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Franz Joseph Haydn, (March 31 or April 1 1732
– May 31 1809) was a leading composer of the
classical music era|Classical period, called the
"Father of the Symphony" and "Father of the String
Quartet".  Although he has come to be popularly
known as "Franz Joseph Haydn" (with many published
scores and recordings using this full name), Haydn
used his second name much of his life, spelling it
in German as "Josef" and signing letters and
documents as "Josef Haydn". 

A life-long resident of Austria, Haydn spent most
of his career as a Noble court|court musician for
the wealthy Esterhazy|Eszterházy family on their
remote estate.  Being isolated from other
composers and trends in music until the latter
part of his long life, he was, as he put it,
"forced to become original".  In his older age, he
was revered throughout Europe, journeyed to
perform concerts in Paris and London, and died in
Vienna.  

Franz Joseph Haydn was the brother of Michael
Haydn, himself a highly regarded composer, and
Johann Evangelist Haydn, a tenor singer. 

== Life ==

===Childhood===

Franz Joseph Haydn was born in 1732 in the
Austrian village of Rohrau (Austria)|Rohrau near
the border with Hungary.  His father was Matthias
Haydn, a wheelwright who also served as
"Marktrichter", an office somewhat akin to village
mayor.  Haydn's mother, the former Maria Koller,
had previously worked as a cook in the palace of
Count Harrach, the presiding aristocrat of Rohrau.
Neither parent could read music.  However,
Matthias was an enthusiastic folk music|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 neighbors.


Haydn's parents were perceptive enough to notice
that their little son had musical talent, and they
also 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 Franck, the
schoolmaster and choirmaster in Hainburg an der
Donau|Hainburg, that Haydn be apprenticed to
Franck in his home to train as a musician.  Haydn
thus went off with Franck to Hainburg (ten miles
away) and never again lived with his parents.  At
the time he was not quite six.

Life in the Franck household was not easy for
Haydn, who later remembered being frequently
hungry as well as constantly humiliated by the
filthy state of his clothing.  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
soprano parts in the church choir.  

There is reason to think that Haydn's singing
impressed those who heard him, because two years
later (1740), he was brought to the attention of
Georg von Reutter, the director of music in
Stephansdom|St. Stephen's Cathedral in Vienna, who
was touring the provinces looking for talented
choir|choirboys. Haydn passed his audition with
Reutter, and soon moved off to Vienna, where he
worked for the next nine years as a chorister, the
last four in the company of his younger brother
Michael Haydn|Michael.  

Like Franck before him, Reutter didn't always
bother to make sure Haydn was properly fed.  The
young Haydn greatly looked forward to performances
before aristocratic audiences, where the singers
sometimes had the opportunity to satisfy their
hunger by devouring the refreshments.  Reutter
also did little to further his choristers' musical
education.  However, St. Stephen's was at the time
one of the leading musical centers in Europe,
where new music by leading composers was
constantly being performed.  Haydn was able to
learn a great deal by osmosis simply by serving as
a professional musician there.

===Struggles as a freelancer===

In 1749, Haydn had 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 evidently spent one
night homeless on a park bench, but was taken in
by friends and began to pursue a career as a
freelance musician. During this arduous period,
which lasted ten years, Haydn worked many
different jobs, including valet–accompanist
for the Italian composer Nicola Porpora, from whom
he later said he learned "the true fundamentals of
composition". He labored to fill the gaps in his
training, and eventually wrote his first string
quartets and his first opera.  During this time
Haydn's professional reputation gradually
increased.

===The years as Kapellmeister===



As a livery|liveried servant of the Eszterházys,
Haydn followed them as they moved among their
three main residences: the family seat in
Eisenstadt, their winter palace in Vienna, and
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 the backbreaking
workload, Haydn considered himself fortunate to
have his job. The Eszterházy princes (first Paul
Anton, then most importantly Nikolaus I) were
musical connoisseurs who appreciated his work and
gave him the conditions needed for his artistic
development, including daily access to his own
small orchestra.

