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Cuthbert Hadden + </title> + <style type="text/css" xml:space="preserve"> + + body { margin:5%; background:#faebd0; text-align:justify} + P { text-indent: 1em; margin-top: .25em; margin-bottom: .25em; } + H1,H2,H3,H4,H5,H6 { text-align: center; margin-left: 15%; margin-right: 15%; } + hr { width: 50%; text-align: center;} + .foot { margin-left: 20%; margin-right: 20%; text-align: justify; text-indent: -3em; font-size: 90%; } + blockquote {font-size: 97%; font-style: italic; margin-left: 10%; margin-right: 10%;} + .mynote {background-color: #DDE; color: #000; padding: .5em; margin-left: 10%; margin-right: 10%; font-family: sans-serif; font-size: 95%;} + .toc { margin-left: 10%; margin-bottom: .75em;} + .toc2 { margin-left: 20%;} + div.fig { display:block; margin:0 auto; text-align:center; } + div.middle { margin-left: 20%; margin-right: 20%; text-align: justify; } + .figleft {float: left; margin-left: 0%; margin-right: 1%;} + .figright {float: right; margin-right: 0%; margin-left: 1%;} + .pagenum {display:inline; font-size: 70%; font-style:normal; + margin: 0; padding: 0; position: absolute; right: 1%; + text-align: right;} + pre { font-style: italic; font-size: 90%; margin-left: 10%;} + +</style> + </head> + <body> +<pre xml:space="preserve"> + +The Project Gutenberg EBook of Haydn, by J. Cuthbert Hadden + +This eBook is for the use of anyone anywhere at no cost and with +almost no restrictions whatsoever. You may copy it, give it away or +re-use it under the terms of the Project Gutenberg License included +with this eBook or online at www.gutenberg.org + + +Title: Haydn + +Author: J. Cuthbert Hadden + +Release Date: January 5, 2010 [EBook #3788] +Last Updated: February 4, 2013 + +Language: English + +Character set encoding: ASCII + +*** START OF THIS PROJECT GUTENBERG EBOOK HAYDN *** + + + + +Produced by John Mamoun, Charles Franks, Andrew Sly, David Widger and +the Online Distributed Proofreading Team + + + + + + +</pre> + + + +<table summary="" style="margin-right: auto; margin-left: auto" cellpadding="4" border="3"> +<tr> +<td> +THERE IS AN IMPROVED EDITION OF THIS TITLE WITH IMAGES AND LINKED CONTENTS WHICH MAY VIEWED AT EBOOK <big><b><a href="https://www.gutenberg.org/ebooks/13504"> +[# 13504 ]</a></b></big> +</td> +</tr> +</table> + + <p> + <br /><br /> + </p> + <h1> + HAYDN + </h1> + <p> + <br /> + </p> + <h2> + By J. Cuthbert Hadden + </h2> + <p> + <br /> <br /> + </p> + <hr /> + <p> + <br /> <br /> + </p> + <h2> + Contents + </h2> + <h5> + <a href="#link2H_PREF"> PREFACE </a><br /><br /> <a href="#link2H_4_0002"> + <b>HAYDN</b> </a><br /> + </h5> + <table summary="" style="margin-right: auto; margin-left: auto"> + <tr> + <td> + <a href="#link2HCH0001"> CHAPTER I. </a> + </td> + <td> + BIRTH—ANCESTRY—EARLY YEARS + </td> + </tr> + <tr> + <td> + <a href="#link2HCH0002"> CHAPTER II. </a> + </td> + <td> + VIENNA—1750-1760 + </td> + </tr> + <tr> + <td> + <a href="#link2HCH0003"> CHAPTER III. </a> + </td> + <td> + EISENSTADT—1761-1766 + </td> + </tr> + <tr> + <td> + <a href="#link2HCH0004"> CHAPTER IV. </a> + </td> + <td> + ESTERHAZ—1766-1790 + </td> + </tr> + <tr> + <td> + <a href="#link2HCH0005"> CHAPTER V. </a> + </td> + <td> + FIRST LONDON VISIT—1791-1792 + </td> + </tr> + <tr> + <td> + <a href="#link2HCH0006"> CHAPTER VI. </a> + </td> + <td> + SECOND LONDON VISIT—1794-1795 + </td> + </tr> + <tr> + <td> + <a href="#link2HCH0007"> CHAPTER VII. </a> + </td> + <td> + "THE CREATION" AND "THE SEASONS" + </td> + </tr> + <tr> + <td> + <a href="#link2HCH0008"> CHAPTER VIII. </a> + </td> + <td> + LAST YEARS + </td> + </tr> + <tr> + <td> + <a href="#link2HCH0009"> CHAPTER IX. </a> + </td> + <td> + HAYDN: THE MAN + </td> + </tr> + <tr> + <td> + <a href="#link2HCH0010"> CHAPTER X. </a> + </td> + <td> + HAYDN: THE COMPOSER + </td> + </tr> + <tr> + <td> + <a href="#link2H_APPEa"> APPENDIX A. </a> + </td> + <td> + HAYDN'S LAST WILL AND TESTAMENT + </td> + </tr> + <tr> + <td> + <a href="#link2H_APPEb"> APPENDIX B. </a> + </td> + <td> + CATALOGUE OF WORKS + </td> + </tr> + <tr> + <td> + <a href="#link2H_APPEc"> APPENDIX C. </a> + </td> + <td> + BIBLIOGRAPHY + </td> + </tr> + <tr> + <td> + <a href="#link2H_APPEd"> APPENDIX D. </a> + </td> + <td> + HAYDN'S BROTHERS + </td> + </tr> + <tr> + <td> + <a href="#link2H_APPEe"> APPENDIX E. </a> + </td> + <td> + A SELECTION OF HAYDN LETTERS + </td> + </tr> + <tr> + <td> + </td> + </tr> + </table> + <p> + <br /> <br /> + </p> + <hr /> + <p> + <br /> <br /> DEDICATION To The Rev. Robert Blair, D.D. In Grateful + Acknowledgment of<br /> Many Kindnesses and Much Pleasant Intercourse <br /> + <br /> + </p> + <hr /> + <p> + <br /> <br /> <a name="link2H_PREF" id="link2H_PREF"> + <!-- H2 anchor --> </a> + </p> + <div style="height: 4em;"> + <br /><br /><br /><br /> + </div> + <h2> + PREFACE + </h2> + <p> + The authority for Haydn's life is the biography begun by the late Dr Pohl, + and completed after his death by E.V. Mandyczewski. To this work, as yet + untranslated, every subsequent writer is necessarily indebted, and the + present volume, which I may fairly claim to be the fullest life of Haydn + that has so far appeared in English, is largely based upon Pohl. I am also + under obligations to Miss Pauline D. Townsend, the author of the monograph + in the "Great Musicians" series. For the rest, I trust I have acquainted + myself with all the more important references made to Haydn in + contemporary records and in the writings of those who knew him. Finally, I + have endeavoured to tell the story of his career simply and directly, to + give a clear picture of the man, and to discuss the composer without + trenching on the ground of the formalist. + </p> + <p> + J.C.H. + </p> + <p> + EDINBURGH, September 1902. + </p> + <p> + <br /> <br /> + </p> + <hr /> + <p> + <br /> <br /> <a name="link2H_4_0002" id="link2H_4_0002"> + <!-- H2 anchor --> </a> + </p> + <div style="height: 4em;"> + <br /><br /><br /><br /> + </div> + <h1> + HAYDN + </h1> + <p> + <a name="link2HCH0001" id="link2HCH0001"> + <!-- H2 anchor --> </a> + </p> + <div style="height: 4em;"> + <br /><br /><br /><br /> + </div> + <h2> + CHAPTER I. BIRTH—ANCESTRY—EARLY YEARS + </h2> + <p> + <i>Introductory—Rohrau—A Poor Home—Genealogy—Haydn's + Parents—His Birth—His Precocity—Informal Music-making—His + First Teacher—Hainburg—"A Regular Little Urchin"—Attacks + the Drum—A Piece of Good Luck—A Musical Examination—Goes + to Vienna—Choir School of St Stephen's—A House of Suffering—Lessons + at the Cathedral—A Sixteen-Part Mass—Juvenile Escapades—"Sang + like a Crow"—Dismissed from the Choir.</i> + </p> + <p> + Haydn's position, alike in music and in musical biography, is almost + unique. With the doubtful exception of Sebastian Bach, no composer of the + first rank ever enjoyed a more tranquil career. Bach was not once outside + his native Germany; Haydn left Austria only to make those visits to + England which had so important an influence on the later manifestations of + his genius: His was a long, sane, sound, and on the whole, fortunate + existence. For many years he was poor and obscure, but if he had his time + of trial, he never experienced a time of failure. With practical wisdom he + conquered the Fates and became eminent. A hard, struggling youth merged + into an easy middle-age, and late years found him in comfortable + circumstances, with a solid reputation as an artist, and a solid + retiring-allowance from a princely patron, whose house he had served for + the better part of his working career. Like Goethe and Wordsworth, he + lived out all his life. He was no Marcellus, shown for one brief moment + and "withdrawn before his springtime had brought forth the fruits of + summer." His great contemporary, Mozart, cut off while yet his light was + crescent, is known to posterity only by the products of his early manhood. + Haydn's sun set at the end of a long day, crowning his career with a + golden splendour whose effulgence still brightens the ever-widening realm + of music. + </p> + <p> + Voltaire once said of Dante that his reputation was becoming greater and + greater because no one ever read him. Haydn's reputation is not of that + kind. It is true that he may not appeal to what has been called the + "fevered modern soul," but there is an old-world charm about him which is + specially grateful in our bustling, nerve-destroying, bilious age. He is + still known as "Papa Haydn," and the name, to use Carlyle's phrase, is + "significant of much." In the history of the art his position is of the + first importance. He was the father of instrumental music. He laid the + foundations of the modern symphony and sonata, and established the basis + of the modern orchestra. Without him, artistically speaking, Beethoven + would have been impossible. He seems to us now a figure of a very remote + past, so great have been the changes in the world of music since he lived. + But his name will always be read in the golden book of classical music; + and whatever the evolutionary processes of the art may bring, the time can + hardly come when he will be forgotten, his works unheard. + </p> + <p> + Rohrau + </p> + <p> + Franz Joseph Haydn was born at the little market-town of Rohrau, near + Prugg, on the confines of Austria and Hungary, some two-and-a-half hours' + railway journey from Vienna. The Leitha, which flows along the frontier of + Lower Austria and Hungary on its way to the Danube, runs near, and the + district + </p> + <p> + [Figure: Haydn's birth-house at Rohrau] + </p> + <p> + is flat and marshy. The house in which the composer was born had been + built by his father. Situated at the end of the market-place, it was in + frequent danger from inundation; and although it stood in Haydn's time + with nothing worse befalling it than a flooding now and again, it has + twice since been swept away, first in 1813, fours years after Haydn's + death, and again in 1833. It was carefully rebuilt on each occasion, and + still stands for the curious to see—a low-roofed cottage, very much + as it was when the composer of "The Creation" first began to be "that + various thing called man." A fire unhappily did some damage to the + building in 1899. But excepting that the picturesque thatched roof has + given place to a covering of less inflammable material, the "Zum Haydn" + presents its extensive frontage to the road, just as it did of yore. Our + illustration shows it exactly as it is to-day. [See an interesting account + of a visit to the cottage after the fire, in The Musical Times for July + 1899.] Schindler relates that when Beethoven, shortly before his death, + was shown a print of the cottage, sent to him by Diabelli, he remarked: + "Strange that so great a man should have been born in so poor a home!" + Beethoven's relations with Haydn, as we shall see later on, were at one + time somewhat strained; but the years had softened his asperity, and this + indirect tribute to his brother composer may readily be accepted as a + set-off to some things that the biographer of the greater genius would + willingly forget. + </p> + <p> + A Poor Home + </p> + <p> + It was indeed a poor home into which Haydn had been born; but tenderness, + piety, thrift and orderliness were there, and probably the happiest part + of his career was that which he spent in the tiny, dim-lighted rooms + within sound of Leitha's waters. + </p> + <p> + In later life, when his name had been inscribed on the roll of fame, he + looked back to the cottage at Rohrau, "sweet through strange years," with + a kind of mingled pride and pathetic regret. Flattered by the great and + acclaimed by the devotees of his art, he never felt ashamed of his lowly + origin. On the contrary, he boasted of it. He was proud, as he said, of + having "made something out of nothing." He does not seem to have been + often at Rohrau after he was launched into the world, a stripling not yet + in his teens. But he retained a fond memory of his birthplace. When in + 1795 he was invited to inspect a monument erected to his honour in the + grounds of Castle Rohrau, he knelt down on the threshold of the old home + by the market-place and kissed the ground his feet had trod in the + far-away days of youth. When he came to make his will, his thoughts went + back to Rohrau, and one of his bequests provided for two of its poorest + orphans. + </p> + <p> + Genealogy + </p> + <p> + Modern theories of heredity and the origin of genius find but scanty + illustration in the case of Haydn. Unlike the ancestors of Bach and + Beethoven and Mozart, his family, so far as the pedigrees show, had as + little of genius, musical or other, in their composition, as the families + of Shakespeare and Cervantes. In the male line they were hard-working, + honest tradesmen, totally undistinguished even in their sober walk in + life. They came originally from Hainburg, where Haydn's great-grandfather, + Kaspar, had been among the few to escape massacre when the town was + stormed by the Turks in July 1683. The composer's father, Matthias Haydn, + was, like most of his brothers, a wheelwright, combining with his trade + the office of parish sexton. He belonged to the better peasant class, and, + though ignorant as we should now regard him, was yet not without a + tincture of artistic taste. He had been to Frankfort during his + "travelling years," and had there picked up some little information of a + miscellaneous kind. "He was a great lover of music by nature," says his + famous son, "and played the harp without knowing a note of music." He had + a fine tenor voice, and when the day's toil was over he would gather his + household around him and set them singing to his well-meant accompaniment. + </p> + <p> + Haydn's Mother + </p> + <p> + It is rather a pretty picture that the imagination here conjures up, but + it does not help us very much in trying to account for the musical genius + of the composer. Even the popular idea that genius is derived from the + mother does not hold in Haydn's case. If Frau Haydn had a genius for + anything it was merely for moral excellence and religion and the good + management of her household. Like Leigh Hunt's mother, however, she was + "fond of music, and a gentle singer in her way"; and more than one + intimate of Haydn in his old age declared that he still knew by heart all + the simple airs which she had been wont to lilt about the house. The + maiden name of this estimable woman was Marie Koller. She was a daughter + of the Marktrichter (market judge), and had been a cook in the family of + Count Harrach, one of the local magnates. Eight years younger than her + husband, she was just twenty-one at her marriage, and bore him twelve + children. Haydn's regard for her was deep and sincere; and it was one of + the tricks of destiny that she was not spared to witness more of his + rising fame, being cut off in 1754, when she was only forty-six. Matthias + Haydn promptly married again, and had a second family of five children, + all of whom died in infancy. The stepmother survived her husband—who + died, as the result of an accident, in 1763—and then she too entered + a second time into the wedded state. Haydn can never have been very + intimate with her, and he appears to have lost sight of her entirely in + her later years. But he bequeathed a small sum to her in his will, "to be + transferred to her children should she be no longer alive." + </p> + <p> + Birth + </p> + <p> + Joseph Haydn, to give the composer the name which he now usually bears, + was the second of the twelve children born to the Rohrau wheelwright. The + exact date of his birth is uncertain, but it was either the 31st of March + or the 1st of April 1732. Haydn himself gave the latter as the correct + date, alleging that his brother Michael had fixed upon the previous day to + save him from being called an April fool! Probably we shall not be far off + the mark if we assume with Pohl that Haydn was born in the night between + the 31st of March and the 1st of April. + </p> + <p> + His Precocity + </p> + <p> + Very few details have come down to us in regard to his earlier years; and + such details as we have refer almost wholly to his musical precocity. It + was not such a precocity as that of Mozart, who was playing minuets at the + age of four, and writing concertos when he was five; but just on that + account it is all the more credible. One's sympathies are with the frank + Philistine who pooh-poohs the tales told of baby composers, and hints that + they must have been a trial to their friends. Precocious they no doubt + were; but precocity often evaporates before it can become genius, leaving + a sediment of disappointed hopes and vain ambitions. In literature, as Mr + Andrew Lang has well observed, genius may show itself chiefly in + acquisition, as in Sir Walter Scott, who, as a boy, was packing all sorts + of lore into a singularly capacious mind, while doing next to nothing that + was noticeable. In music it is different. Various learning is not so + important as a keenly sensitive organism. The principal thing is emotion, + duly ordered by the intellect, not intellect touched by emotion. Haydn's + precocity at any rate was of this sort. It proclaimed itself in a quick + impressionableness to sound, a delicately-strung ear, and an acute + perception of rhythm. + </p> + <p> + Informal Music-Making + </p> + <p> + We have seen how the father had his musical evenings with his harp and the + voices of wife and children. These informal rehearsals were young Haydn's + delight. We hear more particularly of his attempts at music-making by + sawing away upon a piece of stick at his father's side, pretending to play + the violin like the village schoolmaster under whom he was now learning + his rudiments. The parent was hugely pleased at these manifestations of + musical talent in his son. He had none of the absurd, old-world ideas of + Surgeon Handel as to the degrading character of the divine art, but + encouraged the youngster in every possible way. Already he dreamt—what + father of a clever boy has not done the same?—that Joseph would in + some way or other make the family name famous; and although it is said + that like his wife, he had notions of the boy becoming a priest, he took + the view that his progress towards holy orders would be helped rather than + hindered by the judicious cultivation of his undoubted taste for music. + </p> + <p> + His First Teacher + </p> + <p> + While these thoughts were passing through his head, the chance visit of a + relation practically decided young Haydn's future. His grandmother, being + left a widow, had married a journeyman wheelwright, Matthias Seefranz, and + one of their children married a schoolmaster, Johann Matthias Frankh. + Frankh combined with the post of pedagogue that of choir-regent at + Hainburg, the ancestral home of the Haydns, some four leagues from Rohrau. + He came occasionally to Rohrau to see his relatives, and one day he + surprised Haydn keeping strict time to the family music on his improvised + fiddle. Some discussion following about the boy's unmistakable talent, the + schoolmaster generously offered to take him to Hainburg that he might + learn "the first elements of music and other juvenile acquirements." The + father was pleased; the mother, hesitating at first, gave her reluctant + approval, and Haydn left the family home never to return, except on a + flying visit. This was in 1738, when he was six years of age. + </p> + <p> + Hainburg + </p> + <p> + The town of Hainburg lies close to the Danube, and looks very picturesque + with its old walls and towers. According to the Nibelungen Lied, King + Attila once spent a night in the place, and a stone figure of that + "scourge of God" forms a feature of the Hainburg Wiener Thor, a rock + rising abruptly from the river, crowned with the ruined Castle of + Rottenstein. The town cannot be very different from what it was in Haydn's + time, except perhaps that there is now a tobacco manufactory, which gives + employment to some 2000 hands. + </p> + <p> + It is affecting to think of the little fellow of six dragged away from his + home and his mother's watchful care to be planted down here among strange + surroundings and a strange people. That he was not very happy we might + have assumed in any case. But there were, unfortunately, some things to + render him more unhappy than he need have been. Frankh's intentions were + no doubt excellent; but neither in temper nor in character was he a fit + guardian and instructor of youth. He got into trouble with the authorities + more than once for neglect of his duties, and had to answer a charge of + gambling with loaded dice. As a teacher he was of that stern + disciplinarian kind which believes in lashing instruction into the pupil + with the "tingling rod." Haydn says he owed him more cuffs than + gingerbread. + </p> + <p> + "A Regular Little Urchin" + </p> + <p> + What he owed to the schoolmaster's wife may be inferred from the fact that + she compelled him to wear a wig "for the sake of cleanliness." All his + life through Haydn was most particular about his personal appearance, and + when quite an old man it pained him greatly to recall the way in which he + was neglected by Frau Frankh. "I could not help perceiving," he remarked + to Dies, "much to my distress, that I was gradually getting very dirty, + and though I thought a good deal of my little person, was not always able + to avoid spots of dirt on my clothes, of which I was dreadfully ashamed. + In fact, I was a regular little urchin." Perhaps we should not be wrong in + surmising that the old man was here reading into his childhood the habits + and sentiments of his later years. Young boys of his class are not usually + deeply concerned about grease spots or disheveled hair. + </p> + <p> + Attacks the Drum + </p> + <p> + At all events, if deplorably neglected in these personal matters, he was + really making progress with his art. Under Frankh's tuition he attained to + some proficiency on the violin and the harpsichord, and his voice was so + improved that, as an early biographer puts it, he was able to "sing at the + parish desk in a style which spread his reputation through the canton." + Haydn himself, going back upon these days in a letter of 1779, says: "Our + Almighty Father (to whom above all I owe the most profound gratitude) had + endowed me with so much facility in music that even in my sixth year I was + bold enough to sing some masses in the choir." He was bold enough to + attempt something vastly more ponderous. A drummer being wanted for a + local procession, Haydn undertook to play the part. Unluckily, he was so + small of stature that the instrument had to be carried before him on the + back of a colleague! That the colleague happened to be a hunchback only + made the incident more ludicrous. But Haydn had rather a partiality for + the drum—a satisfying instrument, as Mr George Meredith says, + because of its rotundity—and, as we shall learn when we come to his + visits to London, he could handle the instrument well enough to astonish + the members of Salomon's orchestra. According to Pohl, the particular + instrument upon which he performed on the occasion of the Hainburg + procession is still preserved in the choir of the church there. + </p> + <p> + Hard as these early years must have been, Haydn recognized in after-life + that good had mingled with the ill. His master's harshness had taught him + patience and self-reliance. "I shall be grateful to Frankh as long as I + live," he said to Griesinger, "for keeping me so hard at work." He always + referred to Frankh as "my first instructor," and, like Handel with Zachau, + he acknowledged his indebtedness in a practical way by bequeathing to + Frankh's daughter, then married, 100 florins and a portrait of her father—a + bequest which she missed by dying four years before the composer himself. + </p> + <p> + A Piece of Good Fortune + </p> + <p> + Haydn had been two years with Frankh when an important piece of good + fortune befell him. At the time of which we are writing the Court + Capellmeister at Vienna was George Reutter, an inexhaustible composer of + church music, whose works, now completely forgotten, once had a great + vogue in all the choirs of the Imperial States. Even in 1823 Beethoven, + who was to write a mass for the Emperor Francis, was recommended to adopt + the style of this frilled and periwigged pedant! Reutter's father had been + for many years Capellmeister at St Stephen's Cathedral, Vienna, and on his + death, in 1738, the son succeeded to the post. He had not been long + established in the office when he started on a tour of search for + choristers. Arriving at Hainburg, he heard from the local pastor of + Haydn's "weak but pleasing voice," and immediately had the young singer + before him. + </p> + <p> + A Musical Examination + </p> + <p> + The story of the examination is rather amusing. Reutter gave the little + fellow a canon to sing at first sight. The boy went though the thing + triumphantly, and the delighted Reutter cried "Bravo!" as he flung a + handful of cherries into Haydn's cap. But there was one point on which + Reutter was not quite satisfied. "How is it, my little man," he said, + "that you cannot shake?" "How can you expect me to shake," replied the + enfant terrible, "when Herr Frankh himself cannot shake?" The great man + was immensely tickled by the ready retort, and, drawing the child towards + him, he taught him how to make the vibrations in his throat required to + produce the ornament. The boy picked up the trick at once. It was the + final decision of his fate. Reutter saw that here was a recruit worth + having, and he lost no time in getting the parents' sanction to carry him + off to Vienna. In the father's case this was easily managed, but the + mother only yielded when it was pointed out that her son's singing in the + cathedral choir did not necessarily mean the frustration of her hopes of + seeing him made a priest. + </p> + <p> + Goes to Vienna + </p> + <p> + Thus, some time in the year 1740, Reutter marched away from Hainburg with + the little Joseph, and Hainburg knew the little Joseph no more. Vienna was + now to be his home for ten long years of dreary pupilage and genteel + starvation. In those days, and for long after, St Stephen's Cathedral was + described as "the first church in the empire," and it is still, with its + magnificent spire, the most important edifice in Vienna. Erected in 1258 + and 1276 on the site of a church dating from 1144, it was not finally + completed until 1446. It is in the form of a Latin cross, and is 355 feet + long. The roof is covered with coloured tiles, and the rich groined + vaulting is borne by eighteen massive pillars, adorned with more than a + hundred statuettes. Since 1852 the building has been thoroughly restored, + but in all essentials it remains as it was when Haydn sang in it as a + choir-boy. + </p> + <p> + The Choir School of St Stephen's + </p> + <p> + Many interesting details have been printed regarding the Choir School of + St Stephen's and its routine in Haydn's time. They have been well + summarized by one of his biographers. [See Miss Townsend's Haydn, p. 9.] + The Cantorei was of very ancient foundation. Mention is made of it as + early as 1441, and its constitution may be gathered from directions given + regarding it about the period 1558-1571. It was newly constituted in 1663, + and many alterations were made then and afterwards, but in Haydn's day it + was still practically what it had been for nearly a century before. The + school consisted of a cantor (made Capellmeister in 1663), a sub-cantor, + two ushers and six scholars. They all resided together, and had meals in + common; and although ample allowance had originally been made for the + board, lodging and clothing of the scholars, the increased cost of living + resulted in the boys of Haydn's time being poorly fed and scantily clad. + They were instructed in "religion and Latin, together with the ordinary + subjects of school education, and in music, the violin, clavier, and + singing." The younger scholars were taken in hand by those more advanced. + The routine would seem to us now to be somewhat severe. There were two + full choral services daily in the cathedral. Special Te Deums were + constantly sung, and the boys had to take part in the numerous solemn + processions of religious brotherhoods through the city, as well as in the + services for royal birthdays and other such occasions. During Holy Week + the labours of the choir were continuous. Children's processions were very + frequent, and Haydn's delight in after years at the performance of the + charity children in St Paul's may have been partly owing to the + reminiscences of early days which it awakened. + </p> + <p> + A House of Suffering + </p> + <p> + But these details are aside from our main theme. The chapel-house of St + Stephen's was now the home of our little Joseph. It ought to have been a + happy home of instruction, but it was, alas! a house of suffering. Reutter + did not devote even ordinary care to his pupil, and from casual lessons in + musical theory he drifted into complete neglect. Haydn afterwards declared + that he had never had more than two lessons in composition from Reutter, + who was, moreover, harsh and cruel and unfeeling, laughing at his pupil's + groping attempts, and chastising him on the slightest pretext. It has been + hinted that the Capellmeister was jealous of his young charge—that + he was "afraid of finding a rival in the pupil." But this is highly + improbable. Haydn had not as yet shown any unusual gifts likely to excite + the envy of his superior. There is more probability in the other + suggestion that Reutter was piqued at not having been allowed by Haydn's + father to perpetuate the boy's fine voice by the ancient method of + emasculation. The point, in any case, is not of very much importance. It + is sufficient to observe that Reutter's name survives mainly in virtue of + the fact that he tempted Haydn to Vienna with the promise of special + instruction, and gave him practically nothing of that, but a great deal of + ill-usage. + </p> + <p> + Lessons at St Stephen's + </p> + <p> + Haydn was supposed to have lessons from two undistinguished professors + named Gegenbauer and Finsterbusch. But it all amounted to very little. + There was the regular drilling for the church services, to be sure: + solfeggi and psalms, psalms and solfeggi—always apt to degenerate, + under a pedant, into the dreariest of mechanical routine. How many a + sweet-voiced chorister, even in our own days, reaches manhood with a love + for music? It needs music in his soul. Haydn's soul withstood the numbing + influence of pedantry. He realized that it lay with himself to develop and + nurture the powers within his breast of which he was conscious. "The + talent was in me," he remarked, "and by dint of hard work I managed to get + on." Shortly before his death, when he happened to be in Vienna for some + church festival, he had an opportunity of speaking to the choir-boys of + that time. "I was once a singing boy," he said. "Reutter brought me from + Hainburg to Vienna. I was industrious when my companions were at play. I + used to take my little clavier under my arm, and go off to practice + undisturbed. When I sang a solo, the baker near St Stephen's yonder always + gave me a cake as a present. Be good and industrious, and serve God + continually." + </p> + <p> + A Sixteen-Part Mass! + </p> + <p> + It is pathetic to think of the boy assiduously scratching innumerable + notes on scraps of music paper, striving with yet imperfect knowledge to + express himself, and hoping that by some miracle of inspiration something + like music might come out of it. "I thought it must be all right if the + paper was nice and full," he said. He even went the length of trying to + write a mass in sixteen parts—an effort which Reutter rewarded with + a shrug and a sneer, and the sarcastic suggestion that for the present two + parts might be deemed sufficient, and that he had better perfect his + copying of music before trying to compose it. But Haydn was not to be + snubbed and snuffed out in this way. He appealed to his father for money + to buy some theory books. There was not too much money at Rohrau, we may + be sure, for the family was always increasing, and petty economies were + necessary. But the wheelwright managed to send the boy six florins, and + that sum was immediately expended on Fux's Gradus ad Parnassum and + Mattheson's Volkommener Capellmeister—heavy, dry treatises both, + which have long since gone to the musical antiquary's top shelf among the + dust and the cobwebs. These "dull and verbose dampers to enthusiasm" Haydn + made his constant companions, in default of a living instructor, and, like + Longfellow's "great men," toiled upwards in the night, while less + industrious mortals snored. + </p> + <p> + Juvenile Escapades + </p> + <p> + Meanwhile his native exuberance and cheerfulness of soul were + irrepressible. Several stories are told of the schoolboy escapades he + enjoyed with his fellow choristers. One will suffice here. He used to + boast that he had sung with success at Court as well as in St Stephen's. + This meant that he had made one of the choir when visits were paid to the + Palace of Schonbrunn, where the Empress Maria and her Court resided. On + the occasion of one of these visits the palace was in the hands of the + builders, and the scaffolding presented the usual temptation to the + youngsters. "The empress," to quote Pohl, "had caught them climbing it + many a time, but her threats and prohibitions had no effect. One day when + Haydn was balancing himself aloft, far above his schoolfellows, the + empress saw him from the windows, and requested her Hofcompositor to take + care that 'that fair-headed blockhead,' the ringleader of them all, got + 'einen recenten Schilling' (slang for 'a good hiding')." The command was + only too willingly obeyed by the obsequious Reutter, who by this time had + been ennobled, and rejoiced in the addition of "von" to his name. Many + years afterwards, when the empress was on a visit to Prince Esterhazy, the + "fair-headed blockhead" took the cruel delight of thanking her for this + rather questionable mark of Imperial favour! + </p> + <p> + "Sang like a Crow" + </p> + <p> + As a matter of fact, the empress, however she may have thought of Haydn + the man, showed herself anything but considerate to Haydn the choir-boy. + The future composer's younger brother, Michael, had now arrived in Vienna, + and had been admitted to the St Stephen's choir. His voice is said to have + been "stronger and of better quality" than Joseph's, which had almost + reached the "breaking" stage; and the empress, complaining to Reutter that + Joseph "sang like a crow," the complacent choirmaster put Michael in his + place. The empress was so pleased with the change that she personally + complimented Michael, and made him a present of 24 ducats. + </p> + <p> + Dismissed from St Stephen's + </p> + <p> + One thing leads to another. Reutter, it is obvious, did not like Haydn, + and any opportunity of playing toady to the empress was too good to be + lost. Unfortunately Haydn himself provided the opportunity. Having become + possessed of a new pair of scissors, he was itching to try their quality. + The pig-tail of the chorister sitting before him offered an irresistible + attraction; one snip and lo! the plaited hair lay at his feet. Discipline + must be maintained; and Reutter sentenced the culprit to be caned on the + hand. This was too great an indignity for poor Joseph, by this time a + youth of seventeen—old enough, one would have thought, to have + forsworn such boyish mischief. He declared that he would rather leave the + cathedral service than submit. "You shall certainly leave," retorted the + Capellmeister, "but you must be caned first." And so, having received his + caning, Haydn was sent adrift on the streets of Vienna, a broken-voiced + chorister, without a coin in his pocket, and with only poverty staring him + in the face. This was in November 1749. + </p> + <p> + <a name="link2HCH0002" id="link2HCH0002"> + <!-- H2 anchor --> </a> + </p> + <div style="height: 4em;"> + <br /><br /><br /><br /> + </div> + <h2> + CHAPTER II. VIENNA—1750-1760 + </h2> + <p> + <i>Vienna—The Forlorn Ex-Chorister—A Good Samaritan—Haydn + Enskied—Street Serenades—Joins a Pilgrim Party—An + Unconditional Loan—"Attic" Studies—An Early Composition—Metastasio—A + Noble Pupil—Porpora—Menial Duties—Emanuel Bach—Haydn + his Disciple—Violin Studies—Attempts at "Programme" Music—First + Opera—An Aristocratic Appointment—Taken for an Impostor—A + Count's Capellmeister—Falls in Love—Marries—His Wife.</i> + </p> + <p> + Vienna + </p> + <p> + The Vienna into which Haydn was thus cast, a friendless and forlorn youth + of seventeen, was not materially different from the Vienna of to-day. + While the composer was still living, one who had made his acquaintance + wrote of the city: "Represent to yourself an assemblage of palaces and + very neat houses, inhabited by the most opulent families of one of the + greatest monarchies in Europe—by the only noblemen to whom that + title may still be with justice applied. The women here are attractive; a + brilliant complexion adorns an elegant form; the natural but sometimes + languishing and tiresome air of the ladies of the north of Germany is + mingled with a little coquetry and address, the effect of the presence of + a numerous Court...In a word, pleasure has taken possession of every + heart." This was written when Haydn was old and famous; it might have been + written when his name was yet unknown. + </p> + <p> + Vienna was essentially a city of pleasure—a city inhabited by "a + proud and wealthy nobility, a prosperous middle class, and a silent, if + not contented, lower class." In 1768, Leopold Mozart, the father of the + composer, declared that the Viennese public had no love of anything + serious or sensible; "they cannot even understand it, and their theatres + furnish abundant proof that nothing but utter trash, such as dances, + burlesques, harlequinades, ghost tricks, and devils' antics will go down + with them." There is, no doubt, a touch of exaggeration in all this, but + it is sufficiently near the truth to let us understand the kind of + attention which the disgraced chorister of St Stephen's was likely to + receive from the musical world of Vienna. It was Vienna, we may recall, + which dumped Mozart into a pauper's grave, and omitted even to mark the + spot. + </p> + <p> + The Forlorn Ex-Chorister + </p> + <p> + Young Haydn, then, was wandering, weary and perplexed, through its + streets, with threadbare clothes on his back and nothing in his purse. + There was absolutely no one to whom he could think of turning. He might, + indeed, have taken the road to Rohrau and been sure of a warm welcome from + his humble parents there. But there were good reasons why he should not + make himself a burden on them; and, moreover, he probably feared that at + home he would run some risk of being tempted to abandon his cherished + profession. Frau Haydn had not yet given up the hope of seeing her boy + made a priest, and though we have no definite information that Haydn + himself felt a decided aversion to taking orders, it is evident that he + was disinclined to hazard the danger of domestic pressure. He had now + finally made up his mind that he would be a composer; but he saw clearly + enough that, for the present, he must work, and work, too, not for fame, + but for bread. + </p> + <p> + A Good Samaritan + </p> + <p> + Musing on these things while still parading the streets, tired and hungry, + he met one Spangler, a tenor singer of his acquaintance, who earned a + pittance at the Church of St Michael. Spangler was a poor man—but it + is ever the poor who are most helpful to each other—and, taking pity + on the dejected outcast, he invited Haydn to share his garret rooms along + with his wife and child. It is regrettable that nothing more is known of + this good Samaritan—one of those obscure benefactors who go through + the world doing little acts of kindness, never perhaps even suspecting how + far-reaching will be the results. He must have died before Haydn, + otherwise his name would certainly have appeared in his will. + </p> + <p> + Haydn Enskied + </p> + <p> + Haydn remained with Spangler in that "ghastly garret" all through the + winter of 1749-1750. He has been commiserated on the garret—needlessly, + to be sure. Garrets are famous, in literary annals at any rate; and is it + not Leigh Hunt who reminds us that the top story is healthier than the + basement? The poor poet in Pope, who lay high in Drury Lane, "lull'd by + soft zephyrs through the broken pane," found profit, doubtless, in his + "neighbourhood with the stars." However that may be, there, in Spangler's + attic, was Haydn enskied, eager for work—work of any kind, so long + as it had fellowship with music and brought him the bare means of + subsistence. + </p> +<pre xml:space="preserve"> + "Scanning his whole horizon + In quest of what he could clap eyes on," +</pre> + <p> + he sought any and every means of making money. He tried to get teaching, + with what success has not been recorded. He sang in choirs, played at + balls and weddings and baptisms, made "arrangements" for anybody who would + employ him, and in short drudged very much as Wagner did at the outset of + his tempestuous career. + </p> + <p> + Street Serenades + </p> + <p> + He even took part in street serenades by playing the violin. This last was + not a very dignified occupation; but it is important to remember that + serenading in Vienna was not the lover's business of Italy and Spain, + where the singer is accompanied by guitar or mandoline. It was a much more + serious entertainment. It dated from the seventeenth century, if we are to + trust Praetorius, and consisted of solos and concerted vocal music in + various forms, accompanied sometimes by full orchestra and sometimes by + wind instruments alone. Great composers occasionally honoured their + patrons and friends with the serenade; and composers who hoped to be great + found it advantageous as a means of gaining a hearing for their works. It + proved of some real service to Haydn later on, but in the meantime it does + not appear to have swelled his lean purse. With all his industry he fell + into the direst straits now and again, and was more than once driven into + wild projects by sheer stress of hunger. + </p> + <p> + Joins a Pilgrim Party + </p> + <p> + One curious story is told of a journey to Mariazell, in Styria. This + picturesquely-situated village has been for many years the most frequented + shrine in Austria. To-day it is said to be visited by something like + 100,000 pilgrims every year. The object of adoration is the miraculous + image of the Madonna and Child, twenty inches high, carved in lime-wood, + which was presented to the Mother Church of Mariazell in 1157 by a + Benedictine priest. Haydn was a devout Catholic, and not improbably knew + all about Mariazell and its Madonna. At any rate, he joined a company of + pilgrims, and on arrival presented himself to the local choirmaster for + admission, showing the official some of his compositions, and telling of + his eight years' training at St Stephen's. The choirmaster was not + impressed. "I have had enough of lazy rascals from Vienna," said he. "Be + off!" But Haydn, after coming so far, was not to be dismissed so + unceremoniously. He smuggled himself into the choir, pleaded with the solo + singer of the day to be allowed to act as his deputy, and, when this was + refused, snatched the music from the singer's hand, and took up the solo + at the right moment with such success that "all the choir held their + breath to listen." At the close of the service the choirmaster sent for + him, and, apologizing for his previous rude behaviour, invited him to his + house for the day. The invitation extended to a week, and Haydn returned + to Vienna with money enough—the result of a subscription among the + choir—to serve his immediate needs. + </p> + <p> + An Unconditional Loan + </p> + <p> + But it would have been strange if, in a musical city like Vienna, a youth + of Haydn's gifts had been allowed to starve. Slowly but surely he made his + way, and people who could help began to hear of him. The most notable of + his benefactors at this time was a worthy tradesman named Buchholz, who + made him an unconditional loan of 150 florins. An echo of this unexpected + favour is heard long years after in the composer's will, where we read: + "To Fraulein Anna Buchholz, 100 florins, inasmuch as in my youth her + grandfather lent me 150 florins when I greatly needed them, which, + however, I repaid fifty years ago." + </p> + <p> + "Attic" Studies + </p> + <p> + One hundred and fifty florins was no great sum assuredly, but at this time + it was a small fortune to Haydn. He was able to do a good many things with + it. First of all, he took a lodging for himself—another attic! + Spangler had been very kind, but he could not give the young musician the + privacy needed for study. It chanced that there was a room vacant, "nigh + to the gods and the clouds," in the old Michaelerhaus in the Kohlmarkt, + and Haydn rented it. It was not a very comfortable room—just big + enough to allow the poor composer to turn about. It was dimly lighted. It + "contained no stove, and the roof was in such bad repair that the rain and + the snow made unceremonious entry and drenched the young artist in his + bed. In winter the water in his jug froze so hard during the night that he + had to go and draw direct from the well." For neighbours he had + successively a journeyman printer, a footman and a cook. These were not + likely to respect his desire for quiet, but the mere fact of his having a + room all to himself made him oblivious of external annoyances. As he + expressed it, he was "too happy to envy the lot of kings." He had his old, + worm-eaten spinet, and his health and his good spirits; and although he + was still poor and unknown, he was "making himself all the time," like Sir + Walter Scott in Liddesdale. + </p> + <p> + An Early Composition + </p> + <p> + Needless to say, he was composing a great deal. Much of his manuscript + was, of course, torn up or consigned to the flames, but one piece of work + survived. This was his first Mass in F (No. 11 in Novello's edition), + erroneously dated by some writers 1742. It shows signs of immaturity and + inexperience, but when Haydn in his old age came upon the long-forgotten + score he was so far from being displeased with it that he rearranged the + music, inserting additional wind parts. One biographer sees in this + procedure "a striking testimony to the genius of the lad of eighteen." We + need not read it in that way. It rather shows a natural human tenderness + for his first work, a weakness, some might call it, but even so, more + pardonable than the weakness—well illustrated by some later + instances—of hunting out early productions and publishing them + without a touch of revision. + </p> + <p> + Metastasio + </p> + <p> + It was presumably by mere chance that in that same rickety Michaelerhaus + there lived at this date not only the future composer of "The Creation," + but the Scribe of the eighteenth century, the poet and opera librettist, + Metastasio. Born in 1698, the son of humble parents, this distinguished + writer had, like Haydn, suffered from "the eternal want of pence." A + precocious boy, he had improvised verses and recited them on the street, + and fame came to him only after long and weary years of waiting. In 1729 + he was appointed Court poet to the theatre at Vienna, for which he wrote + several of his best pieces, and when he made Haydn's acquaintance