"History of Music," Vol. IV. Burney London, 1789
"Reminiscences," Vol. I, p. 190 Michael Kelly London, 1826
"Musical Memoirs" Parke London, 1830,
2 vols.
"Letters of Distinguished Musicians."... London, 1867
Translated from the German by Lady
Wallace. Haydn's Letters, pp. 71-204,
with portrait
"Musical Composers and their Works" Sarah Tytler London, 1875
—Haydn, pp. 57-75
"Music and Morals"—Haydn, Haweis London, 1876
pp. 241-263
Leisure Hour, p. 572. Article, ... London, 1877
"Anecdotes of Haydn"
"The Great Composers Sketched Joseph Bennett London, Musical
by Themselves"—No. 1, Haydn. Times, Sept. 1877
An estimate of Haydn drawn mainly
from his letters
Article on Haydn in Grove's Pohl London, 1879
"Dictionary of Music"
"Studies of Great Composers"—Haydn, Parry London, 1887
pp. 91-118, with portrait
"History of Music," English edition, Naumann London (Cassell),
Vol. IV., pp. 852-882. 1888
Portraits and facsimiles
"Musical Reminiscences"—Music and William Spark London, 1892
Sunshine, pp. 141-149, with quotations
from Haydn's music to show "the happy
state of his mind whilst composing"
"Musical Haunts in London"—Haydn in F. G. Edwards London, 1895
London, pp. 32-36
"The Pianoforte Sonata"—Haydn, J. S. Shedlock London, 1895
pp. 111-120
"Music and Manners from Pergolese Krehbiel London, 1898
to Beethoven"—Haydn in London:
(1) His Note-book; (2) His English
Love, pp. 57-95
"George Thomson, the Friend of Burns" Cuthbert Hadden London, 1898
—Correspondence with Haydn,
pp. 303-308
"Old Scores and New Readings"—Haydn J. F. Runciman London, 1899
and his "Creation," pp. 85-92
"The Birthplace of Haydn: Dr Frank Merrick London, Musical
a Visit to Rohrau" Times, July 1899
"Joseph Haydn" Miss Pauline London, N.D.
in Great Musicians series D. Townsend
Article on Haydn in "Dictionary Riemann London,
of Music." English ed. translated Augener & Co.
by J. S. Shedlock
Autobiographical Sketch by himself. ... 1776
This was made use of by (1) De Luca
in "Das gelehrte Oesterreich," 1778;
(2) in Forkel's "Musikalischer
Almanach fur Deutschland," 1783;
and (3) in the European Magazine
for October 1784. The latter includes
a portrait
"Lexicon." Additional particulars Gerber 1790
are given in 2nd edition, 1812
Musik Correspondenz der teutschen Gerber 1792
Filarm. Gesellschaft, Nos. 17 and 18
Article in Journal des Luxus und Bertuch Weimar, 1805
der Moden
"Brevi notizie istorchie della vita Mayer Bergamo, 1809
e delle opere di Guis. Haydn."
Obituary in the Vaterland. Blatter ... Vienna, 1809
fur den ost Kaiserstaat
"Der Nagedachtenis van J. Haydn" Kinker Amsterdam, 1810
"Biographische Notizen uber Griezinger Leipzig, 1810
Joseph Haydn"
"Biographische Nachrichten von Dies Vienna, 1810
Joseph Haydn"
"Joseph Haydn" Arnold Erfurt, 1810;
2nd ed., 1825
"Notice sur J. Haydn" Framery Paris, 1810
"Notice historique sur la vie et les Le Breton Paris, 1810
ouvrages de Haydn" in the Moniteur.
This was reprinted in the
"Bibliographie Musicale," Paris, 1822.
It was also translated into Portuguese,
with additions by Silva-Lisboa.
Rio Janeiro, 1820
"Essai Historique sur la vie ... Strassburg, 1812
de J. Haydn"
"Le Haydine," etc. Carpani Milan, 1812;
This work was essentially reproduced, 2nd edition,
without acknowledgment, in "Lettres enlarged,
ecrites de Vienne en Autriche," etc., Padua, 1823
by L. A. C. Bombet, Paris, 1814;
republished as "Vie de Haydn, Mozart
et Metastase," par Stendhal, Paris,
1817. Bombet and Stendhal are both
pseudonyms of Henri Beyle. An English
translation of the 1814 work was
published in London by John Murray,
in 1817, under the title of "The Life
of Haydn in a Series of Letters," etc.
