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Joseph Haydn
 An australlian composer born on March 31 1732 and died on May 31 1809 at the age of 77
 Symphony- extended musical composition most often made for orchestra
 String quartet- is a musical ensemble consisting of four string players: two violin players, a viola player and
a cellist. It is also a musical composition written to be performed by such a group.
 He was instrumental in the development of chamber music ( form of classical music that is composed for a
group of small instruments) such as piano trio ( group of piano and two other instruments, usually violin and
cello. It is the most common form of chamber music)
 Haydn spent much of his career as a court musician for the wealthy Esterházy family at their Eszterháza
Castle. Until the later part of his life, this isolated him from other composers and trends in music so that he
was, as he put it, "forced to become original. Yet his music circulated widely, and for much of his career he
was the most celebrated composer in Europe.
Works
 A central characteristic of Haydn's music is the development of larger structures out of very short, simple
musical motifs, often derived from standard accompanying figures. The music is often quite formally
concentrated, and the important musical events of a movement can unfold rather quickly.
 Sonata Form- is a musical structure consisting of three main sections: an exposition, a development, and a
recapitulation. It has been used widely since the middle of the 18th century (the early Classical period).
 Haydn was particularly fond of the so-called monothematic exposition, in which the music that establishes the
dominant key is similar or identical to the opening theme. Haydn also differs from Mozart and Beethoven in
his recapitulation sections, where he often rearranges the order of themes compared to the exposition and uses
extensive thematic development.
 Much of the music was written to please and delight a prince, and its emotional tone is correspondingly
upbeat, tone also reflects, perhaps, Haydn's fundamentally healthy and well-balanced personality. Occasional
minor-key works, often deadly serious in character, form striking exceptions to the general rule. Haydn's fast
movements tend to be rhythmically propulsive and often impart a great sense of energy, especially in the
finales.

Wolfgang Amadeus Mozart[a] (27 January 1756 – 5 December 1791)

 Mozart showed prodigious ability from his earliest childhood. Already competent on keyboard and violin, he
composed from the age of five and performed before European royalty, embarking on a grand tour.
 While visiting Vienna in 1781, he was dismissed from his Salzburg position. He chose to stay in Vienna,
where he achieved fame but little financial security. During his final years in Vienna, he composed many of
his best-known symphonies, concertos, and operas, and portions of the Requiem, which was largely
unfinished at the time of his early death at the age of 35. The circumstances of his death are largely uncertain,
and have thus been much mythologized.
 Despite his short life, his rapid pace of composition resulted in more than 600 works of virtually every genre
of his time. Many of these compositions are acknowledged as pinnacles of the symphonic, concertante,
chamber, operatic, and choral repertoire. He is considered among the greatest classical composers of all time,
and his influence on Western music is profound, particularly on Ludwig van Beethoven. His elder colleague
Joseph Haydn wrote: "posterity will not see such a talent again in 100 years".