his + reputation was high throughout the whole of Europe. Naturally, he did not + live so near the clouds as Haydn—his rooms were on the third story—but + he heard somehow of the friendless, penniless youth in the attic, and + immediately resolved to do what he could to further his interests. This, + as events proved, was by no means inconsiderable. + </p> + <p> + A Noble Pupil + </p> + <p> + Metastasio had been entrusted with the education of Marianne von Martinez, + the daughter of a Spanish gentleman who was Master of the Ceremonies to + the Apostolic Nuncio. The young lady required a musicmaster, and the poet + engaged Haydn to teach her the harpsichord, in return for which service he + was to receive free board. Fraulein Martinez became something of a musical + celebrity. When she was only seventeen she had a mass performed at St + Michael's Church, Vienna. She was a favourite of the Empress Maria + Theresa, and is extolled by Burney—who speaks of her "marvelous + accuracy" in the writing of English—as a singer and a player, almost + as highly as Gluck's niece. Her name finds a place in the biographies of + Mozart, who, at her musical receptions, used to take part with her in + duets of her own composition. Several of her manuscripts are still in the + possession of the Gesellschaft der Musikfreunde. Something of her musical + distinction ought certainly to be attributed to Haydn, who gave her daily + lessons for three years, during which time he was comfortably housed with + the family. + </p> + <p> + Porpora + </p> + <p> + It was through Metastasio, too, that he was introduced to Niccolo Porpora, + the famous singing-master who taught the great Farinelli, and whose name + is sufficiently familiar from its connection with an undertaking set on + foot by Handel's enemies in London. Porpora seems at this time to have + ruled Vienna as a sort of musical director and privileged censor, to have + been, in fact, what Rossini was for many years in Paris. He was giving + lessons to the mistress of Correr, the Venetian ambassador—a "rare + musical enthusiast"—and he employed Haydn to act as accompanist + during the lessons. + </p> + <p> + Menial Duties + </p> + <p> + We get a curious insight into the social conditions of the musicians of + this time in the bearing of Haydn towards Porpora and his pupil. That + Haydn should become the instructor of Fraulein Martinez in no way + compromised his dignity; nor can any reasonable objection be raised + against his filling the post of, accompanist to the ambassador's mistress. + But what shall be said of his being transported to the ambassador's summer + quarters at Mannersdorf, and doing duty there for six ducats a month and + his board—at the servants' table? The reverend author of Music and + Morals answers by reminding us that in those days musicians were not the + confidential advisers of kings like Wagner, rich banker's sons like + Meyerbeer, private gentlemen like Mendelssohn, and members of the Imperial + Parliament like Verdi. They were "poor devils" like Haydn. Porpora was a + great man, no doubt, in his own metier. But it is surely odd to hear of + Haydn acting the part of very humble servant to the singing-master; + blackening his boots and trimming his wig, and brushing his coat, and + running his errands, and playing his accompaniments! Let us, however, + remember Haydn's position and circumstances. He was a poor man. He had + never received any regular tuition such as Handel received from Zachau, + Mozart from his father, and Mendelssohn from Zelter. He had to pick up his + instruction as he went along; and if he felt constrained to play the + lackey to Porpora, it was only with the object of receiving in return + something which would help to fit him for his profession. As he naively + said, "I improved greatly in singing, composition, and Italian." [The + relations of Haydn and Porpora are sketched in George Sand's "Consuelo."] + </p> + <p> + Emanuel Bach + </p> + <p> + In the meantime he was carrying on his private studies with the greatest + assiduity. His Fux and his Mattheson had served their turn, and he had now + supplemented them by the first six Clavier Sonatas of Philipp Emanuel + Bach, the third son of the great composer. The choice may seem curious + when we remember that Haydn had at his hand all the music of Handel and + Bach, and the masters of the old contrapuntal school. But it was wisely + made. The simple, well-balanced form of Emanuel Bach's works "acted as + well as a master's guidance upon him, and led him to the first steps in + that style of writing which was afterwards one of his greatest glories." + The point is admirably put by Sir Hubert Parry. He says, in effect, that + what Haydn had to build upon, and what was most congenial to him, through + his origin and circumstances, was the popular songs and dances of his + native land, which, in the matter of structure, belong to the same order + of art as symphonies and sonatas; and how this kind of music could be made + on a grander scale was what he wanted to discover. The music of Handel and + Bach leaned too much towards the style of the choral music and organ music + of the church to serve him as a model. For their art was essentially + contrapuntal—the combination of several parts each of equal + importance with the rest, each in a sense pursuing its own course. In + modern music the essential principle is harmonic: the chords formed by the + combination of parts are derived and developed in reference to roots and + keys. In national dances few harmonies are used, but they are arranged on + the same principles as the harmonies of a sonata or a symphony; and "what + had to be found out in order to make grand instrumental works was how to + arrange more harmonies with the same effect of unity as is obtained on a + small scale in dances and national songs." Haydn, whose music contains + many reminiscences of popular folk-song, had in him the instinct for this + kind of art; and the study of Philipp Emanuel's works taught him how to + direct his energies in the way that was most agreeable to him. + </p> + <p> + A Disciple of Emanuel Bach + </p> + <p> + Although much has been written about Emanuel Bach, it is probable that the + full extent of his genius remains yet to be recognized. He was the + greatest clavier player, teacher and accompanist of his day; a master of + form, and the pioneer of a style which was a complete departure from that + of his father. Haydn's enthusiasm for him can easily be explained. "I did + not leave the clavier till I had mastered all his six sonatas," he says, + "and those who know me well must be aware that I owe very much to Emanuel + Bach, whose works I understand and have thoroughly studied. Emanuel Bach + himself once complimented me on this fact." When Haydn began to make a + name Bach hailed him with delight as a disciple, and took occasion to send + him word that, "he alone had thoroughly comprehended his works and made a + proper use of them." + </p> + <p> + This is a sufficient answer to the absurd statement which has been made, + and is still sometimes repeated, that Bach was jealous of the young + composer and abused him to his friends. A writer in the European Magazine + for October 1784, says that Bach was "amongst the number of professors who + wrote against our rising author." He mentions others as doing the same + thing, and then continues: "The only notice Haydn took of their scurrility + and abuse was to publish lessons written in imitation of the several + styles of his enemies, in which their peculiarities were so closely copied + and their extraneous passages (particularly those of Bach of Hamburg) so + inimitably burlesqued, that they all felt the poignancy of his musical + wit, confessed its truth, and were silent." Further on we read that the + sonatas of Ops. 13 and 14 were "expressly composed in order to ridicule + Bach of Hamburg." All this is manifestly a pure invention. Many of the + peculiarities of Emanuel Bach's style are certainly to be found in Haydn's + works—notes wide apart, pause bars, surprise modulations, etc., etc.—but + if every young composer who adopts the tricks of his model is to be + charged with caricature, few can hope to escape. The truth is, of course, + that every man's style, whether in music or in writing, is a "mingled + yarn" of many strands, and it serves no good purpose to unravel it, even + if we could. + </p> + <p> + Violin Studies + </p> + <p> + Haydn's chief instrument was the clavier, but in addition to that he + diligently practiced the violin. It was at this date that he took lessons + on the latter instrument from "a celebrated virtuoso." The name is not + mentioned, but the general opinion is that Dittersdorf was the instructor. + This eminent musician obtained a situation as violinist in the Court + Orchestra at Vienna in 1760; and, curiously enough, after many years of + professional activity, succeeded Haydn's brother, Michael, as + Capellmeister to the Bishop of Groswardein in Hungary. He wrote an + incredible amount of music, and his opera, "Doctor and Apotheker," by + which he eclipsed Mozart at one time, has survived up to the present. + Whether or not he gave Haydn lessons on the violin, it is certain that the + pair became intimate friends, and had many happy days and some practical + jokes together. One story connected with their names sounds apocryphal, + but there is no harm in quoting it. Haydn and Dittersdorf were strolling + down a back street when they heard a fiddler scraping away in a little + beer cellar. Haydn, entering, inquired, "Whose minuet is that you are + playing?" "Haydn's," answered the fiddler. "It's a—bad minuet," + replied Haydn, whereupon the enraged player turned upon him and would have + broken his head with the fiddle had not Dittersdorf dragged him away. + </p> + <p> + Attempts at Programme Music + </p> + <p> + It seems to have been about this time—the date, in fact, was 1751—that + Haydn, still pursuing his serenading practices, directed a performance of + a quintet of his own composition under the windows of Felix Kurz, a + well-known Viennese comedian and theatrical manager. According to an old + writer, Kurz amused the public by his puns, and drew crowds to his theatre + by his originality and by good opera-buffas. He had, moreover, a handsome + wife, and "this was an additional reason for our nocturnal adventurers to + go and perform their serenades under the harlequin's windows." The + comedian was naturally flattered by Haydn's attention. He heard the music, + and, liking it, called the composer into the house to show his skill on + the clavier. Kurz appears to have been an admirer of what we would call + "programme" music. At all events he demanded that Haydn should give him a + musical representation of a storm at sea. Unfortunately, Haydn had never + set eyes on the "mighty monster," and was hard put to it to describe what + he knew nothing about. He made several attempts to satisfy Kurz, but + without success. At last, out of all patience, he extended his hands to + the two ends of the harpsichord, and, bringing them rapidly together, + exclaimed, as he rose from the instrument, "The devil take the tempest." + "That's it! That's it!" cried the harlequin, springing upon his neck and + almost suffocating him. Haydn used to say that when he crossed the Straits + of Dover in bad weather, many years afterwards, he often smiled to himself + as he thought of the juvenile trick which so delighted the Viennese + comedian. + </p> + <p> + His First Opera + </p> + <p> + But the comedian wanted more from Haydn than a tempest on the keyboard. He + had written the libretto of an opera, "Der Neue Krumme Teufel," and + desired that Haydn should set it to music. The chance was too good to be + thrown away, and Haydn proceeded to execute the commission with alacrity, + not a little stimulated, doubtless, by the promise of 24 ducats for the + work. There is a playfulness and buoyancy about much of Haydn's music + which seems to suggest that he might have succeeded admirably in comic + opera, and it is really to be regretted that while the words of "Der Neue + Krumme Teufel" have been preserved, the music has been lost. It would have + been interesting to see what the young composer had made of a subject + which—from Le Sage's "Le Diable Boiteux" onwards—has engaged + the attention of so many playwrights and musicians. The opera was produced + at the Stadt Theatre in the spring of 1752, and was frequently repeated + not only in Vienna, but in Berlin, Prague, Saxony and the Breisgau. + </p> + <p> + An Aristocratic Appointment + </p> + <p> + An event of this kind must have done something for Haydn's reputation, + which was now rapidly extending. Porpora seems also to have been of no + small service to him in the way of introducing him to aristocratic + acquaintances. At any rate, in 1755, a wealthy musical amateur, the Baron + von Furnberg, who frequently gave concerts at his country house at + Weinzierl, near Vienna, invited him to take the direction of these + performances and compose for their programmes. It was for this nobleman + that he wrote his first string quartet, the one in B flat beginning— + </p> + <p> + [figure: a musical score excerpt] + </p> + <p> + This composition was rapidly followed by seventeen other works of the same + class, all written between 1755 and 1756. + </p> + <p> + Taken for an Impostor + </p> + <p> + Haydn's connection with Furnberg and the success of his compositions for + that nobleman at once gave him a distinction among the musicians and + dilettanti of Vienna. He now felt justified in increasing his fees, and + charged from 2 to 5 florins for a month's lessons. Remembering the legend + of his unboylike fastidiousness, and the undoubted nattiness of his later + years, it is curious to come upon an incident of directly opposite + tendency. A certain Countess von Thun, whose name is associated with + Beethoven, Mozart and Gluck, met with one of his clavier sonatas in + manuscript, and expressed a desire to see him. When Haydn presented + himself, the countess was so struck by his shabby appearance and uncouth + manners that it occurred to her he must be an impostor! But Haydn soon + removed her doubts by the pathetic and realistic account which he gave of + his lowly origin and his struggles with poverty, and the countess ended by + becoming his pupil and one of his warmest friends. + </p> + <p> + A Count's Capellmeister + </p> + <p> + Haydn is said to have held for a time the post of organist to the Count + Haugwitz; but his first authenticated fixed engagement dates from 1759, + when, through the influence of Baron Furnberg, he was appointed + Capellmeister to the Bohemian Count Morzin. This nobleman, whose country + house was at Lukavec, near Pilsen, was a great lover of music, and + maintained a small, well-chosen orchestra of some sixteen or eighteen + performers. It was for him that Haydn wrote his first Symphony in D— + </p> + <p> + [Figure: a musical score excerpt] + </p> + <p> + Falls in Love + </p> + <p> + We now approach an interesting event in Haydn's career. In the course of + some banter at the house of Rogers, Campbell the poet once remarked that + marriage in nine cases out of ten looks like madness. Haydn's case was not + the tenth. His salary from Count Morzin was only 20 pounds with board and + lodging; he was not making anything substantial by his compositions; and + his teaching could not have brought him a large return. Yet, with the + proverbial rashness of his class, he must needs take a wife, and that, + too, in spite, of the fact that Count Morzin never kept a married man in + his service! "To my mind," said Mozart, "a bachelor lives only half a + life." It is true enough; but Mozart had little reason to bless the + "better half," while Haydn had less. The lady with whom he originally + proposed to brave the future was one of his own pupils—the younger + of the two daughters of Barber Keller, to whom he had been introduced when + he was a chorister at St Stephen's. According to Dies, Haydn had lodged + with the Kellers at one time. The statement is doubtful, but in any case + his good stars were not in the ascendant when it was ordained that he + should marry into this family. + </p> + <p> + Marries + </p> + <p> + It was, as we have said, with the younger of the two daughters that he + fell in love. Unfortunately, for some unexplained reason, she took the + veil, and said good-bye to a wicked world. Like the hero in "Locksley + Hall," Haydn may have asked himself, "What is that which I should do?" But + Keller soon solved the problem for him. "Barbers are not the most + diffident people of the world," as one of the race remarks in "Gil Blas," + and Keller was assuredly not diffident. "Never mind," he said to Haydn, + "you shall have the other." Haydn very likely did not want the other, but, + recognizing with Dr Holmes's fashionable lady that "getting married is + like jumping overboard anyway you look at it," he resolved to risk it and + take Anna Maria Keller for better or worse. + </p> + <p> + His Wife + </p> + <p> + The marriage was solemnized at St Stephen's on November 26, 1760, when the + bridegroom was twenty-nine and the bride thirty-two. There does not seem + to have been much affection on either side to start with; but Haydn + declared that he had really begun to "like" his wife, and would have come + to entertain a stronger feeling for her if she had behaved in a reasonable + way. It was, however, not in Anna Maria's nature to behave in a reasonable + way. The diverting Marville says that the majority of women married to men + of genius are so vain of the abilities of their husbands that they are + frequently insufferable. Frau Haydn was not a woman of that kind. As Haydn + himself sadly remarked, it did not matter to her whether he were a cobbler + or an artist. She used his manuscript scores for curling papers and + underlays for the pastry, and wrote to him when he was in England for + money to buy a "widow's home." He was even driven to pitifully undignified + expedients to protect his hard-earned cash from her extravagant hands. + </p> + <p> + There are not many details of Anna Maria's behaviour, for Haydn was + discreetly reticent about his domestic affairs; and only two references + can be found in all his published correspondence to the woman who had + rendered his life miserable. But these anecdotes tell us enough. For a + long time he tried making the best of it; but making the best of it is a + poor affair when it comes to a man and woman living together, and the day + arrived when the composer realized that to live entirely apart was the + only way of ending a union that had proved anything but a foretaste of + heaven. Frau Haydn looked to spend her last years in a "widow's home" + provided for her by the generosity of her husband, but she predeceased him + by nine years, dying at Baden, near Vienna, on the 20th of March 1800. + With this simple statement of facts we may finally dismiss a matter that + is best left to silence—to where "beyond these voices there is + peace." + </p> + <p> + Whether Count Morzin would have retained the services of Haydn in spite of + his marriage is uncertain. The question was not put to the test, for the + count fell into financial embarrassments and had to discharge his musical + establishment. A short time before this, Prince Paul Anton Esterhazy had + heard some of Haydn's compositions when on a visit to Morzin, and, being + favourably impressed thereby, he resolved to engage Haydn should an + opportunity ever present itself. The opportunity had come, and Haydn + entered the service of a family who were practically his life-long + patrons, and with whom his name must always be intimately associated. + </p> + <p> + <a name="link2HCH0003" id="link2HCH0003"> + <!-- H2 anchor --> </a> + </p> + <div style="height: 4em;"> + <br /><br /><br /><br /> + </div> + <h2> + CHAPTER III. EISENSTADT—1761-1766 + </h2> + <p> + <i>The Esterhazy Family—Haydn's Agreement—An "Upper Servant"?—Dependence + in the Order of Nature—Material and Artistic Advantages of the + Esterhazy Appointment—Some Disadvantages—Capellmeister Werner—A + Posthumous Tribute—Esterhazy "The Magnificent"—Compositions + for Baryton—A Reproval—Operettas and other Occasional Works—First + Symphonies.</i> + </p> + <p> + The Esterhazy Family + </p> + <p> + As Haydn served the Esterhazys uninterruptedly for the long period of + thirty years, a word or two about this distinguished family will not be + out of place. At the present time the Esterhazy estates include + twenty-nine lordships, with twenty-one castles, sixty market towns, and + 414 villages in Hungary, besides lordships in Lower Austria and a county + in Bavaria. This alone will give some idea of the power and importance of + the house to which Haydn was attached. The family was divided into three + main branches, but it is with the Frakno or Forchtenstein line that we are + more immediately concerned. Count Paul Esterhazy of Frakno (1635-1713) + served in the Austrian army with such distinction as to gain a + field-marshal's baton at the age of thirty. He was the first prince of the + name, having been ennobled in 1687 for his successes against the Turks and + his support of the House of Hapsburg. He was a musical amateur and a + performer of some ability, and it was to him that the family owed the + existence of the Esterhazy private chapel, with its solo singers, its + chorus, and its orchestra. Indeed, it was this prince who, in 1683, built + the splendid Palace of Eisenstadt, at the foot of the Leitha mountains, in + Hungary, where Haydn was to spend so many and such momentous years. + </p> + <p> + When Prince Paul died in 1713, he was succeeded by his son, Joseph Anton, + who acquired "enormous wealth," and raised the Esterhazy family to "the + height of its glory." This nobleman's son, Paul Anton, was the reigning + prince when Haydn was called to Eisenstadt in 1761. He was a man of fifty, + and had already a brilliant career behind him. Twice in the course of the + Seven Years' War he had "equipped and maintained during a whole campaign a + complete regiment of hussars for the service of his royal mistress," and, + like his distinguished ancestor, he had been elevated to the dignity of + field-marshal. He was passionately devoted to the fine arts, more + particularly to music, and played the violin with eminent skill. Under his + reign the musical establishment at Eisenstadt enjoyed a prosperity unknown + at any other period of its history. + </p> + <p> + Haydn's Agreement + </p> + <p> + As there will be something to say about the terms and nature of Haydn's + engagement with Prince Paul Anton, it may be well to quote the text of the + agreement which he was required to sign. It was in these terms: + </p> + <p> + FORM OF AGREEMENT AND INSTRUCTIONS FOR THE VICE-CAPELLMEISTER + </p> + <p> + "This day (according to the date hereto appended) Joseph Heyden [sic] + native of Rohrau, in Austria, is accepted and appointed Vice-Capellmeister + in the service of his Serene Highness, Paul Anton, Prince of the Holy + Roman Empire, of Esterhazy and Galantha, etc., etc., with the conditions + here following: + </p> + <p> + "1st. Seeing that the Capellmeister at Eisenstadt, by name Gregorius + Werner, having devoted many years of true and faithful service to the + princely house, is now, on account of his great age and infirmities, unfit + to perform the duties incumbent on him, therefore the said Gregorious + Werner, in consideration of his long services, shall retain the post of + Capellmeister, and the said Joseph Heyden as Vice-Capellmeister shall, as + far as regards the music of the choir, be subordinate to the Capellmeister + and receive his instructions. But in everything else relating to musical + performances, and in all that concerns the orchestra, the + Vice-Capellmeister shall have the sole direction. + </p> + <p> + "2nd. The said Joseph Heyden shall be considered and treated as a member + of the household. Therefore his Serene Highness is graciously pleased to + place confidence in his conducting himself as becomes an honourable + official of a princely house. He must be temperate, not showing himself + overbearing towards his musicians, but mild and lenient, straightforward + and composed. It is especially to be observed that when the orchestra + shall be summoned to perform before company, the Vice-Capellmeister and + all the musicians shall appear in uniform, and the said Joseph Heyden + shall take care that he and all members of his orchestra do follow the + instructions given, and appear in white stockings, white linen, powdered, + and either with a pig-tail or a tie-wig. + </p> + <p> + "3rd. Seeing that the other musicians are referred for directions to the + said Vice-Capellmeister, therefore he should take the more care to conduct + himself in an exemplary manner, abstaining from undue familiarity, and + from vulgarity in eating, drinking and conversation, not dispensing with + the respect due to him, but acting uprightly and influencing his + subordinates to preserve such harmony as is becoming in them, remembering + how displeasing the consequences of any discord or dispute would be to his + Serene Highness. + </p> + <p> + "4th. The said Vice-Capellmeister shall be under an obligation to compose + such music as his Serene Highness may command, and neither to communicate + such compositions to any other person, nor to allow them to be copied, but + to retain them for the absolute use of his Highness, and not to compose + anything for any other person without the knowledge and permission of his + Highness. + </p> + <p> + "5th. The said Joseph Heyden shall appear in the ante-chamber daily, + before and after mid-day, and inquire whether his Highness is pleased to + order a performance of the orchestra. After receipt of his orders be shall + communicate them to the other musicians and shall take care to be punctual + at the appointed time, and to ensure punctuality in his subordinates, + making a note of those who arrive late or absent themselves altogether. + </p> + <p> + "6th. Should any quarrel or cause of complaint arise, the + Vice-Capellmeister shall endeavour to arrange it, in order that his Serene + Highness may not be incommoded with trifling disputes; but should any more + serious difficulty occur, which the said Joseph Heyden is unable to set + right, his Serene Highness must then be respectfully called upon to decide + the matter. + </p> + <p> + "7th. The said Vice-Capellmeister shall take careful charge of all music + and musical instruments, and shall be responsible for any injury that may + occur to them from carelessness or neglect. + </p> + <p> + "8th. The said Joseph Heyden shall be obliged to instruct the female + vocalists, in order that they may not forget in the country what they had + been taught with much trouble and expense in Vienna, and, as the said + Vice-Capellmeister is proficient on various instruments, he shall take + care to practice himself on all that he is acquainted with. + </p> + <p> + "9th. A copy of this agreement and instructions shall be given to the said + Vice-Capellmeister and to his subordinates, in order that he may be able + to hold them to their obligations therein laid down. + </p> + <p> + "10th. It is considered unnecessary to detail the services required of the + said Joseph Heyden more particularly, since his Serene Highness is pleased + to hope that he will of his own free will strictly observe not only these + regulations, but all others that may from time to time be made by his + Highness, and that he will place the orchestra on such a footing, and in + such good order, that he may bring honour upon himself, and deserve the + further favour of the Prince, his master, who thus confides in his zeal + and discretion. + </p> + <p> + "11th. A salary of four hundred florins to be received quarterly is hereby + bestowed upon the said Vice-Capellmeister by his Serene Highness. + </p> + <p> + "12th. In addition, the said Joseph Heyden shall have board at the + officers' table, or half a gulden a day in lieu thereof. + </p> + <p> + "13th. Finally, this agreement shall hold good for at least three years + from May 1st, 1761, with the further condition that if at the conclusion + of this term the said Joseph Heyden shall desire to leave the service, he + shall notify his intention to his Highness half-a-year beforehand. + </p> + <p> + "14th. His Serene Highness undertakes to keep Joseph Heyden in his service + during this time, and should he be satisfied with him, he may look forward + to being appointed Capellmeister. This, however, must not be understood to + deprive his Serene Highness of the freedom to dismiss the said Joseph + Heyden at the expiration of the term, should he see fit to do so. + </p> + <p> + "Duplicate copies of this document shall be executed and exchanged. + </p> + <p> + "Given at Vienna this 1st day of May 1761, + </p> + <p> + "Ad mandatum Celsissimi Principis. + </p> + <p> + "JOHANN STIFFTELL, Secretary." + </p> + <p> + An "Upper Servant"? + </p> + <p> + The situation indicated by this lengthy document has afforded matter for a + good deal of comment, and not a little foolish writing. With some it is + the old case of Porpora and the blacking of the boots. Thus Miss Townsend + remarks: "Our indignation is roused at finding a great artist placed in + the position of an upper servant, and required to perform duties almost + menial in their nature." That is essentially a modern view. These things + have to be judged in relation to the ideas of the age. It was only a few + years before this that Johnson had contemptuously thrown away a pair of + boots which some pitying soul had placed at the door of his rooms at + Pembroke. The British mind likes to think of the sturdy independence of + the man who struck the death-blow at patronage in literature. But Johnson + himself had the meanest opinion of fiddlers. + </p> + <p> + Dependence in the Order of Nature + </p> + <p> + There was no talk in Haydn's native country of the dignity of art, at any + rate so far as musicians were concerned. When Mozart first arrived in + Vienna in 1781, he had to live with the archbishop's household, and dine + at the servants' table. Nay, he was known as "the villain, the low + fellow." And is it altogether certain even now, in free Britain, that the + parish organist is very clearly distinguished in the squire's mind from + the peripatetic organ-grinder? Public opinion does not seem to have + commiserated Haydn on his position of dependence; and, as for Haydn + himself, he was no doubt only too glad to have an assured income and a + comfortable home. We may be certain that he did not find the yoke + unbearably galling. He was of humble birth; of a family which must always + have looked up to their "betters" as unspeakably and immeasurably above + them. Dependence was in the order of nature, and a man of Haydn's good + sense was the last in the world to starve and fret because his freedom to + practice his art and develop his powers was complicated with a sort of + feudal service. Some strong souls may find an empty purse the truest + source of inspiration, as Mr Russell Lowell declares it to be; but it is + very much to be doubted whether a careful investigation would show that a + great man's best work was done with the wolf at the door. + </p> + <p> + Material Advantages + </p> + <p> + Haydn had no self-pity: why should we pity him? He had free quarters at + the palace, with liberty to enjoy the company of his wife when she chose + to favour him—an event of rare occurrence. His salary was raised + from time to time. The old prince, his first employer, paid him 400 + florins; his successor increased the amount first to 600 and then to 782 + florins (78 pounds); and finally he had 1400 florins, which last sum was + continued to him as a pension when he left the Esterhazy service. Although + money had a much higher purchasing value in those days, the figures here + quoted do not seem princely when we consider the extent and nature of + Haydn's duties, but to a man of Haydn's simple tastes they would appear + ample enough. At least, they would save him from lying on straw and + drinking bad whisky, which Wagner regarded as among the things that are + inimical to the creative genius. + </p> + <p> + Artistic Advantages + </p> + <p> + These were the material advantages of the Eisenstadt appointment. The + artistic advantages were even more important, especially to a young and + inexperienced artist who, so far, had not enjoyed many opportunities of + practically testing his own work. Haydn had a very good band always at his + disposal, the members of which were devoted to him. If he wrote part of a + symphony over-night he could try it in the morning, prune, revise, accept, + reject. Many a young composer of to-day would rejoice at such an + opportunity, as indeed Haydn himself rejoiced at it. "I not only had the + encouragement of constant approval," he says, speaking of this period of + his career, "but as conductor of an orchestra I could make experiments, + observe what produced an effect and what weakened it, and was thus in a + position to improve, alter, make additions and omissions, and be as bold + as I pleased." + </p> + <p> + Some Disadvantages + </p> + <p> + No doubt there were some disadvantages in counterpoise. After the gay life + of Vienna, Eisenstadt must have been dull enough, and there is plenty of + evidence to show that the young artist occasionally fell into the dumps. + In one letter he complains that he "never can obtain leave, even for + four-and-twenty hours, to go to Vienna." In another he writes: "I am + doomed to stay at home. What I lose by so doing you can well imagine. It + is indeed sad always to be a slave, but Providence wills it so. I am a + poor creature, plagued perpetually by hard work, and with few hours for + recreation." Haydn clearly recognized the necessities of the artist. A + quiet life is all very well, but no man ever yet greatly touched the + hearts of men if he kept himself too strictly segregated from his kind. + Music, like every other art, would perish in a hot-house. Reckon up to-day + the composers who are really a force in the emotional life of the people, + and ask which of them was reared in the serene, cold air of the academies. + A composer to be great must live with his fellows, and open his soul to + human affluences. "I was cut off from the world," says Haydn. "There was + no one to confuse or torment me, and I was forced to become original." But + his originality was that of an active mind working upon material already + stored, and the store had to be replenished in occasional excursions, all + too few, from the palace. + </p> + <p> + The Eisenstadt appointment, then, provided for Haydn's material wants, and + gave him opportunities for the peaceful pursuit of his studies, for + experiment and self-criticism. He was treated with great consideration by + the Esterhazys, and, menial or not, he lived on their bounty and in the + friendliest relations with them. + </p> + <p> + Capellmeister Werner + </p> + <p> + From his agreement with Prince Esterhazy it will have been gathered that, + though virtually entrusted with the direction of the Eisenstadt musical + establishment, Haydn was really under the control of an old official. Such + arrangements seldom work well. The retention of Joseph Werner was + presumably due to the thoughtful kindness of his noble patron, but it was + bound to lead to awkward situations. Werner had served the Esterhazys for + thirty-two years, and could not be expected to placidly accept his + supersession by a young and as yet almost unknown musician. True, he was + not a very distinguished man himself. He had composed a large amount of + music, chiefly sacred, including thirty-nine masses and twelve "Oratorios + for Good Friday," besides some grotesque pieces intended as burlesques of + the musical life of Vienna. Not one of his works has any real musical + value; but, as is usually the case with the talent which stops short of + genius, he thought a great deal of himself, and was inclined to look down + upon Haydn as an interloper, unskilled in that rigid counterpoint which + was the "heaven's law" of the old-time composer. Indeed, he described his + associate as "a mere fop" and "a scribbler of songs." + </p> + <p> + A Posthumous Tribute + </p> + <p> + It is but fair to Haydn to say that, if he did not suffer his nominal + superior gladly, he at least treated him with respect and a certain + deference. He did more. Werner died in 1766, having thus seen only five + years of the new order of things, but Haydn's regard for his memory was + such that, so late as 1804, he published six of his fugues arranged as + string quartets, "out of sincere esteem for this celebrated master." A + kindness of heart and a total absence of professional jealousy + characterized Haydn throughout his whole career, and never more than in + this action. + </p> + <p> + Esterhazy "the Magnificent" + </p> + <p> + The composer had been rather less than a twelvemonth in his service when + Prince Paul Anton died on the 18th of March 1762. He was succeeded by his + brother Nicolaus, a sort of glorified "Grand Duke" of Chandos, who + rejoiced in the soubriquet of "The Magnificent." He loved ostentation and + glitter above all things, wearing at times a uniform bedecked with + diamonds. But he loved music as well. More, he was a performer himself, + and played the baryton, a stringed instrument not unlike the + viola-da-gamba, in general use up to the end of the eighteenth century. + Haydn naturally desired to please his prince, and being perpetually + pestered to provide new works for the noble baryton player, he thought it + would flatter him if he himself learnt to handle the baryton. This proved + an unfortunate misreading of "The Magnificent's" character, for when Haydn + at length made his debut with the instrument, the prince lost no time in + letting him understand that he disapproved of such rivalry. An amusing + story is told of Kraft, the Eisenstadt 'cellist, at this time, who + occasionally played the second baryton. Kraft presented the prince with a + composition into which he had introduced a solo for himself as second + baryton. The prince asked to see the part, and proceeded to try it over. + Coming to a difficult passage, he exclaimed indignantly: "For the future, + write solos only for my part; it is no credit to you to play better than + I; it is your duty." + </p> + <p> + Compositions for Baryton + </p> + <p> + Haydn, so far as we can make out, never essayed the baryton again, but he + wrote a surprising amount of music for it, considering its complicated + mechanism and the weakness of its tone. In the catalogue of his works + there are no fewer than 175 compositions for the instrument—namely, + six duets for two barytons, twelve sonatas for baryton and violoncello, + twelve divertimenti for two barytons and bass, and 125 divertimenti for + baryton, viola and violoncello; seventeen so-called "cassations"; and + three concertos for baryton, with accompaniment of two violins and bass. + There is no need to say anything about these compositions, inasmuch as + they have gone to oblivion with the instrument which called them into + being. At the best they can never have been of much artistic importance. + </p> + <p> + A Reproval + </p> + <p> + A new epoch began at Eisenstadt with the rule of Prince Nicolaus. He was a + man of unbounded energy himself, and he expected everybody in his service + to be energetic too. There is nothing to suggest that Haydn neglected any + of his routine duties, which certainly gave him abundant opportunity to + "break the legs of time," but once, at least—in 1765—his + employer taxed him with lack of diligence in composition, as well as for + failing to maintain the necessary discipline among the musicians under his + charge. It is likely enough that Haydn was not a rigid disciplinarian; but + it must have been a mere whim on the part of Prince Nicolaus to reprove + him on the score of laziness in composing. In any case, it seems to have + been only a solitary reproof. There is no evidence of its having been + repeated, and we may assume that even now it was not regarded as a very + serious matter, from the fact that three weeks after the prince was + requesting his steward to pay Haydn 12 ducats for three new pieces, with + which he was "very much pleased." + </p> + <p> + Operettas + </p> + <p> + Life at Eisenstadt moved on in "calm peace and quiet," but now and again + it was stirred into special activity, when Haydn had to put forth his + efforts in various new directions. Such an occasion came very early in his + service of Prince Nicolaus, when that pompous person made triumphant entry + into Eisenstadt. The festivities were on a regal scale and continued for a + whole month. A company of foreign players had been engaged to perform on a + stage erected in the large conservatory, and Haydn was required to provide + them with operettas. He wrote several works of the kind, one of which, "La + Marchesa Nepola," survives in the autograph score. Later on, for the + marriage of Count Anton, the eldest son of Prince Nicolaus, in 1763, he + provided a setting of the story which Handel had already used for his + "Acis and Galatea." This work, which was performed by the Eisenstadt + Capelle, with the orchestra clad in a new uniform of crimson and gold, + bore the name of "Acide e Galatea." Portions of the score still exist—a + section of the overture, four arias, and a finale quartet. The overture is + described as being "in his own style, fresh and cheerful, foreshadowing + his symphonies. The songs are in the Italian manner, very inferior in + originality and expression to Handel's music; the quartet is crude in form + and uninteresting in substance." [See Miss Townsend's Haydn, p. 44.] + </p> + <p> + It would seem rather ungracious, as it would certainly be redundant to + discuss these "occasional" works in detail. For one thing, the material + necessary to enable us to form a correct estimate of Haydn's powers as a + dramatic composer is wanting. The original autograph of "Armida," first + performed in 1783, is, indeed, preserved. "Orfeo ed Euridice," written for + the King's Theatre in the Haymarket in 1791, but never staged, was printed + at Leipzig in 1806, and a fair idea of the general style of the work may + be obtained from the beautiful air, "Il pensier sta negli oggetti," + included in a collection entitled "Gemme d'Antichita." But beyond these + and the fragments previously mentioned, there is little left to represent + Haydn as a composer of opera, the scores of most of the works written + expressly for Prince Esterhazy having been destroyed when the prince's + private theatre was burned down in 1779. What Haydn would have done for + opera if he had devoted his serious attention to it at any of the larger + theatres it is, of course, impossible to say. Judging from what has + survived of his work in this department, he was notable for refinement + rather than for dramatic power. We must, however, remember the conditions + under which he worked. He confessed himself that his operas were fitted + only for the small stage at Esterhaz and "could never produce the proper + effect elsewhere." If he had written with a large stage in view, it may + reasonably be assumed that he would have written somewhat differently. + </p> + <p> + Occasional Works + </p> + <p> + In 1764 Prince Nicolaus made a journey to Frankfort for the coronation of + the Archduke Joseph as King of the Romans. After the festivities connected + with that imposing function were over he extended his journey to Paris, + where he created some sensation by his extravagant displays of wealth and + circumstance. During the Prince's absence Haydn busied himself on a couple + of compositions intended to celebrate his home-coming. One was a Te Deum, + the other a cantata. The latter work is the more worthy of remark, not + because of its music, but because of the fulsomely obsequious manner in + which it celebrates the graces and virtues of Nicolaus the Magnificent. + The cantata is made up of choruses and duets, a recitative and two arias. + Parts of it were afterwards employed in church services. The Te Deum is in + C major, and is for four voices with orchestra. It is interesting as an + early work, especially if we compare it with the greater Te Deum in the + same key composed in the year 1800. + </p> + <p> + First Symphonies + </p> + <p> + At this point a summary may perhaps be made of the compositions written by + Haydn during these five years a Eisenstadt. The list, as given by Pohl, + comprises, in addition to the works already named, about thirty symphonies + six string trios, a few divertimenti in five parts, a piece for four + violins and two 'celli, entitled "Echo," twelve minuets for orchestra, + concertos, trios, sonatas and variations for clavier, and, in vocal music, + a "Salve Regina" for soprano and alto, two violins and organ. It would + serve no useful purpose to deal with these works in detail. The symphonies + are, of course, the most important feature in the list, but of these we + shall speak generally when treating of Haydn as the father of instrumental + music. The first Symphony in C Major, usually called "Le Midi," is of + special interest. + </p> + <p> + [Figure: a musical score excerpt] + </p> + <p> + The autograph score, dated 1761, and preserved at Eisenstadt, is + superscribed, "In Nomine Domini," and closes with Haydn's customary "Laus + Deo" after the final signature The work is in the usual four movements. + The symphonies of this date included also those known in England as "Le + Matin" and "Le Soir," the one beginning— + </p> + <p> + [Figure: a musical score excerpt] and the other— + </p> + <p> + [figure: a musical score excerpt] + </p> + <p> + Of the string quartets and other instrumental compositions of the period + nothing need be said. In all these the composer was simply feeling his way + towards a more perfect expression, and as few of them are now performed, + their interest for us is almost entirely antiquarian. + </p> + <p> + <a name="link2HCH0004" id="link2HCH0004"> + <!-- H2 anchor --> </a> + </p> + <div style="height: 4em;"> + <br /><br /><br /><br /> + </div> + <h2> + CHAPTER IV. ESTERHAZ—1766-1790 + </h2> + <p> + <i>Haydn's Fame extending—Haydn and Mozart compared—Esterhaz—Its + Puppet Theatre—A Busy Life—Opera at Esterhaz—First + Oratorio—Opponents and Intriguers—"L'Isola Disabitata"—A + Love Episode—Correspondence with Artaria and Forster—Royal + Dedicatees—The "Seven Words"—The "Toy" and "Farewell" + Symphonies.