Tag: haydn

Joseph Haydn and The Value of the Steady Gig

I remember one of the first things early in my Music History study was the stunning output of Franz Joseph Haydn. Drink this in:

108 symphonies; 68 string quartets; 32 divertimenti for small orchestra; 126 trios for baryton, viola, and cello; 29 trios for piano, violin, and cello; 21 trios for two violins and cello; 47 piano sonatas; about 20 operas; 14 masses; 6 oratorios; and 2 cello concerti. And this is pared down from a larger number! I went through several sources and the number averages around 800 total pieces!

So, how did he write so much? The answer is…he had a gig.

haydn_esterhazy
Haydn directing an opera at the Esterhazy Theatre in 1775.

Franz Joseph Haydn’s life was like many of ours. He started with many musical pursuits, including singing in a choir, then picking up odd music jobs where could find them. He eventually found himself though leading the musical affairs for a large estate of the very rich and powerful Esterhazy famîly.

This steady gig, while sometimes taxing and demeaning, brought something to Haydn’s life that only a few of us get to enjoy. He had time. He was given funds and authority. And he had also deadlines.

Anyone who knows the pressure of putting together a church service or lesson plan every single week, knows how it also spurs creativity. Many times just the act of having to write a new song, arrange a song for your group, or come up with ideas on how to teach a subject can bring new works from your mind that wouldn’t have ever existed otherwise.

He had to write symphonies, and quartets, and operas, and even specialty trios and works when his benefactor took up the baryton (similar to a viol) and wanted music written for it. Kind of like when your pastor who is also a singer wants that perfect song to sing and has you write it. Or an amazing wunderkind on flute wanders into your orchestra. You need music, and if you are a composer, you write for that!

Haydn had weekly things he had to prepare for and since they lived out in the country, it was just easier to write it himself.

“I was cut off from the world. There was no one to confuse or torment me, and I was forced to become original.” – Joseph Haydn

Nevertheless, Haydn flourished and grew through these years and eventually became known throughout all of Europe as he defined the symphony style.

Why This Matters

Sometimes it’s easy to think of our music jobs as a hassle, or a step towards something else, or perhaps we have found ourselves in a staid job we have been doing for years, if not decades. But this gig you have had, that you were blessed to find, could be the way the sum total of your output is measured.

Like Haydn, you may move past your “Esterhazy” phase into a “Vienna” or “London” phase where you bloom even more. But without the season of work and growth, the next season of opportunity might now ever present itself.

Got a steady gig? Have some autonomy? Maybe it’s time to take more advantage of it. Haydn the heck out of your position, and write, write, write. Sometimes we forget when we are the boss, we have the opportunity to actually do what we love.

Have a great week!


John Eric Copeland is not a musicologist, but he is studying to be, and for now he plays one on the Internet. Be sure and join this blog to receive more writings like this, as well as our Facebook and Twitter followings for daily inspiration and news.

Musical Indentured Servitude

“It’s really hard to make a living as a musician. It’s almost impossible.” – Billy Joel

servitude500In order to make a living with music, we have all done what we had to. We have studied, practiced, achieved degrees, taken paying music positions, and played whatever gigs we could find so that we could eat, live, and support ourselves and our families. The problem is, it is usually on someone else’s terms. Even if we are the boss, or own our own business in music, we have clients who dictate what we do for them, and how we create or produce the music.

This has been an issue throughout music history.

J.S. Bach was mostly always employed and creating his music for use in his job as organist or music leader. At some points his job required a new cantata each Sunday! That’s one way to build your catalog! And like all of us, he knew the struggle to make amazing music and please his bosses.

My masters are strange folk with very little care for music in them. – Johann Sebastian Bach

Joseph Haydn had many jobs as a music teacher, a street musician, and accompanist before he got a sweet gig for the prince of Esterhazy, and rode that job for decades. But he was often little more than a paid servant, and felt that way. As with Bach, in order to have music ready every week for the music hungry Esterhazys, Haydn’s output was extraordinary. Eventually he was able to work with a publisher, gain some fame outside the estate, and later become more independent in London and elsewhere.

Mozart was one of the first composers to say no to working “for the man”. But even with many commissions and a post here and there that didn’t last very long, it was a struggle for one of the world’s best ever composers to make a consistent living.

The first to really sever ties and find somewhat lasting success was Beethoven, who after moving to Vienna in 1792, began to establish a reputation as a superstar pianist and composer. He was able to secure patronage to write and perform the rest of his life, making him somewhat the first successful “indie” musician.

Why This Matters

Getting to the music we want to make is very difficult in a life where we make or work in music for someone else. Even as a full-time traveling artist, there is booking, marketing, and other things to do besides actually composing and being artistic. It’s just hard to make music when there are so many other things to do (I’m looking at you Facebook, Twitter, and oh yeah, the next job I have to do to continuing getting paid so I can pay a mortgage, car payments, etc.)

The key is finding that balance, like turning off email and social media for the weekend to compose, or self-imposed block out times to sit at your instrument and just create.

On the other hand, being secure in a music position may allow us to create much of the works we will leave behind, just as Bach and Haydn did. We will make things we never expected because a client, boss, or sponsor will suggest a direction, a subject, or a use for a piece.

Wherever you fall on the indentured servitude scale, whether an instructor, producer, orchestral member, composer for hire, or whatever, finding the balance between the thing you love and making a living is crucial.

If you can create an honorable livelihood, where you take your skills and use them and you earn a living from it, it gives you a sense of freedom and allows you to balance your life the way you want. – Anita Roddick

Have a great week!

EC

John Eric Copeland is not a real musicologist, so don’t get your panties in a bunch if you think this is drivel. He’s just your everyday, full time music producer who is also pursuing a musicology masters because he wants to help all music folks and students how to make a great living in music.