Work/style
 Mozart was a versatile composer, and wrote in every major genre, including symphony, opera, the solo
concerto, chamber music including string quartet and string quintet, and the piano sonata. These forms were
not new, but Mozart advanced their technical sophistication and emotional reach. He almost single-handedly
developed and popularized the Classical piano concerto. He wrote a great deal of religious music, including
large-scale masses, as well as dances, divertimenti, serenades, and other forms of light entertainment.
 The central traits of the Classical style are all present in Mozart's music. Clarity, balance, and transparency are
the hallmarks of his work, but simplistic notions of its delicacy mask the exceptional power of his finest
masterpieces, such as the Piano Concerto No. 24 in C minor, K. 491; the Symphony No. 40 in G minor, K.
550; and the opera Don Giovanni. Charles Rosen makes the point forcefully
 Ludwig Van Beethoven
 17 December 1770 – 26 March 1827
 As a matter of law and custom, babies at the time were baptized within 24 hours of birth, so December 16
is his most likely birthdate.
 his works rank amongst the most performed of the classical music repertoire and span the transition from
the Classical period to the Romantic era in classical music.
 The "early" period, during which he forged his craft, is typically considered to have lasted until 1802.
From 1802 to around 1812, his "middle" period showed an individual development from the "classical"
styles of Joseph Haydn and Wolfgang Amadeus Mozart, and is sometimes characterized as "heroic".
During this time, he began to suffer increasingly from deafness. In his "late" period from 1812 to his death
in 1827, he extended his innovations in musical form and expression.
 Despite his hearing deteriorating during this period, he continued to conduct, premiering his Third and
Fifth Symphonies in 1804 and 1808, respectively.
 Beethoven told the English pianist Charles Neate (in 1815) that he dated his hearing loss from a fit he
suffered in 1798 induced by a quarrel with a singer. During its gradual decline, his hearing was further
impeded by a severe form of tinnitus.[59] As early as 1801, he wrote to Wegeler and another friend Karl
Amenda, describing his symptoms and the difficulties they caused in both professional and social settings
(although it is likely some of his close friends were already aware of the problems).[60] The cause was
probably otosclerosis, perhaps accompanied by degeneration of the auditory nerve.
 On the advice of his doctor, Beethoven moved to the small Austrian town of Heiligenstadt, just outside
Vienna, from April to October 1802 in an attempt to come to terms with his condition. There he wrote the
document now known as the Heiligenstadt Testament, a letter to his brothers which records his thoughts
of suicide due to his growing deafness and records his resolution to continue living for and through his art.
The letter was never sent and was discovered in his papers after his death.[64] The letters to Wegeler and
Amenda were not so despairing; in them Beethoven commented also on his ongoing professional and
financial success at this period, and his determination, as he expressed it to Wegeler, to "seize Fate by the
throat; it shall certainly not crush me completely".[61] In 1806, Beethoven noted on one of his musical
sketches: "Let your deafness no longer be a secret – even in art."
 Beethoven's hearing loss did not prevent him from composing music, but it made playing at concerts—an
important source of income at this phase of his life—increasingly difficult. (It also contributed
substantially to his social withdrawal.) Czerny remarked however that Beethoven could still hear speech
and music normally until 1812.[66] Beethoven never became totally deaf; in his final years he was still
able to distinguish low tones and sudden loud sounds.
 expanding in formal, structural, and harmonic terms the musical idiom developed by predecessors such as
Mozart and Haydn.
 contributing to the musical language and thinking of the Romantic era, inspiring composers such as Franz
Schubert, Felix Mendelssohn, Robert Schumann, Franz Liszt, Richard Wagner, and Johannes Brahms.
 often pointing toward contrapuntal tendencies and microscopic textures, as well as an increasingly
introverted compositional outlook. Though rightly credited as a major harbinger of the Romantic era in
music that followed, Beethoven never fully abandoned the fundamental formal paradigms and generally
objective artistic philosophy characterizing musical Classicism to the same extent that later composers
such as Berlioz or even Schubert did.
Works
 The 1st movement of the Eroica is an example of this; in the development section of the sonata form, the 1st
theme is transformed into a variant which is often analysed as an entirely different theme.[1] This use of a
'germ motive' also appears in works like the Waldstein sonata and 5th symphony.[1] It is emblematic of his
approach to musical architecture during his middle period.
 This resulted in a stylistic change in Beethoven's work, but his continued adherence to the Classical forms he
loved meant that the influence of these late works only became apparent after the time of his own younger
contemporaries.
 Although his melodic skills have been criticized, Beethoven previously utilized immensely lyrical melodies,
and during his middle period, developed a hymn-like melodic style in his slow movements.

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 Died at the age of 31
 Born in the Himmelpfortgrund suburb of Vienna, Schubert showed uncommon gifts for music from an early
age. His father gave him his first violin lessons and his elder brother gave him piano lessons, but Schubert
soon exceeded their abilities.
 In 1808, at the age of eleven, he became a pupil at the Stadtkonvikt school, where he became acquainted with
the orchestral music of Haydn, Mozart, and Beethoven.
 Despite this, he continued his studies in composition with Antonio Salieri and still composed prolifically.
 which helped establish his name among the Viennese citizenry.
 He died eight months later at the age of 31, the cause officially attributed to typhoid fever, but believed by
some historians to be syphilis.