In 1760, with the security of a Kapellmeister
position, Haydn married.  He and his wife, the
former Maria Anna Keller, did not get along, and
they produced no children. Haydn may have had one
or more children with Luigia Polzelli, a singer in
the Eszterházy establishment with whom he carried
on a long-term love affair, and often wrote to on
his travels.

During the nearly thirty years that Haydn worked
in the Eszterházy household, he produced a flood
of compositions, and his musical style became ever
more developed. 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 Symphonies No. 82-87 (Haydn)|Paris
symphonies (1785–1786|6) and the original
orchestral version of The Seven Last Words of
Christ (1786), were commissions from abroad.

Around 1781 Haydn established a friendship with
Wolfgang Amadeus Mozart|Mozart, whose work he had
already been influencing by example for many
years.  According to later testimony by Stephen
Storace, the two composers occasionally played in
string quartets together. Haydn was hugely
impressed with Mozart's work, and in various ways
tried to help the younger composer. During the
years 1782 to 1785, Mozart wrote a set of string
quartets, thought to be inspired by Haydn's Opus
33 series.  On completion he dedicated them to
Haydn, a very unusual thing to do at a time when
dedicatees were usually aristocrats.

In 1789, Haydn developed another friendship, with
Maria Anna von Genzinger (1750–93), the wife of
Prince Nicolaus's personal physician in Vienna. 
Their relationship, documented in Haydn's letters,
was evidently intense but platonic.  The letters
express Haydn's sense of loneliness and melancholy
at his long isolation at Eszterháza.  Genzinger's
premature death in 1793 was a blow to Haydn, and
his Variations in F minor for piano (Haydn)|F
minor variations for piano, Hob. XVII:6, which are
unusual in Haydn's work for their tone of
impassioned tragedy, may have been written as
response to her death.

===The London journeys===

In 1790, Prince Nikolaus died and was succeeded by
a thoroughly unmusical prince who dismissed the
entire musical establishment and put Haydn on a
pension.  Thus freed of his obligations, Haydn was
able to accept a lucrative offer from Johann Peter
Salomon, a German impresario, to visit England and
conduct new symphonies with a large orchestra.

The visit (1791-1792|2), along with a repeat visit
(1794-1795|5), was a huge success. Audiences
flocked to Haydn's concerts, and he quickly
achieved wealth and fame: one review called him
"incomparable." Musically, the visits to England
generated some of Haydn's best-known work,
including the Symphony No. 94 (Haydn)|Surprise,
Symphony No. 100 (Haydn)|Military, Symphony No.
103 (Haydn)|Drumroll, and Symphony No. 104
(Haydn)|London symphonies, the Rider quartet|Rider
quartet, and the Gypsy Rondo piano trio|Gypsy
Rondo piano trio.

The only misstep in the venture was an opera,
L'anima del filosofo, which Haydn was contracted
to compose, and paid a substantial sum of money
for. Only one aria was sung at the time, and 11
numbers were published; the entire opera was not
performed until 1950.

===Final years in Vienna===

Haydn actually considered becoming an English
citizen and settling permanently, but eventually
took a different course. He returned to Vienna,
had a large house built for himself, and turned to
the composition of large religious works for
chorus and orchestra. These include his two great
oratorios The Creation and The Seasons (Haydn)|The
Seasons and six Mass (music)|masses for the
Eszterházy family, which by this time was once
again headed by a musically-inclined prince. Haydn
also composed the last nine in his long series of
string quartets, including the
"Media:EMPEROR.MID|Emperor", "Sunrise
quartet|Sunrise", and "Fifths quartet|Fifths"
quartets. Despite his increasing age, Haydn looked
to the future, exclaiming once in a letter, "how
much remains to be done in this glorious art!"

