win fireat magicians

E di te d by FR ANCI S HUE FFE R

JOSE PH H AYDN

PAULI NE D. TOWNSE ND

’ “ TRANS LAT OR OF JAE N s M OZART

LONDON M R T N SA PSON LOW, M A S O COM PANY

Limi t e d

FE T E E LANE FLE E T T E T T , S R E , E . C.

P R E FACE .

GR E AT musical learnin g and indefatigable a rdour o f

r O. t o esearch have enabled Herr F . Pohl (Librarian

f f t o a m the Gesellscha t der Musik reunde, Vienna) cco plis h for a for for t Haydn wh t Spitta has done Bach, Jahn Mozar ,

Chr s n d t o m Of and y a e r for Handel . The w volu es his ” h u 1 8 78 a n d Josep Haydn, already p blished (Leipzig, ’ bring the story of the com poser s life down to the

of f f 1 79 0 o or d . end the year , the date his departure Englan

’ The second part of the sam e writer s Mozart und Haydn ” in V 1 86 7 t o 1 795 London ( ienna, ) continues the narrative , f ’ m the close o Haydn s usical career . The present writer desires to m ake full a ckn owl e dg ’ m of t o ent her indebtedness Herr Pohl s work, and at the

m m t o f sa e ti e indicate, as her urther principal authorities

’ n m Of f m o all atters act contained in this volu e, Haydn s Autobiographical Sketch written for Das gelehrte 1 7 76 W Oesterreich in , and first published in the iener ” Z f fu r u 1 83 6 eitschri t Kunst , Literat r und Mode, in ’ “ No tiz e n iib e r d Griesinger s Biographische J. Hay n

’ s on ( Leipzig, Dies s Biographi che Nachrichten v ” 8 10 ’ . dn 1 . J Hay (Vienna , ) 5 von K arajan s J Hay dn in

3 6 9 9 5 7 E PR FACE .

’ “ n 1 791 u n d 179 2 186 1 Ca r a n i s Lo don, (Vienna, ) p Le

Ha di 2 d 1 2 3 on n e n . 8 y ( edit , ) the article Haydn in ’ ” Fit i s de s s v . Biographie Uni Musiciens ; and last, “ ” n ot . though least, the articl e J Haydn , by Herr ’ “ in of u Pohl, Grove s Dictionary M sic and Musicians . ’ The list of Haydn s com positions given at the end

’ Of the volum e is mainly based u pon that in Grove s

n dictio ary . ONTE NT C S.

T 1 CHAP ER . PA GE HILDHOOD AND ARL LIFE 1 732—1 750 — R onR Au— AINBUR G C E Y , H

APT C H ER II .

TU A 1 50—1 60 S D Y IN VI E NN , 7 7

T CHAP ER III .

APE LLM E ISTE R AT ISE N STADT 1 60 —1 766 C E , 7

I CHAPTER V.

WORKS AT ISE NSTADT 1 60— 1 7 66 E , 7

T CHAP E R V. — E STE R HAZ , 1 766 1 790

I CHAPTER V . — FIRST VISIT To LOND ON , 1 790 1 792

T II CHAP ER V .

E S COND VISIT To LOND ON, 1 794, 1 795 V111 CONTE NTS .

CHAPTER VIII . PAGE — — ’ THE CRE ATION THE SE ASON S HAYDN S LAST YE ARS C ON CLU SION

’ LIST OF HAYDN S C OM POSITIONS H A YD N .

HAPTE R C I .

CH ILD HOOD E A R L LI E 1 782 — 1 750 AND Y F , . — — R OHR AU H AI NBU R G VI E NNA .

THE interest of the life o f Joseph Haydn centres al m ost m s AS exclusively in his career as a u ician . we trace his a s rtistic progress step by step , we do not, as is the ca e m a m s s Of m e with Mozart, co e across ple sant Side gli p e ho s of f or m e interior , bright with the love wi e sister and welco to the Observer as Showing the m a n as he was in his be s t m ’ a n d truest oods . Nor do Haydn s letters which have s m or m s been preserved posse s uch general hu an intere t , m although they are valuable, as letters always ust be, in n f m m t hi helpi g us to or a true esti a e of s Character . His disposition would seem to have fitted him adm ira m fe b u h i m for t d e . bly a do estic li , this blessing was eni d s ix f m m His childhood ended at years Old, and ro that ti e - five until he was Sixty he had, properly speaking, no m f f in dis s ol u hom e nor ho e li e . His li e and hi s art were his f v bly bound together riendships , though the iew we get of these is s o pleasant and life - like as alm ost to c on t r a dict w f what we have been saying, were all ith his ellow artists or his patrons . H e for for n m s a n d cared nothing, lived nothi g but u ic, his sole regret in extrem e ol d age was that he m ust die before having carried his art t o greater perfection than it B I f f 1 HAYDN h a n it b e h a e s d t . SO yet at ained This bei g , v the biographer of Hay dn to centre the interest Of his life in of f l e i h the work his li e, and, whi e eagerly gath r ng suc c rumbs as he m a y find Of inform ation as t o Haydn the m a n , to strive to give his readers a clear and accurate Of m TO r portrait Haydn the usician . do this, howeve , i m f a im o f per ectly, will be the the present sketch, and it ’ of will involve a description Haydn s surroundings , m of m p hysical and hu an, and the ti es in which he lived a n d is i m worked , which, it hoped, w ll supply that ele ent of w m of general interest hich a ere record dates, events, a n d m co positions would certainly lack . ’ s of Haydn birthplace was the little village Rohrau, m m I n m lying , as its na e i plies , a flat, arshy district close f m to the River Leitha, which here or s the boundary f between Lower Austria and Hungary, and later alls into of a tributary the Danube . The house in which the great c ompo s er first sa w the light stands at the end of the long village street nearest to the Leitha and the b1 idge spanning m of fl the river, and was consequently at the ercy the oods, which laid the low- lying country under water as Often a s ov r fl owe d the river e its banks . Twice since the cottage ’ was built by Haydn s father has it been swept away ;

s 1 8 13 in 1 833 . fir t in , and again Twice has it been m f m SO s rebuilt, each ti e in its original or , that the pre ent n a n si gle storied, str ggli g little house, with its thatched f m a v roo and over shadowing tree, y be accepted as a ery f f m ’ m aith ul present ent of Haydn s earliest ho e . wo ksh o f r The p in which Mathias Haydn, the athe , c on w arried his trade as a heelwright has disappeared, b ut m the orchard and kitchen garden , stretching al ost to Of s t o we the banks the Leitha, are till be seen , and here ma m m y i agine Joseph , like any other sturdy little Ger an six of l f peasant, passing the first years his i e, playing, S m a l l t h e m f houting, tu bling, and getting into ischie w a Not f f or Of ithin his reach . only his ather, but our five f m h is six uncles also were wheelwrights by trade . The a ily m f m u ca e originally ro Hainb rg on the Danube, about ’ f f m h m Of S our leagues ro Rohrau . T ere ost Mathias Haydn a n d a broth e rs still pursued their calling, there also R L L E CH I LD HOOD AND E A Y I F . 3 con nection by m arriage nam ed Prankh was schoolmaster and Chorregent . Mathias Haydn m a y be d e scribed as a last - century

- f m of s e . Ger an peasant the be t typ An honest, God earing, h - m a n n e own f b u t ard working , co t nt with his lot in li e , not without a Spa rk o f a mbi tio n for his so n s ; s o that a s ’ his little Jos e ph s t a l e n t fo r m us ic becam e m ore and m or e m d m e h im fu m s arked , he like to i agin a ture Capell ei ter o r e u u s of Chorregent . Ignorant no gh , do btle s, he was all u s e s u t o t ide his trad , but not ab ol tely uncul ivated either, s ur n f i n h i s e ince d ing a visit to Fra k ort youth , und rtaken for m w t so e purpose connected ith his rade , he had learned a a n d wa s f of it s to pl y the harp by ear, ond singing to a m m m m m m i n cco pani ent , so eti es alone, so eti es duets with his w f w u i e . As the children gre p they were allowed to e f m t s f e d e j oin in thes a ily concer , and their ath r took pri I n f e in teaching them to si n g in parts correctly . a t r s s ou n e r e year , when Jo eph and his v g brother Micha l , m u s e n both studying ic in Vi nna , were spendi g their m n m n m s . O e holidays at ho e, the eveni g usic was re u ed c a n im agine h o w eag e rly the old m a n would produce h is m t f h is s s n instru en and upli t till plea i g tenor voice , as o n e s a 1 a m m s n who would y , And , too, a u ician The s w h of t fu e the ons , it all the arrogance you h l knowledg , ’ would question this or that point in the fa ther s rend e ri n g o f o r m m n t t h e s w voice part acco pani e , and di pute axing a m w n a c s n a n d w r , Mathias ould fi lly lo e it with the a gry n m Yo u a r e s e t of d n e s & una swerable re ark , a o k y s m 1 72 8 Ke ll e r e Mathia Haydn arried in Maria , daught r of a the Marktrichter and cook to Count H rrach , lord f f r u o the castle and village o Roh a . She was a girl ‘ o f twenty - on e wh e n her hus ban d brought her hom e to his n e w - u e e e h im w ly b ilt cottag , and h r She bore t elve e a n d f t fu f m childr n , lived a ai h l wi e and other till her 1 54 death in 7 . ’ s s for m s Jo eph love his other was deep and la ting, and, c on sidering the early a ge at which he l e ft h e r s ide never f I ét u r u a s m of t h e m e s f to an in ate ho , thi act points to a m n a n u n m ore than ordinary ate r l i fl e ce . t o f e e u l a The habi s ord r, r g rity , and hard work which 3 2 H N 4 AYD .

Sh e i e d t o of f a n d t o a nculcated , last the end his li e, visitor wh o expressed surprise at finding him when over seventy years of age fully dressed and with freshly on m n f powdered periwig early in the orni g , he grate ully declared that the strictness with which h is m other had i n sisted on neatness and order in her children fro m t h e earliest youth had m ade these habits second nature hi t o m .

n t o Fra z Joseph Haydn, known the world as Joseph of Haydn , the second child this worthy couple, was born in 1 7 3 2 . The exact d a y o f his birth is variously given 1 s t of M or l s t of m f as the 3 arch the April . He hi sel held t o t h e d l latter ate, and dec ared that his brother Michael him had invented the earlier, lest people should call a born April fool & The probability is that his birth took p lace during the night between the last day of March of and the first April . ’ of C There is little to tell Haydn s early hildhood . It diffe red in n o respect from that o f the other village m m children with who he played in the eadows , and went t o f m h and ro the village school, sent t ere no doubt as soon as he could toddle t o be safe ou t of the way of the s m f w bu y other and the younger babies, who ollo ed each other into the world in rapid succession . The little f e llow soon began t o give signs of a good m usical ear ; his special treats were the evenin g d uets of the fathe r m on e m him on and other, and can i agine perched a stool of l ow d - m in the corner the , ark living roo , listening with c n all his ears , and oc asionally venturi g to join in with a We m a m him t oo pretty childish treble . y i agine , , loiter i n g behind the other children when school was over, lis tening with open - eyed wonder t o the perform ances u pon the violin with which the village schoolm aster solaced m m his evening leisure . That ust be such easy usic to m t o t wo ake thinks little Joseph . One has only find n ice sm ooth pieces of wood and rub on e of them gently up m and down the other and, provided with his instru ent, ’ he s e t him self gravely by his father s side and joined in m m the evening concert, keeping strict ti e, and i itating ’ h m n f o m t e school aster s handli g O the b w to ad iration . CH I LD HOOD AND E AR L LI E Y F . 5

The delighted father began t o imagine a brilliant f for Who m uture his eldest son . could tell that he ight n ot t o , with industry and good luck, rise be a Capell m s or Fr a n kh ei ter, at least Chorregent, like cousin a t Hainburg & The m other had other and less worldly d m s w f b o t o rea , and ould ain have seen the y devoted a ’ M a thia s s n d priestly career . But stro ger will prevaile , ’ a n d Fr a n kh s t o u t o at next visit Rohra , he was pressed ’ d m on W e e g ive his ju g ent Joseph s voice and ear. ith an y ’ t o his own advantage as well as to his little cousin s future f m ff of him n a e, he O ered to take entire charge and begi ’ m u f his sical education without delay . The ather s eager ’ n th e m m consent was give , other s hesitation overco e ; s olacing herself with t h e thought that as Chorregent or Capellm e ister it would still be open to Joseph t o enter t he f s s sh e h priesthood and ulfil her deare t wi h, began wit ’ a ll a m other s hopes and fears t o prepare her little s on I for f m s Se e r l fin d his early flight ro the parent ne t . pp , m f o f f m ing hi sel suddenly the centre the a ily interest, t f n s d f t o be rayed little grie at parti g, but li tened uti ully ’ h is m other s exhortations as t o cleanliness and good b e w m o f d haviour and hen the orning his departure arrive , u f m t a n d having bid adie to his riend the school as er, s o f of h e ought the blessing the good priest the village, m w f ’ bravely ounted the aggon by his ather s side, and m w ade his first plunge into the ide world . f m n f n or Early as he le t his ho e, Haydn ever orgot it, d id the friendship and flattery of the great ever te m pt him in afte r- years to feel asham ed of his lowly origin wa s of h e e s e On the contrary, he proud having , as expr s d m e m n o u t of n r it, ad so ethi g nothi g and his poo er r n s of m n o s t o Cl ‘m elatio , who he had plenty, had cau e

of of e s of h i s p lain his want gen ro ity . The actual place

d him - s s birth was ear to , and we are told by an eye witne 1 79 5 m t m n that in , when he was aking his riu phal retur f m d ro his second visit to Lon on , and was invited by Count Harrach to in s pect t h e m onum ent erected to his h of s d onour in the grounds Castle Rohrau , Hay dn toppe

1 h A u st a n d m n u t e for o s e h T e ri i i iv J p . H 6 AY DN. short on the thre shold of the little cottage th at had h is m e e n s s un been ho e , and kn li g down , ki ed the gro d m ade sacred t o him by the footsteps o f his father and h I n ot e r . The shor t journey from Rohrau t o Hainburg is an intere s ting on e to the lover of an tiq uity or the student o f hi s tory the country aro u nd is thickly s trewn with Rom an m s t h e t t of w s t re ain , and li le town Petronell , hich lie abou

f- wa t wo e s of m hal y between the , cov r the Site the Ro an f m d s e . m h o city Carnuntu , e troy d by Attila A ile sout n is H e ide n t h or n of m Petro ell the , the rui s a triu phal arch erected by Au gustus to com m em orate the conque s t of n ia s Pa non by Tiberiu . s o n v e Mathias Haydn and his little , howe er, were littl

. likely to fe el any association wit h these relics of a p a s t o r h for n i of age, to ave an eye anythi g but the first s ght wh e n d of the Schoolhouse ich was to be the their journey . ’ The father s hear t m ust have bea t high with hopes and f s ol d n a n d ears when the picture que tow , with its walls m m n m u f towers , ca e in sight , and his i d st have been ull o f the m em ories of his o wn e arly youth as the hu m bl e v w u Wie n e r th or on e con eyance passed slo ly thro gh the , of t h e t wo cas tellated gateway s planted at the e x tr e m i of i t ft - five f o n ties the pr ncipal s reet . Fi y years be ore , 1 l th 1 6 83 u e m a e July , , Hainb rg had b en stor ed and pill g d ’ n s - - f by the Turks , and Hayd great great grand ather had l e w his f e e n bare y escap d ith li e . Since then it had b n m - Th r l wa s n ow . e ebui t , and a flourishi g arket town s h m n of d d chool, in w ich the ele e ts an or inary e ucation w t o t h e s e n a s ere given boy s , together with p cial traini g C s s wa s e n m d t h e hori ter , , as we have se , at that ti e un er of n s P h th e f s direction Joha n Mathia rank , who united o fice of m t t h e of school as er and Chorregent , and bore title h u l m n f Sc r e c t or . a o He was a about thirty, possessed o f m w d an d s u h considerable usical kno le ge, a evere, tho g m n s wa s m by no eans conscie tiou te acher. He ore than once called t o accou n t by t h e authorities for neglect o f his a s m on s m e duties school aster, and later was di iss d ' (tho u gh afterwards rein s tated in his o flflce ) on a charg e of m n d To a s ga bli g with loaded ice . Hay dn he g ave, CHI LD HOOD E AR L LI E AND Y F . 7 t h e l m latter dec ared, ore blows than victuals ; but he e e n i s arned his gratitude as a t acher evertheless , as ’ p roved by a bequest in Haydn s will t o the daughter of P s d Schim e l m rankh and her hu ban , Philipp p , at that ti e of 1 00 fl or in s of P m Chorregent, and a portrait rankh, y ” fi s r t instructor in m usic . ’ It was on the side of F r a n kh s wife that the relation

f m e . ship with the Hay dn a ily xisted She was Julie Rosine, u of Se e fr a n z wa s da ghter Mathias , who the second ’ sb of n m h m t o a hu and Hayd s grand ot er . She see s h ve neglected her duty towards the little fellow con fided to n m her care, and the cha ge to poor Joseph ust have been d s m e f great . He has recorded his i tress at finding hi s l , ’ “ for of m m d l want his other s care, beco ing a irty ittle ” f of C of six ol d urchin , and the act a hild y ears being m d for of n s co pelle to wear a wig the sake cleanli es , on e d of h is f a n gives a pathetic i ea orlorn state . H yd f for m s e f had, ortunately hi l and the world, a naturally f s s t c him buoyant and cheer ul di po i ion , whi h sustained u s nder the petty Oppres ions and annoy ances , which are the inevitable l o t of a youth of genius strugglin g u p ~ m t o e ward, and he see s even at this early age have tak n ’ ’ F r a n kh s cufl s f e and hard words, and his wi e s negl ct w h im th e ith all the philosophy possible to . Dies relates on ly musical anecdote of him which has com e down to us f m m m of m h ro this ti e , and which re inds us any suc stories told of the youn g Mozart . f n a& There was to be a great church estival , includi g s t h e s of t h e proces ion through street the town , in which f s B u t a s m o . choristers were , a atter cour e, to take part m m f n n o on e f n h is the dru er alli g ill , could be ou d to take P e for him place, till rankh call d Joseph Haydn, showed h m a n d f him s a n e ow t o . ake the stroke, le t to practi e it lo f m s th e t O Joseph ound a eal tub, tretched a cloth over p , se t on e m w h it a stool, and b gan to dru a ay with suc vigou r that the stool was s oon overturned and hi m s el f

m . t a n d covered with eal dust But the stroke was learn , the specta tors of the m elancholy procession fou nd their gravity unduly taxed by the sight of a little fellow of s ix a ld a um f r him a y e rs o beating big dr , carried be o e by 8 HA DN Y . h a e of d e h e unchback, as bear r or inary statur would av f u f m s raised the instrum ent a r o t o his reach . The dru o n which he perform ed this feat are still preserved in the h c oir of the church at Hainburg . t wo wa s Joseph had been years at Hainburg, and consequently between seven and eight years Old, when an event occurred which m arks the co mmencem ent of the

e on d of m r . c epoch his usical caree Georg Reutter,

m of of . a Capell eister the Cathedral St Stephen in Vienn , passed through Hainburg in the course of a journey ’ undertaken in sear ch of boy s voices t o recruit his Choir . Hearing from Prankh of t h e m usical talent of his little n h im ou t f m m cousin, he si gled ro a ong the choristers “ m m t o n f h m m his su oned si g be ore i , and, char ed by weak m f s for but pleasing voice (as Haydn hi sel say ) , he sent n him t o the house where he was stayi g . Placing a canon e f h im t o b ore the boy , he desired sing it at sight, and Haydn obeyed with s o m uch readiness and correctness of a r a s s a w f e that Reutter W delighted . He the little ellow a s he san g cast longing glances at a plate o f cherries on n f the table , and throwing a ha d ul into his cap , he said, W ou ou m a ell done, y little rascal Can y ke a shake ” No u . n o m , answered Sepperl, nabashed But ore ca n my cousin Fr a n kh . e Reutter laugh d at the ready answer, and taking Joseph between his knees he explaine d to him shortly t o m e how take the intervals that co pose a shake, and bad him m ff t o w try . The first atte pt was su iciently good Sho wh o w d o t o that here was a pupil ould honour his teacher, a n d Reutter a t once offered t o take Ha ydn into the

Ca n t or e i o f . m f h is St Stephen, and charge hi sel with m f usical uture . Provided the parents consented to this n m m arra ge ent , Haydn was to re ain at Hainburg until he m t o had co pleted his eighth year, and then at once proceed s of e t m a b e to Vienna . The con ent the par n s, as y n f t f s a w ot o . supposed, was di ficult Obtain The ather his m on t o highest a bition the way be realized, and the m wh o s of other, still cheri hed secret hopes the priesthood for e on e Jos ph, looked upon this step as in the right The bo m f n ot t oo t o f l direction. y hi sel was young ee H D R L C ILDHOOD AN E A Y LIFE . 9

m t o s a f pride in his advance ent , but he used y a terwards that he never saw a plate of cherries without thinking of t o m that day, and his first introduction Capell eister

Reutter . ’ The Vienna of Haydn s day contained about a fifth of m of h a s the nu ber its present inhabitants . The city been variously com pared t o a ring with a centre of brilliants r ow of m f r ow of surrounded by a e eralds , and a urther ’ - m parti coloured ge s ; and to a spider s web, the centre ’ t s near St . S ephen s Cathedral, whence the treets radiate outwards in every direction and are encircled m id - way of l by a belt boulevards cal ed Ringe . This green belt (the em era lds of the ring) is laid o ut u pon the ground Gl a cis of 1 858 that was the the city until , when the f f m of ortifications were destroyed . It or s the boundary - f Vienna proper, and beyond it are the thirty our suburbs Vor st adt e fu ( ) , stretching rther into the country as the city increases year by year. In the centre and older u of quarter are all the principal ch rches, the palaces the m f e peror and the nobility , the public o fices , and the

e . of . b st shops Here stands the Cathedral St Stephen , w it s w f f w ith onder ul spire and beauti ul door ays , and — here on e of a r o w of s m all houses built cl os e over against — the principal doorway ( R ie s e n t hor ) was at that tim e the Ca n t or e i or of , choir school, where the next ten years ’ if m m of Haydn s l e , the ost i portant his artistic career, ’ f a n t or i f . were t o be spent . The C e o St Stephen s was o f m f ve ry ancient oundation . It is ention ed in o ficial d m 14 41 of ocu ents as early as , and the constitution the school m a y be gathered from directions given concernin g — 1 5 1 1558 7 . in 1 6 63 it in It was newly constituted , and m m f e s any alterations were ade then and a t rward , but in its m ain points it was the sam e in Haydn’ s day as it had f r f been o nearly a century be ore . The school consisted o f m m a Cantor ( ade Capell eister in a Subcantor,

s ix . m n two ushers , and scholars The nu ber had bee 1 7 1 5 . a ll d thirteen , but was reduced in They live

t ha d m mm . toge her, and eals in co on All expenses were w f b m e paid by the to n , and a airly li eral allowance was ad d for a n of . the board, lodging, clothing the scholars 1 0 HA D Y N.

But the cost of living had increased since this sum h a d ’ d of m been fixe , and the boys Haydn s ti e were poorly fe d a n d s cantily clothed . They rejoiced greatly when umm n for they were s oned to si g at private banquets , then they were sure of a good m eal a n d a s mall present in m h b ox t o f m a. oney, w ich was always put into a or com m on fund for the s upply of any little luxu ries gra nt ed t h e to boys . The teachers had form erly been obliged to give 1 11 struction in m usic t o th e pupils of the neighbouri n g m v d town schools , but this obligation had been re o e , and d i n t a n t r i their ut es were ow confined o the C o e . Here i e r they taught the r boys religion and Latin , tog the w t t h e of a n d i h ordinary subjects school education , i m n n n n . S n n usic the violi , clavier, and si gi g i gi g m ust have been very carefully taught to enable the b oy s t o perform as the y did difficult m asses a n d other church ’ m s m r s co positions at first sight . Haydn usical instructo ’ a t h Fin st r u ch St . Step en s were Gegenbauer and e b s ; m n of t t he little but their na e is k own ei her, except that f m t h e t or er also taught the violin , and lat er had, according “ ” m d to Haydn , a fine tenor voice . The ore advance ’ s e a n d s cholars instruct d the younger ones, Joseph delight wa s great when his younger brother Michael j oined the choir and wa s placed under his care . m n The labours of t h e choir ight be co sidered severe . There were t wo full choral services daily in the cat he d iz w s ub v . ral , High Mass and Vespers , ith all their d i e Te De u ms n n visions ; sp cial were consta tly su g, and t h e singin g boys had t o take part in the n umero u s s olemn processions of religious brotherhoods through t he c n s for t h e ity, as well as in the thanksgivi g ervices d f n f m of t h e for eliverance o Vien a ro the siege Turks ,

. D n royal birthdays , and other such occasions uri g Holy a m Week t h e labours of the choir were continuous . On P l Sun day the archbishop a n d clergy wen t in solem n pro c s n n m s t h e s e sio , carryi g pal , while choristers and priest ’ s ang altern ate verses fro m the Gospe l account of Chri st s e n m ntry i to Jerusale , and the boys spread their church P s ves tments on the fl oor of t he cathedral . The as ion

2 HA DN 1 Y .

old d of s f- m m in his age these ays study and el i prove ent . I n 1 808 a f m t o , year be ore his death, having co e Vienna for m c f t h e of a n t or e i so e hurch estival, boys the C were ’ f him m m s brought be ore , introduced by Hu el and Haydn f l z Po e lli . ol d m a n avourite pupil, Anton The looked a t m kindly the boys, and addressed the in the words n bo u m e f I was once a singi g y . Reutter bro ght ro m

Hainburg t o Vienna . I was ind ustrious when my com panions were at play ; I used t o take m y little clavier m a r m o off t o W n under y , and g practise undisturbed . he ’ a I sang a solo, the baker near St . Stephen s yonder lways m e a s gave a cake a present . Be good and industrious, ” a n d G d serve o continually . ’ m n ot Haydn s usical zeal, however, did prevent occa s ion a l of fun m f o n e outbursts and ischie . On occasion , the boys of the Ca n t or e i having been s ent for t o sin g at SchOn br u nn th e n , where court was then residi g, enjoyed f of f the uller liberty the palace gardens, a ter their close ’ m quarters at St . Stephen s . The E press Maria Theresa w a s then com pleting the building of the palace begun ’ I m s ff l by Leopold . , and the work en s ca o ding presented n m t o wh o an overpoweri g te ptation the boys, were soon astride on the beam s as high u p as they dared t o climb . o f a n d Prohibitions were little avail , and the ringleader m s of ou t t o ost adventurou the band, pointed Capell m m f t o eister Reutter by the e press hersel , proved be him none other than Joseph Haydn . Give a good ” n m m m a f t e hidi g, was the i perial co nd, orthwith execu d ; a n d f - t Of in a ter years , Haydn took an Opportuni y thank f f ing the em press for this her first proof o royal avour. ’ Haydn s progress and perform an ce s were s o creditable t o the Ca n t or e i that Reutt er had n o hesitation in making a n ofie r t o Mathias Haydn of the sam e advantages for n s on wh o his you ger Michael , accordingly joined his ’ His s m . brother at St . Stephen to their utual delight ’ a wa s t o c ut dvent, however, destined short Joseph s s Hi wa s of career a s a chori ter . s voice stronger and t ’ h t better quali y than Joseph s , whic was abou breaking ; a n d on on e m r occasion the e press , decla ing that Joseph ” s a c w e m t Haydn ang like ro , desired that Micha l igh CH ILDH OD E AR L LI E 1 O AND Y F . 3

n S a lve take his place . Michael accordi gly sang a R e in a t a g with such sweetness and pathos, tha Mari Theresa sent for h im and rewarded h im with twenty W h im m four ducats . hen Reutter asked what he eant m m m “ to do with so uch oney, he pro ptly answered, I f t o m f f shall send hal y ather, and keep the other hal till ” s o m y voice breaks . Reutter applauded prudent a ff of resolution , and o ered to take charge the twelve ducats him self ; but he seem s to have forgotten t o pro m m m duce the when the appointed ti e ca e . Henceforth Reutter was on ly upon the watch for an f or n n ow excuse dischargi g Joseph, in his eighteenth f m u year . A boyish reak , showing the so ewhat tho ght of fun him f less love which distinguished through li e, f n gave the desired opportunity . The possession o a e w pair of scissors tempted Joseph t o try their quality on m every Object that ca e within his reach . A school ’ fellow s pigtail hung tem ptingly before him ; snap went f n the scissors , down ell the pigtail , and the decree we t forth from the Capellm eister that for this ofl e n c e Joseph m on m f Haydn ust be caned the pal o his hand . Furiou s at the proposed indignity , Joseph declared that he woul d a e llh a u s m So leave the C p rather than sub it to it . y ou “ ou shall, said Reutter, but y shall be caned first, and ” off so f then with you , as soon as you like l And it be ell that Joseph Haydn foun d him self in the streets of on m of 1 74 9 Vienna a Nove ber evening the year , penni me s w f less , ho le s , and ith no uture prospects whatever. 1 4 HA D Y N.

CHAPTE R II .

T U S D Y I N V I E N N A .

1 750— 1 7 0 6 .

