Performance Today commentator Jan Swafford refers to Haydn as a "quiet revolutionary"--an unassuming man whose genius never overcame his geniality. Haydn is often referred to as the father of the string quartet and the symphony. Though he didn't invent them, his mastery of these previously undeveloped forms set the standards by which all later efforts have been measured.

Haydn's Baroque predecessors usually concentrated on a single emotion and set of themes. As a seminal composer of the Classical Era, Haydn was a pioneer of contrast and changing moods within a composition. His movements captured a wide variety of human emotions--joy and laughter, sadness or anger--enabling him to create a narrative resembling true human experience.

Haydn's work often displays a good sense of humor despite a personal life riddled with misfortune, something he tolerated with great dignity. Born on March 31, 1732 in Ruhrau, Lower Austria, Haydn suffered under his first musical mentor, an abusive relative who beat and starved him. He took refuge with the Imperial Choir in Vienna and later became a manservant for an obnoxious Italian composer who compensated him with lessons. Despite marital mishaps and a poor standard of living, Haydn kept studying diligently. He was somehow able to roll with the punches, never deviating from his real goal--to make music.

At age 29, Haydn saw a great opportunity behind the veneer of servitude. Having started to make a name for himself as a composer, he took a job as music director in the princely court of the Esterhazys. Despite a regimented existence living in the servants' quarters, Haydn now had at his disposal one of Europe's finest private musical establishments in the palace orchestra and opera company. He knew what to do with it.

Swafford says "part of being a great composer is being an astute psychologist who can take listeners where you want them to go." Haydn's Symphony No. 94 is called the "Surprise" Symphony for obvious reasons. At one point, he gradually reduces the strings to a delicate whisper, seemingly encouraging his audience to doze off. But then he startles them with an abrupt crash. Haydn's humor is often more subtle. He sometimes starts compositions with movements that seem like endings, and indulges in rhythmic games that excite the curiosity. Haydn injected more expressive contrast and variety into a movement than had ever been done before, without overwhelming or confusing the listener. He could showcase his genius for the connoisseur while delighting the novice with unpretentious skill.

Listen as Swafford elaborates on musical demonstrations of the unassuming genius, Franz Joseph Haydn on the latest installment of the Milestones of the Millenium series. Note: music parts have been edited from the commentary because of internet rights issues. (This stereo audio segment requires the free RealPlayer 5.0 or higher. You can also listen with a 14.4 connection)