Haydn and Mozart - Wikipedia
Mozart took this to a new height as he was a “child prodigy” (Bennett) and toured all The difference between Beethoven's poly-patronage and Haydn being. In the second half of the eighteenth century, a reaction against Rococo style occurred. Beethoven, Haydn, and Mozart, though none was a native Viennese, Beethoven protested against the patronage system that bound musicians to the . Patrons of Music by Active Minds. In the s, masters such as Haydn, Mozart and, in his youth, Beethoven, relied on the benevolence of royalty and wealthy.
The combination of financial, social and creative support freed Beethoven to follow his own inspiration on the other hand Haydn sometimes felt limited as he has to please his patron. On the other hand, he has the advantage of working with a devoted, highly skilled band of singers and players and an intelligent patron whose requirements may have been burdensome but whose understanding and enthusiasm were inspiring.
In conclusion, it is due to the similarities and differences of that these composers have bee able to excel in different ways.
Patrons of Music
Works Cited Batteux, Charles. Peter Burkholder, and Claude V. A History of Western Music. Kennedy, Michael, and Joyce Bourne. The Concise Oxford Dictionary of Music. Musical Articles from the Encyclopedia Britannica. His opera The Abduction from the Seraglio had been premiered with great success in Vienna, and was being produced in several other cities.
Playing chamber music[ edit ] Jens Peter Larsen suggests that "quartet playing was central to the contact between Haydn and Mozart",  although the documentation of the occasions in which the two composers played or heard quartets or other chamber music together is slim. One report of such an occasion comes from the Reminiscences of the Irish tenor Michael Kellywho premiered Mozart's most important operatic lyric tenor roles.
Music's Greatest Patrons
Storace gave a quartet party to his friends. The players were tolerable; not one of them [except for Dittersdorf] excelled on the instrument he played, but there was a little science [c] among them, which I dare say will be acknowledged when I name them: I was there, and a greater treat, or a more remarkable one, cannot be imagined. Many, if not most, now believe that Dittersdorf actually played first violin, given his world-class technique, and Haydn second.
The composer Maximilian Stadler also remembered chamber music performances in which Haydn and Mozart participated: For instance, he wrote to Franz Rott,  If only I could impress Mozart's inimitable works on the soul of every friend of music, and the souls of high personages in particular, as deeply, with the same musical understanding and with the same deep feeling, as I understand and feel them, the nations would vie with each other to possess such a jewel.
To the musicologist Charles Burneyhe said, "I have often been flattered by my friends with having some genius, but he was much my superior.
Haydn and Mozart
In one passage from his biography he says: High esteem for true merit, and regard for the individual, influenced his judgment of works of art. He was always very touched when he spoke of the two Haydns or other great masters. A, Mozart's friend and colleague during his many years in Salzburg as organist-choirmaster of the cathedral there. An often-retold anecdote from Niemetschek is the following: Besides Mozart there were a number of other musicians present, among them a certain man who was never known to praise anyone but himself.
He was standing next to Mozart and found fault with one thing after another. Well-to-do individuals who provided the financing.
They are mostly forgotten, except for the few whose names have become linked to a handful of works thanks to publishers, who acknowledged them on the score's title page.
Another handful of benefactors are remembered for the close, occasional stormy relationships they kept with composers. But most are, sadly, merely footnotes in music history. To understand the importance of such figures as Esterhazy, Lichnovsky, Lobkowitz, Galitzin, Razumovsky, Von Meck, Belyayev, Coolidge and the others, consider the contrast between Haydn's successful career and that of his contemporary, Mozart. Haydn was employed for 30 years in the luxurious palace of the Esterhazy family — composing chamber music, symphonies, operas and such, while utilizing an in-house orchestra and receiving a monthly stipend and three square meals a day, plus constant praise for his work.
Mozart never enjoyed such a comfortable situation, instead endlessly scrounging for financial support, begging friends for loans, writing glorious commissioned music but never receiving promised payments. No surprise that Haydn lived to be 77, while Mozart died penniless at Today, wealthy members of society give to various charities in exchange for recognitions — and tax deductions. Some do support composers, but hardly in the manner previous benefactors did.