As I mentioned in an earlier essay, while the body of music of the '780's may not be considered by everyone to be Haydn's greatest musical accomplishment, this group contains more of my favorite Haydn music than any other, and by far! This is still the Haydn of Eszterháza, but having transcended his roots and created, instead, an entirely new level on which to appreciate music.
The reasons for this overall change in the music are manifold, but the main one is very simple: he was writing for a different audience now, one which was far more differentiated than the Prince alone could ever have been, no matter how eclectic his tastes. Not coincidentally, 1781 marked the beginning of Haydn's years of entrepreneurship, and no one was more aware of the change in his audience than he was. Commissions from Italy, Spain, France, Prussia and England hit his writing table regularly, and even though his provincially contoured style had created his fame, they wouldn't sustain it in the long run.
One of the big differences we see is the shift towards instrumental music. While looking back from our vantage point may not show this to be a dramatic change, I assure you it was! With the cultural broadening of the audience even within countries, such as the rise of the middle-class in Austria for example, and particularly with the growing secularization of all of Europe, instrumental music achieved a new dignity which it had not been accorded previously. By the time of Haydn's death in 1809, instrumental music was preeminent throughout the continent.
I have been, and will continue to be, adding more complete notes to many entries on this list. And those which have an essay which expands on them will be linked to that essay for easy viewing. I hope you will find this to be as useful and informative as I have!
Hoboken I – Symphonies |
||||||
Year |
New Chronology |
Hob I: |
HRL |
Key |
Name |
Instruments |
1781 |
77 |
73 |
77 |
D |
La chasse |
Flute, 2 Oboes, 2 Bassoons, 2 Horns, (2 Trumpets & Timpani) & Strings |
1782 |
78 |
78 |
80 |
c |
Flute, 2 Oboes, 2 Bassoons, 2 Horns & Strings |
|
1782 |
79 |
77 |
79 |
F |
Flute, 2 Oboes, 2 Bassoons, 2 Horns & Strings |
|
1782 |
80 |
76 |
78 |
Eb |
Flute, 2 Oboes, 2 Bassoons, 2 Horns & Strings |
|
1784 |
81 |
81 |
83 |
G |
Flute, 2 Oboes, 2 Bassoons, 2 Horns & Strings |
|
1784 |
82 |
80 |
82 |
d |
Flute, 2 Oboes, 2 Bassoons, 2 Horns & Strings |
|
1784 |
83 |
79 |
81 |
F |
Flute, 2 Oboes, 2 Bassoons, 2 Horns & Strings |
|
1785 |
84 |
87 |
84 |
A |
Flute, 2 Oboes, 2 Bassoons, 2 Horns & Strings |
|
1785 |
85 |
85 |
85 |
Bb |
La Reine |
Flute, 2 Oboes, 2 Bassoons, 2 Horns & Strings |
1785 |
86 |
83 |
86 |
g |
La Poule |
Flute, 2 Oboes, 2 Bassoons, 2 Horns & Strings |
1786 |
87 |
84 |
87 |
Eb |
Flute, 2 Oboes, 2 Bassoons, 2 Horns & Strings |
|
1786 |
88 |
86 |
88 |
D |
Flute, 2 Oboes, 2 Bassoons, 2 Horns, 2 Trumpets, Timpani & Strings |
|
1786 |
89 |
82 |
89 |
C |
L'ours |
Flute, 2 Oboes, 2 Bassoons, 2 Horns (or 2 Trumpets) & Strings |
1787 |
90 |
88 |
90 |
G |
Flute, 2 Oboes, 2 Bassoons, 2 Horns, 2 Trumpets, Timpani & Strings |
|
1787 |
91 |
89 |
91 |
F |
Flute, 2 Oboes, 2 Bassoons, 2 Horns & Strings |
|
1788 |
92 |
90 |
92 |
C |
Flute, 2 Oboes, 2 Bassoons, 2 Horns, (2 Trumpets, Timpani) & Strings |
|
1788 |
93 |
91 |
93 |
Eb |
Flute, 2 Oboes, 2 Bassoons, 2 Horns & Strings |
|
1789 |
94 |
92 |
