Mozart & Haydn
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Franz Joseph Haydn (1732-1809) had the unusual distinction of preceding and following the career of Wolfgang Amadeus Mozart (1756-1791). In the course of Mozart's short life, the two composers became friends and Haydn was an important influence on the younger man. But Mozart, who began to compose at such an early age, ended by influencing Haydn as well. The degree of influence each composer exerted on the other has been elucidated by musicologists over many decades. But many of the most widely accepted ideas about the relationship are constantly subjected to scholarly reinterpretation. A brief outline of their relationship and several examples of their mutual influence will demonstrate how the two great composers of the late eighteenth century learned from each other. Haydn and Mozart were very different kinds of men, from very different backgrounds. Haydn was the son of a peasant and his musical career grew from his selection for the St. Stephen's choir in Vienna. Haydn's first exposure to music was "the native folk music, which was a part of the daily life of the peasantry." In learning composition, however, Haydn came under the influence of the Viennese Baroque composers and, later, the Baroque composer Gregor Joseph Werner, for whom Haydn served as assistant and later succeeded as conductor. In his personal life Haydn was determined and deliberate. He suffered great poverty during his years of self-teaching and finally found stability with his appointment as
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a figure in Mozart's development as his more purposeful elder brother." Yet there is little other evidence to suggest that Haydn's influence was directly operative at this time.
Aside from such tenuous connections as this most scholars agreed that it was only in 1773, during a summer in Vienna, that Mozart displayed significance influence by Haydn. The older composer had published two sets of string quartets in 1771-72, Opus 17 and Opus 20. As Sadie puts it, the six quartets that Mozart wrote during this summer "are clearly an attempt to emulate the principal Viennese composer." Both "thematic resemblances" and the "still more significant use of fugal finales" are traditionally cited as instances of Haydn's influence on the 1773 quartets. Schmid, for example, cites the use of a theme in the Andante of K.168 that was also used by Haydn in the fugal finale of Opus 20/5. In adopting the theme Mozart, according to Schmid, changed its function from Haydn's lively Baroque application to "a main theme for a slow movement of deeply expressive character"--a change similar in nature to that made with the theme he had supposedly borrowed from Haydn's symphony 13.
More recently, however, Brown has re-analyzed the supposed influ
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Approximate Word count = 1972
Approximate Pages = 8 (250 words per page)
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