The Father of Instrumental Music--The Quartets--The
Symphonies--The Salomon Set--The Sonatas--Church
Music--Songs--Operas--Orchestration--General Style--Conclusion.
The Father of Instrumental Music
Haydn has been called "the father of instrumental music," and although
rigid critics may dispute his full right to that title, on broad grounds
he must be allowed to have sufficiently earned it. He was practically
the creator of more than one of our modern forms, and there was hardly a
department of instrumental music in which he did not make his influence
felt. This was emphatically the case with the sonata, the symphony
and the string quartet. The latter he brought to its first perfection.
Before his time this particular form of chamber music was long
neglected, and for a very simple reason. Composers looked upon it as
being too slight in texture for the display of their genius. That, as
has often been demonstrated, was because they had not mastered the art
of "writing a four-part harmony with occasional transitions into the
pure polyphonic style--a method of writing which is indispensable to
quartet composition--and also because they did not yet understand the
scope and value of each individual instrument."
The Quartet
It would be too much to say that even Haydn fully realized the
capacities of each of his four instruments. Indeed, his quartet writing
is often bald and uninteresting. But at least he did write in four-part
harmony, and it is certainly to him that we owe the installation of the
quartet as a distinct species of chamber music. "It is not often," says
Otto Jahn, the biographer of Mozart, "that a composer hits so exactly
upon the form suited to his conceptions; the quartet was Haydn's natural
mode of expressing his feelings." This is placing the Haydn quartet in
a very high position among the products of its creator. But its artistic
value and importance cannot well be over-estimated. Even Mozart, who set
a noble seal upon the form, admitted that it was from Haydn he had
first learned the true way to compose quartets; and there have been
enthusiasts who regarded the Haydn quartet with even more veneration
than the Haydn symphony. No fewer than seventy-seven quartets are
ascribed to him. Needless to say, they differ considerably as regards
their style and treatment, for the first was written so early as
1755, while the last belongs to his later years. But they are all
characterized by the same combination of manly earnestness, rich
invention and mirthful spirit. The form is concise and symmetrical, the
part-writing is clear and well-balanced, and a "sunny sweetness" is the
prevailing mood. As a discerning critic has remarked, there is nothing
in the shape of instrumental music much pleasanter and easier to listen
to than one of Haydn's quartets. The best of them hold their places in
the concert-rooms of to-day, and they seem likely to live as long as
there are people to appreciate clear and logical composition which
attempts nothing beyond "organized simplicity." [See W. J. Henderson's
How Music Developed, p. 191: London, 1899]. In this department, as
Goethe said, he may be superseded, but he can never be surpassed.
The Symphony
For the symphony Haydn did no less than for the quartet. The symphony,
in his young days, was not precisely the kind of work which now bears
the name. It was generally written for a small band, and consisted of
four parts for strings and four for wind instruments. It was meant to
serve no higher purpose, as a rule, than to be played in the houses of
nobles; and on that account it was neither elaborated as to length nor
complicated as to development. So long as it was agreeable and likely to
please the aristocratic ear, the end of the composer was thought to be
attained.
Haydn, as we know, began his symphonic work under Count Morzin. The
circumstances were not such as to encourage him to "rise to any pitch of
real greatness or depth of meaning"; and although he was able to build
on a somewhat grander scale when he went to Eisenstadt, it was still a
little comfortable coterie that he understood himself to be writing for
rather than for the musical world at large. Nevertheless, he aimed at
constant improvement, and although he had no definite object in view, he
"raised the standard of symphony--writing far beyond any point which had
been attained before."
"His predecessors," to quote Sir Hubert Parry, "had always written
rather carelessly and hastily for the band, and hardly ever tried to get
refined and original effects from the use of their instruments, but he
naturally applied his mind more earnestly to the matter in hand, and
found out new ways of contrasting and combining the tones of different
members of his orchestra, and getting a fuller and richer effect out of
the mass of them when they were all playing. In the actual style of the
music, too, he made great advances, and in his hands symphonies became
by degrees more vigorous, and, at the same time, more really musical."
But the narrow limits of the Esterhazy audience and the numbing routine
of the performances were against his rising to the top heights of his
genius.
The Salomon Set
It was only when he came to write for the English public that he showed
what he could really do with the matter of the symphony. In comparison
with the twelve symphonies which he wrote for Salomon, the other, and
especially the earlier works are of practically no account. They are
interesting, of course, as marking stages in the growth of the symphony
and in the development of the composer's genius. But regarded in
themselves, as absolute and individual entities, they are not for a
moment to be placed by the side of the later compositions. These, so far
as his instrumental music is concerned, are the crowning glory of his
life work. They are the ripe fruits of his long experience working
upon the example of Mozart, and mark to the full all those qualities of
natural geniality, humour, vigour and simple-heartedness, which are the
leading characteristics of his style.
[figure: a musical score excerpt]
The Sonata
Haydn's sonatas show the same advance in form as his symphonies and
quartets. The older specimens of the sonata, as seen in the works of
Biber, Kuhnau, Mattheson and others, contain little more than the germs
of the modern sonata. Haydn, building on Emanuel Bach, fixed the present
form, improving so largely upon the earlier, that we could pass from
his sonatas directly to those of Beethoven without the intervention of
Mozart's as a connecting link. Beethoven's sonatas were certainly more
influenced by Haydn's than by Mozart's. Haydn's masterpieces in this
kind, like those of Mozart and Beethoven, astonish by their order,
regularity, fluency, harmony and roundness; and by their splendid
development into full and complete growth out of the sometimes
apparently unimportant germs. [See Ernst Pauer's Musical Forms.]
Naturally his sonatas are not all masterpieces. Of the thirty-five,
some are old-fashioned and some are quite second-rate. But, like the
symphonies, they are all of historical value as showing the development
not only of the form but of the composer's powers. One of the number is
peculiar in having four movements; another is equally peculiar--to Haydn
at least--in having only two movements. Probably in the case of the
latter the curtailment was due to practical rather than to artistic
reasons. Like Beethoven, with the two-movement sonata in C minor,
Haydn may not have had time for a third! In several of the sonatas the
part-writing strikes one as being somewhat poor and meagre; in others
there is, to the modern ear, a surfeiting indulgence in those turns,
arpeggios and other ornaments which were inseparable from the nature of
the harpsichord, with its thin tones and want of sustaining power. If
Haydn had lived to write for the richer and more sustained sounds of
the modern pianoforte, his genius would no doubt have responded to
the increased demands made upon it, though we may doubt whether it was
multiplex enough or intellectual enough to satisfy the deeper needs
of our time. As it is, the changes which have been made in sonata form
since his day are merely changes of detail. To him is due the fixity of
the form. [See "The Pianoforte Sonata," by J. S. Shedlock: London, 1895.
Mr Shedlock, by selecting for analysis some of the most characteristic
sonatas, shows Haydn in his three stages of apprenticeship, mastery and
maturity.]
Church Music
Of his masses and Church music generally it is difficult to speak
critically without seeming unfair. We have seen how he explained what
must be called the almost secular style of these works. But while it is
true that Haydn's masses have kept their place in the Catholic churches
of Germany and elsewhere, it is impossible, to Englishmen, at any rate,
not to feel a certain incongruity, a lack of that dignity and solemnity,
that religious "sense," which makes our own Church music so impressive.
We must not blame him for this. He escaped the influences which
made Bach and Handel great in religious music--the influences of
Protestantism, not to say Puritanism. The Church to which he belonged
was no longer guided in its music by the principles of Palestrina. On
the contrary; it was tainted by secular and operatic influences; and
although Haydn felt himself to be thoroughly in earnest it was rather
the ornamental and decorate side of religion that he expressed in his
lively music. He might, perhaps, have written in a more serious, lofty
strain had he been brought under the noble traditions which glorified
the sacred choral works of the earlier masters just named. In any case,
his Church music has nothing of the historical value of his instrumental
music. It is marked by many sterling and admirable qualities, but the
progress of the art would not have been materially affected if it had
never come into existence.
Songs
As a song-writer Haydn was only moderately successful, perhaps because,
having himself but a slight acquaintance with literature, he left the
selection of the words to others, with, in many cases, unfortunate
results. The form does not seem to have been a favourite with him, for
his first songs were not produced until so late as 1780. Some of the
later compositions have, however, survived; and one or two of the
canzonets, such as "My mother bids me bind my hair" and "She never told
her love," are admirable. The three-part and the four-part songs, as
well as the canons, of which he thought very highly himself, are also
excellent, and still charm after the lapse of so many years.
Operas
On the subject of his operas little need be added to what has already
been said. Strictly speaking, he never had a chance of showing what he
could do with opera on a grand scale. He had to write for a small stage
and a small audience, and in so far he was probably successful. Pohl
thinks that if his project of visiting Italy had been fulfilled and his
faculties been stimulated in this direction by fresh scenes and a larger
horizon, we might have gained "some fine operas." It is doubtful; Haydn
lacked the true dramatic instinct. His placid, easy-going, contented
nature could never have allowed him to rise to great heights of dramatic
force. He was not built on a heroic mould; the meaning of tragedy was
unknown to him.
Orchestration
Regarding his orchestration a small treatise might be written. The terms
which best describe it are, perhaps, refinement and brilliancy. Much
of his success in this department must, of course, be attributed to
his long and intimate association with the Esterhazy band. In 1766,
six years after his appointment, this band numbered seventeen
instruments--six violins and viola, one violoncello, one double bass,
one flute, two oboes, two bassoons and four horns. It was subsequently
enlarged to twenty-two and twenty-four, including trumpets and
kettledrums on special occasions. From 1776 to 1778 there were also
clarinets. This gradual extension of resources may be taken as
roughly symbolizing Haydn's own advances in the matter of orchestral
development. When he wrote his first symphony in 1759 he employed first
and second violins, violas, basses, two oboes and two horns; in his last
symphony, written in 1795, he had at his command "the whole symphonic
orchestra as it had stood when Beethoven took up the work of orchestral
development." Between these two points Mozart had lived and died,
leaving Haydn his actual debtor so far as regards the increased
importance of the orchestra. It has been said that he learnt from Mozart
the use of the clarinet, and this is probably true, notwithstanding
the fact that he had employed a couple of clarinets in his first mass,
written in 1751 or 1752. Both composers used clarinets rarely, but
Haydn certainly did not reveal the real capacity of the instrument or
establish its position in the orchestra as Mozart did.