94 |
G |
Oxford |
Flute, 2 Oboes, 2 Bassoons, 2 Horns, (2 Trumpets, Timpani) & Strings |
(New Chronology / Gerlach N°s.) |
(Hoboken |
(Robbins-Landon N°s.) |
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
Hoboken Ia – Overtures |
||||
Year |
Hob 1a # |
Key |
Name |
Notes |
1782 |
16 |
Bb |
Orlando Paladino |
Italian opera |
1783 |
14 |
Bb |
Armida |
Italian opera |
1786 |
deest |
d |
The 7 Last Words |
Introduction to original orchestral version - Hob 20:1 |
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
Hoboken II – Divertimentos for 4 or more Instruments |
||||
Year |
Hob 2 # |
Key |
Notes |
Instruments |
1788 |
25 |
C |
Notturno #1 - Naples version |
2 Lire organizzate, 2 Clarinets, 2 Horns, 2 Violas & Basso |
1788 |
26 |
F |
Notturno #2 - Naples version |
2 Lire organizzate, 2 Clarinets, 2 Horns, 2 Violas & Basso |
1790 |
27 |
C |
Notturno #3 - Naples version |
2 Lire organizzate, 2 Clarinets, 2 Horns, 2 Violas & Basso |
1790 |
28 |
C |
Notturno #4 - Naples version |
2 Lire organizzate, 2 Clarinets, 2 Horns, 2 Violas & Basso |
1790 |
29 |
C |
Notturno #5 - Naples version |
2 Lire organizzate, 2 Clarinets, 2 Horns, 2 Violas & Basso |
1790 |
30 |
G |
Notturno #6 - Naples - Fragment - Last movement missing |
2 Lire organizzate, 2 Clarinets, 2 Horns, 2 Violas & Basso |
1790 |
31 |
F |
Notturno #7 - Naples version |
2 Lire organizzate, 2 Clarinets, 2 Horns, 2 Violas & Basso |
1790 |
32 |
G |
Notturno #8 - Naples version |
2 Lire organizzate, 2 Clarinets, 2 Horns, 2 Violas & Basso |
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
Hoboken III – String Quartets |
|||||
Year |
Hob 3 # |
Opus # |
New Grove # |
Key |
Notes |
1781 |
41 |
33 #5 |
29 |
G |
6 Quartets |
1781 |
38 |
33 #2 |
30 |
Eb |
New Grove number indicates probable order of composition |
1781 |
37 |
33 #1 |
31 |
b |
|
1781 |
39 |
33 #3 |
32 |
C |
|
1781 |
42 |
33 #6 |
33 |
D |
|
1781 |
40 |
33 #4 |
34 |
Bb |
|
1785 |
43 |
42 |
35 |
d |
Probably one of a set (for Spain) - rest are lost |
1787 |
44 |
50 #1 |
36 |
Bb |
Dedicated to the King of Prussia |
1787 |
45 |
50 #2 |
37 |
C |
|
1787 |
46 |
50 #3 |
38 |
Eb |
|
1787 |
47 |
50 #4 |
39 |
f# |
|
1787 |
48 |
50 #5 |
40 |
F |
|
1787 |
49 |
50 #6 |
41 |
D |
|
1788 |
57 |
54 #2 |
42 |
C |
Tost Quartets set #1 |
1788 |
58 |
54 #1 |
43 |
G |
|
1788 |
59 |
54 #3 |
44 |
E |
|
1788 |
60 |
55 #1 |
45 |
A |
|
1788 |
61 |
55 #2 |
46 |
f |
|
1788 |
62 |
55 #3 |
47 |
Bb |
|
1790 |
65 |
64 #1 |
48 |
C |
Tost Quartets set #2 |
1790 |
68 |
64 #2 |
49 |
b |
|
1790 |
67 |
64 #3 |
50 |
Bb |
|
1790 |
66 |
64 #4 |
51 |
G |
|
1790 |
64 |
64 #6 |
52 |
Eb |
|
1790 |
63 |
64 #5 |
53 |
D |
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
Hoboken IV – Divertimentos for 3 Instruments |
|||
Year |
Hob 4# |
Key |
Notes |
1784 |
6 |
D |
I Adagio cantabile arrangement of the Sinfonia (#12) from Act II of Il mondo della luna II Allegro arrangement of the Chorus Uomo felice (#15) from Act II of Il mondo della luna |
1784 |
7 |
G |
I Allegro arrangement of the aria Se la mia Stella (#24) from Act II of Il mondo della luna |
1784 |
8 |
C |
II Poco adagio arrangement of the aria Quanta gente che sospira (#25) from Act II of Il mondo della luna |
1784 |
9 |
G |
I Adagio arrangement of the 1st movement of the Baryton Trio #97 in D II Scherzo arrangement of the 6th movement of the Baryton Trio #97 III Finale: Fuga: Presto arrangement of the 7th movement of the Baryton Trio #97 |