</i> + </p> + <p> + To crowd the details of a professional career covering close upon a + quarter of a century into a single chapter would, in the case of most of + the great composers, be an altogether impossible task. In Haydn's case the + difficulty is to find the material for even so slight a record. His life + went on smoothly, almost sleepily, as we should now think, in the service + of his prince, without personal incident and with next to no disturbance + from the outside world. If he had not been a genius of the first rank the + outside world would, in all probability, never have heard of his + existence. + </p> + <p> + Haydn's Fame extending + </p> + <p> + As it was, his fame was now manifestly spreading. Thus the Wiener Diarum + for 1766 includes him among the most distinguished musicians of Vienna, + and describes him as "the darling of our nation." His amiable disposition, + says the panegyrist, "speaks through every one of his works. His music has + beauty, purity, and a delicate and noble simplicity which commends it to + every hearer. His cassations, quartets and trios may be compared to a + pure, clear stream of water, the surface now rippled by a gentle breeze + from the south, and anon breaking into agitated billows, but without ever + leaving its proper channel and appointed course. His symphonies are full + of force and delicate sympathy. In his cantatas he shows himself at once + captivating and caressing, and in his minuets he is delightful and full of + humour. In short, Haydn is in music what Gellert is in poetry." This + comparison with Gellert, who died three years later, was at that date, as + Dr Pohl remarks, the most flattering that could well be made. The + simplicity and naturalness of Gellert's style were the very antithesis of + the pedantries and frigid formalities of the older school; and just as he + pioneered the way for the resuscitation of German poetry under Goethe and + Schiller, so Haydn may be said to have prepared the path for Beethoven and + the modern school. + </p> + <p> + Haydn and Mozart compared + </p> + <p> + Very likely it was this comparison of the magazine writer that suggested + Dittersdorf's remark to Joseph II in 1786, when the emperor requested him + to draw an analogy between Haydn's and Mozart's chamber music. Dittersdorf + shrewdly replied by asking the emperor in his turn to draw a parallel + between Gellert and Klopstock; whereupon Joseph made answer by saying that + both were great poets, but that Klopstock's works required attentive + study, while Gellert's beauties were open to the first glance. The + analogy, Dittersdorf tells us, "pleased the emperor very much." Its point + is, however, not very clear—that is to say, it is not very clear + whether the emperor meant to compare Klopstock with Haydn and Gellert with + Mozart or vice versa, and whether, again, he regarded it as more of a + merit that the poet and the composer should require study or be "open to + the first glance." Joseph was certainly friendly towards Mozart, but by + all accounts he had no great love for Haydn, to whose "tricks and + nonsense" he made frequent sneering reference. + </p> + <p> + The first noteworthy event of 1766 was the death of Werner, which took + place on March 5. It made no real difference to Haydn, who, as we have + seen, had been from the first, in effect, if not in name, chief of the + musical establishment; but it at least freed him from sundry petty + annoyances, and left him absolutely master of the musical situation. + Shortly after Werner's death, the entire musical establishment at + Eisenstadt was removed to the prince's new palace of Esterhaz, with which + Haydn was now to be connected for practically the whole of his remaining + professional career. + </p> + <p> + Esterhaz + </p> + <p> + A great deal has been written about Esterhaz, but it is not necessary that + we should occupy much space with a description of the castle and its + surroundings. The palace probably owed its inception to the prince's visit + to Paris in 1764. At any rate, it is in the French Renaissance style, and + there is some significance in the fact that a French traveller who saw it + about 1782 described it as having no place but Versailles to compare with + it for magnificence. The situation—about three and a half miles from + Eisenstadt—was anything but suitable for an erection of the kind, + being in an unhealthy marsh and "quite out of the world." But Prince + Nicolaus had set his heart upon the scheme, as Scott set his heart upon + Abbotsford; and just as "Clarty Hole" came in time to be "parked about and + gated grandly," so Esterhaz, after something like 11,000,000 gulden had + been spent upon it, emerged a veritable Versailles, with groves and + grottoes, hermitages and temples, summer-houses and hot-houses, and deer + parks and flower gardens. There were two theatres in the grounds: one for + operas and dramatic performances generally; the other "brilliantly + ornamented and furnished with large artistic marionettes, excellent + scenery and appliances." + </p> + <p> + A Puppet Theatre + </p> + <p> + It is upon the entertainments connected with the latter house that the + French traveller just mentioned chiefly dwells. "The prince," he says, + "has a puppet theatre which is certainly unique in character. Here the + grandest operas are produced. One knows not whether to be amazed or to + laugh at seeing 'Alceste,' 'Alcides,' etc., put on the stage with all due + solemnity, and played by puppets. His orchestra is one of the best I ever + heard, and the great Haydn is his court and theatre composer. He employs a + poet for his singular theatre, whose humour and skill in suiting the + grandest subjects for the stage, and in parodying the gravest effects, are + often exceedingly happy. He often engages a troupe of wandering players + for a month at a time, and he himself and his retinue form the entire + audience. They are allowed to come on the stage uncombed, drunk, their + parts not half learned, and half-dressed. The prince is not for the + serious and tragic, and he enjoys it when the players, like Sancho Panza, + give loose reins to their humour." + </p> + <p> + Prince Nicolaus became so much attached to this superb creation of his + own, that he seldom cared to leave it. A small portion of the Capelle + remained at Eisenstadt to carry on the church service there, but the + prince seldom went to Eisenstadt, and more seldom still to Vienna. Most of + the Hungarian grandees liked nothing better than to display their wealth + in the Imperial city during the winter season; but to Haydn's employer + there was literally "no place like home." When he did go to Vienna, he + would often cut short his visits in the most abrupt manner, to the great + confusion of his musicians and other dependants. These eccentricities must + have given some annoyance to Haydn, who, notwithstanding his love of quiet + and seclusion, often longed for the change and variety of city life. It is + said that he was specially anxious to make a tour in Italy about this + time, but that ambition had, of necessity, to be abandoned. + </p> + <p> + A Busy Life + </p> + <p> + There was certainly plenty for him to do at Esterhaz—more than he + had ever been required to do at Eisenstadt. Royalties, nobles and + aristocrats were constantly at the palace; and music was one of the chief + diversions provided for them. The prince was very proud of his musical + establishment, and desired to have it considered the best of its kind in + Europe. The orchestra of the opera was formed of members of the Capelle; + "the singers were Italian for the most part, engaged for one, two, or more + years, and the books of the words were printed. Numerous strolling + companies were engaged for shorter terms; travelling virtuosi often played + with the members of the band. Special days and hours were fixed for + chamber music, and for orchestral works; and in the interval the singers, + musicians and actors met at the cafe, and formed, so to speak, one + family." Something more than creative genius was obviously required to + direct the music of an establishment of this kind. A talent for + organization, an eye for detail, tact in the management of players and + singers—these qualities were all indispensable for the performance + of duties such as Haydn had undertaken. That he possessed them we may + fairly assume from more than one circumstance. In the first place, his + employer was satisfied with him. He raised his salary, listened + attentively to all his suggestions, and did everything that he could to + retain his services. In the second place, his band and singers were + sincerely attached to him. They saw that he had their interests, personal + and professional, at heart, and they "loved him like a father." The prince + paid them well, and several of them were sufficiently capable to receive + appointments afterwards in the Imperial Chapel. Pohl gives a list of the + names about this time, but, with one or two exceptions, they are quite + unfamiliar. J. B. Krumpholtz, the harpist, was engaged from 1773 to 1776, + and Andreas Lidl, who played in London soon after leaving the band, was in + the service of the prince from 1769 to 1774. + </p> + <p> + The sum paid to Haydn at this date was not large as we should now consider + it, but it was sufficient to free him from financial worry had it not been + for the extravagance and bad management of his wife. The prince gave him + about 78 pounds, in addition to which he had certain allowances in kind, + and, as we have already said, free quarters for himself and his wife when + she thought fit to stay with him. Probably, too, he was now making + something substantial by his compositions. Griesinger declares that he had + saved about 200 pounds before 1790, the year when he started for London. + If that be true, he must have been very economical. His wife, we must + remember, was making constant calls upon him for money, and in addition he + had to meet the pressing demands of various poor relations. His + correspondence certainly does not tend to show that he was saving, and we + know that when he set out for London he had not only to draw upon the + generosity of his prince for the costs of the journey, but had to sell his + house to provide for his wife until his return. + </p> + <p> + Opera at Esterhaz + </p> + <p> + It is time, however, to speak of some of Haydn's compositions during this + period. At Esterhaz he "wrote nearly all his operas, most of his arias and + songs, the music for the marionette theatre—of which he was + particularly fond—and the greater part of his orchestral and chamber + works." The dramatic works bulk rather largely during the earlier part of + the period. In 1769, for example, when the whole musical establishment of + Esterhaz visited Vienna, a performance of his opera, "Lo Speciale," was + given at the house of Freiherr von Sommerau, and was repeated in the form + of a concert. Other works of the kind were performed at intervals, + particularly on festival occasions, but as most of them have perished, and + all of them are essentially pieces d'occasion, it is unnecessary even to + recall their names. In 1771 Haydn wrote a "Stabat Mater" and a "Salve + Regina," and in 1773 followed the Symphony in C which bears the name of + the Empress Maria Theresa, having been written for the empress's visit to + Esterhaz in September of that year. In the course of the visit Haydn was + naturally introduced to Her Majesty, when, as we have stated, he took + occasion to remind her of the "good hiding" she had ordered him to have at + Schonbrunn during the old chorister days at St Stephen's. "Well, you see, + my dear Haydn," was the reply, "the hiding has borne good fruit." + </p> + <p> + First Oratorio + </p> + <p> + In 1775 came his first oratorio, "Il Ritorno di Tobia." This is an + exceedingly interesting work. It was first performed under Haydn's + direction by the Tonkunstler Societat, with solo singers from Esterbaz, at + Vienna, on April 2, 1775. In 1784 Haydn added two choruses, one a "Storm + Chorus," which is sometimes confused with the "Storm Chorus" (in the same + key, but in triple time) composed during his sojourn in London. It is from + "Il Ritorno di Tobia" that the so-called motet, "Insanae et Vanae Curae," + is adapted, and the "Storm Chorus" immediately follows a fine soprano air + in F minor and major, sung by Anna in the original work, a portion of + which forms the beautiful second subject (in F) of the "Insanae." The + original words of this chorus—"Svanisce in un momento"—are to + the effect that the soul threatens to yield to the fury of its enemies, + yet trust in God keeps one steadfast. The music admirably reflects these + contrasting sentiments, first in the tumultuous D minor section, and then + in the tranquillity of the F major portion which follows, no less than in + the trustful quietude of the D major conclusion. Latin words were adapted + to three of the original choruses, but nothing seems to be known as to the + origin of the "Insanae" adaptation. A full score of the motet, published + by Breitkopf & Hartel in 1809, was reviewed in the Allgemeine + Musikalische Zeitung of August 15, 1810, as if it were an entirely + original work. The source of the Latin words also remains a mystery. They + were presumably put together to fit Haydn's music, but by whom we have no + means of ascertaining. + </p> + <p> + It is interesting to know that Haydn brought the score of his "Il Ritorno + di Tobia" with him to England on the occasion of his first visit in 1791, + probably with a view to its performance here. Messrs Novello's private + library contains an oblong volume in the handwriting of Vincent Novello, + in which he has copied some numbers from "Tobia," including the air of + Anna already mentioned, but not the "Insanae" chorus. The inside cover of + the book bears the following note in Novello's hand, written, not later + than 1820, under the contents of the volume: + </p> + <p> + "The whole of the above are unpublished manuscripts, and were copied from + an extremely rare volume, containing the full orchestral score of the + entire oratorio, kindly lent to me for the purpose by my friend, Mr + Shield, who had obtained it from Haydn himself during the visit of the + latter to England in the year 1791.—VINCENT NOVELLO, 240 Oxford St." + </p> + <p> + [See an interesting account of "Il Ritorno di Tobia" in The Musical Times + for September 1901, p. 600.] + </p> + <p> + Some of our musical societies in search of novelties might do worse than + revive this almost completely forgotten oratorio. The airs are exceedingly + melodious, and the choruses bold and tuneful, with well-developed fugue + subjects. The "Insanae" already referred to is frequently performed. + </p> + <p> + Opponents + </p> + <p> + In 1776 Haydn composed "La Vera Costanza" for the Court Theatre of Vienna, + but owing to certain intrigues it was declined by the management and + produced at Esterhaz instead. The opera was subsequently staged at Vienna + in 1790, and six of its airs and a duet were published by Artaria. This + incident makes it sufficiently plain that Haydn had his opponents among + the musicians and critics of Vienna as well as elsewhere. Burney says a + friend in Hamburg wrote him in 1772 that "the genius, fine ideas and fancy + of Haydn, Ditters and Filitz were praised, but their mixture of serious + and comic was disliked, particularly as there is more of the latter than + the former in their works; and as for rules, they knew but little of + them." If we substitute "humorous" for "comic," this may be allowed to + fully represent the views of the critics and amateurs of Vienna in regard + to Haydn's music. + </p> + <p> + And, unfortunately, the incident just mentioned was not a solitary one. In + 1778 Haydn applied for membership to the Tonkunstler Societat, for whom he + had in reality written his "Il Ritorno di Tobia." One would have expected + such a body to receive him with open arms, but instead of that they + exacted a sum of 300 florins on the ground of his non-residence in Vienna! + Not only so, but they would fain have brought him under a promise to + compose for them whenever they chose to ask him. This latter condition + Haydn felt to be impossible in view of his engagement at Esterhaz, and he + withdrew his admission fee. That the society were not ashamed of + themselves is obvious from a further episode. Some years after this they + desired Haydn to rearrange his "Tobia" for a special performance, and when + he demanded payment for his trouble they promptly decided to produce + Hasse's "Elena" instead. Everything comes to the man who waits. After his + second visit to London the Tonkunstler Societat welcomed Haydn at a + special meeting, and with one voice appointed him "Assessor Senior" for + life. In return for this distinction he presented the society with "The + Creation" and "The Seasons," to which gifts, according to Pohl, its + prosperity is mainly owing. + </p> + <p> + "L'Isola Disabitata" + </p> + <p> + If Haydn was thus less highly appreciated at home than he deserved to be, + there were others who knew his sterling worth. In 1779 he composed one of + his best operas, "L'Isola Disabitata," the libretto of which was by his + old benefactor Metastasio, and this work procured his nomination as a + member of the Philharmonic Society of Modena. The following extract of a + letter written to Artaria in May 1781 is interesting in this connection. + He says: "M. le Gros, director of the 'Concerts Spirituels' [in Paris], + wrote me a great many fine things about my Stabat Mater, which had been + given there four times with great applause; so this gentleman asked + permission to have it engraved. They made me an offer to engrave all my + future works on very advantageous terms, and are much surprised that my + compositions for the voice are so singularly pleasing. I, however, am not + in the least surprised, for, as yet, they have heard nothing. If they + could only hear my operetta, 'L'Isola Disabitata,' and my last Shrove-tide + opera, 'La Fedelta Premiata,' I do assure you that no such work has + hitherto been heard in Paris, nor, perhaps, in Vienna either. My great + misfortune is living in the country." It will be seen from this what he + thought of "L'Isola," which was not heard in Vienna until its performance + at a concert given at the Court Theatre by Willmann the 'cellist in 1785. + Haydn sent the score to the King of Spain, who showed his sense of the + honour by the gift of a gold snuff-box, set in brilliants. Other marks of + royal attention were bestowed upon him about this time. Thus, in 1784, + Prince Henry of Prussia sent him a gold medal and his portrait in return + for the dedication of six new quartets, while in 1787 King Frederick + William II gave him the famous gold ring which he afterwards always wore + when composing. + </p> + <p> + A Love Episode + </p> + <p> + But we have passed somewhat out of our chronological order. The absence of + love at home, as we all know, often encourages love abroad. Haydn liked to + have an occasional flirtation, as ardent as might be within the bounds of + decorum. Sometimes, indeed, according to our insular ideas of such things, + he exceeded the bounds of decorum, as in the case of which we are now + compelled to speak. Among the musicians who had been engaged for the + Esterhazy service in 1779 were a couple named Polzelli—the husband a + violinist, the wife a second-rate vocalist. Luigia Polzelli was a lively + Italian girl of nineteen. She does not seem to have been happy with + Polzelli, and Haydn's pity was roused for her, much as Shelley's pity was + roused for "my unfortunate friend," Harriet Westbrook. The pity, as often + happens in such cases, ultimately ripened into a violent passion. + </p> + <p> + We are not concerned to adopt an apologetic tone towards Haydn. But + Signora Polzelli was clearly an unscrupulous woman. She first got her + admirer into her power, and then used her position to dun him for money. + She had two sons, and the popular belief of the time that Haydn was the + father of the younger is perpetuated in several of the biographies. Haydn + had certainly a great regard for the boy, made him a pupil of his own, and + left him a small sum in his first will, which, however, he revoked in the + second. Signora Polzelli's conduct was probably natural enough in the + circumstances, but it must have been rather embarrassing to Haydn. After + the death of her husband, she wheedled him into signing a paper promising + to marry her in the event of his becoming a widower. This promise he + subsequently repudiated, but he cared for her well enough to leave her an + annuity in his will, notwithstanding that she had married again. She + survived him for twenty-three years, and her two daughters were still + living at Pesth in 1878. + </p> + <p> + Returning to 1779, an untoward event of that year was the destruction by + fire of the theatre at Esterhaz. The re-building of the house was set + about at once, the prince having meanwhile gone to Paris, and the + re-opening took place on October 15, 1780, when Haydn's "La Fedelta + Premiata," already mentioned, was staged. + </p> + <p> + Correspondence + </p> + <p> + It was about this time that he began to correspond with Artaria, the + Vienna music-publisher, with whom he had business dealings for many years. + A large number of his letters is given in an English translation by Lady + Wallace. [See Letters of Distinguished Musicians. Translated from the + German by Lady Wallace. London, 1867]. They treat principally of business + matters, but are not unimportant as fixing the chronological dates of some + of his works. They exhibit in a striking way the simple, honest, + unassuming nature of the composer; and if they also show him "rather eager + after gain, and even particular to a groschen," we must not forget the + ever-pressing necessity for economy under which he laboured, and his + almost lavish benevolence to straitened relatives and friends. In one + letter requesting an advance he writes: "I am unwilling to be in debt to + tradesmen, and, thank God! I am free from this burden; but as great people + keep me so long waiting for payments, I have got rather into difficulty. + This letter, however, will be your security...I will pay off the interest + with my notes." There is no real ground for charging Haydn with avarice, + as some writers have done. "Even philosophers," as he remarked himself, + "occasionally stand in need of money"; and, as Beethoven said to George + Thomson, when haggling about prices, there is no reason why the "true + artist" should not be "honourably paid." + </p> + <p> + A London Publisher + </p> + <p> + It was about this time too that Haydn opened a correspondence with William + Forster of London, who had added to his business of violin-maker that of a + music-seller and publisher. Forster entered into an agreement with him for + the English copyright of his compositions, and between 1781 and 1787 he + published eighty-two symphonies, twenty-four quartets, twenty-four solos, + duets and trios, and the "Seven Last Words," of which we have yet to + speak. Nothing of the Forster correspondence seems to have survived. + </p> + <p> + Royal Dedicatees + </p> + <p> + Among the events of 1781-1782 should be noted the entertainments given in + connection with two visits which the Emperor Joseph II received from the + Grand Duke Paul and his wife. The Grand Duchess was musical, and had just + been present at the famous combat between Clementi and Mozart, a + suggestion of the Emperor. She had some of Haydn's quartets played at her + house and liked them so well that she gave him a diamond snuff-box and + took lessons from him. It was to her that he afterwards—in 1802—dedicated + his part-songs for three and four voices, while the Grand Duke was + honoured by the dedication of the six so-called "Russian" quartets. It had + been arranged that the Duke and Duchess should accompany the Emperor to + Eisenstadt, but the arrangement fell through, and an opera which Haydn had + written for the occasion was only produced at Esterhaz in the autumn of + 1782. This was his "Orlando Paladino," better known in its German form as + "Ritter Roland." Another work of this year (1782) was the "Mariazell" Mass + in C major (Novello, No. 15), which derives its name from the shrine of + the Virgin in Styria, the scene of an incident already related. The mass + was written to the order of a certain Herr Liebe de Kreutzner, and the + composer is said to have taken special pains with it, perhaps because it + reminded him of his early struggling days as a chorister in Vienna. It was + the eighth mass Haydn had written, one being the long and difficult + "Cecilia" Mass in C major, now heard only in a curtailed form. No other + work of the kind was composed until 1796, between which year and 1802 the + best of his masses were produced. To the year 1783 belongs the opera + "Armida," performed in 1784 and again in 1797 at Schickaneder's Theatre in + Vienna. Haydn writes to Artaria in March 1784 to say that "Armida" had + been given at Esterhaz with "universal applause," adding that "it is + thought the best work I have yet written." The autograph score was sent to + London to make up, in a manner, for the non-performance of his "Orfeo" + there in 1791. + </p> + <p> + The "Seven Words" + </p> + <p> + But the most interesting work of this period was the "Seven Words of our + Saviour on the Cross," written in 1785. The circumstances attending its + composition are best told in Haydn's own words. In Breitkopf & + Hartel's edition of 1801, he writes: + </p> + <p> + About fifteen years ago I was requested by a Canon of Cadiz to compose + instrumental music on the Seven Words of Jesus on the Cross. It was the + custom of the Cathedral of Cadiz to produce an oratorio every year during + Lent, the effect of the performance being not a little enhanced by the + following circumstances. The walls, windows and pillars of the Church were + hung with black cloth, and only one large lamp, hanging from the centre of + the roof, broke the solemn obscurity. At mid-day the doors were closed and + the ceremony began. After a short service the bishop ascended the pulpit, + pronounced one of the Seven Words (or sentences) and delivered a discourse + thereon. This ended, he left the pulpit and knelt prostrate before the + altar. The pause was filled by the music. The bishop then in like manner + pronounced the second word, then the third, and so on, the orchestra + falling in at the conclusion of each discourse. My composition was to be + subject to these conditions, and it was no easy matter to compose seven + adagios to last ten minutes each, and follow one after the other without + fatiguing the listeners; indeed I found it quite impossible to confine + myself within the appointed limits. + </p> + <p> + This commission may be taken as a further evidence of the growing extent + of Haydn's fame. He appears to have been already well known in Spain. + Boccherini carried on a friendly correspondence with him from Madrid, and + he was actually made the hero of a poem called "The Art of Music," + published there in 1779. The "Seven Words" created a profound impression + when performed under the circumstances just detailed, but the work was not + allowed to remain in its original form, though it was printed in that form + by Artaria and by Forster. Haydn divided it into two parts, and added + choruses and solos, in which form it was given for the first time at + Eisenstadt in October, 1797, and published in 1801. The "Seven Words" was + a special favourite of the composer himself, who indeed is declared by + some to have preferred it to all his other compositions. + </p> + <p> + The "Toy" Symphony + </p> + <p> + The remaining years of the period covered by this chapter being almost + totally devoid of incident, we may pause to notice briefly two of the + better-known symphonies of the time—the "Toy" Symphony and the more + famous "Farewell." The former is a mere jeu d'esprit, in which, with an + orchestral basis of two violins and a bass, the solo instruments are all + of a burlesque character. Mozart attempted something of a kindred nature + in his "Musical joke," where instruments come in at wrong places, execute + inappropriate phrases, and play abominably out of tune. This kind of thing + does not require serious notice, especially in the case of Haydn, to whom + humour in music was a very different matter from the handling of rattles + and penny trumpets and toy drums. + </p> + <p> + The "Farewell" Symphony + </p> + <p> + The "Farewell" Symphony has often been described, though the circumstances + of its origin are generally mis-stated. It has been asserted, for example, + that Haydn intended it as an appeal to the prince against the dismissal of + the Capelle. But this, as Pohl has conclusively shown, is incorrect. The + real design of the "Farewell" was to persuade the prince to shorten his + stay at Esterhaz, and so enable the musicians to rejoin their wives and + families. Fortunately, the prince was quick-witted enough to see the point + of the joke. As one after another ceased playing and left the orchestra, + until only two violinists remained, he quietly observed, "If all go, we + may as well go too." Thus Haydn's object was attained—for the time + being! The "Farewell" is perfectly complete as a work of art, but its + fitness for ordinary occasions is often minimized by the persistent way in + which its original purpose is pointed out to the listener. + </p> + <p> + Free from Esterhaz + </p> + <p> + Haydn's active career at Esterhaz may be said to have closed with the + death, on September 28, 1790, of Prince Nicolaus. The event was of great + importance to his future. Had the prince lived, Haydn would doubtless have + continued in his service, for he "absolutely adored him." But Prince + Anton, who now succeeded, dismissed the whole Capelle, retaining only the + few members necessary for the carrying on of the church service, and + Haydn's occupation was practically gone. The new prince nominally held the + right to his services, but there was no reason for his remaining longer at + the castle, and he accordingly took up his residence in Vienna. Thus free + to employ his time as he considered best, Haydn embraced the opportunity + to carry out a long-meditated project, and paid the first of his two + visits to London. With these we enter upon a new epoch in the composer's + life, and one of great interest to the student and lover of music. + </p> + <p> + <a name="link2HCH0005" id="link2HCH0005"> + <!-- H2 anchor --> </a> + </p> + <div style="height: 4em;"> + <br /><br /><br /><br /> + </div> + <h2> + CHAPTER V. FIRST LONDON VISIT—1791-1792 + </h2> + <p> + <i>English Music about 1791—Salomon—Mozart and Haydn—Terms + for London—Bonn and Beethoven—Haydn Sea-Sick—Arrives in + London—An Enthusiastic Welcome—Ideas of the Metropolis—At + Court—Unreasoning Rivalries—Temporarily eclipsed—Band + and Baton—A Rehearsal Incident—Hanover Square Rooms—Hoops + and Swords—The "Surprise" Symphony—Gallic Excitement—New + Compositions—Benefit and Other Concerts—Haydn on Handel—Oxford + Doctor of Music—The "Oxford" Symphony—Relaxations—Royalty + again—Pleyel—Close of Season—Herschel—Haydn at St + Paul's—London Acquaintances—Another Romance—Mistress + Schroeter—Love-Letters—Haydn's Note-Book.</i> + </p> + <p> + English Music about 1791 + </p> + <p> + Haydn came to England in 1791. It may occur to the reader to ask what + England was doing in music at that time, and who were the foremost + representatives of the art. The first question may be partially answered + from the literature of the period. Thus Jackson, in his Present State of + Music in London, published the year after Haydn's arrival, remarks that + "instrumental music has been of late carried to such perfection in London + by the consummate skill of the performers that any attempt to beat the + time would be justly considered as entirely needless." Burney, again, in + his last volume, published in 1789, says that the great improvement in + taste during the previous twenty years was "as different as civilized + people from savages"; while Stafford Smith, writing in 1779, tells that + music was then "thought to be in greater perfection than among even the + Italians themselves." There is a characteristic John Bull complacency + about these statements which is hardly borne out by a study of the lives + of the leading contemporary musicians. Even Mr Henry Davey, the applauding + historian of English music, has to admit the evanescent character of the + larger works which came from the composers of that "bankrupt century." Not + one of these composers—not even Arne—is a real personality to + us like Handel, or Bach, or Haydn, or Mozart. The great merit of English + music was melody, which seems to have been a common gift, but "the only + strong feeling was patriotic enthusiasm, and the compositions that survive + are almost all short ballads expressing this sentiment or connected with + it by their nautical subjects." When Haydn arrived, there was, in short, + no native composer of real genius, and our "tardy, apish nation" was ready + to welcome with special cordiality an artist whose gifts were of a higher + order. + </p> + <p> + Salomon + </p> + <p> + We have spoken of Haydn's visit as a long-meditated project. In 1787 + Cramer, the violinist, had offered to engage him on his own terms for the + Professional Concerts; and Gallini, the director of the King's Theatre in + Drury Lane, pressed him to write an opera for that house. Nothing came of + these proposals, mainly because Haydn was too much attached to his prince + to think of leaving him, even temporarily. But the time arrived and the + man with it. The man was Johann Peter Salomon, a violinist, who, having + fallen out with the directors of the professional concerts, had started + concerts on his own account. Salomon was a native of Bonn, and had been a + member of the Electoral Orchestra there. He had travelled about the + Continent a good deal, and no one was better fitted to organize and direct + a series of concerts on a large scale. In 1790 he had gone abroad in + search of singers, and, hearing of the death of Prince Esterhazy, he set + off at once for Vienna, resolved to secure Haydn at any cost. "My name is + Salomon," he bluntly announced to the composer, as he was shown into his + room one morning. "I have come from London to fetch you; we will settle + terms to-morrow." + </p> + <p> + The question of terms was, we may be sure, important enough for Haydn. But + it was not the only question. The "heavy years" were beginning to weigh + upon him. He was bordering on threescore, and a long journey in those days + was not to be lightly undertaken. Moreover, he was still, nominally at + least, the servant of Prince Anton, whose consent would have to be + obtained; and, besides all this, he was engaged on various commissions, + notably some for the King of Naples, which were probably a burden on his + conscience. His friends, again, do not appear to have been very + enthusiastic about the projected visit. There were Dittersdorf and + Albrechtsberger, and Dr Leopold von Genzinger, the prince's physician, and + Frau von Genzinger, whose tea and coffee he so much appreciated, and who + sent him such excellent cream. Above all, there was Mozart—"a man + very dear to me," as Haydn himself said. + </p> + <p> + Mozart and Haydn + </p> + <p> + He had always greatly revered Mozart. Three years before this he wrote: "I + only wish I could impress upon every friend of mine, and on great men in + particular, the same deep musical sympathy and profound appreciation which + I myself feel for Mozart's inimitable music; then nations would vie with + each other to possess such a jewel within their frontiers. It enrages me + to think that the unparalleled Mozart is not yet engaged at any Imperial + Court! Forgive my excitement; I love the man so dearly." The regard was + reciprocal. "Oh, Papa," exclaimed Mozart, when he heard of Haydn's + intention to travel, "you have had no education for the wide, wide world, + and you speak too few languages." It was feelingly said, and Haydn knew + it. "My language," he replied, with a smile, "is understood all over the + world." Mozart was really concerned at the thought of parting with his + brother composer, to whom he stood almost in the relation of a son. When + it came to the actual farewell, the tears sprang to his eyes, and he said + affectingly: "This is good-bye; we shall never meet again." The words + proved prophetic. A year later, Mozart was thrown with a number of paupers + into a grave which is now as unknown as the grave of Moliere. Haydn deeply + lamented his loss; and when his thoughts came to be turned homewards + towards the close of his English visit his saddest reflection was that + there would be no Mozart to meet him. His wretched wife had tried to + poison his mind against his friend by writing that Mozart had been + disparaging his genius. "I cannot believe it," he cried; "if it is true, I + will forgive him." It was not true, and Haydn never believed it. As late + as 1807 he burst into tears when Mozart's name was mentioned, and then, + recovering himself, remarked: "Forgive me! I must ever weep at the name of + my Mozart." + </p> + <p> + Terms for London + </p> + <p> + But to return. Salomon at length carried the day, and everything was + arranged for the London visit. Haydn was to have 300 pounds for six + symphonies and 200 pounds for the copyright of them; 200 pounds for twenty + new compositions to be produced by himself at the same number of concerts; + and 200 pounds from a benefit concert. The composer paid his travelling + expenses himself, being assisted in that matter by an advance of 450 + florins from the prince, which he refunded within the year. In order to + provide for his wife during his absence he sold his house at Eisenstadt, + the gift of Prince Nicolaus, which had been twice rebuilt after being + destroyed by fire. + </p> + <p> + Salomon sent advance notices of the engagement to London, and on the 30th + of December the public were informed through the Morning Chronicle that, + immediately on his arrival with his distinguished guest, "Mr Salomon would + have the honour of submitting to all lovers of music his programme for a + series of subscription concerts, the success of which would depend upon + their support and approbation." Before leaving for London Haydn had a tiff + with the King of Naples, Ferdinand IV, who was then in Vienna. The + composer had taken him some of the works which he had been commissioned to + write, and His Majesty, thanking him for the favour, remarked that "We + will rehearse them the day after to-morrow." "The day after to-morrow," + replied Haydn, "I shall be on my way to England." "What!" exclaimed the + King, "and you promised to come to Naples!" With which observation he + turned on his heel and indignantly left the room. Before Haydn had time to + recover from his astonishment Ferdinand was back with a letter of + introduction to Prince Castelcicala, the Neapolitan Ambassador in London; + and to show further that the misunderstanding was merely a passing affair + he sent the composer later in the day a valuable tabatiere as a token of + esteem and regard. + </p> + <p> + Bonn and Beethoven + </p> + <p> + The journey to London was begun by Haydn and Salomon on the 15th of + December 1790, and the travellers arrived at Bonn on Christmas Day. It is + supposed, with good reason, that Haydn here met Beethoven, then a youth of + twenty, for the first time. Beethoven was a member of the Electoral + Chapel, and we know that Haydn, after having one of his masses performed + and being complimented by the Elector, the musical brother of Joseph II, + entertained the chief musicians at dinner at his lodgings. An amusing + description of the regale may be read in Thayer's biography of Beethoven. + From Bonn the journey was resumed by way of Brussels to Calais, which was + reached in a violent storm and an incessant downpour of rain. "I am very + well, thank God!" writes the composer to Frau Genzinger, "although + somewhat thinner, owing to fatigue, irregular sleep, and eating and + drinking so many different things." + </p> + <p> + Haydn Sea-Sick + </p> + <p> + Next morning, after attending early mass, he embarked at 7:30, and landed + at Dover at five o'clock in the afternoon. It was his first acquaintance + with the sea, and, as the weather was rather rough, he makes no little of + it in letters written from London. "I remained on deck during the whole + passage," he says, "in order to gaze my full at that huge monster—the + ocean. So long as there was a calm I had no fears, but when at length a + violent wind began to blow, rising every minute, and I saw the boisterous + high waves running on, I was seized with a little alarm and a little + indisposition likewise." Thus delicately does he allude to a painful + episode. + </p> + <p> + Arrives in London + </p> + <p> + Haydn reached London in the opening days of 1791. He passed his first + night at the house of Bland, the music-publisher, at 45 High Holborn, + which now, rebuilt, forms part of the First Avenue Hotel. Bland, it should + have been mentioned before, had been sent over to Vienna by Salomon to + coax Haydn into an engagement in 1787. When he was admitted on that + occasion to Haydn's room, he found the composer in the act of shaving, + complaining the while of the bluntness of his razor. "I would give my best + quartet for a good razor," he exclaimed testily. The hint was enough for + Bland, who immediately hurried off to his lodgings and fetched a more + serviceable tool. Haydn was as good as his word: he presented Bland with + his latest quartet, and the work is still familiarly known as the + "Rasirmesser" (razor) Quartet. The incident was, no doubt, recalled when + Haydn renewed his acquaintance with the music-publisher. + </p> + <p> + But Haydn did not remain the guest of Bland. Next day he went to live with + Salomon, at 18 Great Pulteney Street, Golden Square, which—also + rebuilt—is now the warehouse of Messrs Chatto & Windus, the + publishers. [See Musical Haunts in London, by F.G. Edwards, London, 1895] + He described it in one of his letters as "a neat, comfortable lodging," + and extolled the cooking of his Italian landlord, "who gives us four + excellent dishes." But his frugal mind was staggered at the charges. + "Everything is terribly dear here," he wrote. "We each pay 1 florin 30 + kreuzers [about 2s. 8d.] a day, exclusive of wine and beer." This was bad + enough. + </p> + <p> + An Enthusiastic Welcome + </p> + <p> + But London made up for it all by the flattering way in which it received + the visitor. People of the highest rank called on him; ambassadors left + cards; the leading musical societies vied with each other in their zeal to + do him honour. Even the poetasters began to twang their lyres in his + praise. Thus Burney, who had been for some time in correspondence with + him, saluted him with an effusion, of which it will suffice to quote the + following lines: + </p> + <p> + Welcome, great master! to our favoured isle, Already partial to thy name + and style; Long may thy fountain of invention run In streams as rapid as + it first begun; While skill for each fantastic whim provides, And certain + science ev'ry current guides! Oh, may thy days, from human suff'rings, + free, Be blest with glory and felicity, With full fruition, to a distant + hour, Of all thy magic and creative pow'r! Blest in thyself, with + rectitude of mind, And blessing, with thy talents, all mankind! + </p> + <p> + Like "the man Sterne" after the publication of Tristram Shandy, he was + soon deep in social engagements for weeks ahead. "I could dine out every + day," he informs his friends in Germany. Shortly after his arrival he was + conducted by the Academy of Ancient Music into a "very handsome room" + adjoining the Freemasons' Hall, and placed at a table where covers were + laid for 200. "It was proposed that I should take a seat near the top, but + as it so happened that I had dined out that very day, and ate more than + usual, I declined the honour, excusing myself under the pretext of not + being very well; but in spite of this, I could not get off drinking the + health, in Burgundy, of the harmonious gentlemen present. All responded to + it, but at last allowed me to go home." This sort of thing strangely + contrasted with the quiet, drowsy life of Esterhaz; and although Haydn + evidently felt flattered by so much attention, he often expressed a wish + that he might escape in order to have more peace for work. + </p> + <p> + Ideas of London + </p> + <p> + His ideas about London were mixed and hesitating. He was chiefly impressed + by the size of the city, a fact which the Londoner of to-day can only + fully appreciate when he remembers that in Haydn's time Regent Street had + not been built and Lisson Grove was a country lane. Mendelssohn described + the metropolis as "that smoky nest which is fated to be now and ever my + favourite residence." But Haydn's regard was less for the place itself + than for the people and the music. The fogs brought him an uncommonly + severe attack of rheumatism, which he naively describes as "English," and + obliged him to wrap up in flannel from head to foot. The street noises + proved a great distraction—almost as much as they proved to Wagner + in 1839, when the composer of "Lohengrin" had to contend with an + organ-grinder at each end of the street! He exclaimed in particular + against "the cries of the common people selling their wares." It was very + distracting, no doubt, for, as a cynic has said, one cannot compose operas + or write books or paint pictures in the midst of a row. Haydn desired + above all things quiet for his work, and so by-and-by, as a solace for the + evils which afflicted his ear, he removed himself from Great Pulteney + Street to Lisson Grove—"in the country amid lovely scenery, where I + live as if I were in a monastery." + </p> + <p> + Haydn at Court + </p> + <p> + For the present the dining and the entertaining went on. The 12th of + January found him at the "Crown and Anchor" in the Strand, where the + Anacreonatic Society expressed their respect and admiration in the usual + fashion. The 18th of the same month was the Queen's birthday, and Haydn + was invited to a Court ball in the evening. This was quite an exceptional + distinction, for he had not yet been "presented" at Court. Probably he + owed it to the Prince of Wales, afterwards George IV. The Prince was a + musical amateur, like his father and his grandfather, whose enthusiasm for + Handel it is hardly necessary to recall. He played the 'cello—"not + badly for a Prince," to parody Boccherini's answer to his royal master—and + liked to take his part in glees and catches. Haydn was charmed by his + affability. "He is the handsomest man on God's earth," wrote the composer. + "He has an extraordinary love for music, and a great deal of feeling, but + very little money." These courtesies to Haydn may perhaps be allowed to + balance the apparent incivility shown to Beethoven and Weber, who sent + compositions to the same royal amateur that were never so much as + acknowledged. + </p> + <p> + But even the attentions of princes may become irksome and unprofitable. + Haydn soon found that his health and his work were suffering from the + flood of social engagements which London poured upon him. The dinner hour + at this time was six o'clock. He complained that the hour was too late, + and made a resolve to dine at home at four. He wanted his mornings for + composition, and if visitors must see him they would have to wait till + afternoon. Obviously he was beginning to tire of "the trivial round." + </p> + <p> + Unreasoning Rivalries + </p> + <p> + The Salomon concerts should have begun in January, but London, as it + happened, was suffering from one of those unreasoning rivalries which made + a part of Handel's career so miserable, and helped to immortalize the + names of Gluck and Piccini. It is hardly worth reviving the details of + such ephemeral contests now. In the present case the factionists were to + some extent swayed by financial interests; to a still greater extent by + professional jealousies. The trouble seems to have arisen originally in + connection with Gallini's preparations for the opening of a new Opera + House in the Haymarket. Salomon had engaged Cappelletti and David as his + principal vocalists; but these, it appeared, were under contract not to + sing in public before the opening of the Opera House. One faction did not + want to have the Opera House opened at all. They were interested in the + old Pantheon, and contended that a second Italian Opera House was + altogether unnecessary. + </p> + <p> + Temporarily