Haydn Part 4

In 1764 Prince Nicolaus made a journey to Frankfort for the coronation of the Archduke Joseph as King of the Romans. After the festivities connected with that imposing function were over he extended his journey to Paris, where he created some sensation by his extravagant displays of wealth and circ.u.mstance. During the Prince's absence Haydn busied himself on a couple of compositions intended to celebrate his home-coming. One was a Te Deum, the other a cantata. The latter work is the more worthy of remark, not because of its music, but because of the fulsomely obsequious manner in which it celebrates the graces and virtues of Nicolaus the Magnificent. The cantata is made up of choruses and duets, a recitative and two arias. Parts of it were afterwards employed in church services. The Te Deum is in C major, and is for four voices with orchestra. It is interesting as an early work, especially if we compare it with the greater Te Deum in the same key composed in the year 1800.

First Symphonies

At this point a summary may perhaps be made of the compositions written by Haydn during these five years a Eisenstadt. The list, as given by Pohl, comprises, in addition to the works already named, about thirty symphonies six string trios, a few divertimenti in five parts, a piece for four violins and two 'celli, ent.i.tled "Echo," twelve minuets for orchestra, concertos, trios, sonatas and variations for clavier, and, in vocal music, a "Salve Regina" for soprano and alto, two violins and organ. It would serve no useful purpose to deal with these works in detail. The symphonies are, of course, the most important feature in the list, but of these we shall speak generally when treating of Haydn as the father of instrumental music. The first Symphony in C Major, usually called "Le Midi," is of special interest.

[Figure: a musical score excerpt]

The autograph score, dated 1761, and preserved at Eisenstadt, is superscribed, "In Nomine Domini," and closes with Haydn's customary "Laus Deo" after the final signature The work is in the usual four movements. The symphonies of this date included also those known in England as "Le Matin" and "Le Soir," the one beginning--

[Figure: a musical score excerpt] and the other--

[figure: a musical score excerpt]

Of the string quartets and other instrumental compositions of the period nothing need be said. In all these the composer was simply feeling his way towards a more perfect expression, and as few of them are now performed, their interest for us is almost entirely antiquarian.

CHAPTER IV. ESTERHAZ--1766-1790

Haydn's Fame extending--Haydn and Mozart compared--Esterhaz--Its Puppet Theatre--A Busy Life--Opera at Esterhaz--First Oratorio--Opponents and Intriguers--"L'Isola Disabitata"--A Love Episode--Correspondence with Artaria and Forster--Royal Dedicatees--The "Seven Words"--The "Toy" and "Farewell" Symphonies.

To crowd the details of a professional career covering close upon a quarter of a century into a single chapter would, in the case of most of the great composers, be an altogether impossible task. In Haydn's case the difficulty is to find the material for even so slight a record. His life went on smoothly, almost sleepily, as we should now think, in the service of his prince, without personal incident and with next to no disturbance from the outside world. If he had not been a genius of the first rank the outside world would, in all probability, never have heard of his existence.

Haydn's Fame extending

As it was, his fame was now manifestly spreading. Thus the Wiener Diarum for 1766 includes him among the most distinguished musicians of Vienna, and describes him as "the darling of our nation." His amiable disposition, says the panegyrist, "speaks through every one of his works. His music has beauty, purity, and a delicate and n.o.ble simplicity which commends it to every hearer. His ca.s.sations, quartets and trios may be compared to a pure, clear stream of water, the surface now rippled by a gentle breeze from the south, and anon breaking into agitated billows, but without ever leaving its proper channel and appointed course. His symphonies are full of force and delicate sympathy. In his cantatas he shows himself at once captivating and caressing, and in his minuets he is delightful and full of humour. In short, Haydn is in music what Gellert is in poetry." This comparison with Gellert, who died three years later, was at that date, as Dr Pohl remarks, the most flattering that could well be made. The simplicity and naturalness of Gellert's style were the very ant.i.thesis of the pedantries and frigid formalities of the older school; and just as he pioneered the way for the resuscitation of German poetry under Goethe and Schiller, so Haydn may be said to have prepared the path for Beethoven and the modern school.

