Haydn's Fame extending--Haydn and Mozart compared--Esterhaz--Its Puppet
Theatre--A Busy Life--Opera at Esterhaz--First Oratorio--Opponents and
Intriguers--"L'Isola Disabitata"--A Love Episode--Correspondence with
Artaria and Forster--Royal Dedicatees--The "Seven Words"--The "Toy" and
"Farewell" Symphonies.
To crowd the details of a professional career covering close upon a
quarter of a century into a single chapter would, in the case of most of
the great composers, be an altogether impossible task. In Haydn's case
the difficulty is to find the material for even so slight a record. His
life went on smoothly, almost sleepily, as we should now think, in the
service of his prince, without personal incident and with next to no
disturbance from the outside world. If he had not been a genius of the
first rank the outside world would, in all probability, never have heard
of his existence.
Haydn's Fame extending
As it was, his fame was now manifestly spreading. Thus the Wiener Diarum
for 1766 includes him among the most distinguished musicians of
Vienna, and describes him as "the darling of our nation." His amiable
disposition, says the panegyrist, "speaks through every one of his
works. His music has beauty, purity, and a delicate and noble simplicity
which commends it to every hearer. His cassations, quartets and trios
may be compared to a pure, clear stream of water, the surface now
rippled by a gentle breeze from the south, and anon breaking into
agitated billows, but without ever leaving its proper channel and
appointed course. His symphonies are full of force and delicate
sympathy. In his cantatas he shows himself at once captivating and
caressing, and in his minuets he is delightful and full of humour. In
short, Haydn is in music what Gellert is in poetry." This comparison
with Gellert, who died three years later, was at that date, as Dr Pohl
remarks, the most flattering that could well be made. The simplicity
and naturalness of Gellert's style were the very antithesis of the
pedantries and frigid formalities of the older school; and just as he
pioneered the way for the resuscitation of German poetry under Goethe
and Schiller, so Haydn may be said to have prepared the path for
Beethoven and the modern school.
Haydn and Mozart compared
Very likely it was this comparison of the magazine writer that suggested
Dittersdorf's remark to Joseph II in 1786, when the emperor requested
him to draw an analogy between Haydn's and Mozart's chamber music.
Dittersdorf shrewdly replied by asking the emperor in his turn to draw a
parallel between Gellert and Klopstock; whereupon Joseph made answer by
saying that both were great poets, but that Klopstock's works required
attentive study, while Gellert's beauties were open to the first glance.
The analogy, Dittersdorf tells us, "pleased the emperor very much." Its
point is, however, not very clear--that is to say, it is not very clear
whether the emperor meant to compare Klopstock with Haydn and Gellert
with Mozart or vice versa, and whether, again, he regarded it as more of
a merit that the poet and the composer should require study or be "open
to the first glance." Joseph was certainly friendly towards Mozart, but
by all accounts he had no great love for Haydn, to whose "tricks and
nonsense" he made frequent sneering reference.
The first noteworthy event of 1766 was the death of Werner, which took
place on March 5. It made no real difference to Haydn, who, as we have
seen, had been from the first, in effect, if not in name, chief of
the musical establishment; but it at least freed him from sundry petty
annoyances, and left him absolutely master of the musical situation.
Shortly after Werner's death, the entire musical establishment at
Eisenstadt was removed to the prince's new palace of Esterhaz, with
which Haydn was now to be connected for practically the whole of his
remaining professional career.
Esterhaz
A great deal has been written about Esterhaz, but it is not necessary
that we should occupy much space with a description of the castle and
its surroundings. The palace probably owed its inception to the prince's
visit to Paris in 1764. At any rate, it is in the French Renaissance
style, and there is some significance in the fact that a French
traveller who saw it about 1782 described it as having no place but
Versailles to compare with it for magnificence. The situation--about
three and a half miles from Eisenstadt--was anything but suitable for an
erection of the kind, being in an unhealthy marsh and "quite out of the
world." But Prince Nicolaus had set his heart upon the scheme, as Scott
set his heart upon Abbotsford; and just as "Clarty Hole" came in time to
be "parked about and gated grandly," so Esterhaz, after something
like 11,000,000 gulden had been spent upon it, emerged a veritable
Versailles, with groves and grottoes, hermitages and temples,
summer-houses and hot-houses, and deer parks and flower gardens.