In 1802, Haydn found that an illness from which he
had been suffering for some time had increased
greatly in severity, to the point that he became
physically unable to compose. This was doubtless
very difficult for him, because, as he
acknowledged, the flow of fresh musical ideas
waiting to be worked out as compositions did not
cease. Haydn was well cared for by his servants,
and he received many visitors and public honors
during his last years, but they cannot have been
very happy years for him.  During his illness,
Haydn often found solace by sitting at the piano
and playing Gott erhalte Franz den Kaiser, which
he had composed himself as a patriotic gesture in
1797.  This melody later became used for the
Austria|Austrian and Germany|German national
anthems.

Haydn died in 1809, following an attack on Vienna
by the French army under Napoleon. Among his last
words was his attempt to calm and reassure his
servants as cannon shots fell on the neighborhood.

== Character and appearance ==

Haydn was known among his contemporaries for his
kindly, optimism|optimistic, and congenial
personality.  He had a robust sense of humor,
evident in his love of practical jokes and often
apparent in his music.  He was particularly
respected by the Eszterházy court musicians whom
he supervised, as he maintained a cordial working
atmosphere and effectively represented the
musicians' interests with their employer; see Papa
Haydn.

Haydn was a devout Roman Catholicism|Catholic who
often turned to his rosary when he had trouble
composing, a practice that he usually found to be
effective.  When he finished a composition, he
would write "Laus deo" ("praise be to God") or
some similar expression at the end of the
manuscript.  His favorite hobbies were hunting and
fishing.

Haydn was short in stature, perhaps as a result of
having been underfed throughout most of his youth.
 Like many in his day, he was a survivor of
smallpox, and his face was pitted with the scars
of this disease.  He was not handsome, and was
quite surprised when women flocked to him during
his London visits.

About a dozen portraits of Haydn exist, and they
disagree sufficiently that, other than what is
noted above, we have rather little idea what Haydn
looked like.  All but one of the portraits show
Haydn wearing the gray powdered wig fashionable
for men in the 18th century, and from the one
exception we learn that Haydn was bald in
adulthood.



== Works ==

Haydn is credited as the "father" of the classical
symphony and string quartet, and also wrote many
piano sonatas, piano trio| piano trios,
divertimentos and mass (music)|masses, which
became the foundation for the Classical music
era|Classical style in these compositional types.
He also wrote other types of chamber music, as
well as opera | operas and concerto| concerti,
although such compositions are now less known.
Although other composers were prominent in the
earlier Classical period, notably Carl Philipp
Emanuel Bach|C.P.E. Bach in the field of the
keyboard sonata (music)|sonata (the harpsichord
and clavichord were equally popular with the piano
in this era) and Johann Christian Bach|J.C. Bach
and Leopold Mozart in the symphony, Haydn was
undoubtedly the strongest overall influence on
musical style in this era.

The development of sonata form into a subtle and
flexible mode of musical expression, which became
the dominant force in Classical musical thought,
was based foremost on Haydn and those who followed
his ideas. His sense of formal inventiveness also
lead him to integrate the fugue into the classical
style, and to enrich the rondo form with more
cohesive tonal logic, (see sonata rondo form).
Another example of Haydn's inventiveness was his
creation of the double variation form, that is
variations on two alternating themes.

=== Structure and character of the music ===

A central characteristic of Haydn's music is the
development of larger structures out of very
short, simple musical Motif (music)|motifs,
usually devised from standard accompanying
figures.  The music is often quite formally
concentrated, and the important musical events of
a movement can unfold rather quickly. Haydn's
musical practice formed the basis of much of what
was to follow in the development of tonality and
musical form. He took genres such as the symphony,
which were, at that time, shorter and subsidiary
to more important vocal music, and slowly expanded
their length, weight and complexity. 