Haydn and Mozart compared

Very likely it was this comparison of the magazine writer that suggested Dittersdorf's remark to Joseph II in 1786, when the emperor requested him to draw an a.n.a.logy between Haydn's and Mozart's chamber music.

Dittersdorf shrewdly replied by asking the emperor in his turn to draw a parallel between Gellert and Klopstock; whereupon Joseph made answer by saying that both were great poets, but that Klopstock's works required attentive study, while Gellert's beauties were open to the first glance.

The a.n.a.logy, Dittersdorf tells us, "pleased the emperor very much." Its point is, however, not very clear--that is to say, it is not very clear whether the emperor meant to compare Klopstock with Haydn and Gellert with Mozart or vice versa, and whether, again, he regarded it as more of a merit that the poet and the composer should require study or be "open to the first glance." Joseph was certainly friendly towards Mozart, but by all accounts he had no great love for Haydn, to whose "tricks and nonsense" he made frequent sneering reference.

The first noteworthy event of 1766 was the death of Werner, which took place on March 5. It made no real difference to Haydn, who, as we have seen, had been from the first, in effect, if not in name, chief of the musical establishment; but it at least freed him from sundry petty annoyances, and left him absolutely master of the musical situation.

Shortly after Werner's death, the entire musical establishment at Eisenstadt was removed to the prince's new palace of Esterhaz, with which Haydn was now to be connected for practically the whole of his remaining professional career.

Esterhaz

A great deal has been written about Esterhaz, but it is not necessary that we should occupy much s.p.a.ce with a description of the castle and its surroundings. The palace probably owed its inception to the prince's visit to Paris in 1764. At any rate, it is in the French Renaissance style, and there is some significance in the fact that a French traveller who saw it about 1782 described it as having no place but Versailles to compare with it for magnificence. The situation--about three and a half miles from Eisenstadt--was anything but suitable for an erection of the kind, being in an unhealthy marsh and "quite out of the world." But Prince Nicolaus had set his heart upon the scheme, as Scott set his heart upon Abbotsford; and just as "Clarty Hole" came in time to be "parked about and gated grandly," so Esterhaz, after something like 11,000,000 gulden had been spent upon it, emerged a veritable Versailles, with groves and grottoes, hermitages and temples, summer-houses and hot-houses, and deer parks and flower gardens.

There were two theatres in the grounds: one for operas and dramatic performances generally; the other "brilliantly ornamented and furnished with large artistic marionettes, excellent scenery and appliances."

A Puppet Theatre

It is upon the entertainments connected with the latter house that the French traveller just mentioned chiefly dwells. "The prince," he says, "has a puppet theatre which is certainly unique in character. Here the grandest operas are produced. One knows not whether to be amazed or to laugh at seeing 'Alceste,' 'Alcides,' etc., put on the stage with all due solemnity, and played by puppets. His orchestra is one of the best I ever heard, and the great Haydn is his court and theatre composer.

He employs a poet for his singular theatre, whose humour and skill in suiting the grandest subjects for the stage, and in parodying the gravest effects, are often exceedingly happy. He often engages a troupe of wandering players for a month at a time, and he himself and his retinue form the entire audience. They are allowed to come on the stage uncombed, drunk, their parts not half learned, and half-dressed. The prince is not for the serious and tragic, and he enjoys it when the players, like Sancho Panza, give loose reins to their humour."

Prince Nicolaus became so much attached to this superb creation of his own, that he seldom cared to leave it. A small portion of the Capelle remained at Eisenstadt to carry on the church service there, but the prince seldom went to Eisenstadt, and more seldom still to Vienna. Most of the Hungarian grandees liked nothing better than to display their wealth in the Imperial city during the winter season; but to Haydn's employer there was literally "no place like home." When he did go to Vienna, he would often cut short his visits in the most abrupt manner, to the great confusion of his musicians and other dependants.

