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奥地利作曲家。出生于罗劳的车匠家庭，因嗓音甜美，八岁时被维也纳圣斯蒂芬大教堂接纳为唱诗班歌童。日后在其音乐中一再出现的恶作剧意识，当时即已有所流露。倒嗓后脱离斯蒂芬大教堂唱诗学校，担任尼科洛·波尔波拉的助手，从事教学和演出，并得到菲恩柏格伯爵的帮助，他的最早几部四重奏即为伯爵而作（1755）。1759年成为莫尔钦伯爵的音乐总监，创作第一部交响曲；1761年开始在艾斯特哈齐府的长期工作；每年大部分时间在艾斯特哈兹宫（该宫系尼科劳斯亲王于1766年所建）度过，一生中大部分作品皆作于此。他与莫扎特的友谊始于1781年。1784年为加的斯大教堂创作《临终七言》（原为管弦乐曲，1787年改编为弦乐四重奏，1796年改编为声乐曲），1786年为巴黎圣灵音乐会创作六部交响曲（Nos.82—87）。1790年尼科劳斯亲王谢世，艾斯特哈兹的音乐机构解体，海顿仍保留原职原薪，但无事可做。1791年与J·P·萨洛蒙签订合同，去伦敦写作歌剧（一部）、交响曲（六部，Nos.93—98）和其它作品（二十部），在伦敦逗留一年有余，音乐备受欢迎。出席威斯敏斯特的亨德尔音乐节，成为牛津大学名誉音乐博士。1794—1795年再度访问伦敦，创作第二套《六部萨洛蒙交响曲》（Nos.99—104）。1785年尼科劳斯亲王二世重建其家庭音乐机构，但海顿的主要任务只是每年写一部弥撒曲，1796—1802年创作一组六部大弥撒曲，其重大意义直至近年才开始受到广泛重视。在此期间他还得以完成两部大型合唱曲：《创世纪》（1798）和《四季》（1801）。在生命的最后几年中，他在维也纳生活闲适，很少作曲，并未清楚地意识到自己将在历史上起重要作用。关于他在艾斯特哈兹宫的工作，海顿写道：“周围没有人来打搅折磨我，我非得标新立异不可。”1761—1780年间的交响曲、四重奏以及戏剧音乐显示出他心裁独出、技巧娴熟的特点。在这以前的十年中，他的作品都是模仿罗伊特、蒙恩、瓦根塞尔等维也纳作曲家，键盘音乐尤其唯C·P·E·巴赫的马首是瞻。在其后十年（1781—1790）中，一部分是由于莫扎特的影响，海顿的音乐在表现力方面达到炉火纯青的地步，在布局和结构方面也获得和声与对位因素的平衡，这是古典风格的两大特点，与此同时，他保留了他的音乐所独有的生气勃勃、热情和幽默。他那永不衰退的活力和丰富的想象力使他能够在生命的最后阶段（1791年以后）创作出他最著名的十二部交响曲，还有两部清唱剧和六部了不起的弥撒曲，那是在英国之行中受到亨德尔的启迪在1796—1802年间创作的。虽然托维称他为“难以接近的海顿”（但同时他又赞扬海顿“举世无双、令人艳羡”），近年来海顿的音乐却演奏得越来越多。首先得感谢布赖特科夫与黑泰尔于1907年开始（但在1914年中止）编辑出版的作品集，其次也得归功于波士顿的海顿协会和当代最大的海顿权威、音乐学家罗宾斯·兰登的活动，我们才有机会接触到他的数量巨大的作品总体，从他的一套伦敦交响曲（正统版本）上溯到早期的交响乐作品。他的歌剧虽不如交响曲重要（由于略带乡土气息，它们的地位低于莫扎特的歌剧），但也已得到了开拓，其中包括《药商》（1768）、《月亮世界》（1777）、《坚贞的结婚戒指》（1779）、《无人岛》（1779）、《忠诚受奖》（1780）、《阿尔米德》（1784）、《哲学家的灵魂》（1791）。他的交响曲与弦乐四重奏以其结构紧密（整个乐章往往由一个单一主题的细胞发展而成）、色彩丰润以及和声和节奏的活力而著称，是日后所说的古典风格的基础。他的键盘奏鸣曲和钢琴三重奏原来被认为较为次要，最近也以其独特的个性而得到承认，从而使人们对作曲家的性格有了新的了解。确实，在海顿的管弦乐曲和其它器乐曲中，只有那些协奏曲可以说是缺乏始终如一的号召力的。虽然他写了大量协奏曲——《C大调第二大提琴协奏曲》在本世纪60年代被发掘出来而成为人们熟悉但不十分典型的D大调的姊妹篇——但它们不象莫扎特的协奏曲那样成为他作品的中心部分。也许这是因为海顿的音乐背景与莫扎特不同。他不是一位出类拔萃的公开独奏家；他的主要手段是乐队，他为乐队写作时，灵感涌注，下笔似有神。","今年外借册数":0,"编目审核员":"","调配时间":"","索书号A":"","责任者三":"","责任者二":"","分类":"","编目审核":0,"预约数":0,"编目审核日期":"","封面地址":"","内容介绍":"","责任者四":"","文献类型":0,"图象页数":0,"责任者":"","版次":"","下载":0,"种次字符数据":"","分类数据":"","出版者2":"人民音乐出版社","MARC类型":"","封面服务器ID":0,"首馆键码":13,"采编审核日期":"","索书号15":"J605.52/7481/26964/98","索书号14":"J605.52/7481/26964/98","索书号13":"J605.52/7481/26964/98","索书号12":"J605.52/7481/26964/98","索书号11":"J605.52/7481/26964/98","责任者2":"陈美琦著","索书号10":"J605.52/7481/26964/98","全文地址":"","题名":"海顿:交响曲之父","翻译题名":"","处理日期":1241508780000,"分类字母":"","题名缩写":"","索书号18":"J605.52/7481/26964/98","丛书名":"","册数":0,"索书号17":"J605.52/7481/26964/98","索书号16":"J605.52/7481/26964/98","SUMMARYS_TOUCH":"","累计外借册数":4,"调配员":"","修改人员":522,"出版者":"","创建时间":"","卷标":"","种次":"","下载服务器ID":"","下载地址":""},"ID":"d3a9829b2ddfd9