The Prince and the Prodigies: On the Relations of Archduke and Elector Maximilian Franz with Mozart, Beethoven, and Haydn

Abstract

To date, Archduke Maximilian Franz of Habsburg-Lorraine (1756–1801), youngest son of Maria Theresia and archbishop and elector of Cologne, has been considered first and foremost as an admirer and patron of Mozart and Beethoven. Established by scholars in the late nineteenth and early twentieth centuries and still captured regularly up to now, this picture requires a closer and more differentiated look. While the archduke’s interest in Mozart has often been overrated, his relevance for the career of Beethoven has long been disregarded. Furthermore, a connection with Haydn, which is addressed in this contribution’s title, has to date not been examined, but might serve as a justifiable complement. Thus, this study presents a source-based examination of Maximilian’s relations with Mozart, Beethoven, and Haydn, highlighting their peculiarities as well as their similarities and treating none of the involved actors as solitary, but also as related with and reacting to their socio-cultural environment. The examination of Maximilian’s connections to Mozart, Beethoven, and Haydn—each of a different kind—not only leads to new knowledge and a reevaluation of certain aspects in the life of the three composers, but also sheds light on various aspects of Maximilian’s involvement in musical life and thus presents him as an important subject for musicological research.