eclipsed + </p> + <p> + Salomon's first concert, already postponed to February 25, had been fixed + for the 11th of March, on which date David, by special permission, was to + appear "whether the Opera house was open or not." The delay was extremely + awkward for both Haydn and Salomon, particularly for Haydn. He had been + brought to London with beat of drum, and here he was compelled to hide his + light while the directors of the professional concerts shot ahead of him + and gained the ear of the public before he could assert his superiority. + By this time also the element of professional jealousy had come into free + play. Depreciatory paragraphs appeared in the public prints "sneering at + the composer as 'a nine days' wonder,' whom closer acquaintance would + prove to be inferior to either Cramer or Clementi; and alluding to the + 'proverbial avarice' of the Germans as tempting so many artists, who met + with scanty recognition from their own countrymen to herald their arrival + in England with such a flourish of trumpets as should charm the money out + of the pockets of easily-gulled John Bull." These pleasantries were + continued on rather different lines, when at length Haydn was in a + position to justify the claims made for him. + </p> + <p> + Band and Baton + </p> + <p> + Haydn, meanwhile, had been rehearsing the symphony for his opening + concert. Two points are perhaps worth noting here: First, the size and + strength of the Salomon Orchestra; and second, the fact that Haydn did + not, as every conductor does now, direct his forces, baton in hand. The + orchestra numbered between thirty-five and forty performers—a very + small company compared with our Handel Festival and Richter Orchestras, + but in Haydn's time regarded as quite sufficiently strong. There were + sixteen violins, four tenors, three 'celli, four double basses, flutes, + oboes, bassoons, trumpets and drums. + </p> + <p> + Salomon played the first violin and led the orchestra, and Haydn sat at + the harpsichord, keeping the band together by an occasional chord or two, + as the practice then was. Great composers have not always been great + conductors, but Haydn had a winning way with his band, and generally + succeeded in getting what he wanted. + </p> + <p> + A Rehersal Incident + </p> + <p> + An interesting anecdote is told by Dies of his first experience with the + Salomon Orchestra. The symphony began with three single notes, which the + orchestra played much too loudly; Haydn called for less tone a second and + a third time, and still was dissatisfied. He was growing impatient. At + this point he overheard a German player whisper to a neighbour in his own + language: "If the first three notes don't please him, how shall we get + through all the rest?" Thereupon, calling for the loan of a violin, he + illustrated his meaning to such purpose that the band answered to his + requirements in the first attempt. Haydn was naturally at a great + disadvantage with an English orchestra by reason of his ignorance of the + language. It may be true, as he said, that the language of music "is + understood all over the world," but one cannot talk to an orchestra in + crotchets and semi-breves. + </p> + <p> + The Hanover Square Rooms + </p> + <p> + At length the date of the first concert arrived, and a brilliant audience + rewarded the enterprise, completely filling the Hanover Square Rooms, at + that time the principal concert hall in London. It had been opened in 1775 + by J. C. Bach, the eleventh son of the great Sebastian, when the + advertisements announced that "the ladies' tickets are red and the + gentlemen's black." It was there that, two years after the date of which + we are writing, "Master Hummel, from Vienna," gave his first benefit; + Liszt appeared in 1840, when the now familiar term "recital" was first + used; Rubinstein made his English debut in 1842; and in the same year + Mendelssohn conducted his Scotch Symphony for the first time in England. + In 1844 the "wonderful little Joachim," then a youth of thirteen in a + short jacket, made the first of his many subsequent visits to London, and + played in the old "Rooms." + </p> + <p> + Hoops and Swords + </p> + <p> + So much for the associations of the concert hall in which Haydn directed + some of his finest symphonies. And what about the audiences of Haydn's + time? It was the day of the Sedan chair, when women waddled in hoops, like + that of the lady mentioned in the Spectator, who appeared "as if she stood + in a large drum." Even the royal princesses were, in Pope's phrase, "armed + in ribs of steel" so wide that the Court attendants had to assist their + ungainly figures through the doorways. Swords were still being worn as a + regulation part of full dress, and special weapons were always provided at + a grand concert for the use of the instrumental solo performers, who, when + about to appear on the platform, were girt for the occasion by an + attendant, known as the "sword-bearer." [See Musical Haunts in London, F. + G. Edwards, quoting Dr W. H. Cummings.] + </p> + <p> + Haydn's first concert, we have said, was an immense success. Burney + records that his appearance in the orchestra "seemed to have an electrical + effect on all present, and he never remembered a performance where greater + enthusiasm was displayed." A wave of musical excitement appears to have + been passing through London, for on this very evening both Covent Garden + and Drury Lane Theatres were packed with audiences drawn together by the + oratorio performances there. Haydn was vastly pleased at having the slow + movement of his symphony encored—an unusual occurrence in those days—and + he spoke of it afterwards as worthy of mention in his biography. Fresh + from the dinner-table, the audience generally fell asleep during the slow + movements! When the novelty of the Salomon concerts had worn off, many of + the listeners lapsed into their usual somnolence. Most men in Haydn's + position would have resented such inattention by an outburst of temper. + Haydn took it good-humouredly, and resolved to have his little joke. + </p> + <p> + The "Surprise" Symphony + </p> + <p> + He wrote the well-known "Surprise" Symphony. The slow movement of this + work opens and proceeds in the most subdued manner, and at the moment when + the audience may be imagined to have comfortably settled for their nap a + sudden explosive fortissimo chord is introduced. "There all the women will + scream," said Haydn, with twinkling eyes. A contemporary critic read quite + a different "programme" into it. "The 'Surprise,'" he wrote, "might not be + inaptly likened to the situation of a beautiful shepherdess who, lulled to + slumber by the murmur of a distant waterfall, starts alarmed by the + unexpected firing of a fowling-piece." One can fancy the composer's + amusement at this highly-imaginative interpretation of his harmless bit of + waggery. + </p> + <p> + Gallic Excitement + </p> + <p> + The same success which attended Haydn's first concert marked the rest of + the series. The Prince of Wales's presence at the second concert no doubt + gave a certain "lead" to the musical public. We read in one of the Gallic + newspapers: "It is truly wonderful what sublime and august thoughts this + master weaves into his works. Passages often occur which it is impossible + to listen to without becoming excited—we are carried away by + admiration, and are forced to applaud with hand and mouth. The Frenchmen + here cannot restrain their transports in soft adagios; they will clap + their hands in loud applause and thus mar the effect." + </p> + <p> + In the midst of all this enthusiasm the factionists were keeping up their + controversy about the opening of Gallini's Theatre. Gallini had already + engaged the services of Haydn, together with an orchestra led by Salomon, + but nothing could be done without the Lord Chamberlain's license for the + performance of operas. To prevent the issue of that license was the avowed + object of the Pantheon management and their friends. The fight was + rendered all the more lively when the Court divided itself between the + opposing interests. "The rival theatre," wrote Horace Walpole, "is said to + be magnificent and lofty, but it is doubtful whether it will be suffered + to come to light; in short the contest will grow political; 'Dieu et mon + Droit' (the King) supporting the Pantheon, and 'Ich dien' (the Prince of + Wales) countenancing the Haymarket. It is unlucky that the amplest + receptacle is to hold the minority." + </p> + <p> + Cantatas, Catches and Choruses + </p> + <p> + That was how it turned out. The Lord Chamberlain finally refused his + license for operatic performances, and Gallini had to be content with a + license for "entertainments of music and dancing." He opened his house on + the 20th of March, and continued during the season to give mixed + entertainments twice a week. Various works of Haydn's were performed at + these entertainments, including a cantata composed for David, an Italian + catch for seven voices, and the chorus known as "The Storm," a setting of + Peter Pindar's "Hark, the wild uproar of the waves." An opera, "Orfeo ed + Euridice," to which we have already referred, was almost completed, but + its production had necessarily to be abandoned, a circumstance which must + have occasioned him considerable regret in view of the store he set upon + his dramatic work. + </p> + <p> + Benefit and Other Concerts + </p> + <p> + On the 16th of May he had a benefit concert, when the receipts exceeded by + 150 pounds the 200 pounds which had been guaranteed. A second benefit was + given on May 30, when "La Passione Instrumentale" (the "Seven Words" + written for Cadiz) was performed. This work was given again on June 10, at + the benefit concert of the "little" Clement, a boy violinist who grew into + the famous artist for whom Beethoven wrote his Violin Concerto. On this + occasion Haydn conducted for Clement, and it is interesting to observe + that Clement took the first violin at the last concert Haydn ever + attended, in March 1808. + </p> + <p> + Haydn on Handel + </p> + <p> + In the note-book he kept while in London, one of the entries reads: "Anno + 1791, the last great concert, with 885 persons, was held in Westminster, + Anno 1792, it was transferred to St Margaret's Chapel, with 200 + performers. This evoked criticism." Haydn here refers to the Handel + Commemoration Festival, the sixth and last of the century. He attended + that of 1791, and was much impressed with the grandeur of the + performances. A place had been reserved for him near the King's box, and + when the "Hallelujah Chorus" was sung, and the whole audience rose to + their feet, he wept like a child. "Handel is the master of us all," he + sobbed. No one knew the value of Handel's choral work better than Haydn. + After listening at the Concert of Antient Music to the chorus, "The + Nations tremble," from "Joshua," he told Shield that "he had long been + acquainted with music, but never knew half its powers before he heard it, + as he was perfectly certain that only one inspired author ever did, or + ever would, pen so sublime a composition." [See the Appendix to Shield's + Introduction to Harmony.] + </p> + <p> + Oxford Doctor of Music + </p> + <p> + Haydn was no Handel, either as man or artist. Handel declined the Doctor + of Music degree with the characteristic remark: "What the devil I throw my + money away for that the blockhead wish?" Haydn did not decline it, though + probably enough he rated the distinction no higher than Handel did. In the + month of July he went down to the Oxford Commemoration, and was then + invested with the degree. Handel's latest biographer, Mr W. S. Rockstro, + says that the Oxford fees would have cost Handel 100 pounds. Haydn's note + of the expense is not so alarming: "I had to pay one and a half guineas + for the bell peals at Oxforth [sic] when I received the doctor's degree, + and half a guinea for the robe." He seems to have found the ceremonies a + little trying, and not unlikely he imagined himself cutting rather a + ridiculous figure in his gorgeous robe of cherry and cream-coloured silk. + At the concert following the investiture he seized the gown, and, raising + it in the air, exclaimed in English, "I thank you." "I had to walk about + for three days in this guise," he afterwards wrote, "and only wish my + Vienna friends could have seen me." Haydn's "exercise" for the degree was + the following "Canon cancrizans, a tre," set to the words, "Thy voice, O + harmony, is divine." + </p> + <p> + [figure: a musical score excerpt] + </p> + <p> + This was subsequently used for the first of the Ten Commandments, the + whole of which he set to canons during his stay in London. Three grand + concerts formed a feature of the Oxford Commemoration. + </p> + <p> + The "Oxford" Symphony + </p> + <p> + At the second of these a symphony in G, written in 1787 or 1788, and since + known as the "Oxford," was performed, with the composer at the organ. He + had taken a new symphony with him for the occasion, but owing to lack of + time for rehearsals, the earlier work was substituted. Of this latter, the + Morning Chronicle wrote that "a more wonderful composition never was + heard. The applause given to Haydn was enthusiastic; but the merit of the + work, in the opinion of all the musicians present, exceeded all praise." + </p> + <p> + Holiday Relaxations + </p> + <p> + The London season having now come to an end, Haydn proceeded to recruit + his energies by paying visits to distinguished people at their country + quarters, taking part in river excursions, picnics, and the like. Prince + Esterhazy had sent him a pressing summons to return for a great fete which + was being organized in honour of the Emperor, but having entered into new + engagements with Salomon and others, he found it impossible to comply. A + less indulgent employer would have requited him with instant dismissal, + but all that the prince said when they afterwards met was, "Ah, Haydn! you + might have saved me 40,000 florins." His longest visit at this time was + spent with Mr Brassey, a Lombard Street banker, and ancestor of the + present peer. "The banker," he says, "once cursed because he enjoyed too + much happiness in this world." He gave lessons to Miss Brassey, and + "enjoyed the repose of country life in the midst of a family circle all + cordially devoted to him." In November he was the guest at two Guildhall + banquets—that of the outgoing Lord Mayor on the 5th and that of his + successor on the 9th. Of these entertainments he has left a curious + account, and as the memorandum is in English it may, perhaps, be + reproduced here. It runs as follows in Lady Wallace's translation of the + letters: + </p> + <p> + I was invited to the Lord Mayor's banquet on November 5. At the first + table, No. 1, the new Lord Mayor and his wife dined, the Lord Chancellor, + the two sheriffs, the Duke of Lids [Leeds], the minister Pitt, and others + of the highest rank in the Cabinet. I was seated at No. 2 with Mr + Sylvester, the most celebrated advocate and first King's counsel in + London. In this hall, called the Geld Hall [Guildhall], were six tables, + besides others in the adjoining room. About twelve hundred persons + altogether dined, and everything was in the greatest splendour. The dishes + were very nice and well dressed. Wines of every kind in abundance. We sat + down to dinner at six o'clock and rose from table at eight. The guests + accompanied the Lord Mayor both before and after dinner in their order of + precedence. There were various ceremonies, sword bearing, and a kind of + golden crown, all attended by a band of wind instruments. After dinner, + the whole of the aristocratic guests of No. 1 withdrew into a private room + prepared for them, to have tea and coffee, while the rest of the company + were conducted into another room. At nine o'clock No. 1 repaired to a + small saloon, when the ball began. There was a raised platform in this + room, reserved for the highest nobility, where the Lord Mayor and his wife + were seated on a throne. Dancing then commenced in due order of + precedence, but only one couple at a time, just as on January 6, the + King's birthday. There were raised benches on both sides of this room with + four steps, where the fair sex chiefly prevailed. Nothing but minuets were + danced in this saloon, but I could only remain for a quarter of an hour, + first, because the heat of so many people assembled in such a narrow space + was so oppressive, and, secondly, on account of the bad music for dancing, + the whole orchestra consisting of two violins and a violoncello; the + minuets were more in the Polish style than in our own, or that of the + Italians. I proceeded into another room, which really was more like a + subterranean cave than anything else; they were dancing English dances, + and the music here was a degree better, as a drum was played by one of the + violinists! [This might be effected by the violin player having the + drumstick tied to his right foot, which was sometimes done.] + </p> + <p> + I went on to the large hall, where we had dined, and there the orchestra + was more numerous, and the music more tolerable. They were also dancing + English dances, but only opposite the raised platform where the four first + sets had dined with the Lord Mayor. The other tables were all filled + afresh with gentlemen, who as usual drank freely the whole night. The + strangest thing of all was that one part of the company went on dancing + without hearing a single note of the music, for first at one table, and + then at another, songs were shouted, or toasts given, amidst the most + crazy uproar and clinking of glasses and hurrahs. This hall and all the + other rooms were lighted with lamps, of which the effluvia was most + disagreeable, especially in the small ballroom. It was remarkable that the + Lord Mayor had no need of a carving-knife, as a man in the centre of the + table carved everything for him. One man stood before the Lord Mayor and + another behind him, shouting out vociferously all the toasts in their + order according to etiquette, and after each toast came a flourish of + kettledrums and trumpets. No health was more applauded than that of Mr + Pitt. There seemed to be no order. The dinner cost 6,000 pounds, one-half + of which is paid by the Lord Mayor, and the other half by the two + sheriffs. + </p> + <p> + Royalty Again + </p> + <p> + In this same month—November—he visited the Marionettes at the + Fantoccini Theatre in Saville Row, prompted, no doubt, by old associations + with Esterhaz. On the 24th he went to Oatlands to visit the Duke of York, + who had just married the Princess of Prussia. "I remained two days," he + says, "and enjoyed many marks of graciousness and honour... On the third + day the Duke had me taken twelve miles towards town with his own horses. + The Prince of Wales asked for my portrait. For two days we made music for + four hours each evening, i.e., from ten o'clock till two hours after + midnight. Then we had supper, and at three o'clock went to bed." After + this he proceeded to Cambridge to see the university, thence to Sir. + Patrick Blake's at Langham. Of the Cambridge visit he writes: "Each + university has behind it a very roomy and beautiful garden, besides stone + bridges, in order to afford passage over the stream which winds past. The + King's Chapel is famous for its carving. It is all of stone, but so + delicate that nothing more beautiful could have been made of wood. It has + already stood for 400 years, and everybody judges its age at about ten + years, because of the firmness and peculiar whiteness of the stone. The + students bear themselves like those at Oxford, but it is said they have + better instructors. There are in all 800 students." + </p> + <p> + From Langham he went to the house of a Mr Shaw, to find in his hostess the + "most beautiful woman I ever saw." Haydn, it may be remarked in passing, + was always meeting the "most beautiful woman." At one time she was a Mrs + Hodges, another of his London admirers. When quite an old man he still + preserved a ribbon which Mrs Shaw had worn during his visit, and on which + his name was embroidered in gold. + </p> + <p> + Pleyel in Opposition + </p> + <p> + But other matters now engaged his attention. The directors of the + Professional Concerts, desiring to take advantage of his popularity, + endeavoured to make him cancel his engagements with Salomon and Gallini. + In this they failed. "I will not," said Haydn, "break my word to Gallini + and Salomon, nor shall any desire for dirty gain induce me to do them an + injury. They have run so great a risk and gone to so much expense on my + account that it is only fair they should be the gainers by it." Thus + defeated in their object, the Professionals decided to bring over Haydn's + own pupil, Ignaz Pleyel, to beat the German on his own ground. It was not + easy to upset Haydn's equanimity in an affair of this kind; his gentle + nature, coupled with past experiences, enabled him to take it all very + calmly. "From my youth upwards," he wrote, "I have been exposed to envy, + so it does not surprise me when any attempt is made wholly to crush my + poor talents, but the Almighty above is my support.... There is no doubt + that I find many who are envious of me in London also, and I know them + almost all. Most of them are Italians. But they can do me no harm, for my + credit with this nation has been established far too many years." As a + rule, he was forbearing enough with his rivals. At first he wrote of + Pleyel: "He behaves himself with great modesty." Later on he remarked that + "Pleyel's presumption is everywhere criticized." Nevertheless, "I go to + all his concerts, for I love him." It is very pleasant to read all this. + But how far Haydn's feelings towards Pleyel were influenced by patriotic + considerations it is impossible to say. + </p> + <p> + The defeated Professionals had a certain advantage by being first in the + field in 1792. But Haydn was only a few days behind them with his opening + concert, and the success of the entire series was in no way affected by + the ridiculous rivalry. Symphonies, divertimenti for concerted + instruments, string quartets, a clavier trio, airs, a cantata, and other + works were all produced at these concerts, and with almost invariable + applause. Nor were Haydn's services entirely confined to the Salomon + concerts. He conducted for various artists, including Barthelemon, the + violinist; Haesler, the pianist; and Madam Mara, of whom he tells that she + was hissed at Oxford for not rising during the "Hallelujah" Chorus. + </p> + <p> + Close of the Season + </p> + <p> + The last concert was given on June 6 "by desire," when Haydn's + compositions were received with "an extasy of admiration." Thus Salomon's + season ended, as the Morning Chronicle put it, with the greatest eclat. + Haydn's subsequent movements need not detain us long. He made excursions + to Windsor Castle and to Ascot "to see the races," of which he has given + an account in his note-book. + </p> + <p> + Herschel and Haydn + </p> + <p> + From Ascot he went to Slough, where he was introduced to Herschel. In this + case there was something like real community of tastes, for the astronomer + was musical, having once played the oboe, and later on acted as organist, + first at Halifax Parish Church, and then at the Octagon Chapel Bath. The + big telescope with which he discovered the planet Uranus in 1781 was an + object of great interest to Haydn, who was evidently amazed at the idea of + a man sitting out of doors "in the most intense cold for five or six hours + at a time." + </p> + <p> + Visits were also paid to Vauxhall Gardens, where "the music is fairly + good" and "coffee and milk cost nothing." "The place and its diversions," + adds Haydn, "have no equal in the world." + </p> + <p> + At St Paul's + </p> + <p> + But the most interesting event of this time to Haydn was the meeting of + the Charity Children in St Paul's Cathedral, when something like 4000 + juveniles took part. "I was more touched," he says in his diary, "by this + innocent and reverent music than by any I ever heard in my life!" And then + he notes the following chant by John Jones: [Jones was organist of St + Paul's Cathedral at this time. His chant, which was really in the key of + D, has since been supplanted. Haydn made an error in bar 12.] + </p> + <p> + [Figure: a musical score excerpt] + </p> + <p> + Curiously enough Berlioz was impressed exactly in the same way when he + heard the Charity Children in 1851. He was in London as a juror at the + Great Exhibition; and along with his friend, the late G. A. Osborne, he + donned a surplice and sang bass in the select choir. He was so moved by + the children's singing that he hid his face behind his music and wept. "It + was," he says, "the realization of one part of my dreams, and a proof that + the powerful effect of musical masses is still absolutely unknown." [See + Berlioz's Life and Letters, English edition, Vol. I., p. 281.] + </p> + <p> + London Acquaintances + </p> + <p> + Haydn made many interesting acquaintances during this London visit. + Besides those already mentioned, there was Bartolozzi, the famous + engraver, to whose wife he dedicated three clavier trios and a sonata in E + flat (Op. 78), which, so far unprinted in Germany, is given by Sterndale + Bennett in his Classical Practice. There was also John Hunter, described + by Haydn as "the greatest and most celebrated chyrurgus in London," who + vainly tried to persuade him to have a polypus removed from his nose. It + was Mrs Hunter who wrote the words for most of his English canzonets, + including the charming "My mother bids me bind my hair." And then there + was Mrs Billington, the famous singer, whom Michael Kelly describes as "an + angel of beauty and the Saint Cecilia of song." There is no more familiar + anecdote than that which connects Haydn with Sir Joshua Reynolds's + portrait of this notorious character. Carpani is responsible for the tale. + He says that Haydn one day found Mrs Billington sitting to Reynolds, who + was painting her as St Cecilia listening to the angels. "It is like," said + Haydn, "but there is a strange mistake." "What is that?" asked Reynolds. + "You have painted her listening to the angels. You ought to have + represented the angels listening to her." It is a very pretty story, but + it cannot possibly be true. Reynolds's portrait of Mrs Billington was + painted in 1789, two years before Haydn's arrival, and was actually shown + in the Academy Exhibition of 1790, the last to which Sir Joshua + contributed. [The portrait, a whole length, was sold in 1798 for 325 + pounds, 10s., and again at Christie's, in 1845, for 505 guineas—to + an American, as usual.] Of course Haydn may have made the witty remark + here attributed to him, but it cannot have been at the time of the + painting of the portrait. That he was an enthusiastic admirer of Mrs + Billington there can be no doubt. + </p> + <p> + Another Romance + </p> + <p> + There was another intimacy of more import, about which it is necessary to + speak at some length. When Dies published his biography of Haydn in 1810 + he referred to a batch of love-letters written to the composer during this + visit to London. The existence of the letters was known to Pohl, who + devotes a part of his Haydn in London to them, and prints certain + extracts; but the letters themselves do not appear to have been printed + either in the original English or in a German translation until Mr Henry + E. Krehbiel, the well-known American musical critic, gave them to the + world through the columns of the New York Tribune. Mr Krehbiel was enabled + to do this by coming into possession of a transcript of Haydn's London + note-book, with which we will deal presently. Haydn, as he informs us, had + copied all the letters out in full, "a proceeding which tells its own + story touching his feelings towards the missives and their fair author." + He preserved them most carefully among the souvenirs of his visit, and + when Dies asked him about them, he replied: "They are letters from an + English widow in London who loved me. Though sixty years old, she was + still lovely and amiable, and I should in all likelihood have married her + if I had been single." Who was the lady thus celebrated? In Haydn's + note-book the following entry occurs: "Mistress Schroeter, No. 6 James + Street, Buckingham Gate." The inquiry is here answered: Mistress Schroeter + was the lady. + </p> + <p> + Mistress Schroeter + </p> + <p> + Haydn, it will be seen, describes her as a widow of sixty. According to + Goldsmith, women and music should never be dated; but in the present case, + there is a not unnatural curiosity to discover the lady's age. Mr Krehbiel + gives good grounds for doubting Haydn's statement that Mistress Schroeter + was sixty when he met her. She had been married to Johann Samuel + Schroeter, an excellent German musician, who settled in London in 1772. + Schroeter died in 1788, three years before the date of Haydn's visit, when + he was just thirty-eight. Now Dr Burney, who must have known the family, + says that Schroeter "married a young lady of considerable fortune, who was + his scholar, and was in easy circumstances." If, therefore, Mrs Schroeter + was sixty years old when Haydn made her acquaintance, she must have been + nineteen years her husband's senior, and could not very well be described + as a "young" lady at the time of her marriage. + </p> + <p> + It is, however, unnecessary to dwell upon the matter of age. The + interesting point is that Haydn fell under the spell of the charming + widow. There is no account of their first meeting; but it was probably of + a purely professional nature. Towards the end of June 1791 the lady + writes: "Mrs Schroeter presents her compliments to Mr Haydn, and informs + him she is just returned to town, and will be very happy to see him + whenever it is convenient to him to give her a lesson." A woman of sixty + should hardly have been requiring lessons, especially after having been + the wife of a professor who succeeded the "English Bach" as music-master + to the Queen. But lessons sometimes cover a good deal of love-making, and + that was clearly the case with Haydn and Mrs Schroeter. + </p> + <p> + Love Letters + </p> + <p> + There is indeed some reason to doubt if the lessons were continued. At any + rate, by February 1792, the affair had ripened so far as to allow the lady + to address the composer as "my dear," and disclose her tender solicitude + for his health. On the 7th of the following month she writes that she was + "extremely sorry" to part with him so suddenly the previous night. "Our + conversation was particularly interesting, and I had a thousand + affectionate things to say to you. My heart was and is full of tenderness + for you, but no language can express half the love and affection I feel + for you. You are dearer to me every day of my life." + </p> + <p> + This was pretty warm, considering that Haydn was still in the bonds of + wedlock. We cannot tell how far he reciprocated the feeling, his letters, + if he wrote any, not having been preserved; but it may be safely inferred + that a lady who was to be "happy to see you both in the morning and the + evening" did not do all the love-making. On the 4th of April the composer + gets a present of soap, and is the "ever dear Haydn" of the "invariable + and truly affectionate" Mistress Schroeter. He had been working too hard + about this particular date (he notes that he was "bled in London" on the + 17th of March), and on the 12th the "loveress," to use Marjorie Fleming's + term, is "truly anxious" about her "dear love," for whom her regard is + "stronger every day." An extract from the letter of April 19 may be quoted + as it stands: + </p> + <p> + I was extremely sorry to hear this morning that you were indisposed. I am + told you were five hours at your studies yesterday. Indeed, my dear love, + I am afraid it will hurt you. Why should you, who have already produced so + many wonderful and charming compositions, still fatigue yourself with such + close application? I almost tremble for your health. Let me prevail on + you, my much-loved Haydn, not to keep to your studies so long at one time. + My dear love, if you could know how very precious your welfare is to me, I + flatter myself you would endeavour to preserve it for my sake as well as + your own. + </p> + <p> + Come Early + </p> + <p> + The next letter shows that Haydn had been deriving some profit from + Mistress Schroeter's affections by setting her to work as an amanuensis. + She has been copying out a march, and is sorry that she has not done it + better. "If my Haydn would employ me oftener to write music, I hope I + should improve; and I know I should delight in the occupation." + Invitations to dine at St James's Street are repeatedly being sent, for + Mistress Schroeter wishes "to have as much of your company as possible." + When others are expected, Haydn is to come early, so that they may have + some time together "before the rest of our friends come." Does the adored + Schroeter go to one of her "dearest love's" concerts, she thanks him a + thousand times for the entertainment. "Where your sweet compositions and + your excellent performance combine," she writes, "it cannot fail of being + the most charming concert; but, apart from that, the pleasure of seeing + you must ever give me infinite satisfaction." As the time drew near for + Haydn's departure, "every moment of your company is more and more precious + to me." She begs to assure him with "heart-felt affection" that she will + ever consider the acquaintance with him as one of the chief blessings of + her life. Nay, she entertains for her "dearest Haydn" "the fondest and + tenderest affection the human heart is capable of." And so on. + </p> + <p> + An Innocent Amourette + </p> + <p> + One feels almost brutally rude in breaking in upon the privacy of this + little romance. No doubt the flirtation was inexcusable enough on certain + grounds. But taking the whole circumstances into account—above all, + the loveless, childless home of the composer—the biographer is + disposed to see in the episode merely that human yearning after affection + and sympathy which had been denied to Haydn where he had most right to + expect them. He admitted that he was apt to be fascinated by pretty and + amiable women, and the woman to whom he had given his name was neither + pretty nor amiable. An ancient philosopher has said that a man should + never marry a plain woman, since his affections would always be in danger + of straying when he met a beauty. This incident in Haydn's career would + seem to support the philosopher's contention. For the rest, it was + probably harmless enough, for there is nothing to show that the severer + codes of morality were infringed. + </p> + <p> + The biographers of Haydn have not succeeded in discovering how the + Schroeter amourette ended. The letters printed by Mr Krehbiel are all + confined to the year 1792, and mention is nowhere made of any of later + date. When Haydn returned to London in 1794, he occupied rooms at No. 1 + Bury Street, St James', and Pohl suggests that he may have owed the more + pleasant quarters to his old admirer, who would naturally be anxious to + have him as near her as possible. A short walk of ten minutes through St + James' Park and the Mall would bring him to Buckingham Palace, and from + that to Mrs Schroeter's was only a stone-throw. Whether the old + affectionate relations were resumed it is impossible to say. If there were + any letters of the second London visit, it is curious that Haydn should + not have preserved them with the rest. There is no ground for supposing + that any disagreement came between the pair: the facts point rather the + other way. When Haydn finally said farewell to London, he left the scores + of his six last symphonies "in the hands of a lady." Pohl thinks the lady + was Mrs Schroeter, and doubtless he is right. At any rate Haydn's esteem + for her, to use no stronger term, is sufficiently emphasized by his having + inscribed to her the three trios numbered 1, 2 and 6 in the Breitkopf + & Hartel list. + </p> + <p> + Haydn's Note-Book + </p> + <p> + Reference has already been made to the diary or note-book kept by Haydn + during his visit. The original manuscript of this curious document came + into the hands of his friend, Joseph Weigl, whose father had been 'cellist + to Prince Esterhazy. A similar diary was kept during the second visit, but + this was lost; and indeed the first note-book narrowly escaped destruction + at the hands of a careless domestic. Haydn's autograph was at one time in + the possession of Dr Pohl. A copy of it made by A. W. Thayer, the + biographer of Beethoven, in 1862, became, as previously stated, the + property of Mr Krehbiel, who has printed the entries, with running + comment, in his "Music and Manners in the Classical Period" (London, + 1898). Mr Krehbiel rightly describes some of the entries as mere "vague + mnemonic hints," and adds that one entry which descants in epigrammatic + fashion on the comparative morals of the women of France, Holland and + England is unfit for publication. Looking over the diary, it is + instructive to observe how little reference is made to music. One or two + of the entries are plainly memoranda of purchases to be made for friends. + There is one note about the National Debt of England, another about the + trial of Warren Hastings. London, we learn, has 4000 carts for cleaning + the streets, and consumes annually 800,000 cartloads of coals. That + scandalous book, the Memoirs of Mrs Billington, which had just been + published, forms the subject of a long entry. "It is said that her [Mrs + Billington's] character is very faulty, but nevertheless she is a great + genius, and all the women hate her because she is so beautiful." + </p> + <p> + Prince of Wale's Punch + </p> + <p> + A note is made of the constituents of the Prince of Wales's punch—"One + bottle champagne, one bottle Burgundy, one bottle rum, ten lemons, two + oranges, pound and a half of sugar." A process for preserving milk "for a + long time" is also described. We read that on the 5th of November (1791) + "there was a fog so thick that one might have spread it on bread. In order + to write I had to light a candle as early as eleven o'clock." Here is a + curious item—"In the month of June 1792 a chicken, 7s.; an Indian [a + kind of bittern found in North America] 9s.; a dozen larks, 1 coron [? + crown]. N.B.—If plucked, a duck, 5s." + </p> + <p> + Haydn liked a good story, and when he heard one made a note of it. The + diary contains two such stories. One is headed "Anectod," and runs: "At a + grand concert, as the director was about to begin the first number, the + kettledrummer called loudly to him, asking him to wait a moment, because + his two drums were not in tune. The leader could not and would not wait + any longer, and told the drummer to transpose for the present." The second + story is equally good. "An Archbishop of London, having asked Parliament + to silence a preacher of the Moravian religion who preached in public, the + Vice-President answered that could easily be done: only make him a Bishop, + and he would keep silent all his life." + </p> + <p> + On the whole the note-book cannot be described as of strong biographical + interest, but a reading of its contents as translated by Mr Krehbiel will + certainly help towards an appreciation of the personal character of the + composer. + </p> + <p> + <a name="link2HCH0006" id="link2HCH0006"> + <!-- H2 anchor --> </a> + </p> + <div style="height: 4em;"> + <br /><br /><br /><br /> + </div> + <h2> + CHAPTER VI. SECOND LONDON VISIT—1794-1795 + </h2> + <p> + <i>Beethoven—Takes Lessons from Haydn—The Relations of the Two + Composers—The Haydn Museum—Haydn starts for London—His + Servant Elssler—The Salomon Concerts—A "Smart" Drummer—New + Acquaintances—Haydn at Bath—Opera Concerts—Kingly + Courtesies—A Valuable Parrot—Rohrau Reminiscences—Esterhaz + once more—The "Austrian Hymn"—Haydn's Love for It—A + Charge of Plagiarism.</i> + </p> + <p> + Haydn left London some time towards the end of June 1792. He had intended + to visit Berlin, in response to an invitation from King Frederick William + II., but he altered his route in order to meet Prince Anton Esterhazy, who + was at Frankfort for the coronation of the Emperor Francis II. + </p> + <p> + Beethoven + </p> + <p> + A more interesting meeting took place at Bonn. Beethoven, then a young man + of twenty-two, was still living with his people in the Wenzegasse, but + already arrangements had been made by the Elector for his paying a + somewhat lengthened visit to Vienna in order to prosecute his studies + there. Since the death of Mozart, Haydn had become the most brilliant star + in the musical firmament, and it was only natural that the rising genius + should look to him for practical help and encouragement. It so happened + that the Elector's Band, of which Beethoven was a member, gave a dinner to + Haydn at Godesberg. The occasion was opportune. Beethoven submitted a + cantata to the guest of the evening which Haydn "greatly praised, warmly + encouraging the composer to proceed with his studies." The name of the + cantata has not been ascertained, though Thayer conjectures it to have + been on the death of the Emperor Leopold II. + </p> + <p> + Whatever it was, the fact of Haydn's approval would make it an easy matter + to discuss the subject of lessons, whether now or later. Beethoven did not + start for Vienna until November, and it appears that immediately before + that date some formal communication had been made with Haydn in reference + to his studies. On the 29th of October Count Waldstein wrote: + </p> + <p> + "DEAR BEETHOVEN,—You are travelling to Vienna in fulfillment of your + long-cherished wish. The genius of Mozart is still weeping and bewailing + the death of her favourite. With the inexhaustible Haydn she found a + refuge, but no occupation, and is now waiting to leave him and join + herself to someone else. Labour assiduously, and receive Mozart's spirit + from the hands of Haydn." + </p> + <p> + This was not exactly complimentary to Haydn, but Beethoven doubtless had + the good sense not to repeat the count's words. When the young artist + arrived in Vienna, he found Haydn living at the Hamberger Haus, No. 992 + (since demolished), and thither he went for his lessons. From Beethoven's + own notes of expenses we find that his first payment was made to Haydn on + December 12. The sum entered is 8 groschen (about 9 1/2 d.), which shows + at least that Haydn was not extravagant in his charges. + </p> + <p> + Master and Pupil + </p> + <p> + Beethoven's studies were in strict counterpoint, and the text-book was + that same "Gradus ad Parnassum" of Fux which Haydn had himself contended + with in the old days at St Stephen's. How many exercises Beethoven wrote + cannot be said, but 245 have been preserved, of which, according to + Nottebohm, Haydn corrected only forty-two. Much ink has been wasted in + discussing the relations of these distinguished composers. There is no + denying that Haydn neglected his young pupil, but one may find another + excuse for the neglect besides that of his increasing age and his + engrossing occupations. Beethoven was already a musical revolutionist: + Haydn was content to walk in the old ways. The two men belonged almost to + different centuries, and the disposition which the younger artist had for + "splendid experiments" must have seemed to the mature musician little + better than madness and licentious irregularity. "He will never do + anything in decent style," was Albrechtsberger's dictum after giving + Beethoven a series of lessons. + </p> + <p> + Haydn's opinion of Beethoven's future was not so dogmatically expressed; + but he must have been sorely puzzled by a pupil who looked upon even + consecutive fifths as an open question, and thought it a good thing to + "learn occasionally what is according to rule that one may hereafter come + to what is contrary to rule." It is said that Haydn persisted in regarding + Beethoven, not as a composer at all but as a pianoforte player; and + certainly Beethoven regarded Haydn as being behind the age. That he was + unjust to Haydn cannot be gainsaid. He even went so far as to suspect + Haydn of willfully trying to retard him in his studies, a proceeding of + which Haydn was altogether incapable. For many years he continued to + discharge splenetic remarks about his music, and he was always annoyed at + being called his pupil. "I never learned anything from Haydn," he would + say; "he never would correct my mistakes." When, the day after the + production of his ballet music to Prometheus, he met Haydn in the street, + the old man observed to him: "I heard your music last night; I liked it + very well." To which Beethoven, alluding to Haydn's oratorio, replied: + "Oh! dear master, it is far from being a CREATION." The doubtful sincerity + of this remark may be inferred from an anecdote quoted by Moscheles. Haydn + had been told that Beethoven was speaking depreciatingly of "The + Creation." "That is wrong of him," he said. "What has HE written, then? + His Septet? Certainly that is beautiful; nay, splendid." + </p> + <p> + Beethoven on Haydn + </p> + <p> + It is hardly necessary to say who comes out best in these passages at + arms. Yet we must not be too hard on Beethoven. That he recognized Haydn's + genius as a composer no careful reader of his biography can fail to see. + As Pohl takes pains to point out, he spoke highly of Haydn whenever + opportunity offered, often chose one of his themes when improvising in + public, scored one of his quartets for his own use, and lovingly preserved + the autograph of one of the English symphonies. That he came in the end to + realize his true greatness is amply proved by the story already related + which represents him as exclaiming on his death-bed upon the fact of Haydn + having been born in a common peasant's cottage. + </p> + <p> + In the meantime, although Beethoven was dissatisfied with his progress + under Haydn, there was no open breach between the two. It is true that the + young musician sought another teacher—one Schenck, a well-known + Viennese composer—but this was done without Haydn's knowledge, out + of consideration, we may assume, for his feelings. That master and pupil + were still on the best of terms may be gathered from their having been at + Eisenstadt together during the summer of 1793. In the January of the + following year Haydn set out on his second visit to England, and Beethoven + transferred himself to Albrechtsberger. + </p> + <p> + The Haydn Museum + </p> + <p> + Haydn's life in Vienna during the eighteen months which intervened between + the two London visits was almost totally devoid of incident. His wife, it + will be remembered, had written to him in England, asking for money to buy + a certain house which she fancied for a "widow's home." Haydn was astute + enough not to send the money, but on his return to Vienna, finding the + house in every way to his liking, he bought it himself. Frau Haydn died + seven years later, "and now," said the composer, speaking in 1806, "I am + living in it as a widower." The house is situated in the suburb of Vienna + known as Gumpendorf. It is No. 19 of the Haydngasse and bears a marble + memorial tablet, affixed to it in 1840. The pious care of the composer's + admirers has preserved it almost exactly as it was in Haydn's day, and has + turned it into a kind of museum containing portraits and mementoes of the + master, the original manuscript of "The Creation," and other interesting + relics. + </p> + <p> + Starts for London + </p> + <p> + Haydn started on his journey to England on January 19, 1794, Salomon + having brought him, under a promise to return with six new symphonies + which he was to conduct in person. This time he travelled down the Rhine, + and he had not been many days on the way when news reached him of the + death of Prince Anton Esterhazy, who had very reluctantly given him leave + of absence. On the occasion of the first London visit Salomon had been his + travelling companion; now, feeling doubtless the encumbrance of increasing + years, Haydn took his servant and copyist, Johann Elssler, along with him. + </p> + <p> + Honest Elssler + </p> + <p> + It may be noted in passing that he entertained a very warm regard for + Elssler, whose father had been music copyist to Prince Esterhazy. He was + born at Eisenstadt in 1769, and, according to Pohl, lived the whole of his + life with Haydn, first as copyist, and then as general servant and + factotum. It was Elssler who tended the composer in his last years, a + service recompensed by the handsome bequest of 6000 florins, which he + lived to enjoy until 1843. No man, it has been said, is a hero to his + valet, but "Haydn was to Elssler a constant subject of veneration, which + he carried so far that when he thought himself unobserved he would stop + with the censer before his master's portrait as if it were the altar." + This "true and honest servant" copied a large amount of Haydn's music, + partly in score, partly in separate parts, much of which is now treasured + as the autograph of Haydn, though the handwritings of the two are + essentially different. It is a pity that none of the earlier writers on + Haydn thought of applying to Elssler for particulars of the private life + of the composer. He could have given information on many obscure points, + and could have amplified the details of this second London visit, about + which we know much less than we know about the former visit. + </p> + <p> + The Salomon Concerts + </p> + <p> + Salomon's first concert had been arranged for the 3rd of February, but + Haydn did not arrive until the 4th, and the series accordingly began upon + the 10th. Twelve concerts were given in all, and with the most brilliant + success. The six new symphonies commissioned by Salomon were performed, + and the previous set were also repeated, along with some new quartets. Of + the many contemporary notices of the period, perhaps the most interesting + is that which appears in the Journal of Luxury and Fashion, published at + Weimar in July 1794. It is in the form of a London letter, written on + March 25, under the heading of "On the Present State and Fashion of Music + in England." After speaking of Salomon's efforts on behalf of classical + music and of the praise due to him for his performance of the quartets of + "our old favourite, Haydn," the writer continues: "But what would you now + say to his new symphonies composed expressly for these concerts, and + directed by himself at the piano? It is truly wonderful what sublime and + august thoughts this master weaves into his works. Passages often occur + which render it impossible to listen to them without becoming excited. We + are altogether carried away by admiration, and forced to applaud with hand + and mouth. This is especially the case with Frenchmen, of whom we have so + many here that all public places are filled with them. You know that they + have great sensibility, and cannot restrain their transports, so that in + the midst of the finest passages in soft adagios they clap their hands in + loud applause and thus mar the effect. In every symphony of Haydn the + adagio or andante is sure to be repeated each time, after the most + vehement encores. The worthy Haydn, whose personal acquaintance I highly + value, conducts himself on these occasions in the most modest manner. He + is indeed a good-hearted, candid, honest man, esteemed and beloved by + all." + </p> + <p> + Several notable incidents occurred at the Salomon Concerts. It has been + remarked, as "an event of some interest in musical history," that Haydn + and Wilhelm Cramer appeared together at one concert, Cramer as leader of + the orchestra, Haydn conducting from the pianoforte. But Cramer was not a + genius of the first rank—his compositions are of the slightest + importance—and there was nothing singular about his appearing along + with Haydn. He had been leader at the Handel Festivals at Westminster + Abbey in 1784 and 1787, and was just the man to be engaged for an + enterprise like that of Salomon's. + </p> + <p> + A "Smart" Drummer + </p> + <p> + An anecdote told of Haydn in connection with one of the rehearsals is + better worth noting. The drummer was found to be absent. "Can anyone here + play the drum?" inquired Haydn, looking round from his seat at the piano. + "I can," promptly replied young George (afterwards Sir George) Smart, who + was sitting among the violinists. Smart, who lived to become the doyen of + the musical profession in England, had never handled a drumstick before, + and naturally failed to satisfy the conductor. Haydn took the drumstick + from him and "showed to the astonished orchestra a new and unexpected + attitude in their leader." Then, turning to Smart, he remarked: "That is + how we use the drumsticks in Germany." "Oh, very well," replied the + unabashed youth, "if you like it better in that way we can also do it so + in London." + </p> + <p> + New Acquaintances + </p> + <p> + Haydn made several new acquaintances during this visit, the most notable + being, perhaps, Dragonetti, the famous double-bass player, who had + accompanied Banti, the eminent prima donna, to London in 1794. Banti had + been discovered as a chanteuse in a Paris cafe, and afterwards attracted + much notice by her fine voice both in Paris and London. "She is the first + singer in Italy, and drinks a bottle of wine every day," said one who knew + her. In her journeys through Germany, Austria and Italy she won many + triumphs. Haydn composed for her an air, "Non Partir," in E, which she + sang at his benefit. As for "Old Drag," the familiar designation of the + distinguished bassist, his eccentricities must have provided Haydn with no + little amusement. He always took his dog Carlo with him into the + orchestra, and Henry Phillips tells us that, having a strange weakness for + dolls, he often carried one of them to the festivals as his wife! On his + way to Italy in 1798 Dragonetti visited Haydn in Vienna, and was much + delighted with the score of "The Creation," just completed. Several + eminent violinists were in London at the time of Haydn's visit. The most + distinguished of them was perhaps Felice de Giardini, who, at the age of + fourscore, produced an oratorio at Ranelagh Gardens, and even played a + concerto. He had a perfectly volcanic temper, and hated Haydn as the devil + is said to hate holy water. "I don't wish to see the German dog," he + remarked in the composer's hearing, when urged to pay him a visit. Haydn, + as a rule, was kindly disposed to all brother artists, but to be called a + dog was too much, He went to hear Giardini, and then got even with him by + noting in his diary that he "played like a pig." + </p> + <p> + The accounts preserved of Haydn's second visit to England are, as already + remarked, far less full than those of the first visit. Unconnected + memoranda appear in his diary, some of which are given by Griesinger and + Dies; but they are of comparatively little interest. During the summer of + 1794 he moved about the country a good deal. Thus, about the 26th of + August, he paid a visit to Waverley Abbey, whose "Annales Waverliensis" + suggested to Scott the name of his first romance. The ruined condition of + the venerable pile—it dates from 1128—set Haydn moralizing on + the "Protestant heresy" which led the "rascal mob" to tear down "what had + once been a stronghold of his own religion." + </p> + <p> + Haydn at Bath + </p> + <p> + In the following month he spent three days in Bath with Dr Burney, and + Rauzzini, the famous tenor, who had retired to the fashionable + watering-place after a successful career of thirteen years as a singer and + teacher in London. Rauzzini is little more than a name now, but for + Haydn's sake it is worth recalling his memory. Born at Rome in 1747, his + striking beauty of face and figure had drawn him into certain + entanglements which made it expedient for him to leave his native land. He + was as fond of animals as Dragonetti was of dolls, and had erected a + memorial tablet in his garden to his "best friend," otherwise his dog. + "Turk was a faithful dog and not a man," ran the inscription, which + reminds one of Schopenhauer's cynical observation that if it were not for + the honest faces of dogs, we should forget the very existence of + sincerity. When Haydn read the inscription he immediately proceeded to + make use of the words for a four-part canon. It was presumably at this + time that he became acquainted with Dr Henry Harington, the musician and + author, who had removed to Bath in 1771, where he had founded the Harmonic + Society. Haydn dedicated one of his songs to him in return for certain + music and verses, which explains the following otherwise cryptic note of + Clementi's, published for the first time recently by Mr J. S. Shedlock: + "The first Dr [Harington] having bestowed much praise on the second Dr + [Haydn], the said second Dr, out of doctorial gratitude, returns the 1st + Dr thanks for all favours recd., and praises in his turn the said 1st Dr + most handsomely." The title of Haydn's song was "Dr Harington's + Compliments." + </p> + <p> + Opera Concerts + </p> + <p> + The composer returned to London at the beginning of October for the winter + season's concerts. These began, as before, in February, and were continued + once a week up to the month of May. This time they took the form of opera + concerts, and were given at the "National School of Music" in the new + concert-room of the King's Theatre. No fresh symphonies were contributed + by Haydn for this series, though some of the old ones always found a place + in the programmes. Two extra concerts were given on May 21 and June 1, at + both of which Haydn appeared; but the composer's last benefit concert was + held on May 4. On this occasion the programme was entirely confined to his + own compositions, with the exception of concertos by Viotti, the + violinist, and Ferlendis, the oboist. Banti sang the aria already + mentioned as having been written expressly for her, but, according to the + composer, "sang very scanty." The main thing, however, was that the + concert proved a financial success, the net receipts amounting to 400 + pounds. "It is only in England," said Haydn, "that one can make 4000 + gulden in one evening." + </p> + <p> + Haydn did indeed remarkably well in London. As Pohl says, "he returned + from it with increased powers, unlimited fame, and a competence for life. + By concerts, lessons, and symphonies, not counting his other compositions, + he had again made 1200 pounds, enough to relieve him from all anxiety as + to the future. He often said afterwards that it was not till he had been + to England that he became famous in Germany; by which he meant that + although his reputation was high at home, the English were the first to + give him public homage and liberal remuneration." + </p> + <p> + Kingly Courtesies + </p> + <p> + It is superfluous to say that Haydn was as much of a "lion" in London + society during his second visit as he had been on the previous occasion. + The attention bestowed on him in royal circles made that certain, for + "society" are sheep, and royalty is their bell-wether. The Prince of Wales + had rather a fancy for him, and commanded his attendance at Carlton House + no fewer than twenty-six times. At one concert at York House the programme + was entirely devoted to his music. George III and Queen Caroline were + present, and Haydn was presented to the King by the Prince. "You have + written a great deal, Dr Haydn," said the King. "Yes, sire," was the + reply; "more than is good for me." "Certainly not," rejoined His Majesty. + He was then presented to the Queen, and asked to sing some German songs. + "My voice," he said, pointing to the tip of his little finger, "is now no + bigger than that"; but he sat down to the pianoforte and sang his song, + "Ich bin der Verliebteste." He was repeatedly invited by the Queen to + Buckingham Palace, and she tried to persuade him to settle in England. + "You shall have a house at Windsor during the summer months," she said, + and then, looking towards the King, added, "We can sometimes make music + tete-a-tete." "Oh! I am not jealous of Haydn," interposed the King; "he is + a good, honourable German." "To preserve that reputation," replied Haydn, + "is my greatest pride." + </p> + <p> + Most of Haydn's appearances were made at the concerts regularly organized + for the entertainment of royalty at Carlton House and Buckingham Palace, + and Haydn looked to be paid for his services. Whether the King and the + Prince expected him to give these services in return for the supposed + honour they had conferred upon him does not appear. At all events, Haydn + sent in a bill for 100 guineas sometime after his return to Vienna, and + the amount was promptly paid by Parliament. + </p> + <p> + A Valuable Parrot + </p> + <p> + Among the other attentions bestowed upon him while in London, mention + should be made of the present of a talking parrot. Haydn took the bird + with him, and it was sold for 140 pounds after his death. Another gift + followed him to Vienna. A Leicester manufacturer named Gardiner—he + wrote a book on The Music of Nature, and other works—sent him half a + dozen pairs of cotton stockings, into which were woven the notes of the + Austrian Hymn, "My mother bids me bind my hair," the Andante from the + "Surprise" Symphony, and other thematic material. These musical stockings, + as a wit has observed, must have come as a REAL surprise to Haydn. It was + this same Leicester manufacturer, we may remark parenthetically, who + annotated the translation of Bombet's Life of Haydn, made by his + fellow-townsman, Robert Brewin, in 1817. + </p> + <p> + Haydn's return from London was hastened by the receipt of a communication + from Esterhaz. Prince Anton had been succeeded by his son Nicolaus, who + was as fond of music as the rest of his family, and desired to keep his + musical establishment up to the old standard. During the summer of 1794 he + had written to Haydn, asking if the composer would care to retain his + appointment as director. Haydn was only too glad to assent; and now that + his London engagements were fulfilled, he saw no reason for remaining + longer in England. Accordingly he started for home on the 15th of August + 1795, travelling by way of Hamburg, Berlin and Dresden, and arriving at + Vienna in the early days of September. + </p> + <p> + Rohrau Reminiscences + </p> + <p> + Soon after his return he was surprised to receive an invitation to visit + his native Rohrau. When he arrived there he found that a monument, with a + marble bust of himself, had been erected to his honour in a park near his + birthplace. This interesting memorial consists of a square pillar + surmounting three stone steps, with an inscription on each side. The visit + was productive of mingled feelings to Haydn. He took his friends to see + the old thatch-roofed cottage, and, pointing to the familiar stove, still + in its place, modestly remarked that there his career as a musician began—a + reminiscence of the now far-away time when he sat by his father's side and + sawed away on his improvised fiddle. + </p> + <p> + Esterhaz once more + </p> + <p> + There is little to say about Haydn's labours as Capellmeister of the + Esterhazy household at this time. Apparently he was only at Eisenstadt for + the summer and autumn. Down to 1802, however, he always had a mass ready + for Princess Esterhazy's name-day in September. These compositions are + Nos. 2, 1, 3, 16, 4 and 6 of the Novello edition. No. 2, Pohl tells us, + was composed in 1796, and called the "Paukenmesse," from the fact of the + drums being used in the Agnus. No. 3 was written in 1797. It is known in + England as the Imperial Mass, but in Germany as "Die Nelsonmesse," on + account of its having been performed during Nelson's visit to Eisenstadt + in 1800. On that occasion Nelson asked Haydn for his pen, and gave him his + own gold watch in exchange. + </p> + <p> + The Austrian Hymn + </p> + <p> + It was shortly after his return to Vienna—in January 1797, to be + precise—that he composed his favourite air, "God preserve the + Emperor," better known as the Austrian Hymn. The story of this celebrated + composition is worth telling with some minuteness. Its inception was due + to Count von Saurau, Imperial High Chancellor and Minister of the + Interior. Writing in 1820, the count said: + </p> + <p> + I often regretted that we had not, like the English, a national air + calculated to display to all the world the loyal devotion of our people to + the kind and upright ruler of our Fatherland, and to awaken within the + hearts of all good Austrians that noble national pride so indispensable to + the energetic fulfillment of all the beneficial measures of the sovereign. + This seemed to me more urgent at a period when the French Revolution was + raging most furiously, and when the Jacobins cherished the idle hope of + finding among the worthy Viennese partisans and participators in their + criminal designs. [The scandalous Jacobin persecutions and executions in + Austria and Hungary took place in 1796]. I caused that meritorious poet + Haschka to write the words, and applied to our immortal countryman Haydn + to set them to music, for I considered him alone capable of writing + anything approaching in merit to the English "God save the King." Such was + the origin of our national hymn. + </p> + <p> + It would not have been difficult to match "God save the King," the + mediocrity of which, especially as regards the words, has been the butt of + countless satirists. Beethoven wrote in his diary that he "must show the + English what a blessing they have" in that "national disgrace." If Haydn + regarded it as a "blessing," he certainly did not take it as a model. He + produced an air which, looking at it from a purely artistic point of view, + is the best thing of the national anthem kind that has ever been written. + The Emperor was enchanted with it when sung on his birthday, February 12, + 1797, at the National Theatre in Vienna, and through Count Saurau sent the + composer a gold box adorned with a facsimile of the royal features. "Such + a surprise and such a mark of favour, especially as regards the portrait + of my beloved monarch," wrote Haydn, "I never before received in + acknowledgment of my poor talents." + </p> + <p> + Haydn's Love for It + </p> + <p> + We have several indications of Haydn's predilection for this fine air, + which has long been popular as a hymn tune in all the churches. He wrote a + set of variations for it as the Andante of his "Kaiser Quartet." + Griesinger tells us, too, that as often as the warm weather and his + strength permitted, during the last few years of his life, he used to be + led into his back room that he might play it on the piano. It is further + related by Dies that, during the bombardment of Vienna in May 1809, Haydn + seated himself at his instrument every forenoon to give forth the sound of + the favourite song. Indeed, on May 26, only five days before his death, he + played it over three times in succession, and "with a degree of expression + that astonished himself." As one writer puts it, the air "seemed to have + acquired a certain sacredness in his eyes in an age when kings were + beheaded and their crowns tossed to the rabble." + </p> + <p> + Haydn's first sketch of the melody was found among his papers after his + death. We reproduce it here, with an improvement shown in small notes. + There are, it will be observed, some slight differences between the draft + and the published version of the air: + </p> + <p> + [figure: a musical score excerpt from the draft] + </p> + <p> + [figure: a musical score excerpt from the published version] + </p> + <p> + The collecting of what Tennyson called "the chips of the workshop" is not + as a rule an edifying business, but the evolution of a great national air + must always be interesting. + </p> + <p> + Plagiarism or Coincidence? + </p> + <p> + It might perhaps be added that Dr Kuhac, the highest authority on Croatian + folk-song, asserted in an article contributed to the Croatian Review + (1893) that the Austrian National Hymn was based on a Croatian popular + air. In reviewing Kuhac's collection of Croatian melodies, a work in four + volumes, containing 1600 examples, Dr Reimann signifies his agreement with + Kuhac, and adds that Haydn employed Croatian themes not only in "God + preserve the Emperor," but in many passages of his other works. These + statements must not be taken too seriously. Handel purloined wholesale + from brother composers and said nothing about it. The artistic morality of + Haydn's age was different, and, knowing his character as we do, we may be + perfectly sure that if he had of set purpose introduced into any of his + compositions music which was not his own he would, in some way or other, + have acknowledged the debt. This hunting for plagiarisms which are not + plagiarisms at all but mere coincidences—coincidences which are and + must be inevitable—is fast becoming a nuisance, and it is the duty + of every serious writer to discredit the practice. The composer of "The + Creation" had no need to borrow his melodies from any source. + </p> + <p> + <a name="link2HCH0007" id="link2HCH0007"> + <!-- H2 anchor --> </a> + </p> + <div style="height: 4em;"> + <br /><br /><br /><br /> + </div> + <h2> + CHAPTER VII. "THE CREATION" AND "THE SEASONS" + </h2> + <p> + <i>Haydn's Crowning Achievement—"The Creation" suggested—The + "Unintelligible Jargon" of the Libretto—The Stimulating Effect of + London—Haydn's Self-Criticism—First Performance of "The + Creation"—London Performances—French Enthusiasm—The + Oratorio criticized—"The Seasons."</i> + </p> + <p> + Haydn's Crowning Achievement + </p> + <p> + Haydn rounded his life with "The Creation" and "The Seasons." They were + the summit of his achievement, as little to be expected from him, + considering his years, as "Falstaff" was to be expected from the + octogenarian Verdi. Some geniuses flower late. It was only now, by his + London symphonies and his "Creation," that Haydn's genius blossomed so + luxuriantly as to place him with almost amazing suddenness among the very + first of composers. There is hardly anything more certain than this, that + if he had not come to London he would not have stood where he stands + to-day. The best of his symphonies were written for London; and it was + London, in effect, that set him to work in what was for him practically a + new direction, leading to the production of an oratorio which at once took + its place by the side of Handel's master-pieces, and rose to a popularity + second only to that of "The Messiah" itself. + </p> + <p> + "The Creation" suggested + </p> + <p> + The connection thus established between the names of Handel and Haydn is + interesting, for there can be little question that Haydn was led to think + of writing a large choral work chiefly as the result of frequently hearing + Handel's oratorios during his visits to the metropolis. The credit of + suggesting "The Creation" to Haydn is indeed assigned to Salomon, but it + is more than probable that the matter had already been occupying his + thoughts. It has been explicitly stated [See note by C.H. Purday in + Leisure Hour for 1880, p. 528.] that, being greatly impressed with the + effect produced by "The Messiah," Haydn intimated to his friend + Barthelemon his desire to compose a work of the same kind. He asked + Barthelemon what subject he would advise for such a purpose, and + Barthelemon, pointing to a copy of the Bible, replied: "There! take that, + and begin at the beginning." This story is told on apparently good + authority. But it hardly fits in with the statements of biographers. + According to the biographers, Salomon handed the composer a libretto + originally selected for Handel from Genesis and Paradise Lost by Mr Lidley + or Liddell. That this was the libretto used by Haydn is certain, and we + may therefore accept it as a fact that Haydn's most notable achievement in + choral music was due in great measure to the man who had brought him to + London, and had drawn from him the finest of his instrumental works. + </p> + <p> + "The Creation" Libretto + </p> + <p> + Before proceeding further we may deal finally with the libretto of "The + Creation." The "unintelligible jargon" which disfigures Haydn's immortal + work has often formed the subject of comment; and assuredly nothing that + can be said of it can well be too severe. "The Creation" libretto stands + to the present day as an example of all that is jejune and incongruous in + words for music. The theme has in itself so many elements of inspiration + that it is a matter for wonder how, for more than a century, + English-speaking audiences have listened to the arrant nonsense with which + Haydn's music is associated. As has been well observed, "the suburban + love-making of our first parents, and the lengthy references to the habits + of the worm and the leviathan are almost more than modern flesh and blood + can endure." Many years ago a leading musical critic wrote that there + ought to be enough value, monetarily speaking, in "The Creation" to make + it worth while preparing a fresh libretto; for, said he, "the present one + seems only fit for the nursery, to use in connection with Noah's ark." At + the Norwich Festival performance of the oratorio in 1872, the words were, + in fact, altered, but in all the published editions of the work the text + remains as it was. It is usual to credit the composer's friend, Baron van + Swieten, with the "unintelligible jargon." The baron certainly had a + considerable hand in the adaptation of the text. But in reality it owes + its very uncouth verbiage largely to the circumstance that it was first + translated from English into German, and then re-translated back into + English; the words, with the exception of the first chorus, being adapted + to the music. Considering the ways of translators, the best libretto in + the world could not but have suffered under such transformations, and it + is doing a real injustice to the memory of Baron Swieten, the good friend + of more than one composer, to hold him up needlessly to ridicule. [In one + of George Thomson's letters to Mrs Hunter we read: "It it is not the first + time that your muse and Haydn's have met, as we see from the beautiful + canzonets. Would he had been directed by you about the words to 'The + Creation'! It is lamentable to see such divine music joined with such + miserable broken English. He (Haydn) wrote me lately that in three years, + by the performance of 'The Creation' and 'The Seasons' at Vienna, 40,000 + florins had been raised for the poor families of musicians."] + </p> + <p> + The Stimulus of London + </p> + <p> + Haydn set to work on "The Creation" with all the ardour of a first love. + Naumann suggests that his high spirits were due to the "enthusiastic + plaudits of the English people," and that the birth of both "The Creation" + and "The Seasons" was "unquestionably owing to the new man he felt within + himself after his visit to England." There was now, in short, burning + within his breast, "a spirit of conscious strength which he knew not he + possessed, or knowing, was unaware of its true worth." This is somewhat + exaggerated. Handel wrote "The Messiah" in twenty-four days; it took Haydn + the best part of eighteen months to complete "The Creation," from which we + may infer that "the sad laws of time" had not stopped their operation + simply because he had been to London. No doubt, as we have already more + than hinted, he was roused and stimulated by the new scenes and the + unfamiliar modes of life which he saw and experienced in England. His + temporary release from the fetters of official life had also an + exhilarating influence. So much we learn indeed from himself. Thus, + writing from London to Frau von Genzinger, he says: "Oh, my dear, good + lady, how sweet is some degree of liberty! I had a kind prince, but was + obliged at times to be dependent on base souls. I often sighed for + freedom, and now I have it in some measure. I am quite sensible of this + benefit, though my mind is burdened with more work. The consciousness of + being no longer a bond-servant sweetens all my toils." If this liberty, + this contact with new people and new forms of existence, had come to Haydn + twenty years earlier, it might have altered the whole current of his + career. But it did not help him much in the actual composition of "The + Creation," which he found rather a tax, alike on his inspiration and his + physical powers. Writing to Breitkopf & Hartel on June 12, 1799, he + says: "The world daily pays me many compliments, even on the fire of my + last works; but no one could believe the strain and effort it costs me to + produce these, inasmuch as many a day my feeble memory and the unstrung + state of my nerves so completely crush me to the earth, that I fall into + the most melancholy condition, so much so that for days afterwards I am + incapable of finding one single idea, till at length my heart is revived + by Providence, when I seat myself at the piano and begin once more to + hammer away at it. Then all goes well again, God be praised!" + </p> + <p> + Self-Criticism + </p> + <p> + In the same letter he remarks that, "as for myself, now an old man, I hope + the critics may not handle my 'Creation' with too great severity, and be + too hard on it. They may perhaps find the musical orthography faulty in + various passages, and perhaps other things also which I have for so many + years been accustomed to consider as minor points; but the genuine + connoisseur will see the real cause as readily as I do, and will willingly + cast aside such stumbling blocks." It is impossible to miss the + significance of all this. + </p> + <p> + [At this point in the original book, a facsimile of a letter regarding + "The Creation" takes up the entire next page.] + </p> + <p> + Certainly it ought to be taken into account in any critical estimate of + "The Creation"; for when a man admits his own shortcomings it is + ungracious, to say the least, for an outsider to insist upon them. It is + obvious at any rate that Haydn undertook the composition of the oratorio + in no light-hearted spirit. "Never was I so pious," he says, "as when + composing 'The Creation.' I felt myself so penetrated with religious + feeling that before I sat down to the pianoforte I prayed to God with + earnestness that He would enable me to praise Him worthily." In the lives + of the great composers there is only one parallel to this frame of mind—the + religious fervour in which Handel composed "The Messiah." + </p> + <p> + First Performance of the Oratorio + </p> + <p> + The first performance of "The Creation" was of a purely private nature. It + took place at the Schwartzenburg Palace, Vienna, on the 29th of April + 1798, the performers being a body of dilettanti, with Haydn presiding over + the orchestra. Van Swieten had been exerting himself to raise a guarantee + fund for the composer, and the entire proceeds of the performance, + amounting to 350 pounds, were paid over to him. Haydn was unable to + describe his sensations during the progress of the work. "One moment," he + says, "I was as cold as ice, the next I seemed on fire; more than once I + thought I should have a fit." A year later, on the 19th of March 1799, to + give the exact date, the oratorio was first heard publicly at the National + Theatre in Vienna, when it produced the greatest effect. The play-bill + announcing the performance (see next page) had a very ornamental border, + and was, of course, in German. + </p> + <p> + [At this point in the original book, a facsimile of the first play-bill + for "The Creation" takes up the entire next page.] + </p> + <p> + Next year the score was published by Breitkopf & Hartel, and no fewer + than 510 copies, nearly half the number subscribed for, came to England. + The title-page was printed both in German and English, the latter reading + as follows: "The Creation: an Oratorio composed by Joseph Haydn, Doctor of + Musik, and member of the Royal Society of Musik, in Sweden, in actuel + (sic) service of His Highness the Prince of Esterhazy, Vienna, 1800." + Clementi had just set up a musical establishment in London, and on August + 22, 1800, we find Haydn writing to his publishers to complain that he was + in some danger of losing 2000 gulden by Clementi's non-receipt of a + consignment of copies. + </p> + <p> + London Performances + </p> + <p> + Salomon, strangely enough, had threatened Haydn with penalties for + pirating his text, but he thought better of the matter, and now wrote to + the composer for a copy of the score, so that he might produce the + oratorio in London. He was, however, forestalled by Ashley, who was at + that time giving performances of oratorio at Covent Garden Theatre, and + who brought forward the new work on the 28th of March (1800). An amusing + anecdote is told in this connection. The score arrived by a King's + messenger from Vienna on Saturday, March 22, at nine o'clock in the + evening. It was handed to Thomas Goodwin, the copyist of the theatre, who + immediately had the parts copied out for 120 performers. The performance + was on the Friday evening following, and when Mr Harris, the proprietor of + the theatre, complimented all parties concerned on their expedition, + Goodwin, with ready wit, replied: "Sir, we have humbly emulated a great + example; it is not the first time that the Creation has been completed in + six days." Salomon followed on the 21st of April with a performance at the + King's Theatre, Mara and Dussek taking the principal parts. Mara remarked + that it was the first time she had accompanied an orchestra! + </p> + <p> + French Enthusiasm + </p> + <p> + Strange to say—for oratorio has never been much at home in France—"The + Creation" was received with immense enthusiasm in Paris when it was first + performed there in the summer of this same year. Indeed, the applause was + so great that the artists, in a fit of transport, and to show their + personal regard for the composer, resolved to present him with a large + gold medal. The medal was designed by the famous engraver, Gateaux. It was + adorned on one side with a likeness of Haydn, and on the other side with + an ancient lyre, over which a flame flickered in the midst of a circle of + stars. The inscription ran: "Homage a Haydn par les Musiciens qui ont + execute l'oratorio de la Creation du Monde au Theatre des Arts l'au ix de + la Republique Francais ou MDCCC." The medal was accompanied by a + eulogistic address, to which the recipient duly replied in a rather + flowery epistle. "I have often," he wrote, "doubted whether my name would + survive me, but your goodness inspires me with confidence, and the token + of esteem with which you have honoured me perhaps justifies my hope that I + shall not wholly die. Yes, gentlemen, you have crowned my gray hairs, and + strewn flowers on the brink of my grave." Seven years after this Haydn + received another medal from Paris—from the Societe Academique des + Enfants d'Apollon, who had elected him an honorary member. + </p> + <p> + A second performance of "The Creation" took place in the French capital on + December 24, 1800, when Napoleon I. escaped the infernal machine in the + Rue Nicaise. It was, however, in England, the home of oratorio, that the + work naturally took firmest root. It was performed at the Worcester + Festival of 1800, at the Hereford Festival of the following year, and at + Gloucester in 1802. Within a few years it had taken its place by the side + of Handel's best works of the kind, and its popularity remained untouched + until Mendelssohn's "Elijah" was heard at Birmingham in 1847. Even now, + although it has lost something of its old-time vogue, it is still to be + found in the repertory of our leading choral societies. It is said that + when a friend urged Haydn to hurry the completion of the oratorio, he + replied: "I spend much time over it because I intend it to last a long + time." How delighted he would have been could he have foreseen that it + would still be sung and listened to with pleasure in the early years of + the twentieth century. + </p> + <p> + "The Creation" criticized + </p> + <p> + No one thinks of dealing critically with the music of "The Messiah"; and + it seems almost as thankless a task to take the music of "The Creation" to + pieces. Schiller called it a "meaningless hotch-potch"; and even + Beethoven, though he was not quite innocent of the same thing himself, had + his sardonic laugh over its imitations of beasts and birds. Critics of the + oratorio seldom fail to point out these "natural history effects"—to + remark on "the sinuous motion of the worm," "the graceful gamboling of the + leviathan," the orchestral imitations of the bellowing of the "heavy + beasts," and such like. It is probably indefensible on purely artistic + grounds. But Handel did it in "Israel in Egypt" and elsewhere. And is + there not a crowing cock in Bach's "St Matthew Passion"? Haydn only + followed the example of his predecessors. + </p> + <p> + Of course, the dispassionate critic cannot help observing that there is in + "The Creation" a good deal of music which is finicking and something which + is trumpery. But there is also much that is first-rate. The instrumental + representation of chaos, for example, is excellent, and nothing in all the + range of oratorio produces a finer effect than the soft voices at the + words, "And the Spirit of God moved upon the face of the waters." Even the + fortissimo C major chord on the word "light," coming abruptly after the + piano and mezzoforte minor chords, is as dazzling to-day as it was when + first sung. It has been said that the work is singularly deficient in + sustained choruses. That is true, if we are comparing it with the choruses + of Handel's oratorios. But Haydn's style is entirely different from that + of Handel. His choruses are designed on a much less imposing scale. They + are more reflective or descriptive, much less dramatic. It was not in his + way "to strike like a thunderbolt," as Mozart said of Handel. The + descriptive effects which he desired to introduce into his orchestration + made it necessary that he should throw the vocal element into a simpler + mould. Allowance must be made for these differences. Haydn could never + have written "The Messiah," but, on the other hand, Handel could never + have written "The Creation." + </p> + <p> + The chief beauty of Haydn's work lies in its airs for the solo voices. + While never giving consummate expression to real and deep emotion, much + less sustained thought, they are never wanting in sincerity, and the + melody and the style are as pure and good as those of the best Italian + writing for the stage. With all our advance it is impossible to resist the + freshness of "With verdure clad," and the tender charm of such settings as + that of "Softly purling, glides on, thro' silent vales, the limpid brook." + On the whole, however, it is difficult to sum up a work like "The + Creation," unless, as has been cynically remarked, one is prepared to call + it great and never go to hear it. It is not sublime, but neither is it + dull. In another fifty years, perhaps, the critic will be able to say that + its main interest is largely historic and literary. [See J. F. Runciman's + Old Scores and New Readings, where an admirably just and concise + appreciation of Haydn and "The Creation" may be read.] + </p> + <p> + A New Work + </p> + <p> + After such an unexpected success as that of "The Creation," it was only in + the nature of things that Haydn's friends should persuade him to undertake + the composition of a second work of the kind. Van Swieten was insistent, + and the outcome of his importunity was "The Seasons." This work is + generally classed as an oratorio, but it ought more properly to be called + a cantata, being essentially secular as regards its text, though the form + and style are practically the same as those of "The Creation." The + libretto was again due to Swieten, who, of course, adapted the text from + James Thomson's well-known poem. + </p> + <p> + "The Seasons" + </p> + <p> + It would certainly have been a pity to lose such a fresh, melodious little + work as "The Seasons"; but it is only too apparent that while there was no + appreciable failure of Haydn's creative force, his physical strength was + not equal to the strain involved by a composition of such length. In 1806, + when Dies found him rather weaker than usual, he dolorously remarked: "You + see it is all over with me. Eight years ago it was different, but 'The + Seasons' brought on this weakness. I ought never to have undertaken that + work. It gave me the finishing stroke." He appears to have started on the + work with great reluctance and with considerable distrust of his own + powers, but once fairly committed to the undertaking he entered into it + with something of his old animation, disputing so manfully with his + librettist over certain points in the text that a serious rupture between + the two was at one time imminent. The subject was probably not very + congenial to Haydn, who, as the years advanced, was more and more inclined + towards devotional themes. That at least seems to be the inference to be + drawn from the remark which he made to the Emperor Francis on being asked + which of his two oratorios he himself preferred. "'The Creation,'" + answered Haydn. "In 'The Creation' angels speak and their talk is of God; + in 'The Seasons' no one higher speaks than Farmer Simon." + </p> + <p> + "The Seasons" criticized + </p> + <p> + But whether he liked the theme or not, in the end he produced a work as + fresh and genial and melodious as if it had been the work of his prime. If + anyone sees in it an evidence of weakness, he is seeing only what he had + expected to see. As Mr Rockstro remarks, not a trace of the "failing + power" of which the grand old man complained is to be found in any part of + it. It is a model of descriptive, contemplative work, and must please by + its thoughtful beauty and illustrative power. True to Nature in its + minutest details, it yet never insults her by trivial attempts at outward + imitation where artistic suggestion of the hidden truth was, possible. The + "delicious softness" of the opening chorus, and the perfection of rustic + happiness portrayed in the song which describes the joy of the "impatient + husbandman" are alone sufficient to prove that, whatever he may have + thought about it himself, Haydn's genius was not appreciably waning. + </p> + <p> + The first performance of "The Seasons" took place at the Schwartzenburg + Palace on the 24th of April 1801. It was repeated twice within a week; and + on the 29th of May the composer conducted a grand public performance at + the Redoutensaal. The work proved almost as successful as "The Creation." + Haydn was enraptured with it, but he was never really himself again. As he + said, it gave him the finishing stroke. + </p> + <p> + <a name="link2HCH0008" id="link2HCH0008"> + <!-- H2 anchor --> </a> + </p> + <div style="height: 4em;"> + <br /><br /><br /><br /> + </div> + <h2> + CHAPTER VIII. LAST YEARS + </h2> + <p> + <i>Failing Strength—Last Works—A Scottish Admirer—Song + Accompaniments—Correspondence with George Thomson—Mrs Jordan—A + Hitch—A "Previous" Letter of Condolence—Eventide—Last + Public Appearance—The End—Funeral Honours—Desecration of + Remains.