Haydn's compositional practice was rooted in a
study of the modal counterpoint of Johann Fux|Fux,
and the tonal homophonic styles which had become
more and more popular, particularly the work of
Gluck and Carl Philipp Emanuel Bach.  Of the
latter Haydn wrote, "without him, we know
nothing".  He believed in the importance of
melody, especially one which could be broken down
into smaller parts easily subject to contrapuntal
combination:  in this regard he anticipated Ludwig
van Beethoven|Beethoven.

Haydn's work became central to what was later
described as the sonata form, and his work was
central to taking the binary schematic of what was
then called a "melodie". It was a form divided
into sections, joined by important moments in the
harmony which signalled the change. One of Haydn's
important innovations (adopted by Mozart and
Beethoven) was to make the moment of transition
the focus of tremendous creativity. Instead of
using stock devices to make the transition, Haydn
would often find inventive ways to make the move
between two expected keys. 
 
Later musical theory|musical theorists would
codify the formal organization in the following
way:

*Sonata_allegro_form#The_basic_outline_of_a_Sonata
-Allegro_movement|Introduction: If present in an
extended form, a slower section in the dominant,
often with material not directly related to the
main themes, which would then rapidly transition
to the

*Sonata_allegro_form#The_basic_outline_of_a_Sonata
-Allegro_movement|Exposition: Presentation of
thematic material, including a progression of
tonality away from the home key. Unlike Mozart and
Beethoven, Haydn often wrote expositions where the
music that establishes the new key is similar or
identical to the opening theme: this is called
Sonata_form#Monothematic_expositions|monothematic
sonata form.

*Sonata_allegro_form#The_basic_outline_of_a_Sonata
-Allegro_movement|Development: The thematic
material is led through a rapidly-shifting
sequence of keys, transformed, fragmented, or
combined with new material. If not present, the
work is termed a "sonatina". Haydn's developments
tend to be longer and more elaborate than those of
Mozart, for example.

*Sonata_allegro_form#The_basic_outline_of_a_Sonata
-Allegro_movement|Recapitulation: Return to the
home key, where the material of the exposition is
re-presented. Haydn, unlike Mozart and Beethoven,
often rearranges the order of themes compared to
the exposition: he also frequently omits passages
that appeared in the exposition (particularly in
the monothematic case) and adds coda
(music)|codas.

*Sonata_allegro_form#The_basic_outline_of_a_Sonata
-Allegro_movement|Coda: After the close of the
recapitulation on the tonic, there may be an
additional section which works through more of the
possibilities of the thematic material. 

During this period the written music was
structured by tonality, and the sections of a work
of the Classical era were marked by tonal
cadences. The most important transitions between
sections were from the exposition to the
development, and from the development to the
recapitulation. Haydn focused on creating witty
and often dramatic ways to make these transitions,
by delaying them, or by having the occur so subtly
that it takes some time before it is established
that the transition has, in fact happened. Perhaps
paradoxically one of the ways in which Haydn did
this was by reducing the number of different
devices for harmonic transitions between, so that
he could explore and develop the possibilities he
found in the ones he regarded as most interesting.
This is perhaps why more than any other composer,
Haydn is known for the jokes that he put into his
music.  The most famous example is the sudden loud
chord in his "Surprise symphony|Surprise"
symphony, No. 94, but others are perhaps funnier: 
the fake endings in the quartets Op. 33 No. 2 and
Op. 50 No. 3, or the remarkable rhythmic illusion
placed in the trio section of Op. 50 No. 1.

Haydn's compositional practice influenced both
Mozart and Beethoven.  Beethoven began his career
writing rather discursive, loosely organized
sonata expositions; but with the onset of his
"Middle period", he revived and intensified
Haydn's practice, joining the musical structure to
tight small motifs, often by gradually reshaping
both the work and the motifs so that they fit
quite carefully.

