Page 131 - ESSENTIAL LISTENING TO MUSIC

Figure 7.8
A map of eighteenth-century Europe showing the Holy Roman Empire and the principal musical cities, including Vienna, Austria. <
ENGLAND London
NETHERLANDS
PRUSSIA Berlin Warsaw Halle
POLAND
HUNGARY
Paris Versailles
HOLY ROMAN
Prague AUSTRIA
FRANCE
SWITZ
Salzburg
Budapest Esterháza
Bonn
Leipzig
Mannheim EMPIRE
Munich Vienna
SPAIN
. Milan
CORSICA SARDINIA
Venice Bologna
Rome ITALY
SICILY
OTTOMAN EMPIRE
Mediterranean Sea
North Africa
Adriatic Sea
supervised. Vienna boasted a greater percentage of noblemen among its popu- lation than did London or Paris, and here the aristocratic hold on high culture loosened only gradually—but loosen it did. Haydn was a court employee, but Mozart and Beethoven became independent operators. And while Viennese nobles still patronized music, they often enjoyed it with middle-class citizens at public concerts. There were theaters for German and Italian opera, concerts in the streets on fine summer nights, and ballroom dances where as many as two thousand couples might sway to a minuet or a waltz by Mozart or Beethoven.
With so much musical patronage to offer, Vienna attracted musicians from throughout Europe. Haydn moved there from Lower Austria, Mozart from Upper Austria, his rival Antonio Salieri from Italy, and Beethoven from Bonn, Germany. Later, in the nineteenth century, in addition to native-born Franz Schubert, outsiders such Johannes Brahms and Gustav Mahler would spend their most productive years there. Even today, with an annual expenditure of about $150 million, Vienna spends more per capita on its opera, for example, than any city in the world.
Franz Joseph Haydn (1732–1809)
Joseph Haydn (Figure 7.9) was the first of the great Classical composers to move to Vienna, and his life offers something of a “rags-to-riches” story. Haydn was born in 1732 in a farmhouse in Rohrau, Austria, about twenty-five miles east of Vienna. His father, a wheelwright, played the harp but could not read music.
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