</i> + </p> + <p> + Failing Strength + </p> + <p> + Little is left to be told of the years which followed the production of + "The Seasons." Haydn never really recovered from the strain which that + last great effort of his genius had entailed. From his letters and the + reminiscences of his friends we can read only too plainly the story of his + growing infirmity. Even in 1799 he spoke of the diminution of his mental + powers, and exclaimed: "Oh, God! how much yet remains to be done in this + splendid art, even by a man like myself!" In 1802 he wrote of himself as + "a gradually decaying veteran," enjoying only the feeble health which is + "the inseparable companion of a gray-haired man of seventy." In December + 1803 he made his last public exertion by conducting the "Seven Words" for + the hospital fund at the Redoutensaal, and shortly afterwards wrote sadly + of his "very great weakness." In 1804 he was asked to direct a performance + of "The Creation," but declined on the score of failing strength. + Gradually he withdrew himself almost entirely from the outside world, his + general languor broken only by the visits of friends and by moods of + passing cheerfulness. Cherubini, the Abbe Vogler, Pleyel, the Weber + family, Hummel, Reichardt, and many others came to see him. Visits from + members of the Esterhazy family gave him much pleasure. Mozart's widow + also brought her son Wolfgang, to beg his blessing on the occasion of his + first public concert in April 1805, for which he had composed a cantata in + honour of Haydn's seventy-third birthday. But the homage of friends and + admirers could not strengthen the weak hands or confirm the feeble knees. + In 1806 Dies notes that his once-gleaming eye has become dull and heavy + and his complexion sallow, while he suffers from "headache, deafness, + forgetfulness and other pains." His old gaiety has completely gone, and + even his friends have become a bore to him. "My remaining days," he said + to Dies, "must all be spent in this lonely fashion.... I have many + visitors, but it confuses me so much to talk to them that at last I + scarcely know what I am saying and only long to be left in peace." The + condition of a man of naturally genial and optimistic temperament can + easily be imagined from all this—perhaps even more from the fact of + his having a card printed to hand to inquirers who called, bearing the + words: + </p> + <p> + Hin ist alle meine Kraft; Alt and schwach bin ich. + </p> + <p> + [Fled for ever is my strength; Old and weak am I.] + </p> + <p> + Last Works + </p> + <p> + But while Haydn was thus suffering from the natural disabilities of his + years, he was not wholly divorced from his art. It is true that nothing of + any real importance came from his pen after "The Seasons," but a good deal + of work of various kinds was done, some of which it is impossible for the + biographer to ignore. One rather novel undertaking carries us back to the + end of 1799, about which time he was first asked by George Thomson, the + friend of Burns, to write accompaniments for certain Scottish songs to be + published in Thomson's well-known national collections. The correspondence + which followed is interesting in many ways, and as it is not noticed in + any other biography of Haydn, we propose to deal with it here. [The + letters passed through the present writer's hands some five years ago, + when he was preparing his Life of George Thomson(1898). They are now in + the British Museum with the other Thomson correspondence.] + </p> + <p> + A Scottish Admirer + </p> + <p> + George Thomson engaged at one time or other the services of Beethoven, + Pleyel, Weber, Hummel, Bishop and Kozeluch. But Haydn was his first love. + A genius of the kind, he writes in 1811 "never before existed and probably + never will be surpassed." He is "the inimitable Haydn," the "delectable," + the "father of us all," and so on. On the other hand, Haydn was proud of + what he did for Thomson. "I boast of this work," he said, "and by it I + flatter myself my name will live in Scotland many years after my death." + Nay, if we may trust an authority cited by Thomson, so highly did he think + of "the symphonies and accompaniments which he composed for my melodies as + to have the original score of each framed and hung all over the walls of + his bedroom." Little wonder that Thomson "loved the dear old man" and + regretted that his worldly circumstances did not allow him to erect a + statue to the composer at his own expense! + </p> + <p> + We have called this writing of symphonies and accompaniments for George + Thomson a novel undertaking. It was, however, only novel in the sense of + being rather out of Haydn's special "line." He had already been employed + on work of the kind for the collection of William Napier, to which he + contributed the accompaniments of 150 songs. Later on, too (in 1802-1803), + he harmonized and wrote accompaniments for sixty-five airs, for which he + received 500 florins from Whyte of Edinburgh. The extent of his labours + for George Thomson we shall now proceed to show. + </p> + <p> + Song Accompaniments + </p> + <p> + Thomson addressed his first letter to Haydn in October 1799. There is no + copy of it, but there is a copy of a letter to Mr Straton, a friend of + Thomson's, who was at this time Secretary to the Legation at Vienna. + Straton was to deliver the letter to Haydn, and negotiate with him on + Thomson's behalf. He was authorized to "say whatever you conceive is + likely to produce compliance," and if necessary to "offer a few more + ducats for each air." The only stipulation was that Haydn "must not speak + of what he gets." Thomson does not expect that he will do the + accompaniments better than Kozeluch—"that is scarcely possible"(!); + but in the symphonies he will be "great and original." Thomson, as we now + learn from Straton, had offered 2 ducats for each air (say 20s.); Haydn + "seemed desirous of having rather more than 2 ducats, but did not + precisely insist upon the point." Apparently he did not insist, for the + next intimation of the correspondence is to the effect that thirty-two + airs which he had just finished had been forwarded to Thomson on June 19, + 1800. They would have been done sooner, says Straton, but "poor Haydn + laboured under so severe an illness during the course of this spring that + we were not altogether devoid of alarm in regard to his recovery." + Thomson, thus encouraged, sent sixteen more airs; and Straton writes + (April 30, 1801) that Haydn at first refused to touch them because the + price paid was too low. But in the course of conversation Straton learnt + that Haydn was writing to Thomson to ask him to procure a dozen India + handkerchiefs, and it struck him that "your making him a present of them + might mollify the veteran into compliance respecting the sixteen airs." + Straton therefore took upon himself to promise in Thomson's name that the + handkerchiefs would be forthcoming, and "this had the desired effect to + such a degree that Haydn immediately put the sixteen airs in his pocket, + and is to compose the accompaniments as soon as possible on the same terms + as the former." + </p> + <p> + Mrs Jordan + </p> + <p> + The handkerchiefs duly arrived—"nice and large"—and Haydn made + his acknowledgments in appropriate terms. At the same time (in January + 1802) he wrote: "I send you with this the favourite air 'The Blue Bells of + Scotland,' and I should like that this little air should be engraved all + alone and dedicated in my name as a little complimentary gift to the + renowned Mrs Jordan, whom, without having the honour of knowing, I esteem + extremely for her great virtue and reputation." Mrs Jordan has been + credited with the air of "The Blue Bells of Scotland." She certainly + popularized the song, whether it was her own or not. In the note just + quoted Haydn must have used the term "virtue" in the Italian sense. + </p> + <p> + A Hitch + </p> + <p> + After this a little hitch occurred in the Thomson correspondence. Haydn, + being asked by Whyte, the publisher of a rival collection, to do something + for his work, at once agreed. Thomson, not unnaturally, perhaps, felt + hurt. He made his complaint through Mr Straton's successor at the Embassy, + Mr Charles Stuart; and in August 1803 Stuart writes to say that he had + broached the matter to Haydn "in as delicate terms as possible for fear he + might take offence." Haydn frankly admitted that he had done the + accompaniments for Whyte, but said the airs were different from those he + had done for Thomson. After "a long conversation, he informed me," says Mr + Stuart, "that being now seventy-four years of age and extremely infirm, he + found himself wholly incapable of further application to study; that he + must therefore beg leave to decline all offers, whether on your part or + from any other person whatsoever. He even declared that notwithstanding + the repeated requests of Prince Esterhazy, he felt himself utterly + incapable of finishing several pieces of music he had undertaken, and + being possessed of a competency he desired nothing so much as to pass the + short time he has yet to live in repose and quiet." From this letter we + learn that Thomson had unluckily sent a present of a handkerchief for Frau + Haydn, who had now been dead for three years! + </p> + <p> + A "Previous" Letter of Condolence + </p> + <p> + In spite of the little misunderstanding just referred to Haydn was brought + round once more, and on the 20th of December 1803 Thomson sends + twenty-four airs, "which will most certainly be the last." Haydn's work + delights him so much that he "really cannot bear the idea of seeking an + inferior composer to finish a work already so nearly finished by you." He + would pay 4 ducats for each air rather than have the mortification of a + refusal. After this there is little of interest to note in the + correspondence, unless it be a very "previous" letter of condolence which + Thomson sent to Vienna. A false rumour had reached him that Haydn was + dead. The following extract from a note which Haydn dictated to be sent to + the friend who received Thomson's letter will explain the matter: + </p> + <p> + Kindly say to Mr Thomson that Haydn is very sensible of the distress that + the news of his alleged death has caused him, and that this sign of + affection has added, if that were possible, to the esteem and friendship + he will always entertain for Mr Thomson. You will notice that he has put + his name and the date on the sheet of music to give better proof that he + is still on this nether world. He begs you at the same time to be kind + enough to have Mr Thomson's letter of condolence copied and to send him + the copy. + </p> + <p> + Haydn's experience in this way was perhaps unique. Burney says he was + reported dead in 1778; and the false rumour which reached Thomson in 1805 + led Cherubini to compose a sacred cantata for three voices and orchestra, + which was duly performed in Paris when his death actually occurred. + </p> + <p> + Haydn furnished in all some 250 airs with symphonies and accompaniments + for Thomson. In the packet of letters from the composer, docketed by + Thomson himself, the latter has placed a slip of paper indicating the + various payments he had made. According to this statement Haydn had 291 + pounds, 18s. for his work from first to last—not by any means an + insignificant sum to make out of a side branch of his art. + </p> + <p> + Eventide + </p> + <p> + This interesting correspondence takes us up to the year 1806, by which + time Haydn's work was entirely over. His eventide, alas! was darkened by + the clouds of war. The wave of the French Revolution had cast its bloody + spray upon the surrounding nations, and 1805 saw the composer's beloved + Vienna occupied by the French. Haydn was no politician, but love of + country lay deep down in his heart, and he watched the course of events, + from his little cottage, with the saddest forebodings. + </p> + <p> + The Last Public Appearance + </p> + <p> + Once only was he drawn from his seclusion. This was on the 27th of March + 1808, when he appeared in public for the last time at a performance of + "The Creation" at the University. The scene on this remarkable occasion + has been described by many pens. Naumann, writing of it, says that "such + an apotheosis of the master was witnessed as has but few parallels," and + this is no exaggeration. The performance, which was under the direction of + Salieri, had been arranged in honour of his approaching seventy-sixth + birthday. All the great artists of Vienna were present, among them + Beethoven and Hummel. Prince Esterhazy had sent his carriage to bring the + veteran to the hall, and, as he was being conveyed in an arm-chair to a + place among the princes and nobles, the whole audience rose to their feet + in testimony of their regard. It was a cold night, and ladies sitting near + swathed him in their costly wraps and lace shawls. The concert began, and + the audience was hushed to silence. When that magnificent passage was + reached, "And there was light," they burst into loud applause, and Haydn, + overcome with excitement, exclaimed, "Not I, but a Power from above + created that." The performance went on, but it proved too much for the old + man, and friends arranged to take him home at the end of the first part. + As he was being carried out, some of the highest of the land crowded round + to take what was felt to be a last farewell; and Beethoven, forgetting + incidents of early days, bent down and fervently kissed his hand and + forehead. Having reached the door, Haydn asked his bearers to pause and + turn him towards the orchestra. Then, lifting his hand, as if in the act + of blessing, he was borne out into the night. + </p> + <p> + Next year Vienna was bombarded by the French, and a cannon-ball fell not + far from Haydn's house. He was naturally much alarmed; but there is no + ground for the statement, sometimes made, that his death was hastened by + the fright. On the contrary, he called out to his servants, who were + assisting him to dress: "Children, don't be frightened; no harm can happen + to you while Haydn is here." + </p> + <p> + The End + </p> + <p> + But his days were numbered. "This miserable war has cast me down to the + very ground," he would say, with tears in his eyes. And yet it was a + French officer who last visited him on his death-bed, the city being then + actually occupied by the enemy. The officer's name is not given, but he + sang "In native worth" with such expression that Haydn was quite overcome, + and embraced him warmly at parting. On May 26 he seems to have felt that + his end was fast approaching. He gathered his household around him, and, + being carried to the piano, at his own special request, played the + Emperor's Hymn three times over, with an emotion that fairly overpowered + himself and all who heard him. Five days later, on the 31st of May 1809, + he breathed his last. + </p> + <p> + Funeral services were held in all the churches, and on June 15 Mozart's + Requiem was given in his honour at the Scots Church, when several generals + and administrators of the French army were present. Many poems were also + written in his praise. + </p> + <p> + Haydn was buried as a private individual in the Hundsthurm Churchyard, + which was just outside the lines, and close to the suburb of Gumpendorf, + where he had lived. The grave remained entirely undistinguished till 1814—another + instance of Vienna's neglect—when Haydn's pupil, Chevalier Neukomm, + erected a stone bearing the following inscription, which contains a + five-part canon for solution: + </p> + <p> + HAYDN NATUS MDCCXXXIII. OBIIT MDCCCIX. CAN. AENIGM. QUINQUE. VOC. + </p> + <p> + [figure: a musical score excerpt to the syllables non om - nis mo - ri - + ar] + </p> + <p> + D. D. D. + </p> + <p> + Discp. Eius Neukom Vindob. Redux. Mdcccxiv. + </p> + <p> + Desecration of Haydn's Remains + </p> + <p> + In 1820 the remains were exhumed by order of Prince Esterhazy, and + re-interred with fresh funeral honours in the Pilgrimage Church of + Maria-Einsiedel, near Eisenstadt, on November 7. A simple stone, with a + Latin inscription, is inserted in the wall over the vault. When the coffin + was opened, the startling discovery was made that the skull had been + stolen. The desecration took place two days after the funeral. It appears + that one Johann Peter, intendant of the royal and imperial prisons of + Vienna, conceived the grim idea of forming a collection of skulls, made, + as he avowed in his will, to corroborate the theory of Dr Gall, the + founder of phrenology. This functionary bribed the sexton, and—in + concert with Prince Esterhazy's secretary Rosenbaum, and with two + Government officials named Jungermann and Ullmann—he opened Haydn's + grave and removed the skull. Peter afterwards gave the most minute details + of the sacrilege. He declared that he examined the head and found the bump + of music fully developed, and traces in the nose of the polypus from which + Haydn suffered. The skull was placed in a lined box, and when Peter got + into difficulties and his collection was dispersed, the relic passed into + the possession of Rosenbaum. That worthy's conscience seems to have + troubled him in the matter, for he conceived the idea of erecting a + monument to the skull in his back garden! When the desecration was + discovered in 1820 there was an outcry, followed by police search. Prince + Esterhazy would stand no nonsense. The skull must be returned, no + questions would be asked, and Peter was offered a reward if he found it. + The notion then occurred to Rosenbaum of palming off another skull for + Haydn's. This he actually succeeded in doing, the head of some unfortunate + individual being handed to the police. Peter claimed the reward, which was + very justly refused him. When Rosenbaum was dying he confessed to the + deception, and gave the skull back to Peter. Peter formed the resolution + of bequeathing it, by will, to the Conservatorium at Vienna; but he + altered his mind before he died, and by codicil left the skull to Dr + Haller, from whose keeping it ultimately found its way to the anatomical + museum at Vienna. We believe it is still in the museum. Its proper place + is, of course, in Haydn's grave, and a stigma will rest on Vienna until it + is placed there. + </p> + <p> + [The great masters have been peculiarly unfortunate in the matter of their + "remains." When Beethoven's grave was opened in 1863, Professor Wagner was + actually allowed to cut off the ears and aural cavities of the corpse in + order to investigate the cause of the dead man's deafness. The alleged + skeleton of Sebastian Bach was taken to an anatomical museum a few years + ago, "cleaned up," and clothed with a semblance of flesh to show how Bach + looked in life! Donizetti's skull was stolen before the funeral, and was + afterwards sold to a pork butcher, who used it as a money-bowl. Gluck was + re-buried in 1890 beside Mozart, Beethoven and Schubert, after having lain + in the little suburban churchyard of Matzleinsdorf since 1787.] + </p> + <p> + A copy of Haydn's will has been printed as one of the appendices to the + present volume, with notes and all necessary information about the + interesting document. Two years before his death he had arranged that his + books, music, manuscripts and medals should become the property of the + Esterhazy family. Among the relics were twenty-four canons which had hung, + framed and glazed, in his bedroom. "I am not rich enough," he said, "to + buy good pictures, so I have provided myself with hangings of a kind that + few possess." These little compositions were the subject of an oft-quoted + anecdote. His wife, in one of her peevish moods, was complaining that if + he should die suddenly, there was not sufficient money in the house to + bury him. "In case such a calamity should occur," he replied, "take these + canons to the music-publisher. I will answer for it, that they will bring + enough to pay for a decent funeral." + </p> + <p> + <a name="link2HCH0009" id="link2HCH0009"> + <!-- H2 anchor --> </a> + </p> + <div style="height: 4em;"> + <br /><br /><br /><br /> + </div> + <h2> + CHAPTER IX. HAYDN: THE MAN + </h2> + <p> + <i>Face and Features—Portraits—Social Habits—Partial to + Pretty Women—His Letters—His Humour—His Generosity—Unspoiled + by Success—His Piety—His Industry—Habits of Composition—Impatient + of Pedantry.</i> + </p> + <p> + Face and Features + </p> + <p> + Something of Haydn's person and character will have already been gathered + from the foregoing pages. He considered himself an ugly man, and, in + Addison's words, thought that the best expedient was "to be pleasant upon + himself." His face was deeply pitted with small-pox, and the nose, large + and aquiline, was disfigured by the polypus which he had inherited from + his mother. In complexion he was so dark as to have earned in some + quarters the familiar nickname of "The Moor." His underlip was thick and + hanging, his jaw massive. "The mouth and chin are Philistine," wrote + Lavater under his silhouette, noting, at the same time, "something out of + the common in the eyes and the nose." The eyes were dark gray. They are + described as "beaming with benevolence," and he used to say himself: + "Anyone can see by the look of me that I am a good-natured sort of + fellow." + </p> + <p> + In stature he was rather under the middle height, with legs + disproportionately short, a defect rendered more noticeable by the style + of his dress, which he refused to change with the changes of fashion. Dies + writes: "His features were regular, his expression animated, yet, at the + same time, temperate, gentle and attractive. His face wore a stern look + when in repose, but in conversation it was smiling and cheerful. I never + heard him laugh out loud. His build was substantial, but deficient in + muscle." Another of his acquaintances says that "notwithstanding a cast of + physiognomy rather morose, and a short way of expressing himself, which + seemed to indicate an ill-tempered man, the character of Haydn was gay, + open and humorous." From these testimonies we get the impression of a + rather unusual combination of the attractive and the repulsive, the + intellectual and the vulgar. What Lavater described as the "lofty and + good" brow was partly concealed by a wig, with side curls, and a pig-tail, + which he wore to the last. His dress as a private individual has not been + described in detail, but the Esterhazy uniform, though frequently changing + in colour and style, showed him in knee-breeches, white stockings, lace + ruffles and white neckcloth. This uniform he never wore except when on + actual duty. + </p> + <p> + Portraits + </p> + <p> + After his death there were many portraits in chalks, engraved, and modeled + in wax. Notwithstanding his admission of the lack of personal graces, he + had a sort of feminine objection to an artist making him look old. We read + that, in 1800, he was "seriously angry" with a painter who had represented + him as he then appeared. "If I was Haydn at forty," said he, "why should + you transmit to posterity a Haydn of seventy-eight?" Several writers + mention a portrait by Sir Joshua Reynolds, and even give details of the + sittings, but he never sat to Reynolds, whose eyesight had begun to fail + before Haydn's arrival in England. During his first visit to London + Hoppner painted his portrait at the special request of the Prince of + Wales. This portrait was engraved by Facius in 1807, and is now at Hampton + Court. Engravings were also published in London by Schiavonetti and + Bartolozzi from portraits by Guttenbrunn and Ott, and by Hardy from his + own oil-painting. A silhouette, which hung for long at the head of his + bed, was engraved for the first time for Grove's Dictionary of Music. This + was said by Elssler, his old servant, to have been a striking likeness. Of + the many busts, the best is that by his friend Grassi, the sculptor. + </p> + <p> + [figure: Haydn's silhouette by Lavater] + </p> + <p> + Social Habits + </p> + <p> + Very little has been recorded of his social habits. Anything like excess + in wine is not once mentioned; but it is easy to see from his + correspondence that he enjoyed a good dinner, and was not insensible to + creature comforts. Writing to Artaria from Esterhaz in 1788, he says: + "By-the-bye, I am very much obliged to you for the capital cheese you sent + me, and also the sausages, for which I am your debtor, but shall not fail + when an opportunity offers to return the obligation." In a subsequent + letter to Frau von Genzinger he comically laments the change from Vienna + to Esterhaz: "I lost twenty pounds in weight in three days, for the effect + of my fare at Vienna disappeared on the journey. 'Alas! alas!' thought I, + when driven to eat at the restaurateurs, 'instead of capital beef, a slice + of a cow fifty years old; instead of a ragout with little balls of + force-meat, an old sheep with yellow carrots; instead of a Bohemian + pheasant, a tough grill; instead of pastry, dry apple fritters and + hazelnuts, etc.! Alas! alas! would that I now had many a morsel I despised + in Vienna! Here in Esterhaz no one asks me, Would you like some chocolate, + with milk or without? Will you take some coffee, with or without cream? + What can I offer you, my good Haydn? Will you have vanille ice or + pineapple?' If I had only a piece of good Parmesan cheese, particularly in + Lent, to enable me to swallow more easily the black dumplings and puffs! I + gave our porter this very day a commission to send me a couple of pounds." + Even amid the social pleasures and excitements of London, where he was + invited out six times a week and had "four excellent dishes" at every + dinner, he longs to be back in his native land so that he may have "some + good German soup." + </p> + <p> + Partial to Pretty Women + </p> + <p> + We read that in Austria he "never associated with any but the musicians, + his colleagues," a statement which cannot be strictly true. In London he + was, as we have seen, something of a "lion," but it is doubtful if he + enjoyed the conventional diversions of the beau monde. Yet he liked the + company of ladies, especially when they were personally attractive. That + he was never at a loss for a compliment may perhaps be taken as explaining + his frequent conquests, for, as he frankly said himself, the pretty women + "were at any rate not tempted by my beauty." Of children he was + passionately fond, a fact which lends additional melancholy to his own + unhappy and childless home life. + </p> + <p> + His Letters + </p> + <p> + He was not highly educated, and he does not seem to have taken much + interest in anything outside his own profession. This much may be gathered + from his correspondence, upon which it is not necessary to comment at + length. Mr Russell Lowell remarks that a letter which is not mainly about + the writer loses its prime flavour. Haydn's letters are seldom "mainly + about the writer." They help us very little in seeking to get at what + Newman called "the inside of things," though some, notably those given at + the end of this volume, embody valuable suggestions. He habitually spoke + in the broad dialect of his native place. He knew Italian well and French + a little, and he had enough Latin to enable him to set the Church + services. Of English he was almost entirely ignorant until he came to + London in 1791, when we hear of him walking the country lanes with an + English grammar in hand. There is an amusing story of a dinner at Madame + Mara's, at which he was present during his first visit. Crossdill, the + violoncellist, proposed to celebrate him with "three times three." The + suggestion was at once adopted, all the guests, with the exception of + Haydn himself, standing up and cheering lustily. Haydn heard his name + repeated, but not understanding what was going on, stared at the company + in blank bewilderment. When the matter was explained to him he appeared + quite overcome with diffidence, putting his hands before his face and not + recovering his equanimity for some minutes. [See Records of My Life, by + John Taylor: London, 1832.] + </p> + <p> + His Humour + </p> + <p> + Of hobbies or recreations he appears to have had none, though, to relieve + the dull monotony of life at Eisenstadt or Esterhaz, he occasionally + indulged in hunting and fishing and mountain rambles. A leading trait in + his character was his humour and love of fun. As he remarked to Dies: "A + mischievous fit comes over me sometimes that is perfectly beyond control." + The incident of the removal of the fellow chorister's pig-tail will at + once recur to the memory. The "Surprise" Symphony is another illustration, + to say nothing of the "Toy" Symphony and "Jacob's Dream." + </p> + <p> + His Generosity + </p> + <p> + Of his generosity and his kindness to fellow artists there are many + proofs. In 1800 he speaks of himself as having "willingly endeavoured all + my life to assist everyone," and the words were no empty boast. No man + was, in fact, more ready to perform a good deed. He had many needy + relations always looking to him for aid, and their claims were seldom + refused. A brother artist in distress was sure of help, and talented young + men found in him a valuable friend, equally ready to give his advice or + his gold, as the case might require. That he was sometimes imposed upon + goes without saying. He has been charged with avarice, but the charge is + wholly unfounded. He was simply careful in money matters, and that, to a + large extent, because of the demands that were constantly being made upon + him. In commercial concerns he was certainly sharp and shrewd, and + attempts to take advantage of him always roused his indignation. "By + heavens!" he writes to Artaria, "you have wronged me to the extent of + fifty ducats.... This step must cause the cessation of all transactions + between us." The same firm, having neglected to answer some business + proposition, were pulled up in this fashion: "I have been much provoked by + the delay, inasmuch as I could have got forty ducats from another + publisher for these five pieces, and you make too many difficulties about + a matter by which, in such short compositions, you have at least a thirty + fold profit. The sixth piece has long had its companion, so pray make an + end of the affair and send me either my music or my money." + </p> + <p> + The Haydn of these fierce little notes is not the gentle recluse we are + apt to imagine him. They show, on the contrary, that he was not wanting in + spirit when occasion demanded. He was himself upright and honest in all + his dealings. And he never forgot a kindness, as more than one entry in + his will abundantly testifies. He was absolutely without malice, and there + are several instances of his repaying a slight with a generous deed or a + thoughtful action. His practical tribute to the memory of Werner, who + called him a fop and a "scribbler of songs," has been cited. His + forbearance with Pleyel, who had allowed himself to be pitted against him + by the London faction, should also be recalled; and it is perhaps worth + mentioning further that he put himself to some trouble to get a passport + for Pleyel during the long wars of the French Revolution. He carried his + kindliness and gentleness even into "the troubled region of artistic + life," and made friends where other men would have made foes. + </p> + <p> + Unspoiled by Success + </p> + <p> + His modesty has often been insisted upon. Success did not spoil him. In a + letter of 1799 he asks that a certain statement in his favour should not + be mentioned, lest he "be accused of conceit and arrogance, from which my + Heavenly Father has preserved me all my life long." Here he spoke the + simple truth. At the same time, while entirely free from presumption and + vanity, he was perfectly alive to his own merits, and liked to have them + acknowledged. When visitors came to see him nothing gave him greater + pleasure than to open his cabinets and show the medals, that had been + struck in his honour, along with the other gifts he had received from + admirers. Like a true man of genius, as Pohl says, he enjoyed distinction + and fame, but carefully avoided ambition. + </p> + <p> + High Ideals + </p> + <p> + Of his calling and opportunities as an artist he had a very high idea. + Acknowledging a compliment paid to him in 1802 by the members of the + Musical Union in Bergen, he wrote of the happiness it gave him to think of + so many families susceptible of true feeling deriving pleasure and + enjoyment from his compositions. + </p> + <p> + "Often when contending with the obstacles of every sort opposed to my + work, often when my powers both of body and mind failed, and I felt it a + hard matter to persevere in the course I had entered on, a secret feeling + within me whispered, 'There are but few contented and happy men here + below; everywhere grief and care prevail, perhaps your labours may one day + be the source from which the weary and worn or the man burdened with + affairs may derive a few moments' rest and refreshment.' What a powerful + motive to press onwards! And this is why I now look back with heartfelt, + cheerful satisfaction on the work to which I have devoted such a long + succession of years with such persevering efforts and exertions." + </p> + <p> + With this high ideal was combined a constant effort to perfect himself in + his art. To Kalkbrenner he once made the touching remark: "I have only + just learned in my old age how to use the wind instruments, and now that I + do understand them I must leave the world." To Griezinger, again, he said + that he had by no means exhausted his genius: that "ideas were often + floating in his mind, by which he could have carried the art far beyond + anything it had yet attained, had his physical powers been equal to the + task." + </p> + <p> + His Piety + </p> + <p> + Closely, indeed inseparably, connected with this exalted idea of his art + was his simple and sincere piety. He was a devout Christian, and looked + upon his genius as a gift from God, to be freely used in His service. His + faith was never assailed with doubts; he lived and died in the communion + of the Catholic Church, and was "never in danger of becoming either a + bigot or a free-thinker." When Carpani, anticipating latter-day criticism, + hinted to him that his Church compositions were impregnated with a light + gaiety, he replied: "I cannot help it; I give forth what is in me. When I + think of the Divine Being, my heart is, so full of joy that the notes fly + off as from a spindle, and as I have a cheerful heart He will pardon me if + I serve Him cheerfully." + </p> + <p> + His reverent practice during the composition of "The Creation" has been + mentioned. "Never was I so pious," he said. There are many proofs of the + same feeling in his correspondence and other writings. Thus he concludes + an autobiographical sketch with the words: "I offer up to Almighty God all + eulogiums, for to Him alone do I owe them. My sole wish is neither to + offend against my neighbour nor my gracious prince, but above all not + against our merciful God." Again, in one of his later letters, he says + "May God only vouchsafe to grant me the health that I have hitherto + enjoyed, and may I preserve it by good conduct, out of gratitude to the + Almighty." The note appended to the first draft of his will is also + significant. Nor in this connection should we forget the words with which + he inscribed the scores of his more important compositions. For the + conclusion he generally adopted Handel's "Soli Deo Gloria" or "Laus Deo," + with the occasional addition of "et B.V. Mae. et Oms. Sis. (Beatae Virgini + Mariae et Omnibus Sanctis)." Even his opera scores were so inscribed, one + indeed having the emphatic close: "Laus omnipotenti Deo et Beatissimae + Virgini Mariae." The superscription was uniformly "In nomine Domini." It + is recorded somewhere that when, in composing, he felt his inspiration + flagging, or was baulked by some difficulty, he rose from the instrument + and began to run over his rosary. In short, not to labour the point, he + had himself followed the advice which, as an old man, he gave to the + choirboys of Vienna: "Be good and industrious and serve God continually." + </p> + <p> + His Industry + </p> + <p> + The world has seen many an instance of genius without industry, as of + industry without genius. In Haydn the two were happily wedded. He was + always an early riser, and long after his student days were over he worked + steadily from sixteen to eighteen hours a day. He lived strictly by a + self-imposed routine, and was so little addicted to what Scott called + "bed-gown and slipper tricks," that he never sat down to work or received + a visitor until he was fully dressed. He had none of Wagner's luxurious + tastes or Balzac's affectations in regard to a special attire for work, + but when engaged on his more important compositions he always wore the + ring given him by the King of Prussia. In Haydn's case there are no + incredible tales of dashing off scores in the twinkling of an eye. That he + produced so much must be attributed to his habit of devoting all his + leisure to composition. He was not a rapid worker if we compare him with + Handel and Mozart. He never put down anything till he was "quite sure it + was the right thing"—a habit of mind indicated by his neat and + uniform handwriting ["His notes had such little heads and slender tails + that he used, very properly, to call them his, flies' legs."—Bombet, + p. 97.]—and he assures us: "I never was a quick writer, and always + composed with care and deliberation. That alone," he added, "is the way to + compose works that will last, and a real connoisseur can see at a glance + whether a score has been written in undue haste or not." He is quoted as + saying that "genius is always prolific." However the saying may be + interpreted, there does not seem to have been about him anything of what + has been called the irregular dishabille of composers, "the natural result + of the habit of genius of watching for an inspiration, and encouraging it + to take possession of the whole being when it comes." + </p> + <p> + Habits of Composition + </p> + <p> + His practice was to sketch out his ideas roughly in the morning, and + elaborate them in the afternoon, taking pains to preserve unity in idea + and form. "That is where so many young composers fail," he said in + reference to the latter point. "They string together a number of + fragments; they break off almost as soon as they have begun, and so at the + end the listener carries off no definite impression." The importance of + melody he specially emphasized. "It is the air which is the charm of + music," he remarked, "and it is that which is most difficult to produce. + The invention of a fine melody is the work of genius." In another place he + says: "In vocal composition, the art of producing beautiful melody may now + almost be considered as lost; and when a composer is so fortunate as to + throw forth a passage that is really melodious, he is sure, if he be not + sensible of its excellence, to overwhelm and destroy it by the fullness + and superfluity of his instrumental parts." [Compare Mozart's words as + addressed to Michael Kelly: "Melody is the essence of music. I should + liken one who invents melodies to a noble racehorse, and a mere + contrapuntist to a hired post-hack."] + </p> + <p> + He is stated to have always composed with the aid of the pianoforte or + harpsichord; and indeed we find him writing to Artaria in 1788 to say that + he has been obliged to buy a new instrument "that I might compose your + clavier sonatas particularly well." This habit of working out ideas with + the assistance of the piano has been condemned by most theorists as being + likely to lead to fragmentariness. With Haydn at any rate the result was + entirely satisfactory, for, as Sir Hubert Parry points out, the neatness + and compactness of his works is perfect. It is very likely, as Sir Hubert + says, that most modern composers have used the pianoforte a good deal—not + so much to help them to find out their ideas, as to test the details and + intensify their musical sensibility by the excitant sounds, the actual + sensual impression of which is, of course, an essential element in all + music. The composer can always hear such things in his mind, but obviously + the music in such an abstract form can never have quite as much effect + upon him as when the sounds really strike upon his ear. [See Studies of + Great Composers, by C. Hubert H. Parry, p. 109.] + </p> + <p> + No Pedant + </p> + <p> + Like all the really great composers, Haydn was no pedant in the matter of + theoretical formulae, though he admitted that the rigid rules of harmony + should rarely be violated, and "never without the compensation of some + inspired effect." When he was asked according to what rule he had + introduced a certain progression, he replied "The rules are all my very + obedient humble servants." With the quint-hunters and other faddists who + would place their shackles on the wrists of genius, he had as little + patience as Beethoven, who, when told that all the authorities forbade the + consecutive fifths in his C Minor Quartet, thundered out: "Well, I allow + them." Somebody once questioned him about an apparently unwarranted + passage in the introduction to Mozart's Quartet in C Major. "If Mozart has + written it, be sure he had good reasons for doing so," was the conclusive + reply. That fine old smoke-dried pedant, Albrechtsberger, declared against + consecutive fourths in strict composition, and said so to Haydn. "What is + the good of such rules?" demanded Haydn. "Art is free and must not be + fettered by mechanical regulations. The cultivated ear must decide, and I + believe myself as capable as anyone of making laws in this respect. Such + trifling is absurd; I wish instead that someone would try to compose a + really new minuet." To Dies he remarked further: "Supposing an idea struck + me as good and thoroughly satisfactory both to the ear and the heart, I + would far rather pass over some slight grammatical error than sacrifice + what seemed to me beautiful to any mere pedantic trifling." These were + sensible views. Practice must always precede theory. When we find a great + composer infringing some rule of the old text-books, there is, to say the + least, a strong presumption, not that the composer is wrong, but that the + rule needs modifying. The great composer goes first and invents new + effects: it is the business of the theorist not to cavil at every novelty, + but to follow modestly behind and make his rules conform to the practice + of the master. [Compare Professor Prout's Treatise on Harmony.] + </p> + <p> + Thus much about Haydn the man. Let us now turn to Haydn the composer and + his position in the history of music. + </p> + <p> + <a name="link2HCH0010" id="link2HCH0010"> + <!-- H2 anchor --> </a> + </p> + <div style="height: 4em;"> + <br /><br /><br /><br /> + </div> + <h2> + CHAPTER X. HAYDN: THE COMPOSER + </h2> + <p> + <i>The Father of Instrumental Music—The Quartets—The + Symphonies—The Salomon Set—The Sonatas—Church Music—Songs—Operas—Orchestration—General + Style—Conclusion.</i> + </p> + <p> + The Father of Instrumental Music + </p> + <p> + Haydn has been called "the father of instrumental music," and although + rigid critics may dispute his full right to that title, on broad grounds + he must be allowed to have sufficiently earned it. He was practically the + creator of more than one of our modern forms, and there was hardly a + department of instrumental music in which he did not make his influence + felt. This was emphatically the case with the sonata, the symphony and the + string quartet. The latter he brought to its first perfection. Before his + time this particular form of chamber music was long neglected, and for a + very simple reason. Composers looked upon it as being too slight in + texture for the display of their genius. That, as has often been + demonstrated, was because they had not mastered the art of "writing a + four-part harmony with occasional transitions into the pure polyphonic + style—a method of writing which is indispensable to quartet + composition—and also because they did not yet understand the scope + and value of each individual instrument." + </p> + <p> + The Quartet + </p> + <p> + It would be too much to say that even Haydn fully realized the capacities + of each of his four instruments. Indeed, his quartet writing is often bald + and uninteresting. But at least he did write in four-part harmony, and it + is certainly to him that we owe the installation of the quartet as a + distinct species of chamber music. "It is not often," says Otto Jahn, the + biographer of Mozart, "that a composer hits so exactly upon the form + suited to his conceptions; the quartet was Haydn's natural mode of + expressing his feelings." This is placing the Haydn quartet in a very high + position among the products of its creator. But its artistic value and + importance cannot well be over-estimated. Even Mozart, who set a noble + seal upon the form, admitted that it was from Haydn he had first learned + the true way to compose quartets; and there have been enthusiasts who + regarded the Haydn quartet with even more veneration than the Haydn + symphony. No fewer than seventy-seven quartets are ascribed to him. + Needless to say, they differ considerably as regards their style and + treatment, for the first was written so early as 1755, while the last + belongs to his later years. But they are all characterized by the same + combination of manly earnestness, rich invention and mirthful spirit. The + form is concise and symmetrical, the part-writing is clear and + well-balanced, and a "sunny sweetness" is the prevailing mood. As a + discerning critic has remarked, there is nothing in the shape of + instrumental music much pleasanter and easier to listen to than one of + Haydn's quartets. The best of them hold their places in the concert-rooms + of to-day, and they seem likely to live as long as there are people to + appreciate clear and logical composition which attempts nothing beyond + "organized simplicity." [See W. J. Henderson's How Music Developed, p. + 191: London, 1899]. In this department, as Goethe said, he may be + superseded, but he can never be surpassed. + </p> + <p> + The Symphony + </p> + <p> + For the symphony Haydn did no less than for the quartet. The symphony, in + his young days, was not precisely the kind of work which now bears the + name. It was generally written for a small band, and consisted of four + parts for strings and four for wind instruments. It was meant to serve no + higher purpose, as a rule, than to be played in the houses of nobles; and + on that account it was neither elaborated as to length nor complicated as + to development. So long as it was agreeable and likely to please the + aristocratic ear, the end of the composer was thought to be attained. + </p> + <p> + Haydn, as we know, began his symphonic work under Count Morzin. The + circumstances were not such as to encourage him to "rise to any pitch of + real greatness or depth of meaning"; and although he was able to build on + a somewhat grander scale when he went to Eisenstadt, it was still a little + comfortable coterie that he understood himself to be writing for rather + than for the musical world at large. Nevertheless, he aimed at constant + improvement, and although he had no definite object in view, he "raised + the standard of symphony—writing far beyond any point which had been + attained before." + </p> + <p> + "His predecessors," to quote Sir Hubert Parry, "had always written rather + carelessly and hastily for the band, and hardly ever tried to get refined + and original effects from the use of their instruments, but he naturally + applied his mind more earnestly to the matter in hand, and found out new + ways of contrasting and combining the tones of different members of his + orchestra, and getting a fuller and richer effect out of the mass of them + when they were all playing. In the actual style of the music, too, he made + great advances, and in his hands symphonies became by degrees more + vigorous, and, at the same time, more really musical." + </p> + <p> + But the narrow limits of the Esterhazy audience and the numbing routine of + the performances were against his rising to the top heights of his genius. + </p> + <p> + The Salomon Set + </p> + <p> + It was only when he came to write for the English public that he showed + what he could really do with the matter of the symphony. In comparison + with the twelve symphonies which he wrote for Salomon, the other, and + especially the earlier works are of practically no account. They are + interesting, of course, as marking stages in the growth of the symphony + and in the development of the composer's genius. But regarded in + themselves, as absolute and individual entities, they are not for a moment + to be placed by the side of the later compositions. These, so far as his + instrumental music is concerned, are the crowning glory of his life work. + They are the ripe fruits of his long experience working upon the example + of Mozart, and mark to the full all those qualities of natural geniality, + humour, vigour and simple-heartedness, which are the leading + characteristics of his style. + </p> + <p> + [figure: a musical score excerpt] + </p> + <p> + The Sonata + </p> + <p> + Haydn's sonatas show the same advance in form as his symphonies and + quartets. The older specimens of the sonata, as seen in the works of + Biber, Kuhnau, Mattheson and others, contain little more than the germs of + the modern sonata. Haydn, building on Emanuel Bach, fixed the present + form, improving so largely upon the earlier, that we could pass from his + sonatas directly to those of Beethoven without the intervention of + Mozart's as a connecting link. Beethoven's sonatas were certainly more + influenced by Haydn's than by Mozart's. Haydn's masterpieces in this kind, + like those of Mozart and Beethoven, astonish by their order, regularity, + fluency, harmony and roundness; and by their splendid development into + full and complete growth out of the sometimes apparently unimportant + germs. [See Ernst Pauer's Musical Forms.] Naturally his sonatas are not + all masterpieces. Of the thirty-five, some are old-fashioned and some are + quite second-rate. But, like the symphonies, they are all of historical + value as showing the development not only of the form but of the + composer's powers. One of the number is peculiar in having four movements; + another is equally peculiar—to Haydn at least—in having only + two movements. Probably in the case of the latter the curtailment was due + to practical rather than to artistic reasons. Like Beethoven, with the + two-movement sonata in C minor, Haydn may not have had time for a third! + In several of the sonatas the part-writing strikes one as being somewhat + poor and meagre; in others there is, to the modern ear, a surfeiting + indulgence in those turns, arpeggios and other ornaments which were + inseparable from the nature of the harpsichord, with its thin tones and + want of sustaining power. If Haydn had lived to write for the richer and + more sustained sounds of the modern pianoforte, his genius would no doubt + have responded to the increased demands made upon it, though we may doubt + whether it was multiplex enough or