The emotional content of Haydn's music cannot
accurately be summarized in words, but one may
attempt an approximate description. Much of the
music was written to please and delight a prince,
and its emotional tone is correspondingly upbeat;
this tone also reflects, perhaps, Haydn's
fundamentally healthy and well-balanced
personality. Occasional minor-key works, often
deadly serious in character, form striking
exceptions to the general rule.  Haydn's fast
movements tend to be rhythmically propulsive, and
often impart a great sense of energy, especially
so in the finales.  Some characteristic examples
of Haydn's "rollicking" finale type are found in
the Symphony No. 104 (Haydn)|"London" symphony No.
104, the string quartet Op. 50 No. 1, and the
piano trio Hob XV: 27.  Haydn's slow movements,
early in his career, are usually not too slow in
tempo, relaxed, and reflective. Later on, the
emotional range of the slow movements increases,
notably in the deeply felt slow movements of the
quartets Op. 76 Nos. 3 and 5, the Symphony No. 102
(Haydn)|Symphony No. 102, and the piano trio Hob
XV: 23.  The minuets tend to have a strong
downbeat (and upbeat!) and a clearly popular
character.  Late in his career, perhaps inspired
by the young Beethoven (who was briefly his
student), Haydn began to write scherzo|scherzi
instead of minuets, with a much faster tempo, felt
as one beat to the measure.

=== Evolution of Haydn's Style === 

Haydn's early work dates from a period in which
the compositional style of the High Baroque (seen
in Johann Sebastian Bach|Bach and Handel) had gone
out of fashion.  This was a period of exploration
and uncertainty, and Haydn, born 18 years before
the death of Bach, was himself one of the musical
explorers of this time. An older contemporary
whose work Haydn acknowledged as an important
influence was Carl Philipp Emanuel Bach, the third
son of Johann Sebastian.

Tracing Haydn's work over the five decades in
which it was produced (roughly, 1749 to 1802), one
finds a gradual but ever increasing complexity and
musical sophistication, which developed as Haydn
learned from his own experience and that of his
colleagues.  Several important landmarks have been
observed in the evolution of Haydn's musical
style.

In the late 1760s and early 1770s Haydn entered a
stylistic period known as "Sturm und Drang" (storm
and stress).  This term is taken from a Sturm und
Drang|literary movement of about the same time,
though some scholars believe that Haydn was
unaware of this literary development and that the
change in his compositional style was entirely of
his own making.  The musical language of this
period is similar to what went before, but it is
deployed in work that is more intensely
expressive, especially in the works written in
minor keys.  Some of the most famous compositions
of this period are the Symphony No. 45
(Haydn)|"Farewell" Symphony No. 45, the Piano
Sonata No. 20 in C minor, and the six string
quartets of Op. 20 (the "Sun" quartets), all
dating from 1772.  It was also around this time
that Haydn became interested in writing fugues in
the Baroque music|Baroque style, and three of the
Op. 20 quartets end with such fugues.

Following the climax of the "Sturm und Drang",
Haydn returned to a lighter, more overtly
entertaining style.  There are no quartets from
this period, and the symphonies take on new
features:  the first movements now sometimes
contain slow introductions, and the scoring often
includes trumpets and timpani.  These changes are
often related to a major shift in Haydn's
professional duties, which moved him away from
"pure" music and toward the production of Opera
buffa|comic operas.  Several of the operas, such
as Il Mondo della luna (The World of the Moon),
were Haydn's own work; these are seldom performed
today.  Haydn sometimes recycled their overtures
as symphony movements, which helped him continue
his career as a symphonist during this hectic
decade.