There were two theatres in the grounds: one for operas and dramatic
performances generally; the other "brilliantly ornamented and furnished
with large artistic marionettes, excellent scenery and appliances."
A Puppet Theatre
It is upon the entertainments connected with the latter house that the
French traveller just mentioned chiefly dwells. "The prince," he says,
"has a puppet theatre which is certainly unique in character. Here the
grandest operas are produced. One knows not whether to be amazed or to
laugh at seeing 'Alceste,' 'Alcides,' etc., put on the stage with all
due solemnity, and played by puppets. His orchestra is one of the best
I ever heard, and the great Haydn is his court and theatre composer.
He employs a poet for his singular theatre, whose humour and skill
in suiting the grandest subjects for the stage, and in parodying the
gravest effects, are often exceedingly happy. He often engages a troupe
of wandering players for a month at a time, and he himself and his
retinue form the entire audience. They are allowed to come on the stage
uncombed, drunk, their parts not half learned, and half-dressed. The
prince is not for the serious and tragic, and he enjoys it when the
players, like Sancho Panza, give loose reins to their humour."
Prince Nicolaus became so much attached to this superb creation of his
own, that he seldom cared to leave it. A small portion of the Capelle
remained at Eisenstadt to carry on the church service there, but the
prince seldom went to Eisenstadt, and more seldom still to Vienna. Most
of the Hungarian grandees liked nothing better than to display their
wealth in the Imperial city during the winter season; but to Haydn's
employer there was literally "no place like home." When he did go to
Vienna, he would often cut short his visits in the most abrupt manner,
to the great confusion of his musicians and other dependants.
These eccentricities must have given some annoyance to Haydn, who,
notwithstanding his love of quiet and seclusion, often longed for
the change and variety of city life. It is said that he was specially
anxious to make a tour in Italy about this time, but that ambition had,
of necessity, to be abandoned.
A Busy Life
There was certainly plenty for him to do at Esterhaz--more than he
had ever been required to do at Eisenstadt. Royalties, nobles and
aristocrats were constantly at the palace; and music was one of the
chief diversions provided for them. The prince was very proud of his
musical establishment, and desired to have it considered the best of its
kind in Europe. The orchestra of the opera was formed of members of the
Capelle; "the singers were Italian for the most part, engaged for one,
two, or more years, and the books of the words were printed. Numerous
strolling companies were engaged for shorter terms; travelling virtuosi
often played with the members of the band. Special days and hours were
fixed for chamber music, and for orchestral works; and in the interval
the singers, musicians and actors met at the cafe, and formed, so to
speak, one family." Something more than creative genius was obviously
required to direct the music of an establishment of this kind. A talent
for organization, an eye for detail, tact in the management of players
and singers--these qualities were all indispensable for the performance
of duties such as Haydn had undertaken. That he possessed them we may
fairly assume from more than one circumstance. In the first place,
his employer was satisfied with him. He raised his salary, listened
attentively to all his suggestions, and did everything that he could
to retain his services. In the second place, his band and singers
were sincerely attached to him. They saw that he had their interests,
personal and professional, at heart, and they "loved him like a father."
The prince paid them well, and several of them were sufficiently capable
to receive appointments afterwards in the Imperial Chapel. Pohl gives a
list of the names about this time, but, with one or two exceptions, they
are quite unfamiliar. J. B. Krumpholtz, the harpist, was engaged from
1773 to 1776, and Andreas Lidl, who played in London soon after leaving
the band, was in the service of the prince from 1769 to 1774.
The sum paid to Haydn at this date was not large as we should now
consider it, but it was sufficient to free him from financial worry had
it not been for the extravagance and bad management of his wife. The
prince gave him about 78 pounds, in addition to which he had certain
allowances in kind, and, as we have already said, free quarters for
himself and his wife when she thought fit to stay with him. Probably,
too, he was now making something substantial by his compositions.
Griesinger declares that he had saved about 200 pounds before 1790, the
year when he started for London. If that be true, he must have been very
economical. His wife, we must remember, was making constant calls upon
him for money, and in addition he had to meet the pressing demands of
various poor relations. His correspondence certainly does not tend to
show that he was saving, and we know that when he set out for London he
had not only to draw upon the generosity of his prince for the costs of
the journey, but had to sell his house to provide for his wife until his
return.