From his first works onwards, he proceeded along the true symphonic
path, and an orchestra of two flutes, two oboes, two clarinets, two
bassoons, two horns, two trumpets, drums, and the usual strings fairly
represents the result of his contributions to its development up to the
first successful experiments of Mozart. The names of Mozart and Haydn
ought in reality to be coupled together as the progenitors of the modern
orchestral colouring. But the superiority must be allowed to attach to
Haydn, inasmuch as his colouring is the more expansive and decided. Some
of his works, even of the later period, show great reticence in scoring,
but, on the other hand, as in "The Creation," he knew when to draw upon
the full resources of the orchestra. It has been pointed out as worthy
of remark that he was not sufficiently trustful of his instrumental
army to leave it without the weak support of the harpsichord, at which
instrument he frequently sat during the performance of his symphonies,
and played with the orchestra, with extremely bad effect. [Compare The
Orchestra and Orchestral Music, by W. J. Henderson: London, 1901.] In
this, however, he merely followed the custom of his day.
General Style
Of Haydn's general style as a composer it is hardly necessary to speak.
To say that a composition is "Haydnish" is to express in one word what
is well understood by all intelligent amateurs. Haydn's music is like
his character--clear, straightforward, fresh and winning, without the
slightest trace of affectation or morbidity. Its perfect transparency,
its firmness of design, its fluency of instrumental language, the beauty
and inexhaustible invention of its melody, its studied moderation, its
child-like cheerfulness--these are some of the qualities which mark the
style of this most genial of all the great composers.
That he was not deep, that he does not speak a message of the inner
life to the latter-day individual, who, in the Ossianic phrase, likes
to indulge in "the luxury of grief," must, of course, be admitted. The
definite embodiment of feeling which we find in Beethoven is not to be
found in him. It was not in his nature. "My music," says Schubert, "is
the production of my genius and my misery." Haydn, like Mendelssohn,
was never more than temporarily miserable. But in music the gospel of
despair seldom wants its preachers. To-day it is Tschaikowsky; to-morrow
it will be another. Haydn meant to make the world happy, not to tear it
with agony. "I know," he said, "that God has bestowed a talent upon me,
and I thank Him for it. I think I have done my duty, and been of use in
my generation by my works. Let others do the same."
APPENDIX A: HAYDN'S LAST WILL AND TESTAMENT
The following draft of Haydn's will is copied from Lady Wallace's
Letters of Distinguished Musicians (London, 1867), where it was
published in full for the first time. The much-corrected original is in
the Court Library at Vienna. Dies says: "Six weeks before his death,
in April 1809, he read over his will to his servants in the presence
of witnesses, and asked them whether they were satisfied with his
provisions or not. The good people were quite taken by surprise at the
kindness of their master's heart, seeing themselves thus provided for
in time to come, and they thanked him with tears in their eyes." The
extracts given by Dies vary in some particulars from the following,
because Haydn's final testamentary dispositions were made at a later
date. But, as Lady Wallace says, it is not the legal but the moral
aspect of the affair that interests us. Here we see epitomized all the
goodness and beauty of Haydn's character. The document runs as follows:
FLORINS.
1. For holy masses,........................................12
2. To the Norman School,....................................5
3. To the Poorhouse,........................................5
4. To the executor of my will.............................200
And also the small portrait of Grassi.
5. To the pastor,..........................................10
6. Expenses of my funeral, first-class,...................200
7. To my dear brother Michael, in Salzburg,..............4000
8. To my brother Johann, in Eisenstadt,..................4000
9. To my sister in Rohrau (erased, and written
underneath): "God have mercy on her soul! To the
three children of my sister,".........................2000
10. To the workwoman in Esterhazy, Anna Maria Moser,
nee Frohlichin,........................................500
11. To the workwoman in Rohrau, Elisabeth, nee Bohme,......500
12. To the two workwomen there (erased, and replaced
by: "To the shoemaker, Anna Loder, in Vienna"),........200
Should she presume to make any written claims, I
declare them to be null and void, having already
paid for her and her profligate husband, Joseph
Lungmayer, more than 6000 gulden.
13. To the shoemaker in Garhaus, Theresa Hammer,............500
14. To her son, the blacksmith, Matthias Frohlich,..........500
15.&16. To the eldest child of my deceased sister,
Anna Wimmer, and her husband, at Meolo, in Hungary,.....500
17. To her married daughter at Kaposwar,....................100
18. To the other three children (erased),...................300
19. To the married Dusse, nee Scheeger,.....................300
20. To her imbecile brother, Joseph (erased),...............100
21. To her brother, Karl Scheeger, silversmith, and his
wife,...................................................900
22. To the son of Frau von Koller,..........................300
23. To his son (erased),....................................100
24. To the sister of my late wife (erased).
25. To my servant, Johann Elssler,.........................2500
Also one year's wages, likewise a coat, waistcoat
and a pair of trousers. (According to Griesinger,
Haydn bequeathed a capital of 6000 florins to this
faithful servant and copyist.)
26. To Rosalia Weber, formerly in my service,...............300
(She has a written certificate of this from me.)
27. To my present maid-servant, Anna Kremnitzer,...........1000
And a year's wages in addition. Also, her bed and
bedding and two pairs of linen sheets; also, four
chairs, a table, a chest of drawers, the watch,
the clock and the picture of the Blessed Virgin in
her room, a flat-iron, kitchen utensils and crockery,
one water-pail, and other trifles.
28. To my housekeeper, Theresia Meyer,......................500
And one year's wages,.................................20
29. To my old gardener, Michel,..............................24
30. To the Prince's Choir for my obsequies, to share
alike (erased),......................................100
31. To the priest (erased),..................................12
32. To the pastor in Eisenstadt for a solemn mass,............5
33. To his clerk,.............................................2
34. To the beneficiary,.......................................2
35. To Pastor von Nollendorf,.................................2
36. To Pastor von St Georg,...................................2
37. To the sexton (erased from 33),...........................1
38. To the organ-bellows' blower,.............................1
39. To the singer, Babett,...................................50
40. To my cousin, the saddler's wife, in Eisenstadt,.........50
To her daughter,........................................300
41. To Mesdemoiselles Anna and Josepha Dillin,..............100
42. To the blind daughter of Herr Graus, leader of
the choir in Eisenstadt (erased),.......................100
43. To the four sisters Sommerfeld, daughters of
the wigmaker in Presburg,...............................200
44. To Nannerl, daughter of Herr Weissgerb, my
neighbour (erased),......................................50
45. To Herr Art, merchant in the Kleine Steingasse,..........50
46. To the pastor in Rohrau,.................................12
47. To the schoolmaster in Rohrau,............................6
48. To the school children,...................................3
49. To Herr Wamerl, formerly with Count v. Harrach,..........50
50. To his present cashier,..................................50
51. To Count v. Harrach for the purpose of defraying
the bequests Nos. 51 and 52, I bequeath an
obligation of 6000 florins at 5 per cent., the
interest to be disposed of as follows:
To the widow Aloysia Polzelli, formerly
singer at Prince Nikolaus Esterhazy's, payable
in ready money six weeks after my death,................100
And each year, from the date of my death, for
her life, the interest of the above capital,............150
After her death her son, Anton Polzelli, to
receive 150 florins for one year, having always
been a good son to his mother and a grateful
pupil to me. N.B.--I hereby revoke the obligation
in Italian, signed by me, which may be produced
by Mdme. Polzelli, otherwise so many of my poor
relations with greater claims would receive too
little. Finally, Mdme. Polzelli must be satisfied
with the annuity of 150 florins. After her death
the half of the above capital, viz., 3000
florins, to be divided into two shares--one-half
(1500) to devolve on the Rohrau family, for the
purpose of keeping in good order the monument
erected to me by Count von Harrach, and also
that of my deceased father at the door of the
sacristy. The other half to be held in trust by
the Count, and the annual interest of the sum,
namely, 45 florins, to be divided between any
two orphans in Rohrau.
52. To my niece, Anna Lungmayer, payable six weeks
after my death,..........................................100
Likewise a yearly annuity to her husband and herself,....150
All these legacies and obligations, and also
the proceeds of the sale of my house and legal
costs, to be paid within one year of my death;
all the other expenses to be deducted from the
sum of ready money in the hands of the executors,
who must account to the heir for the same. On
their demise this annuity to go to their children
until they come of age, and after that period the
capital to be equally divided among them. Of
the remaining 950 florins, 500 to become the
property of my beloved Count v. Harrach, as the
depositary of my last will and testament, and
300 I bequeath to the agent for his trouble.
The residue of 150 florins to go to my stepmother,
and, if she be no longer living, to her
children. N.B.--Should Mdme. Lungmayer or
her husband produce any document signed by
me for a larger sum, I wish it to be understood,
as in the case of Mdme. Polzelli, that it is to be
considered null and void, as both Mdme. Lungmayer
and her husband, owing to my great kindness, lavished
more than 6000 florins of mine during my life, which
my own brother and the citizens in Oedenberg and
Eisenstadt can testify.
(From No. 51 is repeatedly and thickly scored out.)
53. To the widow Theresia Eder and her two daughters,
lacemakers,...............................................150
54. To my pupil, Anton Polzelli,..............................100
55. To poor blind Adam in Eisenstadt,..........................24
56. To my gracious Prince, my gold Parisian medal and
the letter that accompanied it, with a humble
request to grant them a place in the museum at
Forchtentein.
57. To Mdlle. C. Czeck, waiting-woman to Princess
Graschalkowitz (erased),.................................1000
58. To Fraulein Anna Bucholz,.................................100
Inasmuch as in my youth her grandfather lent
me 150 florins when I greatly needed them,
which, however, I repaid fifty years ago.
59. To the daughter of the bookkeeper, Kandler, my
piano, by the organ-builder Schanz.
60. The small Parisian medal to Count v. Harrach, and
also the bust a l'antique of Herr Grassi.
61. To the widow Wallnerin in Schottenhof,....................100
62. To the Father Prior Leo in Eisenstadt, of the
"Brothers of Mercy,".......................................50
63. To the Hospital for the Poor in Eisenstadt (erased),.......75
For the ratification of this my last will and testament, I have
written it entirely in my own hand, and earnestly beg the
authorities to consider it, even if not strictly or properly legal,
in the light at least of a codicil, and to do all in their power
to make it valid and binding.
JOSEPH HAYDN.
May 5, 1801.
Should God call me away suddenly, this my last will and testament,
though not written on stamped paper, to be considered valid in
law, and the stamps to be repaid tenfold to my sovereign.
In the name of the Holy Trinity. The uncertainty of the
period when it may please my Creator, in His infinite wisdom,
to call me from time into eternity has caused me, being in sound
health, to make my last will with regard to my little remaining
property. I commend my soul to my all-merciful Creator; my
body I wish to be interred, according to the Roman Catholic
forms, in consecrated ground. A first-class funeral. For my
soul I bequeath No. 1.
