Joseph haydn* haydn - the creation

Haydn struggled at first, working 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". [14] He was also briefly in Count Friedrich Wilhelm von Haugwitz 's employ, playing the organ in the Bohemian Chancellery chapel at the Judenplatz . [15]

American Patriotic Music
Classical Wedding Music
Christmas Carols
Classical Christmas Music
Organ Music for Christmas
Women Composers

During the 1760s Haydn’s fame began to spread throughout Europe. The Austrian and Czech monasteries did much to disseminate his church music as well as his symphonies, divertimenti, sonatas, and concertos. Aristocratic patrons in south Germany, Italy, and the Austrian empire assiduously collected his music, and their libraries would eventually become important sources for copies of his work.

Two works often identified and even published as piano concertos by Haydn, and commonly taught to younger piano students, are actually Divertimenti, grouped in Hob. XIV. Specifically, they are Hob. XIV:3 (the "Little Concerto" in C major), and Hob. XIV:4 (another "concerto" in C major). However, another work of similar technical difficulty that is also identified and published as a concerto is the Concerto in F, Hob. XVIII:F1.


Mozart- "The Golden years" - by HC. Robbins 1989
Schirmer Boob. Mozart - by Hugh Ottaway 1979
Orbis. Maria Theresa - by Edward Cranbhaw, 1969 Longmans.
Encyclopaedia of Freemasonry by Albert C. MacKay and Charles T. McClenachan, 1924 Edition, The Masonic History Company.
Encyclopaedia Brittanica.
Encarta Encyclopaedia by Microsoft.

Haydn was inspired to create The Creation following his trips to the UK, where he heard the oratorios of Handel still being performed with massive forces. He is quoted as saying that, once in the flow, he begged God to let him be able to finish the work – clearly knowing he was onto a corker.

At one particular performance, just a year before he died, Haydn had to be carried into the hall on a chair to hear his music. As the audience billed and cooed at various sublime sections, Haydn was forced to take the spontaneous applause. He is said to have pointed to the sky, smiled and said, ‘It’s not from me: everything comes from up there!’

Recommended Recording

Heather Harper (soprano); Pamela Bowden (mezzo-soprano); Alexander Young (tenor); John Shirley-Quirk (bass); Choir of King’s College, Cambridge; Academy of St Martin in the Fields ; David Willcocks (conductor). EMI Classics: 3759292.

* #419942 - , 4 pp. -  /10 2 4 6 8 10 ( - )  - V / V / V - 15 × ⇩ - Philhar

Joseph Haydn* Haydn - The CreationJoseph Haydn* Haydn - The CreationJoseph Haydn* Haydn - The CreationJoseph Haydn* Haydn - The Creation