Haydn and Mozart

• 1. Early Musical Influences

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  In 1773, a seventeen-year-old Wolfgang Amadeus Mozart visited Vienna and wrote six string quartets numbered K. 168 through 173. These early works appeared shortly after Joseph Haydn published his Opus 20 set of six quartets in 172. Musicologist Charles Rosen conjectured that Haydn's mature compositions directly inspired the young Mozart's approach to chamber music. The timing suggests a direct line of influence from the older master to the younger prodigy during that specific year. Haydn was already fairly well-known throughout Europe by this time, while Mozart remained largely unknown outside Salzburg.

• 2. Chronology Of Meetings

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  The two composers likely did not meet until after Mozart permanently relocated to Vienna in 1781. Haydn spent most of his time at the palace of Eszterháza in Hungary, located about ninety kilometers from Vienna. Prince Nikolaus Esterházy preferred living there with his court orchestra for much of the year. During winter months, the Prince moved to Eisenstadt, bringing Haydn along on the journey. This arrangement allowed Haydn brief visits to Vienna, roughly fifty kilometers away, creating opportunities for contact. David Wyn Jones notes various points in the late 1770s and early 1780s when meetings might have occurred. The earliest probable date stands as December 22 and 23, 1783, during a performance sponsored by the Vienna Tonkünstler-Societät. That charitable organization presented works by both composers on its program that evening.

• 3. Chamber Music Collaborations

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  Jens Peter Larsen suggests quartet playing formed the central element of contact between Haydn and Mozart. Documentation of specific occasions remains slim despite historical accounts. Michael Kelly, an Irish tenor who premiered Mozart's operatic lyric tenor roles, recorded one such event in his Reminiscences published in 1826. Kelly described a quartet party hosted by Storace where Haydn played first violin and Mozart took viola duties. Baron Dittersdorf handled second violin while Vanhal played cello. Both Dittersdorf and Wanhal were well-known symphony composers of their time though less remembered today. Maximilian Stadler also recalled chamber music performances involving the two masters. They participated together taking viola parts in Mozart's string quintets numbered K. 515, 516, and 593.

• 4. Mutual Critical Praise

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  Haydn freely praised Mozart to friends without displaying jealousy toward the younger composer. He wrote to Franz Rott expressing admiration for Mozart's abilities. To musicologist Charles Burney, Haydn stated he had often been flattered with claims of genius but found Mozart much superior. In a letter to Marianne von Genzinger, Haydn confessed dreaming about Mozart's work and listening happily to performances of The Marriage of Figaro. Franz Niemetschek, Mozart's early biographer, interviewed Constanze Mozart regarding her husband's views on Haydn. Niemetschek reported that high esteem for true merit influenced Mozart's judgment of all art works. An anecdote from Niemetschek describes a private party where Mozart defended Haydn against a fault-finding musician. When the critic declared he would not have composed certain passages, Mozart replied neither could they have thought of anything so appropriate. This remark made Mozart an irreconcilable enemy among those present at the gathering.

• 5. Dedication Of String Quartets

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  Mozart dedicated six string quartets numbered K. 387, 421, 428, 458, 464, and 465 to Haydn during their friendship years. These compositions appeared in print in 1785 after being written over several months. Stylistic influence from Haydn's Opus 33 series likely shaped these new works since that set had emerged in 1781. The dedication itself stood unusual because dedicatees were typically aristocrats rather than fellow composers. Mozart wrote: A father who decided to send his sons out into the great world entrusted them to protection and guidance of a celebrated man. He called Haydn his best friend and asked him to receive the six quartets kindly as his musical sons. Haydn heard the new quartets for the first time on the 15th of January 1785, during a social occasion where Mozart performed with friends. Leopold Mozart attended this event having traveled from Salzburg. At that meeting Haydn told Leopold before God and as an honest man your son is the greatest composer known to me either in person or by name.

• 6. Freemasonic Connections

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  Mozart may have been responsible for bringing Haydn into Freemasonry through lodge membership. Mozart joined the Zur Wohltätigkeit lodge on the 14th of December 1784 while Haydn applied to True Concord on the 29th of December 1784. Lodge records show Mozart frequently visited True Concord as a guest despite not being a member there initially. Haydn's admission ceremony took place the 11th of February 1785 though Mozart could not attend due to a scheduled concert. While Mozart remained enthusiastic about Masonic activities, Haydn showed little ongoing interest. No evidence exists showing Haydn ever attended another meeting after his initial admittance ceremony. He was eventually dropped from the lodge rolls in 1787. The German language offered two sets of second-person pronouns distinguishing formal relationships from intimate ones. Otto Jahn reported in his 1856 biography that Haydn and Mozart used informal du forms during conversation. This practice proved unusual at the time given their significant age difference and indicated deep personal friendship.

• 7. Final Farewell And Death

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  Haydn last saw Mozart days before departing for London in December 1790. Albert Christoph Dies recorded an oft-told tale of their final interactions based on interviews with elderly Haydn fifteen years later. Prince Anton Esterházy granted permission immediately for Haydn's journey though friends warned him about age and discomforts. Mozart called Haydn Papa and expressed concern about his lack of training for the great world. Haydn replied his language was understood all over the world. On the 15th of December 1790, Haydn left with Salomon while Mozart never left his friend that day. They dined together before parting when Mozart said they were probably saying our last farewell in this life. Tears welled from both men's eyes as Haydn applied those words to himself. Griesinger offers a different account suggesting less romanticization of the same occasion. He notes Mozart told Haydn he would not bear it very long since he was no longer young. Haydn responded he remained vigorous and in good health despite being almost fifty-nine years old. When news reached Haydn in London about Mozart's death on the 5th of December 1791, he wrote to Michael Puchberg expressing disbelief at Providence calling away such an irreplaceable man.