Joseph Haydn
Vienna, Dec. 6, 1801
APPENDIX B: CATALOGUE OF WORKS
There are unusual difficulties in the way of compiling a thoroughly
satisfactory catalogue of Haydn's instrumental works. From the want of
any generally-accepted consecutive numbering, and the fact that several
are in the same key, this is particularly the case with the symphonies.
Different editions have different numberings, and the confusion is
increased by a further re-numbering of the piano symphonic scores
arranged for two and four hands. In Breitkopf & Hartel's catalogue many
works are included among the symphonies which are also found among the
smaller compositions, and others are catalogued twice. Even the composer
himself, in compiling his thematic catalogue, made mistakes. In the
present list we have been content for the most part to state the numbers
of the various instrumental works, without attempting to notify each
individual composition. Indeed, to do otherwise would have called for an
extensive use of music type. Nor have we thought it necessary to include
the supposititious and doubtful works, for which Pohl's list may be
consulted.
INSTRUMENTAL
125 symphonies, including overtures to operas and plays. Of these 94
are published in parts, 40 in score; 29 remain in MS. About 40 have been
arranged for pianoforte 2 hands, 60 for 4 hands, 10 for 8 hands.
Pohl gives a thematic list of the 12 symphonies composed for Salomon,
numbered in the order of their occurrence in the catalogue of the London
Philharmonic Society. These include:
TITLE OF WORK KEY DATE
"The Surprise" G major 1791
"The Clock," referring D minor 1794
to the Andante
"The Military" G major 1794
Other symphonies known by their titles are:
TITLE OF WORK KEY DATE
"Le Matin" D major
"Le Midi" C major
"Le Soir" G major 1761
"The Farewell" A major 1772
"Maria Theresa" C major 1773
"The Schoolmaster" E flat 1774
"Feuer Symphonie" (probably
overture to "Die Feuersbrunst") A major 1774
"La Chasse" D major 1780
"Toy" Symphony C major 1780
"La Reine de France" B major for Paris, 1786
"The Oxford" G major 1788
"The Seven Words from the Cross." Originally for orchestra.
Arranged first for 2 violins, viola and bass; afterwards for soli,
chorus and orchestra.
66 various compositions for wind and strings, separately and
combined, including divertimenti, concerted pieces, etc.
7 notturnos or serenades for the lyre.
7 marches.
6 scherzandos.
1 sestet.
Several quintets.
1 "Echo" for 4 violins and 2 'cellos.
"Feld-partien" for wind instruments and arrangements from
baryton pieces.
12 collections of minuets and allemands.
31 concertos: 9 violin, 6 'cello, 1 double bass, 5 lyre, 3 baryton,
2 flute, 3 horn, 1 for 2 horns, 1 clarino (1796).
175 baryton pieces. Arrangements were published of several
of these in 3 parts, with violin (or flute), viola or 'cello as
principal.
1 duet for 2 lutes.
2 trios for lute, violin and 'cello.
1 sonata for harp, with flute and bass.
Several pieces for a musical clock.
A solo for harmonica.
6 duets for violin solo, with viola accompaniments. The
numerous printed duets for 2 violins are only arrangements from
his other works.
30 trios: 20 for 2 violins and bass, 1 for violin solo, viola
concertante and bass, 2 for flute, violin and bass, 3 for 3 flutes,
1 for corno di caccia, violin and 'cello.
77 quartets. The first 18 were published in 3 series; the
next is in MS.; then 1 printed separately; 54 in 9 series of 6
Nos. each; 2 more and the last.
CLAVIER MUSIC
20 concertos and divertimenti: 1 concerto is with principal
violin, 2 only (G and D) have been printed; the last alone
survives.
38 trios: 35 with violin and 'cello, 3 with flute and 'cello
Only 31 are printed.
53 sonatas and divertimenti. Only 35 are printed: the one
in C, containing the adagio in F included in all the collections
of smaller pieces, only in London.
4 sonatas for clavier and violin. 8 are published, but 4 of
these are arrangements.
9 smaller pieces, including 5 Nos. of variations, a capriccio, a
fantasia, 2 adagios and "differentes petites pieces."
1 duet (variations).
VOCAL
Church Music
14 masses.
1 Stabat Mater.
2 Te Deums.
13 offertories. 10 of these are taken from other compositions
with Latin text added.
4 motets.
1 Tantum Ergo.
4 Salve Reginas.
1 Regina Coeli.
2 Aves Reginas; Responsoria de Venerabili.
1 Cantilena pro Aventu (German words).
6 sacred arias.
2 duets.
ORATORIOS AND CANTATAS
"The Creation."
"The Seasons."
"Il Ritorno di Tobia."
"The Seven Words."
"Invocation of Neptune."
"Applausus Musicus." For the festival of a prelate, 1768.
Cantata for the birthday of Prince Nicolaus, 1763.
Cantata "Die Erwahlung eines Kapellmeisters."
OPERAS
Italian Operas:
"La Canterina," 1769;
"L'Incontro Improviso," 1776;
"Lo Speciale," 1768;
"Le Pescatrice," 1780;
"Il Mondo della Luna," 1877;
"L'Isola Disabitata," 1779;
"Armida," 1782;
"L'Infedelta Delusa," 1773;
"La Fedelta Premiata," 1780;
"La Vera Constanza," 1786;
"Acide e Galatea," 1762;
"Orlando Paladino," 1782;
"Orfeo," London, 1794.
German Opera or Singspiel, "Der Neue Krumme Teufel."
5 marionette operas.
Music for "Alfred," a tragedy, and various other plays.
MISCELLANEOUS
SONGS:
12 German lieder, 1782;
12 ditto, 1784;
12 single songs;
6 original canzonets, London, 1796;
6 ditto;
"The Spirit Song," Shakespeare (F minor);
"O Tuneful Voice" (E flat), composed for an English lady of position;
3 English songs in MS.;
2 duets;
3 three-part and 10 four-part songs;
3 choruses, MS.;
1 ditto from "Alfred";
The Austrian National Anthem, for single voice and in 4 parts;
42 canons in 2 and more parts;
2 ditto;
"The Ten Commandments" set to canons; the same
with different words under the title "Die zehn Gesetze der Kunst";
symphonies and accompaniments for national songs
in the collections of Whyte, Napier and George Thomson.
22 airs mostly inserted in operas.
"Ariana a Naxos," cantata for single voice and pianoforte, 1790.
"Deutschlands Klage auf den Tod Friedrichs der Grossen,"
cantata for single voice, with baryton accompaniment, 1787.
APPENDIX C: BIBLIOGRAPHY
The Haydn literature is almost entirely Continental. With the exceptions
of Pohl's article in Grove's "Dictionary of Music" and Miss Townsend's
"Haydn," nothing of real importance has appeared in English. The
following list does not profess to be complete. It seems futile in a
book of this kind to refer amateurs and students to foreign works, many
of which are out of print and others generally inaccessible. For the
benefit of English readers the English works have been placed first and
apart from the Continental. It has not been thought necessary to
follow Pohl in giving a separate list of German and other Continental
critiques. His plan of citing works in the order of their publication
has, however, been adopted as being perhaps preferable to an
alphabetical order of writers.
TITLE OF WORK AUTHOR PLACE AND DATE
"History of Music," Vol. IV. Burney London, 1789
"Reminiscences," Vol. I, p. 190 Michael Kelly London, 1826
"Musical Memoirs" Parke London, 1830,
2 vols.
"Letters of Distinguished Musicians."... London, 1867
Translated from the German by Lady
Wallace. Haydn's Letters, pp. 71-204,
with portrait
"Musical Composers and their Works" Sarah Tytler London, 1875
--Haydn, pp. 57-75
"Music and Morals"--Haydn, Haweis London, 1876
pp. 241-263
Leisure Hour, p. 572. Article, ... London, 1877
"Anecdotes of Haydn"
"The Great Composers Sketched Joseph Bennett London, Musical
by Themselves"--No. 1, Haydn. Times, Sept. 1877
An estimate of Haydn drawn mainly
from his letters
Article on Haydn in Grove's Pohl London, 1879
"Dictionary of Music"
"Studies of Great Composers"--Haydn, Parry London, 1887
pp. 91-118, with portrait
"History of Music," English edition, Naumann London (Cassell),
Vol. IV., pp. 852-882. 1888
Portraits and facsimiles
"Musical Reminiscences"--Music and William Spark London, 1892
Sunshine, pp. 141-149, with quotations
from Haydn's music to show "the happy
state of his mind whilst composing"
"Musical Haunts in London"--Haydn in F. G. Edwards London, 1895
London, pp. 32-36
"The Pianoforte Sonata"--Haydn, J. S. Shedlock London, 1895
pp. 111-120
"Music and Manners from Pergolese Krehbiel London, 1898
to Beethoven"--Haydn in London:
(1) His Note-book; (2) His English
Love, pp. 57-95
"George Thomson, the Friend of Burns" Cuthbert Hadden London, 1898
--Correspondence with Haydn,
pp. 303-308
"Old Scores and New Readings"--Haydn J. F. Runciman London, 1899
and his "Creation," pp. 85-92
"The Birthplace of Haydn: Dr Frank Merrick London, Musical
a Visit to Rohrau" Times, July 1899
"Joseph Haydn" Miss Pauline London, N.D.
in Great Musicians series D. Townsend
Article on Haydn in "Dictionary Riemann London,
of Music." English ed. translated Augener & Co.
by J. S. Shedlock
Autobiographical Sketch by himself. ... 1776
This was made use of by (1) De Luca
in "Das gelehrte Oesterreich," 1778;
(2) in Forkel's "Musikalischer
Almanach fur Deutschland," 1783;
and (3) in the European Magazine
for October 1784. The latter includes
a portrait
"Lexicon." Additional particulars Gerber 1790
are given in 2nd edition, 1812
Musik Correspondenz der teutschen Gerber 1792
Filarm. Gesellschaft, Nos. 17 and 18
Article in Journal des Luxus und Bertuch Weimar, 1805
der Moden
"Brevi notizie istorchie della vita Mayer Bergamo, 1809
e delle opere di Guis. Haydn."
Obituary in the Vaterland. Blatter ... Vienna, 1809
fur den ost Kaiserstaat
"Der Nagedachtenis van J. Haydn" Kinker Amsterdam, 1810
"Biographische Notizen uber Griezinger Leipzig, 1810
Joseph Haydn"
"Biographische Nachrichten von Dies Vienna, 1810
Joseph Haydn"
"Joseph Haydn" Arnold Erfurt, 1810;
2nd ed., 1825
"Notice sur J. Haydn" Framery Paris, 1810
"Notice historique sur la vie et les Le Breton Paris, 1810
ouvrages de Haydn" in the Moniteur.
