Haydn’s sensibility

• DOI: 10.1556/smus.51.2010.1-2.2
• Publication Date: 2010-03-19T01:56:21Z
• Authors: James Webster
• Keywords: MOZART

Recent interpretations of both Haydn’s personality (as a man) and his musical style (or ‘persona’) have focused on the two opposed categories earnestness wit . The present essay adds third category sides equation: sensibility (German Empfindsamkeit ), argues that it is equally important. various meanings are laid out their applicability to Haydn discussed, including rich varied relationships with lovers intimate friends. problematics possible correlations between an artist’s discussed; argued that, contrary recent theories separation into different domains, these in fact closely related. Sensibility was central aspect mid- late 18th-century aesthetics, ideas about ideal human behavior, prose fiction, opera drama, etc. — as well instrumental music (Carl Philipp Emanuel Bach). In case, not surprisingly, has so far been located genres destined primarily for private use: keyboard lieder; this illustrated by analysis interpretation “Das Leben ist ein Traum” (Hob. XXVIa:21; published 1784). such works we may imagine ‘speaking to’ dedicatee work, sympathetic listener. However, also important string quartet symphony, where almost never considered relevant. Examples discussed slow movements from op. 76 no. 5 symphonies nos. 75, 88, 92, 98, 99, 102. It old notion ‘Classical style’ (fortunately now decline), its rigid demarcation ‘high’ vocal (Haydn’s operas) earlier (Emanuel Bach), primary reason scholars listeners until remained unmoved sensibility.