1784 |
10 |
A |
III Tempo di Menuetto arrangement of the balletto (#23) from Act II of Il mondo della luna |
1784 |
11 |
D |
III Vivace arrangement of the balletto (#14) from Act II of Il mondo della luna |
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
Hoboken VII – Concertos for Various Instruments |
||||
Year |
Hob 7# |
Key |
Instruments |
Notes |
1781 |
d:4 |
D |
Solo Horn & Strings |
Authenticity = Unknown |
1786 |
h:1 |
C |
2 Lire, 2 Horns, 2 Violins, 2 Violas & 2 Cellos |
Original versions commissioned by the King of Naples |
1786 |
h:2 |
G |
2 Lire, 2 Horns, 2 Violins, 2 Violas & 2 Cellos |
|
1787 |
h:3 |
G |
2 Lire, 2 Horns, 2 Violins, 2 Violas & 2 Cellos |
|
1786 |
h:4 |
F |
2 Lire, 2 Horns, 2 Violins, 2 Violas & 2 Cellos |
|
1787 |
h:5 |
F |
2 Lire, 2 Horns, 2 Violins, 2 Violas & 2 Cellos |
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
Hoboken VIII – Marches |
||||
Year |
Hob 8 # |
Key |
Notes |
Instruments |
1785 |
6 |
Eb |
2 Clarinets, 2 Bassoons, 2 Horns, Trumpet & Serpent |
|
Hoboken IX – Dances |
||||
Year |
Hob 9 # |
Key |
Notes |
Instruments |
1784 |
7 |
Various |
14 Minuetti ballabile |
Flute, 2 Oboes, 2 Bassoons, 2 Horns, Timpani & Strings |
1785 |
9 |
Various |
6 Allemandes |
Flute, 2 Oboes, Bassoon, 2 Horns, 2 Trumpets, Timpani & Strings |
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
Hoboken XV – Keyboard Trios |
|||||
Year |
Hob 15 # |
Landon # |
Key |
Instruments |
Notes |
1784 |
5 |
18 |
G |
Fortepiano, Violin & Cello |
Published by Forster of London along with 2 of Pleyel's trios |
1784 |
6 |
19 |
F |
Fortepiano, Violin & Cello |
Hob. 6, 7 & 8 were published as a set by Artaria in Vienna as Haydn's Opus 40 |
1785 |
7 |
20 |
D |
Fortepiano, Violin & Cello |
|
1785 |
8 |
21 |
Bb |
Fortepiano, Violin & Cello |
|
1785 |
9 |
22 |
A |
Fortepiano, Violin & Cello |
Hob. 9 & 10, along with Hob. 2, were published as a set of 3 by Forster of London. |
1785 |
10 |
23 |
Eb |
Fortepiano, Violin & Cello |
|
1788 |
11 |
24 |
Eb |
Fortepiano, Violin & Cello |
Published by Artaria in Vienna as a set of 3 |
1788 |
12 |
25 |
e |
Fortepiano, Violin & Cello |
|
1789 |
13 |
26 |
c |
Fortepiano, Violin & Cello |
|
1790 |
14 |
27 |
Ab |
Fortepiano, Violin & Cello |
Hob. 14, 15 & 16 were published as a set of 3 by Artaria in Vienna. Hob. 15, 16 & 17 were published as a set of 3 by Bland in London |
1790 |
16 |
28 |
D |
Fortepiano, Flute & Cello |
|
1790 |
15 |
29 |
G |
Fortepiano, Flute & Cello |
|
1790 |
17 |
30 |
F |
Fortepiano, Flute (or Violin) & Cello |
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
Hoboken XVI – Keyboard Sonatas |
||||
Year |
Hob 16 # |
Landon # |
Key |
Notes |
1782 |
34 |
53 |
e |
Published as a pirated set of 3 in London along with the earlier singles Hob 33 & 43 (1773 & 75). |
1783 |
40 |
54 |
G |
Dedicated to sixteen-year-old Princess Marie Hermenegild Esterházy, bride of the future Prince Nicholas II. |
1783 |
41 |
55 |
Bb |
|
1783 |
42 |
56 |
D |
|
1788 |
47 |
57 |
F |
Second version of Hob 47 (Landon 19) |
1789 |
48 |
58 |
C |
Composed for a collection by Christof Breitkopf |
1790 |
49 |
59 |
Eb |
Dedicated to Marianne Genzinger |
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
Hoboken XVII – Solo Keyboard Pieces |
|||
Year |
Hob 17 # |
Key |
Notes |
1786 |
9 |
F |