This was reprinted in the
"Bibliographie Musicale," Paris, 1822.
It was also translated into Portuguese,
with additions by Silva-Lisboa.
Rio Janeiro, 1820
"Essai Historique sur la vie ... Strassburg, 1812
de J. Haydn"
"Le Haydine," etc. Carpani Milan, 1812;
This work was essentially reproduced, 2nd edition,
without acknowledgment, in "Lettres enlarged,
ecrites de Vienne en Autriche," etc., Padua, 1823
by L. A. C. Bombet, Paris, 1814;
republished as "Vie de Haydn, Mozart
et Metastase," par Stendhal, Paris,
1817. Bombet and Stendhal are both
pseudonyms of Henri Beyle. An English
translation of the 1814 work was
published in London by John Murray,
in 1817, under the title of "The Life
of Haydn in a Series of Letters," etc.
"Biogr. Notizen" Grosser Hirschberg, 1826
"Allg. Encyclopadie der Ersch und Gruber Leipzig, 1828
Wissenschaften und Kunste,"
2nd section, 3rd part, with a
biographical sketch by Frohlich
"Allg. Wiener Musikzeitung" ... 1843
"J. Haydn in London, 1791 and 1792" Karajan Vienna, 1861
"Joseph Haydn und sein Bruder Michael" Wurzbach Vienna, 1861
"Joseph Haydn" Ludwig Nordhausen, 1867
"Mozart and Haydn in London" Pohl Vienna, 1867
"Joseph Haydn." Pohl ...
This, the first comprehensive
biography of Haydn, was published
--the first half of Vol. I. in
1875, the second half in 1882.
After the death of Pohl in 1887
it was completed (1890) by
E. V. Mandyczewski
Notice in "Biographie Universelle" Fetis ...
APPENDIX D: HAYDN'S BROTHERS
Of the large family born to the Rohrau wheelwright, two, besides the
great composer, devoted themselves to music.
The first, JOHANN EVANGELIST HAYDN, made some little reputation as a
vocalist, and was engaged in that capacity in the Esterhazy Chapel. His
health had, however, been delicate from the first, and his professional
career was far from prosperous.
JOHANN MICHAEL HAYDN was much more distinguished. Born in 1737, he
became, as we have seen, a chorister and solo-vocalist at St Stephen's,
Vienna. He was a good violinist, and played the organ so well that he
was soon able to act as deputy-organist at the cathedral. In 1757 he
was appointed Capellmeister to the Bishop of Grosswardein, and in 1762
became conductor, and subsequently leader and organist to Archbishop
Sigismund of Salzburg. There he naturally came in contact with Mozart,
in whose biography his name is often mentioned. Mozart on one occasion
wrote two compositions for him which the archbishop received as Michael
Haydn's. The Concertmeister was incapacitated by illness at the time,
and Mozart came to his rescue to save his salary, which the archbishop
had characteristically threatened to stop. Mozart also scored several of
his sacred works for practice.
Michael Haydn remained at Salzburg till his death in 1806. He had the
very modest salary of 24 pounds, with board and lodging, which
was afterwards doubled; but although he was more than once offered
preferment elsewhere, he declined to leave his beloved Salzburg. He was
happily married--in 1768--to a daughter of Lipp, the cathedral organist;
and with his church work, his pupils--among whom were Reicha and
Weber--and his compositions, he sought nothing more. When the French
entered Salzburg and pillaged the city in 1801 he was among the victims,
losing some property and a month's salary, but his brother and friends
repaired the loss with interest. This misfortune led the Empress Maria
Theresa to commission him to compose a mass, for which she rewarded him
munificently. Another of his masses was written for Prince Esterhazy,
who twice offered him the vice-Capellmeistership of the chapel at
Eisenstadt. Joseph thought Michael too straightforward for this post.
"Ours is a court life," he said, "but a very different one from yours at
Salzburg. It is uncommonly hard to do what you want." If any appointment
could have drawn him away from Salzburg it was this; and it is said that
he refused it only because he hoped that the chapel at Salzburg would be
reorganized and his salary raised.
Michael Haydn is buried in a side chapel of St Peter's Church, Salzburg.
A monument was erected in 1821, and over it is an urn containing his
skull. He is described by Pohl as "upright, good-tempered and modest;
a little rough in manners, and in later life given to drink." His
correspondence shows him to have been a warm-hearted friend; and he had
the same devout practice of initialing his manuscripts as his brother.
The latter thought highly of him as a composer, declaring that his
Church compositions were superior to his own in earnestness, severity of
style and sustained power. When he asked leave to copy the canons which
hung in Joseph's bedroom at Vienna, Joseph replied: "Get away with your
copies; you can compose much better for yourself." Michael's statement
has often been quoted: "Give me good librettos and the same patronage
as my brother, and I should not be behind him." This could scarcely have
been the case, since, as Pohl points out, Michael Haydn failed in the
very qualities which ensured his brother's success. As it was, he wrote
a very large number of works, most of which remained in manuscript. A
Mass in D is his best-known composition, though mention should be
made of the popular common-metre tune "Salzburg," adapted from a mass
composed for the use of country choirs. Michael Haydn was nominated
the great composer's sole heir, but his death frustrated the generous
intention.
APPENDIX E: A SELECTION OF HAYDN LETTERS
The greater number of Haydn's extant letters deal almost exclusively
with business matters, and are therefore of comparatively little
interest to the reader of his life. The following selection may be taken
as representing the composer in his more personal and social relations.
It is drawn from the correspondence with Frau von Genzinger, which was
discovered by Theodor Georg von Karajan, in Vienna, and published first
in the Jahrbuch fur Vaterlandische Geschichte, and afterwards in his J.
Haydn in London, 1791 and 1792 (1861). The translation here used, by the
courtesy of Messrs Longman, is that of Lady Wallace.
The name of Frau von Genzinger has been mentioned more than once in the
biography. Her husband was the Esterhazy physician. In that capacity
he paid frequent visits to Eisenstadt and Esterhaz (which Haydn spells
Estoras) and so became intimate with the Capellmeister. He was fond of
music, and during the long winter evenings in Vienna was in the habit
of assembling the best artists in his house at Schottenhof, where on
Sundays Mozart, Haydn, Dittersdorf, Albrechtsberger, and others were
often to be found. His wife, Marianne--nee von Kayser--was a good
singer, and was sought after by all the musical circles in Vienna. She
was naturally attracted to Haydn, and although she was nearly forty
years of age when the correspondence opened in 1789, "a personal
connection was gradually developed in the course of their musical
intercourse that eventually touched their hearts and gave rise to a
bright bond of friendship between the lady and the old, though still
youthful, maestro." Some brief extracts from the letters now to be given
have of necessity been worked into the biography. The correspondence
originated in the following note from Frau von Genzinger:
January 1789.
DEAR M. HAYDN,
With your kind permission I take the liberty to send a pianoforte
arrangement of the beautiful adagio in your admirable composition. I
arranged it from the score quite alone, and without the least help from
my master. I beg that, if you should discover any errors, you will be so
good as to correct them. I do hope that you are in perfect health, and
nothing do I wish more than to see you soon again in Vienna, in order to
prove further my high esteem.
Your obedient servant,
MARIA ANNA V. GENZINGER.
To this Haydn replies as follows:
ESTORAS, Janr. 14, 1789.
DEAR MADAM,
In all my previous correspondence, nothing was ever so agreeable to me
as the surprise of seeing your charming writing, and reading so many
kind expressions; but still more did I admire what you sent me--the
admirable arrangement of the adagio, which, from its correctness, might
be engraved at once by any publisher. I should like to know whether you
arranged the adagio from the score, or whether you gave yourself the
amazing trouble of first putting it into score from the separate
parts, and then arranging it for the piano, for, if the latter, such an
attention would be too flattering to me, and I feel that I really do not
deserve it.
Best and kindest Frau v. Genzinger! I only await a hint from you as to
how, and in what way, I can serve you; in the meantime, I return the
adagio, and hope that my talents, poor though they be, may ensure me
some commands from you.
I am yours, etc.,
HAYDN.
The next letter is from the lady:
VIENNA, Oct. 29, 1789.
DEAR HERR V. HAYDN,
I hope you duly received my letter of September 15, and also the first
movement of the symphony (the andante of which I sent you some months
ago), and now follows the last movement, which I have arranged for
the piano as well as it was in my power to do; I only wish that it may
please you, and earnestly beg that, if there are any mistakes in it, you
will correct them at your leisure, a service which I shall always accept
from you, my valued Herr Haydn, with the utmost gratitude. Be so good as
to let me know whether you received my letter of September 15, and the
piece of music, and if it is in accordance with your taste, which would
delight me very much, for I am very uneasy and concerned lest you should
not have got it safely, or not approve of it. I hope that you are well,
which will always be a source of pleasure to me to hear, and commending
myself to your further friendship and remembrance.
I remain, your devoted friend and servant,
MARIA ANNA V. GENZINGER. nee v. Kayser.
My husband sends you his regards.
To Frau v. Genzinger.
Nov. 9, 1789.
DEAR MADAM,
I beg your forgiveness a million times for having so long delayed
returning your laborious and admirable work: the last time my apartments
were cleared out, which occurred just after receiving your first
movement, it was mislaid by my copyist among the mass of my other music,
and only a few days ago I had the good fortune to find it in an old
opera score.
Dearest and kindest Frau v. Genzinger! do not be displeased with a man
who values you so highly; I should be inconsolable if by the delay I
were to lose any of your favour, of which I am so proud.
These two pieces are arranged quite as correctly as the first. I cannot
but admire the trouble and the patience you lavish on my poor talents;
and allow me to assure you in return that, in my frequent evil moods,
nothing cheers me so much as the flattering conviction that I am kindly
remembered by you; for which favour I kiss your hands a thousand times,
and am, with sincere esteem, your obedient servant,
JOSEPH HAYDN.
P.S.--I shall soon claim permission to wait on you.
The next letter is again from Frau v. Genzinger:
VIENNA, Nov. 12, 1789.
MY VALUED HERR V. HAYDN,
I really cannot tell you all the pleasure I felt in reading your
highly-prized letter of the 9th. How well am I rewarded for my trouble
by seeing your satisfaction! Nothing do I wish more ardently than to
have more time (now so absorbed by household affairs), for in that case
I would certainly devote many hours to music, my most agreeable and
favourite of all occupations. You must not, my dear Herr v. Haydn, take
it amiss that I plague you with another letter, but I could not but take
advantage of so good an opportunity to inform you of the safe arrival
of your letter. I look forward with the utmost pleasure to the happy day
when I am to see you in Vienna. Pray continue to give me a place in your
friendship and remembrance.
Your sincere and devoted friend and servant.