f47d192e7645c00c94"},{"NUM":8,"bookMap":{"COVERPATH_TOUCH":"","种次F":"","标准编码":"7-5623-1242-7","可外借数":6,"上月外借册数":0,"去年外借册数":0,"采编审核":0,"封面":"","分类字符数据":"","全文服务器ID":0,"操作员":1,"索书号2":"","种次数据":"","内容介绍1":"","语种":"chi","本月外借册数":0,"排架号":"","库键码":1,"出版日期":"1998.4","已外借数":0,"COVERPATH":"","题名2":"中外名曲赏析","采编审核员":"","分类号":"","出版地":"广州","索书号":"J605/4044","价格":13.8,"索书号5":"","索书号6":"","种次字母":"","索书号3":"","责任者一":"","索书号4":"","原主键码":"","翻阅次数":0,"主键码":143748,"索书号7":"","索书号8":"","SUMMARYS":"","今年外借册数":0,"编目审核员":"","调配时间":"","索书号A":"J605/4044","责任者三":"","责任者二":"","分类":"","编目审核":0,"预约数":0,"编目审核日期":"","封面地址":"","内容介绍":"","责任者四":"","文献类型":"","图象页数":0,"责任者":"李菌,罗金燕编著","版次":"","下载":0,"种次字符数据":"","分类数据":"","出版者2":"华南理工大学出版社","MARC类型":"","封面服务器ID":0,"首馆键码":1,"采编审核日期":"","索书号15":"","索书号14":"J605/4044","索书号13":"","索书号12":"","索书号11":"","责任者2":"李菌,罗金燕编著","索书号10":"","全文地址":"","题名":"中外名曲赏析","翻译题名":"","处理日期":1309838128000,"分类字母":"","题名缩写":"ZWMQSX","索书号18":"","丛书名":"","册数":6,"索书号17":"","索书号16":"","SUMMARYS_TOUCH":"","累计外借册数":83,"调配员":"","修改人员":1,"出版者":"华南理工大学出版社","创建时间":"","卷标":"","种次":"","下载服务器ID":"","下载地址":""},"ID":"468169fb97ac9542d66f47abaaefd399"},{"NUM":7,"bookMap":{"COVERPATH_TOUCH":"","种次F":"","标准编码":"7-103-02102-3","可外借数":6,"上月外借册数":1,"去年外借册数":1,"采编审核":0,"封面":"","分类字符数据":"","全文服务器ID":0,"操作员":12,"索书号2":"","种次数据":"","内容介绍1":"","语种":"chi","本月外借册数":0,"排架号":"","库键码":1,"出版日期":"2002","已外借数":0,"COVERPATH":"/static/bookimage/7103021023.JPG","题名2":"配器法基础教程","采编审核员":"","分类号":"","出版地":"北京","索书号":"J614.4/0033","价格":18.5,"索书号5":"","索书号6":"","种次字母":"","索书号3":"","责任者一":"","索书号4":"","原主键码":"","翻阅次数":0,"主键码":828125,"索书号7":"","索书号8":"","SUMMARYS":"《配器法基础教程(作曲卷)》内容简介：为了满足没有机会和条件就读音乐学院，但又有意学习有关音乐基础知识的读者的要求，我社编辑出版了一套《音乐自学丛书》（包括《作曲卷》和《音乐学卷》两个分卷。这套丛书的作者，均系在音乐学院任教多年并且有着丰富的课堂教学经验的教授、讲师及有关专家。《音乐自学丛书·作曲卷》共10册，系一套供读者自学作曲技术理论的基础教程，内容包括基本乐理、和声学、曲式学、复调音乐、配器法、歌曲写作、音乐分析等音乐院校开设的主要课程，既有一定的理论深度，又通俗易读。除作为音乐函授大学以及电视大学音乐专业理论作曲学科的教材外，亦可作为音乐院校和音乐师范院校师生的辅导教材和必备参考书。","今年外借册数":0,"编目审核员":"","调配时间":"","索书号A":"J614.4/0033","责任者三":"","责任者二":"","分类":"","编目审核":0,"预约数":0,"编目审核日期":"","封面地址":"","内容介绍":"","责任者四":"","文献类型":"","图象页数":0,"责任者":"高鸿祥著","版次":"","下载":0,"种次字符数据":"","分类数据":"","出版者2":"人民音乐出版社","MARC类型":"","封面服务器ID":0,"首馆键码":1,"采编审核日期":"","索书号15":"","索书号14":"J614.4/0033","索书号13":"","索书号12":"","索书号11":"","责任者2":"高鸿祥著","索书号10":"","全文地址":"","题名":"配器法基础教程","翻译题名":"","处理日期":1309856438000,"分类字母":"","题名缩写":"","索书号18":"","丛书名":"","册数":6,"索书号17":"","索书号16":"","SUMMARYS_TOUCH":"","累计外借册数":9,"调配员":"","修改人员":1,"出版者":"人民音乐出版社","创建时间":"","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