Opera at Esterhaz
It is time, however, to speak of some of Haydn's compositions during
this period. At Esterhaz he "wrote nearly all his operas, most of his
arias and songs, the music for the marionette theatre--of which he was
particularly fond--and the greater part of his orchestral and chamber
works." The dramatic works bulk rather largely during the earlier
part of the period. In 1769, for example, when the whole musical
establishment of Esterhaz visited Vienna, a performance of his opera,
"Lo Speciale," was given at the house of Freiherr von Sommerau, and
was repeated in the form of a concert. Other works of the kind were
performed at intervals, particularly on festival occasions, but as
most of them have perished, and all of them are essentially pieces
d'occasion, it is unnecessary even to recall their names. In 1771 Haydn
wrote a "Stabat Mater" and a "Salve Regina," and in 1773 followed the
Symphony in C which bears the name of the Empress Maria Theresa, having
been written for the empress's visit to Esterhaz in September of that
year. In the course of the visit Haydn was naturally introduced to Her
Majesty, when, as we have stated, he took occasion to remind her of the
"good hiding" she had ordered him to have at Schonbrunn during the old
chorister days at St Stephen's. "Well, you see, my dear Haydn," was the
reply, "the hiding has borne good fruit."
First Oratorio
In 1775 came his first oratorio, "Il Ritorno di Tobia." This is an
exceedingly interesting work. It was first performed under Haydn's
direction by the Tonkunstler Societat, with solo singers from Esterbaz,
at Vienna, on April 2, 1775. In 1784 Haydn added two choruses, one a
"Storm Chorus," which is sometimes confused with the "Storm Chorus" (in
the same key, but in triple time) composed during his sojourn in London.
It is from "Il Ritorno di Tobia" that the so-called motet, "Insanae et
Vanae Curae," is adapted, and the "Storm Chorus" immediately follows
a fine soprano air in F minor and major, sung by Anna in the original
work, a portion of which forms the beautiful second subject (in F)
of the "Insanae." The original words of this chorus--"Svanisce in un
momento"--are to the effect that the soul threatens to yield to the
fury of its enemies, yet trust in God keeps one steadfast. The music
admirably reflects these contrasting sentiments, first in the tumultuous
D minor section, and then in the tranquillity of the F major portion
which follows, no less than in the trustful quietude of the D major
conclusion. Latin words were adapted to three of the original choruses,
but nothing seems to be known as to the origin of the "Insanae"
adaptation. A full score of the motet, published by Breitkopf & Hartel
in 1809, was reviewed in the Allgemeine Musikalische Zeitung of August
15, 1810, as if it were an entirely original work. The source of the
Latin words also remains a mystery. They were presumably put together to
fit Haydn's music, but by whom we have no means of ascertaining.
It is interesting to know that Haydn brought the score of his "Il
Ritorno di Tobia" with him to England on the occasion of his first visit
in 1791, probably with a view to its performance here. Messrs Novello's
private library contains an oblong volume in the handwriting of Vincent
Novello, in which he has copied some numbers from "Tobia," including the
air of Anna already mentioned, but not the "Insanae" chorus. The inside
cover of the book bears the following note in Novello's hand, written,
not later than 1820, under the contents of the volume:
"The whole of the above are unpublished manuscripts, and were copied
from an extremely rare volume, containing the full orchestral score of
the entire oratorio, kindly lent to me for the purpose by my friend, Mr
Shield, who had obtained it from Haydn himself during the visit of the
latter to England in the year 1791.--VINCENT NOVELLO, 240 Oxford St."
[See an interesting account of "Il Ritorno di Tobia" in The Musical
Times for September 1901, p. 600.]
Some of our musical societies in search of novelties might do worse
than revive this almost completely forgotten oratorio. The airs
are exceedingly melodious, and the choruses bold and tuneful, with
well-developed fugue subjects. The "Insanae" already referred to is
frequently performed.
