During the thirty years of Haydn's quiet life with the Esterhazys he had
been gradually acquiring an immense reputation in France, England, and
Spain, of which he himself was unconscious. His great symphonies had
stamped him worldwide as a composer of remarkable creative genius.
Haydn's modesty prevented him from recognizing his own celebrity.
Therefore, we can fancy his astonishment when, shortly after the death
of Prince Nicholas Esterhazy, a stranger called on him and said: "I am
Salomon, from London, and must strike a bargain with you for that city
immediately."
Haydn was dazed with the suddenness of the proposition, but the old ties
were broken up, and his grief needed recreation and change. Still, he
had many beloved friends, whose society it was hard to leave. Chief
among these was Mozart. "Oh, papa," said Mozart, "you have had no
training for the wide world, and you speak so few languages." "Oh, my
language is understood all over the world," said Papa Haydn, with a
smile. When he departed for England, December 15, 1790, Mozart could
with difficulty tear himself away, and said, with pathetic tears, "We
shall doubtless now take our last farewell."
Haydn and Mozart were perfectly in accord, and each thought and did well
toward the other. Mozart, we know, was born when Haydn had just reached
manhood, so that when Mozart became old enough to study composition
the earlier works of Haydn's chamber music had been written; and these
undoubtedly formed the studies of the boy Mozart, and greatly influenced
his style; so that Haydn was the model and, in a sense, the instructor
of Mozart. Strange is it then to find, in after-years, the master
borrowing (perhaps with interest!) from the pupil. Such, however, was
the fact, as every amateur knows. At this we can hardly wonder, for
Haydn possessed unbounded admiration not only for Mozart, but also for
his music, which the following shows. Being asked by a friend at Prague
to send him an opera, he replied:
"With all my heart, if you desire to have it for yourself alone, but if
you wish to perform it in public, I must be excused; for, being written
specially for my company at the Esterhazy Palace, it would not produce
the proper effect elsewhere. I would do a new score for your theatre;
but what a hazardous step it would be to stand in comparison with
Mozart! Oh, Mozart! If I could instill into the soul of every lover of
music the admiration I have for his matchless works, all countries would
seek to be possessed of so great a treasure. Let Prague keep him, ah!
and well reward him, for without that the history of geniuses is bad;
alas! we see so many noble minds crushed beneath adversity. Mozart is
incomparable, and I am annoyed that he is unable to obtain any court
appointment. Forgive me if I get excited when speaking of him, I am so
fond of him."
Mozart's admiration for Haydn's music, too, was very marked. He and
Herr Kozeluch were one day listening to a composition of Haydn's which
contained some bold modulations. Kozeluch thought them strange, and
asked Mozart whether he would have written them. "I think not," smartly
replied Mozart, "and for this reason: because they would not have
occurred either to you or me!"
On another occasion we find Mozart taking to task a Viennese professor
of some celebrity, who used to experience great delight in turning to
Haydn's compositions to find therein any evidence of the master's want
of sound theoretical training--a quest in which the pedant occasionally
succeeded. One day he came to Mozart with a great crime to unfold.
Mozart as usual endeavored to turn the conversation, but the learned
professor still went chattering on, till at last Mozart shut his mouth
with the following pill: "Sir, if you and I were both melted down
together, we should not furnish materials for one Haydn."
It was one of the most beautiful friendships in the history of art;
full of tender offices, and utterly free from the least taint of envy or
selfishness.