While some suggest that he was overshadowed by Mozart and Beethoven, it would be difficult to overstate Haydn's centrality to the new style, and therefore to the future of Western art music as a whole.

He found, in Haydn's music and later in his study of the polyphony of Bach, the means to discipline and enrich his gifts.

Hoffmann von Fallersleben intended Das Lied der Deutschen to be sung to Haydn's tune, as the first publication of the poem included the music.

English Elizabethan and Stuart composers had often evolved their music from folk themes, the classical suite was based upon stylised folk-dances and Joseph Haydn's use of folk melodies is noted.

Mozart's music, like Haydn's, stands as an archetype of the Classical style.

Stylistically Stamitz's music is not too far from the works of the young Mozart or, for that matter, from Haydn's middle period.

Beethoven, a student of Haydn's in Vienna, used unusually daring harmonies and rhythm and composed numerous pieces for piano, violin, symphonies, chamber music, string quartets and an opera.

It is thought, however, that a number of Joseph Haydn's earlier symphonies may be program music ; for example, the composer once said that one of his earlier symphonies represents " a dialogue between God and the Sinner ".

The unusual intensity of the ending may be the result of Haydn's piling of coda upon coda, each occurring at a point where the music seems about to end.

Nicola Porpora, ( much later to be Haydn's master ), set the work to music, and the success was so great that the famed Roman prima donna, Marianna Bulgarelli, " La Romanina ", sought out Metastasio, and took him on as her protégé.

Haydn's music contains many jokes, and the Surprise Symphony includes probably the most famous of all: a sudden fortissimo chord at the end of an otherwise piano opening theme in the variation-form second movement.

* In Haydn's Symphony No. 60 in C ( Il Distratto ), the first and second violins start the finale of this unusual six-movement symphony with the lowest string tuned to F, but tune up to G in the course of the music to create a comical effect.

Haydn's tune has since been widely employed in other contexts: in works of classical music, in Christian hymns, in alma maters, and as the tune of Das Lied der Deutschen, the national anthem of Germany.

As elsewhere in Haydn's music, it has been conjectured that Haydn took part of his material from folksongs he knew.

Various American Universities and colleges use Haydn's music as the tune for university hymns.

Haydn's music was well known in England well before the composer traveled there, and members of the British musical public had long expressed the wish that Haydn would visit.

He also translated in the reverse direction, putting the German back into English in a way that would fit the rhythm of Haydn's music.

* Haydn's opera L ' incontro improvviso (" The Unforeseen Encounter ", 1775 ) is somewhat similar in its subject to Mozart's later " Abduction from the Seraglio " and also includes Alla turca music, for instance the overture.

* Haydn's " Military " Symphony ( 1794 ) uses Alla turca music in both the second movement ( which depicts a battle ) and in a brief reprise at the end of the finale.

Haydn's variety of dramatic effects and ability to create tension was remarked upon in his own time: his music was increasingly taken as the standard by which other practice might be judged.

While Stauss adapts no music from the stage work, he did incorporate Haydn's Austrian Hymn ' Gott erhalte ' into the Finale of the polka.

With the rise of acclaim for Haydn's music during the 20th century, the patronizing sense of " Papa Haydn " caused scholars and critics to become leery of the term, seeing it as a distortion of the composer's work.

Haydn's Opus 51, this is the form in which the music is most often heard today: a group of seven works ( Hoboken-Verzeichnis III / 50 – 56 ), with the Introduction abutting Sonata I and Sonata VII joined by the Earthquake.

He contributed greatly to music in the local area, staging performances of large choral works such as Mozart's requiem, and excerpts from Haydn's The Creation and Mendelssohn's St. Paul.

Haydn's Sonata in E minor, which was unfailingly pleasant in sound, and Chopin's Sonata in B flat minor.

" The best part of Joseph Haydn's training was derived from a study of his work.

* Richard Strauss's standard repertory opera Ariadne auf Naxos was preceded by a L ' Arianna each by Claudio Monteverdi and Carlo Agostino Badia, by an opera Ariadne ( 1691 ) by German composer Johann Georg Conradi, and by non-operatic Ariadne auf Naxos works including a cantata based on the Heinrich Wilhelm von Gerstenberg poem and Jiri Antonin Benda's melodrama Ariadne auf Naxos ( Benda ), and by Joseph Haydn's cantata Arianna a Naxos.

