Thus much about Haydn the man. Let us now turn to Haydn the composer and his position in the history of music.



CHAPTER X. HAYDN: THE COMPOSER

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.

THE END