’ THE t - urning point in Haydn s career thus reached, i f n e will be well, be ore e tering up n the struggles, priva of m d t o tions, and earnest labours his early anhoo , gain m a a clear idea, however slight y be the sketch which ff of on of a ords it, the stage which the second act his f ’ m d f li e s dra a was t o be playe . The Vienna o the second half of the eighteenth century was the capital of the m ost a n d if l m f ancient glorious, not stil the ost power ul e m of pire Europe, inhabited by a proud and wealthy n m - a n d if n ot obility,a prosperous iddle class, a Silent, a contented, lower class . f Vienna was essentially a city o pleasure . That bril liant display of intellect and wit which was t o be found s a l on s of f e in the Paris be ore the R volution , was wanting in the palaces of the Viennese nobility ; the presence Of of of the court, and the prudent policy the House of m Austria , excluded all subjects interest which ight result in calling into question the divine right and supre ” of th e m acy powers that be . Sensual pleasures alone rem ained t o gratify the taste and kindle the em otions of w o f society, and the natural result was a general lo ering m u of a m o r the oral tone, and an absol te dearth high i s noble achievem ents either in individ uals or the c om m u 9 n ity at large . A sort of artificial stim ulus t o the cultivation of

m e s . science and art was given by the E p ror Jo eph II , m f ma n the son and successor o f Maria Theresa . Hi sel a of n m n f d considerable refi e ent and even lear ing, he ounde STUDY I N VI ENNA . 1 5 s a u everal valu ble scientific instit tions , and liberally m for h patronized the arts, especially usic, the taste whic f m l m Of was hereditary in his a ily . Fol owing the exa ple t h e m court, the great nobles vied with each other in ain t aining expensive m usical establishm ents ; but that the l for Viennese genera ly were not enthusiastic art, the f Of m 1 768 ollowing description the , written in by that s d sufli cie n t l w& hrew observer, Leopold Mozart , will y sho Of The Viennese public, as a whole, has no love any or n thing serious sensible, they cannot eve understand fu b f it, and their theatres rnish a undant proo that n h othing but utter tras , such as dances, burlesques, har ’ l e uin a de s h q , g ost tricks, and devil s antics will go down m Y u a . o m s e e m with the y a fine gentle an , even with an on l n order his breast, laughing til the tears run dow his f a m m Of ace, and pplauding with all his ight so e piece s s ff m t h en eless bu oonery ; whilst in a os pat etic scene , where the situation and action are alike irresistibly fine a n d c o f patheti , and where the dialogue is the highest r h e s o orde , will chatter loud with a lady that his better f m ” in or ed neighbours can sca r ce ly h e a r a word Of the play . m f m of m Music was an exotic i ported ro Italy, not ho e Of n ot Of growth ; it was the art the court, the people, a n d its fortunes rose a n d fell with the fortunes and ca Of m m or prices the court . All usical co positions, great s m mm or all, were co anded either by the court the n or m Of obility, co posed in the hope gaining royal or n of oble patronage . The two theatres Vienna proper, or a Kar n t hn e r t hor the Burg Pal ce Theatre, and the e m Theatre, wer both under i perial control, and the s trong predilection of the imperial family for Italian m usic caused the fail ure of all attem pts to introduce m m 1 8 5 or . v so 7 Ger an Opera Ger an singers E en late as , Ka r n th n e r th or f f m when, the Theatre being reed ro its c onnection with the court, it was decided to place G m m er an Opera there in co petition with Italian Opera, t h e want of national life and feeling again produced f i a s f s f m a lure, the ollowing characteri tic outburst ro n of his Mozart , disappoi ted at the Short career E n t fiihr u n g, will show HAYDN.

I ca n give y ou (he writes t o the librettist Klein) n o f m t o m a s present in or ation as the intended Ger an opera, ( with the exception Of the alterations at the Ktir n th n e r t h or th a t e r o n t o e ) everything goes very quietly . It is Of d o be Opened at the beginning October . I not pro h f p e sy a very success ul result . It seem s t o m e that the plans n ow form ed are m ore likely to e n d in the final o verthrow o f the tem porarily depressed Germ an Opera

- in - l a w than in its elevation and support . My sister , t o m c om Lange , alone is be allowed to join the Ger an li r i Ada m b r r T l m n s . Ca va e e e e b e r a l pany , g , y , pure Ger a , o f m ou r f m a in who atherland y be proud, are to stay the

Italian theatre t o oppose and rival their own countrym en . German singers at present m a y be easily counted And if s m even they be as good as tho e I have na ed, which I m t m m very uch doubt, the presen anage ent appears to m e t oo economical and t oo little patriotic to think o f Of paying the services strangers , when they can have as n good or better o the spot . The Italian t r oup e has no need of them in point of n um bers ; it can stand alone . I f only a single patriot were t o com e t o ff B u t f . the ore, it would give the a air another aspect t s e in tha case , perhap , the budding national theatr would break forth into bl os s om ; and what a dis grace it would be to Germ any if we Germ ans Once began t o or or or — s in in earnest think, act, speak, even to g m m e m ir if o fa r m . DO n ot s t o Ger an bla e , y dear , I go a m fe w i n my zeal . Convinced that I addressing a llo Ge r m a n m n u f h u n for t u , I give y to g e ree course, whic n a t e l s o m ft n y is seldo possible, that a er such an outpouri g o f the heart One feels that he m ight get drunk without ” of I a ny risk njuring his health . In church m usic Germ any was destined t o trium ph I n t h e f m m end , although its rules and or s were deter ined m Of we by the Neapolitan school, and at the ti e which a r e speaking church m u s ic was com posed Of m uch t h e m m m s sa e aterials as Italian operatic u ic, and exercised ff s of m m m . uch the sa e e ect Thi does not, course, i ply that operatic form s were dire ctly im ported into church m h m t o t h e usic, whic ust necessarily be subordinate STUD IE NNA 1 Y IN V . 7

l iturgical form s Of Divine service ; but the character Of t h e m s it s m m m m u ic, oral and artistic ele ents , beca e ore a n d m t h e f f f m ore secular, as art strove to ree itsel ro the fe tters of tradition ; the sway Of the singer too was a s m in m ighty the church as elsewhere, and de anded as m any Opportunities for displa y ; and the idea that the wors hip of the Alm ighty wa s best prom oted by satisfying the prevailing taste was u n ited to the pleasure afforded f m Of fir s t - s by the actual per or ance a rate vocali t . m n m u s o f Instru e tal sic, as a di tinct branch the art , a n d t f m i n f . W e apar ro the voice, was still its in ancy s hall tra ce its progress as identified with that Of Haydn m s f s s e e h o w h is hi el , and we hall genius succeeded in c ombining t h e natural strength and youthful fr e s hness o f m m m of usical Ger any with the refine ent, ease, and grace m of the ore m atured art Italy . wa s on e Of There , however, point at which the art m usic and the d aily life of the Viennese cam e into direct n NO m s m s c om c o tact with each other . a u e ent was o pl e t e ly to the tas te of the gay and lau ghter - loving public a s of a n d u t f of that dancing, d ring the la ter hal the e m ighteenth century it beca e an absolute rage . Dance “ ” m u s m e s m on ic, at first inu t and alle ands only , later c n s a s ou try dance , l ndler and waltze , developed into an m o f m s i portant branch co po ition, and the suite, consisting o f s of m ff i a succe sion dances in the sa e key, but di er ng in m m s ti e, easure, and expre sion, no doubt suggested the divi s ion Of the m odern sym phony and son ata form into s e m m m of parate ove ents , and also the direct i portation m m the inuet into serious orchestral co positions . The popular and individual Character which Haydn took pains to give to his m inuet m ovem ents proves that he considered the composition Of dance m usic as such in no wa y deroga d m tory to his ignity as a usician , and we are told that ’ Mozart s Official duties as Chamber Com poser to t he E m peror were limited t o the production Of dance m usic ' for m e d ou e n sal e t he m asked balls in the I perial R t . After the erection Of the Burg or Palace Theatre I n 1 752 Ol d H of , the Theatre was converted into the large and

m R e dou t e n s al e n s a s & 0 . s all now existi g, and concert , b ll , C N 1 8 HAYD . 1

w e m kd k n h e . a n d t OO e were give t re The balls er as e , plac on d or u d on every Carnival Sun ay, Shrove T es ay, and l of . f d the three last days Carniva Joseph II . avoure m m Of w s f the as a eans dra ing cla ses together, and requently a t h m m e d appeared t e with his court . All classes ix w f s a s . s reely, and con iderable licence allowed The u ual m s f m dances were inuets, country dances , and waltze , ro the last of which the higher classes held aloof on accou n t o f the crowding (just as is the case in Don The m anagem ent of the Redoute was generally in the m of n sa e hands as that the Opera Theatre, the two bei g m u m t h e far ed o t together . The court onopolized both a n d Kar n t h n e r th or t Opera Theatre the Theatre, and kep l m n 1 9 4 a m t the contro over the u til 7 . Thus it c e abou that the co u rt theatrical director ordered the dance m u n fe w for a usic , and altho gh the pay was o ly a ducats s e t of d Of m s e ances, the services good co po ers wer l m for G r owe t z m m l c ai ed the purpose ; Haydn , y , Hu e , m for Mozart, and Beethoven all co posed the Redoute . ~ Well m ight Mozart wri t e bitterly after the custom ary e ntry on the Official ret u rn of his incom e as Gou I t “ m — TOO m for t for Co poser, uch wha I do ; too little ” 1 wh at I could do . ’ n n i n o Haydn s reflections as he tur ed pen less, and with f m clothes but those On his back , ro the house which had h a d for m for s m s t been all that he ho e the last ten year , u have been gloom y and hopel e s s enough to depres s even f s e e Of n his cheer ul Spirit . He could litt le prospect bei g a ble t o support him self until by dint of hard study and m an y fa ilures he co u ld succeed in showing the talent th a t was in him by the com position of a work original and m u h im Of m i portant eno gh to gain the post Capell eister, w AS in st r u hich was the Obj e ct Of his am bi tion . an m entalist he had neither hope n or intention Of doing m ore t han m aster som e instrum ent sufficiently to gain a partial l ivelihood by teaching durin g h is years of study ; it wa s m f t m f n as a co poser that he el hi sel desti ed to succeed , and his confidence in his own powers urged him to waste

1 ’ 2 7 h n 1 1 . . 6 a s L fe of o a E n E d t vol . J i M z rt ( g i ) , p

H 2 0 AYDN.

m n for On e or m m s a n d v n co positio s ore instru ent , by gi i g u m W f hi l e s s on s for a trifling s . ith the return o spring s m s t for f u fl it t e d hopes rose . and nu erou projec s the ut re On e O . f m n through his brain these, i pelled by hu ger, x f l m s he put into actual e ecution . Joining a party O pi gri Of to the shrine the Virgin at Mariazell, he presented m f t o - m f m u hi sel the choir aster as a or er p pil at St. ’ m Of own t m Stephen s, and showed so e his a te pts at sacred m usic a s proofs of his fitness for admi s sion into - m s u d m s s h im the choir . The choir a ter ro ghly is i ed , sayi n g that he had la zy rascals enough from Vienna and w n o m e m e anted ore, wh reupon Haydn ingl d unperceived w ith the choir, and having vainly endeavoured to persuade - him n the solo singer to let take his part, sudde ly snatched ’ m o u t of s d n the usic the astoni hed y outh s han , and sa g the solo in s o finished a style that all the choir held thei r

- m for f breath to listen . The choir aster sent Joseph a ter for m s s the service, to apologize his rude dis i al and invite him m t o re ain at Mariazell over the day . The invitation t o t o was extended a week , and Haydn returned Vienna f O f m s u m O f strengthened with ood, and possessed a s all m oney collected am on g the choi r t o supply his imm ediate n eeds . It was n ot lon g after this adventure that an event occurred which placed Haydn above the pressure o f actual him t o d m f t o for want, and enabled evote hi sel the study so a A m Of which he longed rdently . good trades an m o u t Of Vienna, na ed Buchholz , sheer Christian charity, ’ a n d fa m f perhaps with ith in the young an s uture, lent h im 1 50 fl or in s f m unconditionally . An extract ro ’ Haydn s firs t will (dat e d 1 80 1) will Show how opportune f h ow f m m To was the avour, and grate ully re e bered f 1 00 fl or in s m m the Jung rau Anna Buchholz , in re e brance that in my youth a n d extrem e need her grandfather m m e Of 1 50 fl or in s ade a loan without interest, which I f hf f ” ait ully repaid fi ty years ago . Wh o n ow SO happy as Joseph Haydn & The first step f m f s in his ortunes was ade, and hence orward his progres , s f wa s s . O though slow, steady and a sured In posse sion what m ust have seem ed to his inexperience inexhaustible STUD I N VI E NNA Y . 2 1

l h fi t o am wea t , his rst care was secure a habitable ch ber “ ” t f M ich a e l e r h a u s f m his he ound in the Old , or erly t o f a n d h m ou t attached a religious oundation , at t at ti e let m m of w s in tene ents . The roo hich Haydn took posses ion m Off f m with uch delight was a garret, partitioned ro a m t s larger roo , wi h scarcely pace to turn round in , and f hardly any light . It contained no stove , and the roo was in such bad repair th at the rain and snow m ade u n ce r e m on i ou s s entry, and drenched the young arti t in his bed . In winter the water in his jug froze s o hard during the n t f m w ight , hat he had to go and draw direct ro the ell . His im m ediate neighbo u rs succ e s sively a journeym an “ Ka m m e r h e iz e r fu s printer, a (a nctionary whose bu i n es s it was to m ake u p th e fire s in the apartm ents of a or m f m of prince noble an) , a oot an , and a cook , were not a clas s to respect h is desire for quiet st udy ; but none Of these drawbacks succeeded in dam pin g t h e ardour Of as

m - l piring genius , and with his little wor eaten c avier as a n m n d wa s m e f s consta t co pa ion Hay n , as he hi s l expres ed “ f s u e t o o o . it, happy to envy the lot king Fort n favoured while s h e frowned on him for in bringing h im t o the M ich a e l e r h a u s sh e had placed him within reach Of the two people wh o perhap s in all Vie n na were m o s t l ca culated to furthe r his career as a m usician . On the t t w t e hird story dwel the reno ned Italian poe M tastasio , ’ who could not fail to take notice Of the youth s ardou r l n and genuine talent, and who ater entrusted to Hayd m s of f n the u ical instruction his avourite pupil, Marian e f on h im l Martinez . He con erred a stil greater benefit by n t h im t o m m O f I roducing Porpora, the ost e inent teacher n n m s of d a B u t n ot si gi g and co po ition the y . this was e m y t . For eighteen long onths Haydn lived and worked m f for alone, supporting hi sel by giving lessons a trifling m pay ent, and by playing the Violin in orchestras , and the organ in churches or private chapels when he could . E very spare m om en t was devoted to s tudy and com posi a n d M a t t h e son Fux tion his clavier . His and his were his only friends until on e lucky day that he found him self with s avin gs sufficient to enable him t o invest in a new sub m . s f m m usical work He elected, ro the s all stock 22 HA DN Y . f i him Ph E m m t t d t o f . e s t O . , the six first ona as C anuel B m e ach , and the choice exercised an i portant influenc on f m f “ his uture studies . He says hi sel , I did not leave m m the clavier until I had astered the all, and those who know m e well m ust be aware that I owe ve ry m uch to m E anuel Bach , whose works I understand and have m m f m thoroughly studied . E anuel Bach hi sel once co pli f ” 2 m e n t e d m e on . this act 0 ’ wa s It the case, that as soon as Haydn s works began t o n him be publicly know , Bach hailed with delight as a “ n hi m a disciple, and took occasio to send word th t he alone had thoroughly understood his works a n d m ade a I r f m of p Op e use O the . A later theoretical work ’ “ m on of E anuel Bach s , the Treatise the Right Method ” ’ l f f n p aying the Clavier, soon a ter ell i to Haydn s hands, and strengthened the im p I e s sion m ade by the sonatas . The Spirit of the work m a y be sum m e d up in a very fe w words by Bach hi m s e lf & A m usician cannot m ove others ” “ h s m m f & unless e be fir t oved hi sel . And again It seem s t o m e that the firs t Object Of mu sic is to touch the ca n m m heart , and this never be done by ere thu ping, s n in d t h e flouri hi g , and arpeggio g . Bach eclared that C e f s of m s m d d hi and be t quality u ic was elo y, and he advise

- e clavie r players t o hear as m uch good singing as possibl . s of It give the habit thinking in song, and it is always t o n n e w se f well si g a idea aloud to One l , so as to catch the ” i i H o w r ght del very . strong an influence such teaching a s t his m u s t have exercised on an ardent young spirit striving to free it s elf from the swathing - ban ds of tra di ca n m n d tion and ecclesiastical authority be readily i agi e , and it is pleasant to fin d Haydn at the end o f his lon g life acknowledgin g h is constant Obligation t o Em anuel 3 a n d a n m Bach , Bach indign ntly repudiati g the calu ny which accused them of j e alou sy a n d m eanness in their 4 f n s h pro essio al dealing wit each other . ’ Haydn s devotion to his clavi e r was n o t so exclusive s him t o t of v th e as to cau e neglec his study the iolin , and

n d n 1 3 . z n u bcr . a e B . H e o o t e . Gri si g r , i g N i J y , p 3 e B n d . 3 . D . i . h . o H 3 s o r Na c r v n . a i g J y , p 4 u l ] T P l o s e uh H a d n . 1 38 . y , p T V N S UD Y IN I E N A . 2 3

celebr a ted virtuoso wh o was h is instructo r on the n s m c a n n f i tru ent have been no other tha Dittersdor , with who m he now form ed an acquaintance destined to rip en into close and inti mate friend s hip . It is lik e ly ’ t hat Haydn s superior knowledge Of com position enabled h im u s f t to ret rn Ditter dor benefi s in kind . To the world Dittersdorf is kn own chiefly as an instrumental a n d operatic com po s er his popularit y in Vienna was at o n e m m s f w t f O f m ti e enor ou , but it ell i h the all Ger an O e a n d d n t p ra , he ied in poverty and eglec . Haydn and Di ttersdorf had m any a m erry prank together during s Of the e years struggling poverty . One evening, at a ’ t im e wh e n Haydn s work s were j ust beginning to be a s f s we I e l n w on e Of popular , the riend stro li g do n the w s s of V n a o f narro treet ien a, they he rd the strains a

n - e fiddle proce edi g fro m a little beer cellar . Haydn ent r “ s t h e e r fOI m e r s r n fu n W ing , a ked p in a co l to e , hose ’ m is t a r e a inuet tha you pl ying Hay dn s , answered ’ t h e l a e I m h I t s d— d fiddle p y triu p antly . a bad ” m n t e i w e e a i ue , repli d Haydn dr ly , h r upon the enr ged m s r n h im a n d u l u ician tu ned u po , wo d have broken his he ad wit h the fiddle h a d not Dittersdorf dragged him h w laug ing a ay . A favourit e form of in s tr u m ental m u sic in Vien na d uring the last century wa s the Sere n a ta (or Nach t m e r fO I m e d n t h e w o f usik) , p by night u der indow the e w s w m s n ot p rson in ho e honour it a s co po ed . It did c s s a s in t m m m on i t , I aly and Spain , in a ere acco pani ent t he Of o r m s to voice a guitar a andoline ; olos, quartets, a n d u m m s m a w in s t r u chor ses , so eti e acco p nied by ind m m m f s a we I e ents alone , so eti es by a ull orche tr per f OI m e d m s s w f o f , and great co po er ere ond thus doing s Y honour to the i r p a t i on s and friend . ounger artists fo und this al s o a co n venient way of secu r i n g a n audience for w t h s m w their works , and it was perhaps i o e such Vie th at we find Haydn one evening during the autum n o f 1 75 1 directi n g the performance o f a q uintet of his own m s w n d s Of r s co po ition under the i ow F au Franzi ka Kurz, the pre tty wife O f the favouri t e co median and theatrical w m u . Ku wa s anager , Joseph K rz rz too wide a ake and H N 24 AYD . e xperien ce d a n e n tr ep r e n e u r n ot t o com e t o th e imm e diate con clusion that a m a n wh o could write m usic s o full Of life and Spirit as this might be useful t o him ; h e u a n d t h im d t o t h e called Haydn into the ho se, set ing own him w t o clavier bade sho his skill . The test chosen put t h e youn g artist t o was somewhat extraordinary . n m s f f on t wo z Extendi g hi el at ull length chairs , Kur m m of s m m s i itated the otions a wi er in di tress, and d w h s s t o his m esired Haydn , ith t is as i tance i agination , e a to give a m u sical representation Of a storm at s . wh o s e a Haydn , had never even seen the , could Only s k h m m n s ha e his ead and stare in blank a aze e t . At la t, t o w m s a t d as Kurz began gro i patient, he own in despair , a n d alm ost involuntarily fell into the m eas ure which t o m n Kurz had intended suggest . The co edian Springi g u m him a n d n o r p e braced , declared that he and othe should com pose the m usic t o his new com ic Opera De r ” n m m f eue kru e Teu el . The subject thus given t o Haydn for his first essay in dram atic com position was originated by the French poet b Le Sage in his novel Le Dia le boiteux, and has been a favourite on e with play - writers alm ost up to t h e d a a n Of s present y . It details the love dve tures a Spani h d ff him stu ent, and the assistance therein a orded by the of is t o Prince Darkness . It the less necessary enter ’ u s of m c pon any analy is the work here, since Haydn s usi s m t to it has entirely di appeared , nor does it see tha m him for Kurz ever e ployed again, which indeed s m a f for h Of po terity y be thank ul , who would ave heard Haydn had fate doom ed him t o the career Of a com poser O f com ic operas & F or his share I n the work he rec e ived f d n o twenty our ucats, which he doubt considered very a m l m p e pay ent . It is n ot u nlikely that it was the perform ance of thi s work which first drew the attention of Metastasio t o the n m n u sa m r f m f you g usician livi g nder the e oo with hi sel , a n d induced h im t o engage Haydn as m usic - m aster t o

own f e . his avourite pupil , Mariann Martinez Metastasio had begun his career as a dram atic poet “ ” in Italy ; his Didone Aba n d on n a t a wa s published a t S U I N 2 5 T DY VIENNA .

1 73 0 ] 724 f of f m . Naples in , and laid the oundation his a e In he wen t t o Vien na as court poet to the Em peror Charles f m m f m a VI . , and ro that ti e until his death his a e as a librettist and writer of songs was unrivalled . He was m a n o f deep sensibility and exquisite taste ; h e had a of m m f r passionate love usic, and said hi sel that he neve wrote a s on g without composin g it accordin g t o his own o f conception its character . Me tastasio took up his residence in Vienna with a of m t o Nicolai M rtinez , Master the Cere onies the m m f of Apostolic Nuncio . He beca e the inti ate riend f m f of the a ily, and care ully superintended the education 1 74 0 h is the children . Marianne (born about ) was f special avourite, and he instructed her in the Italian , r c on F ench, and English languages . She possessed s id e r a bl e m c f m usical talent, whi h a terwards ade her house a favourite resort o f m an y di stin guished m usi ia n s c . m Mozart was very inti ate with her, and they u sed to play duets of her co m position at her m usical receptions . Haydn was enga ged to give Marianne daily lessons on fo r s wa s f for the clavier, and thi he boarded ree three m m n t o years , a ore i portant result bei g his introduction

- f m m s . Porpora, ro who Marianne received inging lessons ’ Haydn went with her t o Po r p or a s house to play her a m m for his ff cco pani ents, and in return services the gru ol d Maestro threw at him a certain am ount of ins truction in com po s ition which Haydn only t oo grateful ly picked u p and treasured until he could turn it to g ood account . t o He even condescended to act as valet Porpora, black n u ing his boots , and brushi g his clothes , and putting p with m any hard words in return for the instruction which s o t o him was valuable . ’ Por p or a s fam e has com e down t o the present da y of n m of chiefly as a teacher si ging, in which depart ent h a d f or n his art he has probably no equal, be ore si ce ; but he him self a s pired t o be rem em bered by his compo sition s m n ot ff him t o , and his restless a bition would su er be content with t he less brilliant l ot in which consisted f s his true use ulnes . 2 6 HAYDN .

At th e time when Haydn becam e acquainted wit h him he was giving l e ssons t o the m istress of the Venetia n ’ Ambassador Correr . Here again Haydn s services as a m in f t f s o cco panist were required, and were ac ound a ll s m valuable, that when Correr with his e tablish ent, l m - m m t t h e inc uding the lady and her usic aster, igra ed to f of s f for t h e m m avourite baths Manner dor su er, Joseph o o m ust needs g t o . f m n Mannersdor is a char i g spot, surrounded by i n woods which are the favourite haunt of the n ghti gale . wh o a f n Haydn, lways ound his i spiration in the quiet r m of f n f m and reti e ent a country li e, e joyed the release ro his com fortle s s garret and t h e dingy streets of the city

of - t e with all the strength his nature loving hear . Her , m e h u W too , he beca acquainted wit Gl ck, Bonno , agenseil , m s s m h and other u ician , and was inti ately associated wit the m in the m usical s oirée s which were the evening enter t a in m n of f F or h is e t the noble visitors to Mannersdor . services as accom panist he rece ived six ducats a m on th ’ and his board at the servants table . n d m f t fr s h Returned to Vien a, Hay n devoted hi sel wi h e a d e of rdour to his stu i s , which we know little except t hat they were entirely wit hout extern al help or g uidance . No genius was ever more e m phatically self- taught than

. w o wn it wa s Hay dn Thro n back upon his resources , o t him nly, as he said, the talen that was in , and his indo m it a ble u m h im f b e ind stry, that ade what he a terwards c m f f m r ml s a e . Long a ter his a e was fi y establi hed , he d evoted sixteen to eighteen hours a day to steady work , conscious that further prog r ess in his art was always m m f wh o e . e on attainable As ti went , he ade riends wer n for not long in recog izing his talent , and auguring well fu u m n r t his t re . A o g these was Baron von Fu uberg, a grea of m t lover usic, who possessed a country seat a shor f m t o distance ro Vienna, and invited Haydn take the d f m s m n irection o his u ical parties there . For this noble a t s fo r Haydn wro e several string trio , six scherzandi wind m s s of m w t instru ent , the precursor his sy phonies , and ha i s m m u e s w ore i portant , his first q art t (Traut ein, Nos . 5 8 for f m of t he per or ance by the priest the village ,

2 N 8 HAYD .

' the m aster in it s clearness of expr e ssio n and unity of d esign . r wa s During his winte residence in Vienna, Haydn enabled t o add t o his incom e as Capell m ei s ter by givi n g s n ow - of of a le sons . Being twenty eight y ears age, and m so ewhat susceptible nature, it was little wonder that he s f w on e of t he hould all in love ith his pupils, younger d f n m aughter o a hairdresser a ed Keller. According t o m of t h e fa mil for so e his biographers he had known _ y long , 5 n d in fa r w and had eve lo ged the house . So , ho ever , f m h t o ro finding his passion returned, Josep learnt his s orrow that the object of it wa s bent upon enterin g a C o ut f n u loister . She carried her design , and the ather, willing t o lose the prospect of securin g a rising m usician

s on - in - l a w s t o m f as a , persuaded Jo eph console hi sel with h is d el er daughter, Maria Anna . In n o particular is the laxity of m orals am on g the Vienne s e of that day m ore apparent than in the lightness m a s r d d M a with which the arriage tie w egar e . arri ge seem s t o have been looked upon a s a m ere m atter of who f n o n s convenience, and those ound happi e s in such unions thought t hem s elves e n titl e d t o seekfo r pleasure d Of b w a and istraction elsewhere . love et een H ydn and his f wa s n e bu t wi e there ever any q u stion , it is not probable that he k n ew beforehan d that he was m arrying m a shrew . The whole picture of his arried life is a m on i n o la entable e . A childless un on where there is l ove is the veriest p u rgatory upon earth and while it is i m pos sible t o acquit Haydn of blam e in h is aft er- relations f a n d w m m a s m s with his wi e other o en , we y at lea t sur i e that s o eas y- natured and am iable a m a n would have m ade the happiness of a wife who unders tood his character and n appreciated his genius . Maria Anna did either ; as a m t o h e r w H ydn once said, It was all the sa e hether he ” or f s were an artist a cobbler, and it was ortunate perhap f or m f for the both, it was certainly ortunate the world, that circum stances prevented their living togethe r durin g f i m f n ot f m great part o the r arrie d li e . They were or ally ’ separated u ntil after Haydn s r eturn from London in 5 D 4 e s . 3 . i , p S FUDY I N VIENNA .

2 o f f 1 79 . Frau Haydn spent the last years her li e at

2 0t h 1 8 0 0 . Baden, near Vienna , and died there March , ’ Haydn s good m other did n ot live to m ourn over her ’ e - m ldest son s hasty and ill considered arriage, nor to rejoice in the opening for him of a career m ore brilliant than sh e v m a m could have concei ed in her ost sanguine dre s . She 2 3 r d 1 54 f - d . 7 ied Feb , , in her orty sixth year, and her m n f husband arried agai in the ollowing year . Five children f of f f were the ruit this union , who all died in in ancy . A ter of n f m the death Mathias Haydn, his seco d wi e arried a m o f gain , and see s to have been altogether lost sight w m by her stepson , who , ho ever, bequeathed her a s all s u m f n in his first will, to be trans erred to her childre should sh e be no longer alive . ’ Soon after Haydn s m arriage Count M or z in found him s elf obliged to curtail his expenses by discharging his m s m usical establi h ent not, however, without interesting m f f for f hi sel to find a resh post his avourite Haydn . for Fortunately the latter, Prince Paul Anton Esterhazy had already been struck by the originali ty and youthful vigour of som e com positions that he had heard while on M z f a or in . f visit to Count It was not di ficult, there ore , t o h im m induce to engage Haydn as second Capell eister, ’ a n d with this appointm ent Haydn s Wanderjahre c m for . a e ever to an end, his Meisterjahre began 3 0 HAYDN.

CHAPTER III.

E E I TE AT E E T CA P LLM S R IS NSTAD .

— 1 760 1 766 .