In 1779, an important change in Haydn's contract
law|contract permitted him to publish his
compositions without prior authorization from his
employer.  This may have encouraged Haydn to
rekindle his career as a composer of "pure" music.
 The change made itself felt most dramatically in
1781, when Haydn published the six string quartets
of Opus 33, announcing (in a letter to potential
purchasers) that they were written in "a
completely new and special way".  Charles Rosen
has argued that this assertion on Haydn's part was
not just sales talk, but meant quite seriously;
and he points out a number of important advances
in Haydn's compositional technique that appear in
these quartets, advances that mark the advent of
the Classical music era|Classical style in  full
flower. (See
Haydn#The_years_as_Kapellmeister|above, for their
influence on Mozart.)  These include a fluid form
of phrasing, in which each motif emerges from the
previous one without interruption, the practice of
letting accompanying material evolve into melodic
material, and a kind of "Classical counterpoint"
in which each instrumental part maintains its own
integrity.  These traits continue in the many
quartets that Haydn wrote after Opus 33.

In the 1790s, stimulated by his England journeys,
Haydn developed what Rosen calls his "popular
style", a way of composition that, with
unprecedented success, created music having great
popular appeal but retaining a learned and
rigorous musical structure.  An important element
of the popular style was the frequent use of folk
music|folk or folk-like material, as discussed in
the article Haydn and folk music.  Haydn took care
to deploy this material in appropriate locations,
such as the endings of sonata expositions or the
opening themes of finales.  In such locations, the
folk material serves as an element of stability,
helping to anchor the larger structure.  Haydn's
popular style can be heard in virtually all of his
later work, including the twelve London
symphonies, the late quartets and piano trios, and
the two late oratorios.

The return to Vienna in 1795 marked the last
turning-point in Haydn's career.  Although his
musical style evolved little, his intentions as a
composer changed.  While he had been a servant,
and later a busy entrepreneur, Haydn wrote his
works quickly and in profusion, with frequent
deadlines.  As a rich man, Haydn now felt he had
the privilege of taking his time and writing for
posterity.  This is reflected in the subject
matter of The Creation (1798) and The Seasons
(Haydn)|The Seasons (1801), which address such
weighty topics as the meaning of life and the
purpose of humankind, and represent an attempt to
render the sublime in music.  Haydn's new
intentions also meant that he was willing to spend
much time on a single work: both oratorios took
him over a year to complete.  Haydn once remarked
that he had worked on The Creation so long because
he wanted it to last.  

The change in Haydn's approach was important in
the history of music, as other composers soon were
following his lead.  Notably, Beethoven adopted
the practice of taking his time and aiming high. 
As composers were gradually liberated from
dependence on the aristocracy, Haydn's late mode
of work became the norm in Classical composition.

== Books about Haydn ==

Biography:

*Haydn by Rosemary Hughes (New York:  Farrar
Strauss and Giroux 1970, out of print) gives a
sympathetic and witty account of Haydn's life,
along with a survey of the music.  
*Another biography, based on the most recent
scholarship, is James Webster and Georg Feder's
contribution to The New Grove Dictionary of Music
and Musicians (New York:  Grove, 2001).  This
article was published separately as a book:  The
New Grove Haydn (New York:  Macmillan 2002, ISBN
0195169042).
*Haydn:  Chronicle and Works, by H. C. Robbins
Landon (Bloomington, IN:  Indiana University
Press, 1976-1980), is a near-exhaustive
compilation of the information we have about
Haydn's life.

Criticism and analysis:

*The Classical Style by Charles Rosen (2nd ed.,
New York:  Norton 1997; ISBN 0393317129) is the
essential work, covering much of Haydn's output,
and explicating Haydn's central role in the
creation of the classical style.

== Catalogs ==

Some of Haydn's works are referred to by opus
numbers, but Hob or Hoboken numbers, after Anthony
van Hoboken's 1957 classification, are also
frequently used.