To Frau v. Genzinger.
ESTORAS, Nov. 18, 1789.
DEAR LADY,
The letter which I received through Herr Siebert gave me another proof
of your excellent heart, as instead of a rebuke for my late remissness,
you express yourself in so friendly a manner towards me, that so much
indulgence, kindness and great courtesy cause me the utmost surprise,
and I kiss your hands in return a thousand times. If my poor talents
enable me to respond in any degree to so much that is flattering, I
venture, dear madam, to offer you a little musical potpourri. I do not,
indeed, find in it much that is fragrant; perhaps the publisher may
rectify the fault in future editions. If the arrangement of the symphony
in it be yours, oh! then I shall be twice as much pleased with the
publisher; if not, I venture to ask you to arrange a symphony, and to
transcribe it with your own hand, and to send it to me here, when I will
at once forward it to my publisher at Leipzig to be engraved.
I am happy to have found an opportunity that leads me to hope for a few
more charming lines from you.
I am, etc.,
JOSEPH HAYDN.
Shortly after the date of this letter Hadyn was again in Vienna, when
the musical evenings at Schottenhof were renewed. The Herr v. Haring
referred to in the following note is doubtless the musical banker, well
known as a violinist in the Vienna of the time.
To Frau v. Genzinger.
Jan. 23, 1790.
DEAR, KIND FRAU V. GENZINGER,
I beg to inform you that all arrangements are now completed for the
little quartet party that we agreed to have next Friday. Herr v. Haring
esteemed himself very fortunate in being able to be of use to me on this
occasion, and the more so when I told him of all the attention I had
received from you, and your other merits.
What I care about is a little approval. Pray don't forget to invite the
Pater Professor. Meanwhile, I kiss your hands, and am, with profound
respect, yours, etc.,
HAYDN.
A call to return to Esterhaz put an end to these delights of personal
intercourse, as will be gathered from the following letter:
To Frau v. Genzinger.
Feb. 3, 1790.
NOBLEST AND KINDEST LADY,
However flattering the last invitation you gave me yesterday to spend
this evening with you, I feel with deep regret that I am even unable to
express to you personally my sincere thanks for all your past kindness.
Bitterly as I deplore this, with equal truth do I fervently wish you,
not only on this evening, but ever and always, the most agreeable
social "reunions"--mine are all over--and to-morrow I return to dreary
solitude! May God only grant me health; but I fear the contrary, being
far from well to-day. May the Almighty preserve you, dear lady, and your
worthy husband, and all your beautiful children. Once more I kiss your
hands, and am unchangeably while life lasts, yours, etc.,
HAYDN.
The next letter was written six days later, evidently in the most
doleful mood:
To Frau v. Genzinger.
ESTORAS, Feb. 9, 1790.
MUCH ESTEEMED AND KINDEST FRAU V. GENZINGER,--
Well! here I sit in my wilderness; forsaken, like some poor orphan,
almost without human society; melancholy, dwelling on the memory of past
glorious days. Yes; past, alas! And who can tell when these happy hours
may return? those charming meetings? where the whole circle have but
one heart and one soul--all those delightful musical evenings, which
can only be remembered, and not described. Where are all those inspired
moments? All gone--and gone for long. You must not be surprised, dear
lady, that I have delayed writing to express my gratitude. I found
everything at home in confusion; for three days I did not know whether
I was capell master, or capell servant; nothing could console me; my
apartments were all in confusion; my pianoforte, that I formerly loved
so dearly, was perverse and disobedient, and rather irritated than
soothed me. I slept very little, and even my dreams persecuted me, for,
while asleep, I was under the pleasant delusion that I was listening to
the opera of "Le Nozze di Figaro," when the blustering north wind woke
me, and almost blew my nightcap off my head.
[The portion of the letter deleted is that given at page 161, beginning,
"I lost twenty pounds in weight."]
...Forgive me, dear lady, for taking up your time in this very first
letter by so wretched a scrawl, and such stupid nonsense; you must
forgive a man spoilt by the Viennese. Now, however, I begin to accustom
myself by degrees to country life, and yesterday I studied for the first
time, and somewhat in the Haydn style too.
No doubt, you have been more industrious than myself. The pleasing
adagio from the quartet has probably now received its true expression
from your fair fingers. I trust that my good Fraulein Peperl [Joseph
A., one of the Genzinger children.] may be frequently reminded of
her master, by often singing over the cantata, and that she will pay
particular attention to distinct articulation and correct vocalization,
for it would be a sin if so fine a voice were to remain imprisoned in
the breast. I beg, therefore, for a frequent smile, or else I shall
be much vexed. I advise M. Francois [Franz, author of the Genzinger
children.] too to cultivate his musical talents. Even if he sings in his
dressing-gown, it will do well enough, and I will often write something
new to encourage him. I again kiss your hands in gratitude for all the
kindness you have shown me. I am, etc.,
HAYDN.
To Frau v. Genzinger.
ESTORAS, March 14, 1790.
MOST VALUED, ESTEEMED AND KINDEST FRAU V. GENZINGER,
I ask forgiveness a million times for having so long delayed answering
your two charming letters, which has not been caused by negligence (a
sin from which may Heaven preserve me so long as I live), but from the
press of business which has devolved on me for my gracious Prince, in
his present melancholy condition. The death of his wife overwhelmed the
Prince with such grief that we were obliged to use every means in our
power to rouse him from his profound sorrow. I therefore arranged for
the three first days a selection of chamber music, but no singing. The
poor Prince, however, the first evening, on hearing my favourite Adagio
in D, was affected by such deep melancholy that it was difficult to
disperse it by other pieces. On the fourth day we had an opera, the
fifth a comedy, and then our theatre daily as usual...
You must now permit me to kiss your hands gratefully for the rusks you
sent me, which, however, I did not receive till last Tuesday; but they
came exactly at the right moment, having just finished the last of the
others. That my favourite "Ariadne" has been successful at Schottenhof
is delightful news to me, but I recommend Fraulein Peperl to articulate
the words clearly, especially in the words "Che tanto amai." I also
take the liberty of wishing you all possible good on your approaching
nameday, begging you to continue your favour towards me, and to consider
me on every occasion as your own, though unworthy, master. I must also
mention that the teacher of languages can come here any day, and his
journey will be paid. He can travel either by the diligence or by some
other conveyance, which can always be heard of in the Madschaker Hof. As
I feel sure, dear lady, that you take an interest in all that concerns
me (far greater than I deserve), I must inform you that last week
I received a present of a handsome gold snuff-box, the weight of
thirty-four ducats, from Prince Oetting v. Wallerstein, accompanied
by an invitation to pay him a visit this year, the Prince defraying my
expenses, His Highness being desirous to make my personal acquaintance
(a pleasing fillip to my depressed spirits). Whether I shall make up my
mind to the journey is another question.
I beg you will excuse this hasty scrawl.
I am always, etc.,
HAYDN.
P.S.--I have just lost my faithful coachman; he died on the 25th of last
month.
To Frau v. Genzinger.
ESTORAS, May 13, 1790.
BEST AND KINDEST FRAU V. GENZINGER,
I was quite surprised, on receiving your esteemed letter, to find
that you had not yet got my last letter, in which I mentioned that our
landlord had accepted the services of a French teacher, who came by
chance to Estoras, and I also made my excuses both to you and your tutor
on that account. My highly esteemed benefactress, this is not the first
time that some of my letters and of others also have been lost, inasmuch
as our letter bag, on its way to Oedenburg (in order to have letters put
into it), is always opened by the steward there, which has frequently
been the cause of mistake and other disagreeable occurrences. For
greater security, however, and to defeat such disgraceful curiosity,
I will henceforth enclose all my letters in a separate envelope to the
porter, Herr Pointer. This trick annoys me the more because you might
justly reproach me with procrastination, from which may Heaven defend
me! At all events, the prying person, whether male or female, cannot,
either in this last letter or in any of the others, have discovered
anything in the least inconsistent with propriety. And now, my esteemed
patroness, when am I to have the inexpressible happiness of seeing you
in Estoras? As business does not admit of my going to Vienna, I console
myself by the hope of kissing your hands here this summer. In which
pleasing hope, I am, with high consideration, etc., yours,
HAYDN.
To Frau v. Genzinger.
ESTORAS, May 30, 1790.
KINDEST AND BEST FRAU V. GENZINGER,
I was at Oedenburg when I received your last welcome letter, having gone
there on purpose to enquire about the lost letter. The steward there
vowed by all that was holy that he had seen no letter at that time in my
writing, so that it must have been lost in Estoras! Be this as it
may, such curiosity can do me no harm, far less yourself, as the whole
contents of the letter were an account of my opera "La Vera Costanza,"
performed in the new theatre in the Landstrasse, and about the French
teacher who was to have come at that time to Estoras. You need,
therefore, be under no uneasiness, dear lady, either as regards the past
or the future, for my friendship and esteem for you (tender as they are)
can never become reprehensible, having always before my eyes respect
for your elevated virtues, which not only I, but all who know you, must
reverence. Do not let this deter you from consoling me sometimes by your
agreeable letters, as they are so highly necessary to cheer me in this
wilderness, and to soothe my deeply wounded heart. Oh! that I could be
with you, dear lady, even for one quarter of an hour, to pour forth all
my sorrows, and to receive comfort from you. I am obliged to submit to
many vexations from our official managers here, which, however, I shall
at present pass over in silence. The sole consolation left me is that I
am, thank God, well, and eagerly disposed to work. I only regret
that, with this inclination, you have waited so long for the promised
symphony. On this occasion it really proceeds from absolute necessity,
arising from my circumstances, and the raised prices of everything. I
trust, therefore, that you will not be displeased with your Haydn,
who, often as his Prince absents himself from Estoras, never can obtain
leave, even for four-and-twenty hours, to go to Vienna. It is scarcely
credible, and yet the refusal is always couched in such polite terms,
and in such a manner, as to render it utterly impossible for me to urge
my request for leave of absence. Well, as God pleases! This time
also will pass away, and the day, return when I shall again have the
inexpressible pleasure of being seated beside you at the pianoforte,
hearing Mozart's masterpieces, and kissing your hands from gratitude for
so much pleasure. With this hope, I am, etc.,
J. HAYDN.
To Frau v. Genzinger.
ESTORAS, June 6, 1790.
DEAR AND ESTEEMED LADY,
I heartily regret that you were so long in receiving my last letter. But
the previous week no messenger was despatched from Estoras, so it was
not my fault that the letter reached you so late.
Between ourselves! I must inform you that Mademoiselle Nanette has
commissioned me to compose a new sonata for you, to be given into
your hands alone. I esteem myself fortunate in having received such
a command. You will receive the sonata in a fortnight at latest.