No country in E urope could boast a nobility m ore a ncient and wealthy than that of Hu n gary in the f e . o f m eighte nth century The position the country, or o f n m t h e ing , as it did, the bulwark Christe do against m ou t of t o Turks, had given it an i portance proportion t o f r its size and political progress, and had served oste and m aintain the power of the warlike nobles and the principles of the fe udal system longer in H un gary than t o elsewhere . The burghers and peasants looked their for f m foe e lords protection ro their infidel and cruel , whil the lords exa cted from them in return all the sub mission a n d of t o Th e substantial support subjects a sovereign . ’ of Y Wa r of t h e close the Thirty ears , and the final repulse of u ft Turks at the close the seventeenth cent ry, had le m n of f e weary stri e and bloodshed, and eager to turn to the arts and pleasures o f the peace t o which they had of m e s o long been strangers . The great nobles the e pir ’ n f r a i son d étr e for r requiri g, as it were , a resh thei m w in o f supre acy, vied ith each other the grandeur m their palaces and establish ents , and justified their pre m of n tensions by the agnificence their patro age . The example of the im perial family turn ed the tide of fashion m ore particularly in the direction of the a r t o f m u n o m sic, and, as we have already seen , noble an considered his esta blishm en t com plete without a body of f m m a s m s per or ers, vocal and instru ental, large as his ean a m m e or d would llow, headed by a usician or less istin l m g uish e d a s Capel eister . P E T 1 CA ELLM ISTER AT EISENSTAD . 3

Am ong the Hu n garian nobility n o fam ily could boast a n e or m of v n earli r origin , a ore unbroken series alia t a n d u s of disting i hed heads than that Esterhazy, and s so e there was no other, perhap , that had evinced g nuine and enlightened a preference for m u s ic apart from the

s - f e love of di play and pre em inence . The ound r of the of o f a s on of princely line the house Esterhazy was P ul , h s wa s 1 63 5 t e . fir t Count Nicholas He born in , and was raised to the dignity of a Prince o f the Holy Rom an i m I . s t o f h s m E pire by Leopold , in con idera ion ilitary of f services . The latter part his li e was devoted t o m science and art, especially usic , and to the construction o f m of the agnificent palace Eisenstadt, interesting to u s m ainly as the scene of the m ost fruitful years of ’

s m s . Haydn u ical career The palace , which was erected on of e d n m f b e a scale unpr ce e ted agni icence, contains , s t wo u h m for s ides h ndred c a bers guest , a large hall ’ d f s 8 m u a orned with rescoe , which in Haydn ti e was sed as a theatre and fo r the perform ances o f the full orches tra ; the ordinary daily m usic was given i n a s maller o n s f t h m . o e roo The park, lying partly the lope s f Leitha hill , and overlooking the plain , is beauti ul and of - great extent, and the gardens , hot houses, and conser e s va t or ie s are am on g the fin t in Europe . Five or s ix m iles south of Eisenstadt is the fortress castle of Forch i n t e n st e . , given to Count Nicholas by Ferdinand II in 1 62 2 on of m 6 00 f , built a steep rock li estone eet high , and containi n g m any m em orial s of the lon g str u ggle w s 4 50 f ith the Turk , notably a cistern eet deep , hewn in s f f t h e solid rock by Turki h prisoners o war . The amily u t o e F or ch t e n st e in a n t reasures sed be d posited at , and ol d fam ily statute com p e lled e very head of the house of t o t f E s terhazy to add his treasure , and orbade his touch in a of m s fr g any p rt it, except to redee an E terhazy om slavery . 1 1 7 3 . s on n Prince Paul died in His , Joseph Anto , m u f m acquired enor o s wealth, raising the Esterhazy a ily

of . ft t h e r to the height its glory He le two sons, elde of m m who , Paul Anton , was reigning prince at the ti e s n M r z in i that Haydn was di charged by Cou t o . He t 3 2 A H YDN .

f m t h e i was , there ore, who , ad iring originality and v gour ’ o f on e of Haydn s com positions which was perform ed f h im e n n m be ore , cons nted to e gage the you g co poser as

V - m m s f ice Capell eister, a pro i e apparently orgotten as s a s m . m m m oon ade As onths went by, and no su ons a for n t o n e w rrived Hayd enter upon his duties, his ’ f of e s riend Friedberg, the leader the princ s orche tra, a him m m dvised to write a new sy phony , and anaged to e I fo r m e d on of I i have it p the birthday the p n c e . This s f m m u ficed to call Haydn to re e brance , and his appoint l t 1 76 1 m on s . ent was duly signed and ratified May , No t o h e f o f better way can , we venture think , ound giving to Englis h readers a clear idea of the duties and of Ca e ll m e ist e i position a p in the last century, and the r elation in which the m usical e stablishm ent of a great n t o m f s oble stood hi sel and to the out ide world, than by presenting verbatim the text o f the agreem ent between

Haydn and Prince Paul Anton . Our indignation is roused at finding a gI eat artis t placed in the position o f a n a n d f m d m s upper servant, required to per or uties al o t m enial in their nature ; while at the sam e tim e it cannot be denied that the obligation to continued and varied ff f m f m m m p roductive e orts, and the reedo ro all i ediate c t o f are and distraction , were calculated oster his indus him t o ff try, and encourage e orts which were sure to be To a . o wn ppreciated have an orchestra, his orchestra t oo t o m , which he was allowed strengthen and i prove u ntil it was capable of rendering t o perfection his ffo u s e ve I highest e rts, at his absol te di posal y day and at a n for m m s y hour, was a boon which any a u ician would o f e him barter a good deal his ind pendence, and Haydn s elf fully appreciated the advantages of his situation w a m hen he said , My prince was alw ys satisfied with y n ot l m of works . I on y had the encourage ent constant a of s m pproval, but as conductor an orche tra I could ake m ff experi ents , observe what produced an e ect and what t m weakened it, and was hus in a position to i prove, alter, m m ake additions and o issions , and be as bold as I

. c u t o ff f m n o on e ple ased I was ro the world, there was t o f or m m e f t o m con use tor ent , and I was orced beco e APE LLM l T C E S E R AT EISENSTADT . 3 3

” n f f o rigi al . The ollowing is a translation o the agree m m on e ent in question , which gives us ore than curious picture o f t h e m anners and custo m s of the great m e n of the day and their dependants

FORM or AG REEMENT AND INSTRUCTIONS FOR THE VICE P CA ELLMEISTE R .

This day (accordin g t o the date hereto appended) s e d v o f u s is e Jo ph Hey en, nati e Rohrau in A tria, accept d a n d appointe d Vice - Capellm eis t e r in t h e service o f his e s o f R om a n Ser ne Highnes Paul Anton , Prince the Holy f h m o e C & c . & c . E pire, Est rhazy and alantha, , wit the c onditions here following “ 1 . m e s Seeing that the Capell eist r at Ei enstadt , by n m W e e m of a e Gregorius ern r , having devot d any years ue f fu t h e c e s n o w tr and aith l service to prin ly hou e , is on a ccoun t of his great age and in fir m it ie s unfit to perfor m t h e m o n h im e f t h e s e u duties incu bent , th re ore aid Gr gori s W e of his s e s t erner, in consid ration long ervic s , hall re ain t h e s of e m e s s s po t Cap ll i ter, and the aid Jo eph Heyden a s e — e m e s t e s a s fa r e d m u s Vic Cap ll i r hall , as r gar s the ic o f t h e s n a m s choir, be ubordi ate to the C pell ei ter and e e h is n in e n n r ceiv i structions . But ev rythi g else relati g m s e f m a ll e t h e to u ical p r or ances , and in that conc rns

s - m h s orche tra, the Vice Capell e i s ter shall ave the ole e dir ction . 2 s e b e s . The said Jo eph Heyd n shall con idered and f e e f his tr e ated as a m e m ber o t h e hous ehold . Th r ore Serene Highn e s s i s graciou sly plea s e d to pla ce confidence in h is conducting him self a s becom es an honourable m u s m e n o t official of a princely house . He t be te p rate , h w w m s s o ing hi m s elf overbearing to ards his u icians , but f m is m t w s . ild and lenient, s raight or ard and co po ed It e s pecially to be observed t hat when the orches tra s hall s m m e f m e f m be u oned to p r or b ore co pany , the Vice m C a pellm e i s ter and all the m usicians shall appear f m a n d s e uni or , the said Jo eph H yden shall take care that he a n d all m embers of his orchest r a do follow I) 0 a t H N AYD .

i n e a h t n the nstructions give , and app r in w i e stocki gs , w n w t or a hite line , po dered , and either wi h a pigtail

- wi tie g . n h h m i f for 3 . Seei g t at the ot er us cians are re erred t s t h e - m e t e f h e direc ion to said Vice Capell ister, her ore sho u ld take the m ore care to conduct him s elf in an e x e m l a r m n n f m f m a n d p y an er, abstaini g ro undue a iliarity, f m v n a n d c n ot ro ulgarity in eating , drinki g , onversation , d s e w s e him n i p nsing ith the re p ct due to , but acti g u prightly and influ e n cing his subordinates to p r eserve u h m m n t m e m m h ow s c har ony as is beco i g in he , r e bering dis pleas in g the consequences o f any discord or dispute would be to his Serene Highness . “ 4 e — m h u n d . The said Vic Capell eister s all be er an obligation to co mpo s e s u ch m usic as his Serene Highness m a m m n mm c om y co and , and either to co unicate such n e s n or t o m positio s to any other p r on, allow the to be t e m for of his copied, but to retain h the absolute use n o t m n n for a n r Highness , and to co pose a ythi g y othe person without the knowledge and permission of his s Highnes . “ 5 t e hl e li e d n hi th e e h. a . sa Jos ph y sha ppear a m f ft m a n d ntecha ber daily , be ore and a er idday, inquire whether h is Highne s s is pleased t o order a perform anc e f s f e of s c o m o the orche tra . A t r receipt his orders he hall m u n ica t e m h m the to the ot er usicians , and shall take t o b e n t h e m a n d s care pu ctual at appointed ti e, to en ure u t e m n of p nctuali y in his subordinat s, aking a ote those wh o o m s arri ve late r absen t the elves altogether . 6 a n o r of m t h e . Should y quarrel cause co plaint arise,

- m s t o e r Vice Capell eister hall endeavour arrange it , in ord t hat his Serene Highness m a y n ot be incom m ode d with trifling disputes but should any m ore seriou s di fficulty w e s e t occur, hich the said Joseph Heyden is unabl to s m s f right, his Serene Highnes ust then be re pect ully u m called pon to decide the atter . “ 7 - e m f . The said Vice Cap ll eister shall take care ul of a l l m s m u s l m s a n d sh charge u ic and ica instru ent , all be responsible for a n y injury that m a y oc cur to them f or n e l rom carelessness g ect .

3 6 H D AY N .

D u plicate Copies of this docum ent shall be executed e n and xcha ged . V s of 1 761 Given at ienna this fir t day May , .

m d m Ce l s issimi Pr in ci is Ad an atu p , o STI E E TE LL Se cr e ta r J HANN , y .

It was a well - m ean t but so mewhat m istaken kindnes s th at suffered s o ol d a servant of the house as Werne r t o r s m o f etain his po t as no inal head the orchestra, while v irtually superseding him by on e whom he m u s t have s m e a n d con idered as a re boy, and whose innovations reform s m ust have been a con s tant source of vexation to h im u s i . Gregori s Josephu Werner had been appo nte d Capellm eis ter in 1 72 8 by the Princess Maria Octavia n m of h e r s on Esterhazy, regent duri g the long inority f his f i n Paul Anton . O private li e nothing s known beyo d t h e fact that he was m arried to a wife accom plis h e d s m e enough to give les ons in usic, and that he had sev ral d n f in 1 . 75 3 chil ren , who all died you g His wi e dying , t h e o f fe t t o f u e s rest his li was devo ed his o ficial d ti , and , ’ f o n t h e t o m s n s a ter Haydn s appearance scene, co po itio s f m of o l d chiefly religious , and all in the trictest or the s o f m t o chool counterpoint . Both he and Haydn see have accepted their relative positions with considerabl e f good sense and orbearance . Although the elder and less liberal m a n not u n fre quently characterized his Vice ” “ m s a s m f o o f Capell ei ter a ere p , and a scribbler ” n s s m t o a n d so g , he had the wi do retire gradually with a tol e rably good grace fro m the ac t ive direction o f m u s n s n the ic , seeki g con olatio in the works ( now a lm os t forgotte n ) which were to carry his nam e down e n d a . n w a c n to posterity Hayd al ays xpressed, we s e e n o for n f s r e reason doubti g that he elt , a incere s e m e p ct and ad iration for his predec ssor . Long years ’ a f t W m f ol d er erner s death, when Haydn hi sel was an m a n f m d of s with a a e beyon the reach rivalry, he publi hed u W f m m Six F gues by G . J . erner , or erly Capell eister to

H . S. & . H . . s c Prince N E terhazy, , arranged as string s his s J s e h ou t of quartet by succe sor , o p Haydn , sincere m for t Ar t a r ia o b m & C . e s t . tee his cele rated as er Vienna , P T CA ELLMEISTER A E ISENSTADT. 3 7

’ m 1 804 . Werner s in dustry as a co poser is proved by th e n um ber of h is work s pre s erved am ong the E s te rhazy of n is s u m m —3 M f . 9 s s archives , which the ollowi g a ary as e , 3 u m 1 2 for 3 De u m s Req ie s , Oratorios Good Friday , Te , 4 ffe s 1 2 s m Sa n ct e 1 6 m n s O rtorie , Ve pers , Psal s , Veni , Hy , 2 0 n 13 3 An ti h on e s 14 o 1 4 m a Lita ies , p , Regina C eli, Al R e d e m t or is 5 9 e s s p , Ave Regina , Salve R gina, be ide e o m m e R sponses , Rorate C eli, Sub tuu , Miserere, La nta s A m s on e m tion , dvent and Christ as song in , two , or ore

s s n s 85 0 . part , pastoral , church so ata , organ sonatas, S f m W e i s s s uch a e, however , as ner pos es es at the pre ent da f e u s m y is ound d not pon these seriou co positions , which a n d fa r ffi b e w are obsolete in style, too di cult ever to ell wn b u t on his a n d m t t s kno , popular so ewha bois erou m s e f f 1 u ical burl sques o Vienna li e . Such are & . The of 4 s 2 Old Clothes Market Vienna ( voice , violins , and s 2 f s 5 s . o ba s ) ; The Election a Village Ju tice ( voice , 2 a n d s s n e w 3 . s violins , ba ) A and very curiou m s m a for 2 v s s s u ical Instru ental Calend r , iolin and ba , e v m s divided into twelve parts d noting the twel e onth , n t o u s w h each described accordi g its kind and q alitie , it o dditie s and original inventions by Gre gorius Jo seph u s ” W u 1 74 8 s . erner . All these were publi hed at A gsburg in W n n e w e m for e s n er er lived under the r gi e five y ar , dyi g o n 3 r d 1 7 6 6 t a h b m s f March , . His epi p , written y hi el , a s h is fe m a pr ys that the di cords which have crept into li y , his n m e s by contrition and pe ance , be resolved into har oni , a n d that the last chord which finds its echo in his gra v e m a m of o m s l y die away into peace , until the tru p d o hal m m n d m s su o the world to ju g ent, when he tru ts that he m a fin d m - b y ercy, and ends by begging the passer y to t r u s op a n d pray fo his so l . t t he m h u ff PI in ce A ti e w en Haydn entered pon his o ice, n f f e s of e Pa ul Anton was a m a o fi t y y ar age . His care r h a d b e n r e e brilliant, and partly by inheritance , partly in ’ wa I d of hi s s s n t h e Y s Wa r ervice duri g Seven ear , he had I m m n s s h a d e e a cquired e se posse ions , and b en levated to

- a n d the digni ty of Field Marshal . Twice he had equipped m a in t aine d during a whole cam paign a com plete regim ent h for of m s r of ussars the service his royal i t ess, and to his H 3 8 AYDN . military fam e wa s added a reputation fo r a ge n uine a n d f h e fin e for e nlightened love o t arts . Inheriting a talent m f m m s on usic ro his other, he acquired con iderable skill n n o m t n the violi , and spared trouble to i prove the condi io o f h is a e e e t n m s f n ot m t o n n C p ll , s ti g hi el so uch stre gthe h e m o f m s t o m t o t nu bers his u icians , as encourage the f m n f m e m p erfect per or ances . Hayd ound only sixteen h i s s s m s bers at order , including vocalists and in tru entali ts . The orchestra wa s s treng t hened on particular occas io n s by pressing into the s er vice any m ember of the h ousehold n m W e s s who could play o an instru ent . find al o the chool m asters of the neighbouring villages summ oned to per f m on e or the bassoon , and the tutor attached to the palac n i r a n d his wife were expre s sly e gaged to sing n the choi . The prosperous day s of t he Esterhazy Capelle began in 1 76 0 u m t , when Prince Pa l Anton took up his per anen e s e s t At n o s resid nce a t Ei n tad . other point in its hi tory could it s o well have s erved the purpos e of a young and a n n for m on e xe r spiring genius, lo gi g aterials which to cise his inventive s kill and develop the ideas that burned W him for s ithin expres ion . Prince Paul Anton wa s not destined t o reap the reward f m n e of — m s o his discri inati g choic a Vice Capell ei ter. He d on M 1 8th 1 762 f n in die arch , , be ore Hayd had been f for h is r o fice a year, and was succeeded by brothe N t o icolaus , the Prince Esterhazy best known the world o o wn u s l of utside his co ntry, who by his lavi h disp ay t of s weal h , and generous patronage the fine art earned “ for m f de o f hi sel , like Lorenzo Medici, the title The ” n Magnificent . The sensatio that was created by his well - known diam ond - covered coat will occur t o m ost of our h him n e readers , althoug it would be doing an i justic t o take for granted that e ither his own am bition or t h e e ste e m of his contem poraries was bounded by such a n f m m e o . c a n xhibition ere barbaric po p He was, there b e n o m a n o f l m a n d m doubt, a libera ind genial te per . f h im d h im His riends loved , his ependants adored . s him i n s Haydn stood toward both these capacitie , and in all the yea rs during which they lived unde r the sam e r f fin d n o f o f n t o m a r oo , we can proo anythi g happening P E T CA ELLMEIST R AT EISENSTAD . 3 9

e m m of m the resp ct, ad iration, and sy pathy the aster on n e of the one hand, and the genui e devotion and hearty z al t e n the servan on the other . Ev ry now and then Hayd m t t o e n would la ent his inabili y travel in Italy, and so l s f fi m arge his range of m u s ical idea . He elt his con ne ent E s t e r h a z m n m m in as so ethi g like i prison ent, and longed for m fe w- t co panionship with his llo ar ists in Vienna. But o n such occasions he quickly con s oled him self by rem e m bering his resolution to live and die in the service o f his v prince , and , as we have seen, he was quite ali e to the f t i counterbalancing advantages o his posi on . Prince wa s of e m m Nicolaus stat ly and co anding appearance, m i s f A t u with an open and a able expres ion o fa ce . l ho gh m n t m a n d e inently fitted to shi e at cour , he withdrew ore m f m of it s t f ore ro the circle at ractions , and a ter the c om pletion of his palace at E s t e r h a z he hardly eve r l e ft f hi i t for . W s Vienna hen he was orced to appear there , a nxiety to return caused h im to break off his vi sits in th e m m d s o f a n d ost abrupt anner, to the e pair his Capelle, e of m e s o f n t e specially Haydn, to who thes opportunitie i r course with other com posers and interchange o f m usical i m u deas beca e increasingly precio s . ’ Before proceedi n g to an account o f Haydn s lo n g years o f f n E s t e r h a z be we li e and work at Eise stadt and , it will ll o u r m ofhis e r s on a l a e a r a n ce to give readers so e idea p pp , and t h e im pression he m ade upon tho s e with who m h e w a s w f o f his m ost closely associate d . He was ithin a e w days thirtieth birthday when Princ e Nicolaus succe e ded h is m a m hi m e his brother . W e y i agine as he app ared in

f m of t b - s e uni or ligh lue and silver, knee breeche , whit s r ufl e s a n d w H e w tockings , lace , hite neckcloth . al ays s t wore a wig with side curl and a pigtail, and re ained the f e t s m f d a o . s a e ashion to the y his d a h Dies, Grie inger, a n d others of his biographers give a description of his personal appeara n ce which confirm s the bes t portra its e n e w m xtant . Dies says , Hay d was b lo the iddle his s m w t oo for height, and legs were o e hat short his body , a f t n e m n of s s de ec re der d ore oticeable by the sty le his dre , which he s teadily re fused t o chan ge with the changes of f f u s e ashion . His eat re wer regular, his expression ani 4 0 HAYDN . m m m m ated , yet at the sa e ti e te perate, gentle, and fa in a . w se ttractive His ce wore a stern look hen repo , wa s m f e but in conversation it s iling and che e r ul . I nev r ut His s s b u h him o . wa t eard laugh loud build sub tantial , ” d i m . s deficient in uscle His nose was aq uiline, and fi a u h w f s e ve gured by polyp s , w ich he al ays re u d to ha r m f e l w t h e s m a l e oved, and his ace was de p y pitted ith l ox s wa s of p . This al o probably the cause his dark ' “ c m e him s obr i u e t of t h e o plexion , which earn d the q ” M - wa s n n a w oor . His under lip large and ha gi g, his j m s s e t h e e s h h e assive, and this ugge t d to Lavater lin whic w h is s m n s ilho ue tte of rote , according to cu to , u der the of t s Hay dn in his collection celebri ie .

Som e thin g ou t of t h e com m on I s e e i n th e e y e s a n d t h e n ose Th e b o w t oo i s oft a n d ood bu t t h e m o ut h a n d t h e ch n a r e r l y g , i Philist in e

m f u m a n a n d c on r a t u Haydn considered hi sel an gly , g l ated h im s elf on the fact that it m u st be for som e thing deeper than beau ty that s o m any wom en fell in love wit h im h h e n d s t o t h e h . e In trut , took co si rable pain attract m n H f se x n for m . e airer , and was ever at a loss a co pli e t s e e s t o m i n carried neatne s and cl anlin s an extre e, both a n d s of his h e his person his hou e . To the day death w s s f s d ould never receive vi itor without being ully dres e , a n d the arran gem ent of his room and hi s pap e rs wa s s o e m t l h a n m s him m xact and e hodica , t at y re oval cau ed uch a n of f w n oyance . The plan daily li e which he laid do n for him s elf in his eighteenth year he continued wi t h v e ry t o of f on e of i n little alteration the end his li e . It was t n m t cessant industry wi h very little relaxatio , and igh s erve t o prov e the e xce ption to th e rul e which cha rac t e r iz e s a ll fit ful s e genius as and irregular . Haydn pok in s s wa s the broad Au trian dialect, and his conver ation sprinkled with the n aive a n d hum orous turns of expre s sion mm h l fl u co on t o t e Au s trian people . He spoke Ita ian e n u s m e e o f ntly , Fre ch a little . He picked p o e knowl dg n s u n his t wo is t t o n of t n E gli h d ri g v i s E gland, and La i e n u h knew e o gh to com pose the church services . H e wa s d f of fun s m m n ot excee ingly ond , which was o eti es P E T 4 1 CA ELLMEISTER AT EIS NS ADT .

u u o f over refined in its nat re , but that he had a tr e sense hu m our is proved by such com position s as the Farewell “ ” m or c t h e Sy phony, the Surprise Andante, whi h are m u s of m s ical expression essentially hu orou ideas . His n d u f of G od t o f tale t Hay n looked pon as the gi t , be reely wa m u s ed in His service . His piety s si ple and sincere w wa s m n h e hen he co posi g the Creation, he said that k n elt down ev e ry d a y and prayed to G od to strengthen hi f f s o f h is m or his work . The cheer ulne s church c om s n o of f v u s m a s t o po itions is sign a ri olo ind, but, he said of for Carpani, at the thought God his heart leapt joy a n d his m th e m he could not help usic doing sa e . — Children were always fond of Haydn Papa Haydn as e him l th y called , and there would doubt ess have been l s s m of if e to co plain in his conduct as a husband, he had f Of n f been also a ather . his ge erous appreciation o the w of m s h is s i orks other co poser , and readine s to recogn ze m e f d m s w erit wherev r it was to be oun , any instance ill occur a s his life proce e ds ; and it is pl e asant to think t h at in this parti cular Haydn do e s n ot stand alone am on g n We s e h o w s m usicia s . have een alr ady generou ly ’ m n n s c a n E a uel Bach recog ized Hay dn genius , and we i m agine no pleasanter picture than tha t of Mozart at the Thom as Schule listening in rapt delight to the sin ging o f ’ “ m m n & h n m e Bach s otets , and exclai i g T at is i deed so thin g t o take a lesson from or B e ethoven on his death bed rou s ed into an im ation at the sight of a lithograph ’ of d s a m m n s Hay n birthpl ce, ur uri g to the bystander , n h t s o m a n s Stra ge t a great a should have had o p oor 3. ” hom e & B ut it is tim e that we returned to Haydn and his e orc he s tra at Ei s ns t adt . A new epoch began with the o f n n or rule Prince Nicolaus , and either Haydn his m u s icians were s ufl e r e d to find t h e t i m e han g heavy on e e m t h e e n t h u th ir hands . Th ir zeal was sti ulated by i s a s m and g e nero s ity of the prince . All the salaries e e 6 00 f e of 4 0 0 w re rais d ; Haydn received lorins inst ad , a n d thi s was soon afte r raised to 782 (about The Kap e lle n ow n u m bered t wenty - on e m em bers m al e a n d fe m v a n d f m . ale, seven ocalists, ourteen instru entalists The 4 2 HAYDN .

i m s W principal were Lu gi To a ini ( violin) , Jos . eigl ' d u t m u a ( cello) , Thad s S ein ller (French horn) , Anna Mari ‘ Sch e fl s t os s Fr i h e be r t t . ( oprano) , and Karl ( nor) e s m Haydn had ev rything to arrange . Stage , in tru ents, m - e t o m w usic books , ven the boxes keep the in, all ere u . m s r e h e a r s a l s c on nder his personal care Co position , , certs , d isputes to settle am o n g the m usicians and petition s to t o present the prince filled up his busy days , and it would seem that even s om e portion of the Copying of his c o m p ositions was done by his own hand to avoid apply i n g for m m t o m t ore oney the prince. The ild and cour eous rule o f Nic ol a u s was taken advantage of by som e o f his m usi e u wh o m c m ia s , beca e careless in their attendan e, and so e m s m f n s h ti es un ee ly in their conduct . Then ollowed pu i m s m s ents , fine , suspensions , and occasional dis is als , a lm ost invariably followe d by a petition for pardon and r m t for f m s ft einstate en the culprit ro Haydn , who e so f heart was touched by the least sign o contrition . There is still ext ant a petition on behalf of an o ffender from ’ “ ” m e f f w1 t h the prince s ost ob dient and aith ul Haydn , a p ostscript following without a pause to allow t he pri n ce “ t o take breat h who will venture t o sub m it t o h is Highness im m ediately aft er the holidays a n e w trio for ” of the barytone . Happy the dependants a prince who c ould be so easily and innocently bribed t o show m ercy ’ For the first five years aft er his appointment Haydn s f f s s li e passed thus peace ully and busily at Ei en tadt . Once indeed in 1 765 he was taken to task by his princely m for of n m for f aster want i dustry in co position, and ailing t o m aintain proper discipline am ong his m u sicians ; bu t a s a very fe w week s after we find the prince writing t o his steward to reward Haydn with twel ve ducats for h e three pieces he had just received , and with which “ ” m m s th e was very uch pleased, we u t conclude that r f n fa r eproo was taken in good part ; certai ly, as as we w e d kno , it was never rep ate ' On thre e occa s ions the m onoto n y of life in the palace wa s broken by fes t ivities which gave Haydn Opportu n ity f i I n s e n or sh owing his skill in op e ratic c omp os t o . Forgott a s n ow m f wa s n ot t o k these are, he hi sel inclined ran

44 HAYDN . o f the text in order to close the las t scene with a ’ “ ” e quart t . Of Haydn s m u s i c to Acide there still rem ain in autograph score the overture (except the s - t wo s f t h e fi e fir t thirty bar ) , our arias , and nal quartet . own f f u f The overture is in his style, resh and cheer l, ore s m s hadowing his sy phonies . The ongs are in the Italian m f anner, very in erior in Originality and expression t o ’ Handel s m usic ; the quartet is crude in form and nu s intere ting in substance . 1 76 4 s f E I s e n st a dt n In , Prince Nicolau le t to atte d the t o f e f corona ion the Archduke Jos ph at Frank ort, and as soon as the festivi ties followin g the cerem ony were at an t o s m a end, he continued his journey Pari , where he ade great sen sation by his lavis h di splay of wealth and m n h s n o ag ificence . It was during t is vi it doubt that, fire d wit h the idea of e m ul a ting the Splendour and beauty o f s n of own t Ver ailles, he pla ned the conversion his esta e Of E s e r ha z f d t into a rival o the French para ise . ’ The Prince s return to Eisen stadt wa s m ade an occa of e n m s sion r joici g , and Haydn see s to have been pecially f w or ard in displaying his zeal and devotion . He c om po s ed a Te Deum f or the cha pel and a cantata fo r the a f m of e m s great h ll . The actual per or ance thes works see to have been po stponed until the celebration of t h e ’ s d of it prince birth ay , but the words the cantata prove m m to have been written as a welco e ho e . In a long u e l or ifie s recitative, two arias, d ts , and chorus es it g the of for power and the virtues the prince , prays his happi f f . o a. ness, and rej oices in his avour Parts the cantat f w m o f s were a ter ards ade use in church service , but the work follows the traditional ta s te of t h e age in such com positions t oo closely for the display of any origin ality r o real power . ’ Of Haydn s private life during the five yea rs we a r e s t o s f n con idering there is little be aid . His wi e was o ly him o n e o f t h e of occasionally with , standing grievances ’ the Capelle being that the prince s exceptional love of his co u ntry re side nce separated them for lon g period s f m e f m s e ro th ir am ilies and ho e . Haydn would scarc ly m t h ft e his j oin in the co plaint, al houg he a rwards m oved P T E T 4 5 CA ELLMEISTER A ISENSTAD .

m a 76 ] a bility to sy p thiz e with it . A pleasant event wa s the appoin tm ent of his brother Michael as Concert m ei s ter a n d director of the orche s t ra t o Archbi shop I n 6 8 m a Sigism und at Salzburg . Here 1 7 he arried M ria on e of Magdalena Lipp , the court singers , and here , too , he wa s thrown into close intercourse with Leopold Mozart a n d s on W f of d his ol gang, then ten years age , and alrea y e i s m m s xc ting a tonish ent by his co positions . The per onal r w f m n ot f e elations bet een the two a ilies were over ri ndly . M wa s m a n Of m e or ichael Haydn a no refine nt cultivation , ’ a n d f f f m B ut his wi e s conduct was not ree ro reproach . ’ personal differences never affecte d Mozart s j u dgm ent a s a n e artist, nor pr vented his doing a kind action when o m a n d f l ccasion arose . He ad ired care ully studied Michae ’ m s m of O t Haydn s church u ic , uch which he opied wi h own s r n his hand , and twenty year late we have a pleasa t ’ m of him n I n gli pse seated by Haydn S sick bed , writi g m of of s the idst a press other work two duet , which m ’ the co poser s illness prevented his writing , and which he was bound to have ready by a certain day , under penalty o f dism issal by the Arch bishop . f m One other a ily event belongs to this period , which , t o a heart s o warm and with so tender a m em ory o f early d Of d m Of ays as that Hay n , ust have been a source keen s w s f of n orro . Mathias Haydn had had the sati action s e ei g s t his deare s t hop e s re alized . He had vi i ed his son at E ise n s t a dt h a d him e s s a s m e s e , heard addr ed Herr Capell i t r, a n d bee n a witne s s o f t h e re s p e ct and e s teem in w hich h e wa s held by his prince a n d his orch e stra . W e c a n i m agi n e t h e pride wi t h which he wo u ld dilate to h is ’ f e n s u s s f m s e u ri d at Rohrau pon Jo eph a e, and the pl ndo r a m s B u t n m f e id t which he lived . no very lo g ti e a t r his r m of w f n on him retu n ho e , a log ood alli g as he was a s u h l Of t S . work , tr ck chest , and broke several ribs t h e n e s s n e h e on e e m 1 2 t h i juri thu i flict d died S pt ber , 1 n h i n e s s o n b his 76 3 . s s Johann Eva geli t , you g t y first m a e s a t m t wo e a e he b n arri g , was till ho e , but y ars l t r, ei g t e t e - t wo s O f s n for h im h n w nty year age, Jo eph se t to E s e a d h w m d th s t e a s t t e e . i n t , and ad i into choir He had n a n ot either voice nor t lent , however , and his career was 4 6 HAYDN .

l him t o m prosperous . His delicate health ob iged ake for t o wh o n e constant appeals help his brother, was ev r e f t o u him m d a s ch calls, and aided both in oney and by s him n d 1801 u . a n ending p pils Once, o ce only, in , the m e t n three brothers at Eise stadt . They dined together,

n d - - a walked a r m in a r m thro u gh the streets . In the e vening a sere n ade com posed fo r the occasion was per f m f h or ed under their win dow by m embers o t e orchestra . W KS T E E T T OR A IS NS AD . 4 7

A CH PTER IV .

