Esterhazy establishment but for another patron or perhaps for publication (Haydn was allowed to write other than for the Esterhazys only with permission (Boynick, 1).Among the operas from this period are Lo speziale, L’infedelta delusa and II mondo della luna. Haydn’s job was to prepare the music, adapting or arranging it for the voices of the resident singers. In 1779 the opera house burnt down; Haydn composed La fedelta premiata for its reopening in 1781 (Boynick, 2). Until then his operas has largely been comic genres; his last two for Esterhaza, Orlando paladino (1782) and Armida (1783), are mixed or serious genres (Boynick, 2). Haydn’s reputation had now grown and was international. Much of his music had been published in all the main European centres; under a revised contract with the Esterhaza his employer no longer had exclusive rights to his music (Boynick, 2).His work in the 1780s included symphonies, piano trios, piano sonatas, and string quartets. His influential op.33 quartets, issued in 1782, were said to be in a quite new, special manner: this is sometimes thought to refer to the use of instruments or the style of thematic development, but could refer to the introduction of Scherzos or mighty simply be an advertising device (Hughes, 36). More quartets appeared at the end of the decade, op.50 was dedicated to the King of Prussia (often said to be influenced by the quartets Mozart had dedicated to Haydn) and two sets opp.54-5 and 64 where written for a former Esterhazy violinist who became Viennese businessman (Hughes, 37). Other works that carried Haydn’s reputation beyond central Europe included concertos and Notturnos for a type of that are written on commission for the King of Naples, and The Seven Last Words, commissioned for the Holy Week from Cadiz Cathedral and existing not only in its original orchestral form but also for string quartet, for piano and later for chorus and orchestra ...