These eccentricities must have given some annoyance to Haydn, who, notwithstanding his love of quiet and seclusion, often longed for the change and variety of city life. It is said that he was specially anxious to make a tour in Italy about this time, but that ambition had, of necessity, to be abandoned.

A Busy Life

There was certainly plenty for him to do at Esterhaz--more than he had ever been required to do at Eisenstadt. Royalties, n.o.bles and aristocrats were constantly at the palace; and music was one of the chief diversions provided for them. The prince was very proud of his musical establishment, and desired to have it considered the best of its kind in Europe. The orchestra of the opera was formed of members of the Capelle; "the singers were Italian for the most part, engaged for one, two, or more years, and the books of the words were printed. Numerous strolling companies were engaged for shorter terms; travelling virtuosi often played with the members of the band. Special days and hours were fixed for chamber music, and for orchestral works; and in the interval the singers, musicians and actors met at the cafe, and formed, so to speak, one family." Something more than creative genius was obviously required to direct the music of an establishment of this kind. A talent for organization, an eye for detail, tact in the management of players and singers--these qualities were all indispensable for the performance of duties such as Haydn had undertaken. That he possessed them we may fairly a.s.sume from more than one circ.u.mstance. In the first place, his employer was satisfied with him. He raised his salary, listened attentively to all his suggestions, and did everything that he could to retain his services. In the second place, his band and singers were sincerely attached to him. They saw that he had their interests, personal and professional, at heart, and they "loved him like a father."

The prince paid them well, and several of them were sufficiently capable to receive appointments afterwards in the Imperial Chapel. Pohl gives a list of the names about this time, but, with one or two exceptions, they are quite unfamiliar. J. B. Krumpholtz, the harpist, was engaged from 1773 to 1776, and Andreas Lidl, who played in London soon after leaving the band, was in the service of the prince from 1769 to 1774.

The sum paid to Haydn at this date was not large as we should now consider it, but it was sufficient to free him from financial worry had it not been for the extravagance and bad management of his wife. The prince gave him about 78 pounds, in addition to which he had certain allowances in kind, and, as we have already said, free quarters for himself and his wife when she thought fit to stay with him. Probably, too, he was now making something substantial by his compositions.

Griesinger declares that he had saved about 200 pounds before 1790, the year when he started for London. If that be true, he must have been very economical. His wife, we must remember, was making constant calls upon him for money, and in addition he had to meet the pressing demands of various poor relations. His correspondence certainly does not tend to show that he was saving, and we know that when he set out for London he had not only to draw upon the generosity of his prince for the costs of the journey, but had to sell his house to provide for his wife until his return.

Opera at Esterhaz

It is time, however, to speak of some of Haydn's compositions during this period. At Esterhaz he "wrote nearly all his operas, most of his arias and songs, the music for the marionette theatre--of which he was particularly fond--and the greater part of his orchestral and chamber works." The dramatic works bulk rather largely during the earlier part of the period. In 1769, for example, when the whole musical establishment of Esterhaz visited Vienna, a performance of his opera, "Lo Speciale," was given at the house of Freiherr von Sommerau, and was repeated in the form of a concert. Other works of the kind were performed at intervals, particularly on festival occasions, but as most of them have perished, and all of them are essentially pieces d'occasion, it is unnecessary even to recall their names. In 1771 Haydn wrote a "Stabat Mater" and a "Salve Regina," and in 1773 followed the Symphony in C which bears the name of the Empress Maria Theresa, having been written for the empress's visit to Esterhaz in September of that year. In the course of the visit Haydn was naturally introduced to Her Majesty, when, as we have stated, he took occasion to remind her of the "good hiding" she had ordered him to have at Schonbrunn during the old chorister days at St Stephen's. "Well, you see, my dear Haydn," was the reply, "the hiding has borne good fruit."