W K T T T OR S A E ISENS AD .

1 6 0— 1 7 6 7 6 .

F OR the first five years following h is appointm e nt a s ’ - m e f s Vice Capell eist r, Haydn s li e at Eisen tadt continued n a without any break, except his occasional visits to Vie n a of or in the tr in his prince, any noteworthy incident , except such inspirations to co m p osition as were afforded by the prince’ s absence and return from a short stay a d or m of o f broa , the arriage his Son , both which events w e of m have already noted . The death Capell eister ’ l Ve r n e r m of Nicol a u s s l , and the co pletion Prince pa ace Of E s t e r h a z m ark the year 1 7 6 6 as a fre s h starting - point ’ f f in in Haydn s career, and it will be well, be ore ollow g f n e w n e w m his ortunes in his position and ho e, briefly w m in st r u to pass in revie the co positions , vocal and m f of of ental, which were the ruit his five years labour s Of at Ei enstadt . his Italian Operettas his ” Acide e Galatea and his cantata in h onour of ’ Prince Nic ol a u s s return t o Eisenstadt m ention h a s e m v Of already b en ade . The only other ocal works im portance which can with certainty be ascribed to this a r e m m m for period the Te Deu in C ajor, co posed the s m si a e occa on as the cantata just alluded to , and a Salve e m of i e 1 76 6 R gina in G ajor , wh ch a copy dat d is still in e Th e m m f exist nce . Te Deu is a co plete and care ully worked - ou t com position for four voices and the som ewhat scanty orchestra at his com m and ; the instrum entation is f s a n d is re h vigorous without undue elaboration , and it ’ int e resting to com pare this early work with Haydn s great m m m for f f Te Deu in C ajor, co posed our voices and a ull 4 8 HAYDN .

r 1 800 o f f m o chestra in , when he was at the zenith his a e . The com parison will confi r m its authorship as that o f w m m d s Joseph Haydn, hich has so eti es been i puted in f f M f a o . or vour his brother ichael The Salve Regina, s a n d v oprano alto solo voices , with iolin and organ a m m s t m m m d cco pani ent , is in three hor ove ents , the i dle m ovem ent being for al t o alone ; it is full Of grace and m elody , and breathes the gentle piety which befits a petition to the Virgin . The instrum ental com positions falling within these five m e s m s s m years are very nu rou , co pri ing about thirty y e s s s ix m n e s phoni and cassation , diverti enti , eightee quart t , s ix n f or f u stri g trios, a piece o r violins and cello called ” E e for m cho, a conc rto the French horn , twelve inuets for s the orche tra, and concertos , trios , sonatas , and for e r variations the clavi . ’ The circum stance s under which Haydn s early sy m phonies were com po s ed m ust be taken into account before c om m entin g on the astoni s hing num ber which he pro d u ce d of of f , and the want that depth eeling and s olemnity Of treatm ent which Mozart and Beethove n to a s till greater degree have tau ght us to look for i n what becam e under their hands the very highest expres ’ s of m m m s ion usical e otion , pure and Si ple . Haydn m m o f f s i x or sy phonies were co posed in groups our, , n for m s f m seve , those u ical per or ances which were the c u st oin a r e e m of h y evening nt rtain ents the wealt y nobility, and only s o m uch variety was required as Should avoid actual repeti tion or m onotony in the successive groups Of m f m u d m . ove ents The per or ances were long, and incl ed ’ s m Fir m ia n s a great de al of orche tral usic . Count ’ ’ m s oir e e s s f m t o a n d on usical la ted ro five eleven O clock, o n f u e v e s m . e ening s veral y phonies by J C . Bach and o r m f e s sy phonie s by Martini were played . Dittersdor t ll u s in his autobiogra phy that he once played twe lve n e w s e on o n e violin concerto by B nda evening , and at a private e s b s m concert in Dr den oth parts contained a y phony , a v f n a a . iolin concerto , lute concerto, and Oboe concerto ’ Haydn s pec uliar s ervices to m usic c a n hardly be said t o have suffered from the Obligation t o fertility which K E I SE NS I ADT 4 WOR S AT . 9

u s his m s s was the conseq ence of his po ition . It was i ion to s t ere otype the form s and d e ve lop the capaciti e s Of m a m s m s e o f it s t wo f instru ent l u ic, ore e p cially chie ex on e n t m n d t his s a . W p , the sy phony the q uartet i hin own m his wa s b e i n t li its , invention inexhausti l , his or gi ali y s his a im wa s h Of knew no bound , but no igher than that m s e f e s u other great co po ers b ore B ethoven , who o ght to display the beauties of m usic only within its ow n do m ai n ’ of s m th e i s a n d sound . Mozart achieve ents are h ghe t greate s t possible wit hin tho s e lim its it was res er ve d for Beethoven to break down t h e barrie r between m us ic a n d a n d m t o e b t h e poetry, in his sy phonies c le rate , as it were , o f m m s a im of apotheosis instru ental u ic, Showing the the m u s ician hen c e forth to be the expre s s ion i n soun d o f

s of . W the j oys, aspirations , and longing the poet ith e of m n m t h e Be thoven the Older school instru e tal usic, of a m school B ch , Handel , Haydn , Mozart, ca e to an f e s wa s s s end ; no urther progr s in it po ible ; his genius , “ ” “ f t h a s o f Titanically in an ine, been laid at the breast i for for m s h a s n ow the Div ne, and better, worse, u ic recognized its m ission as an accom panim ent to the dra m a o f m fs s s n hu anity with its grie , its joys , and its pa io s . n f w f e Recog izing this act, ho ever , to its ullest xtent, it w m n m e n s ill still re ain the case that, as lo g as have ear e f m n c a n t that are r reshed by elody, as lo g as they s ill understand the definition o f m usic a s a concord of s w e et ” ’ s h n ot sound , t ey will cease to find pleasure in Haydn s

m - we s a sy phonies and quartets . How Haydn ish y , t h e of m m a n d f s as flood elody co es pouring out, clear re h m m o u r e and bright as a ountain strea ; brows r lax , and o u r he arts lighten as we lis ten ; nor c a n o u r int e llects f t o s f n s ail be sati fied with the per ect design , the fi i hed m s s of m n s on e e n d work anship , the ub ervience all ea to a r e f W ds which un olded as the work proceeds . hen it en we feel that we have b e en in the presence Of a m as te r of a r t our m a n d his , and in proportion as usical knowledge fe e lin g are real a n d deep we ca n understand the reverence ’ with which H a ydn s claim s to be the father of instru m ental m usic have been acknowledged by his contemporaries and s succes ors . N 0 HAYD .

The term sym phony wa s applied t o m ore than on e form of instrum e nt a l com position in vogu e d u rin g the s u n m s w h la t century . The word was sed as syno y ou it o s m m f th e n e t b e verture, and it was o e ti e be ore con c ion t ween the sym phony and the Opera to which it s erve d as a n n wa s . n s m i troduction severed The Fre ch y phony, int roduced by Lulli ( 163 3 and e stablished by f s a f we Scarlatti and his ollower , began with an ad gio , ollo d m m f f m of f by a quick ove ent, o ten in the or a ugue , and s p as ed again into an adagio , which concluded the over u m n m a t re . The Italian sy pho y had three ovem e nts & n a e m e llegro at the beginning, and another quick r and or

a n m w m m . i ated at the end , separated by a slo ove ent Burney says that the com posers of t h e cel e bra ted M m l wh o of annhei Capel e, were all the first rank , first o e m of u w verst pped the usual li its the Opera overt re, hich hitherto had only consis ted o f a sort of sum m ons t o sil e nce a n d n i on of a n d m e atte t on the entry the singers, co plet d the developm ent Of the sym phony as an indep e n de nt m s m m c o p o ition . But Sa artini and Pallavicini in Italy h a d already done good service t o orchestral m u sic a n d t o m the sy phony as its principal exponent , and Haydn s urpass e d them all in his inexhaustible wealth of prod u c of m a tive power and thorough knowledge his art, and y s t of m j u ly be considered the creator the sy phony . m f m v - m In the co plete or thus gi en to the sy phony, the original three m ovem ents of the Ita l ian over t ure we re s r or s l pre erved, but they were no longe ( only occa iona ly) c on f m of m onnected , and the or ation the separate ove m e f f m t o it nts ,the clavier sonata in the per ect or given P u h m . by . E anuel Bach , had a very considerable infl ence Th e fe w bars of adagio which precede the alle gro in ’ m a ny of Haydn s sym phonies is perhaps a rem inis ce nce of t h s m f w e French y phony. The allegro itsel is al ays in t wo parts in the first part the principal and s e condary s a r e s e t f c n t r a st e d m e t m ubjects orth and , and so i es ' th e y are followed by a t h the whole connect ed by m f f s e s e s o n eans o ree passages . & The first ubj ct clo the s ub - m S ke of t h e d m do inant, and the econd is in the y o i f m m d n in t he O . ant, which first part the ove ent conclu es

52 HAYDN .

or n ot it wa s and whether Haydn first introduced , it u ndoubtedly he who gave it an individual and typical m of character . The inuet was the dance good society, the appropriate m u s ic suggesting the dignified deport f of wd n s m ent and courtly grace o the age po er a d hoop . Haydn dive s ted his m inu ets o f this high - bred air of d i m s a w ful ign ty, and filled the in te d ith the cheer good m of bour e ois of of II hu our the g his day, without a taint V I f n t h e garity or carelessness O construction . He retai ed f m m n m or , but changed the spirit and the i uet, as he ade i s m e t . , took its place in the y phony and kept it In thes m m m ove ents ore , perhaps , than in any other, we are m of s s delighted with his hu orous turns expre ion , his of e f m f of in ve n constant flow ch er ul elody , and a ertility tion which is the m ore a s to n ishi n g when we reflect tha t h is compositions of this particular kind m us t be num bered by hundreds . ’ A careful study of Haydn s ear lier sym phonies shows th at he had s pent h is lon g years O f struggle with pove rty i n m s n t h e o f a teri g technicalities his art, and that he had already m ade u p his m ind on all es s ential points c on n e c t e d f m of s m m B u t with the or s in tru ental usic . it will se m e fo r scarcely be expected that the works , co pos d all s of s f e s h orts occasion , and o t n at very hort notice, s all all f of m m m o f m be ound equal erit and i portance . So e the e kn s m s b u t are not , properly sp a i g, y phonie at all, Should r ather be classed a s diverti m e nti or cass ations (a term w e s s f m s hich has never be n ati actorily explained) , co po i t n SO i n f m m n io s not fixed or as sy phonies, contai ing n m Of m m I n h u s a greater u ber ove ents, and w ich the vario m m n e l parts are ore si ply arra ged . Anything like a d tai ed ’ a of s s m n o r m m e ccount Haydn y pho ies, even a ere enu ra tion of them u nder their s e parate titl es would be I m p os l m f s on sib e within reasonable li its , but be ore pas ing m s Of t it to his other co position his period, will be foun d Of interest t o s a y a fe w word s on the first sy m phony m m s e n d t t (C ajor) , co posed at Ei sta , usually enti led Le ” “ d f Le Midi, to which Hay n a terwards added another , ” n e iI I e m So . Matin, and a co c rtino, Le Haydn se s to m t o have deter ined at once take his prince, his orchestra , wonxs A AT EISENST DT . 5 3 a n d his a m m U s m C pell eister by stor . The nu ual nu ber o f parts in the score m u s t have n e ce s s it ated the s n of a s wa s s d tre gthening the orchestra, it then con titute , by the en gagem ent of s pecial m u sicians from Vienna ; a n d the constant and unusual e m ploym ent of obbligato s m s e s m fo r in tru ent , pecially the long dra atic recitative th e s e t h e s violin in erted betw en fir t allegro and the adagio , m u s t have cau s ed poor ol d W e rner to thro w up his hands n m n in holy horror at such startling in ovat ion s . The sy pho y i s f m m e t e e e b fe w s o f in the usual our ove n s , pr c d d y a bar s m of Th e s ole n adagio by way introduction . fir t allegro is u n s u b a n d e fu u ally rich in su jects car lly worked out . The v e m m s o f m it s iolin recitative is v ry re arkable, the ore ro w an t o f connection with either of the n e ighbouring m ove m n s f u t m n e t . It is di fic l to avoid i agining that Hayd

n m m . s t d . i tended to e body in it o e defini e i ea Dr Pohl , wit h an apology for adopting the vicious practice o f a tte mptin g to give verbal e xpre s sion to the m us ica l m e n n of m e s o f e a i g a co poser, sugg ts the idea an accus d f his I is n f o f t . t a person be ore j udge , at y rate, ull digni y , a n d has a breadth of dram atic e xpression not hithert o d s l b i p ayed by Haydn . It was actually suggested, dou t s s b a e m n a s s O f le , y the recent eng g e t fir t violin Luigi m s n his w a To a ini, who, although then o ly in t entieth ye r,

- had already given prom ise of becom i n g a fir s t rate artist . He re m ained a m ember of the E s terhazy Capelle un t il 1 8 08 u h his death in , and his services to Haydn, and thro g h i m c a n d s m a s to the world, har ly be overrated, ina uch his talen t and zeal afforded the m as ter an ince ntive to c o m po sitions which were sure o f being ably rendered by N on a m e s o u s . O e the di ciple pl ys y quart t as y do , s him e e aid Haydn to , and th ir r lations throughout were m u u d ff tho s e of t al a m iration and a ection . m m ha s u This first sy phony in C ajor , c riously enough , ’ n n B r e i tkO f s u n ever bee included in p catalog e, and o ly

m i n 17 8 2 i n i n 1 79 9 . appeared in Ha burg , and Vienna ’ e 1 76 1 r e Haydn s autograph score (dat d ) is, however, p s in s s b o f his y c o m erved Ei en tadt, and ears , like other earl s n t h e s s I n Nomin e Dom i n i ft e p o itio s, uper cription , , and a r ’ t h e n La u e De o a s s o m r s . fi al signature, , H ydn cu t a y clo e 5 L Y HA DN .

W i f e a r e m o . . e re nded the J J (J su Juva) , with which J . d d ll his S . a c d e a s t o s d B h e icat work the ervice o f Go . H a d n e m e for h is s s y r tained the custo , ev n ecular work a n d s m e m e h e m e Opera s core . So ti s rely added the i D D o a t a s . . G . e s in i l or S ( Soli Glori ) . Occa ionally M e w . t Vi r in i e fin d B . V . (B a ae g Mariae) ; and t h e m o s t “ ’ e m a t e of is L I n fe d e l t a ph ic clos all that to his Opera , ” d e l u s a z La ws omnip ote n ti De o e t B e a tiss im oe Vir gin i M a r i oe . Th e s m aller orchestra l com po s itions o f this period of ’ H a f v s m s s n ydn s li e , ariou ly called Diverti enti , Ca atio s , e e Not t u r n i Con c e r t in e c e n e S r nate or , S h rza di, and Partit , a r e not ve ry easily distinguish able in form and co mp os i t e s o f t e f or m m m e ion . Th y all consi t hr e , our so eti es or m m n t e w t o u a n fi e ove e s group d together i h t y x d rule, and the diffe rent n am es given to th em s ee m to have applie d m ore to t h e occasio n s for which they w ere written than t h w m t o t e . W orks the selves ri ten to order, and without a n e t o h a im o r t a r e y pr tence igh grea conception , they i n t e re s ting t o m usicians m a i n ly as forming an inter m d e e e n t h e s m n h e e iat s tep b e tw y pho y and t e quart t . ” d m a m a m n a s One iverti ento, Echo , y be entio ed an exam pl e of the kind of m u s ical f u n in which Haydn e e e is m s for b of s m s xc ll d . It co po ed a dou le trio in tru ent t wo i s on e n b e t wo ( V olin and Violo cello) , to played in m a n t h e m si s so e roo s djoini g, u cian to be placed that th y c a n s e e e a Th e five m v m e s d ch other . o e nt (a agio , allegro , m n e a da z io a n d e s n e n m s i u t , , pr to) ver go beyo d the li it o f a m u s ica l oke m s e for t h e m s e m of s e t j , co po d a u ent a o f am ateurs but t he num b er of ti m e s and the differe n t a r a n m s t h e e e wa s s it r ge ent in which pi c publi hed, prove t o e f t have be n an especial avouri e not only in Vienna, in s A m s b e but Pari , Italy , and Berlin . word ust al o said he re on a s tyle of com po s ition m uch in favour a r d s of 1 8 t h e n m tow the end the c tury , called Har onie ” m u s i f r m s m e m e s wa s o w s . k , ind in tru ent alone So ti it i n f m of e e e s a n d e o f n the or s r nad , p ople ra k had per — fo r m a n ce s o f s ix or eigh t part Harm onie m us ik duri n g m e a s m s e t h A u m n . e l The E peror Jo ph, rchd ke Maxi ilia , and othe r princes had s p e ma l orches tras for th e se nxs T T 5 0 wo A EISENSTAD .

c n a n d f - his s n o certs in a ter years, during vi it to Londo , Hayd n wa s greatly pleased with t h e wind band of t h e Prin c e of Wal es u n de r the cond u ctor s hip o f Chri s t ia n ’ a m e f a m m or f . s o Cr r Mo t Haydn s H r onie usik, Ta el m s m m e e n e s e u ik, as it was so eti es call d, b lo ging to th early y e ars has been lo s t it i s from a m uch later c o m po s ition of the kind that Johannes Brahm s has t a ken u for Of the s bject his orchestral variations . the dance m s m u ic co posed by Haydn we have already Spoken . His m inu e ts for dancing were gayer and lighter than for m h n ot in those his sy phonies, and alt ough he has m of hi s s cluded the in the autograph catalogue work , he n t s e t m m 1 79 0 w e s t o evide ly so e store by the . In he rit his Ar t a r ia ff n h im w e publisher, , o eri g t elve v ry capital ” m inu e ts and trios in paym ent of a debt o f twel ve d ucats . Th e qua rtet h a s long been acknowledged as the noblest a n d m s f f m of m m m s o t per ect or instru ental cha ber u ic, a n d it w a s Haydn who gave to the quartet its character“ i st ic form and developed it to such a degree of perfectio n “ a s m a u h e ca n that, Goethe say s , he y be s perseded, ” n e m for n ever be surpassed . The q uart t beca e Hayd of m t h e the spontaneous expression his usical nature, f s of f - m e ullest re ult his li e work , and it is seldo inde d that an a rtist has been s o successful in discoveri n g the s m f r e f e fitte t outco e o his individual g nius . Others be or h im had written co mpositions f or four instrum ents ; his m om e lli St a mit z B e conte poraries , J . C . Bach, J , , occh rini, s s t h e m l and others , publi hed quartet in sa e col ections in which his appeared but it was h is i n exhaustibly fertil e in ve n tion f m in m e o f f m hi s n , his reedo the treat nt or , unerri g judgm ent concerning the relative p owe rs and capacitie s o f e a ch instrum ent which caused the quartet to becom e on e of the m ost beautiful productions of Germ an m usical ’ m art . It was only by degrees that Haydn s conte poraries learned to appreciate the service s rendered by his geni u s t o of B ut t h e this branch his art . he gradually gained f o f m of f avour the public, and secured the ho age his ellow arti sts by an unbroken series of works advancing in depth of of l wh o conception and finish execution, until at ast 5 6 HAYDN . e ver ventured on the sam e field wa s obliged t o serve n d under his banner . Here, again, Haydn ack owle ged h m P . t o his obligations to E anuel Bach , rather than those o f his predecessors who had actually com posed for four m s de h is instru ent . The clavier sonata was again m a m for m e odel, and the rules the quartet beca as definitely e d a s f r m fix those o the sy phony . f d ff f m The quartet, as Haydn oun it , di ered little ro the m f orchestral co positions o which we have just spoken . I n f m f h is act, Haydn hi sel called first quartets Cassations , m a n d How h e m Diverti enti , Notturni . ust have rejoiced to fin d them growing under his hand into what he could not b u t fee l t o be the truest and best expre s s ion of the ” s h him & f m geniu t at, as he said, was in The uni or ity o f m m of the aterial ele ent sound in the string quartet, combin ed with an alm ost infinite capacity for variety of tone - colouring and individual m ovem ent am on g the in m e m m stru ents , r nder this the ost agreeable develop ent o f m m cha ber usic . The favourite compari s on of the quarte t with a c on versation between four inte llectual persons hold s good in ” ‘ m if m so e degree , says Otto Jahn , it is kept in ind that the intellectual participation and sy mp a thy o f t he in t e r l o cu n ot n a s n i n tors , although ecess rily langui hi g conversation , a r e u b m only a dibly expressed y turns , whereas the usical m m f m m e bodi ent o ideas ust be continuous and si ultaneous . Th e com parison i s intended to illustrate the es sential point that every com pone n t part o f the quartet stands o ut inde e d t o s o diffid e n tl pend ntly accor ing its character, but y t hat all coopera te t o produce a whole which is never at , a n y m om ent o ut of view an effe ct s o m assive as t o a bsorb altogeth e r the individual parts would be as m uch o u t of m of on e place as the undue e phasizing any part, and h b f h t e su ordination o t e o t hers t o it . The eighte en quartets com posed by Haydn duri n g the of we e a n d s m m years which are sp aking, tho e i ediately f l w n d s n m d e ol o i g , i play in a striki g anner his gra ual d ve l O m e n t v e t a im a n d h of p in in entive pow r, defini e , breadt

1 “ di v l . i L fe of o a r t E n . E t o i 9 i M z ( g ) , p K T E I SE NSTADT 5 WOR S A . 7

h s h m treatment . It has been questioned w ether he wi hed t e m l s of m to be included a ong his ater work the sa e kind, ’ f m a n d Ar t a r ia s m which are in strict quartet or , the atic ’ of s catalogue the quartets begin , according to Haydn s h d r i t e e . s Ar t a a . 9 e ire, said , with ninete nth (Op , No But the total o m i s sion of thes e earlier works in any st u dy f ’ m o Haydn s quartets would be a very great istake . They are ab s olutely nece ss ary t o a r ight understanding o f his m s e of m ethod and progress in this p cies co position , nor will they eve r cea s e to be s ought after by all true lovers o f m n ot o n of s usic, account their hi toric interest only, but for of m t Of the wealth elody, the puri y thought , and the e s e f m innocent d ire to give pl asure, which breathe ro m m every ove ent . ’ m m o Haydn s string trios were al ost all co p sed early, t of and are wanting in individuali y and breadth design , throwin g into striki n g relief the great advance in origi n a lit y and power of expre s s ion m ade by him as soon as f r he had adopted the quartet o his own . The greater n um ber o f the twe nty - o n e trios for two violins and o n e w n i n his c o m Violoncello , hich he i cludes catalogue, were f 1 7 6 7 m e posed be ore . They are generally in three ov m t m f s en s , adagio or allegro , inuet and presto, and the ir t violin is oft en m ade s o prom inent that they m ight rather be con sidered a s violin s olos with accom panim ents for the m other two instru ents . Haydn spent m uch of his tim e at Eisenstadt and E s t e r h a z m for in st r u in co posing the barytone , a stringed m e s m a m ent clos ly re e bling the viola di g ba, upon his skill on which Prince Nic ol a u s piqued him self con ’ s ide r a bly . It was Haydn s duty to com pose as m any for n a s 1 pieces the baryto e the prince requi ed , and that it was so m ewhat of a f0 1 ce d tas k m a y be inferred from the 1 oof f0 1 s m n of w rep idlenes ad i istered by the prince , hich m e a m ntion has alre dy been ade , wherein Vice Capell m e ister Haydn wa s com m anded to show him s elf m ore ind u striou s than heretofore in the com position chiefly of “ ” c s on m su h piece as could be played the ga ba . The reproof wa s al m ost im m ediately followe d by a reward of for w th wa s twelve ducats three pieces, with hich e prince 5 8 HAYDN .

’ s s m u very well plea ed . Haydn s zealou atte pt t o s r p rise a n d de ligh t his m as t er by learning t o perform on m s n m fu the instru ent him elf was by o eans s o succes s l . His intended surprise was received with a cold indifference which am ounted t o di s approbat ion ; he took the hint a n d n t Of t h e 1 6 ever again sought o rival the prince . barytone com positions incl u ded in his own th em atic cata t h e m f 1 76 6 logue, greater nu ber were written a ter ; but it m a s m y be as well to con ider the all together here, as th ey show no m arked difference in style and treatm ent& of m for a n d Many the are trios baryt one, viola, Violoncello, m m m n m generally in three ove ents, a o g which a inuet a n d e for t wo trio are invariably includ d . Others are duets 2 or e or for barytones , baryton and cello , cassations three or m m m ore instru ents , but the larger nu ber are diverti m for enti baryton , viola, and Violoncello . Haydn did n ot suffer him self t o com pose carelessly e s m t m ven uch trifling pieces as these . He ade he serve a s for m of m s studies larger works , and any the urpass in i interest and var ety his earlier quartets, being capable, n ow of ff n t o m of in st r u even , a ordi g real pleasure a ateurs m m m ental cha ber usic . I t n ow only rem ains t o consider the m usic for the l m 1 6 6 m c avier which Haydn co posed before 7 . His ost youthful com positions were probably fo r this instrument written for his pu pils in the days of his early struggle w ith poverty . Here , again, his knowledge and style on of m were grounded the works E anuel Bach, whose influence is as m arked in this direction as in any other m m m s v con At the sa e ti e, a co pari on between his cla ier certos and his quartets and sym phonies shows very plainly that the clavier was n ot the in s t r um e n t b e s t fitt ed

2 Th e se con d b a r on e wa s Oft e n a e d b K a f t h e viol on ce l y t pl y y r t, st wh o wa s n o m o e fo t u n a t e t h a n Ha dn in a n a t t e m t t o r i a li , r r y p v l h i s m a s a n n f r h s on d ba t on e in a t e r . H vi g i t rod u ce d a solo o t e e c ry c om os t on wh ch h e e se n t e d t o t h e n ce t h e a t t e a s e d t o p i i i pr pri , l r k oo a t t h e a t a n d a n r i o C om n t o a a s s a e l k p r be g t o t y t ve r . i g p g wh ch h e cou d n ot m a st e h e e xc a m e d a n For t h e f u t u r e i l r, l i grily , , writ e s olos on ly for m y p a r t ; it is 11 0 cre dit t o y ou t o pl a y be t t e r t h a n i I ; t i s y ou r du t y .

CD H N AYD .&

V CHAPTER .

E STE R HAZ .

1 76 — 0 6 1 79 .