Initially this was in the three movement form, though some of Haydn's have two movements.

It is thought that this practice was quite intentional on Haydn's part and was related to the sonority of the instruments of Haydn's day: the piano was fairly weak and " tinkling " in tone, and benefited from the tonal strengthening of other instruments.

As with nearly all the named Haydn symphonies, the title " Philosopher " was not Haydn's own ; it was, however, commonly used in his own lifetime.

It is quite contrapuntal, and ends in E minor rather than finishing in a major key as was usual in most other minor key works of the time ( including Haydn's next symphony, the Symphony No. 45, The Farewell ).

The composer Joseph Haydn's favorite wine was Tokaji.

A more likely inspiration was the similar rhythmic parody of Joseph Haydn's " Clock " Symphony.

In 1791, Joseph Haydn, who was in London at the same time as young Hummel, composed a sonata in A-flat for Hummel, who played its premiere in the Hanover Square Rooms in Haydn's presence.

It was written for Haydn's patron, Prince Nikolaus Esterházy, while he, Haydn and the court orchestra were at the Prince's summer palace in Eszterháza.

Joseph Haydn's Symphony No. 13 in D major was written in 1763 for the orchestra of Haydn's patron, Prince Nikolaus Esterházy, in Eisenstadt.

When Haydn's Capriccio was published by Artaria in the 1780s, the Viennese bass octave had mostly disappeared ( indeed, the harpsichord itself was becoming obsolete ).

Consequently, opus numbers are not usually in chronological order, unpublished compositions usually had no opus number, and numeration gaps and sequential duplications occurred when publishers issued contemporaneous editions of a composer ’ s works, as in the sets of string quartets by Joseph Haydn ( 1732 – 1809 ) and Ludwig van Beethoven ( 1770 – 1827 ); Haydn's Op.

* Joseph Haydn's works are referred to by their Hob.

RCA Victor began making studio recordings of the NBC Symphony for commercial release in 1938 ; Mozart's Symphony No. 40 and Joseph Haydn's Symphony No. 88 were the first works to be recorded.

Rostropovich is also well known for his interpretations of standard repertoire works, including Dvořák's Cello Concerto in B minor and Haydn's cello concerti in C and D, Prokofiev's Symphony-Concerto and the two cello concerti of Shostakovich.

Particularly in Haydn's early works it is argued that the inversions of harmony from the occasional crossings of the bass and viola line imply a double bass ; the question is not settled, however.

Haydn's works are often referred to by their " Hoboken number " ( usually abbreviated to " Hob " or just " H "), taken from this catalogue.

Toward the end of his active career Haydn wove the theme of the second movement into an aria of his oratorio The Seasons ( 1801 ), in which the bass soloist depicts a plowman whistling Haydn's tune as he works.

It is the earliest of Haydn's minor key symphonies associated with his Sturm und Drang period works ( such as the Symphony No. 45 ).

Although Haydn's later works often showed a greater fluidity between distant keys, Beethoven's innovation was the ability to rapidly establish a solidity in juxtaposing different keys and unexpected notes to join them.

He was the dedicatee of some of these composers ' greatest works, including Haydn's " Lobkowitz " quartets ( Opus 77 ), and Beethoven's 3rd, 5th, and 6th symphonies and his Opus 18 string quartets.

Three consecutive movements in exactly the same meter rarely occur in the symphonies, sonatas or chamber works of the great Viennese composers ( one notable exception being Haydn's Farewell Symphony ).

There is no sign that Nikolaus had any real interest in Haydn's string quartets, now considered among his greatest works.

He has also been involved with many early recordings and performances of both solo and orchestral works including J. S. Bach's Brandenburg Concerto # 2, Béla Bartók's Concerto for Orchestra, Aaron Copland's Quiet City, Joseph Haydn's Concerto for Trumpet in Eb, Alexander Scriabin's The Poem of Ecstasy, Georg Philipp Telemann's Concerto for Trumpet in D, and Antonio Vivaldi's Concerto for Two Trumpets in C.

She was often in demand for choral works ; apart from Messiah, she was noted in Haydn's The Creation, Mendelssohn's Elijah, and Brahms's A German Requiem.

It is one of Haydn's best-known works, even though it is not one of the Paris or London Symphonies and does not have a descriptive nickname.