Mademoiselle Nanette promised me payment for the work, but you can
easily imagine that on no account would I accept it. For me the best
reward will always be to hear that I have in some degree met with your
approval. I am, etc.,
HAYDN.
To Frau v. Genzinger.
ESTORAS, June 20, 1790.
DEAR, KIND FRIEND,
I take the liberty of sending you a new pianoforte sonata with violin or
flute, not as anything at all remarkable, but as a trifling resource in
case of any great ennui. I only beg that you will have it copied out as
soon as possible, and then return it to me. The day before yesterday
I presented to Mademoiselle Nanette the sonata commanded by her. I had
hoped she would express a wish to hear me play it, but I have not yet
received any order to that effect; I, therefore, do not know whether
you will receive it by this post or not. The sonata is in E flat, newly
written, and always intended for you. It is strange enough that the
final movement of this sonata contains the very same minuet and trio
that you asked me for in your last letter. This identical work was
destined for you last year, and I have only written a new adagio since
then, which I strongly recommend to your attention. It has a deep
signification which I will analyze for you when opportunity offers. It
is rather difficult, but full of feeling. What a pity that you have not
one of Schanz's pianos, for then you could produce twice the effect!
N.B.--Mademoiselle Nanette must know nothing of the sonata being already
half written before I received her commands, for this might suggest
notions with regard to me that I might find most prejudicial, and I
must be very careful not to lose her favour. In the meanwhile I consider
myself fortunate to be the means of giving her pleasure, particularly as
the sacrifice is made for your sake, my charming Frau v. Genzinger. Oh!
how I do wish that I could only play over these sonatas once or twice to
you; how gladly would I then reconcile myself to remain for a time in my
wilderness! I have much to say and to confess to you, from which no one
but yourself can absolve me; but what cannot be effected now will, I
devoutly hope, come to pass next winter, and half of the time is already
gone. Meanwhile I take refuge in patience, and am content with the
inestimable privilege of subscribing myself your sincere and obedient
friend and servant
J. HAYDN.
To Frau v. Genzinger.
ESTORAS, June 27, 1790.
HIGHLY ESTEEMED LADY,
You have no doubt by this time received the new pianoforte sonata, and,
if not, you will probably do so along with this letter. Three days ago I
played the sonata to Mademoiselle Nanette in the presence of my gracious
Prince. At first I doubted very much, owing to its difficulty, whether I
should receive any applause, but was soon convinced of the reverse by a
gold snuff-box being presented to me by Mademoiselle Nanette's own hand.
My sole wish now is, that you may be satisfied with it, so that I may
find greater credit with my patroness. For the same reason, I beg that
either you or your husband will let her know "that my delight was such
that I could not conceal her generosity," especially being convinced
that you take an interest in all benefits conferred on me. It is a pity
that you have not a Schanz pianoforte, which is much more favourable
to expression; my idea is that you should make over your own still very
tolerable piano to Fraulein Peperl, and get a new one for yourself. Your
beautiful hands, and their brilliant execution, deserve this, and more.
I know that I ought to have composed the sonata in accordance with the
capabilities of your piano, but, being so unaccustomed to this, I found
it impossible, and now I am doomed to stay at home. What I lose by so
doing you can well imagine: It is indeed sad always to be a slave--but
Providence wills it so. I am a poor creature, plagued perpetually by
hard work, and with few hours for recreation. Friends? What do I say?
One true friend; there are no longer any true friends, but one female
friend. Oh yes! no doubt I still have one, but she is far away. Ah
well! I take refuge in my thoughts. May God bless her, and may she never
forget me! Meanwhile I kiss your hands a thousand times, and ever am,
etc.,
HAYDN.
Pray forgive my bad writing. I am suffering from inflamed eyes to-day.
To Frau v. Genzinger.
ESTORAS, July 4, 1790.
MOST ESTEEMED AND VALUED LADY,
I this moment receive your letter, and at the same time the post
departs. I sincerely rejoice to hear that my Prince intends to present
you with a new piano, more especially as I am in some measure the
cause of this, having been constantly imploring Mademoiselle Nanette to
persuade your husband to purchase one for you. The choice now depends
entirely on yourself, and the chief point is that you should select one
in accordance with your touch and your taste. Certainly my friend,
Herr Walter, is very celebrated, and every year I receive the greatest
civility from him; but, entre nous, and to speak candidly, sometimes
there is not more than one out of ten of his instruments which may be
called really good, and they are exceedingly high priced besides. I know
Herr Nickl's piano; it is first-rate, but too heavy for your touch;
nor can every passage be rendered with proper delicacy on it. I should,
therefore, like you to try one of Herr Schanz's pianos, for they have
a remarkably light and agreeable touch. A good pianoforte is absolutely
necessary for you, and my sonata will also gain vastly by it.
Meanwhile I thank you much, dear lady, for your caution with regard to
Mademoiselle Nanette. It is a pity that the little gold box she gave me,
and had used herself, is tarnished, but perhaps I may get it polished up
in Vienna. I have as yet received no orders to purchase a pianoforte. I
fear that one may be sent to your house, which may be handsome outside,
but the touch within heavy. If your husband will rely on my opinion,
that Herr Schanz is the best maker for this class of instruments, I
would then settle everything at once. In great haste, yours, etc.,
HAYDN.
To Frau v. Genzinger.
Estoras, August 15.
I ought to have written to you last week in answer to your letter, but
as this day has been long enshrined in my heart, I have been striving
earnestly all the time to think how and what I was to wish for you; so
thus eight days passed, and now, when my wishes ought to be expressed,
my small amount of intellect comes to a standstill, and (quite abashed)
I find nothing to say; why? wherefore? because I have not been able to
fulfill those musical hopes for this particular day that you have justly
the right to expect. Oh, my most charming and kind benefactress! if
you could only know, or see into my troubled heart on this subject, you
would certainly feel pity and indulgence for me. The unlucky promised
symphony has haunted my imagination ever since it was bespoken, and it
is only, alas! the pressure of urgent occurrences that has prevented its
being hitherto ushered into the world! The hope, however, of your lenity
towards me for the delay, and the approaching time of the fulfillment
of my promise, embolden me to express my wish, which, among the hundreds
offered to you to-day and yesterday, may perhaps appear to you only an
insignificant interloper; I say perhaps, for it would be too bold in me
to think that you could form no better wish for yourself than mine. You
see, therefore, most kind and charming lady, that I can wish nothing
for you on your nameday, because my wishes are too feeble, and therefore
unproductive. As for me, I venture to wish for myself your kind
indulgence, and the continuance of your friendship, and the goodness
that I so highly prize. This is my warmest wish! But if any wish of mine
may be permitted, then mine shall become identical with your own, for
thus I shall feel assured that none other remains, except the wish once
more to be allowed to subscribe myself your very sincere friend and
servant,
HAYDN.
No further letters appear to have been addressed to the lady until
Haydn started on his first visit to London in December 1790. One or two
extracts from these London letters have been used in Chapter V., but as
the repetitions will be very slight, we allow the letters to stand as
they are.
To Frau v. Genzinger.
CALAIS, Decr. 31, 1790.
HIGHLY HONOURED LADY,
A violent storm and an incessant pour of rain prevented our arriving at
Calais till this evening (where I am now writing to you), and to-morrow
at seven in the morning we cross the sea to London. I promised to write
from Brussels, but we could only stay there an hour. I am very well,
thank God! although somewhat thinner, owing to fatigue, irregular sleep,
and eating and drinking so many different things. A few days hence I
will describe the rest of my journey, but I must beg you to excuse me
for to-day. I hope to heaven that you and your husband and children are
all well.
I am, with high esteem, etc., yours,
HAYDN.
To Frau v. Genzinger.
LONDON, Jan. 8, 1791.
I thought that you had received my last letter from Calais. I ought,
indeed, according to my promise, to have sent you some tidings of myself
when I arrived in London, but I preferred waiting a few days that I
might detail various incidents to you. I must now tell you that on New
Year's Day, after attending early mass, I took ship at half-past seven
o'clock a.m., and at five o'clock in the afternoon arrived safe and well
at Dover, for which Heaven be praised! During the first four hours there
was scarcely any wind, and the vessel made so little way that in that
time we only went one English mile, there being twenty-four between
Calais and Dover. The ship's captain, in the worst possible humour,
said that if the wind did not change we should be at sea all night.
Fortunately, however, towards half-past eleven o'clock such a favourable
breeze began to blow that by four o'clock we had come twenty-two miles.
As the ebb of the tide prevented our large vessel making the pier, two
small boats were rowed out to meet us, into which we and our luggage
were transferred, and at last we landed safely, though exposed to a
sharp gale. The large vessel stood out to sea five hours longer, till
the tide carried it into the harbour. Some of the passengers, being
afraid to trust themselves in the small boats, stayed on board, but I
followed the example of the greater number. I remained on deck during
the whole passage, in order to gaze my fill at that huge monster, the
Ocean. So long as there was a calm I had no fears, but when at length
a violent wind began to blow, rising every minute, and I saw the
boisterous high waves running on, I was seized with a little alarm,
and a little indisposition likewise. But I overcame it all, and arrived
safely in harbour, without being actually ill. Most of the passengers
were ill, and looked like ghosts. I did not feel the fatigue of the
journey till I arrived in London, but it took two days before I could
recover from it. But now I am quite fresh and well, and occupied in
looking at this mighty and vast town of London, its various beauties and
marvels causing me the most profound astonishment. I immediately paid
the necessary visits, such as to the Neapolitan Minister and to our own.
Both called on me in return two days afterwards, and a few days ago I
dined with the former--nota bene, at six o'clock in the evening, which
is the fashion here.
My arrival caused a great sensation through the whole city, and I went
the round of all the newspapers for three successive days. Everyone
seems anxious to know me. I have already dined out six times, and could
be invited every day if I chose; but I must in the first place consider
my health, and in the next my work. Except the nobility, I admit no
visitors till two o'clock in the afternoon, and at four o'clock I dine
at home with Salomon. I have a neat, comfortable lodging, but very
dear. My landlord is an Italian, and likewise a cook, who gives us
four excellent dishes; we each pay one florin thirty kreuzers a day,
exclusive of wine and beer, but everything is terribly dear here. I was
yesterday invited to a grand amateur concert, but as I arrived rather
late, when I gave my ticket, they would not let me in, but took me to an
ante-room, where I was obliged to remain till the piece which was then
being given was over. Then they opened the door, and I was conducted,
leaning on the arm of the director, up the centre of the room to the
front of the orchestra amid universal clapping of hands, stared at by
everyone, and greeted by a number of English compliments. I was assured
that such honours had not been conferred on anyone for fifty years.