DUR ING the year 1 766 t wo events o f considerable im ’ m of f portance broke the onotony Haydn s li e, which a f w on m f terwards flo ed in the sa e even current as be ore . o f m We t o The first was the death Capell eister rner, w m n n ow hich allusion has already been ade . Hayd m n m h e h a d n f beca e in a e what long bee in act, absolute of s e f m s h head the E terhazy Capell , and the relie u t ave been great from the sm all daily annoyan ces of his form e r of r m him position , and the want a tistic sy pathy between a n d n m his o inal superior . His prom otion m a y be said t o have placed Haydn a t of m a n d of n the goal his early a bition, a glow pardo able pride m a y well have thrille d his heart as he read the f W um for 1 76 6 ollowing paragraph in the iener Diari , a n d rem em bered that his o wn hard s tudy and self- de nial a n d his own inexhaustible fund of cheerful hope fulne ss a n d of him w wa s genial love his art had placed here he , a n d give n h im already a fam e and popularity spread fa r w of ing bey ond his o n narrow sphere duty . The of m s t paragraph in question , giving an account the o m of m t h e noted usicians Vienna, includes Hay dn a ong n m him e u ber , and describes as Herr Joseph Hay d n, the f of ou r u t avourite nation (der Liebling nserer Na ion) , whose amiable dispo s ition speaks through every on e o f h is m s u works . His u ic has bea ty, style, purity , and a d el icate and noble sim plicity which com m ends it to e very s a n d s m a c om hearer . His cassation , quartets , trio y be E STE R HAZ . 6 1

e m of f n ow pared to a pure , cl ar strea water, the sur ace e b e e f m n rippl d y a g ntle bre ze ro the south, and ano n a ws breaki g into gitated billo , but without ever leaving e s m its proper channel and appoint d course . His y phonies r e f l of f m s a ul orce and delicate sy pathy . In his cantata h e ws m s f v a sho hi el at once capti ating and c ressing, and hi de fu f u f u in s m inuets he is light l and ll o h mour . In ” h m s is s ort , Haydn is in u ic what Gellert in poetry . This com parison was at that ti m e the m o s t flattering that ’ m a n d m a s f could be ade , y have suggested Ditter dor s 1 7 w m a s e . 8 6 e n wer to Jos ph II in , h n the e peror requested ’ ’ him to draw an a n alogy between Hayd n s and Mozart s m m f s e cha ber usic . Dittersdor an wer d by requesting the em peror in his turn to draw a parallel between Gellert and Klopstock ; whe r eupon Joseph replied that both ’ e s s e w re great poets , but that Klop tock s work need d ’ e s e s attentive study , while G llert b autie were open to the f u s first glance . The analogy, Dittersdor tells , pleased m m the e peror very uch . ’ Of still greater influence upon Haydn s well - being a n d m wa s of 1 76 6 usical progress, the second event the year , ’ the co mpletion of Prince Nicol a u s s fam ous Palace of E st e r h a z m of his s m t , and the re oval thither e tablish en , including the Capelle except the fe w voices neces s ary e to conduct the church services at Eisenstadt . Ev r ’ t h e i s w since prince s v sit to Ver ailles, then , ith its park e on e of n and gard ns and interior decorations , the wo ders of m for the world, it had been his drea to construct m f n w s hi sel a palace, on enteri g hich his vi itors should “ ” n s m n s is s & spo taneou ly exclai , Ti a second Ver ailles m s s for h is of Nay, ore than thi , he cho e purpose that one all his num erous estates which offe red least facility for f m d E t r h a z ii r s . s e S t t o trans or ation into a para i e , or , as

e on s - s of it had hitherto been called, li s the outh ea t side t h e m - on Neusiedler See, that enor ous salt water lake, which s m m a H a n sa thi side ter inates in a or ss called the g, as s f s great in extent as the lake it el . On thi unhealthy m of f of arsh, the haunt the wild owl , and the scene per e t ua l i 1 72 0 a p floods , Count Joseph Anton had bu lt in s m u - all and npretentious hunting lodge, and his passion 2 6 HAYDN . for - f h su c wild owl shooting, s ared by his brother and e m d Sii t t or f s cessor, Prince Micha l , a e a avourite re ort i m m m w th them both . No i prove ent was ade in the of t h e n o f e condition estate u der the son Prince Micha l , P n s e s m e d aul Anto , al o an nthu iastic sports an . Provid for s f e their passion port was allowed ree indulg nce , it m attered little to the s e princely autocrats that the fe w of their subjects who were forced to inhabit this deadly r m a s h u egion crept about e ciated hadows , racked wit ag e a n d m n b e s f m alaria, and o ly a l to get a canty subsistence ro m e m o f u the ground . The i p rov ent the land wo ld have of m m e f been the destruction their a use ent, th re ore the land rem ained a pes tilential s wam p until a prin ce r e igne d whos e am bition it wa s to r a ise a second Versailles in the d s e e of N u esert . The work , ex cut d by order Prince icola s , m f s m n were al ost abulou in their extent and ag ificence, but m any years pas s ed before they were actu ally c om — l e t e d . n ot n 1 7 81 1 782 f p It was u til , long a ter the t h s palace was built and inhabited , at the di trict was d rained by the con s tr u ction of a d a m across the m ars h fr m a o f Pom a e n t o u o f o the vill ge gg the palace, pwards m n t t on t d five iles lo g , planted wi h rees ei her si e, and by of f of w the cutting three canals, the chie which is bet een s a n d e n m n of eventeen eight e iles in le gth , and capable of s d - s bearing ships con i erable size . The plague tricken s wam p was by this m eans transform ed into valuable p a s - a a n o n f ture land, and the p l ce was lo ger the unsa e place of e m s b residence it had hith rto been . But it was i pos i le t o e h a s n e e render it really h althy, and it lo g since b n s f s a bandoned by the E t e r ha zy s in favour o Eisen tadt . Th e unpretentiou s hun ti n g lodge of Count Joseph Anton was transform ed by Prince N1 colans into a palace contain

162 m n d n - l n m b ing roo s, i clu i g a reception hall white ar le, m e in s of & V. agnificently decorat d the tyle Louis , and a s m f s u m m m till ore beauti ul er hall , in which the usical perform ances we re h e ld on specially festive occasions . Alm ost every roo m in the palace contained co s tly a n d - m s o f or well chosen exa ple Japanese Indian art, and the - e d w t m of t picture gallery, fill i h asterpieces I alian and u wa s a m s in D tch artists, l o t equalled in richness and E STE R HAZ . 3

f b u of erest y the library, with its inval able collection m n 1 1 . anuscripts , engravi gs , and are p ints e - d The palace was surround d by pleasure gar ens , laid o u t in of e the taste the day, while the dense wood b yond was transfor med in to a perfect labyrinth of groves and

m m - s s m s s glades adorned with su er hou e , te ples , ca cade , and statues, and intersected by paths in every direction . Two noble avenues of che s tn ut - trees extended to right n f n s a d le t of the palace . Faci g the right avenue tood - ff - t h e the opera house and co ee house adjoining, usual of s of E s t e r ha z s rendezvous the arti tic world . Oppo ite e this was the Marionette Theatr , built like a grotto o ut t inside and , the walls covered with sparkling s ones a n d of n m s shells every hue, givi g a weird i pre sion not u nsuitable t o the q uaint d 1Hol l e 1 ie s of the perform ances — — or - wa s there held . The Opera play house a building of m of considerable taste and i portance, capable seating

500 . about guests The stage was deep and wide, the m e r e scenery and costu es excell ntly appointed . Daily ’ pre sen tation s (entry being free to all the prince s retainers s m and servants , and to any trangers who ight happen to be in the neighbourhood) were held in the theatre while n the prince was in reside ce, and twice a week Operatic f per orm ances were given . The affection of Prince Nicolaus for E st e r h a z increased

a s on . of the years went He was never tired altering , m extending, and i proving the palace and grounds , and his greatest am bition was t o m ake the m usical and theatrical entertainm ents there given the best of their s s s m kind in Europe . Ei en tadt he vi ited seldo ; Vienna m m on of only when su oned thither occasions state, his only desire then being t o return as quickly as possible s t e r h a z to his beloved E . ’ f E s t e r h a z on e of Haydn s li e at was , as will be seen, alm ost complete retire ment com bined with incessant in d u st r of for t wo y . The necessity providing operatic f m on e or per or ances and two concerts in every week, besides t he daily m usic the im m ense am ount of prepa r ation necessary for the festivitie s given in honou r of of m m r o distinguished visitors , which usic was the ost p 41 6 HAYDN . m f su e r v on inent eature , besides the personal p m of the a e t e h e C pelle and everything conn c d wit it, which w know t o have been expected fro m the Capellm eiste r ; all this m ust have require d no ordin ary am ount o f industry a n d m m m ethod to acco plish as Haydn acco plished it . His would seem t o be an alm ost s olitary instance of the perfe ction of these qualities combined with great origin al m u ge s . W e are n ot surprised t o find Prince Nicolaus rai s i n g t h e of s o v n n salary valuable a ser a t, granti g his every s e b m t o reque t, and se king y all the eans in his power m him e w h is t W e ake content d ith posi ion . h n the prince m h im o n went to Vienna, Haydn always acco panied , and rare occasion s he wa s allowed short leave of absence t o m . s visit the capital alone More and ore preciou , in pro t o u r portion their rarity, grew these peeps at the o te of a r t s o f E s te r ha z world and arti ts to the prisoner . Th e prince too often brought his visits to an abrupt t e r m ination long before Haydn had heard and s een his fill of m u o f f Vienna and sic , and towards the close his li e e m they ceased altogether . There w re ti es when Haydn m m n f . t elt his i prison ent sorely His lo ging to visit I aly , his belief that a wider fam e would open to him could h e t his a only reside in the capi al , dist ste to the neighbour m of E s t e r h a z a ll ou t his hood and cli ate , are poured in f t f f d G n z in r n d t o . e e a letters his ai h ul rien , Frau v g , a glan ce at this s hadier side o f his life m ust lead u s to adm ire anew the ge n i u s and e n ergy which cou ld p r o duce a never - failing succe ssion of works sparkli n g with u d m originality and gaiety, n er circu stances which would have overwhelm ed m any le s s er m inds with ennui a n d W m disgust . ith his orchestra he was O nipotent and e e m a n d t o heartily beloved ; he call d th all his children , “ “ F r e nd & them he was always Father Haydn . i go ” t o e e a s o n back the first all gro, he writ s a direction m of on e of m n o the usic book the , and the word was

m . Un w n ere title , but a reality earied as a co ductor, he r s t o m d ehearsed until every pas age went exactly his in , i r m e e but without ever rais ing h s v oice in anger o i pati nc . H e followed with gesture and expres sion every turn in AZ 6 5 E STE R H .

m f o f the usic, chuckling be orehand at the approach a m a n d e m e hu orous passage, and betr yi g eper e otion wh n w s f r m s m s e it a calle d o . Interpolated e belli h ent he nev r “ a llowed e ither in singe rs or ins trum entali s ts & I could ” s o m s f if s have written it y el I had wi hed , he used to s a y when any such liberty was taken . wa s e n o n n m a n d Haydn not a profici t any i stru ent, w h rarely played solo . He had studied the violin it his arly frie nd Dittersdorf sufficiently to take part in a u on e o f s s q artet, and during his vi it to Vienna, Kelly ’ e s of e t Stor a c e s t ll us a q uart party at , when Haydn took f s m the first violin, Dittersdor the econd ( ore probably s e w e a n d the parts ere r versed) , Mozart tenor, Vanhall l m of hi f v ioloncello . The c avier re ained to the end s li e m on m b u t the instru ent which he tried his co positions , he i s only Once m entioned as having perform ed on it in his s 1 2 79 . public , and that was during vi it to London in W e have al ready s e en what ill - s uccess a t tended his a t tem pt to pl e as e his prince by a perform ance on the bary f a f f a m e e . o tone, per or nce never r p ated He was ond walking on S unday m ornings fro m E st e r h a z to the vil of t o lage church S zeplak play the organ there, and he had a certain allo wance in kind from the prince as u s s dep ty organist at Ei e n tadt . In a life o f such inc e s sa nt and varied industry a s that of E st e r h a z his of m s Haydn at , habit early rising u t have e f e s h im u b en o the great t service to . He val ed the quiet o f t h e m h s t m s f early orning our , when he could sea hi el at h is clavier and im provis e u n til an idea s truck him as being f t e w worthy o elabora ion . Th n he ould go about the o of n t o h is d e f rdinary work the day, retur ing i a in the a ter it f m be noon , elaborating , giving it or and unity, and only e w e a s s wa s u s ginning to writ h n, he aid , he q ite ure it ” wa s the right thi n g . Thu s his handwriting wa s rapid s u f f m e n s f and clear, and ing larly ree ro corr ctio s . Thi act, t a ke n together with t h e im m en s e n um ber o f hi s com po s it io n s s n s e f c om , gave ri e to the erro eou beli that he w wa s u k . e s po ed q ic ly This, ho ver, not the case . His hea lt hy indus try and powe r of ab s tracting him s elf from s urro und in g circum stances w e re qu a lities m ore val uable 6 6 HAYDN .

a n d t ellin g in the long - r un than any m ere rapidity of n we m m f f production . Whe re e ber how little o com ort ’ o r d m ff b u t repose Hay n s ho e interior a orded, we can wonder at t he power o f an art which ca n rai s e its fol l ower above the pr ess and worry of daily life into t h e i of m h gher and purer region i agination and creation . Haydn laid great stress on the im portance of m elody m in . t o e a m usic In his advice the singer K lly, whose u it t o m bitio was be thought a co poser, he urges upon im b s h that without invention there could e no true geniu . m m o f m of m m The echanis co position was inor i portance , f u I f ou and could be per ected by st dy . y want to know ” ou h n s v whether y ave writte anything worth pre er ing, “ s s f h a c c om a n i aid he, ing it to yoursel wit out any p ” f h i s m . o s Wa ent Master art as he , Haydn would t b m d n v o . e er consent be bound down y ere rules Indee , h e often wilfully tran s gressed in this respect for the s ake of ff t producing the e ec he intended, and he considered the e xpres sion of a new idea of fa r m ore im porta nce t o His s w e than the adherence arbitrary rules . an er wh n ’ his attention was drawn t o a passage in M ozart s C m ajor quartet showing a disregard of the rules of har i n m I f s o m ony Mozart wrote it , he ust have had a good r for t eason it, shows the Spirit in which he desired tha own u his works sho ld be approached . ’ Haydn s character was s o sim ple a n d unpretending t of m or of of hat envy other co posers, want recognition m it m f d e f s true erit, wherever ight be oun , wer eeling fo Ph w n r . hich had o place in his m ind . His reverence m o f s of E anuel Bach was that a di ciple, and Gluck and

Handel he always spoke with deep respect . Towards c m a h e e onte porary rtists was generous and appreciativ , of it w and the strongest instance his genuine, and as ere m for ff instinctive, ad iration true genius is a orded by h s m the attitude e a su ed towards Mozart, while the un m w m m a n of m latter was still a yo g usician, ho a s aller m ind m ight naturally have regarded as a dangerous ” a ou m s rival and innovator . I ass re y sole nly, he aid t o s s on t o Leopold Mozart, that I con ider your be the e t greatest composer of whom I have ever h ard . His tas e

6 8 HAYDN .

l e ft him p e rfe ctl y free . His Operas were his least suc f f m of w c e s s u l works ro this point vie . Griesinger says 2 00 l f tha t Hay dn h a d saved about . be ore his journey t o ' n W e m m e f s m Lo don . hen we r e b r his wi e s inces ant i por t u n it for m t h e m d y oney, and calls a e upon his resources his t l t o w m e by poor rela ions , cal s which he al ays ade r ady w e e m e s s . s s r pon e , can scarc ly accept this state ent A le worthy s ource of exp e nditure existed during twenty years ’ o f Hayd n s life in the person o f on e of the fe male singe rs Pol z e ll i b n in the Capelle , Luigia , who, with her hus a d , A Pol z e lli e b 1 9 7 . nton , was engag d y Prince Nicolaus in 7 The vivacious Italian girl ( sh e was only nineteen at the time of her engage ment) seems t o have com pletely fa s c i na t e d w e b t o Haydn, who was al ays very susc pti le fe m h e r e ale influence . Her relations with husband w re n o m m s of f ore har onious than tho e Haydn with his wi e , a n d his pity for h e r soon ripened into a violent affection d o f a n u s e or m fo r evoid y gen ine re p ct estee , which we n eed the less condem n h im since it undoubtedly bro u ght o wn m m t m e of f its punish ent , and beca e the or nt his li e m Pol z lli h for m n . e a y years . Md e was a eartless coquette . ’ She turned Haydn s affection to account by continually e m f m him h im xtorting oney ro , and actually induced , ft of h e r m a er the death husband, to sign a paper pro ising

t o m s m . arry her, hould he beco e a widower This, how e s n of m ver, he had tre gth ind enough to repudiate, and e n t o his ey es being at l gth Opened her true character, h is ffe for s of n f n a ction her cooled, the la t trace it bei g ou d ’ i n of s m n f his bequest to her a all a nuity . Be ore Haydn s d s h e m n e m eath arried a si g r, Luigi Franchi by na e,

1 2 - f s 88 t wo s o . and died at Ka chau in , at eighty year age ’ Now that we have gathered a g e neral ide a of Haydn s m anner of life and surroundings during the quarter of a century which com pris ed the m ost fruitful and pro r e s sive of m u s e s s g years his ical care r, it will be nece ary t o pass briefly in r e view the m ore im portant of his work s e w 1 7 6 6 1 79 0 of his s b t een and , the date first vi it to

d . n m m m Lon on In doi g so we ust re e ber, however, that h e t h e w d i t o n s is known to orl , espec ally the E gli h world m n m o f s hi s . u ic, pri cipally by later co positions His 6 9 E STE R HAZ . p op u larity re s ts on th e works of th e last t we n ty years of h is fe 0 11 h m a b e his s — a e d li , w at y called po t Moz rt p rio , and in estim at ing hi s position am o n g m u sicians we m u s t ’ h im t s s s b u t a s consider not as Mozar predece or, his e m e s cont porary and succ s s or . The work which we are t o s o f s m o f about con ider, with the exception o e the e s a r e w e quart t , now little kno n and rar ly played . They f m s n f d n fo r f - f m e or , nevertheles , a stro g oun atio his a ter a , and would r e pay a fa r clo s er exam ination than we c a n a s w n a a s w u n c on give sho i g how gradu lly, and it ere s c iou sl d m s e f b y , Haydn reveale hi l as the li erator and e of m m s a s wa s i n proph t instru ental u ic . Fortunate he s s s dm f of n po es ing the a iration and con idence his pri ce, and o f those m u sicians wi t h whom h e was in im m ediate n ot s t h e e contact , he did e cape envy and d traction which fall to t h e share of all who leave the b e aten trackto f w t o wn i u ollo heir path . The V ennese p blic enjoyed his fresh a n d g e nial creat ions with unbo u n d e d delight ; but s s n s s f f s w1t h m the arti t and con oi eurs ound grave ault the . The dis pute a s t o whe ther and in what degree hum our could be re cogniz e d in m u si c raged loud and long around h is s f d m t c on work , and the ree o wi h which he treated v e n t ion a l rules wa s found unpard o n abl e by t h e Vienna critics . His very po sition wit h Prince Esterhazy and his re sidence in Hungary caused him to b e dis trus t ed as f e m of t h e m e e I L a oreign r, and the exa ple E p ror Jos ph , who disliked him and inveighed against t h e tricks a n d n on s ense with which he overlaid his m u sic was widely followe d by the supporters of the older school of in s t r u m m s ental u ic . ’ a n s m s a s w com H yd dra atic work were , we kno , all s for fe s t a s s c t wo o r t m e po ed the ival occ ion whi h, hree ti s m of e s t e s t in every y ear, broke the onotony xi nce at E er m s t s of s s haz . A ere reci t al of the vi i di tingui hed per s o n a e s of t h e t m s for g , and operas and canta as co po ed d n e e s s a e c w u d b e s m a n . a h , o l be oth tir o e un c ry It will be m ore i n accordance with our present object to give a n a cco un t o f o n e such V1sit and t h e e nt ertainm e n t pro v id e d fo r s e of s it , and let it erve as a typ all the re t . u e e of e for own a e a The p r lov pl asure its s k , which was 7 0 HAYDN . distin guishin g characteristic of the Viennese n obility o f n w m t s the last century, is o here ore s rikingly di played than 0 11 s s h n t wo o r such occa ion , w e three days were entirely t o fe s n m m e devoted a ting and e joy ent, and neither on y n or trouble was spared t o m ake t he enter t ainments the f f d m ost per ect o their kin . 2 8 th 1 77 7 son On August , , the Archduke Ferdinand ( of Francis I . and Maria There s a) with the Archduches s Mari a Beatrice arrived at E s t e r h a z for a visit of three or f m l four days . As they drove ro the vi lage of Szeplak t o l f w the pa ace, their carriages were ollowed by cro ds of of m i peasants uttering shouts welco e , flour shing m t tru pets and waving flags . At the entrance o the ’ palace the whole o f the prince s establishment wa s s drawn up to receive the vi itors . The Esterhazy regi m of fu f m s e r ent grenadiers in ll uni or , twenty liveried v six n f - ants , six couriers, Hu garian oot soldiers , the ’ - u m prince s body g ard , the Capelle , the hunts en, all the ffi six m household o cials Hungarian and Ger an pages, lined h W t e steps and the entrance hall . ithin the porch the guests were welcom ed by the Prince and Princess Ester hazy a n d a large party of Hun garian and Austrian n t o m m . ft in r obility, invited eet the A er a short rest thei a m e for s part ents , which had been specially d corated thi m visit, the co pany repaired to the theatre, where a m wa s f m f ill u mi Ger an play per or ed . Then ollowed an n of of ation the palace and part the park, and the even t n f w ing closed wi h a banquet . Early o the ollo ing m m orning , hunting usic was played under the windows ’ o f th e m f m s guests apart ents, and a ter a orning pent i n viewing the t reasures of art and luxury scattered t h e a m u in through pal ce , a idday banq et was served t o b in mm l the great hall the higher no ility, the su er hal t o m the lower nobility, and in the arionette theatre to the of m a f f rest the co p ny . At our in the a ternoon they all d rove through the park in Open carriages , visiting the t e m t t o e ples, grot oes, and other wonders there be s en, a n d t h a n ending heir drive at the t eatre , where opera, ’ ” L I n con t r o m m for t he I provviso, co posed by Haydn

wa s f m m h . m occasion , per or ed with uc applause Then ca e r sr r s n a z . 7 1

s a ft-or m s upper , and that a a ked ball , attended by about 1 4 00 e s s n f n c om gu t . On the ext day, a ter din er, the w i n w d e m pany alked the park , and ere conducte , a co a n ie d b of m t o e p y a band usic , an open spac , where a m m f n e for m m i ic country air had been arra g d their a use ent, w t s a n d m t s t s i h stall booths , oun ebank , quack doc or , c h e - n in ap jacks , puppet shows , singers and da cers , all f f m r m e ft f ull s wing o noise and e ri nt . A er ully enjoying - r e fin e d t m s u s this not over enter ain ent , the ari tocratic g est were served with re freshm e nts and betook them s el ve s to ’ m w of c the arionette theatre , here a parody Glu k s “ ” e s t f h m w s Alc e was given , a ter whic ca e fire ork , s . f w m w a s upper, and a second ball The ollo ing orning d e voted to the chase the afternoon to a concert by the e m m Cap lle . Then a Ger an co edy was played in the t m of a n d f s heatre by a Viennese co pany actors, a ter thi a n d supper the gu e sts w ere conduct ed to a cleared space n t a n d e w t in the park, hu g wi h garlands plant d i h

r a . re exotics A gun was fired, and at the signal the ’ s pace was filled by a crowd of the prince s peasant su b e ct s m wh o t u j in national costu e, , wi h joyous sho ts and s d t ongs, anced Hungarian and Croatian dances to na ional W f n s m . o o e usic hen they were tired looking , the gu ts, leaving the peasantry to carry their fea sting and dancing fa r t in o the night, returned through the park , all hung m ue t with coloured la ps , to the palace , where the final banq a n d m n e r ball were given . Early next orni g they took th i e t s s m m of r d parture , leaving cos ly pre ent in e ory thei ’ vi s it for the perform ers and officers of the prince s house m u o f hold . Si ilar entertainm ents were give n in hono r m d in Prince Rohan, French A bassador extraor inary, 1 7 72 of m M s 1 7 73 on ; the E press aria There a, in ; and a l l the other num erous occasions when E s t e r ha z was s e or d s s W vi it d by royal istingui hed guest . hen Haydn wa s pres e nted to th e em press during her visit to Ester “ he m s of haz , ventured to re ind her Maje ty the good hidin g he had received at h e r com m and long ago at S wa s s w - t r chonbrunn , and an ered by the good na u ed “ r m W m e e ark, ell, y dear Haydn, the hiding has born

f u ou . g ood r it, y see 72 HAYDN .

J y 1 7 7 7 a t of m th e In ul , , the request the e press, s w E terhazy Capelle ent in a body to Vienna . The occa sion was the vi sit to the Court of Vienn a o f the Elector o f e s t h e h s of of Trev and his sister Duc es Saxony , and

o - f the Duke and Duchess f Saxe Teschen . The per orm a n ce s of the E s terhazy m usicians were am on g the chief of th e m any costly e nt e rtainm ents given in honour of t h e Two s d royal guests . opera uring the week, and daily c s for h m on e n e w oncert , w ich he co posed at least s m ca n e f H e for h is y phony, have l t aydn v ry little leisure u s ual Vienna enj oym ents and b e sides these a m arionette t heatre had be e n specially erected at Schonbrun n for t h e “ ” f m of m t t e b per or ance a arione e Op ra, proba ly Dido, which had been previou sly produced at E st e r ha z at a cost of 6000 fl or in s (about and which the e m pres s s n w s e xpre sed a great desire to s e e . This visit to Vien a a m ade whil e Hay dn w a s s till s martin g unde r the failure “ ” of t wh 1ch n his Opera, La Vera Cos anza, he had bee c om m is s ion ed by the court to write for the new Italian in 1 7 n of his m n Opera 7 7 . The stre gth opponents a o g t h e m w s t oo for him e usicians and critics a great . and ev n a n t o m of a appeal the e peror was no vail, Haydn with d r E s r h z 1 rew the opera and rep oduced it at t e a in 779 . About this tim e Haydn sou ght adm ission into t he of of e n for Society Musicians Vi na, whose benefit he had 1 775 m I l already ( ) co posed his first Oratorio, Ritorno di

. n o t Tobia The society, with short sighted rapacity, ’ o nly exacted a s u m of 3 00 flor in s on account of Haydn s n on - s t him n re idence in the capi al, but wished to bind dow to com pose for them whenever and wh atever they cho s e t o m h e t m b e de and . T is he at onc declared o be inco pati l d s e w w his with his uty to Prince E t rhazy, and ithdre a f m m s h or m b . t e s c pplication e ership So e year later, o iety ” r equested him to rearran ge his Tobia for a fre s h f m on h is s t for m n of 2 0 0 per or ance, but ipulating a pay e t fl or in s h n w n m e s f his , t ey agai , ith i credible anne s , re used ’ “ ” e s s f m e e r quest, and Ha se Elena was per or d inst ad . ’ s of u m c m b u t his Haydn day tri ph a e at last , not until s t t o d e e h im econd visi Lon on , wh n all Europe had hail d a s s f a n the greatest m u ician o his age . Then he received E STE R HAZ . 73

m n of th e a n d wa s n ovation at a special eeti g society, una i “ ” m o u sl a oin t e d i for f d y pp Assessor Sen or li e . He procee ed ’ of o n to heap coals fire the society s head, by presenting t h e b it with the Creation and Seasons , and there y n f of f n layi g the oundation its a ter prosperity . Hayd found earlier and m ore genero u s appreciation in other

m of -e d countries . The Philhar onic Society Modena elect h im m m 1 78 0 a n d for h e a e ber in , in return this honour “ ’ his m L I sol a p resented the society with dra atic cantata, f m 1 785 I n 1 784 Disabitata, per or ed at Vienna in . , n e of e for six Pri ce H nry Prussia, in r turn quartets dedi ca t e d t o him m d a n d t , sent Haydn a gold e al his portrai 1 78 W m h im a n d 7 . in , King Frederick illia II presented with a diam ond ring in recognition of his m erit as a c om “ ’ t t h is m s poser . He had just wri en cantata, Ger any

Lam ent on the Death o f Frederick the Great . Haydn n w t h e valued this present exceedi gly, and al ays wore ring when he was com posin g a nything requiring special n of w pai s . A stronger instance his ide spread reputa E s t e r h a z wa s tion even while he was still confined at , the com m ission he receive d in 1 785 to com pose t h e “ Seven Last Words of Christ for the Cathedral of m f m m n Cadiz . This work Haydn hi sel estee ed as a o g t h e m m a o ur best he had ever co posed, and it y interest readers to have his own account o f the circumstances of its perform ance as pre fixed to the edition of the score s f e 18 1 publi hed by Breitkop and Hart l in 0 . He writes Ab out fifteen years ago I w a s requested by a canon of Cadiz to com pose in s t rum enta l m usic on the Seven of on s t h e m Words Jesus the Cro s . It was custo at the Cathedral of Cadiz to prod u ce an oratorio every year d ff of e f m a uring Lent, the e ect the p r or ance being not f i m w s t e c . lit l enhanced by the ollowing rcu stances The all , w of we n indows , and pillars the church re hu g with black on e m n f m cloth , and only large la p, ha ging ro the centre of t h e f m bs . m roo , broke the sole n o curity At idday the e m ft a doors were closed and the ce r ony began . A er h s s e s ort ervice the bishop a cend d the pul pit, pronounced o n e of the seven words ( o r s e ntence s ) and deli vered a f u e . d disco rs thereon This ende , he le t the pulpit and 4 H 7 AYDN .

f l knelt prostrate be ore the altar . The pause was fi led by m u m e the sic . The bishop then in like anner pronounc d s o on the second word , then the third, and , the orchestra f of c om alling in at the conclusion each discourse . My t o u t o it position was be s bject these conditions , and was no easy m atter t o com pose seven adagios t o last ten m f on e f t h e t inutes each, and ollow a ter other withou f f im os si atiguing the listeners ; indeed, I ound it quite p ” t o m f m ble confine ysel within the appointed li its . He solved the difficulty by m akin g each instrumental of s o interlude expressive the words that had preceded it, f - w t o that in a ter years he was able, by adding ords the m t o usic, and dividing it into choruses and solos, produce The m m it as a sacred cantata . work ade a great i pres s n wa s f f m io , and very o ten per or ed . Haydn ’ s church m usic has often been characterized as a w nting in depth and dignity, and calculated to excite and e t t o m f n late the worshippers , rather han rouse in the eeli gs o f v f m a devotion and contrition . This ery act y account ’ for - so t o its wide spread popularity, that this day Haydn s m asses and Offertories are m ore frequently performed in m n a n For n o on e c a n Ger a y than y others . be unconscious n n f m of his that, u derlyi g the cheer ul , al ost joyous spirit s m of t o acred usic, is a vein piety which seeks rather ’ f t o glori y God s goodness than deprecate His vengeance , a n d which encourages the sinner t o hope when others m him d G od ha s m e f u i ght bid espair . given a cheer l ” t t o s o f e hear , said Haydn Carpani , He will surely orgiv m e if I serve Him cheerfully and the spirit in which he c omposed his sacred m usic shows itself in his sim ple “ ” a m ssertion, that when co posing the Creation , he knelt d own every da y a n d prayed to God to give him strength for 1 6 1 790 m e his work . Between 7 6 and he co pos d e m m ight asses, besides those sacred co positions we have a s Of m s s lready noticed and m any sm aller work . the a es m b l m r the ost cele rated is the Mariazel Mass in C ajo , c m for on Kr e ut zn e r o posed a certain Herr v , apparently as a thanksgiving for his elevation t o the ran k o f a noble m a n m s . This is the only as Haydn ever wrote to order o r for de c m a e e n an outsi hurch, and he y well hav tak

7 6 H N AYD .

