Various melodious paternity charges have been levelled at the composer Joseph Haydn. His rush coincided with the development of Classical style and forms (the symphony, sonata, string quartet and early(a) instrumental forms), in the moulding of which he played an big part. Born in Rohrau in 1732, the son of a wheelwright, he was trained as a chorister at St Stephens duomo in Vienna, where he made his early living, before meshing to the small musical establishment of Count Morzin in 1759. In 1760 he entered the service of the Esterházy Princes, and succeeded to the position of Kapellmeister on the death of his forerunner and immediate superior Gregor Werner in 1766. Much of Haydns manners now centred on the magnificent palace and estate at Eszterháza, where his employer Prince Nikolaus Esterházy had moved his entourage for most of the year. The death of the Prince in 1790 released Haydn and allowed incite to London. There followed further service of the successors to Prince Nikolaus, now at the former residence at Eisenstadt, and concluding retirement in Vienna, where he died in 1809, as the soldiers of Napoleon again entered the city.
Church Music
Haydns duties as Kapellmeister to the Esterházy family involved the provision of church music, as well up as music for entertainment.

The Mass settings composed for the younger Prince Nikolaus include the well-known Nelson Mass (Missa in angustiis), written at the epoch of Nelsons victory over Napoleons go across at Aboukir Bay in 1798 and perhaps heard by Nelson and Lady Hamilton during their visit to Eisenstadt in 1800. Between 1796 and 1802 Haydn wrote five other Mass settings, known by their nicknames, Heiligmesse, Paukenmesse, Theresienmesse, Schöpfungsmesse and Harmoniemesse.
Oratorios
Haydns visits to London suggested to him the musical possibilities of oratorio, in the form perpetuated after Handels death by commemorative festival performances. The result was Die Schöpfung (The...If you want to look at a full essay, order it on our website:
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