisseurs
who appreciated his work and gave him daily access to his own small orchestra.

Prince Nikolaus Esterházy, Haydn's most important patron

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. His popularity in the outside world also increased. Gradually, Haydn came to
write as much for publication as for his employer, and several important works of this period, such as the Paris
symphonies (1785–1786) and the original orchestral version of The Seven Last Words of Christ (1786), were
commissions from abroad.
Haydn also gradually came to feel more isolated and lonely, particularly as the court came to spend most of the year
at Esterháza, far from Vienna, rather than the closer-by Eisenstadt.[29] Haydn particularly longed to visit Vienna
because of his friendships there.[30]
Of these, a particularly important one was with Maria Anna von Genzinger (1750–93), 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 Eszterháza 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.[31]

Portrait of Mozart by Joseph Lange

Another friend in Vienna was Wolfgang Amadeus Mozart, whom Haydn 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. For further
details see Haydn and Mozart.