’ m f a n d . s m a n p rince s pri e avourite, Hay dn At la t To si i w ou t s a i n ble his light and di ppeared , and Hay dn was t h e of f n w e wh o act ollowi g, hen the princ , had been a n t h e e f m g zi g bewildered at unexpect d per or ance, s e f r e n him n m d t pped o ward, and s izi g by the ha d , exclai e , — I s e e what y ou m ean & Th e y want t o go hom e very — ” - e m a i well then t o m orrow we will all be off. W y m a ’ gine the anxiety with which Haydn s appearan ce was ’ a t f or m m a n d ~ w i ed in the usician s antecha ber, the jubi lation with which his report of the s uccess of the e xp e r i m e To m d ent was rec ived . The y Sy phony was oubt less s u ggested by the m edley of n ois e s heard at a village f . d t o in air Indee , Haydn is said have bought the toy st r um e n t s f n n m m at the air, and , bri gi g the ho e , to have a n m fo r m m arr ged the usic the , supporting the with two v s n t iolin and a bass . He kept the whole thi g a secre f m w m m e ro his orchestra, hose erri ent at the nov l parts the y were called upon t o take m ust seriou sly have r e t a r d e d of t o the progress the rehearsal , which they had m m been su oned as usual . ’ of of f Haydn s quartets , which he wrote upwards orty d n E st e r h a z m s i n uri g his residence at , were still the o t d of m us o n m ividual expression his ical genius, and the h e s of n u concentrated all the best re ults his tale t , st dy , Th e s m h c and experience in com position . e ti ation in w i h the y w ere held by tho s e of his contem poraries wh o were ’ t o o t o v s s generous en y his greatness , is hown by Mozart ffe t d o f h is e a c ionate de ication first Six quart ts to Haydn, m m h e t o l e a co pli ent declared be on y his duty, sinc it was from Hay dn that he h a d learn t h ow quartets should be ’ w t e t oo l i n ri ten . Hay dn s influenc , , is plain y traceable ’ o e a s e of u d e m an y f Beet hoven s q uart ts . The l p a h n r d ’ y e a rs has but s erved t o e s tablish Haydn s clai m to b e s a of m n m b m s a s con idered as the cre tor oder cha er u ic, s u rely a s his sym phonies en t itle him to be c all e d the f a e of m e e s a n d e a t th r the od rn orch tra, we ap pr ci e the of m e m e m n t h e n v itality his works the or , re beri g lo g s t of s m e m a m s s of m li highly e tee ed cont por ry co po er , who u e a m s no t hi n g n ow rem ain s b t t h ir n e . In t h e clavier m u s ic of t hi s period we still find traces E STE R HAZ . 7 7

’ o f m e n w d E anu l Bach s influence we k o , too , that Hay n ’ m w m s t u had beco e acquainted ith Cle enti s work , al ho gh it is not likely that his s tudy of the m was d e ep enough ff t o m e o n own . e h e have any arked e ct his In any cas , s s his f m e very oon out tripped orerunners , and beca a m o f s u m a ll s u c odel clearnes , precision, and j dg ent to

din m s His s w - c e e g co po ers . onatas (t enty eight are know n to belong to this period) still serve as the bes t fo u n d a tion for a thoroug h s tudy of the in s trum e nt for which e w w m m e m e s n c th y ere ritten, i ens ly as this has i prov d i e ’ n s m m of m e d t h e s s Hayd ti e ; and the char lo y, con ciou n of w w u h ess po er, the delight in creating hich run thro g m t of m f a n d v the , cap ivate the student in spite hi sel , gi e w f mm the works a vitality hich bids air to be i ortal . The m m a s a o f e of w e e e sa e y be id the clavi r trios, hich s vent n E st e r h a z a s belong to the period ; they, like the sonat , w m e for m s for f d ere co pos d the o t part pupils , rien s, and e s m m of m n sp cial occa ions , and still re ain odels co positio m of m and t reat ent elody . It was not until after 1 780 that Haydn first began t o c m - f r s o pose songs, and the twenty our included in the fi t fa r n f s of s collection are i erior to tho e later year . His n ot v f literary knowledge was extensi e, and he le t the of n choice the words to be set to others, the result bei g o f e n n f - s t n an u fortunate o e . His three and our part song o n e and his canons were a higher level, and the latt r his m f m s e specially were am ong ost avourite co po itions . ’ Before cl o s i n g o ur account of Haydn s life and works a t E st e r h a z w e m s s a fe w on , u t y a words his entry into e of m s s s e the ord r Free a on , and that principally becau it — will lead us to spe ak of his friends hip with M ozart on e o f the m os t genuinely bea utif ul features in the liv e s o f e s s s a t both th e great arti t . It was probably Leopold ’ s s t s t s on Mozart in igation, and while he was vi i ing his in a 1 78 5 a e w t Vienn in , th t Haydn j oined the ord r he her it gave h im t h e e n try into the s elec t circle for which he d w e ff n his hope , or hether it had any definite ect upo m s m m e e m e n w. ntal d velop nt, we do not k o The o t i por tant res ult of t h e s t ep wa s u n do u btedly the streng t h e n i n of his m m f Fr e c g inti acy with Mozart, hi sel an ardent 78 HAYDN .

’ ’ n w d m o f m ason . Hayd s generous ackno le g ent Mozart s m erit as a com pose r ha s already b e e n allud e d to ; in s tances of it occur again a n d a gain in his letters a n d W e wa s e a conversation . h n it proposed to produce an op r b t e Don y Haydn at Prague, toge h r with Figaro and ” f s t o r s of n him Giovanni , he re u ed run the i k putti g f in m t t a n d s el co peti ion wi h Mozart, ended a long eulogy o n t h e d m his brother artist with words, Par on y wan — d ering from the subject Moza rt is a m a n very dear t o ” e m b e 1 78 r m e . 7 This was in D ce r, , and in the yea f w n e s w a s f on ollo i g, when controv r y ri e in Vienna the “ ” s of G v H on e ubject Don io anni , aydn was evening a ppealed t o am ong a large co m pany on som e poin t c onnected with the opera . I cannot decide the question ” is in dispute, said he , but this I know , that Mozart ” s m th e the greate t co poser in world . Even where they m t s e ight jus ly have been con idered as rivals, Haydn gav wa t o t h e m a n if a t y younger , and declared that Moz r h a d written n othing but his violin quartets a n d t h e ” m ffi m t o imm or Requie , he would have su cient clai u t o t ality . He sed declare that he h a d never heard on e ’ o f Mozart s com positions without learning som ethin g f m 1 79 0 f m t ro it , and in he writes ro his solitude at Es o ” r a s ha d a him f m m , that the north wind w ked ro a drea ” of n t o e listeni g the Nozze di Figaro . The p rsonal intercours e between the t wo was like that of father a n d s on of da wa s , and their use to each other the pronoun then sufficiently rem arkable to be observed by m ore than n f f m o e biographer . Mozart elt deeply the separation ro his friend when the latter undertook his j ourney t o v t o him t o London, and tried in ain induce give it up , u n of a n d of a o rgi g his age , ignorance the world, want h f n quaintance wit oreig languages . Haydn replied that h e wa s ol d wa s fift - n certainly ( he y ine) , but strong and of h his s d good courage , and t at language was under too o f t h e of r all the world . Mozart spent day his depa him a him f s ture with , and b de arewell with tear , saying , “ ” We shall s e e each othe r no m ore in this world & a r m e n o t b f W p esenti nt o ly t o sadly o e ulfilled . hen the ’ n s of M m t ew ozart s death reached London , Haydn la en ed E STE R HAZ . 7 9

m t o on e of f it with any tears , and wrote his riends m 2 0 th 1 79 1 (Dece ber , ) that his only regret in returning h om e was th at he should m iss the greeting of the great W e . it Mozart ith this pleasant pictur , as rare, alas as of was pleasant in the art world Vienna in those days , e our a f n E st e r h a z we clos ccount o Hay d at . 80 A H YDN.

CHAPTER VI.

T T TO N FIRS VISI LONDO . — 1 790 1 79 2 .

1 790 m h EARLY in , Haydn paid a so ewhat longer visit t an u s o e h is f ual t Vienna, and his l tters written to riend “ Frau von G e n z in ge r after his return to the dreary ” s of E s t e r h a z a olitude , Show pl inly enough that his i s olated po sition there wa s beco m ing m ore a n d m ore im m irk s om e t o h . H e had already had any pressing o f i nvitations to visit foreign countries . The King Naples m of m s o was an ardent ad irer his usic , and had been u him t o 1 78 7 rgent upon go to Naples in , that Haydn s f t h h a d m s . u o e al o t con ented Le Gros, cond ctor w h im 1 78 1 Concerts Spirituels in Paris , rote to in , telling h im o f the enthusias m with which his Stabat Mat er had e e m s him be n received in the Fr nch capital , and pro i ing if a brilliant reception he would visit Paris . But it was ’ of f in London , perhaps, all oreign capitals , that Haydn s w f m s - s orks ound o t wide pread popularity, and the m of th e m m London i presarii , and leaders usical world see to have m ad e up their m ind s long before he le ft E st e r h a z that sooner or later they would s e cure his s ervice s and hi m t m W m s . presence a ong he . Cra er, the violinist, t o him 1 78 1 ff n him s wrote in , o ering to e gage at any co t for f t r the Pro essional Concer s, and Gallini, owne and ’ m of anager the King s Theatre in Drury Lane , pressed h im r e for h im m m s e to w ite an Op ra . Salo on , the o t ent r s a n d of m t s f h e a n d pri ing energetic the all, wen till urt r, i n m 1 789 s d - w Nove ber, , de patche Bland, the well kno n m b for usic publisher, ostensi ly to arrange the purchase R T V TO N FI S ISIT LONDO . 8 1 of m n e w m n n so e co positio s by Hayd , but in reality to try whether personal i n flue nce would i n d u c e h im to l e ave f d n f d h or of . ow his post a wi er field renow Bland aile , ’ s s s o f ever . Haydn di content and chafing ense servitude a l ways evaporated when he was offe red t h e altern ative of “ - e s s h is leaving his well loved princ . My deare t wi to him 1 7 7 6 n ot live and die with , he wrote in , and by any act or word of his did he ever Show that he wavered in O of s e of his fidelity . He gave Bland the opyright ev ral m s m e m his co po itions , a ong th the Stabat Mater and ” for n a cc o m Ariadne (a cantata a si gle voice, with clavier “ ” a n im e n t m R a z ir m e s s e r p , co posed in also the n f m (razor) Quartet, which is said to have gai ed its title ro ’ a m uttered exclam ation of Haydn s while shaving on e “ m orning & I would give m y best quarte t f or a good r wh o e n m azor Bland, happened to be ent ri g the roo m m m m t o his l i at the o ent, i ediately ran back odg ng, and n of s returni g with his own razors good Engli h steel, m h im presented the to Haydn, who gave in exchange his latest quartet (Trautwein , No . fa r m of his As as the ain object visit was concerned , h owever, Bland returned to London only to report f ailure . ’ n l for m Fortu ate y the world, and usic, Haydn s devo b e m n e t s tion was not destined to put to a uch lo g r e t .

2 8th of m 1 79 0 - of On the Septe ber, , in the seventy sixth year a t Vie n n a f s his age, Prince Nicolaus died , a ter a short illne s . He had been in a despondent state ever since the d e ath of f of m ff his wi e in February the sa e year, and it is a ect ’ in s e e f m G e n z in e r g to ro Haydn s letters to Frau v . g with what delicate a n d affectionate tact he chose such com positions for perform ance as would n ot awaken s a d m m m s b e ories , but would cheer his bereaved a ter , y turn f m W e m a ing his thoughts ro his loss . y be sure that m s m f wa s m e that a ter hi sel ourned with sinc re sorrow . He m arked his sense of the f a ithful services of h is Capellm eister by leaving him an annual pension of 1 000 fl or in s on e of l , condition that he retained the titl Cape l m E s r h a z n f e t e s . s s ister to the y The pri ce doubtles ore aw, w u hat was act ally the case, that the Capelle would be G 82 N HAYD . d sb a s n wh o n i nded by his uccessor, Prince Anto , had o for m f n his taste usic, and pre erred spendi g wealth in in other ways . He retained his service only the wind a f m the n ot n u b nd to per or at banquets , , but behaved u m s e m u s 0 fl r in s genero sly to the dis is d icians, adding 40 o of m to the pensions both Haydn and To asini . s d f t o e At la t, then , Hay n was ree turn his steps whith r u of m his he wo ld, certain welco e and honour wherever a n d f m n works were known, secure ro all a xiety as to the o f ol d n u s upport his age . A residence in Vienn a and a t his s restr ined in ercourse with brother artist there, had fa r m ore attractions for h im than a journey i n search o f w f m h e u hi s ider a e, and in Vienna accordingly took p a bode in the q u iet household of his old friend Johann m k m Ne p o u Ba berger . He had scarcely had tim e t o f his own m r realize the act that he was aste , when he r e ceived an urgent invitation to enter the service o f

G r a ss a l covics m . d Count as Capell eister This he decline , but had no sooner done s o than his tranquillity was again m f m wa s assailed, and this ti e in a way ro which there no sa t on e m or m n n escape . As he at work g , a stra ge visitor m f w d was announced, who introduced hi sel in the or s , “ m f m My nam e is Salom on . I have co e ro London to m t o- m n fetch you ; we will settle ter s orrow . He we t on how on f m to tell Haydn , his journey back ro Italy, where he had been engaging singers for the Italian of of Opera in London , he had heard the death Prince a s t o s Nicol u , and at once hastened Vienna, resolved thi t im e to t a ke no denial of his long cherished wish t o i n t r oduce Haydn t o the London public . Salom on wa s t h e f e n tr e r n ur f m ost enterpri s ing and success ul p e e o his day . of a s He was a native Bonn , where he was early known a n f m violi player, and a ter a short engage ent as Concert t o of t o m eister Prince Henry Prussia, he travelled Paris , t o m m lf and thence London , where he gradually ade hi se f m f m s n a ous as a per or er and conductor, and at la t eve ventured t o announce subscription con certs t o rival the of Professional Concerts . The years his greatest pro f m 1 78 9 1 79 6 w o f s perity were ro to , hen he was director m f n a n d m of the Acade y o A cient Music, his engage ent

N 84 HAYD .

f t - m be The day a er to orrow, replied Haydn , I shall ” “ m n W on y way t o E gland . hat cried the kin g ” and y ou had prom is ed t o com e t o m e in Naples & and h e f m . o le t the roo angrily Haydn waited a little , nu er m tain whether to go or stay . In a short ti e the king r f m hi s - m eturned, having recovered ro ill hu our, and gave Haydn a letter of introduction t o the Neapolitan Am bas s d n i a or in Londo , w th the request that at least he would v s on h is f m t i it Naples return ro England . He also sen h im the sam e evening a valuable gold snuff- box in return r m fo his co positions . n of 1 5th of m 1 79 0 On the eveni g the Dece ber, , Haydn a n d m f o f Salo on le t Vienna . They journeyed by way m t o n on . Munich Bon , where they arrived Christ as Day ’ m t o n a m s o Salo on s visit his tive place, acco panied by d n ot f istinguished a guest , could ail to create a consider s e able sensation, especially as Bonn was then the re idenc o f of m s the Elector Cologne, Archbishop Maxi ilian Franci , s on of wh o the youngest Maria Theresa, had inherited a f f f m f r o o m u . ull share the a ily talent sic On Sunday , m 2 6 th m t o m n Dece ber , Salo on took Haydn hear ass su g ’ E n of To o e . by the lector s Capelle, the best in Europe his great gratification on e of his own m asses was per f m f h e mm t o t h e or ed, and a ter the service was su oned ” Or a t or m m f n , where he ou d the Elector, who received him f m m e h im with a grace ul co pli nt, and presented to the m m of m principal e bers the Capelle . Fro Bonn the tra v e ll e r s s s t o a proceeded to Bru sel , and thence Cal is , where they arrived in heavy rain on the evening of the last day f f m n f- o the year . The ollowing orni g at hal past seven m for con they e barked Dover, but were tossed about by t r a r for f on y winds several hours , not setting oot English l f t o ground unti five in the a ternoon . Haydn rej oiced m m on ake his first acquaintance with the sea, and re ained t o deck during the whole voyage . But he acknowledges f “ f d mf having elt a little rightene , and a little unco ort ” m of able as the wind rose, ost the passengers being very “ ” - s e a sick and looking like ghosts . It m a y be as well here to m ention that alm ost all ou r ’ inform ation concerning Haydn s impressions and opinions F R T T T N 8 5 I S VISI o LONDO .

o f England and the English durin g his first visit to London f m von G e n z in e r h is derived ro his letters to Frau g , whic t were collected and published, with an introductory accoun o f m of von the circu stances his visit by Herr Karajan , in 1 8 61 . The letters are otherwise interesting, as Showing the pure and elevating friends hip which existed between m m Haydn and this a iable and highly cultivated wo an, a friendship which stands in happy contrast t o his relations

m Pol z e l li . with Md e . ’ Haydn s first t wo days in London were devoted t o r f m ff of ecovering ro the e ects his j ourney, which had no d oubt been a strange a n d fatiguin g experience to one who f fe had led so quiet and unevent ul a li . But he soon b e gan u him m in to look abo t , and his shrewd , observant ind took the m ain characteristics of people and place with astonish in s s f g rapidity . His first night was pa ed under the roo o f m 4 5 Bland, the usic publisher, at , High Holborn, but o n the following day Salom on m ade arrangem ents for his m m f 1 8 lodging in the sa e house with hi sel , , Great Pulteney “ u Street , Golden S quare . Haydn calls it, a nice, co ve nient lodging, but very dear, and praises the cooking, I m n the landlord being an Italian cook . His first pressio s m t o of of ee s have been the size London, which appeared h im m f t to enor ous , even in those days , be ore Regent Stree Lisson a t o was built, and when Grove was a country l ne , f w of which he a ter ards retreated in search quiet . Then m t of t the noise , especially the ul itude discordant stree c him m him ries, oppressed greatly, and ust have caused m any a tim e to sigh over his work for the sylvan repos e o f E st e r h a z or for of . , the quiet his little study in Vienna The ho spitality with which he was received gratified him e m t o G e n z in e r xtre ely, and he writes Frau v . g that his pre s ence in London having been announced in all t h e of newspapers within three days his arrival , he had m f m received ost flattering attentions ro the nobility, had d f m e a o visite , and received visits ro the Austrian and N p m o ut six m n litan A bassadors , and had dined ti es in seve ’ d on m 0 ays . But he goes to la ent the late hour (Six clock) a t - s which dinner parties were given in London , and resolve fu on of to decline ture invitations account his health, and 8 6 HAYDN .

’ t o m m f f dine at ho e with Salo on at our o clock . He re used a ls o f t wo ft e to receive visitors be ore in the a ernoon , d voting his m n m s orni gs to work . He soon gauged the u ical taste o f n m of m the English public, and rearra ged ost his co po s it ion s f m written earlier, be ore producing the in London . Our national m anners in the concert - room would s eem t o h f m our f for ave descended to us ro grand athers , we find H a ydn doubtin g as t o which of t wo evils he shall ch oose whether t o insist on his stipulated com position b e i n g ’ placed in the first or the second part of each concert s m m f m ff b e progra e . In the or er case , its e ect would m arred by the continual noisy entrance of late com ers ; o f while in the latter case, a considerable portion the a f udience would probably be asleep be ore it began . H n f ayd chose this, however, as the pre erable alter n t of a ive, and the loud chord (Paukenschlag) the “ ” andante in the Surprise Sym pho n y 1 s said t o h ave been the com ical device he hit upon for rousing t h e s lum berers . In s pi t e of h is determin ation t o secure tran quillity for s f d his m u teady work, Haydn oun ti e taken p in receiving the visits of all the principal m usical celebrities then i n m of m n f m London , and in a ultitude social engage e ts ro ol d f r o we t z which there was n o escape . In his riend Gy t o f m f f he was glad greet a a iliar ace in a oreign land, and he was pleased also t o becom e personally acquainted with of s m the greatest authority the Engli h usical world, m Dr. Burney, with who he had already corresponded ’ for m t in several years . Burney en ions Haydn s arrival h is t o of m for h diary as a blessing the lovers usic , whic t h t o m e t ey have thank Salo on , and he celebrated the ev n in m h M on thl R e vi e w a poe w ich appeared in the y , the s of m of t h e la t stanza which we reprodu ce, as an exa ple l m f iterary ho age o the day .

We com e e a t m a st e &t o ou r fa vou e d is e l , gr r r l , Alre a dy p a l t ia l t o t h y n a m e a n d st y le ; L on g m a y t hy fo u nt a in of in ve n t io n r u n I n st r e a m s a s r a pid a s it fiI st be gun ; Wh e s for e a ch fa n t a st c wh m l ovide s il kill i i p , ’ An d ce rt a in scie n ce cv r y curre n t gu id e s & FI R ST VISIT TO LONDON .

’ Oh m a th da s f om hu m a n su ff r in s f e e , y y y , r g r , B e b e st w t h o a n d fe c t l i gl ry li i y , WVit h fu f u t on t o a d st a n t h ou ll r i i , i r ’ Of a l l t hy m a gic a n d cre a t ive p ow r B e s t in t h se l f w t h e ct t u de of m n d l y , i r i i , An d b e ss n w th th t a e n s a ll m a n n d l i g, i y l t , ki

The Salomon subscriptio n concerts were announced t o t ake place on the 1 1 t h of February and every succeeding for of n Friday, the subscription the series twelve bei g

five guineas . Haydn was under contract to supply a n e w m for n of n co position each eveni g , and the list si gers contained nam es which it was hoped wo u ld enable the enterprise to com pete succes s fully with the profe ssional m m of concerts . In the eanti e Haydn was the obj ect admiring hom age wherever he went . At the concert given by the Aca de my of Ancient Musi c in the Free ’ m s ou 6 th of n a ons Hall the Ja uary, the whole audience applauded vehem ently as he walked up the m iddle of the t h e s o f hall to orchestra, and at the conclu ion the per for ma n ce e - m he was conduct d into the banqueting roo , w l for 2 00 m s m t h e where covers ere aid u ical a ateurs, f f place o honour being reserved or Haydn . He excu sed m f f m m e h wa s n e hi sel , however, ro re aining long r t an c e s sa r y to drink to the heal t h of t hose present I n a m of 1 2 th of h bu per Burgundy. On the January e attended the m eeting of the Anacreontic Society at the Crown ” n d a . wa s Anchor, in the Strand Here , again, he re c e ive d with every dem on stration of respect and admira m a t m tion , and expressed uch pleasure the anner in which on e of his own sym phonies was perform ed by th e ’ s 1 8 of u orche tra . On the th January the Q een s birthday was e e of s of c l brated by the usual firing cannon , decking ships o n - m of the river, and by a drawing roo , where the Prince W 8 0 0 00l of m s I n ales appeared wearing , . worth dia ond . e n h the ve ing there was a court ball, to whic Haydn e — a n was invit d unprecedented honour, since he had not n fl a tt e r in l yet be e n prese ted at court . He was g y noticed of W b of by the Prince ales , and was the o ject attention f e e hi m rom all present. On the v ry next ev ning we find t in a c t a t n u on t he taking par oncer at C rl o Ho se, and 88 HAYDN .

2 n d of February he was present at the first Ancient Musi c ’ for s t t s n Concert the eason ( heir Majes ies concert ) , give a m n ow t h e f in the h ll in Tottenha Street, Prince o ’ t m Wales s Theatre . These concer s were the ost classical of w m of s and select any in London , o ing uch their succes s of f m to the con tant and active patronage the royal a ily . f m f m Their unda ental rule, confining the per or ances to of m the works usicians who had been dead twenty years , f o f m m d ettered the action the anage ent consi erably, and the royal interference did not tend to introduce a m ore for liberal spirit . On the present occasion, instance, l e f o u t Hande b ing still the reigning deity at court, fi teen of w him om e lli the eighteen pieces ere by , Corelli, J , and ’ Graun b e ing each represented by on e . It was Haydn s great desire that on e of his com positions should be per f m m or ed a t an Ancient Music Concert . But the anage m fu m t o ent steadily re sed to ake any exception their rule , — and it wa s not until forty - on e years later that the allotted — twenty y ears of posthum ous fam e being fulfille d this ’ conservative body anno unced a work of Haydn s Let ” ” f m for f m there be Light, ro the Creation ) per or ance on at e of their concerts . m n m m f h m f In the ea ti e, Salo on had ound i sel obliged s l i to postpone his fir t concert, Cappel etti and Dav d, the n two principal vocalists engaged , bei g under contract n ot t o sing in public before t h e opening of the new Opera s th e m m e t s o Hou e in Hay arket, an event which with m uch opposi tion that there was s om e doubt at last i whether t would take place at all . The first postpone m u 2 5th bu t s w ent was to Febr ary , the conte t bet een Gallini and his opponents wh o supported the Pantheon and declared the opening of a second Italian Opera s n f t Hou e undesirable, was the at its height, and a ur her t m pos pone ent was necessary . The concert was finally e for l 1 t h of m s fix d the March, and per i sion was given to David to appear whether the Opera House was open or m m not . The delay see ed likely to prove ost injurious to ’ ’ d e s e m n . s Hay s int re ts It allow d Salo on opponents , the of f s n t o t directors the Pro es io al Concerts, gain the star of h im m of f n , and gave the the ear the public be ore Hayd 89 FIRST VISIT To LONDON .

had had an opportunity o f j u stifying the preten s ions with his n s u which he had entered on Lo don sea on . The p blic ardour was cooled by d e p r e ci a t OI y paragraphs in the ’ m a s newspapers , sneering at the co poser a nine days n m e n b e wo der, who clos r acquai tance would prove to inferior to either Cram er O11 Clem enti ; and all u ding to “ the proverbial avarice of the G e r m ahs as tem pting so m any artists who m e t with s canty recognition from the ir o wn countrym en to herald their arrival in England with such a flouri sh of trum pets a s should charm the m oney ou of of s - t the pockets ea ily gulled John Bull . The fi r st Professional Conc e rt took place on the 7t h of e s of or m F bruary, and their jealou y Haydn, , ore truly, their m or t ifica tion at n ot having succeede d in securi n g s s fo r m s did his ervice the selve , not prevent the directors m m of m s including in their progra e two his co po itio ns , m s . a quartet and a MS . y phony They even went s o fa r a s to present h im with a free ticket of admis sion to the of s whole series concert , an attention which Haydn, who throughout seem s to have been in a great m easure n u oi of conscious the strength their opposition, receive d

with great gratification . He also declared that he had his m s o f m never heard sy phony well per or ed . ’ 1 8t h of d N On the February, Hay n s Ariadne a axos for s l m m t (the cantata o o voice, with piano acco pani en , m already entioned , p . was sung by Signor Pacchie ’ m e m s f a t o n e of e rotti, acco pani d by Haydn hi el , the ladi s M r f s s of s . o concert in the hou e Blair, Portland Place . m f m This co position was a avourite with Haydn, and beca e u hf or n in Chr on i cle of very pop lar in London . The g the 2 3 r d of i n m e s February calls it, a so what rhap odical notice ” o f m s e s e m for s the concert, the u ical d id ratu the sea on . It was repeated at the concert o f the n e w Mus ical Fu n d a f m o f l week later, and his per or ance it added great y to ’ s Pa c chie r ot t i s reputation as a vocali t . m wa s fu s m Meanti e , Haydn care lly rehearsing the y for on s o m e phony his first concert, which uch depend d , and an anecdote told by Dies is worth repeating here as a n u of his m e w e s ill stration de anour to ards his orch tra . The symphony opens as usual with a short adagio begi n 0 N 9 HAYD .

