Haydn and folk music
This article discusses the influence of folk music on the work of the composer Joseph Haydn (1732–1809).
Differences between folk versions and Haydn's versions[edit]
Sometimes, a folk tune (as notated by field workers) and the version in Haydn's work are identical. Often, however, there is divergence, with Haydn's version being less symmetrical and musically more interesting and expressive. As Hadow pointed out, the versions typically are closely similar at the beginning, divergent at the end. Under one view, this would reflect Haydn's creativity as a composer; starting with the kernel of the tune occurring at the beginning, Haydn elaborated it in ways grounded in his own Classical musical language. Another possibility is given below.
Haydn and Croatian ethnicity[edit]
Franjo Kuhac, who attributed many tunes in Haydn's music to Croatian folk music, went further than this and advanced the theory that Haydn knew so many Croatian folk tunes because he was himself Croatian; that is to say, a member of the Croatian ethnic minority residing in eastern Austria. The proposal led to extensive controversy and is no longer considered valid by mainstream musicologists. For discussion, see Joseph Haydn's ethnicity.
Learned borrowings from other nationalities[edit]
Like other composers who came from less humble backgrounds, Haydn sometimes would set folksongs from other countries. These fall into a different category from the cases given above, since Haydn obtained these songs through learned channels rather than through folkloric transmission.
The second movement of the Symphony No. 85, "La Reine" is described by H. C. Robbins Landon as "a set of variations on the old French folk-song 'La gentille et jeune Lisette' ".[8] This was an appropriate choice since the 85th Symphony is one of the "Paris" symphonies, written on commission for a Parisian audience.
Like Koželuch, Beethoven and Weber after him, Haydn made a great number of arrangements of Scottish and Welsh folksongs for British publishers (including Napier, George Thomson, and William Whyte); this activity began in 1791 and continued from time to time to the very end of Haydn's compositional career, ca. 1804.[9] The arrangements are set for high voice and piano trio, and include versions of "Barbara Allen" and "The Border Widow's Lament".