His fortunes began to turn in the late 1750s as members of Vienna's noble families became aware of his music, and on May 1, 1761, he went to work for the Esterházy family. After Haydn's voice broke and he was turned out of the choir, he eked out a precarious living as a teenage freelance musician in Vienna. Stephen's cathedral in Vienna when he was eight, later joined by his younger brother, Michael Haydn, also destined to be a composer. Haydn was prolific not just because he was a tireless worker with an inexhaustible musical imagination, but also because of the circumstances of his musical career: he was the last prominent beneficiary of the system of noble patronage that had nourished European musical composition since the Renaissance.īorn in the small Austrian village of Rohrau, he became a choirboy at St. Few of them lack some unexpected detail or clever solution to a formal problem. By one estimate, Haydn produced some 340 hours of music, more than Bach or Handel, Mozart or Beethoven. Part and parcel of Haydn's formal mastery was his famous sense of humor, his feeling for the unpredictable, elegant twist. His influence upon later composers is immeasurable Haydn's most illustrious pupil, Beethoven, was the direct beneficiary of the elder master's musical imagination, and Haydn's shadow lurks within (and sometimes looms over) the music of composers like Schubert, Mendelssohn, and Brahms.
His operas, too, have finally come to be regarded as well-crafted and deserving of far greater attention than they had historically received in the 20th century. He also wrote several masterful oratorios and masses, especially in his later years. In hundreds of instrumental sonatas, string quartets, and symphonies, Haydn both broke new ground and provided durable models indeed, he was among the creators of these fundamental genres of classical music. Perhaps his most important achievement was that he developed and evolved the most influential structural principle in the history of music: his perfection of the set of expectations known as sonata form made an epochal impact. Martina Janková too could confidently inscribe the same words above this recording.Franz Joseph Haydn is the composer who, more than any other, epitomizes the aims and achievements of the Classical era. Fittingly, Haydn inscribed the dedication to one of the collections: Mi vanto di questo lavoro. The song collector Thompson designated Haydn as the only one who was able to create "a collection of all wonderful, both sad and merry, folk songs, none of which canbe superficial or second-rate".
The composer was very particular about the differentiation of the songs' character according to their content, either when composing to poetic texts or arranging folk songs. Her Haydn is unpretentious, yet she captures all the nuances of expression and colour amid the spectrum of moods of individual songs.
Yet, as in the case ofthis album, she keeps returning to the song repertoire, which simply suits her voice perfectly. Under Gardiner, she has also participated in recordings of Bach's cantatas. Since 1998 she has been a soloist of the Zurich Opera, working with conductors of such renown as Gardiner, Harnoncourt, Fedoseyev, Herreweghe and Rattle. The charming young soprano Martina Janková has amid fierce international competition established a firm position within her category. Martina Janková - soprano, Gerard Wyss - piano, Gauthier Burgunder - violin, Gunta Abele - cello Joseph Haydn - English Canzonets, German Lieder, Scottish and Welsh Folk Songs for voice, piano, violin and cello
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