Opponents
In 1776 Haydn composed "La Vera Costanza" for the Court Theatre of
Vienna, but owing to certain intrigues it was declined by the management
and produced at Esterhaz instead. The opera was subsequently staged
at Vienna in 1790, and six of its airs and a duet were published by
Artaria. This incident makes it sufficiently plain that Haydn had
his opponents among the musicians and critics of Vienna as well as
elsewhere. Burney says a friend in Hamburg wrote him in 1772 that "the
genius, fine ideas and fancy of Haydn, Ditters and Filitz were praised,
but their mixture of serious and comic was disliked, particularly as
there is more of the latter than the former in their works; and as for
rules, they knew but little of them." If we substitute "humorous" for
"comic," this may be allowed to fully represent the views of the critics
and amateurs of Vienna in regard to Haydn's music.
And, unfortunately, the incident just mentioned was not a solitary one.
In 1778 Haydn applied for membership to the Tonkunstler Societat, for
whom he had in reality written his "Il Ritorno di Tobia." One would have
expected such a body to receive him with open arms, but instead of that
they exacted a sum of 300 florins on the ground of his non-residence
in Vienna! Not only so, but they would fain have brought him under a
promise to compose for them whenever they chose to ask him. This latter
condition Haydn felt to be impossible in view of his engagement at
Esterhaz, and he withdrew his admission fee. That the society were not
ashamed of themselves is obvious from a further episode. Some years
after this they desired Haydn to rearrange his "Tobia" for a special
performance, and when he demanded payment for his trouble they promptly
decided to produce Hasse's "Elena" instead. Everything comes to the man
who waits. After his second visit to London the Tonkunstler Societat
welcomed Haydn at a special meeting, and with one voice appointed him
"Assessor Senior" for life. In return for this distinction he presented
the society with "The Creation" and "The Seasons," to which gifts,
according to Pohl, its prosperity is mainly owing.
"L'Isola Disabitata"
If Haydn was thus less highly appreciated at home than he deserved to
be, there were others who knew his sterling worth. In 1779 he composed
one of his best operas, "L'Isola Disabitata," the libretto of which was
by his old benefactor Metastasio, and this work procured his nomination
as a member of the Philharmonic Society of Modena. The following extract
of a letter written to Artaria in May 1781 is interesting in this
connection. He says: "M. le Gros, director of the 'Concerts Spirituels'
[in Paris], wrote me a great many fine things about my Stabat Mater,
which had been given there four times with great applause; so this
gentleman asked permission to have it engraved. They made me an offer
to engrave all my future works on very advantageous terms, and are much
surprised that my compositions for the voice are so singularly pleasing.
I, however, am not in the least surprised, for, as yet, they have heard
nothing. If they could only hear my operetta, 'L'Isola Disabitata,' and
my last Shrove-tide opera, 'La Fedelta Premiata,' I do assure you that
no such work has hitherto been heard in Paris, nor, perhaps, in Vienna
either. My great misfortune is living in the country." It will be seen
from this what he thought of "L'Isola," which was not heard in Vienna
until its performance at a concert given at the Court Theatre by
Willmann the 'cellist in 1785. Haydn sent the score to the King
of Spain, who showed his sense of the honour by the gift of a gold
snuff-box, set in brilliants. Other marks of royal attention were
bestowed upon him about this time. Thus, in 1784, Prince Henry of
Prussia sent him a gold medal and his portrait in return for the
dedication of six new quartets, while in 1787 King Frederick William
II gave him the famous gold ring which he afterwards always wore when
composing.
A Love Episode
But we have passed somewhat out of our chronological order. The absence
of love at home, as we all know, often encourages love abroad. Haydn
liked to have an occasional flirtation, as ardent as might be within the
bounds of decorum. Sometimes, indeed, according to our insular ideas of
such things, he exceeded the bounds of decorum, as in the case of which
we are now compelled to speak. Among the musicians who had been engaged
for the Esterhazy service in 1779 were a couple named Polzelli--the
husband a violinist, the wife a second-rate vocalist. Luigia Polzelli
was a lively Italian girl of nineteen. She does not seem to have been
happy with Polzelli, and Haydn's pity was roused for her, much
as Shelley's pity was roused for "my unfortunate friend," Harriet
Westbrook. The pity, as often happens in such cases, ultimately ripened
into a violent passion.
We are not concerned to adopt an apologetic tone towards Haydn. But
Signora Polzelli was clearly an unscrupulous woman. She first got her
admirer into her power, and then used her position to dun him for money.