"Biogr. Notizen" Grosser Hirschberg, 1826
"Allg. Encyclopadie der Ersch und Gruber Leipzig, 1828
Wissenschaften und Kunste,"
2nd section, 3rd part, with a
biographical sketch by Frohlich
"Allg. Wiener Musikzeitung" ... 1843
"J. Haydn in London, 1791 and 1792" Karajan Vienna, 1861
"Joseph Haydn und sein Bruder Michael" Wurzbach Vienna, 1861
"Joseph Haydn" Ludwig Nordhausen, 1867
"Mozart and Haydn in London" Pohl Vienna, 1867
"Joseph Haydn." Pohl ...
This, the first comprehensive
biography of Haydn, was published
—the first half of Vol. I. in
1875, the second half in 1882.
After the death of Pohl in 1887
it was completed (1890) by
E. V. Mandyczewski
Notice in "Biographie Universelle" Fetis ...
APPENDIX D: HAYDN'S BROTHERS
Of the large family born to the Rohrau wheelwright, two, besides the great composer, devoted themselves to music.
The first, JOHANN EVANGELIST HAYDN, made some little reputation as a vocalist, and was engaged in that capacity in the Esterhazy Chapel. His health had, however, been delicate from the first, and his professional career was far from prosperous.
JOHANN MICHAEL HAYDN was much more distinguished. Born in 1737, he became, as we have seen, a chorister and solo-vocalist at St Stephen's, Vienna. He was a good violinist, and played the organ so well that he was soon able to act as deputy-organist at the cathedral. In 1757 he was appointed Capellmeister to the Bishop of Grosswardein, and in 1762 became conductor, and subsequently leader and organist to Archbishop Sigismund of Salzburg. There he naturally came in contact with Mozart, in whose biography his name is often mentioned. Mozart on one occasion wrote two compositions for him which the archbishop received as Michael Haydn's. The Concertmeister was incapacitated by illness at the time, and Mozart came to his rescue to save his salary, which the archbishop had characteristically threatened to stop. Mozart also scored several of his sacred works for practice.
Michael Haydn remained at Salzburg till his death in 1806. He had the very modest salary of 24 pounds, with board and lodging, which was afterwards doubled; but although he was more than once offered preferment elsewhere, he declined to leave his beloved Salzburg. He was happily married—in 1768—to a daughter of Lipp, the cathedral organist; and with his church work, his pupils—among whom were Reicha and Weber—and his compositions, he sought nothing more. When the French entered Salzburg and pillaged the city in 1801 he was among the victims, losing some property and a month's salary, but his brother and friends repaired the loss with interest. This misfortune led the Empress Maria Theresa to commission him to compose a mass, for which she rewarded him munificently. Another of his masses was written for Prince Esterhazy, who twice offered him the vice-Capellmeistership of the chapel at Eisenstadt. Joseph thought Michael too straightforward for this post. "Ours is a court life," he said, "but a very different one from yours at Salzburg. It is uncommonly hard to do what you want." If any appointment could have drawn him away from Salzburg it was this; and it is said that he refused it only because he hoped that the chapel at Salzburg would be reorganized and his salary raised.
Michael Haydn is buried in a side chapel of St Peter's Church, Salzburg. A monument was erected in 1821, and over it is an urn containing his skull. He is described by Pohl as "upright, good-tempered and modest; a little rough in manners, and in later life given to drink." His correspondence shows him to have been a warm-hearted friend; and he had the same devout practice of initialing his manuscripts as his brother. The latter thought highly of him as a composer, declaring that his Church compositions were superior to his own in earnestness, severity of style and sustained power. When he asked leave to copy the canons which hung in Joseph's bedroom at Vienna, Joseph replied: "Get away with your copies; you can compose much better for yourself." Michael's statement has often been quoted: "Give me good librettos and the same patronage as my brother, and I should not be behind him." This could scarcely have been the case, since, as Pohl points out, Michael Haydn failed in the very qualities which ensured his brother's success. As it was, he wrote a very large number of works, most of which remained in manuscript. A Mass in D is his best-known composition, though mention should be made of the popular common-metre tune "Salzburg," adapted from a mass composed for the use of country choirs. Michael Haydn was nominated the great composer's sole heir, but his death frustrated the generous intention.