intellectual enough to satisfy the + deeper needs of our time. As it is, the changes which have been made in + sonata form since his day are merely changes of detail. To him is due the + fixity of the form. [See "The Pianoforte Sonata," by J. S. Shedlock: + London, 1895. Mr Shedlock, by selecting for analysis some of the most + characteristic sonatas, shows Haydn in his three stages of apprenticeship, + mastery and maturity.] + </p> + <p> + Church Music + </p> + <p> + Of his masses and Church music generally it is difficult to speak + critically without seeming unfair. We have seen how he explained what must + be called the almost secular style of these works. But while it is true + that Haydn's masses have kept their place in the Catholic churches of + Germany and elsewhere, it is impossible, to Englishmen, at any rate, not + to feel a certain incongruity, a lack of that dignity and solemnity, that + religious "sense," which makes our own Church music so impressive. We must + not blame him for this. He escaped the influences which made Bach and + Handel great in religious music—the influences of Protestantism, not + to say Puritanism. The Church to which he belonged was no longer guided in + its music by the principles of Palestrina. On the contrary; it was tainted + by secular and operatic influences; and although Haydn felt himself to be + thoroughly in earnest it was rather the ornamental and decorate side of + religion that he expressed in his lively music. He might, perhaps, have + written in a more serious, lofty strain had he been brought under the + noble traditions which glorified the sacred choral works of the earlier + masters just named. In any case, his Church music has nothing of the + historical value of his instrumental music. It is marked by many sterling + and admirable qualities, but the progress of the art would not have been + materially affected if it had never come into existence. + </p> + <p> + Songs + </p> + <p> + As a song-writer Haydn was only moderately successful, perhaps because, + having himself but a slight acquaintance with literature, he left the + selection of the words to others, with, in many cases, unfortunate + results. The form does not seem to have been a favourite with him, for his + first songs were not produced until so late as 1780. Some of the later + compositions have, however, survived; and one or two of the canzonets, + such as "My mother bids me bind my hair" and "She never told her love," + are admirable. The three-part and the four-part songs, as well as the + canons, of which he thought very highly himself, are also excellent, and + still charm after the lapse of so many years. + </p> + <p> + Operas + </p> + <p> + On the subject of his operas little need be added to what has already been + said. Strictly speaking, he never had a chance of showing what he could do + with opera on a grand scale. He had to write for a small stage and a small + audience, and in so far he was probably successful. Pohl thinks that if + his project of visiting Italy had been fulfilled and his faculties been + stimulated in this direction by fresh scenes and a larger horizon, we + might have gained "some fine operas." It is doubtful; Haydn lacked the + true dramatic instinct. His placid, easy-going, contented nature could + never have allowed him to rise to great heights of dramatic force. He was + not built on a heroic mould; the meaning of tragedy was unknown to him. + </p> + <p> + Orchestration + </p> + <p> + Regarding his orchestration a small treatise might be written. The terms + which best describe it are, perhaps, refinement and brilliancy. Much of + his success in this department must, of course, be attributed to his long + and intimate association with the Esterhazy band. In 1766, six years after + his appointment, this band numbered seventeen instruments—six + violins and viola, one violoncello, one double bass, one flute, two oboes, + two bassoons and four horns. It was subsequently enlarged to twenty-two + and twenty-four, including trumpets and kettledrums on special occasions. + From 1776 to 1778 there were also clarinets. This gradual extension of + resources may be taken as roughly symbolizing Haydn's own advances in the + matter of orchestral development. When he wrote his first symphony in 1759 + he employed first and second violins, violas, basses, two oboes and two + horns; in his last symphony, written in 1795, he had at his command "the + whole symphonic orchestra as it had stood when Beethoven took up the work + of orchestral development." Between these two points Mozart had lived and + died, leaving Haydn his actual debtor so far as regards the increased + importance of the orchestra. It has been said that he learnt from Mozart + the use of the clarinet, and this is probably true, notwithstanding the + fact that he had employed a couple of clarinets in his first mass, written + in 1751 or 1752. Both composers used clarinets rarely, but Haydn certainly + did not reveal the real capacity of the instrument or establish its + position in the orchestra as Mozart did. + </p> + <p> + From his first works onwards, he proceeded along the true symphonic path, + and an orchestra of two flutes, two oboes, two clarinets, two bassoons, + two horns, two trumpets, drums, and the usual strings fairly represents + the result of his contributions to its development up to the first + successful experiments of Mozart. The names of Mozart and Haydn ought in + reality to be coupled together as the progenitors of the modern orchestral + colouring. But the superiority must be allowed to attach to Haydn, + inasmuch as his colouring is the more expansive and decided. Some of his + works, even of the later period, show great reticence in scoring, but, on + the other hand, as in "The Creation," he knew when to draw upon the full + resources of the orchestra. It has been pointed out as worthy of remark + that he was not sufficiently trustful of his instrumental army to leave it + without the weak support of the harpsichord, at which instrument he + frequently sat during the performance of his symphonies, and played with + the orchestra, with extremely bad effect. [Compare The Orchestra and + Orchestral Music, by W. J. Henderson: London, 1901.] In this, however, he + merely followed the custom of his day. + </p> + <p> + General Style + </p> + <p> + Of Haydn's general style as a composer it is hardly necessary to speak. To + say that a composition is "Haydnish" is to express in one word what is + well understood by all intelligent amateurs. Haydn's music is like his + character—clear, straightforward, fresh and winning, without the + slightest trace of affectation or morbidity. Its perfect transparency, its + firmness of design, its fluency of instrumental language, the beauty and + inexhaustible invention of its melody, its studied moderation, its + child-like cheerfulness—these are some of the qualities which mark + the style of this most genial of all the great composers. + </p> + <p> + That he was not deep, that he does not speak a message of the inner life + to the latter-day individual, who, in the Ossianic phrase, likes to + indulge in "the luxury of grief," must, of course, be admitted. The + definite embodiment of feeling which we find in Beethoven is not to be + found in him. It was not in his nature. "My music," says Schubert, "is the + production of my genius and my misery." Haydn, like Mendelssohn, was never + more than temporarily miserable. But in music the gospel of despair seldom + wants its preachers. To-day it is Tschaikowsky; to-morrow it will be + another. Haydn meant to make the world happy, not to tear it with agony. + "I know," he said, "that God has bestowed a talent upon me, and I thank + Him for it. I think I have done my duty, and been of use in my generation + by my works. Let others do the same." + </p> + <p> + <a name="link2H_APPEa" id="link2H_APPEa"> + <!-- H2 anchor --> </a> + </p> + <div style="height: 4em;"> + <br /><br /><br /><br /> + </div> + <h2> + APPENDIX A: HAYDN'S LAST WILL AND TESTAMENT + </h2> + <p> + The following draft of Haydn's will is copied from Lady Wallace's Letters + of Distinguished Musicians (London, 1867), where it was published in full + for the first time. The much-corrected original is in the Court Library at + Vienna. Dies says: "Six weeks before his death, in April 1809, he read + over his will to his servants in the presence of witnesses, and asked them + whether they were satisfied with his provisions or not. The good people + were quite taken by surprise at the kindness of their master's heart, + seeing themselves thus provided for in time to come, and they thanked him + with tears in their eyes." The extracts given by Dies vary in some + particulars from the following, because Haydn's final testamentary + dispositions were made at a later date. But, as Lady Wallace says, it is + not the legal but the moral aspect of the affair that interests us. Here + we see epitomized all the goodness and beauty of Haydn's character. The + document runs as follows: + </p> +<pre xml:space="preserve"> + FLORINS. + + 1. For holy masses,........................................12 + + 2. To the Norman School,....................................5 + + 3. To the Poorhouse,........................................5 + + 4. To the executor of my will.............................200 + And also the small portrait of Grassi. + + 5. To the pastor,..........................................10 + + 6. Expenses of my funeral, first-class,...................200 + + 7. To my dear brother Michael, in Salzburg,..............4000 + + 8. To my brother Johann, in Eisenstadt,..................4000 + + 9. To my sister in Rohrau (erased, and written + underneath): "God have mercy on her soul! To the + three children of my sister,".........................2000 + + 10. To the workwoman in Esterhazy, Anna Maria Moser, + nee Frohlichin,........................................500 + + 11. To the workwoman in Rohrau, Elisabeth, nee Bohme,......500 + + 12. To the two workwomen there (erased, and replaced + by: "To the shoemaker, Anna Loder, in Vienna"),........200 + Should she presume to make any written claims, I + declare them to be null and void, having already + paid for her and her profligate husband, Joseph + Lungmayer, more than 6000 gulden. + + 13. To the shoemaker in Garhaus, Theresa Hammer,............500 + + 14. To her son, the blacksmith, Matthias Frohlich,..........500 + + 15.&16. To the eldest child of my deceased sister, + Anna Wimmer, and her husband, at Meolo, in Hungary,.....500 + + 17. To her married daughter at Kaposwar,....................100 + + 18. To the other three children (erased),...................300 + + 19. To the married Dusse, nee Scheeger,.....................300 + + 20. To her imbecile brother, Joseph (erased),...............100 + + 21. To her brother, Karl Scheeger, silversmith, and his + wife,...................................................900 + + 22. To the son of Frau von Koller,..........................300 + + 23. To his son (erased),....................................100 + + 24. To the sister of my late wife (erased). + + 25. To my servant, Johann Elssler,.........................2500 + Also one year's wages, likewise a coat, waistcoat + and a pair of trousers. (According to Griesinger, + Haydn bequeathed a capital of 6000 florins to this + faithful servant and copyist.) + + 26. To Rosalia Weber, formerly in my service,...............300 + (She has a written certificate of this from me.) + + 27. To my present maid-servant, Anna Kremnitzer,...........1000 + And a year's wages in addition. Also, her bed and + bedding and two pairs of linen sheets; also, four + chairs, a table, a chest of drawers, the watch, + the clock and the picture of the Blessed Virgin in + her room, a flat-iron, kitchen utensils and crockery, + one water-pail, and other trifles. + + 28. To my housekeeper, Theresia Meyer,......................500 + And one year's wages,.................................20 + + 29. To my old gardener, Michel,..............................24 + + 30. To the Prince's Choir for my obsequies, to share + alike (erased),......................................100 + + 31. To the priest (erased),..................................12 + + 32. To the pastor in Eisenstadt for a solemn mass,............5 + + 33. To his clerk,.............................................2 + + 34. To the beneficiary,.......................................2 + + 35. To Pastor von Nollendorf,.................................2 + + 36. To Pastor von St Georg,...................................2 + + 37. To the sexton (erased from 33),...........................1 + + 38. To the organ-bellows' blower,.............................1 + + 39. To the singer, Babett,...................................50 + + 40. To my cousin, the saddler's wife, in Eisenstadt,.........50 + To her daughter,........................................300 + + 41. To Mesdemoiselles Anna and Josepha Dillin,..............100 + + 42. To the blind daughter of Herr Graus, leader of + the choir in Eisenstadt (erased),.......................100 + + 43. To the four sisters Sommerfeld, daughters of + the wigmaker in Presburg,...............................200 + + 44. To Nannerl, daughter of Herr Weissgerb, my + neighbour (erased),......................................50 + + 45. To Herr Art, merchant in the Kleine Steingasse,..........50 + + 46. To the pastor in Rohrau,.................................12 + + 47. To the schoolmaster in Rohrau,............................6 + + 48. To the school children,...................................3 + + 49. To Herr Wamerl, formerly with Count v. Harrach,..........50 + + 50. To his present cashier,..................................50 + + 51. To Count v. Harrach for the purpose of defraying + the bequests Nos. 51 and 52, I bequeath an + obligation of 6000 florins at 5 per cent., the + interest to be disposed of as follows: + + To the widow Aloysia Polzelli, formerly + singer at Prince Nikolaus Esterhazy's, payable + in ready money six weeks after my death,................100 + + And each year, from the date of my death, for + her life, the interest of the above capital,............150 + + After her death her son, Anton Polzelli, to + receive 150 florins for one year, having always + been a good son to his mother and a grateful + pupil to me. N.B.—I hereby revoke the obligation + in Italian, signed by me, which may be produced + by Mdme. Polzelli, otherwise so many of my poor + relations with greater claims would receive too + little. Finally, Mdme. Polzelli must be satisfied + with the annuity of 150 florins. After her death + the half of the above capital, viz., 3000 + florins, to be divided into two shares—one-half + (1500) to devolve on the Rohrau family, for the + purpose of keeping in good order the monument + erected to me by Count von Harrach, and also + that of my deceased father at the door of the + sacristy. The other half to be held in trust by + the Count, and the annual interest of the sum, + namely, 45 florins, to be divided between any + two orphans in Rohrau. + + 52. To my niece, Anna Lungmayer, payable six weeks + after my death,..........................................100 + Likewise a yearly annuity to her husband and herself,....150 + All these legacies and obligations, and also + the proceeds of the sale of my house and legal + costs, to be paid within one year of my death; + all the other expenses to be deducted from the + sum of ready money in the hands of the executors, + who must account to the heir for the same. On + their demise this annuity to go to their children + until they come of age, and after that period the + capital to be equally divided among them. Of + the remaining 950 florins, 500 to become the + property of my beloved Count v. Harrach, as the + depositary of my last will and testament, and + 300 I bequeath to the agent for his trouble. + The residue of 150 florins to go to my stepmother, + and, if she be no longer living, to her + children. N.B.—Should Mdme. Lungmayer or + her husband produce any document signed by + me for a larger sum, I wish it to be understood, + as in the case of Mdme. Polzelli, that it is to be + considered null and void, as both Mdme. Lungmayer + and her husband, owing to my great kindness, lavished + more than 6000 florins of mine during my life, which + my own brother and the citizens in Oedenberg and + Eisenstadt can testify. + + (From No. 51 is repeatedly and thickly scored out.) + + 53. To the widow Theresia Eder and her two daughters, + lacemakers,...............................................150 + + 54. To my pupil, Anton Polzelli,..............................100 + + 55. To poor blind Adam in Eisenstadt,..........................24 + + 56. To my gracious Prince, my gold Parisian medal and + the letter that accompanied it, with a humble + request to grant them a place in the museum at + Forchtentein. + + 57. To Mdlle. C. Czeck, waiting-woman to Princess + Graschalkowitz (erased),.................................1000 + + 58. To Fraulein Anna Bucholz,.................................100 + Inasmuch as in my youth her grandfather lent + me 150 florins when I greatly needed them, + which, however, I repaid fifty years ago. + + 59. To the daughter of the bookkeeper, Kandler, my + piano, by the organ-builder Schanz. + + 60. The small Parisian medal to Count v. Harrach, and + also the bust a l'antique of Herr Grassi. + + 61. To the widow Wallnerin in Schottenhof,....................100 + + 62. To the Father Prior Leo in Eisenstadt, of the + "Brothers of Mercy,".......................................50 + + 63. To the Hospital for the Poor in Eisenstadt (erased),.......75 + + For the ratification of this my last will and testament, I have + written it entirely in my own hand, and earnestly beg the + authorities to consider it, even if not strictly or properly legal, + in the light at least of a codicil, and to do all in their power + to make it valid and binding. + + JOSEPH HAYDN. + May 5, 1801. + + Should God call me away suddenly, this my last will and testament, + though not written on stamped paper, to be considered valid in + law, and the stamps to be repaid tenfold to my sovereign. + + In the name of the Holy Trinity. The uncertainty of the + period when it may please my Creator, in His infinite wisdom, + to call me from time into eternity has caused me, being in sound + health, to make my last will with regard to my little remaining + property. I commend my soul to my all-merciful Creator; my + body I wish to be interred, according to the Roman Catholic + forms, in consecrated ground. A first-class funeral. For my + soul I bequeath No. 1. + + Joseph Haydn + + Vienna, Dec. 6, 1801 +</pre> + <p> + <a name="link2H_APPEb" id="link2H_APPEb"> + <!-- H2 anchor --> </a> + </p> + <div style="height: 4em;"> + <br /><br /><br /><br /> + </div> + <h2> + APPENDIX B: CATALOGUE OF WORKS + </h2> + <p> + There are unusual difficulties in the way of compiling a thoroughly + satisfactory catalogue of Haydn's instrumental works. From the want of any + generally-accepted consecutive numbering, and the fact that several are in + the same key, this is particularly the case with the symphonies. Different + editions have different numberings, and the confusion is increased by a + further re-numbering of the piano symphonic scores arranged for two and + four hands. In Breitkopf & Hartel's catalogue many works are included + among the symphonies which are also found among the smaller compositions, + and others are catalogued twice. Even the composer himself, in compiling + his thematic catalogue, made mistakes. In the present list we have been + content for the most part to state the numbers of the various instrumental + works, without attempting to notify each individual composition. Indeed, + to do otherwise would have called for an extensive use of music type. Nor + have we thought it necessary to include the supposititious and doubtful + works, for which Pohl's list may be consulted. + </p> + <p> + INSTRUMENTAL + </p> + <p> + 125 symphonies, including overtures to operas and plays. Of these 94 are + published in parts, 40 in score; 29 remain in MS. About 40 have been + arranged for pianoforte 2 hands, 60 for 4 hands, 10 for 8 hands. + </p> + <p> + Pohl gives a thematic list of the 12 symphonies composed for Salomon, + numbered in the order of their occurrence in the catalogue of the London + Philharmonic Society. These include: + </p> +<pre xml:space="preserve"> + TITLE OF WORK KEY DATE + + "The Surprise" G major 1791 + + "The Clock," referring D minor 1794 + to the Andante + + "The Military" G major 1794 +</pre> +<pre xml:space="preserve"> + Other symphonies known by their titles are: +</pre> +<pre xml:space="preserve"> + TITLE OF WORK KEY DATE + + "Le Matin" D major + "Le Midi" C major + "Le Soir" G major 1761 + "The Farewell" A major 1772 + "Maria Theresa" C major 1773 + "The Schoolmaster" E flat 1774 + "Feuer Symphonie" (probably + overture to "Die Feuersbrunst") A major 1774 + "La Chasse" D major 1780 + "Toy" Symphony C major 1780 + "La Reine de France" B major for Paris, 1786 + "The Oxford" G major 1788 + + "The Seven Words from the Cross." Originally for orchestra. + Arranged first for 2 violins, viola and bass; afterwards for soli, + chorus and orchestra. + + 66 various compositions for wind and strings, separately and + combined, including divertimenti, concerted pieces, etc. + + 7 notturnos or serenades for the lyre. + 7 marches. + 6 scherzandos. + 1 sestet. + Several quintets. + 1 "Echo" for 4 violins and 2 'cellos. + "Feld-partien" for wind instruments and arrangements from + baryton pieces. + 12 collections of minuets and allemands. + 31 concertos: 9 violin, 6 'cello, 1 double bass, 5 lyre, 3 baryton, + 2 flute, 3 horn, 1 for 2 horns, 1 clarino (1796). + 175 baryton pieces. Arrangements were published of several + of these in 3 parts, with violin (or flute), viola or 'cello as + principal. + 1 duet for 2 lutes. + 2 trios for lute, violin and 'cello. + 1 sonata for harp, with flute and bass. + Several pieces for a musical clock. + A solo for harmonica. + 6 duets for violin solo, with viola accompaniments. The + numerous printed duets for 2 violins are only arrangements from + his other works. + 30 trios: 20 for 2 violins and bass, 1 for violin solo, viola + concertante and bass, 2 for flute, violin and bass, 3 for 3 flutes, + 1 for corno di caccia, violin and 'cello. + 77 quartets. The first 18 were published in 3 series; the + next is in MS.; then 1 printed separately; 54 in 9 series of 6 + Nos. each; 2 more and the last. +</pre> + <p> + CLAVIER MUSIC + </p> +<pre xml:space="preserve"> + 20 concertos and divertimenti: 1 concerto is with principal + violin, 2 only (G and D) have been printed; the last alone + survives. + 38 trios: 35 with violin and 'cello, 3 with flute and 'cello + Only 31 are printed. + 53 sonatas and divertimenti. Only 35 are printed: the one + in C, containing the adagio in F included in all the collections + of smaller pieces, only in London. + 4 sonatas for clavier and violin. 8 are published, but 4 of + these are arrangements. + 9 smaller pieces, including 5 Nos. of variations, a capriccio, a + fantasia, 2 adagios and "differentes petites pieces." + 1 duet (variations). +</pre> + <p> + VOCAL + </p> +<pre xml:space="preserve"> + Church Music + + 14 masses. + 1 Stabat Mater. + 2 Te Deums. + 13 offertories. 10 of these are taken from other compositions + with Latin text added. + 4 motets. + 1 Tantum Ergo. + 4 Salve Reginas. + 1 Regina Coeli. + 2 Aves Reginas; Responsoria de Venerabili. + 1 Cantilena pro Aventu (German words). + 6 sacred arias. + 2 duets. +</pre> + <p> + ORATORIOS AND CANTATAS + </p> +<pre xml:space="preserve"> + "The Creation." + "The Seasons." + "Il Ritorno di Tobia." + "The Seven Words." + "Invocation of Neptune." + "Applausus Musicus." For the festival of a prelate, 1768. + Cantata for the birthday of Prince Nicolaus, 1763. + Cantata "Die Erwahlung eines Kapellmeisters." +</pre> + <p> + OPERAS + </p> +<pre xml:space="preserve"> + Italian Operas: + + "La Canterina," 1769; + "L'Incontro Improviso," 1776; + "Lo Speciale," 1768; + "Le Pescatrice," 1780; + "Il Mondo della Luna," 1877; + "L'Isola Disabitata," 1779; + "Armida," 1782; + "L'Infedelta Delusa," 1773; + "La Fedelta Premiata," 1780; + "La Vera Constanza," 1786; + "Acide e Galatea," 1762; + "Orlando Paladino," 1782; + "Orfeo," London, 1794. + + German Opera or Singspiel, "Der Neue Krumme Teufel." + 5 marionette operas. + Music for "Alfred," a tragedy, and various other plays. +</pre> + <p> + MISCELLANEOUS SONGS: + </p> +<pre xml:space="preserve"> + 12 German lieder, 1782; + 12 ditto, 1784; + 12 single songs; + 6 original canzonets, London, 1796; + 6 ditto; + "The Spirit Song," Shakespeare (F minor); + "O Tuneful Voice" (E flat), composed for an English lady of position; + 3 English songs in MS.; + 2 duets; + 3 three-part and 10 four-part songs; + 3 choruses, MS.; + 1 ditto from "Alfred"; + The Austrian National Anthem, for single voice and in 4 parts; + 42 canons in 2 and more parts; + 2 ditto; + "The Ten Commandments" set to canons; the same + with different words under the title "Die zehn Gesetze der Kunst"; + symphonies and accompaniments for national songs + in the collections of Whyte, Napier and George Thomson. + 22 airs mostly inserted in operas. + "Ariana a Naxos," cantata for single voice and pianoforte, 1790. + "Deutschlands Klage auf den Tod Friedrichs der Grossen," + cantata for single voice, with baryton accompaniment, 1787. +</pre> + <p> + <a name="link2H_APPEc" id="link2H_APPEc"> + <!-- H2 anchor --> </a> + </p> + <div style="height: 4em;"> + <br /><br /><br /><br /> + </div> + <h2> + APPENDIX C: BIBLIOGRAPHY + </h2> + <p> + The Haydn literature is almost entirely Continental. With the exceptions + of Pohl's article in Grove's "Dictionary of Music" and Miss Townsend's + "Haydn," nothing of real importance has appeared in English. The following + list does not profess to be complete. It seems futile in a book of this + kind to refer amateurs and students to foreign works, many of which are + out of print and others generally inaccessible. For the benefit of English + readers the English works have been placed first and apart from the + Continental. It has not been thought necessary to follow Pohl in giving a + separate list of German and other Continental critiques. His plan of + citing works in the order of their publication has, however, been adopted + as being perhaps preferable to an alphabetical order of writers. + </p> +<pre xml:space="preserve"> + TITLE OF WORK AUTHOR PLACE AND DATE +</pre> +<pre xml:space="preserve"> + "History of Music," Vol. IV. Burney London, 1789 + + "Reminiscences," Vol. I, p. 190 Michael Kelly London, 1826 + + "Musical Memoirs" Parke London, 1830, + 2 vols. + + "Letters of Distinguished Musicians."... London, 1867 + Translated from the German by Lady + Wallace. Haydn's Letters, pp. 71-204, + with portrait + + "Musical Composers and their Works" Sarah Tytler London, 1875 + —Haydn, pp. 57-75 + + "Music and Morals"—Haydn, Haweis London, 1876 + pp. 241-263 + + Leisure Hour, p. 572. Article, ... London, 1877 + "Anecdotes of Haydn" + + "The Great Composers Sketched Joseph Bennett London, Musical + by Themselves"—No. 1, Haydn. Times, Sept. 1877 + An estimate of Haydn drawn mainly + from his letters + + Article on Haydn in Grove's Pohl London, 1879 + "Dictionary of Music" + + "Studies of Great Composers"—Haydn, Parry London, 1887 + pp. 91-118, with portrait + + "History of Music," English edition, Naumann London (Cassell), + Vol. IV., pp. 852-882. 1888 + Portraits and facsimiles + + "Musical Reminiscences"—Music and William Spark London, 1892 + Sunshine, pp. 141-149, with quotations + from Haydn's music to show "the happy + state of his mind whilst composing" + + "Musical Haunts in London"—Haydn in F. G. Edwards London, 1895 + London, pp. 32-36 + + "The Pianoforte Sonata"—Haydn, J. S. Shedlock London, 1895 + pp. 111-120 + + "Music and Manners from Pergolese Krehbiel London, 1898 + to Beethoven"—Haydn in London: + (1) His Note-book; (2) His English + Love, pp. 57-95 + + "George Thomson, the Friend of Burns" Cuthbert Hadden London, 1898 + —Correspondence with Haydn, + pp. 303-308 + + "Old Scores and New Readings"—Haydn J. F. Runciman London, 1899 + and his "Creation," pp. 85-92 + + "The Birthplace of Haydn: Dr Frank Merrick London, Musical + a Visit to Rohrau" Times, July 1899 + + "Joseph Haydn" Miss Pauline London, N.D. + in Great Musicians series D. Townsend + + Article on Haydn in "Dictionary Riemann London, + of Music." English ed. translated Augener & Co. + by J. S. Shedlock +</pre> +<pre xml:space="preserve"> + Autobiographical Sketch by himself. ... 1776 + This was made use of by (1) De Luca + in "Das gelehrte Oesterreich," 1778; + (2) in Forkel's "Musikalischer + Almanach fur Deutschland," 1783; + and (3) in the European Magazine + for October 1784. The latter includes + a portrait + + "Lexicon." Additional particulars Gerber 1790 + are given in 2nd edition, 1812 + + Musik Correspondenz der teutschen Gerber 1792 + Filarm. Gesellschaft, Nos. 17 and 18 + + Article in Journal des Luxus und Bertuch Weimar, 1805 + der Moden + + "Brevi notizie istorchie della vita Mayer Bergamo, 1809 + e delle opere di Guis. Haydn." + + Obituary in the Vaterland. Blatter ... Vienna, 1809 + fur den ost Kaiserstaat + + "Der Nagedachtenis van J. Haydn" Kinker Amsterdam, 1810 + + "Biographische Notizen uber Griezinger Leipzig, 1810 + Joseph Haydn" + + "Biographische Nachrichten von Dies Vienna, 1810 + Joseph Haydn" + + "Joseph Haydn" Arnold Erfurt, 1810; + 2nd ed., 1825 + + "Notice sur J. Haydn" Framery Paris, 1810 + + "Notice historique sur la vie et les Le Breton Paris, 1810 + ouvrages de Haydn" in the Moniteur. + This was reprinted in the + "Bibliographie Musicale," Paris, 1822. + It was also translated into Portuguese, + with additions by Silva-Lisboa. + Rio Janeiro, 1820 + + "Essai Historique sur la vie ... Strassburg, 1812 + de J. Haydn" + + "Le Haydine," etc. Carpani Milan, 1812; + This work was essentially reproduced, 2nd edition, + without acknowledgment, in "Lettres enlarged, + ecrites de Vienne en Autriche," etc., Padua, 1823 + by L. A. C. Bombet, Paris, 1814; + republished as "Vie de Haydn, Mozart + et Metastase," par Stendhal, Paris, + 1817. Bombet and Stendhal are both + pseudonyms of Henri Beyle. An English + translation of the 1814 work was + published in London by John Murray, + in 1817, under the title of "The Life + of Haydn in a Series of Letters," etc. + + "Biogr. Notizen" Grosser Hirschberg, 1826 + + "Allg. Encyclopadie der Ersch und Gruber Leipzig, 1828 + Wissenschaften und Kunste," + 2nd section, 3rd part, with a + biographical sketch by Frohlich + + "Allg. Wiener Musikzeitung" ... 1843 + + "J. Haydn in London, 1791 and 1792" Karajan Vienna, 1861 + + "Joseph Haydn und sein Bruder Michael" Wurzbach Vienna, 1861 + + "Joseph Haydn" Ludwig Nordhausen, 1867 + + "Mozart and Haydn in London" Pohl Vienna, 1867 + + "Joseph Haydn." Pohl ... + This, the first comprehensive + biography of Haydn, was published + —the first half of Vol. I. in + 1875, the second half in 1882. + After the death of Pohl in 1887 + it was completed (1890) by + E. V. Mandyczewski + + Notice in "Biographie Universelle" Fetis ... +</pre> + <p> + <a name="link2H_APPEd" id="link2H_APPEd"> + <!-- H2 anchor --> </a> + </p> + <div style="height: 4em;"> + <br /><br /><br /><br /> + </div> + <h2> + APPENDIX D: HAYDN'S BROTHERS + </h2> + <p> + Of the large family born to the Rohrau wheelwright, two, besides the great + composer, devoted themselves to music. + </p> + <p> + The first, JOHANN EVANGELIST HAYDN, made some little reputation as a + vocalist, and was engaged in that capacity in the Esterhazy Chapel. His + health had, however, been delicate from the first, and his professional + career was far from prosperous. + </p> + <p> + JOHANN MICHAEL HAYDN was much more distinguished. Born in 1737, he became, + as we have seen, a chorister and solo-vocalist at St Stephen's, Vienna. He + was a good violinist, and played the organ so well that he was soon able + to act as deputy-organist at the cathedral. In 1757 he was appointed + Capellmeister to the Bishop of Grosswardein, and in 1762 became conductor, + and subsequently leader and organist to Archbishop Sigismund of Salzburg. + There he naturally came in contact with Mozart, in whose biography his + name is often mentioned. Mozart on one occasion wrote two compositions for + him which the archbishop received as Michael Haydn's. The Concertmeister + was incapacitated by illness at the time, and Mozart came to his rescue to + save his salary, which the archbishop had characteristically threatened to + stop. Mozart also scored several of his sacred works for practice. + </p> + <p> + Michael Haydn remained at Salzburg till his death in 1806. He had the very + modest salary of 24 pounds, with board and lodging, which was afterwards + doubled; but although he was more than once offered preferment elsewhere, + he declined to leave his beloved Salzburg. He was happily married—in + 1768—to a daughter of Lipp, the cathedral organist; and with his + church work, his pupils—among whom were Reicha and Weber—and + his compositions, he sought nothing more. When the French entered Salzburg + and pillaged the city in 1801 he was among the victims, losing some + property and a month's salary, but his brother and friends repaired the + loss with interest. This misfortune led the Empress Maria Theresa to + commission him to compose a mass, for which she rewarded him munificently. + Another of his masses was written for Prince Esterhazy, who twice offered + him the vice-Capellmeistership of the chapel at Eisenstadt. Joseph thought + Michael too straightforward for this post. "Ours is a court life," he + said, "but a very different one from yours at Salzburg. It is uncommonly + hard to do what you want." If any appointment could have drawn him away + from Salzburg it was this; and it is said that he refused it only because + he hoped that the chapel at Salzburg would be reorganized and his salary + raised. + </p> + <p> + Michael Haydn is buried in a side chapel of St Peter's Church, Salzburg. A + monument was erected in 1821, and over it is an urn containing his skull. + He is described by Pohl as "upright, good-tempered and modest; a little + rough in manners, and in later life given to drink." His correspondence + shows him to have been a warm-hearted friend; and he had the same devout + practice of initialing his manuscripts as his brother. The latter thought + highly of him as a composer, declaring that his Church compositions were + superior to his own in earnestness, severity of style and sustained power. + When he asked leave to copy the canons which hung in Joseph's bedroom at + Vienna, Joseph replied: "Get away with your copies; you can compose much + better for yourself." Michael's statement has often been quoted: "Give me + good librettos and the same patronage as my brother, and I should not be + behind him." This could scarcely have been the case, since, as Pohl points + out, Michael Haydn failed in the very qualities which ensured his + brother's success. As it was, he wrote a very large number of works, most + of which remained in manuscript. A Mass in D is his best-known + composition, though mention should be made of the popular common-metre + tune "Salzburg," adapted from a mass composed for the use of country + choirs. Michael Haydn was nominated the great composer's sole heir, but + his death frustrated the generous intention. + </p> + <p> + <a name="link2H_APPEe" id="link2H_APPEe"> + <!-- H2 anchor --> </a> + </p> + <div style="height: 4em;"> + <br /><br /><br /><br /> + </div> + <h2> + APPENDIX E: A SELECTION OF HAYDN LETTERS + </h2> + <p> + The greater number of Haydn's extant letters deal almost exclusively with + business matters, and are therefore of comparatively little interest to + the reader of his life. The following selection may be taken as + representing the composer in his more personal and social relations. It is + drawn from the correspondence with Frau von Genzinger, which was + discovered by Theodor Georg von Karajan, in Vienna, and published first in + the Jahrbuch fur Vaterlandische Geschichte, and afterwards in his J. Haydn + in London, 1791 and 1792 (1861). The translation here used, by the + courtesy of Messrs Longman, is that of Lady Wallace. + </p> + <p> + The name of Frau von Genzinger has been mentioned more than once in the + biography. Her husband was the Esterhazy physician. In that capacity he + paid frequent visits to Eisenstadt and Esterhaz (which Haydn spells + Estoras) and so became intimate with the Capellmeister. He was fond of + music, and during the long winter evenings in Vienna was in the habit of + assembling the best artists in his house at Schottenhof, where on Sundays + Mozart, Haydn, Dittersdorf, Albrechtsberger, and others were often to be + found. His wife, Marianne—nee von Kayser—was a good singer, + and was sought after by all the musical circles in Vienna. She was + naturally attracted to Haydn, and although she was nearly forty years of + age when the correspondence opened in 1789, "a personal connection was + gradually developed in the course of their musical intercourse that + eventually touched their hearts and gave rise to a bright bond of + friendship between the lady and the old, though still youthful, maestro." + Some brief extracts from the letters now to be given have of necessity + been worked into the biography. The correspondence originated in the + following note from Frau von Genzinger: + </p> + <p> + January 1789. + </p> + <p> + DEAR M. HAYDN, + </p> + <p> + With your kind permission I take the liberty to send a pianoforte + arrangement of the beautiful adagio in your admirable composition. I + arranged it from the score quite alone, and without the least help from my + master. I beg that, if you should discover any errors, you will be so good + as to correct them. I do hope that you are in perfect health, and nothing + do I wish more than to see you soon again in Vienna, in order to prove + further my high esteem. + </p> + <p> + Your obedient servant, + </p> + <p> + MARIA ANNA V. GENZINGER. + </p> + <p> + To this Haydn replies as follows: + </p> + <p> + ESTORAS, Janr. 14, 1789. + </p> + <p> + DEAR MADAM, + </p> + <p> + In all my previous correspondence, nothing was ever so agreeable to me as + the surprise of seeing your charming writing, and reading so many kind + expressions; but still more did I admire what you sent me—the + admirable arrangement of the adagio, which, from its correctness, might be + engraved at once by any publisher. I should like to know whether you + arranged the adagio from the score, or whether you gave yourself the + amazing trouble of first putting it into score from the separate parts, + and then arranging it for the piano, for, if the latter, such an attention + would be too flattering to me, and I feel that I really do not deserve it. + </p> + <p> + Best and kindest Frau v. Genzinger! I only await a hint from you as to + how, and in what way, I can serve you; in the meantime, I return the + adagio, and hope that my talents, poor though they be, may ensure me some + commands from you. + </p> + <p> + I am yours, etc., + </p> + <p> + HAYDN. + </p> + <p> + The next letter is from the lady: + </p> + <p> + VIENNA, Oct. 29, 1789. + </p> + <p> + DEAR HERR V. HAYDN, + </p> + <p> + I hope you duly received my letter of September 15, and also the first + movement of the symphony (the andante of which I sent you some months + ago), and now follows the last movement, which I have arranged for the + piano as well as it was in my power to do; I only wish that it may please + you, and earnestly beg that, if there are any mistakes in it, you will + correct them at your leisure, a service which I shall always accept from + you, my valued Herr Haydn, with the utmost gratitude. Be so good as to let + me know whether you received my letter of September 15, and the piece of + music, and if it is in accordance with your taste, which would delight me + very much, for I am very uneasy and concerned lest you should not have got + it safely, or not approve of it. I hope that you are well, which will + always be a source of pleasure to me to hear, and commending myself to + your further friendship and remembrance. + </p> + <p> + I remain, your devoted friend and servant, + </p> + <p> + MARIA ANNA V. GENZINGER. nee v. Kayser. + </p> + <p> + My husband sends you his regards. + </p> + <p> + To Frau v. Genzinger. + </p> + <p> + Nov. 9, 1789. + </p> + <p> + DEAR MADAM, + </p> + <p> + I beg your forgiveness a million times for having so long delayed + returning your laborious and admirable work: the last time my apartments + were cleared out, which occurred just after receiving your first movement, + it was mislaid by my copyist among the mass of my other music, and only a + few days ago I had the good fortune to find it in an old opera score. + </p> + <p> + Dearest and kindest Frau v. Genzinger! do not be displeased with a man who + values you so highly; I should be inconsolable if by the delay I were to + lose any of your favour, of which I am so proud. + </p> + <p> + These two pieces are arranged quite as correctly as the first. I cannot + but admire the trouble and the patience you lavish on my poor talents; and + allow me to assure you in return that, in my frequent evil moods, nothing + cheers me so much as the flattering conviction that I am kindly remembered + by you; for which favour I kiss your hands a thousand times, and am, with + sincere esteem, your obedient servant, + </p> + <p> + JOSEPH HAYDN. + </p> + <p> + P.S.—I shall soon claim permission to wait on you. + </p> + <p> + The next letter is again from Frau v. Genzinger: + </p> + <p> + VIENNA, Nov. 12, 1789. + </p> + <p> + MY VALUED HERR V. HAYDN, + </p> + <p> + I really cannot tell you all the pleasure I felt in reading your + highly-prized letter of the 9th. How well am I rewarded for my trouble by + seeing your satisfaction! Nothing do I wish more ardently than to have + more time (now so absorbed by household affairs), for in that case I would + certainly devote many hours to music, my most agreeable and favourite of + all occupations. You must not, my dear Herr v. Haydn, take it amiss that I + plague you with another letter, but I could not but take advantage of so + good an opportunity to inform you of the safe arrival of your letter. I + look forward with the utmost pleasure to the happy day when I am to see + you in Vienna. Pray continue to give me a place in your friendship and + remembrance. + </p> + <p> + Your sincere and devoted friend and servant. + </p> + <p> + To Frau v. Genzinger. + </p> + <p> + ESTORAS, Nov. 18, 1789. + </p> + <p> + DEAR LADY, + </p> + <p> + The letter which I received through Herr Siebert gave me another proof of + your excellent heart, as instead of a rebuke for my late remissness, you + express yourself in so friendly a manner towards me, that so much + indulgence, kindness and great courtesy cause me the utmost surprise, and + I kiss your hands in return a thousand times. If my poor talents enable me + to respond in any degree to so much that is flattering, I venture, dear + madam, to offer you a little musical potpourri. I do not, indeed, find in + it much that is fragrant; perhaps the publisher may rectify the fault in + future editions. If the arrangement of the symphony in it be yours, oh! + then I shall be twice as much pleased with the publisher; if not, I + venture to ask you to arrange a symphony, and to transcribe it with your + own hand, and to send it to me here, when I will at once forward it to my + publisher at Leipzig to be engraved. + </p> + <p> + I am happy to have found an opportunity that leads me to hope for a few + more charming lines from you. + </p> + <p> + I am, etc., + </p> + <p> + JOSEPH HAYDN. + </p> + <p> + Shortly after the date of this letter Hadyn was again in Vienna, when the + musical evenings at Schottenhof were renewed. The Herr v. Haring referred + to in the following note is doubtless the musical banker, well known as a + violinist in the Vienna of the time. + </p> + <p> + To Frau v. Genzinger. + </p> + <p> + Jan. 23, 1790. + </p> + <p> + DEAR, KIND FRAU V. GENZINGER, + </p> + <p> + I beg to inform you that all arrangements are now completed for the little + quartet party that we agreed to have next Friday. Herr v. Haring esteemed + himself very fortunate in being able to be of use to me on this occasion, + and the more so when I told him of all the attention I had received from + you, and your other merits. + </p> + <p> + What I care about is a little approval. Pray don't forget to invite the + Pater Professor. Meanwhile, I kiss your hands, and am, with profound + respect, yours, etc., + </p> + <p> + HAYDN. + </p> + <p> + A call to return to Esterhaz put an end to these delights of personal + intercourse, as will be gathered from the following letter: + </p> + <p> + To Frau v. Genzinger. + </p> + <p> + Feb. 3, 1790. + </p> + <p> + NOBLEST AND KINDEST LADY, + </p> + <p> + However flattering the last invitation you gave me yesterday to spend this + evening with you, I feel with deep regret that I am even unable to express + to you personally my sincere thanks for all your past kindness. Bitterly + as I deplore this, with equal truth do I fervently wish you, not only on + this evening, but ever and always, the most agreeable social "reunions"—mine + are all over—and to-morrow I return to dreary solitude! May God only + grant me health; but I fear the contrary, being far from well to-day. May + the Almighty preserve you, dear lady, and your worthy husband, and all + your beautiful children. Once more I kiss your hands, and am unchangeably + while life lasts, yours, etc., + </p> + <p> + HAYDN. + </p> + <p> + The next letter was written six days later, evidently in the most doleful + mood: + </p> + <p> + To Frau v. Genzinger. + </p> + <p> + ESTORAS, Feb. 9, 1790. + </p> + <p> + MUCH ESTEEMED AND KINDEST FRAU V. GENZINGER,— + </p> + <p> + Well! here I sit in my wilderness; forsaken, like some poor orphan, almost + without human society; melancholy, dwelling on the memory of past glorious + days. Yes; past, alas! And who can tell when these happy hours may return? + those charming meetings? where the whole circle have but one heart and one + soul—all those delightful musical evenings, which can only be + remembered, and not described. Where are all those inspired moments? All + gone—and gone for long. You must not be surprised, dear lady, that I + have delayed writing to express my gratitude. I found everything at home + in confusion; for three days I did not know whether I was capell master, + or capell servant; nothing could console me; my apartments were all in + confusion; my pianoforte, that I formerly loved so dearly, was perverse + and disobedient, and rather irritated than soothed me. I slept very + little, and even my dreams persecuted me, for, while asleep, I was under + the pleasant delusion that I was listening to the opera of "Le Nozze di + Figaro," when the blustering north wind woke me, and almost blew my + nightcap off my head. + </p> + <p> + [The portion of the letter deleted is that given at page 161, beginning, + "I lost twenty pounds in weight."] + </p> + <p> + ...Forgive me, dear lady, for taking up your time in this very first + letter by so wretched a scrawl, and such stupid nonsense; you must forgive + a man spoilt by the Viennese. Now, however, I begin to accustom myself by + degrees to country life, and yesterday I studied for the first time, and + somewhat in the Haydn style too. + </p> + <p> + No doubt, you have been more industrious than myself. The pleasing adagio + from the quartet has probably now received its true expression from your + fair fingers. I trust that my good Fraulein Peperl [Joseph A., one of the + Genzinger children.] may be frequently reminded of her master, by often + singing over the cantata, and that she will pay particular attention to + distinct articulation and correct vocalization, for it would be a sin if + so fine a voice were to remain imprisoned in the breast. I beg, therefore, + for a frequent smile, or else I shall be much vexed. I advise M. Francois + [Franz, author of the Genzinger children.] too to cultivate his musical + talents. Even if he sings in his dressing-gown, it will do well enough, + and I will often write something new to encourage him. I again kiss your + hands in gratitude for all the kindness you have shown me. I am, etc., + </p> + <p> + HAYDN. + </p> + <p> + To Frau v. Genzinger. + </p> + <p> + ESTORAS, March 14, 1790. + </p> + <p> + MOST VALUED, ESTEEMED AND KINDEST FRAU V. GENZINGER, + </p> + <p> + I ask forgiveness a million times for having so long delayed answering + your two charming letters, which has not been caused by negligence (a sin + from which may Heaven preserve me so long as I live), but from the press + of business which has devolved on me for my gracious Prince, in his + present melancholy condition. The death of his wife overwhelmed the Prince + with such grief that we were obliged to use every means in our power to + rouse him from his profound sorrow. I therefore arranged for the three + first days a selection of chamber music, but no singing. The poor Prince, + however, the first evening, on hearing my favourite Adagio in D, was + affected by such deep melancholy that it was difficult to disperse it by + other pieces. On the fourth day we had an opera, the fifth a comedy, and + then our theatre daily as usual... + </p> + <p> + You must now permit me to kiss your hands gratefully for the rusks you + sent me, which, however, I did not receive till last Tuesday; but they + came exactly at the right moment, having just finished the last of the + others. That my favourite "Ariadne" has been successful at Schottenhof is + delightful news to me, but I recommend Fraulein Peperl to articulate the + words clearly, especially in the words "Che tanto amai." I also take the + liberty of wishing you all possible good on your approaching nameday, + begging you to continue your favour towards me, and to consider me on + every occasion as your own, though unworthy, master. I must also mention + that the teacher of languages can come here any day, and his journey will + be paid. He can travel either by the diligence or by some other + conveyance, which can always be heard of in the Madschaker Hof. As I feel + sure, dear lady, that you take an interest in all that concerns me (far + greater than I deserve), I must inform you that last week I received a + present of a handsome gold snuff-box, the weight of thirty-four ducats, + from Prince Oetting v. Wallerstein, accompanied by an invitation to pay + him a visit this year, the Prince defraying my expenses, His Highness + being desirous to make my personal acquaintance (a pleasing fillip to my + depressed spirits). Whether I shall make up my mind to the journey is + another question. + </p> + <p> + I beg you will excuse this hasty scrawl. + </p> + <p> + I am always, etc., + </p> + <p> + HAYDN. + </p> + <p> + P.S.