n h n h d h n i g with t ree single otes . The orc estra playe t ese m u t oo u m St | ch lo d, and Haydn stopped the with a s t & m and a request, which Salo on interpreted, that they

a . m would try gain The second atte pt, however, and even a n o m f third were ore success ul, and Haydn was begin n n t o m on e of i g grow i patient , when he overheard the m u m sa t o o wn sicians, a Ger an , y another in his language, ’ s a if s s him h ow I y , the first three note don t plea e , shall ” we ge t through all the rest & Haydn thereupon checked m s f a n d e t hi el , explained to the orch stra with grea polite ness that he regretted very m uch not understa nding their l a n b u t f s of m guage, that the avour he a ked the was quite w t ul if on e of m i hin their power, as he wo d soon Show the s o n t o him m n would be ki d as lend an instru ent . The , taking a violin s o a t , he play ed the three notes that the orchestra in a r i once understood and acted upon his wishes . His v a in a s E s t e r h a z t o ble habit, London in , was coax rather t o f m s him than righten his u icians into obeying , but we c a n i magine him m any a tim e sighing for his lieb e m Kinder at ho e, who understood his every gesture, and h a d learned t o interpret his works as thou gh they were o wn their . 1 1 of of th e At last the th March arrived , and the first m - of Salo on Haydn concerts took place . The reality ’ t o s Haydn s popularity was put the te t, and the result was a n u s s n m nque tionable succe s . Ha over Square Roo s , at

m - that ti e the principal concert hall in London, was filled w e m ith a brilliant and intellig nt audience . Salo on led t h e v th e orchestra as first iolin, and Haydn presided at f of e fie ct s m a m p iano orte . In these days giant , we y s ile ’ m of m at the appoint ents Salo on s orchestra, but it was then n considered exceptio ally strong . It contained sixteen v f v f e s iolins , our tenors, three ioloncelli, our doubl basse , fl u m m utes , oboes, bassoons , horns , tr pets , and dru s , in all a b f f m e out orty per or ers . The principal vocalists wer d m G a u th e r ot m a n d . . Md e . Storace Signor Davi Md e , a f f m s avourite with the London public, be ore who she fir t a 1 789 wa s v Duss e k ppeared in , the solo iolinist, and a c m m Kr u m h ol z of his o wn co panied Md e . p in a duet c m for t o position piano and harp . Burney tells us tha

9 2 HAYDN.

m to co e to light ; in short, the contest will grow political, e t m on s n Dieu droit (the king) upporti g the Pantheon , ‘ ’ and Ich dien (the Prince of Wales) countenancing th e m is m Hay arket . It unlucky that the a plest receptacle is m ” to hold the inority . The on 1 7 of Pantheon Opened the th February , and a f s ortnight later, Gallini announced a public dress rehear al ’ a t n e w on wa s the King s Theatre, which this occasion fl on crowded with invited guests . They over owed to the f f m f m o . stage, and inter ered with the per or ance Md e ” e s r i f f B ut V t s in the ballet o Or eo ed Eurydice . s of m all was in vain . The deci ion the Lord Cha berlain was finally and decidedly given against the Opening of a f r m a n s second house ol Operatic p e fm ce . All that Gallini could Obtain was a licence for entertainm ents of m usic on and dancing, with which he Opened the theatre the 2 6th f e of m m f o . March A s ries ixed entertain ents , hal f- n concert, hal ballet, were given twice a week duri g the n m f m seaso , and any works by Haydn were there per or ed . m m m s u a 1 t e t s 1 n st 1 u A ong the were sy phonie , q , and other m ental pieces a lso va 1 iou s choruses (incl uding the ’ m t o w u Stor Peter Pindar s words, Hark, the ild p r of m e oar the and a cantata, specially co pos d f r m m o f. Signor David , and acco panied by Haydn hi sel ” fe h m m The opera, Or o, whic he had been co issioned f t o for be ore leaving Vienna prepare the new theatre, had of h ow a l l course to be abandoned, and knowing he had f t o e n m e his li e longed be r cog ized as an operatic co pos r, we cannot but sy mpathize in his disappointm ent . While n l for f m he was worki g at it, and stil hoping its per or ance, for c Liss on e he retired quiet and se lusion to Grov , scarcely a spot on e would choose with such an Object now a - days It was fortunate for Haydn that the agreem ent as to the paym ent fo r t h e Opera had been signed before n h he left Vien a . He took the unfinished work back wit him of m sa t o t h e , and, by way co pen tion, sent London “ ” autograph score of his A rmida (com posed m which is now in the library of the Sacred Harm onic

Society . ’ n fi on l oth of M a Hayd s bene t concert was given the y , F R T T T . I S VISI O LONDON 9 3 t h e r s 2 001 m n t o 850 l eceipt , guaranteed at , a ounti g . m m m Two grand sy phonies were included in the progra e , on e of them the sam e that had already been twice played m fir m at the Salo on concert, having apparently taken a u hold on the affections of the p blic . On the 80 th of May “ ” f m of W s m for a per or ance the Seven ord , co posed ’ for Cadiz (p . was given, also Haydn s benefit, under ” of s s m the title La Pa sione In tru entale , and excited an am ount of enthu s ias m which bid fair to ri val that caused by the Han del Fe s tival which was taking place during m m the sa e week in West inster Abbey . The Passione m f m on 1 0th of n Instru entale was per or ed again the Ju e, f o . m at the benefit concert the boy violinist, F Cle ent, l d u o . then ten years Haydn cond cted the concert, which on e of s m m m also included his y phonies, a co pli ent which Clem ent repaid seventeen years later by taking the first violin at the last concert Haydn ever attended, a per “ ” for m a n ce of n on 2 7th of the Creation at Vien a, the

1 808 . March , ’ The idea of comm e m orating the centenary of Handel s birth (1 684) by a grand perform ance of som e of his works had originated in 1 788 with three m usical m m W W m a ateurs, Viscount Fitzwillia , Sir atkin illia s W dir e c ynn , and Joah Bates , and was sup ported by the of n m tors the Ancie t Music Concerts, and war ly entered f m into by George III . Two per or ances were given in W m in 1 784 s u n r e ce est inster Abbey , with a uccess so p ’ dented as to establi s h beyond doubt Handel s claim to the first place am on g m u sicians loved and honoured by s m m m of 1 84 the Engli h people . The co e oration 7 was f 1 785 1 7 8 6 1 78 7 1 79 0 1 79 1 ollowed by others in , , , , and , of the sixth and last the century . ’ Hay dn s presence at the Handel Festival was an im m e r portant event in his usical career . He had nev b f f m n on or e ore heard a per or a ce so grand a scale, the c h e st r a and chorus together n um bering u pwards of 1 0 s n r m 00 m a M s . per o s . Md e . M ra, . Crouch, and Md e Pa cchie r ot t i Storace, Messrs . , David, and Kelly were m in s t r u m e n a ong the solo singers, and the principal a list s of e e t were the best the day . A g uinea was th pric L H 9 AYDN . o f m m t h e Ga ze tte e r a n ad ission , and an advertise ent in “ n oun ce d m a n d that ladies would not be ad itted in hats , m f s were particularly requested to co e without eather , if ” w t m . d and i h very s all hoops, any Haydn had a goo ’ t o m seat close the king s box, and the beauty and sole nity o f the scene and the perform ance appear t o have affe cted him s n W u tro gly . hen at the Hallel jah Chorus the whol e m u f e asse bly, incl ding the king, rose to their eet, he w pt d m m like a chil , exclai ing in overpowering e otion, He 1 is the Master o f us all of a During the first week July, Haydn ttended the f m m m m Ox ord Co e oration, in order that he ight receive of of the honorary degree Doctor Music, an honour which he could hardly be expected to understand or care m f very uch about . It was, in act , due to the suggestion f a n d m o . wh o n o deter ined partisanship Dr Burney , doubt considered it as the crown and sum m it of all e t o f on m arthly distinctions be con erred a usician . m im Nevertheless , Hay dn see s to have been greatly pressed and even som ewhat amused by the cerem onies of m t o r his installation , and it is uch be reg etted that a t o von G e n z in e r ff letter Frau g , describing the a air in m th e f of detail, has been lost . A ong estivities the week for a ll were three grand concerts, which the principal m n s ingers and instru entalists in London were e gaged .

of . s At the first these Haydn was led in by Dr Haye , “ f of f Pro essor Music at Ox ord, and was received with the honou r and attention d u e t o his great and e xt r a or d i ” a m for nary talent . He had written sy phony expressly f t o o the occasion, but having arrived in Ox ord late to n i o e u . rehearse it, a better known was s bst tuted At ” n e w m f the second concert the sy phony, the Ox ord m wa s f m i Sy phony as it is called, per or ed w th great 1 Th e cu stom of ri si ng for t h e H a lle l uj a h Ch oru s or igin a t e d a t it s fi st e fo m a n ce i n L on don in 1 749 wh e n t h e a u d e n ce wa s r p r r , i s o t a n s o t e d b t h a t a t of it be n n n F or t h e Lo d G od r p r y p r gi i g, r ” O m n ot e n t e n e t h t h a t t h e a ll n c u d n t h e n st a t e d ip r ig , y , i l i g ki g, r h f t a n d m n d st n d n t h n d f h e ch u t o t e e e e a e a t o e e o t o s . ir , r i i g r H n a in on f hi t t e s t h a dm a a wa s h sse d a t a y d s y s e o s le r t M e . M r i O xford be ca u s e sh e h a d fa ile d t o r ise d u rin g a p e r form a n ce of h Ha e u a h h or u s t e ll l j C .

9 0 HAYDN . all th e guests but Haydn stan ding u p and cheering u n h is m n n l stily . He , heari g na e , but not understa di g n m W e what was goi g on, stared at the with surprise . h n him m it was explained to by Salo on , he appeared quite m diffide n ce f his overco e with , putting his hands be ore f n ot r n m for m ace, and ecoveri g his equani ity so e m inutes . It was probably early in Au gust that Haydn received a sum m ons from Prince Es terhazy t o return to Vienna at t o for m f m once, in order write an opera so e orthco ing f s m m a e tivities there . He entions the circu stance in Ge n z in e r m 1 h t o . 7t letter Frau v g , dated Septe ber , evi d e n tl f w of t h e y expecting that the re usal which, in Vie engagements he had entered into for several m onths t o m m t h im co e, he was co pelled to give , would cos his posi m t tion and pension as Capell eister o the prince . The m f latter, however, perhaps hardly expected a ore avour a a for m n o r ble nswer, he see s to have expressed greate disapprobation than was conveyed in his greetin g t o “ m e t & & ou m t Haydn when they again Ah, Haydn y igh fl or in s have saved m e . n ow The London season being quite over, Haydn f m of of f ollowed the exa ple the rest the world, and le t s m Hi of f . s t o town in search rest and re re h ent r letter G e n z in e r m f m v . Frau g last entioned, is written ro the u f f m country ho se o a banker o Lo bard Street . Haydn “ ” t f h e ells his riend how the seclusion ( like a convent, says) and country air have com pletely cured his rheum a t ism h ow u , and he wanders thro gh the woods in the e s m m m u n f m t h e arly u er orning, his tho ghts strayi g ro m m s m in English Gra ar he hold in his hand, to his ho e V f m f m of his ienna, his a ily, his riends , and ost all to e f ch o t e n h o best and dear st riends in the S t f. The only personal anecdote p reserved of this vi sit is given by ’ on own h m Dies Haydn s aut ority, and ust have been a ccepted by his fellow - countrym en as a striking in “ ” f W e stance o English spleen . cannot but think that g ood father Haydn was quizzing his faithful Boswell when he gravely related that H e rr having begged h im t o of f s o m tell the story his early li e, was uch struck T TO O FIRS VISIT LOND N . 9 7

’ by the contras t bet we en the young m u sician s st rug gles a n d t n s a n d h is o w n u n b 1 oke n 1 o s e r it t priva io , p p y hat, u m n u d for s s a n d w u a n j pi g p , he calle pi tol , o ld have put h is e s e a n d e h a d h e n ot e r e end to xi t nce then ther , b en e e f o f his f a n d f m strain d by the t ar ul solicitations wi e a ily . Haydn had n e ed of all the re fre shm ent and energy which n ature and the ho s pit ali t y of h is fri e n d s could m w bestow . Stor y days awaited his return to to n . The ” fe s s m n o n e h w Pro s ional , ore than ever be t ov rt ro ing ’ m s n e d t Salo on u d rtaking, and fin ing tha Haydn had gained t oo fir m a hold on t h e popula r favour to be dis d m d e placed by any rival they had as yet produce , a repeated a n d s trenuou s efforts to win the m aster him self e s him t o b a m over to th ir ide, and induce a andon S lo on ’ w n of a n d and Gallini . Kno i g Haydn s honesty purpose, of d o n ot s t o love upright dealing as we , we are surpri ed w ” him m n e . n ot find fir ly rejecti g thes overtures I ill , “ e m w m he says , br ak y ord to Gallini and Salo on , nor s hall a n y d e sire for d irty gain ind u ce m e to do them an n r u n so s t o so i jury . They have great a ri k, and gone m n on m it f r uch expe se y account, that is only ai that it they should be the gainers by . Driven to resort t o if s b m t h e e m another and, pos i le , a still eaner device, en y all at once inform ed the newspap er - readin g world that Haydn having becom e fa r t oo ol d and infirm t o produce n e w t n anything wor h heari g, and having long since m of hi s m s f t o co e to an end usical idea , and been orced m f in m f repeat hi sel all that he co posed , it had been ound n ece s sary to provide for the Professional Concerts a m s o f m who e s e n e co po er ore original genius , was pr t d to t h e s of e m f public in the per on Herr Ignaz Pl yel, hi sel f f - u t m the m o s t am ous pupil o the worn o aster . f f m 1 770 Pleyel had, in act, taken lessons ro Hay dn in , m his and wa s n o w Capell eister at Strasburg . He was in

- f w e m u thirty o th year , a clever and consci ntious sician , on e wh o m e f of l m but had hi s l no idea rival ing the aster, t o whom he and all his conte m porari e s looked up a s H e m s s r di s ciple s . u t have been astoni hed at the honou s him s n ot e thus suddenly thru t upon . It doe app ar h a d m if a n y k d of i i s that he uch, , nowle ge the ntr gue H N 9 8 HAYD . in which he was de s ign ed to a c t as the tool ; his wh ol e dem eanour towards Haydn from first t o last showed t h e respect and affection due to th e older and greater m u s icia n f m l a s t o t h e . Haydn , better in or ed than Pleye ' a o f a fia ir s m ffi m s of d fe true st te , took the ost e cient ean e at ’ i n g his Oppon ent s designs by appearing on the be s t te r m s a n d u with his rival both in public private . C riously u n m eno gh , Pleyel took lodgi gs in the sa e street, exactly ’ m opposite Hay dn s roo s , and the laconic entries in the “ of for 2 8r d of m P l e e l ca m e diary the latter the Dece ber, y ” “ t o Lon don 2 4 th I din e d with him s u ffi , and the , , are c ie n tly indicative of the dis com fit ur e which awaited tho s e wh o strove to m ake th e ir own profit by pitting on e genius e e s a n did n ot a gainst anoth r . W do not y that occasio s arise when Haydn foun d it neces sary to defend his pre

a of . tensions gainst those his pupil Dr . John Taylor, u s o f whom we have already q uoted (p . tells an occasion when he dined with Haydn and Salom on at - s W ol cot a coffee hou e in Vere Street . Dr. was again the h m wh o wa s e n ot er guest present, and Salo on , an int llige t a n d e n h observant trav ller, entertai ed the party wit a necdotes of various m usicians whom he h a d m e t i n m At n m of m n Ger any . le gth the na e Pleyel was entio ed , a n d Wol c ot wh o a t t o Dr . , was p blunder, burst into u f m si n rapturo s praise o his taste and genius as a u cia . a d for m m b u t a t H ydn listened with rea y consent so e ti e , l e n h t h e w m a n d m u gt , as doctor gre ore ore enth siastic in ’ Pl e e l s s m m y prai es , he re arked with considerable war th, But I h ope it will be rem em bered that he was m y ’ l h e n m m pupil . poor doctor, realizi g his istake, sta m f f n o ered orth a con used apology, which Haydn doubt a ccepted with a good grace . m 5 t h e On Nove ber , Haydn was present at the banqu t a n d t o u ball at Guildhall, given the o tgoing Lord Mayor, n m o n 9 th and again at the e tertain ent the , which con ’ e m f a cluded the cer ony o Lord Mayor s Day . His di ry w m m of e a t gives ith graphic si plicity his i pressions the h , m of m of n n the s ell the la ps, the babel tongues drow i g m f e m fo r the dance usic ( ortunately enough, it would se . r wa s s o b a d s t when Haydn did hea it, it , he beat a ha y

100 HAYDN . t o h im h ff h ow escape t an any caused by bodily su ering, s nt in h is a M oza r t d e h . i d on t e ever evere The e ry di ry , l oth De ce m be r a n d w e , is pathetic in its brevity , ca n well believe that at the m om ent Haydn could tr u s t m I n hi hi self to write n o m ore than this . s s ub s equ e n t e f s f e e m n t f e e n lett rs his grie find r er v nt , and o hs a t r, wh t m e f b w w s e s in i had so tened the lo , he rite that his pl a ure r eturning hom e is e m bittered by the thought that no w M ozart will be there to e lcom e h im . 1 9 1 m s m of So ended the year 7 . The u ical ca paign 1 9 2 t h e fe s s a s 7 opened with an advantage to Pro ion l . of m n e s They again had the start Salo on , givi g th ir fir t c n on 1 3 th of u n o cert the Febr ary , and showi g their m n t m of e diplo acy by treati g Haydn wi h every ark resp ct , m His m e both personally and as a co poser . na was the fi on m m t h e s m n m s e rst the progra e, and y pho y co po d by Pl e yel specially for thi s concert wa s pretty s everely c r it i c iz e d as an in s tance o f presum ption on the part of t h e m m u s w e . e e r pupil towards his ast r The two sician , ho v , t o on m f m s a n d m continued be the ost riendly ter , Salo on repaid the com plim ent paid to Haydn by the Profe s s io n als by putting a sym pho n y by Pl e yel at the head of t he m m of e o n progra e his first conc rt, which took place 1 m m on e of n February 7th . The progra e is exceptio al f r s s t n for o . variety tho e day , con aini g solos the oboe (Mr fo r t h e m De l a va ll e e Harrington) , and harp (Md e . ) , as w ll 2 a s for e Ya n ie wi cz the violin (F lix ) . ’ m on 2 4 th of At Salo on s second concert , the February, ’ ” m s h a s e m e n Haydn s Stor Choru , which already b en t i f m w h t h e s c e on e d s s s . (p . was per or ed it greate t uc H of h is s e m e t aydn was especially proud this , fir t achi ve n i n s t m u of t h e s ix e ting Englis h word s to sic . At each c of e s s m e m b d n oncerts the s rie o grand co position y Hay , e or s m n e t eith r vocal in tru ental, was given, and at his be fi on 3 r d o f e t h e m m e concert, the May, ev ry piece in progra v m a e d was his, except a iolin concerto , co posed and pl y

9 n dfa th e of t h s n w H e a e a e d in m ost o f Gra r e pre e t rit e r . pp r ’ H a d n s su bs e u e n t con ce t s a n d a wa s w t h e a t a a u s e y q r , l y i gr ppl H i a n w n f r it fi n n x d e l e r s pl y i g a s ot e d o s r e n e m e t a d e pre ssive iv y . H e a ft r wa 1 ds s t t d i n Ed nbu r h e e le i g . ' ' FIRST VISI TTo. LONDDN 1 0 1

Ya n ie wic z w for by . Hay dn t ice conducted concerts other m us s u n — n fo r B a r th e le m on ician d ri g the spring o ce , the w e ll - kn own violinis t (wh o h a d bee n s e tt led in London for f t - f s a n d w m f m or y our year , with ho Haydn or ed a very c s f e n s n fo r H a e s l e r f lo e ri d hip) , and o ce , the piano orte player a n d com po s er On e o f t he great est pleasures he e n e u n I 8 sid e n c e 1 11 Lo n d n wa s ff him joy d d ri g his o , a orded f by the Annivers ary Me e t ing o Charity Children at St . ’ a u a f P l s C thedral in June o t hi s year . The sight is a w s on e of m m e s s ca n l ay the ost i pr ive that be, and the s ound o f t h e youn g voice s echoi n g through the ai sle s no ’ d h a n r i e s e d d t e C t o e . oubt r calle to Hay n and St St phen , whe re a li t t le n e gle cted boy had sen t o u t a ll h is heart m s w wa it s a n in the u ic hich s only l guage and its only joy . ’ Haydn s di a ry m e n t ions his acqua intance with the a stronom er William H e rs che l a n d his s ister as on e o f gr e at inte re s t to him ; b u t t h e fri e nd who becam e m ore d e him t n m s a n t ar to ha al o t y o her, including even a u G e n z in r e f wa s M r s v . e . Fr g h rsel , Schroeter, widow ’ o f u e s m u s - m t e r s . . the q en ic a r , John S Schroete She s e m t e t u e s to have been an a tractiv , al ho gh, according m e m e wh t u m of e to odern tast , a so a v lgar wo an ov r ixt of a e i s u f t y years g , and there no disg ising the ac sh e m e H d i n that ad violent love to aydn , and succee ed s him on s d w t h s o m ff fo r in piring , his i e , i uch a ection h e r that he declared he would certainly have m a r r I e d her if e f H e r t s t o f of t e n he had b en ree . let er Haydn are ull d e s s a s t e h is t o n o t rne , and in questionable t ; her have b e s c a n e t t t e n pre erved, but we hav li le doub that they w e re warm er in tone than the y would have bee n had n o t the Chann e l rolled between him and Frau Haydn i n V e n m a e b e e s m m u of i na . It y , inde d, have n o e ru o r the a ffair reachin g hom e which caus e d that good lady t o writ e a n d e e n m n n a t s h e t e urg his r tur , entio i g th had seen a li tl s sh e m u h e r hou e which liked very ch , and which would suit d m s r i S he a irably a a residence d ur i n g he w dowhood . a t o e n d h e r 2 0 00 sh e begged H y dn at once s gulden , that He e s r e m ight conclu d e t h e purcha se . did not acc de to thi e s a m e m s e f s a w t he u s e q u t , but c hi l , ho , bought it, and lived ’ i n h e a 1 0 it for nine y e ars aft er his wife s death in t 80 . UNIVERSITY&lFye Crllllllll ’

1 0 1 1 H D 3 2 . H A r ( , Y N

R CH APTE VII .

N TO SECO D VISIT LONDON .

1 4 1 79 , 79 5 .

’ I N on e of d s r f m ws Hay n s la t lette s ro London , he revie h is f t m s e n di ficulties and riu ph ther , and tha ks God that he h a s been enabled to overcom e the determ ined oppo of h is m f o f t h e sitiou ene ies , and to retain the avour ” “ s m w public . But, he add , I ust ackno ledge that I a m ou t m m n a b s tired and worn with y a y l our , and that I look forward wi t h in t en s e lon gin g to my retur n hom e t o W s f n for hi s t o rest . ith thi eeli g he prepared journey e a n n of He Vi nna, pl n i g to arrive there at the end July . a e a n d u s n ltered his intend d route, gave p a vi it to Berli , where h e h a d been wa rm ly invite d by King Frederick m d m e a W . a t illia II , in or er to et Prince Anton Esterh zy m of m s h Bon n . A eeting here ore intere t to us was t at s m e d with Beethoven, who ub itt d a cantata to Hay n , which t m s n u n c o m the lat er war ly prai ed , encouragi g the yo g s i h is s u m n p o er to cont nue t dies, and probably then aki g a n m n s fo r i n s n him e n arr ge e t receiv g and in tructi g in Vi n a, w t e on o f n him hi h r the Elector was the point sendi g . ’ w o n e e f w h s s s s All h k ow B ethov n s li e kno t at the e le on , which extended over the firs t year o f his re sidenc e in ’ e n l f u s Vi na, were practica ly a ail re , and that Haydn e n on e n u n d influ ce B ethove , tho gh u oubtedly very great, wa s the indirect on e re s ul t ing from the attra ction a w e u s t o e l ays xerted upon geni s by geniu , which B et hoven was perh a ps m ore s usceptibl e than any o the r m s a h a d w b e co po er . In truth , H ydn gro n a little a ov v n s n u t o u e gi i g les o s in co nterpoint, even a yo ng B et

I OL HAYDN .

f a w n d l m Be ore llo i g Hay n to leave London , Sa o on had s tipulated wi t h h im fo r the com pos i t ion o f s ix n e w sy m e h a d m him m if s s b e c o n phoni s , and ade pro ise, po i l , to d m in e be f t h e e e uct the p rson . Accordingly ore y ar clos d Haydn applied to Prince An ton for a s econ d le ave o f a b s e n c e a m s a n d t n , leave o t reluctantly given , pos po ed as n bl so n t he lo g as possi e , lo g indeed , that with all haste h e m e on his n e e could ak jour y , Haydn arriv d in London ’ t h e day aft e r that which had bee n fixe d for Salo m on s e t wa s t f f m 3 r d first conc r . It pos poned, there ore, ro the t o t h e 1 0 th of e f H February, and b ore it took place aydn h f n wa s n o m a d the pain o heari g that Prince Anton ore . ’ d e s f n s e a u e a n d wa s He had ied thr e day a ter Hayd d p rt r , s e his s on s e e ucceed d by Nicolau , who inh rit d his grand ’ fath e r s love o f m us ic a n d pride in h is celeb r ated Cap e ll m wa s m on v s eister . Haydn acco panied his second i it f e n s to London by his avourite s rva t and copyi t, Johann 1 E l s sl e r d s m 1 , and took lo gings thi ti e at , Bury Street, ’ M r . m 8 e s . . St Ja es , probably in ord r to be near Schroeter ’ m f s a w n ow n o m Salo on s rivals, the Pro e sion ls , ere ore , and Haydn was left i n undis put e d po s s e s sion o f the fi e ld as fi m e of the rst c o poser of the day . Th ir series twelve

’ W e e xt ra ct t h e followi n g from Grove s Dict i on a ry of M u s ic ”

n 1 . 12 n o Th n m a d u s c a n s vol . . 7 t e e a e o f E l s sl e r is c os e M i i , p , l ly a s so c a t e d w t h t h a t of H a d n f om 1 766 t h e d a t e of o se h i i y r , J p ’ E l s l r s m a a e a t E s e n st a dt a t wh h H a d n i d h s e c a s s st e . o s rri g i , i y J e p w a s a n a t of S e s a a n d m u s c co st o n E s h e t ce t e a . iv il i , i py i Pri r zy ’ His ch I l dr e n we re t a ke n i n t o t h e C a pe lle on Ha y d n s r e com m e n d a t on a n d t h e s e co n d s on oh a n n e s bo n a t E ise n st h a t 1 69 i , , J ( r , 7 ) l e d t h e wh o e of hi s fe w t h h im fi s t a s c o st a n d t h e n a s iv l li i , r py i n n a m ge e r a l s e rva n t a d fa ct ot u m . H e cco pa n ie d Ha y dn on his s e con d ou n e t o Lon do n a n d t e n d e d h im in his a s t e a r s j r y , l y w ‘ ith t h e gr e a t e st ca re . D e spit e t h e pr ove rb t h a t n o m a n is a ’ h e o t o h i s a e t Ha dn wa s t o E l s sl e r a con st a nt su b e ct of r v l , y j ve n e a t on wh ch h e ca e d so fa r t h a t wh e n h e t h ou h t him r i , i rri g ’ s e lf u n ob se rve d h e wou ld s t op wit h t h e ce n se r be fore hi s m a st e r s or t I a it a s if it we e t h a t a r E l ssl e r p r e l . copie d a l a rge a m ou n t ’ of Ha d n s m u s c a t in s co e a t in s e a a t e a t s m u ch y i , p r ly r . p r ly p r p r , of wh ich is n ow t e a s u r e d a s t h e a u t o r a h O f Ha dn t hou h t h e r g p y , g h a n dw t n s o f t h e t wo a r e e s s e n t a d ffe r n t H e s u e d ri i g i lly i e . rviv his m a st e t h t - fo u e a s a n d d e d a t V e n n a u n e 12t h 1 843 r ir y r y r , i i , J , , i n t h e e n j oy m e nt o f 6000 fl or in s whi ch Ha y d n be q u e a t he d t o him ‘ ’ a s a t r u e a n d h on e st s e a n rv t . SECOND VISIT To LONDON . 1 05

n l on d n a n d w s u co certs took p ace Mon ay eveni gs , ere p a n o f m a e w t ported by array usical t l nt, hich proves tha d s n o w m s e n e London contained then , as it oe , the o t g r o us l if n o t m s m n y appreciative, the o t finely discri inati g s e s e s s ix n e w s m m u ical public in Europe . B id the y for h is phonies by Haydn which had been stipulated , f m e se t d s m e s or r were repeate , and o e new quartets wer al o d e e of o n e o f n pro uced . At a r h arsal the concerts , you g S m art (afterw a rds Sir George Sm art) was am ong the

s m - f n violini t s in the orchestra . The dru player aili g to d o u t f m s n appear, Hay n called ro his eat at the pia o , on e m m t Can any here play the dru I can , pro p ly w m e h m ans ered S art, who had n ver andled a dru stick in h is f h t m n li e, and e ook his place at the instru ent, believi g that all that was wanted was to count the bars and hi t r m m e s f ft th e s the d u at the right ti , hard or o t . A er fir t m m him w in ove ent Haydn called do n , praised his good b u t s m m a t e tention, arcastically re arked that in Ger ny h y h a d a way o f s topping the Vibrations of the drum afte r h e ff of th e eac note , which add d to the good e ect it in e H e t h m s i s h ow orch stra . then took e dru t ck and howed w a s n m m n his own it do e (re e beri g , perhaps , early ex ’ e r im e n o n Fr a n kh m - p t Cousin s eal tub) . All right “ e m m u m e s e f- if r arked S art, with n ov d l possession you like it better I have n o doubt we ca n do it that wa y i n E n o t o . ngla d , A n even t of som e intere s t in m usical hi story was t he a f W a m m c on appear nce o Haydn and . Cr er at the sa e e m of h c rt , Cra er as leader the orc estra, Haydn conduct i n f m t h e f n s m m f 4 . o 1 7 9 g ro piano orte Duri g the u er , s s e wa s a n i n Prince Nicolau E t rhazy, who then tr velli g s t o f m n e t o Italy , took occa ion in or Haydn that he inte d d r e t hi s a sk s cons itute Capelle , and to whether he wi hed t n d m f it h e m t l s ill to co si er hi sel a s s ad . Haydn pro p y a n d d e ffi m gla ly r plied in the a r ative, and declared that a s h is n e m w r f l e d soon as e gag ents in London e e ulfi l , he s hould pl a ce h is t alent at t h e a bsolute dis po s al of the n w f f s e o s e t t . pri ce , ho ai h ul servant he had never cea d be On t h e 2 6 t h of Aug u s t Haydn paid a vi s it to Waverle y b a s t h e o f e Ab ey, guest Sir Charl s Rich, and appears to 0 6 HAYDN . have indulged in som e gloom y reflection s on the e xist of h t ence the Protestant heresy , whic had reduced o r uin s what had once been a stronghold o f his o wn reli m t o u gion . In Septe ber he went Bath with Dr. B rney, on t o n R a u zz in i wh o r e a Visit the celebrated si ger, , sided t h e r e We ca n well believe that the three days s pent in the then m ost fashion able watering place in n t wo n m we I e E gland with such co genial co panions, ’ m n of s We a o g the pleasantest Haydn stay in England . f s e e ff s o n ancy we can the trio , di ering widely in ation t m m b u t m for ali y and te pera ent, united in sy pathy that mm t o a ll art whose language, as Haydn said, was co on ’ a n R a u z z in i s the world, seated in arbour in garden , where Haydn has ju s t in s pected the m em orial tablet ” e of f rected by the singer over the grave his best riend . ” Tu r kwa s a a ith u l d o a n d n ot a m a n r u t h e f f g, , ns a n d s ou t a n d l a n d inscription , Haydn pull paper penci , a f - then and there turns the words into our part canon , treas u re d n o doubt ever after by R a u z zi ni a s a fitting m f hi f u t o m o s . tribute , the e ory departed avo rite All the m usical talent in London fled t o Bath a s so on a s the e r r m m n s ason was ove . Mara and B aha a o g vocalists , Gior n o vich Ya n ie wic z h fl a u tist j and as violinists, As e the ,

f - . r Mrs Miles the piano orte player , all renewed thei

m m - m h triu p hs in the Pu p roo at Bat , and there Haydn ’ hi s e was lionized t o heart s content . But the thre d ove I of ays were soon , and at the beginning October for n e s he was in London again the wi ter s ason . Thi ’ n i ll ia n t on e m n e w was an exceptio ally , and Salo on s n e s n e w c on u dertaking, the opera conc rt , given in the ’ - m of n cert roo the Ki g s Theatre , was supported by an array of tal ent such as London had n ever before s een m The n on c olle cted at on e ti e . first co cert was given e b 2 n d 1 79 5 t e e F ruary , , and h y w re continued every t m of m c Monday evening up o the onth May . The usi wa s e on e or m e m t wo of chi fly Operatic, but so ti es ’ Hay d n s s ym phonies form e d a regular item in the pr o w f m m e s . gra , the Surpri e being al ays a special avourite “ Th es e and other concert s at which he direct e d ( sas s a rn a a s e s Cl vier, he always xpresse it in his diary) ,

1 8 0 HAYDN .

