Throughout history, m some(prenominal) putrs and symphonyians alike have strained to press through indep break offence from the public and the media?s ideals, expectations and standards. Unfortunately, this is non a new bout in melody culture, unless for m individu every(prenominal)y creative and well-to-do thinking singles, pleasing some form of authority and chase the rules is the only way to make a nourishment in a competitive field of study and work. This was unfeigned for Joseph Haydn, an ordinal vitamin C composer who worked for Prince Paul Anton and later Prince Nicolaus, composing on incite for numerous people, holidays and celebrations, as wellhead as religious euphony for times of worship. The contract held between Haydn and his patrons is detailed in it?s description of the duties of Haydn as Vice-Capellmeister, and some comments have been made concerning it?s fairness and Haydn?s treatment in the cost. First and foremost, Haydn?s contract gra cefully states that Gregor Werner will retain his plaza as Ober-Capellmeister, and be responsible for the church music, whereas Haydn was anticipate to ?take pussy of the orchestra and gener tout ensembley manage the judicature?s melodic in the flesh(predicate) matters? for the same wage. Also, he was non twoowed to associate with the musicians who were making his creations reality, and was to ? bring to an end from undue familiarity, from eating and drinking and an different(prenominal) intercourse with them, so as to maintain the respect due to him and preserve it? . He was to compose as the Prince commands, and not to ?communicate much(prenominal) compositions to any other individual, not to completelyow them to be copied, yet he shall retain them for the max use of His Highness? . Thus, waiting for ecstasy was not an option, and the music of Haydn could not easily be overlap with the world. The music pen by Haydn too was technically own by the prince, and maybe the most difficult condition to ! play along as a composer was to ?not compose for any other person without the knowledge and gracious permission of his highness? . This meant that if the Prince did not feel the need to grant permission, Haydn could not by any bureau write music for any adept he wanted to. His creativity, imagination, knowledge and all products of the application of that knowledge were sole property of the Prince. In supplement to these legal shackles, Haydn was bound to other duties within the court as well. He was responsible for the punctuality and attendance of all musicians, manage the work of the copyists and served as the conductor, composer, librarian, supervisor of instruments, and chief of musical personnel. Although the said(prenominal) conditions do seem sort of ?staggering? , at that dapple ar many rational points to the contract as well. For example, Haydn was anticipate to dress ?neatly in white stockings, white linen, powdered, and with each pigtail or hairbag? . T o any professional performing musician or composer/conductor, this is not a surprise. Performance dress and conduct argon still very much valued within touristed music culture as well as cut down groups in small venues. It contri neverthelesses to a direct of professionalism of which move musicians should be proud. Also, it is said that Haydn received an extra 200 gulden on the Q.T. for his extra duties for some time, until Prince Nicolaus succeeded the royal title and made Haydn?s salary increase official. When visiting London, Haydn ?discovered that his reputation was loose of ensuring that he was treated with courtesy? , a sign that his charge with the royal family was far from stunting his potential fame. Most interesting, perhaps, is the position that many readers forget the society in which this contract was written, and without triumphal into account the cultural standards and other composer?s contracts in Haydn?s time, these documents cannot be properly crit icized, as the information given is all relative to t! he reader?s knowledge of the historical context. It is true(a) that composing by direct was ?the usual practice of both musician of his time? and that contracts from Prince Paul Anton and Prince Nicolaus to other composers and musicians ar ?not available for comparison? . It seems that a decision moldiness be made on the fairness or unrealistic expectations of this contract, which as mentioned is hard to do from a twenty first century viewpoint. How ever so, when paralleling these conditions to similar one?s in today?s society, it is evident that a composer?s creativity would by nature be stunted by not only the duties of the job, but by the lifestyle within a court as well. It is well known that Haydn often had to plea for the Prince?s kindness in run intos to maintaining the musicians he wished to have play his music, he was often show ?rescuing individual musicians from dismissal or punishments? . unitary of the most dispiriting stories relating to Haydn?s life in the court was when he persistent to surprise Prince Nicolaus by doing a design on the Prince?s favourite instrument, the baryton. Haydn practiced on it without anyone noticing to take a crap for the concert, but when he actually performed, the Prince was offended, and said that ?Haydn wanted to usurp his position with regard to that instrument? . Sadly, due to this incident and the theatrical role of Haydn?s position within the court, ?Haydn never touched the baryton once again? , an unfortunate but likely necessary course of meet for someone in Haydn?s position. For a composer and musician of Haydn?s talent and proficiency, the fetch up avoidance of an instrument, especially one with which the composer is already familiar, is likely to be an incredibly difficult and sulfurous experience. Also, a point which must be revisited is the paragraph of Haydn?s contract in which he is forbidden from composing for anyone other than the Prince, which was discussed in detail intr oductory on. In conclusion, the conditions of patrona! ge for any composer usually leave the individual much more wrapped than such inventive musicians and writers should ever be. The creative nature of those who act on music is a nature of license, one where inspiration may take hold at any time, and for those of us living (or learning to live) in such a vocation, there are certain rules and guidelines which come with the lifestyle, many of which are historically rooted. Joseph Haydn?s career is an example of this, but there are also many points to learn from rather than live. The balance between freedom and necessary income is an important level for musicians to find, and one which is truly implemental in the development, work and whole career of anyone pursuing a future in composition, deed and any other feeling of musical life. BibiliographyGeiringer, Karl. Haydn: A original Life in Music. Berkely, 1982. Griesinger, Georg. Joseph Haydn: eighteenth-century valet and genius. University of Wisconsin Press, 1963. Landon, H.C Robbin and Jones, David Wyn. Haydn: His Life and Music. London, 1988. Raynor, Henry. A affable History of Music. London, 1988. 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