—I have just lost my faithful coachman; he died on the 25th of + last month. + </p> + <p> + To Frau v. Genzinger. + </p> + <p> + ESTORAS, May 13, 1790. + </p> + <p> + BEST AND KINDEST FRAU V. GENZINGER, + </p> + <p> + I was quite surprised, on receiving your esteemed letter, to find that you + had not yet got my last letter, in which I mentioned that our landlord had + accepted the services of a French teacher, who came by chance to Estoras, + and I also made my excuses both to you and your tutor on that account. My + highly esteemed benefactress, this is not the first time that some of my + letters and of others also have been lost, inasmuch as our letter bag, on + its way to Oedenburg (in order to have letters put into it), is always + opened by the steward there, which has frequently been the cause of + mistake and other disagreeable occurrences. For greater security, however, + and to defeat such disgraceful curiosity, I will henceforth enclose all my + letters in a separate envelope to the porter, Herr Pointer. This trick + annoys me the more because you might justly reproach me with + procrastination, from which may Heaven defend me! At all events, the + prying person, whether male or female, cannot, either in this last letter + or in any of the others, have discovered anything in the least + inconsistent with propriety. And now, my esteemed patroness, when am I to + have the inexpressible happiness of seeing you in Estoras? As business + does not admit of my going to Vienna, I console myself by the hope of + kissing your hands here this summer. In which pleasing hope, I am, with + high consideration, etc., yours, + </p> + <p> + HAYDN. + </p> + <p> + To Frau v. Genzinger. + </p> + <p> + ESTORAS, May 30, 1790. + </p> + <p> + KINDEST AND BEST FRAU V. GENZINGER, + </p> + <p> + I was at Oedenburg when I received your last welcome letter, having gone + there on purpose to enquire about the lost letter. The steward there vowed + by all that was holy that he had seen no letter at that time in my + writing, so that it must have been lost in Estoras! Be this as it may, + such curiosity can do me no harm, far less yourself, as the whole contents + of the letter were an account of my opera "La Vera Costanza," performed in + the new theatre in the Landstrasse, and about the French teacher who was + to have come at that time to Estoras. You need, therefore, be under no + uneasiness, dear lady, either as regards the past or the future, for my + friendship and esteem for you (tender as they are) can never become + reprehensible, having always before my eyes respect for your elevated + virtues, which not only I, but all who know you, must reverence. Do not + let this deter you from consoling me sometimes by your agreeable letters, + as they are so highly necessary to cheer me in this wilderness, and to + soothe my deeply wounded heart. Oh! that I could be with you, dear lady, + even for one quarter of an hour, to pour forth all my sorrows, and to + receive comfort from you. I am obliged to submit to many vexations from + our official managers here, which, however, I shall at present pass over + in silence. The sole consolation left me is that I am, thank God, well, + and eagerly disposed to work. I only regret that, with this inclination, + you have waited so long for the promised symphony. On this occasion it + really proceeds from absolute necessity, arising from my circumstances, + and the raised prices of everything. I trust, therefore, that you will not + be displeased with your Haydn, who, often as his Prince absents himself + from Estoras, never can obtain leave, even for four-and-twenty hours, to + go to Vienna. It is scarcely credible, and yet the refusal is always + couched in such polite terms, and in such a manner, as to render it + utterly impossible for me to urge my request for leave of absence. Well, + as God pleases! This time also will pass away, and the day, return when I + shall again have the inexpressible pleasure of being seated beside you at + the pianoforte, hearing Mozart's masterpieces, and kissing your hands from + gratitude for so much pleasure. With this hope, I am, etc., + </p> + <p> + J. HAYDN. + </p> + <p> + To Frau v. Genzinger. + </p> + <p> + ESTORAS, June 6, 1790. + </p> + <p> + DEAR AND ESTEEMED LADY, + </p> + <p> + I heartily regret that you were so long in receiving my last letter. But + the previous week no messenger was despatched from Estoras, so it was not + my fault that the letter reached you so late. + </p> + <p> + Between ourselves! I must inform you that Mademoiselle Nanette has + commissioned me to compose a new sonata for you, to be given into your + hands alone. I esteem myself fortunate in having received such a command. + You will receive the sonata in a fortnight at latest. Mademoiselle Nanette + promised me payment for the work, but you can easily imagine that on no + account would I accept it. For me the best reward will always be to hear + that I have in some degree met with your approval. I am, etc., + </p> + <p> + HAYDN. + </p> + <p> + To Frau v. Genzinger. + </p> + <p> + ESTORAS, June 20, 1790. + </p> + <p> + DEAR, KIND FRIEND, + </p> + <p> + I take the liberty of sending you a new pianoforte sonata with violin or + flute, not as anything at all remarkable, but as a trifling resource in + case of any great ennui. I only beg that you will have it copied out as + soon as possible, and then return it to me. The day before yesterday I + presented to Mademoiselle Nanette the sonata commanded by her. I had hoped + she would express a wish to hear me play it, but I have not yet received + any order to that effect; I, therefore, do not know whether you will + receive it by this post or not. The sonata is in E flat, newly written, + and always intended for you. It is strange enough that the final movement + of this sonata contains the very same minuet and trio that you asked me + for in your last letter. This identical work was destined for you last + year, and I have only written a new adagio since then, which I strongly + recommend to your attention. It has a deep signification which I will + analyze for you when opportunity offers. It is rather difficult, but full + of feeling. What a pity that you have not one of Schanz's pianos, for then + you could produce twice the effect! + </p> + <p> + N.B.—Mademoiselle Nanette must know nothing of the sonata being + already half written before I received her commands, for this might + suggest notions with regard to me that I might find most prejudicial, and + I must be very careful not to lose her favour. In the meanwhile I consider + myself fortunate to be the means of giving her pleasure, particularly as + the sacrifice is made for your sake, my charming Frau v. Genzinger. Oh! + how I do wish that I could only play over these sonatas once or twice to + you; how gladly would I then reconcile myself to remain for a time in my + wilderness! I have much to say and to confess to you, from which no one + but yourself can absolve me; but what cannot be effected now will, I + devoutly hope, come to pass next winter, and half of the time is already + gone. Meanwhile I take refuge in patience, and am content with the + inestimable privilege of subscribing myself your sincere and obedient + friend and servant + </p> + <p> + J. HAYDN. + </p> + <p> + To Frau v. Genzinger. + </p> + <p> + ESTORAS, June 27, 1790. + </p> + <p> + HIGHLY ESTEEMED LADY, + </p> + <p> + You have no doubt by this time received the new pianoforte sonata, and, if + not, you will probably do so along with this letter. Three days ago I + played the sonata to Mademoiselle Nanette in the presence of my gracious + Prince. At first I doubted very much, owing to its difficulty, whether I + should receive any applause, but was soon convinced of the reverse by a + gold snuff-box being presented to me by Mademoiselle Nanette's own hand. + My sole wish now is, that you may be satisfied with it, so that I may find + greater credit with my patroness. For the same reason, I beg that either + you or your husband will let her know "that my delight was such that I + could not conceal her generosity," especially being convinced that you + take an interest in all benefits conferred on me. It is a pity that you + have not a Schanz pianoforte, which is much more favourable to expression; + my idea is that you should make over your own still very tolerable piano + to Fraulein Peperl, and get a new one for yourself. Your beautiful hands, + and their brilliant execution, deserve this, and more. I know that I ought + to have composed the sonata in accordance with the capabilities of your + piano, but, being so unaccustomed to this, I found it impossible, and now + I am doomed to stay at home. What I lose by so doing you can well imagine: + It is indeed sad always to be a slave—but Providence wills it so. I + am a poor creature, plagued perpetually by hard work, and with few hours + for recreation. Friends? What do I say? One true friend; there are no + longer any true friends, but one female friend. Oh yes! no doubt I still + have one, but she is far away. Ah well! I take refuge in my thoughts. May + God bless her, and may she never forget me! Meanwhile I kiss your hands a + thousand times, and ever am, etc., + </p> + <p> + HAYDN. + </p> + <p> + Pray forgive my bad writing. I am suffering from inflamed eyes to-day. + </p> + <p> + To Frau v. Genzinger. + </p> + <p> + ESTORAS, July 4, 1790. + </p> + <p> + MOST ESTEEMED AND VALUED LADY, + </p> + <p> + I this moment receive your letter, and at the same time the post departs. + I sincerely rejoice to hear that my Prince intends to present you with a + new piano, more especially as I am in some measure the cause of this, + having been constantly imploring Mademoiselle Nanette to persuade your + husband to purchase one for you. The choice now depends entirely on + yourself, and the chief point is that you should select one in accordance + with your touch and your taste. Certainly my friend, Herr Walter, is very + celebrated, and every year I receive the greatest civility from him; but, + entre nous, and to speak candidly, sometimes there is not more than one + out of ten of his instruments which may be called really good, and they + are exceedingly high priced besides. I know Herr Nickl's piano; it is + first-rate, but too heavy for your touch; nor can every passage be + rendered with proper delicacy on it. I should, therefore, like you to try + one of Herr Schanz's pianos, for they have a remarkably light and + agreeable touch. A good pianoforte is absolutely necessary for you, and my + sonata will also gain vastly by it. + </p> + <p> + Meanwhile I thank you much, dear lady, for your caution with regard to + Mademoiselle Nanette. It is a pity that the little gold box she gave me, + and had used herself, is tarnished, but perhaps I may get it polished up + in Vienna. I have as yet received no orders to purchase a pianoforte. I + fear that one may be sent to your house, which may be handsome outside, + but the touch within heavy. If your husband will rely on my opinion, that + Herr Schanz is the best maker for this class of instruments, I would then + settle everything at once. In great haste, yours, etc., + </p> + <p> + HAYDN. + </p> + <p> + To Frau v. Genzinger. + </p> + <p> + Estoras, August 15. + </p> + <p> + I ought to have written to you last week in answer to your letter, but as + this day has been long enshrined in my heart, I have been striving + earnestly all the time to think how and what I was to wish for you; so + thus eight days passed, and now, when my wishes ought to be expressed, my + small amount of intellect comes to a standstill, and (quite abashed) I + find nothing to say; why? wherefore? because I have not been able to + fulfill those musical hopes for this particular day that you have justly + the right to expect. Oh, my most charming and kind benefactress! if you + could only know, or see into my troubled heart on this subject, you would + certainly feel pity and indulgence for me. The unlucky promised symphony + has haunted my imagination ever since it was bespoken, and it is only, + alas! the pressure of urgent occurrences that has prevented its being + hitherto ushered into the world! The hope, however, of your lenity towards + me for the delay, and the approaching time of the fulfillment of my + promise, embolden me to express my wish, which, among the hundreds offered + to you to-day and yesterday, may perhaps appear to you only an + insignificant interloper; I say perhaps, for it would be too bold in me to + think that you could form no better wish for yourself than mine. You see, + therefore, most kind and charming lady, that I can wish nothing for you on + your nameday, because my wishes are too feeble, and therefore + unproductive. As for me, I venture to wish for myself your kind + indulgence, and the continuance of your friendship, and the goodness that + I so highly prize. This is my warmest wish! But if any wish of mine may be + permitted, then mine shall become identical with your own, for thus I + shall feel assured that none other remains, except the wish once more to + be allowed to subscribe myself your very sincere friend and servant, + </p> + <p> + HAYDN. + </p> + <p> + No further letters appear to have been addressed to the lady until Haydn + started on his first visit to London in December 1790. One or two extracts + from these London letters have been used in Chapter V., but as the + repetitions will be very slight, we allow the letters to stand as they + are. + </p> + <p> + To Frau v. Genzinger. + </p> + <p> + CALAIS, Decr. 31, 1790. + </p> + <p> + HIGHLY HONOURED LADY, + </p> + <p> + A violent storm and an incessant pour of rain prevented our arriving at + Calais till this evening (where I am now writing to you), and to-morrow at + seven in the morning we cross the sea to London. I promised to write from + Brussels, but we could only stay there an hour. I am very well, thank God! + although somewhat thinner, owing to fatigue, irregular sleep, and eating + and drinking so many different things. A few days hence I will describe + the rest of my journey, but I must beg you to excuse me for to-day. I hope + to heaven that you and your husband and children are all well. + </p> + <p> + I am, with high esteem, etc., yours, + </p> + <p> + HAYDN. + </p> + <p> + To Frau v. Genzinger. + </p> + <p> + LONDON, Jan. 8, 1791. + </p> + <p> + I thought that you had received my last letter from Calais. I ought, + indeed, according to my promise, to have sent you some tidings of myself + when I arrived in London, but I preferred waiting a few days that I might + detail various incidents to you. I must now tell you that on New Year's + Day, after attending early mass, I took ship at half-past seven o'clock + a.m., and at five o'clock in the afternoon arrived safe and well at Dover, + for which Heaven be praised! During the first four hours there was + scarcely any wind, and the vessel made so little way that in that time we + only went one English mile, there being twenty-four between Calais and + Dover. The ship's captain, in the worst possible humour, said that if the + wind did not change we should be at sea all night. Fortunately, however, + towards half-past eleven o'clock such a favourable breeze began to blow + that by four o'clock we had come twenty-two miles. As the ebb of the tide + prevented our large vessel making the pier, two small boats were rowed out + to meet us, into which we and our luggage were transferred, and at last we + landed safely, though exposed to a sharp gale. The large vessel stood out + to sea five hours longer, till the tide carried it into the harbour. Some + of the passengers, being afraid to trust themselves in the small boats, + stayed on board, but I followed the example of the greater number. I + remained on deck during the whole passage, in order to gaze my fill at + that huge monster, the Ocean. So long as there was a calm I had no fears, + but when at length a violent wind began to blow, rising every minute, and + I saw the boisterous high waves running on, I was seized with a little + alarm, and a little indisposition likewise. But I overcame it all, and + arrived safely in harbour, without being actually ill. Most of the + passengers were ill, and looked like ghosts. I did not feel the fatigue of + the journey till I arrived in London, but it took two days before I could + recover from it. But now I am quite fresh and well, and occupied in + looking at this mighty and vast town of London, its various beauties and + marvels causing me the most profound astonishment. I immediately paid the + necessary visits, such as to the Neapolitan Minister and to our own. Both + called on me in return two days afterwards, and a few days ago I dined + with the former—nota bene, at six o'clock in the evening, which is + the fashion here. + </p> + <p> + My arrival caused a great sensation through the whole city, and I went the + round of all the newspapers for three successive days. Everyone seems + anxious to know me. I have already dined out six times, and could be + invited every day if I chose; but I must in the first place consider my + health, and in the next my work. Except the nobility, I admit no visitors + till two o'clock in the afternoon, and at four o'clock I dine at home with + Salomon. I have a neat, comfortable lodging, but very dear. My landlord is + an Italian, and likewise a cook, who gives us four excellent dishes; we + each pay one florin thirty kreuzers a day, exclusive of wine and beer, but + everything is terribly dear here. I was yesterday invited to a grand + amateur concert, but as I arrived rather late, when I gave my ticket, they + would not let me in, but took me to an ante-room, where I was obliged to + remain till the piece which was then being given was over. Then they + opened the door, and I was conducted, leaning on the arm of the director, + up the centre of the room to the front of the orchestra amid universal + clapping of hands, stared at by everyone, and greeted by a number of + English compliments. I was assured that such honours had not been + conferred on anyone for fifty years. After the concert I was taken into a + very handsome room adjoining, where tables were laid for all the amateurs, + to the number of two hundred. It was proposed that I should take a seat + near the top, but as it so happened that I had dined out that very day, + and ate more than usual, I declined the honour, excusing myself under the + pretext of not being very well; but in spite of this, I could not get off + drinking the health, in Burgundy, of the harmonious gentlemen present; all + responded to it, but at last allowed me to go home. All this, my dear + lady, was very flattering to me; still I wish I could fly for a time to + Vienna, to have more peace to work, for the noise in the streets, and the + cries of the common people selling their wares, is intolerable. I am still + working at symphonies, as the libretto of the opera is not yet decided on, + but in order to be more quiet, I intend to engage an apartment some little + way out of town. I would gladly write more at length, but I fear losing + this opportunity. With kindest regards to your husband, Fraulein Pepi, and + all the rest, I am, with sincere esteem, etc., + </p> + <p> + HAYDN. + </p> + <p> + P.S.—I have a request to make. I think I must have left my symphony + in E flat, that you returned to me, in my room at home, or mislaid it on + the journey. I missed it yesterday, and being in pressing need of it, I + beg you urgently to procure it for me, through my kind friend, Herr v. + Kees. Pray have it copied out in your own house, and send it by post as + soon as possible. If Herr v. Kees hesitates about this, which I don't + think likely, pray send him this letter. My address is, M. Haydn, 18 Great + Pulteney Street, London. + </p> + <p> + To Frau v. Genzinger. + </p> + <p> + LONDON, Sept. 17, 1791. + </p> + <p> + MY HIGHLY ESTEEMED FRIEND, + </p> + <p> + I have received no reply to my two letters of July 3, entrusted to the + care of a composer, Herr Diettenhofer, by whom I likewise sent the + pianoforte arrangement of an andante in one of my new symphonies. Nor have + I any answer either about the symphony in E flat, that I wished to get. I + can now no longer delay inquiring after your own health, as well as that + of your husband, and all your dear family. Is that odious proverb, "Out of + sight, out of mind," to prove true everywhere? Oh no! urgent affairs or + the loss of my letter and the symphony are, no doubt, the cause of your + silence. I feel assured of Herr von Kees's willingness to send the + symphony, as he said he would do so in his letter; so it seems we shall + both have to deplore a loss, and must trust to Providence. I flatter + myself I shall receive a short answer to this. Now, my dear, good, kind + lady, what is your piano about? Is a thought of Haydn sometimes recalled + by your fair hand? Does my sweet Fraulein Pepi ever sing poor "Ariadne"? + Oh yes! I seem to hear it even here, especially during the last two + months, when I have been residing in the country, amid lovely scenery, + with a banker, whose heart and family resemble the Genzingers, and where I + live as in a monastery. God be praised! I am in good health, with the + exception of my usual rheumatic state. I work hard, and in the early + mornings, when I walk in the wood alone with my English grammar, I think + of my Creator, of my family, and of all the friends I have left—and + of these you are the most valued of all. + </p> + <p> + I had hoped, indeed, sooner to have enjoyed the felicity of seeing you + again; but my circumstances, in short, fate so wills it that I must remain + eight or ten months longer in London. Oh, my dear, good lady, how sweet is + some degree of liberty! I had a kind Prince, but was obliged at times to + be dependent on base souls. I often sighed for release, and now I have it + in some measure. I am quite sensible of this benefit, though my mind is + burdened with more work. The consciousness of being no longer a + bond-servant sweetens all my toils. But, dear as liberty is to me, I do + hope on my return again to enter the service of Prince Esterhazy, solely + for the sake of my poor family. I doubt much whether I shall find this + desire realized, for in his letter my Prince complains of my long absence, + and exacts my speedy return in the most absolute terms; which, however, I + cannot comply with, owing to a new contract I have entered into here. I, + alas! expect my dismissal; but I hope even in that case that God will be + gracious to me, and enable me in some degree to remedy the loss by my own + industry. Meanwhile I console myself by the hope of soon hearing from you. + You shall receive my promised new symphony two months hence; but in order + to inspire me with good ideas, I beg you will write to me, and a long + letter too. + </p> + <p> + Yours, etc. + </p> + <p> + HAYDN. + </p> + <p> + To Frau v. Genzinger. + </p> + <p> + LONDON, Oct. 13, 1791. + </p> + <p> + I take the liberty of earnestly entreating you to advance 150 florins for + a short time to my wife, provided you do not imagine that since my journey + I have become a bad manager. No, my kind, good friend, God blesses my + efforts. Three circumstances are alone to blame. In the first place, since + I have been here, I have repaid my Prince the 450 florins he advanced for + my journey; secondly, I can demand no interest from my bank obligations, + having placed them under your care, and not being able to remember either + the names or the numbers, so I cannot write a receipt; thirdly, I cannot + yet apply for the 5883 florins (1000 of which I recently placed in my + Prince's hands, and the rest with the Count v. Fries), especially because + it is English money. You will, therefore, see that I am no spendthrift. + This leads me to hope that you will not refuse my present request, to lend + my wife 150 florins. This letter must be your security, and would be valid + in any court. I will repay the interest of the money with a thousand + thanks on my return. + </p> + <p> + I am, etc., + </p> + <p> + HAYDN. + </p> + <p> + ...I believe you received my letter the very same day that I was reading + your cruel reproach that Haydn was capable of forgetting his friend and + benefactress. Oh! how often do I long to be beside you at the piano, even + for a quarter of an hour, and then to have some good German soup. But we + cannot have everything in this world. May God only vouchsafe to grant me + the health that I have hitherto enjoyed, and may I preserve it by good + conduct and out of gratitude to the Almighty! That you are well is to me + the most delightful of all news. May Providence long watch over you! I + hope to see you in the course of six months, when I shall, indeed, have + much to tell you. Good-night! it is time to go to bed; it is half-past + eleven o'clock. One thing more. To insure the safety of the money, Herr + Hamberger, a good friend of mine, a man of tall stature, our landlord, + will bring you this letter himself, and you can with impunity entrust him + with the money; but I beg you will take a receipt both from him and from + my wife. + </p> + <p> + Among other things, Herr v. Kees writes to me that he should like to know + my position in London, as there are so many different reports about me in + Vienna. From my youth upwards I have been exposed to envy, so it does not + surprise me when any attempt is made wholly to crush my poor talents; but + the Almighty above is my support. My wife wrote to me that Mozart + depreciates me very much, but this I will never believe. If true, I + forgive him. There is no doubt that I find many who are envious of me in + London also, and I know them almost all. Most of them are Italians. But + they can do me no harm, for my credit with this nation has been firmly + established far too many years. Rest assured that, if I had not met with a + kind reception, I would long since have gone back to Vienna. I am beloved + and esteemed by everyone, except, indeed, professors [of music]. As for my + remuneration, Mozart can apply to Count Fries for information, in whose + hands I placed 500 pounds, and 1000 guilders in those of my Prince, making + together nearly 6000 florins. I daily thank my Creator for this boon, and + I have good hope that I may bring home a couple of thousands besides, + notwithstanding, my great outlay and the cost of the journey. I will now + no longer intrude on your time. How badly this is written! What is Pater + —— doing? My compliments to him. + </p> + <p> + Yours, etc. + </p> + <p> + HAYDN. + </p> + <p> + To Frau v. Genzinger. + </p> + <p> + LONDON, Nov. 17, 1791. + </p> + <p> + I write in the greatest haste, to request that you will send the + accompanying packet, addressed to you, to Herr v. Kees, as it contains the + two new symphonies I promised. I waited for a good opportunity, but could + hear of none; I have therefore been obliged to send them after all by + post. I beg you will ask Herr v. Kees to have a rehearsal of both these + symphonies, as they are very delicate, particularly the last movement in + D, which I recommend to be given as pianissimo as possible, and the tempo + very quick. I will write to you again in a few days. Nota bene, I was + obliged to enclose both the symphonies to you, not knowing the address of + Herr v. Kees. + </p> + <p> + I am, etc. + </p> + <p> + HAYDN. + </p> + <p> + P.S.—I only returned here to-day from the country. I have been + staying with a mylord for the last fortnight, a hundred miles from London. + </p> + <p> + To Frau v. Genzinger. + </p> + <p> + LONDON, Dec. 20, 1791. + </p> + <p> + I am much surprised that you did not get my letter at the same time as the + two symphonies, having put them myself into the post here, and given every + direction about them. My mistake was not having enclosed the letter in the + packet. This is what often happens, dear lady, with those who have too + much head work. I trust, however, that the letter reached you soon + afterwards, but in case it did not, I must here explain that both + symphonies were intended for Herr v. Kees, but with the stipulation that, + after being copied by his order, the scores were to be given up to you, so + that you may prepare a pianoforte arrangement of them, if you are so + disposed. The particular symphony intended for you will be finished by the + end of February at latest. I regret much having been obliged to forward + the heavy packet to you, from not knowing Herr v. Kees's address; but he + will, of course, repay you the cost of postage, and also, I hope, hand you + over seven ducats. May I, therefore, ask you to employ a portion of that + sum in copying on small paper my often-applied-for symphony in E minor, + and forward it to me by post as soon as possible, for it may perhaps be + six months before a courier is despatched from Vienna, and I am in urgent + need of the symphony. Further, I must plague you once more by asking you + to buy at Artaria's my last pianoforte sonata in A flat, that is, with 4 B + flat minor, with violin and violoncello, and also another piece, the + fantasia in C, without accompaniment, for these pieces are not yet + published in London; but be so good as not to mention this to Herr + Artaria, or he might anticipate the sale in England. I beg you will deduct + the price from the seven ducats. To return to the aforesaid symphonies, I + must tell you that I sent you a pianoforte arrangement of the andante in C + minor by Herr Diettenhofer. It is reported here, however, that he either + died on the journey, or met with some serious accident. You had better + look over both pieces at your leisure. The principal part of the letter I + entrusted to Herr Diettenhofer was the description of a Doctor's degree + being conferred on me at Oxford, and all the honours I then received. I + must take this opportunity of mentioning that three weeks ago the Prince + of Wales invited me to his brother's country seat. The Prince presented me + to the Duchess (a daughter of the King of Prussia), who received me very + graciously, and said many flattering things. She is the most charming lady + in the world, possesses much intelligence, plays the piano, and sings very + pleasingly. I stayed two days there, because on the first day a slight + indisposition prevented her having any music; on the second day, however, + she remained beside me from ten o'clock at night, when the music began, + till two hours after midnight. No compositions played but Haydn's. I + directed the symphonies at the piano. The sweet little lady sat close + beside me at my left hand, and hummed all the pieces from memory, having + heard them so repeatedly in Berlin. The Prince of Wales sat on my right + hand, and accompanied me very tolerably on the violoncello. They made me + sing too. The Prince of Wales is having me painted just now, and the + portrait is to be hung up in his private sitting-room. The Prince of Wales + is the handsomest man on God's earth; he has an extraordinary love of + music, and a great deal of feeling, but very little money. Nota bene, this + is entre nous. His kindness gratifies me far more than any self-interest; + on the third day, as I could not get any post-horses, the Duke of York + sent me two stages with his own. + </p> + <p> + Now, dear lady, I should like to reproach you a little for believing that + I prefer London to Vienna, and find my residence here more agreeable than + in my fatherland. I am far from hating London, but I could not reconcile + myself to spend my life there; no, not even to amass millions; my reasons + I will tell you when we meet. I think of my home, and embracing once more + all my old friends, with the delight of a child; only I deeply lament that + the great Mozart will not be of the number, if it be true, which I trust + it is not, that he is dead. Posterity will not see such talent as his for + the next hundred years! I am happy to hear that you and yours are all so + well. I, too, have hitherto been in excellent health, till eight days + since, when I was attacked by English rheumatism, and so severely that + sometimes I could not help crying out aloud; but I hope soon to get quit + of it, as I have adopted the usual custom here, and have wrapped myself up + from head to foot in flannel. Pray excuse my bad writing. In the hope of + soon being gratified by a letter, and with all esteem for yourself, and + best regards to your husband, my dear Fraulein Pepi, and the others. + </p> + <p> + I am, etc., + </p> + <p> + HAYDN. + </p> + <p> + P.S.—Pray give my respects to Herr v. Kreybich [chamber music + director to Joseph II]. + </p> + <p> + To Frau v. Genzinger. + </p> + <p> + LONDON, Jan. 17, 1792. + </p> + <p> + DEAREST AND KINDEST LADY, + </p> + <p> + I must ask your forgiveness a thousand times; and I own and bemoan that I + have been too dilatory in the performance of my promise, but if you could + only see how I am importuned to attend private concerts, causing me great + loss of time, and the mass of work with which I am burdened, you would + indeed, dear lady, feel the utmost compassion for me. Never in my life did + I write so much in one year as during the last, which has indeed utterly + exhausted me, and it will do me good to be able to take a little rest when + I return home. At present I am working for Salomon's concerts, and feel + bound to take all possible trouble, for our rivals of the Professional + Society have sent for my pupil Pleyel from Strassburg, to direct their + concerts. So a bloody harmonious war will now commence between master and + scholar. All the newspapers have begun to discuss the subject, but I think + an alliance will soon ensue, my reputation here being so firmly + established. Pleyel, on his arrival, displayed so much modesty towards me + that he gained my goodwill afresh. We are very often together, which is + much to his credit, and he knows how to appreciate his "father"; we will + share our laurels fairly, and each go home satisfied. Professional + Concerts met with a great misfortune on the 14th of this month, by the + Pantheon being entirely burned down, a theatre only built last year. It + was the work of an incendiary, and the damage is estimated at more than + 100,000 pounds sterling; so there is not a single Italian theatre in + London at this moment. Now, my dear angelic lady, I have a little fault to + find with you. How often have I reiterated my request to have my symphony + in E minor, of which I sent you the theme, copied out on small paper, and + sent to me by post? Long have I sighed for it, and if I do not get it by + the end of next month I shall lose twenty guineas. Herr v. Kees writes + that the copy may possibly arrive in London three months hence, or three + years, for there is no chance of a courier being sent off at present. I + also told Herr v. Kees in the same letter to take charge of this, and if + he could not do so, I ventured to transfer the commission to you, + flattering myself that my urgent request would certainly be fulfilled by + your kindness. I also desired Herr v. Kees to repay you the cost of the + postage you paid for his packet. Kindest and most charming Frau v. + Genzinger, I once more beg you to see to this matter, for it is really a + work of mercy, and when we meet I will explain my reasons, respectfully + kiss your fair hands, and repay my debt with gratitude. The celebration + you mention in honour of my poor abilities touched me deeply, but still + not so profoundly as if you had considered it more perfect. Perhaps I may + supply this imperfection by another symphony which I will shortly send + you; I say perhaps, because I (or rather my brain) am in truth weary. + Providence alone can repair the deficiency in my powers, and to Him I + daily pray for aid, for without His support I should indeed be a poor + creature! And now, my kind and dear friend, I venture to hope for your + indulgence. Oh yes! your portrait is at this moment before me, and I hear + it say, "Well, for this time, you odious Haydn, I will forgive you, but—but!" + No, no, I mean henceforth strictly to fulfill my duties. I must conclude + for to-day by saying that now, as ever, I am, with the highest esteem, + yours, etc., + </p> + <p> + HAYDN. + </p> + <p> + To Frau v. Genzinger. + </p> + <p> + LONDON, Feb. 2, 1792. + </p> + <p> + I have to-day received your kind letter, and also the fantasia, and sonata + a tre. I was, however, rather vexed, on opening the packet, not to find + the long-looked-for symphony in E minor, which I had fully hoped for, and + expected. Dear lady, I entreat you to send it at once, written on small + post paper, and I will gladly pay all expenses, for Heaven alone can tell + when the symphonies from Brussels may arrive here. I cannot dispense with + this one, without incurring great loss. Pray forgive my plaguing you so + often on the subject, but I shall indeed be truly grateful if you will + send it. Being overwhelmed with work at present, I cannot as yet write to + Herr v. Kees. Pray, then, apply to him yourself for the said symphony. + </p> + <p> + With my kind respects, I am, yours, etc., + </p> + <p> + HAYDN. + </p> + <p> + You shall have a good portion of the sewing needles. + </p> + <p> + To Frau v. Genzinger. + </p> + <p> + LONDON, March 2, 1792. + </p> + <p> + Yesterday morning I received your valued letter, and also the + long-looked-for symphony. I humbly kiss your hands for sending it so + safely and quickly. I had indeed received it six days previously from + Brussels, through Herr v. Kees; but the score was more useful, as a good + deal must be altered in it to suit the English taste. I only regret that I + must trouble you so frequently with my commissions, especially as at + present I cannot adequately testify my gratitude. I do positively assure + and declare to you that this causes me great embarrassment, and indeed + often makes me feel very sad; the more so that, owing to various urgent + causes, I am unable to send you as yet the new symphony dedicated to you. + First, because I wish to alter and embellish the last movement, which is + too feeble when compared with the first. I felt this conviction myself + quite as much as the public, when it was performed for the first time last + Friday; notwithstanding which, it made the most profound impression on the + audience. The second reason is that I really dread the risk of its falling + into other hands. I was not a little startled when I read the unpleasant + intelligence about the sonata. By Heavens! I would rather have lost + twenty-five ducats than have suffered such a theft, and the only one who + can have done this is my own copyist; but I fervently hope to supply the + loss through Madame Tost, for I do not wish to incur any reproaches from + her. You must therefore, dear lady, be indulgent towards me, until I can + towards the end of July myself have the pleasure of placing in your hands + the sonata, as well as the symphony. Nota bene, the symphony is to be + given by myself, but the sonata by Madame Tost. It is equally impossible + for me to send Herr v. Kees the promised symphonies at present, for here + too there is a great want of faithful copyists. If I had time, I would + write them out myself, but no day, not a single one, am I free from work, + and I shall thank the good Lord when I can leave London; the sooner the + better. My labours are augmented by the arrival of my pupil Pleyel, who + has been summoned here by the Professional Society to direct their + concerts. He brought with him a number of new compositions, which were, + however, written long ago! He accordingly promised to give a new piece + every evening. On seeing this, I could easily perceive that there was a + dead set against me, so I also announced publicly that I would likewise + give twelve different new pieces; so in order to keep my promise, and to + support poor Salomon, I must be the victim, and work perpetually. I do + feel it, however, very much. My eyes suffer most, and my nights are very + sleepless, but with God's help I will overcome it all. The Professors + wished to put a spoke in my wheel because I did not join their concerts, + but the public is just. Last year I received great applause, but this year + still more. Pleyel's presumption is everywhere criticized, and yet I love + him, and have gone to his concert each time, and been the first to applaud + him. I sincerely rejoice that you and yours are well. My kind regards to + all. The time draws near to put my trunks in travelling order. Oh! how + delighted shall I be to see you again, and to show personally all the + esteem that I felt for you in absence, and that I ever shall feel for you. + </p> + <p> + Yours, etc., + </p> + <p> + HAYDN. + </p> + <p> + P.S.—Please apologize to Herr v. Kees for want of time preventing my + sending him the new symphonies. I hope to have the honour of directing + them myself in your house, at our next Christmas music. + </p> + <p> + To Frau v. Genzinger. + </p> + <p> + LONDON, April 24, 1792. + </p> + <p> + I yesterday evening received with much pleasure your last letter of 5 + April, with the extract from the newspaper, extolling my poor talents to + the Viennese. I must confess that I have gained considerable credit with + the English in vocal music, by this little chorus, [The "Storm Chorus," + see p. 91.] my first attempt with English words. It is only to be + regretted that, during my stay here, I have not been able to write more + pieces of a similar nature, but we could not find any boys to sing at our + concerts, they having been already engaged for a year past to sing at + other concerts, of which there are a vast number. In spite of the great + opposition of my musical enemies, who are so bitter against me, more + especially leaving nothing undone with my pupil Pleyel this winter to + humble me, still, thank God! I may say that I have kept the upper hand. I + must, however, admit that I am quite wearied and worn out with so much + work, and look forward with eager longing to the repose which will soon + take pity on me. I thank you, dear lady, for your kind solicitude about + me. Just as you thought, I do not require to go to Paris at present, from + a variety of reasons, which I will tell you when we meet. I am in daily + expectation of an order from my Prince, to whom I wrote lately, to tell me + where I am to go. It is possible that he may summon me to Frankfort; if + not, I intend (entre nous) to go by Holland to the King of Prussia at + Berlin, thence to Leipzig, Dresden, Prague, and last of all to Vienna, + where I hope to embrace all my friends. + </p> + <p> + Ever, with high esteem, etc., + </p> + <p> + HAYDN. <br /> <br /> + </p> + <hr /> + <p> + <br /> <br /> + </p> + <div class="mynote"> + INFORMATION ABOUT THIS E-TEXT EDITION + <p> + The preceding is the text of "Haydn," a biography of the composer Franz + Joseph Haydn, from the Master Musicians series. The book itself was + authored by J. Cuthbert Hadden, while the Master Musicians series itself + was edited by Frederick J. Crowest. "Haydn" was published in 1902 by + J.M. Dent & Co. (LONDON), represented at the time in New York by + E.P. Dutton & Co. Each page was cut out of the original book with an + X-acto knife and fed into an Automatic Document Feeder Scanner to make + this e-text, so the original book was, well, ruined in order to save it. + </p> + <p> + Some adaptations from the original text were made while formatting it + for an e-text. Italics in the original book were ignored in making this + e-text, unless they referred to proper nouns, in which case they are put + in quotes in the e-text. Italics are problematic because they are not + easily rendered in ASCII text. + </p> + <p> + Words enclosed in brackets [ ] are original footnotes inserted into the + text. + </p> + <p> + This electronic text was prepared by John Mamoun with help from numerous + other proofreaders, including those associated with Charles Franks' + Distributed Proofreaders website. Thanks to R. Zimmermann, S. Morrison, + B. Wyman, V. Walker, N. Harris, T. Mills, C. Franks, F. Clowes, T. + Mills, E. Beach, D. McKee, D. Levy, D. Bindner, R. Rowe, K. Rieff, J. + Cardillo, K. Peterson, H. Dank and several others for proof-reading. + </p> + <p> + Version 11 of this text prepared by Andrew Sly. Numerous changes and + corrections made by comparison with the original book. + </p> + <br /> + </div> + <p> + <br /><br /><br /><br /> + </p> +<pre xml:space="preserve"> + + + + + +End of the Project Gutenberg EBook of Haydn, by J. 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