Adagio Eventually became the inner movement of sonata Hob 16:50 (Landon 60). |
1788 |
2b |
A |
Theme and 12 Variations - Published version – The original of 1765 may have been in G major and had 20 variations. |
1789 |
4 |
C |
Haydn called it 'Capriccio' but Artaria published it as Fantasia |
1790 |
5 |
C |
Andante and 6 Variations |
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
Hoboken XIX – Works for Flötenuhr |
|||
Year |
Hob 19# |
Name/Tempo |
Notes |
1789 |
1 |
I. Allegro moderato |
These 16 pieces were all on Niemecz' 1789 clock, only #16 is dated |
2 |
II. Andante - Allegretto |
||
3 |
III. Presto - Allegro moderato |
||
4 |
IV. Andante |
||
5 |
V. Menuett |
||
6 |
VI. Menuett, Der Wachtelschlag |
||
7 |
VII. Allegretto |
||
8 |
VIII. Menuett |
||
9 |
IX. Allegro moderato |
||
10 |
X. Vivace |
||
11 |
XI. Menuett: Allegretto |
||
12 |
XII. Presto |
||
13 |
XIII. Allegretto |
||
14 |
XIV. Vivace |
||
15 |
XV. Andantino |
||
16 |
XVI. Andante cantabile "Der Dudelsack" |
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
Hoboken XX – Pieces on The 7 Last Words – (Numbering modified by me) |
||||
Year |
Hob 20 # |
Key |
Instruments |
Notes |
1786/87 |
1A |
Various |
2 Flutes, 2 Oboes, 2 Clarinets, 2 Bassoons, 4 Horns, 2 Trumpets, Timpani & Strings |
Original orchestral version composed for Spain |
1787 |
1B |
2 Violins, Viola & Cello |
Hoboken called them III:50-56 – It is more correct to place them here. |
|
1787 |
1C |
Solo Pianoforte |
Said to not be arranged by Haydn, but it certainly is possible, even probable, that it was. See essay 1787 #5 |
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
Hoboken XXII – Catholic Masses |
||||
Year |
Hob 22 # |
Key |
Name |
Instruments / Voices |
1782 |
8 |
C |
Mariazellermesse or Second Missa Cellensis |
S-A-T-B, Chorus, 2 Oboes, Bassoon, 2 Trumpets, Timpani, Strings & Continuo (Organ) |
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
Hoboken XXIV – Arias with Orchestra |
|||
Year |
Hob 24b # |
Name/Tempo |
Notes (Character – (Voice) – Opera - Composer |
1785 |
7 |
Signor, voi sapete |
Rosina (Sop) - Il matrimonio per inganno by Anfossi |
1785 |
8 |
Dica pure chi vuol dire |
Modesta (Sop) - Il geloso in cimento by Anfossi |
1786 |
9 |
Sono Alcina |
Lesbia (Sop) - L'isola di Alcina by Gazzaniga |
1786 |
10 |
Ah tu non senti… Qual destra omicida |
Oreste (Tenor) - Ifigenia in Tauride by Traetta |
1787 |
11 |
Un cor si tenero |
Ormondo (Bar) - Il disertore by Bianchi |
1787 |
12 |
Vada adagio, signorina |
Cardellina (Sop) - La quakera spiritosa by Guglielmi |
1787 |
13 |
Che vive amanta |
Erissena (Sop) - Alessandro nell'Indie by Bianchi |
1789 |
14 |
Se tu mi sprezzi |
Il Cavaliere (Ten) - I finti eredi by Sarti |
1789 |
15 |
Infelice sventurata |
Beatrice (Sop) - I due supposti conti by Cimarosa |
1790 |
16 |
Da che penso |
Titta (Ten) - L'amore artigiano by Gassman |
1790 |
17 |
Il meglio mia carattere |
Merlina (Sop) - L'impressario in angustie by Cimarosa |
1790 |
18 |
La moglie quando e buona |
Giannina (Sop) - Giannina e Bernadone by Cimarosa |
1790 |
19 |
La mia pace, oh Dio |
Costanza (Sop) - L'amore artigiano by Gassman |
1790 |
22 |
Tornate pur mia bella |
Tenor - Opera unknown |
1790 |
23 |
Via siate bonino |
Soprano - Opera unknown |
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
Hoboken XXVIa – Lieder with Keyboard accompaniment |