First Oratorio

In 1775 came his first oratorio, "Il Ritorno di Tobia." This is an exceedingly interesting work. It was first performed under Haydn's direction by the Tonkunstler Societat, with solo singers from Esterbaz, at Vienna, on April 2, 1775. In 1784 Haydn added two choruses, one a "Storm Chorus," which is sometimes confused with the "Storm Chorus" (in the same key, but in triple time) composed during his sojourn in London.

It is from "Il Ritorno di Tobia" that the so-called motet, "Insanae et Vanae Curae," is adapted, and the "Storm Chorus" immediately follows a fine soprano air in F minor and major, sung by Anna in the original work, a portion of which forms the beautiful second subject (in F) of the "Insanae." The original words of this chorus--"Svanisce in un momento"--are to the effect that the soul threatens to yield to the fury of its enemies, yet trust in G.o.d keeps one steadfast. The music admirably reflects these contrasting sentiments, first in the tumultuous D minor section, and then in the tranquillity of the F major portion which follows, no less than in the trustful quietude of the D major conclusion. Latin words were adapted to three of the original choruses, but nothing seems to be known as to the origin of the "Insanae"

adaptation. A full score of the motet, published by Breitkopf & Hartel in 1809, was reviewed in the Allgemeine Musikalische Zeitung of August 15, 1810, as if it were an entirely original work. The source of the Latin words also remains a mystery. They were presumably put together to fit Haydn's music, but by whom we have no means of ascertaining.

It is interesting to know that Haydn brought the score of his "Il Ritorno di Tobia" with him to England on the occasion of his first visit in 1791, probably with a view to its performance here. Messrs Novello's private library contains an oblong volume in the handwriting of Vincent Novello, in which he has copied some numbers from "Tobia," including the air of Anna already mentioned, but not the "Insanae" chorus. The inside cover of the book bears the following note in Novello's hand, written, not later than 1820, under the contents of the volume:

"The whole of the above are unpublished ma.n.u.scripts, and were copied from an extremely rare volume, containing the full orchestral score of the entire oratorio, kindly lent to me for the purpose by my friend, Mr s.h.i.+eld, who had obtained it from Haydn himself during the visit of the latter to England in the year 1791.--VINCENT NOVELLO, 240 Oxford St."

[See an interesting account of "Il Ritorno di Tobia" in The Musical Times for September 1901, p. 600.]

Some of our musical societies in search of novelties might do worse than revive this almost completely forgotten oratorio. The airs are exceedingly melodious, and the choruses bold and tuneful, with well-developed fugue subjects. The "Insanae" already referred to is frequently performed.

Opponents

In 1776 Haydn composed "La Vera Costanza" for the Court Theatre of Vienna, but owing to certain intrigues it was declined by the management and produced at Esterhaz instead. The opera was subsequently staged at Vienna in 1790, and six of its airs and a duet were published by Artaria. This incident makes it sufficiently plain that Haydn had his opponents among the musicians and critics of Vienna as well as elsewhere. Burney says a friend in Hamburg wrote him in 1772 that "the genius, fine ideas and fancy of Haydn, Ditters and Filitz were praised, but their mixture of serious and comic was disliked, particularly as there is more of the latter than the former in their works; and as for rules, they knew but little of them." If we subst.i.tute "humorous" for "comic," this may be allowed to fully represent the views of the critics and amateurs of Vienna in regard to Haydn's music.

And, unfortunately, the incident just mentioned was not a solitary one.

In 1778 Haydn applied for members.h.i.+p to the Tonkunstler Societat, for whom he had in reality written his "Il Ritorno di Tobia." One would have expected such a body to receive him with open arms, but instead of that they exacted a sum of 300 florins on the ground of his non-residence in Vienna! Not only so, but they would fain have brought him under a promise to compose for them whenever they chose to ask him. This latter condition Haydn felt to be impossible in view of his engagement at Esterhaz, and he withdrew his admission fee. That the society were not ashamed of themselves is obvious from a further episode. Some years after this they desired Haydn to rearrange his "Tobia" for a special performance, and when he demanded payment for his trouble they promptly decided to produce Ha.s.se's "Elena" instead. Everything comes to the man who waits. After his second visit to London the Tonkunstler Societat welcomed Haydn at a special meeting, and with one voice appointed him "a.s.sessor Senior" for life. In return for this distinction he presented the society with "The Creation" and "The Seasons," to which gifts, according to Pohl, its prosperity is mainly owing.