After the concert I was taken into a very handsome room adjoining, where
tables were laid for all the amateurs, to the number of two hundred.
It was proposed that I should take a seat near the top, but as it so
happened that I had dined out that very day, and ate more than usual, I
declined the honour, excusing myself under the pretext of not being very
well; but in spite of this, I could not get off drinking the health, in
Burgundy, of the harmonious gentlemen present; all responded to it,
but at last allowed me to go home. All this, my dear lady, was very
flattering to me; still I wish I could fly for a time to Vienna, to have
more peace to work, for the noise in the streets, and the cries of the
common people selling their wares, is intolerable. I am still working at
symphonies, as the libretto of the opera is not yet decided on, but in
order to be more quiet, I intend to engage an apartment some little way
out of town. I would gladly write more at length, but I fear losing this
opportunity. With kindest regards to your husband, Fraulein Pepi, and
all the rest, I am, with sincere esteem, etc.,
HAYDN.
P.S.--I have a request to make. I think I must have left my symphony in
E flat, that you returned to me, in my room at home, or mislaid it on
the journey. I missed it yesterday, and being in pressing need of it, I
beg you urgently to procure it for me, through my kind friend, Herr v.
Kees. Pray have it copied out in your own house, and send it by post as
soon as possible. If Herr v. Kees hesitates about this, which I don't
think likely, pray send him this letter. My address is, M. Haydn, 18
Great Pulteney Street, London.
To Frau v. Genzinger.
LONDON, Sept. 17, 1791.
MY HIGHLY ESTEEMED FRIEND,
I have received no reply to my two letters of July 3, entrusted to
the care of a composer, Herr Diettenhofer, by whom I likewise sent the
pianoforte arrangement of an andante in one of my new symphonies. Nor
have I any answer either about the symphony in E flat, that I wished to
get. I can now no longer delay inquiring after your own health, as
well as that of your husband, and all your dear family. Is that odious
proverb, "Out of sight, out of mind," to prove true everywhere? Oh no!
urgent affairs or the loss of my letter and the symphony are, no doubt,
the cause of your silence. I feel assured of Herr von Kees's willingness
to send the symphony, as he said he would do so in his letter; so
it seems we shall both have to deplore a loss, and must trust to
Providence. I flatter myself I shall receive a short answer to this.
Now, my dear, good, kind lady, what is your piano about? Is a thought of
Haydn sometimes recalled by your fair hand? Does my sweet Fraulein
Pepi ever sing poor "Ariadne"? Oh yes! I seem to hear it even here,
especially during the last two months, when I have been residing in
the country, amid lovely scenery, with a banker, whose heart and family
resemble the Genzingers, and where I live as in a monastery. God be
praised! I am in good health, with the exception of my usual rheumatic
state. I work hard, and in the early mornings, when I walk in the wood
alone with my English grammar, I think of my Creator, of my family, and
of all the friends I have left--and of these you are the most valued of
all.
I had hoped, indeed, sooner to have enjoyed the felicity of seeing you
again; but my circumstances, in short, fate so wills it that I must
remain eight or ten months longer in London. Oh, my dear, good lady, how
sweet is some degree of liberty! I had a kind Prince, but was obliged at
times to be dependent on base souls. I often sighed for release, and now
I have it in some measure. I am quite sensible of this benefit, though
my mind is burdened with more work. The consciousness of being no longer
a bond-servant sweetens all my toils. But, dear as liberty is to me,
I do hope on my return again to enter the service of Prince Esterhazy,
solely for the sake of my poor family. I doubt much whether I shall find
this desire realized, for in his letter my Prince complains of my long
absence, and exacts my speedy return in the most absolute terms; which,
however, I cannot comply with, owing to a new contract I have entered
into here. I, alas! expect my dismissal; but I hope even in that case
that God will be gracious to me, and enable me in some degree to remedy
the loss by my own industry. Meanwhile I console myself by the hope of
soon hearing from you. You shall receive my promised new symphony two
months hence; but in order to inspire me with good ideas, I beg you will
write to me, and a long letter too.
Yours, etc.
HAYDN.
To Frau v. Genzinger.
LONDON, Oct. 13, 1791.
I take the liberty of earnestly entreating you to advance 150 florins
for a short time to my wife, provided you do not imagine that since
my journey I have become a bad manager. No, my kind, good friend, God
blesses my efforts. Three circumstances are alone to blame. In the first
place, since I have been here, I have repaid my Prince the 450 florins
he advanced for my journey; secondly, I can demand no interest from my
bank obligations, having placed them under your care, and not being
able to remember either the names or the numbers, so I cannot write a
receipt; thirdly, I cannot yet apply for the 5883 florins (1000 of which
I recently placed in my Prince's hands, and the rest with the Count v.
Fries), especially because it is English money. You will, therefore, see
that I am no spendthrift. This leads me to hope that you will not refuse
my present request, to lend my wife 150 florins. This letter must
be your security, and would be valid in any court. I will repay the
interest of the money with a thousand thanks on my return.
I am, etc.,
HAYDN.
...I believe you received my letter the very same day that I was reading
your cruel reproach that Haydn was capable of forgetting his friend and
benefactress. Oh! how often do I long to be beside you at the piano,
even for a quarter of an hour, and then to have some good German soup.
But we cannot have everything in this world. May God only vouchsafe to
grant me the health that I have hitherto enjoyed, and may I preserve it
by good conduct and out of gratitude to the Almighty! That you are well
is to me the most delightful of all news. May Providence long watch
over you! I hope to see you in the course of six months, when I shall,
indeed, have much to tell you. Good-night! it is time to go to bed; it
is half-past eleven o'clock. One thing more. To insure the safety of the
money, Herr Hamberger, a good friend of mine, a man of tall stature, our
landlord, will bring you this letter himself, and you can with impunity
entrust him with the money; but I beg you will take a receipt both from
him and from my wife.
Among other things, Herr v. Kees writes to me that he should like to
know my position in London, as there are so many different reports about
me in Vienna. From my youth upwards I have been exposed to envy, so it
does not surprise me when any attempt is made wholly to crush my poor
talents; but the Almighty above is my support. My wife wrote to me that
Mozart depreciates me very much, but this I will never believe. If true,
I forgive him. There is no doubt that I find many who are envious of me
in London also, and I know them almost all. Most of them are Italians.
But they can do me no harm, for my credit with this nation has been
firmly established far too many years. Rest assured that, if I had not
met with a kind reception, I would long since have gone back to Vienna.
I am beloved and esteemed by everyone, except, indeed, professors [of
music]. As for my remuneration, Mozart can apply to Count Fries for
information, in whose hands I placed 500 pounds, and 1000 guilders in
those of my Prince, making together nearly 6000 florins. I daily thank
my Creator for this boon, and I have good hope that I may bring home a
couple of thousands besides, notwithstanding, my great outlay and the
cost of the journey. I will now no longer intrude on your time. How
badly this is written! What is Pater ---- doing? My compliments to him.
Yours, etc.
HAYDN.
To Frau v. Genzinger.
LONDON, Nov. 17, 1791.
I write in the greatest haste, to request that you will send the
accompanying packet, addressed to you, to Herr v. Kees, as it contains
the two new symphonies I promised. I waited for a good opportunity, but
could hear of none; I have therefore been obliged to send them after
all by post. I beg you will ask Herr v. Kees to have a rehearsal of
both these symphonies, as they are very delicate, particularly the last
movement in D, which I recommend to be given as pianissimo as possible,
and the tempo very quick. I will write to you again in a few days. Nota
bene, I was obliged to enclose both the symphonies to you, not knowing
the address of Herr v. Kees.
I am, etc.
HAYDN.
P.S.--I only returned here to-day from the country. I have been staying
with a mylord for the last fortnight, a hundred miles from London.
To Frau v. Genzinger.
LONDON, Dec. 20, 1791.
I am much surprised that you did not get my letter at the same time as
the two symphonies, having put them myself into the post here, and
given every direction about them. My mistake was not having enclosed the
letter in the packet. This is what often happens, dear lady, with those
who have too much head work. I trust, however, that the letter reached
you soon afterwards, but in case it did not, I must here explain that
both symphonies were intended for Herr v. Kees, but with the stipulation
that, after being copied by his order, the scores were to be given up
to you, so that you may prepare a pianoforte arrangement of them, if
you are so disposed. The particular symphony intended for you will be
finished by the end of February at latest. I regret much having been
obliged to forward the heavy packet to you, from not knowing Herr v.
Kees's address; but he will, of course, repay you the cost of postage,
and also, I hope, hand you over seven ducats. May I, therefore, ask
you to employ a portion of that sum in copying on small paper my
often-applied-for symphony in E minor, and forward it to me by post as
soon as possible, for it may perhaps be six months before a courier
is despatched from Vienna, and I am in urgent need of the symphony.
Further, I must plague you once more by asking you to buy at Artaria's
my last pianoforte sonata in A flat, that is, with 4 B flat minor,
with violin and violoncello, and also another piece, the fantasia in C,
without accompaniment, for these pieces are not yet published in London;
but be so good as not to mention this to Herr Artaria, or he might
anticipate the sale in England. I beg you will deduct the price from
the seven ducats. To return to the aforesaid symphonies, I must tell you
that I sent you a pianoforte arrangement of the andante in C minor by
Herr Diettenhofer. It is reported here, however, that he either died on
the journey, or met with some serious accident. You had better look
over both pieces at your leisure. The principal part of the letter I
entrusted to Herr Diettenhofer was the description of a Doctor's degree
being conferred on me at Oxford, and all the honours I then received. I
must take this opportunity of mentioning that three weeks ago the Prince
of Wales invited me to his brother's country seat. The Prince presented
me to the Duchess (a daughter of the King of Prussia), who received
me very graciously, and said many flattering things. She is the most
charming lady in the world, possesses much intelligence, plays the
piano, and sings very pleasingly. I stayed two days there, because on
the first day a slight indisposition prevented her having any music;
on the second day, however, she remained beside me from ten o'clock
at night, when the music began, till two hours after midnight. No
compositions played but Haydn's. I directed the symphonies at the piano.
The sweet little lady sat close beside me at my left hand, and hummed
all the pieces from memory, having heard them so repeatedly in Berlin.
The Prince of Wales sat on my right hand, and accompanied me very
tolerably on the violoncello. They made me sing too. The Prince of Wales
is having me painted just now, and the portrait is to be hung up in his
private sitting-room. The Prince of Wales is the handsomest man on
God's earth; he has an extraordinary love of music, and a great deal
of feeling, but very little money. Nota bene, this is entre nous. His
kindness gratifies me far more than any self-interest; on the third day,
as I could not get any post-horses, the Duke of York sent me two stages
with his own.