|||||||||||||
Year |
Hob 26a # |
Key |
Tempo |
Title - German |
Title - English |
Poet |
|||||||
1781 |
1 |
Bb |
Adagio |
Das strickende Madchen |
The Knitting Maiden |
Sir Charles Sedley trans. J.G. Herder |
|||||||
1781 |
2 |
E |
Allegretto |
Cupido |
Cupid |
G. Leon |
|||||||
1781 |
3 |
Eb |
Andante |
Das erste Kuss |
The First Kiss |
J.G. Jacobi |
|||||||
1781 |
4 |
G |
Allegretto |
Eine sehr gewöhnliche Geschichte |
An All-too-common Story |
C.F. Weisse |
|||||||
1781 |
5 |
g |
Adagio |
Die Verlassene |
The Abandoned Woman |
L.L. Haschka |
|||||||
1781 |
6 |
A |
Vivace |
Der Gleichsinn |
Indifference |
G. Wither trans. J.J. Eschenburg |
|||||||
1781 |
7 |
Bb |
Poco adagio |
An Iris |
To Iris |
J.A. Weppen |
|||||||
1781 |
8 |
D |
Allegro |
An Thyrsis |
To Thrysis |
1st stanza: C.M. von Ziegler rest anon. |
|||||||
1781 |
9 |
f |
Adagio |
Trost unglücklicher Liebe |
Comfort for Unhappy Love |
Anonymous |
|||||||
1781 |
10 |
C |
Allegro molto |
Die Landlust |
Country Pleasure |
Stahl |
|||||||
1781 |
11 |
D |
Adagio |
Liebeslied |
Love Song |
Leon |
|||||||
1781 |
12 |
Eb |
Allegretto |
Die zu späte Ankunft der Mutter |
The Mother's Belated Arrival |
Weisse |
|||||||
1784 |
13 |
F |
Andante |
Jeder meint, der Gegenstand |
Everybody knows |
Ph. G Bader |
|||||||
1784 |
14 |
Bb |
Allegretto |
Lacher nicht, Mädchen, wenn ihr gleich lachet, die ihr schon liebt |
Don't laugh, girls… |
Anon |
|||||||
1784 |
15 |
G |
Moderato |
O liebes Mädchen, höre mich |
Hear me, dear maiden |
Anon |
|||||||
1784 |
16 |
G |
Allegretto |
Gegenliebe |
Requited (Mutual) Love |
G.A. Bürger |
|||||||
1784 |
17 |
g |
Adagio |
Geistliches Lied |
Sacred Song |
Anon |
|||||||
1784 |
18 |
F |
Un poco Andante |
Auch die sprödeste der Schönen |
Even the most aloof beauty |
F.W. Gotter |
|||||||
1784 |
19 |
E |
Adagio cantabile |
O fliess, ja wallend fliess in Zähren |
Flow of tears |
Anon |
|||||||
1784 |
20 |
C |
Allegretto |
Zufriedenheit |
Contentment |
J.W.L. Gleim |
|||||||
1784 |
21 |
Eb |
Largo |
Das Leben ist ein Traum |
Life is a Dream |
J.W.L. Gleim |
|||||||
1784 |
22 |
a |
Andante |
Lob der Faulheit |
In Praise of Laziness |
G.E. Lessing |
|||||||
1784 |
23 |
A |
Cantabile |
Minna |
Minna |
J.J. Engel |
|||||||
1784 |
24 |
E |
Largo |
Auf meines Vaters Grab |
On my Father's Grave |
Anon |
|||||||
1790 |
39 |
E |
Trachten will ich nicht auf Erden |
I do not wish to strive on earth |
Anon |
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
Hoboken XXVIII – Italian Operas |
|||||
Year |
Hob 28 # |
Title |
Libretto |
Voices/Instruments |
Notes |
1782 |
11 |
Orlando paladino |
Dramma eroicomico (Heroic comedy - buffa) Nunzio Porta based on C.F. Badini (1771) / Original story (Orlando furioso) by Ludvico Ariosto (1516) |
3 Sopranos, 4 Tenors, 2 Basses & Chorus 1 Flute, 2 Oboes, 2 Bassoons, 2 Horns or Trumpets, Timpani, Strings, Continuo |
Performed on December 6, Nicholas' Name Day in 1782 |
1783 |
12 |
Armida |
Dramma eroico (seria), It is a combination of several settings, mainly Antonio Tozzi; finally edited by Nunziato Porta – from the story Jerusalem Delivered by Torquato Tasso (1581) |
2 Sopranos, 3 Tenors, Baritone, 1 Flute, 2 Oboes, 2 Clarinets, 2 Bassoons, 2 Horns or Trumpets, Timpani, Strings & Continuo |
The first performance was February 26, 1784 and it received 54 performances from 1784 to 1788 at the Eszterháza Opera. |