"L'Isola Disabitata"

If Haydn was thus less highly appreciated at home than he deserved to be, there were others who knew his sterling worth. In 1779 he composed one of his best operas, "L'Isola Disabitata," the libretto of which was by his old benefactor Metastasio, and this work procured his nomination as a member of the Philharmonic Society of Modena. The following extract of a letter written to Artaria in May 1781 is interesting in this connection. He says: "M. le Gros, director of the 'Concerts Spirituels'

[in Paris], wrote me a great many fine things about my Stabat Mater, which had been given there four times with great applause; so this gentleman asked permission to have it engraved. They made me an offer to engrave all my future works on very advantageous terms, and are much surprised that my compositions for the voice are so singularly pleasing.

I, however, am not in the least surprised, for, as yet, they have heard nothing. If they could only hear my operetta, 'L'Isola Disabitata,' and my last Shrove-tide opera, 'La Fedelta Premiata,' I do a.s.sure you that no such work has. .h.i.therto been heard in Paris, nor, perhaps, in Vienna either. My great misfortune is living in the country." It will be seen from this what he thought of "L'Isola," which was not heard in Vienna until its performance at a concert given at the Court Theatre by Willmann the 'cellist in 1785. Haydn sent the score to the King of Spain, who showed his sense of the honour by the gift of a gold snuff-box, set in brilliants. Other marks of royal attention were bestowed upon him about this time. Thus, in 1784, Prince Henry of Prussia sent him a gold medal and his portrait in return for the dedication of six new quartets, while in 1787 King Frederick William II gave him the famous gold ring which he afterwards always wore when composing.

A Love Episode

But we have pa.s.sed somewhat out of our chronological order. The absence of love at home, as we all know, often encourages love abroad. Haydn liked to have an occasional flirtation, as ardent as might be within the bounds of decorum. Sometimes, indeed, according to our insular ideas of such things, he exceeded the bounds of decorum, as in the case of which we are now compelled to speak. Among the musicians who had been engaged for the Esterhazy service in 1779 were a couple named Polzelli--the husband a violinist, the wife a second-rate vocalist. Luigia Polzelli was a lively Italian girl of nineteen. She does not seem to have been happy with Polzelli, and Haydn's pity was roused for her, much as Sh.e.l.ley's pity was roused for "my unfortunate friend," Harriet Westbrook. The pity, as often happens in such cases, ultimately ripened into a violent pa.s.sion.

We are not concerned to adopt an apologetic tone towards Haydn. But Signora Polzelli was clearly an unscrupulous woman. She first got her admirer into her power, and then used her position to dun him for money.

She had two sons, and the popular belief of the time that Haydn was the father of the younger is perpetuated in several of the biographies.

Haydn had certainly a great regard for the boy, made him a pupil of his own, and left him a small sum in his first will, which, however, he revoked in the second. Signora Polzelli's conduct was probably natural enough in the circ.u.mstances, but it must have been rather embarra.s.sing to Haydn. After the death of her husband, she wheedled him into signing a paper promising to marry her in the event of his becoming a widower.

This promise he subsequently repudiated, but he cared for her well enough to leave her an annuity in his will, notwithstanding that she had married again. She survived him for twenty-three years, and her two daughters were still living at Pesth in 1878.

Returning to 1779, an untoward event of that year was the destruction by fire of the theatre at Esterhaz. The re-building of the house was set about at once, the prince having meanwhile gone to Paris, and the re-opening took place on October 15, 1780, when Haydn's "La Fedelta Premiata," already mentioned, was staged.