Now, dear lady, I should like to reproach you a little for believing
that I prefer London to Vienna, and find my residence here more
agreeable than in my fatherland. I am far from hating London, but I
could not reconcile myself to spend my life there; no, not even to amass
millions; my reasons I will tell you when we meet. I think of my home,
and embracing once more all my old friends, with the delight of a child;
only I deeply lament that the great Mozart will not be of the number, if
it be true, which I trust it is not, that he is dead. Posterity will not
see such talent as his for the next hundred years! I am happy to hear
that you and yours are all so well. I, too, have hitherto been in
excellent health, till eight days since, when I was attacked by English
rheumatism, and so severely that sometimes I could not help crying out
aloud; but I hope soon to get quit of it, as I have adopted the usual
custom here, and have wrapped myself up from head to foot in flannel.
Pray excuse my bad writing. In the hope of soon being gratified by
a letter, and with all esteem for yourself, and best regards to your
husband, my dear Fraulein Pepi, and the others.
I am, etc.,
HAYDN.
P.S.--Pray give my respects to Herr v. Kreybich [chamber music director
to Joseph II].
To Frau v. Genzinger.
LONDON, Jan. 17, 1792.
DEAREST AND KINDEST LADY,
I must ask your forgiveness a thousand times; and I own and bemoan that
I have been too dilatory in the performance of my promise, but if you
could only see how I am importuned to attend private concerts, causing
me great loss of time, and the mass of work with which I am burdened,
you would indeed, dear lady, feel the utmost compassion for me. Never
in my life did I write so much in one year as during the last, which has
indeed utterly exhausted me, and it will do me good to be able to take
a little rest when I return home. At present I am working for Salomon's
concerts, and feel bound to take all possible trouble, for our rivals of
the Professional Society have sent for my pupil Pleyel from Strassburg,
to direct their concerts. So a bloody harmonious war will now commence
between master and scholar. All the newspapers have begun to discuss
the subject, but I think an alliance will soon ensue, my reputation here
being so firmly established. Pleyel, on his arrival, displayed so much
modesty towards me that he gained my goodwill afresh. We are very often
together, which is much to his credit, and he knows how to appreciate
his "father"; we will share our laurels fairly, and each go home
satisfied. Professional Concerts met with a great misfortune on the 14th
of this month, by the Pantheon being entirely burned down, a theatre
only built last year. It was the work of an incendiary, and the damage
is estimated at more than 100,000 pounds sterling; so there is not a
single Italian theatre in London at this moment. Now, my dear angelic
lady, I have a little fault to find with you. How often have I
reiterated my request to have my symphony in E minor, of which I sent
you the theme, copied out on small paper, and sent to me by post? Long
have I sighed for it, and if I do not get it by the end of next month
I shall lose twenty guineas. Herr v. Kees writes that the copy may
possibly arrive in London three months hence, or three years, for there
is no chance of a courier being sent off at present. I also told Herr v.
Kees in the same letter to take charge of this, and if he could not do
so, I ventured to transfer the commission to you, flattering myself that
my urgent request would certainly be fulfilled by your kindness. I also
desired Herr v. Kees to repay you the cost of the postage you paid for
his packet. Kindest and most charming Frau v. Genzinger, I once more beg
you to see to this matter, for it is really a work of mercy, and when we
meet I will explain my reasons, respectfully kiss your fair hands, and
repay my debt with gratitude. The celebration you mention in honour of
my poor abilities touched me deeply, but still not so profoundly as
if you had considered it more perfect. Perhaps I may supply this
imperfection by another symphony which I will shortly send you; I say
perhaps, because I (or rather my brain) am in truth weary. Providence
alone can repair the deficiency in my powers, and to Him I daily pray
for aid, for without His support I should indeed be a poor creature! And
now, my kind and dear friend, I venture to hope for your indulgence.
Oh yes! your portrait is at this moment before me, and I hear it say,
"Well, for this time, you odious Haydn, I will forgive you, but--but!"
No, no, I mean henceforth strictly to fulfill my duties. I must conclude
for to-day by saying that now, as ever, I am, with the highest esteem,
yours, etc.,
HAYDN.
To Frau v. Genzinger.
LONDON, Feb. 2, 1792.
I have to-day received your kind letter, and also the fantasia, and
sonata a tre. I was, however, rather vexed, on opening the packet, not
to find the long-looked-for symphony in E minor, which I had fully hoped
for, and expected. Dear lady, I entreat you to send it at once, written
on small post paper, and I will gladly pay all expenses, for Heaven
alone can tell when the symphonies from Brussels may arrive here.
I cannot dispense with this one, without incurring great loss. Pray
forgive my plaguing you so often on the subject, but I shall indeed
be truly grateful if you will send it. Being overwhelmed with work at
present, I cannot as yet write to Herr v. Kees. Pray, then, apply to him
yourself for the said symphony.
With my kind respects, I am, yours, etc.,
HAYDN.
You shall have a good portion of the sewing needles.
To Frau v. Genzinger.
LONDON, March 2, 1792.
Yesterday morning I received your valued letter, and also the
long-looked-for symphony. I humbly kiss your hands for sending it so
safely and quickly. I had indeed received it six days previously from
Brussels, through Herr v. Kees; but the score was more useful, as a good
deal must be altered in it to suit the English taste. I only regret that
I must trouble you so frequently with my commissions, especially as at
present I cannot adequately testify my gratitude. I do positively assure
and declare to you that this causes me great embarrassment, and indeed
often makes me feel very sad; the more so that, owing to various urgent
causes, I am unable to send you as yet the new symphony dedicated to
you. First, because I wish to alter and embellish the last movement,
which is too feeble when compared with the first. I felt this conviction
myself quite as much as the public, when it was performed for the first
time last Friday; notwithstanding which, it made the most profound
impression on the audience. The second reason is that I really dread the
risk of its falling into other hands. I was not a little startled when
I read the unpleasant intelligence about the sonata. By Heavens! I would
rather have lost twenty-five ducats than have suffered such a theft, and
the only one who can have done this is my own copyist; but I fervently
hope to supply the loss through Madame Tost, for I do not wish to incur
any reproaches from her. You must therefore, dear lady, be indulgent
towards me, until I can towards the end of July myself have the pleasure
of placing in your hands the sonata, as well as the symphony. Nota bene,
the symphony is to be given by myself, but the sonata by Madame Tost.
It is equally impossible for me to send Herr v. Kees the promised
symphonies at present, for here too there is a great want of faithful
copyists. If I had time, I would write them out myself, but no day, not
a single one, am I free from work, and I shall thank the good Lord when
I can leave London; the sooner the better. My labours are augmented
by the arrival of my pupil Pleyel, who has been summoned here by the
Professional Society to direct their concerts. He brought with him a
number of new compositions, which were, however, written long ago! He
accordingly promised to give a new piece every evening. On seeing this,
I could easily perceive that there was a dead set against me, so I
also announced publicly that I would likewise give twelve different new
pieces; so in order to keep my promise, and to support poor Salomon, I
must be the victim, and work perpetually. I do feel it, however, very
much. My eyes suffer most, and my nights are very sleepless, but with
God's help I will overcome it all. The Professors wished to put a spoke
in my wheel because I did not join their concerts, but the public is
just. Last year I received great applause, but this year still more.
Pleyel's presumption is everywhere criticized, and yet I love him, and
have gone to his concert each time, and been the first to applaud him.
I sincerely rejoice that you and yours are well. My kind regards to
all. The time draws near to put my trunks in travelling order. Oh! how
delighted shall I be to see you again, and to show personally all the
esteem that I felt for you in absence, and that I ever shall feel for
you.
Yours, etc.,
HAYDN.
P.S.--Please apologize to Herr v. Kees for want of time preventing my
sending him the new symphonies. I hope to have the honour of directing
them myself in your house, at our next Christmas music.
To Frau v. Genzinger.
LONDON, April 24, 1792.
I yesterday evening received with much pleasure your last letter of 5
April, with the extract from the newspaper, extolling my poor talents to
the Viennese. I must confess that I have gained considerable credit with
the English in vocal music, by this little chorus, [The "Storm Chorus,"
see p. 91.] my first attempt with English words. It is only to be
regretted that, during my stay here, I have not been able to write more
pieces of a similar nature, but we could not find any boys to sing at
our concerts, they having been already engaged for a year past to sing
at other concerts, of which there are a vast number. In spite of the
great opposition of my musical enemies, who are so bitter against me,
more especially leaving nothing undone with my pupil Pleyel this winter
to humble me, still, thank God! I may say that I have kept the upper
hand. I must, however, admit that I am quite wearied and worn out with
so much work, and look forward with eager longing to the repose which
will soon take pity on me. I thank you, dear lady, for your kind
solicitude about me. Just as you thought, I do not require to go to
Paris at present, from a variety of reasons, which I will tell you when
we meet. I am in daily expectation of an order from my Prince, to whom
I wrote lately, to tell me where I am to go. It is possible that he may
summon me to Frankfort; if not, I intend (entre nous) to go by Holland
to the King of Prussia at Berlin, thence to Leipzig, Dresden, Prague,
and last of all to Vienna, where I hope to embrace all my friends.
Ever, with high esteem, etc.,
HAYDN.
INFORMATION ABOUT THIS E-TEXT EDITION
The preceding is the text of "Haydn," a biography of the composer Franz
Joseph Haydn, from the Master Musicians series. The book itself was
authored by J. Cuthbert Hadden, while the Master Musicians series itself
was edited by Frederick J. Crowest. "Haydn" was published in 1902 by
J.M. Dent & Co. (LONDON), represented at the time in New York by E.P.
Dutton & Co. Each page was cut out of the original book with an X-acto
knife and fed into an Automatic Document Feeder Scanner to make this
e-text, so the original book was, well, ruined in order to save it.
Some adaptations from the original text were made while formatting it
for an e-text. Italics in the original book were ignored in making this
e-text, unless they referred to proper nouns, in which case they are put
in quotes in the e-text. Italics are problematic because they are not
easily rendered in ASCII text.
Words enclosed in brackets [ ] are original footnotes inserted into the
text.
This electronic text was prepared by John Mamoun with help from numerous
other proofreaders, including those associated with Charles Franks'
Distributed Proofreaders website. Thanks to R. Zimmermann, S. Morrison,
B. Wyman, V. Walker, N. Harris, T. Mills, C. Franks, F. Clowes, T.
Mills, E. Beach, D. McKee, D. Levy, D. Bindner, R. Rowe, K. Rieff, J.
Cardillo, K. Peterson, H. Dank and several others for proof-reading.
Version 11 of this text prepared by Andrew Sly. Numerous changes and
corrections made by comparison with the original book.