She had two sons, and the popular belief of the time that Haydn was
the father of the younger is perpetuated in several of the biographies.
Haydn had certainly a great regard for the boy, made him a pupil of
his own, and left him a small sum in his first will, which, however, he
revoked in the second. Signora Polzelli's conduct was probably natural
enough in the circumstances, but it must have been rather embarrassing
to Haydn. After the death of her husband, she wheedled him into signing
a paper promising to marry her in the event of his becoming a widower.
This promise he subsequently repudiated, but he cared for her well
enough to leave her an annuity in his will, notwithstanding that she
had married again. She survived him for twenty-three years, and her two
daughters were still living at Pesth in 1878.
Returning to 1779, an untoward event of that year was the destruction
by fire of the theatre at Esterhaz. The re-building of the house was
set about at once, the prince having meanwhile gone to Paris, and the
re-opening took place on October 15, 1780, when Haydn's "La Fedelta
Premiata," already mentioned, was staged.
Correspondence
It was about this time that he began to correspond with Artaria, the
Vienna music-publisher, with whom he had business dealings for many
years. A large number of his letters is given in an English translation
by Lady Wallace. [See Letters of Distinguished Musicians. Translated
from the German by Lady Wallace. London, 1867]. They treat principally
of business matters, but are not unimportant as fixing the chronological
dates of some of his works. They exhibit in a striking way the simple,
honest, unassuming nature of the composer; and if they also show him
"rather eager after gain, and even particular to a groschen," we must
not forget the ever-pressing necessity for economy under which he
laboured, and his almost lavish benevolence to straitened relatives and
friends. In one letter requesting an advance he writes: "I am unwilling
to be in debt to tradesmen, and, thank God! I am free from this burden;
but as great people keep me so long waiting for payments, I have got
rather into difficulty. This letter, however, will be your security...I
will pay off the interest with my notes." There is no real ground
for charging Haydn with avarice, as some writers have done. "Even
philosophers," as he remarked himself, "occasionally stand in need of
money"; and, as Beethoven said to George Thomson, when haggling
about prices, there is no reason why the "true artist" should not be
"honourably paid."
A London Publisher
It was about this time too that Haydn opened a correspondence with
William Forster of London, who had added to his business of violin-maker
that of a music-seller and publisher. Forster entered into an agreement
with him for the English copyright of his compositions, and between
1781 and 1787 he published eighty-two symphonies, twenty-four quartets,
twenty-four solos, duets and trios, and the "Seven Last Words," of which
we have yet to speak. Nothing of the Forster correspondence seems to
have survived.
Royal Dedicatees
Among the events of 1781-1782 should be noted the entertainments given
in connection with two visits which the Emperor Joseph II received from
the Grand Duke Paul and his wife. The Grand Duchess was musical, and had
just been present at the famous combat between Clementi and Mozart, a
suggestion of the Emperor. She had some of Haydn's quartets played at
her house and liked them so well that she gave him a diamond snuff-box
and took lessons from him. It was to her that he afterwards--in
1802--dedicated his part-songs for three and four voices, while the
Grand Duke was honoured by the dedication of the six so-called "Russian"
quartets. It had been arranged that the Duke and Duchess should
accompany the Emperor to Eisenstadt, but the arrangement fell through,
and an opera which Haydn had written for the occasion was only produced
at Esterhaz in the autumn of 1782. This was his "Orlando Paladino,"
better known in its German form as "Ritter Roland." Another work of this
year (1782) was the "Mariazell" Mass in C major (Novello, No. 15), which
derives its name from the shrine of the Virgin in Styria, the scene
of an incident already related. The mass was written to the order of a
certain Herr Liebe de Kreutzner, and the composer is said to have taken
special pains with it, perhaps because it reminded him of his early
struggling days as a chorister in Vienna. It was the eighth mass Haydn
had written, one being the long and difficult "Cecilia" Mass in C
major, now heard only in a curtailed form. No other work of the kind was
composed until 1796, between which year and 1802 the best of his masses
were produced. To the year 1783 belongs the opera "Armida," performed in
1784 and again in 1797 at Schickaneder's Theatre in Vienna. Haydn writes
to Artaria in March 1784 to say that "Armida" had been given at Esterhaz
with "universal applause," adding that "it is thought the best work I
have yet written." The autograph score was sent to London to make up, in
a manner, for the non-performance of his "Orfeo" there in 1791.
