3. He was the first composer who brought humor, that difficult thing which is neither wit nor comicalness, to music, although others had brought fun and boisterousness.
4. He was the first to use the individual tone color of each instrument, so, rightly he has been called the father of the modern orchestra.
5. He developed sonata-form in the sonata itself, the quartet, concerto and symphony. He was one of the first to establish two themes instead of one in the movements of sonata-forms. This was a great innovation and made the sonata a far more living thing and gave the composers who followed him a richer field to carry out musical design and human feeling.
6. He wrote about 1,407 works! 157 symphonies of which 18 are masterpieces, 83 string quartets, 66 piano sonatas, 5 oratorios, 42 German and English songs, 336 Scotch songs, 40 canons, 13 part songs for three and four voices, 5 German marionette operas written for the Esterhazy theatre, 14 Italian operas, 163 pieces for the baryton (viola da bordona), a favorite instrument of one of the Esterhazy princes, 47 divertimenti and trios, 15 concertos for different instruments, 15 masses, 5 other sacred works, 400 single minuets and waltzes. (Emil Naumann.)
7. Among his larger vocal works with orchestra are: Alcide (1762), Philemon and Baucis, entre acte music for King Lear and many others. His symphonies are so numerous and so many in the same key that in order to tell them apart some have been given such names as Surprise Symphony, The Farewell Symphony, the Military Symphony, Queen of France, The Oxford, the fascinating Kinder Symphonie (children’s symphony) and on and on!
Mozart and Haydn
Mozart was years younger than Haydn and died while still very young, but they were the closest friends. Haydn was his teacher, but lived to think of Mozart as his superior and didn’t hesitate to say so. This again shows the great spirit of Haydn.
Although Haydn was an innovator and a master of form his rules were never cast into molds he could not break through inspiration. A critic once asked him about the introduction to the Mozart Quartet in C major which had been much discussed on account of its complex harmonies,—a work which today we look upon as one of the greatest examples of his genius. Haydn replied in a decided tone, “If Mozart has written it, be sure he had good reason for so doing.” Albrechtsberger, a strict technician, questioned him about the use of consecutive fourths which was breaking a good old-fashioned law of harmony. Haydn replied, “Art is free and must not be fettered by handicraft rule. The cultivated ear must decide, and I believe myself as capable as any one of making laws in this respect.” Thus spoke the great musician and not just the teacher and follower.
He loved his art so well that he welcomed the young Mozart to Vienna generously, because of his genius. Haydn, when asked by a manager to have one of his operas follow the night after one of Mozart’s refused, saying: “It would be too much to venture, for next to the great Mozart it would be difficult for anyone to stand. Could I force home to every lover of music the grandeur and inimitableness of Mozart’s operas, ... and display of genius, and were I able to impress all others with the same feelings which excite me, the nations would contend for the possession of so rare a gem. Let Prague strive to hold fast the priceless man. But reward him adequately, for without this the history of great men is truly sad and offers to posterity little inducement to exertion, as indeed many a hopeful mind lies fallow for want of encouragement. It angers me only that Mozart has not yet been engaged at some Imperial court. Pardon this digression but I love the man dearly.” When he left Mozart he wrote to his friend Frau von Gennzinger, “I am inconsolable at parting,” and then he tells with the simplicity of a child “a happy dream” he had listening to a performance of Mozart’s Marriage of Figaro. (Adapted from Naumann.)
And thus we see this cheerful-hearted man according honor and love even to his rivals, his broad realistic humor showing itself, as well as charm, dignity and beauty, in all his works whether in music or in life.