’ s m t s h e h f prince usical par ie , whic took plac s ortly a ter h is m a w arri ge , the princess sang ith Haydn and played a “ ” f w s f e . p iano orte concerto airly ll, he ays The king a n d queen al s o adm itted Haydn t o a share o f the favour w s for e hich they had hitherto re s erved exclu ively Hand l . f t o B m He was requently invited uckingha Palace, and found som e difficult y i n r efu si n g with out offence t h e pre s sing invitation o f the que e n t o rem ain and s ettle in e m o f England . But, ind ed , the ti e his final departure st m was very near . Prince E erhazy was i patiently w u o f e m n s h a aiting the concl sion thos engage e t , whic had been the only excuse alle ge d by Haydn for po s t on in s m o f his d m p g the re u ption uties as Capell eister, and the m aster him s e lf wa s beginning t o fe e l the need o f f the quiet regularity of his ho m e li e . His last work for e m I t an English audi nce re ains unfinished . was a ’ “ for s M e dha m s t o cantata English word , Invocation ” ff n o t s ffi s Neptune, poor stu , and u ciently in piring to c m t wo n u m arry the co poser on to the end . The only

fin f - in bers ished, a bass solo and a our part chorus, are t h e m d m s British Museu . Hay n received any present f m f n f ro private and public rie ds be ore leaving England . h f of n T ese he valued exceedingly, and was ond display i g m t o i n e n the his visitors Vi n a , and telling the anecdotes o o f m s n attached t each . One the o t original souve irs f him t o n f m W m a ollowed Vien a ro illia Gardiner, Le ices ter m anufacturer and great lover of m u sic (author “ o f o r s of Music and Friends , Plea ant Recollections a ” who Dilettante, London , sent Haydn, through m m m m six Salo on , a co pli entary letter acco panied by s of n s o w s f m pair stocki g , int hich were woven air ro ’ ” y m t t s Ha dn s co posi ions , Go t erhalte , the Surpri e & f w f 0 . u s t a s o Andante, Another curio gi that a talking ’ w wa s for 14 00 fl or in s f e m s parrot, hich sold a t r its aster d t d n . f d on 1 5th of ea h Hay le t Lon on the August, 1 79 n 5 . I dependently o f t h e las ting fam e as a com po s er and the increas ed populari t y with the Engli s h public o f his s s ha d m d which were the result econd vi it, he a e b his e e s s n s s m e y conc rts, l o , and y phoni s (without count in g his other com positions) a bout 1 2 00 l a s um sufficient To SECOND VISIT LONDON . 1 09 to place a m a n s o m oderate in his wants beyond the I e a ch n t o t h e f of a y anxiety as uture . He travelled thi s m b of m wa s ti e y way Ha burg, Berlin , and Dresden , and m l w on war y received every here . his arrival in Vienna he took u p hi s t e m porary re si dence in the Neum a rkt s e s o (now No . probably becau the alteration to his wn s s 1 7 9 7 e house were till unfini hed . In January, , howev r, e m G u m e n d or f m h is he r oved to p , and there re ained until e s mm d ath , visiting Eisen tadt only during the su er and u m e e d h is m e a tu n . He n ver neglect duties as Capell eist r, although the m ore m enial of them were doubtl e s s now ’ e f m di d p r or ed by subor nates . The prince s birth ay and other fam ily festivities were alwa ys duly hono u red by a m m or m n specially co posed ass sy phony , and the lo g list ’ of Haydn s com po sitio n s betwe e n 1 7 9 6 a n d 1 803 prove s n f that his right hand had lost one o its cunning . In e is e de d, the great work by which he perhaps chi fly

n t o m . B ut k own to the world in general, was still co e ” before proceeding t o an account of the Creation and the S e asons we m ust s a y a word on on e of the best known of n own f W . e Haydn s so gs , and his avourite work hil in England he had always greatly adm ired ou r National m f - m Anthe , and regretted that his ellow country en had n o such inspiring expre s sion for the ir feelings of fidelit y t h e to their sovereign . The war with France and e n loyalty it evoked, intensifi d his regret and quicke ed h is t f a genius . Consultation wi h his riend Freiherr v n ’ Swie t e n led to the latter s suggesti n g the i dea t o the u s m t von wh o c om A trian Pri e Minister, Coun Saurau , m i s sioned the poet H a u s chka t o provide Haydn wit h t h e Of i m words a nat onal anthe . J u 1 79 7 d m In an ary , Hay n co posed Gott erhalte ” ’ d e n t o a s t h e m m n Franz Kaiser, known us E peror s Hy . a ir m a n d m e n t o t The is subli e si pl e ough be ruly national, a n m d t n i d s o it h a s beco e . The evo io al spirit displayed n ’ t o his m a n d o wn Haydn s service, both e p eror to his f fu fl e t th e ou r prince, is here aith lly re c ed and air is, as e d n u s e o u r r h m u e r a ers k ow, in in all chu ches as a y n t n . Hayd n aft erward s introd uce d a s e t o f beautif ul variat io n s n h on it as the a dante to t e Kai serquartett (No . 1 10 HAYDN.

He was very o f playi n g it him self on the cl a vier m of t h e s o f his when alone in his roo , and on one la t days f t oo m f e s li e, when weak to stand, he had hi sel carri d acro s t h e m m e m a roo to the instru ent, and sol nly pl yed the hi f w m n m s . s hy three ti e It was are ell to his art, his t of f f las expression devotion and aith ul service .

1 12 HAYDN .

’ Haydn s works only s o fa r a s they h a d a bearin g on h is f if m - e b a e li e , we were to enter upon the uch d t d s o f m m e m e n a n d e que tion progra usic in g eral, the ext nt or m s e l to which it is justifiable ad i s ible . W need on y s a y that tho s e parts o f the Creation which we s t ill d m m m s t h e w r a ire, and Shall ad ire as long as u ic has po e of rousing the em otions and elevating the Spirit o f m a n n ot s h f f m n kind, are tho e whic aith ully i itate atural or s t I ive t o e s w h sounds d pict concrete ideas, but tho e hic t o s u e s t w of o f serve only gg the da n light, the rej oicing s un s f n n of the to run his cour e, the peace ul wa deri g the m a m a of oon cross the heavens , the stor y upheav l the or of m m ocean, the first rush the strea down the ountain side . The idea of composing a great oratorio as the crown of ’ his f s su s t o m li e s work was fir t gge ted Haydn by Salo on , wh o showed h im a poem com piled for the purpo s e from ” n Lidl d n Ge esis and Paradise Lost by e y . Hay took the him a n d w book back with to Vienna, hen his ardent dm m s s f o f a irer, the great u ical connois eur and riend ’ Swie t e n m s u e s Mozart, Freiherr van , echoed Salo on s gg t o him him tion , showed it and asked to translate and for Swie t e n adapt it the purpose . This Van rapidly undert ook ; he tran slated the poem into Germ an wit h m a a m f t o a any lter tions, and exerted hi sel raise a guar n f m n n s n in t o tee und a o g the Vien e e obility, order pay for l t Haydn the work . The ardour and re igious spiri with which Haydn en tered u pon his task have alre ady “ ” h t o . s o u e been alluded (p Never was I pio s , “ ‘ ’ s m s . ays , as when co po ing the Creation I knelt down e da t o Go d t o n t m e for m very y , and pray ed stre g hen y u s work . His anxiety and nervo sness during the fir t p erform ance of the oratorio show h ow earnestly he h a d hi I n f m s s e t s heart on excelling this branch o co po ition . ’ m m h e e One o ent, says , I was as cold as ice, the n xt I se e m ed on fire & m ore than once I thought I should have ” a fit . Th e first perform ance of the Creation was given in ’ n e s e s Pri ce Schwarz nberg palace by his private orch tra . e 3 50 i t o The entir proceeds ( ) were handed over Haydn . T 1 1 3 LAS YEARS .

of u a n d th e n e The success the work was ndoubted , audie c m n I t l c was m oved to genuine e otio . was first pub i ly f f e f m on 1 9 th o 1 799 . p r or ed in Vienna the March , A ter r m a l that it was given every whe e and beca e the rage, chor s n f m for of n ocieties bei g or ed the purpose studyi g it , and foreign capitals vying with Vienna in their hom age to m m t n e the work and its co poser . Salo on at first threa e d t for his f Haydn with an ac ion pirating text, but sel m m x t interest speedily overca e his resent ent, and we ne find him writin g for a Copy of the s core t o be sent him a ll d m a to with possible Spee , in order that he y pro w m e d . e uce the workin London Ashl y, ho ever, at that ti c of n onductor the oratorios given in Covent Garde Theatre , “ f h im f m of was be ore , and gave the first per or ance the Crea

on 2 n d of 1 800 . m f o n tion the March , Salo on ollowed ’ 2 1 s t of - m t the April in the King s Theatre concert roo , wi h Dus se k m a Mara and in the principal parts . Fro th t “ ” t m five - - i e until about and twenty years ago, the Creation “ “ ” held its o wn with the Messiah and Israel in Egypt in f of wa s the avour the English public . In Paris the work m f of e received with enthusias , a act which Haydn receiv d f 180 1 f m of a flattering proo in August, in the or a gold m edal struck in his honour after the design of the c n on f elebrated engraver Gateaux, beari g the ace a very of on of tolerable likeness Haydn , and the reverse a ly re a f m f i n o . ncient or , surrounded by a crown stars The “ scription ran & H omm a ge a H a ydn p a r Ze s M usi ci e n s gui ' ’L on t e a écu t e Zor a tor i o d e l a Cr ea tion d a M on de a u Theat r e ’ ’ ” d e s Ar l I & d l ts a e a R e ubl i ue F r a n i o M 0 0 . n . p q pa se n 0 0 The m edal was accom panied by a long com plim entary m address . Si ilar honours were s howered upon Hayd n d w a s f m uring his later years , and it evident ro the pride he took in di s playing to his visi t ors the m eda l s m e n that had been struck, and the poe s that had be w his ff him r a t ifi ritten in honour, that they a orded great g

t n . His m n t ca io was a har less and innocent va i y , Showing s f f w i wa s it el neither in his works nor in his li e, h ch alm ost idyllic in its sim plicity and absence of egotistical d isplay . ” of Va n Encouraged by the success the Creation , 1 14 HA YDN.

Swie t e n persuaded Haydn t o a second e ffort in the sam e d m f him irection, and this ti e urnished with a text adapted ’ ” s a from Thom son s Seasons . The ta k was ag inst the u i m h grain, however, and the work , altho gh it reta ns uc o f the freshness and vigour which w e are accu stom ed t o ’ a w n m f ssociate ith the very a e o Haydn, bears evident s igns of m ental effort and fatigue . The subject was n ot c n m of s s o t o genial, and so e the word were unsuited o m usic that he a n d Van Swie t e n very nearly cam e to a m m s q uarrel over the . The E peror Franci once ask e d H d of t wo m f f ay n which the oratorios he hi sel pre erred . ‘ ’ “ ” Th s w h e . & Creation, an wered Haydn And y ’ in Because the Creation angels speak , and their talk f d on e i s o Go . In the Seasons no higher speaks than ” m m n h u i . e t s a s Far er Si on The oratorio , however, was ” it tically received . Like the Creation , was first pro d u ce d at the Schwarzenberg Palace but public perform a e f s n cs soon ollowed, and its success added con iderably ’

f m t o f . ff to Haydn s a e and his ortune The e ort, however, m for h im f e f wa s t oo uch . An illness ollowed which l t him a n old m a n of h is f , pathetically conscious ailing e s in powers , and unwillingly r linqui hing the active and f f F I 1 h d us t r iou s habits o his long and u se ul life . O t e details o f his last years we are m ainly indebted t o the wh o u landscape painter Dies, so ght his acquaintance t hrough the sculptor Gras si for the e xpress p urpose o f ’ collecting from the vete ran m u s ician s own m outh m aterials for the biographical sketch which was pu blished f f i m m ediat e ly a ter his death . Dies paid Haydn requent v s Gu m e n d or f a n d i its in his little house at p , encouraged the old m a n t o forget his weakness and pain in recount in m s of his s f m e g the triu phs and labour pa t li e, and or of s on h e particularly his two Vi its to London , which Our e l a lways dwelt with peculiar pleasure . read rs wil ’ pardon us for extractin g a page from Dies s little book a s the readiest and m o s t inte resting m eans of setting f be ore them the m u sician and his biographer . The book i s f m h f written in diary or , the entry whic ollows being d e 1 7t h 1 806 at d August , “ Th e lo n g - cont inu e d heat of the weather had caused

1 16 HAYDN.

e u of h t h e t wo m m s h a d finish d q artet, w ich first ove ent f m been com posed som e years be ore . It is y last child said he, as he handed the quartet over to Griesinger s m ” future cu stody but I think it is not unlike e . Haydn afterwards h a d the sam e passa ge printed as a visiting

in t o u s of f . card, answer the inq irie riends

ist a l - l o m e i n e K a ft r ,

ml Al t un d schwa ch JOSE PH A H YDN.

In 1 802 a n d 1 803 he harmon ized and arran ged a n u m of for Wh of n ber Scotch songs the publisher yte Edi burgh , in i a work wh ch he took great pleasure, as likely to pre m m in m e serve his e ory Scotland . He also arranged so We s l h and Irish airs . ’ n l t o f m As lo g as he was ab e rise ro his bed at all, Haydn s daily routine continued as regular and frugal as we hav e u u f l f seen it to have b een thro gho t his li e . He rose at ha six or n a n d for n past seve , shaved dressed the day at o ce ; m m f old him so eti es , be ore age finally settled upon , giving a l esson to a favourite p u pil while these operation s were n b f of t h e proceedi g . At eight he reak asted, and the rest d a n d his of h y was Spe t , accor ing to state ealth, either in m l s or n i o f f co plete sec u ion , in receivi g the v sits his riends , in m f m 0 11 s u c i provising at the piano orte , and in ore less H e c e s sful attem pts to apply him self t o com po s ition . d s s a t o r ined at two , upped p rely at ten , and retired est b etween eleven a n d twelve . m for m f of Once ore, and the last ti e, a ter several years s a n d s eclusion , Haydn appeared in public, the occa ion i s a sufficiently m em orable on e to be n arrated in s om e ‘ d t h e 2 7th of 1 808 of etail . On March , , the Society Amateurs in Vienn a gave as their la st concert for t h e T E 1 LAS Y ARS . 1 1 7

“ ’ s e ason a p e r for ma n ce of Haydn S C1 e a t 1 0 n with Carpani s t m s I alian text . The co poser received a pres ing invita n u l tion to be present, and his health bei g better than us a h e f m f t o n f u u l elt hi sel able u dergo the atig e, partic lar y ‘ as Prin ce E s t e r h a zy s e n t his carriage t o conduct him to f m of U and ro the hall the niversity, where the concert ’ n was give . Haydn s entrance was announced by a burst of trum pets and drum s and by the loud cheers o f t h e a a r m - l f t udience . He was carried to an chair p aced in ron o f s s the orchestra, next to the seat occupied by Prince f m f h is Esterhazy . Here he ound hi sel surrounded by m n f ost disti guished artist riends and pupils , and by him n obles and ladies, who all received with every f m m ark o honour and estee . Salieri conducted what all n f m acknowledged to be an excelle t per or ance . At the of m m burst usic which acco panies the words , And there wa s light the audience coul d no longer contain th e i r l e m m . nthusias , and applauded long and vehe ent y Haydn , m m m d I t uch overco e, pointed upwards and exclai e , ” c am e from thence & His excitem ent becam e s o great that it was thought well to t ake him hom e at the c on i of A u t h i c l u s on . S o s the first part he was carried , f fl t o of him m m riends ocked round take leave , a ong the

s t o s f . Beethoven, who tooped ki s his hands and orehead At the door he bade his bearers pause and turn towa rds f i if . of the orchestra Then , li t ng his hands as in the act s s his a n fa of ble ing, he took l st, lo g rewell his beloved of children and his still m ore beloved art . ’ Haydn s peaceful life was de stined to end in th e m ids t ’ m 1 05 1 of . 8 809 war and war s alar s Twice , in and , he a w n a s Vien a occupied by the French inv ders . The trial was too m uch for his loyalty and for his personal devotion m m to his e peror and his prince . This iserable war has cast m e down to the very ground & he would often sa y h s his fr u ff wit tears , and no con olation that iends co ld o er im s u ffi t o ft e w 18 09 t h e b om h ced so n the blo . In city was ’ n d - f e a w . bard d , a cannon ball ell close to Haydn s d elling His s e s him t o s s ervants w re assi ting ri e and dre s , and s e e in th e ir m e his g alar to be great r than own, he collected m fir m all his strength and exclai ed in a loud and voice, 1 l 8 HAYDN .

n ot f n o m ca n t o Do be a raid , children har happen you ” i s m f . v ff e l while Haydn here O erco e by the e ort , he l of m f him into a Violent fit tre bling, which le t weaker than e f m i t o him b ore, and it soon beca e ev dent those around ’ m s s e n m s that the a ter days wer u bered . The last Vi it o n 1 7th f m n f he received was May ro a Fre ch o ficer, “ ” wh o sang In Native Worth t o him with s o m uch ex m m pression that Haydn was deeply oved, and e braced him m f war ly at parting . The act is significant, as prov m m e t m s ing once ore that art has no en iti s, and tha u ic n of him speaks that la guage the heart which , as Haydn “ ” s e lf i m m n t o 2 6 th o f sa d, is co o all the world . On the May he called his servants round h im and was carrie d f m f m ro his bed to the piano orte . He then sole nly played m ’ m m m the E peror s Hy n three ti es over, and bade the lay i H e f h m . down again scarcely spoke a ter, and in five a m on 3 1 s t of 1 809 d ys , at about idnight the May, , quietly l s wa s H u n d s t h u r m breathed his a t . He buried in the a s Churchyard, close to the suburb where he lived, but soon as peace was restored and the French h a d left m m s a Austria, his re ains were re oved by Prince E terh zy and sole mnly r e - interred in the parish church of Eis en f for b f stadt . When the co fin was Opened identification e ore m u wa s f t o m re oval , the sk ll ound be issing it had been s n w f f f tole t o days a ter the uneral . A skull was a ter m ’ wards sent to the prince anony ously as Haydn s, and was buried with his other rem ains ; but it is a wel l f on e n ow known act that the real was retained, and is ‘ f e in the possession o the fam ily of a physician in Vi nna . ’ 1 5th o f s m f m On the June, Mozart Requie was per or ed ’ i n h t n kir ch Haydn s honour at the Sc o t e e . Many French f m n m o f o ficers were a o g the ourners, and the guard honour wa s chiefly com posed of French soldie rs . Haydn h a d m ade arrangem ents in 1 80 7 that upon his d m m m s eath all his books, usic, anuscripts, and edal h a z m should becom e the prop e rty of the E st e r y s . A ong f w - f s the m ost interesting o the relics were t enty our canon , m on m n the ajority Ger a popular songs, which hung,

9

o e s D ct on a of u s c vol . 1. . 716 . Gr v i i ry M i , p

1 2 0 HAYDN. c a n a m a n do m ore with the gen iu s that heaven h a s ’ bestowed on him & Music before Haydn s d a y was in d anger of becom ing inextricably entan gled in the toils of f m m pedantry and or alis . He boldly declared by his works m for m n ot m that rules were ade the usician , the usician for m own Con rules , and he ight have adopted as his ’ “ d illa c s m axim & Les regles sont co mm e des garde f m is a s f m h l e s ous sur les ponts , non p pour aire arc e r ” a m ur l s e m éche r m r Voy geurs, ais p o e p de to be o L ’ I ST OF HAYDN S COM POSI TI ONS, T AL I NS R UM E NTAL AND VOC .

IN S TR UMENTAL

12 5 S m h on e s n c u d n o e t u e s t o o e a s a n d a s . y p i , i l i g v r r p r pl y

P r in c i a l s m hon ie s kn own b ti tle s with the a r oxim a te p y p y , pp l i a ti n d a te s of p u b c o .

Le a t n D m a or Le d C m a o Le S o m a o M i ( j ) , Mi i ( j r) , ir (G j r) , 6 1 1 7 . i h h m n Th e Fa e we A m a or 1 7 72 e tt e B . n a o c r ll ( j ) , (l r P il r i a C t a logu e ) . a a Th I C 1 e e sa m a o 773 . M ri ( j r) , F e u e S m h on e oba b ove 11 t u 11 e t o Di e Fe u e 1 sb11 un s t A r y p i (pr ly , m a oI 1 7 4 j ) , 7 . L Ch a D m a I 1 1 0 a s s e o 8 . ( j ) , 7

To S m h on C m a o 1 780 . y y p y ( j r) ,

La R e n e d e F a n ce B m a o 1 786 for a s . i r ( j r) , , P ri Th f i n hi h a m n c C a t a e or d m a o 1 788 e t t e . o ( G j r) , (l r Q P l r i logu e ) h r f on d n 1 9 1 T Su 1 i No . 3 S a m n s t m a o o e se o o o e L 7 , p , l ( G j r) , , Th 1 f l m m i n o 1 4 . e C oc NO . 1 o S a o on se t D 79 l k , ( r) ,

Th . e t a No 12 of S a o m on Se t m a o 1 794 . Mili ry , l ( G j r) , ” Th e S e e n I Vor d s f om t h e C oss OI i in a ll for o ch e st a v r r ( g y r r ,

1 Th e difficultie s in t h e wa y of compilin g a comple t e a n d a u t h e n tic li st ’ ’ o f H a n s in st r ume n t a wor ks a r e e r r e at B r e it kO f s ca t a o u e in yd l v y g . p l g e lu de s a m on g t h e sy m ph on ie s m a n y wor ks a lso to be fou n d a m on g t h e sm a e com os t on s Sch e r zi Dive r t im e nt a n d ot h e r s ow n t o a ll r p i i ( , i, ( i g t r a n s os t on of t he m m n s r u w r H a n h im p i i ove e t ) a e c a t a log e d t ice ove . y d se f i n c om n h is t h e m a t ic ca t al o u e fe nt o t he sa m e e r r or a n d l , pili g g , ll i , o wn e d t o con side r a ble d I fflcul t y in d e ciding on t h e ge nuine n e ss of som e of t he e a r e r i n st r u m e n t a i e s li l p e c . ’ 1 2 2 I T F H P T L S O AYDN S COM OSI IONS .

a ft e wa d s a r r a n e d for t wo o n s V o a a n d ba ss t he n for r r g vi li , i l , ,

so ch or u s a n d o ch e st a . li , , r r ) 66 a ou s com os t on s for w n d a n d st n s se a I a t e l or com v ri p i i i ri g , p y in n m n b e d in c udi d e r t e t ca s sa t ion i &c. , l g iv i i , , 7 Not t u 1 n os f r h or se e n a de s o t e ly re r . h 7 Ma rc e s . 6 S ch e a n d os rz . 1 S e st e t .

S e ve ra l Qu i nt e t s . 1 E ch o for 4 o n s a n d 2 ce os vi li ll . Fe ld - pa rtie n for win d in st ru m e n t s a n d a rra n ge me n ts from ba ry ton I p e ce s . 1 2 C o e ct on s of m nu e t s a n d a m a n d ll i i lle s . 3 1 C on ce t os— 9 o n 6 ce o 1 d o ub e b a ss 5 e 3 ba on r vi li , ll , l , ly r , ry t , 2 fl u t 3 b or n 1 for 2 h n s 1 c a n e o o . , , r , l ri 1 B n m n h w u 75 a ry t on pie ce s . Arra ge e t s of s e ve ra l of t e s e e re p b l ish e d in th e e a t s w th V o n or fl ut e o a or ce o a s r p r , i i li ( ) , vi l ll prin cip a l . 1 u w D e t for t o lut e s . 2 T os f r u t n d o e o a n ce o . ri l , vi li , ll 1 n f r h a w h fl S o a t a o t u t e a n d ba ss . rp , i S e e a e ce s for a m u s c o v r l pi i ca l l ck . A s o o fo r h a m on a l r ic . 6 D ue t s for o n so o w t h V o a a ccom a n m e n t s . vi li l , i i l p i — 30 T 1 os 2 0 for 2 v o n s a n d ba ss 1 for i o n so o ol a a n d i i li , v li l , vi , ba s s 2 for f u t e V o n a n d b a ss 3 for 3 fl ut e s 1 for co n o di , l , i li , , , r n nd ca cc a o a ce o . i , vi li , ll u a i t t f i 2 o n s l Th fi t 1 8 w e ub 77 e s o V o a a n d ce o. e s e Q vi li , i , ll r r p l i h e d 1n 3 s r t h x I h n on n t d s a s e e s e n e t s i n M S . t e e e e i , , pri p l r a t e 5 t I n 9 r f 6 n o a h 2 m a n h st . se e s o s . e c o e d t e a y , i , r , l

C LAVIER MU S I C .

2 C on r n d di t m n t n con ce t o is w t n c a 0 ce t os a ve r i e i . O e r i h pri ip l o n t wo o n a n d D h a e be e n n t e d t h e a st a on e vi li ; ly , G , v pri ; l l

s ur viv e s . — 3 8 T ie s 35 w t h V o n a n d ce o 3 w t h fl u e a n d ce o. O n r i i li ll , i t ll ly

3 1 a r e prin t e d . n r h n i n 53 S on a t a s a n d dive rt im e n t i . O ly 35 a e prin te d ; t e o e 0 con t a n n t h e a d a o I n F n c u de d in a ll t h e co e ct on s , i i g gi , i l ll i

of sm a e r e ce s on I n Lon don . ll pi , ly S n f r i n d li n E h a r e ub sh e d bu t 4 of 4 o a t a s o c a e a o . l v r vi ig t p li , h e s w e a 1 11 a 11 e m n t s t e g e . “ 9 S m a e e ce s n cl u d n a a on s a d a ios a n d difféI e n t e s ll r pi (i i g v ri ti , g , pe t it e s pie ce s

1 D ue t (va ria t ion s) .

24 OF S P T 1 LIST HAYDN COM OSI IONS .

2 d t t o Th e Te n C om m a n d m e n t s se t t o ca n on s t h e sa m e i ; , ; ' “ with d I ffe r e n t word s u n d e r t h e t it le Die z e h n Ge se t z e d e r Ku n st a s e e ct on of o n a S cot ch son s i n 3 a t s w t h ; l i rigi l g p r , i o n a n d ba ss a ccom a n m e n t s a n d s m h on e s L on d on vi li p i y p i , , 1 l l — d ’ n s 0 . 0 o . 1 0 o . 4 a n s wn l . I n II III V 0 . H o Vo . co t a V ( i , , 7, y ca t a o u e m e n t on s 3 64 som e of wh ch we e u b sh e d b l g i , i r p li y Th om son a n d Wh t e of Ed nb u h se e ct o e ct on of y , i rg ) ; a l c ll i or n sh a s in 3 a r igi a l We l ir p t s .

’ G I LB E R T A I N I I E H N S UAR E LO NDO N. ND R I V NG TO , L M T D, ST J O S Q ,