The "Seven Words"
But the most interesting work of this period was the "Seven Words of our
Saviour on the Cross," written in 1785. The circumstances attending its
composition are best told in Haydn's own words. In Breitkopf & Hartel's
edition of 1801, he writes:
About fifteen years ago I was requested by a Canon of Cadiz to compose
instrumental music on the Seven Words of Jesus on the Cross. It was
the custom of the Cathedral of Cadiz to produce an oratorio every year
during Lent, the effect of the performance being not a little enhanced
by the following circumstances. The walls, windows and pillars of the
Church were hung with black cloth, and only one large lamp, hanging from
the centre of the roof, broke the solemn obscurity. At mid-day the doors
were closed and the ceremony began. After a short service the bishop
ascended the pulpit, pronounced one of the Seven Words (or sentences)
and delivered a discourse thereon. This ended, he left the pulpit and
knelt prostrate before the altar. The pause was filled by the music. The
bishop then in like manner pronounced the second word, then the third,
and so on, the orchestra falling in at the conclusion of each discourse.
My composition was to be subject to these conditions, and it was no easy
matter to compose seven adagios to last ten minutes each, and follow one
after the other without fatiguing the listeners; indeed I found it quite
impossible to confine myself within the appointed limits.
This commission may be taken as a further evidence of the growing extent
of Haydn's fame. He appears to have been already well known in Spain.
Boccherini carried on a friendly correspondence with him from Madrid,
and he was actually made the hero of a poem called "The Art of Music,"
published there in 1779. The "Seven Words" created a profound impression
when performed under the circumstances just detailed, but the work was
not allowed to remain in its original form, though it was printed in
that form by Artaria and by Forster. Haydn divided it into two parts,
and added choruses and solos, in which form it was given for the first
time at Eisenstadt in October, 1797, and published in 1801. The "Seven
Words" was a special favourite of the composer himself, who indeed is
declared by some to have preferred it to all his other compositions.
The "Toy" Symphony
The remaining years of the period covered by this chapter being almost
totally devoid of incident, we may pause to notice briefly two of the
better-known symphonies of the time--the "Toy" Symphony and the more
famous "Farewell." The former is a mere jeu d'esprit, in which, with an
orchestral basis of two violins and a bass, the solo instruments are all
of a burlesque character. Mozart attempted something of a kindred
nature in his "Musical joke," where instruments come in at wrong places,
execute inappropriate phrases, and play abominably out of tune. This
kind of thing does not require serious notice, especially in the case
of Haydn, to whom humour in music was a very different matter from the
handling of rattles and penny trumpets and toy drums.
The "Farewell" Symphony
The "Farewell" Symphony has often been described, though the
circumstances of its origin are generally mis-stated. It has been
asserted, for example, that Haydn intended it as an appeal to the prince
against the dismissal of the Capelle. But this, as Pohl has conclusively
shown, is incorrect. The real design of the "Farewell" was to persuade
the prince to shorten his stay at Esterhaz, and so enable the musicians
to rejoin their wives and families. Fortunately, the prince was
quick-witted enough to see the point of the joke. As one after another
ceased playing and left the orchestra, until only two violinists
remained, he quietly observed, "If all go, we may as well go too."
Thus Haydn's object was attained--for the time being! The "Farewell"
is perfectly complete as a work of art, but its fitness for ordinary
occasions is often minimized by the persistent way in which its original
purpose is pointed out to the listener.
Free from Esterhaz
Haydn's active career at Esterhaz may be said to have closed with the
death, on September 28, 1790, of Prince Nicolaus. The event was of great
importance to his future. Had the prince lived, Haydn would doubtless
have continued in his service, for he "absolutely adored him." But
Prince Anton, who now succeeded, dismissed the whole Capelle, retaining
only the few members necessary for the carrying on of the church
service, and Haydn's occupation was practically gone. The new prince
nominally held the right to his services, but there was no reason for
his remaining longer at the castle, and he accordingly took up his
residence in Vienna. Thus free to employ his time as he considered best,
Haydn embraced the opportunity to carry out a long-meditated project,
and paid the first of his two visits to London. With these we enter upon
a new epoch in the composer's life, and one of great interest to the
student and lover of music.