== See also ==

===Lists of works===

*List of symphonies by Joseph Haydn
*List of masses by Joseph Haydn
*List of string quartets by Joseph Haydn
*List of operas by Joseph Haydn

===Articles on works by Joseph Haydn===
Concertos
*Cello Concerto No. 1 in C (Haydn)
*Cello Concerto No. 2 in D (Haydn)


Symphonies

*Symphony No. 1 (Haydn)|Symphony No. 1 (1757 or
1758)
*Symphony No. 6 (Haydn)|Symphony No. 6, "Le Matin"
(1761)
*Symphony No. 6 (Haydn)|Symphony No. 7, "Le Midi"
(1761)
*Symphony No. 6 (Haydn)|Symphony No. 8, "Le Soir"
(1761)
*Symphony No. 13 (Haydn)|Symphony No. 13 (1763)
*Symphony No. 22 (Haydn)|Symphony No. 22, "The
Philosopher" (1764)
*Symphony No. 23 (Haydn)|Symphony No. 23 (1764)
*Symphony No. 24 (Haydn)|Symphony No. 24 (1764)
*Symphony No. 39 (Haydn)|Symphony No. 39
*Symphony No. 44 (Haydn)|Symphony No. 44,
"Trauersinfonie" (1770)
*Symphony No. 43 (Haydn)|Symphony No. 43,
"Merkur/Mercury"  (1770-1771)
*Symphony No. 42 (Haydn)|Symphony No. 42  (1771)
*Symphony No. 45 (Haydn)|Symphony No. 45,
"Farewell"  (1772)
*Symphony No. 46 (Haydn)|Symphony No. 46  (1772)
*Symphony No. 47 (Haydn)|Symphony No. 47  (1772)
*Symphony No. 54 (Haydn)|Symphony No. 54 (1774)
*Symphony No. 56 (Haydn)|Symphony No. 56 (1774)
*Symphony No. 53 (Haydn)|Symphony No. 53 (c.1779)
*Symphonies No. 76-78 (Haydn) (1783)
*Symphonies No. 82-87 (Haydn) 'Paris' (1785-86)
*Symphony No. 88 (Haydn)|Symphony No. 88 (1787)
*Symphony No. 90 (Haydn)|Symphony No. 90 (1788)
*Symphony No. 91 (Haydn)|Symphony No. 91 (1788)
*Symphony No. 92 (Haydn)|Symphony No. 92, "Oxford"
(1789)
*Symphony No. 94 (Haydn)|Symphony No. 94,
"Surprise" (1791) 
*Symphony No. 96 (Haydn)|Symphony No. 96 (called
"Miracle") (1791)
*Symphony No. 101 (Haydn)|Symphony No. 101, "The
Clock" (1794)
*Symphony No. 102 (Haydn)|Symphony No. 102 (1795)
*Symphony No. 103 (Haydn)|Symphony No. 103,
"Drumroll" (1795)
*Symphony No. 104 (Haydn)|Symphony No. 104,
"London" (1795)


Vocal works
*Gott erhalte Franz den Kaiser
*The Creation 
*The Seasons (Haydn) 
*'Harmoniemesse (1802)


Operas

*La canterina


===Other topics===

*Authentic performance (standards prevalent in
Haydn's day)
*Gottfried van Swieten 
*Johann Peter Salomon
*Haydn and folk music 
*List of Austrians in music
*List of Austrians
*Papa Haydn|"Papa" Haydn
*Social history of the piano (Haydn's musical
parents)
*Turkish music (style)

== External links ==

*http://www.carolinaclassical.com/articles/haydn.h
tml Joseph Haydn and the Classical Era.
*http://www.musicologie.org/Biographies/h/haydn.ht
ml musicologie.org in French
*http://www.hr/darko/etf/hadow3.html Excerpts from
the book A Croatian Composer:  Notes toward the
study of Joseph Haydn, by William H. Hadow.
*http://www.anecdotage.com/browse.php?category=peo
ple&who=Haydn A page of anecdotes about Haydn
*Full text of the biography
http://www.gutenberg.net/etext/3788 Haydn by J.
Cuthbert Hadden, 1902, from Project Gutenberg
*http://www.mutopiaproject.org/cgibin/make-table.c
gi?Composer=HaydnFJ&preview=1 Haydn's Scores by
Mutopia Project