Haydn, J. Cuthbert Hadden [books for new readers .TXT] 📗

even the Italians themselves." There is a characteristic John Bull complacency about these statements which is hardly borne out by a study of the lives of the leading contemporary musicians. Even Mr Henry Davey, the applauding historian of English music, has to admit the evanescent character of the larger works which came from the composers of that "bankrupt century." Not one of these composers--not even Arne--is a real personality to us like Handel, or Bach, or Haydn, or Mozart. The great merit of English music was melody, which seems to have been a common gift, but "the only strong feeling was patriotic enthusiasm, and the compositions that survive are almost all short ballads expressing this sentiment or connected with it by their nautical subjects." When Haydn arrived, there was, in short, no native composer of real genius, and our "tardy, apish nation" was ready to welcome with special cordiality an artist whose gifts were of a higher order.

Salomon

We have spoken of Haydn's visit as a long-meditated project. In 1787 Cramer, the violinist, had offered to engage him on his own terms for the Professional Concerts; and Gallini, the director of the King's Theatre in Drury Lane, pressed him to write an opera for that house. Nothing came of these proposals, mainly because Haydn was too much attached to his prince to think of leaving him, even temporarily. But the time arrived and the man with it. The man was Johann Peter Salomon, a violinist, who, having fallen out with the directors of the professional concerts, had started concerts on his own account. Salomon was a native of Bonn, and had been a member of the Electoral Orchestra there. He had travelled about the Continent a good deal, and no one was better fitted to organize and direct a series of concerts on a large scale. In 1790 he had gone abroad in search of singers, and, hearing of the death of Prince Esterhazy, he set off at once for Vienna, resolved to secure Haydn at any cost. "My name is Salomon," he bluntly announced to the composer, as he was shown into his room one morning. "I have come from London to fetch you; we will settle terms to-morrow."

The question of terms was, we may be sure, important enough for Haydn. But it was not the only question. The "heavy years" were beginning to weigh upon him. He was bordering on threescore, and a long journey in those days was not to be lightly undertaken. Moreover, he was still, nominally at least, the servant of Prince Anton, whose consent would have to be obtained; and, besides all this, he was engaged on various commissions, notably some for the King of Naples, which were probably a burden on his conscience. His friends, again, do not appear to have been very enthusiastic about the projected visit. There were Dittersdorf and Albrechtsberger, and Dr Leopold von Genzinger, the prince's physician, and Frau von Genzinger, whose tea and coffee he so much appreciated, and who sent him such excellent cream. Above all, there was Mozart--"a man very dear to me," as Haydn himself said.

Mozart and Haydn

He had always greatly revered Mozart. Three years before this he wrote: "I only wish I could impress upon every friend of mine, and on great men in particular, the same deep musical sympathy and profound appreciation which I myself feel for Mozart's inimitable music; then nations would vie with each other to possess such a jewel within their frontiers. It enrages me to think that the unparalleled Mozart is not yet engaged at any Imperial Court! Forgive my excitement; I love the man so dearly." The regard was reciprocal. "Oh, Papa," exclaimed Mozart, when he heard of Haydn's intention to travel, "you have had no education for the wide, wide world, and you speak too few languages." It was feelingly said, and Haydn knew it. "My language," he replied, with a smile, "is understood all over the world." Mozart was really concerned at the thought of parting with his brother composer, to whom he stood almost in the relation of a son. When it came to the actual farewell, the tears sprang to his eyes, and he said affectingly: "This is good-bye; we shall never meet again." The words proved prophetic. A year later, Mozart was thrown with a number of paupers into a grave which is now as unknown as the grave of Moliere. Haydn deeply lamented his loss; and when his thoughts came to be turned homewards towards the close of his English visit his saddest reflection was that there would be no Mozart to meet him. His wretched wife had tried to poison his mind against his friend by writing that Mozart had been disparaging his genius. "I cannot believe it," he cried; "if it is true, I will forgive him." It was not true, and Haydn never believed it. As late as 1807 he burst into tears when Mozart's name was mentioned, and then, recovering himself, remarked: "Forgive me! I must ever weep at the name of my Mozart."

Terms for London

But to return. Salomon at length carried the day, and everything was arranged for the London visit. Haydn was to have 300 pounds for six symphonies and 200 pounds for the copyright of them; 200 pounds for twenty new compositions to be produced by himself at the same number of concerts; and 200 pounds from a benefit concert. The composer paid his travelling expenses himself, being assisted in that matter by an advance of 450 florins from the prince, which he refunded within the year. In order to provide for his wife during his absence he sold his house at Eisenstadt, the gift of Prince Nicolaus, which had been twice rebuilt after being destroyed by fire.

Salomon sent advance notices of the engagement to London, and on the 30th of December the public were informed through the Morning Chronicle that, immediately on his arrival with his distinguished guest, "Mr Salomon would have the honour of submitting to all lovers of music his programme for a series of subscription concerts, the success of which would depend upon their support and approbation." Before leaving for London Haydn had a tiff with the King of Naples, Ferdinand IV, who was then in Vienna. The composer had taken him some of the works which he had been commissioned to write, and His Majesty, thanking him for the favour, remarked that "We will rehearse them the day after to-morrow." "The day after to-morrow," replied Haydn, "I shall be on my way to England." "What!" exclaimed the King, "and you promised to come to Naples!" With which observation he turned on his heel and indignantly left the room. Before Haydn had time to recover from his astonishment Ferdinand was back with a letter of introduction to Prince Castelcicala, the Neapolitan Ambassador in London; and to show further that the misunderstanding was merely a passing affair he sent the composer later in the day a valuable tabatiere as a token of esteem and regard.

Bonn and Beethoven

The journey to London was begun by Haydn and Salomon on the 15th of December 1790, and the travellers arrived at Bonn on Christmas Day. It is supposed, with good reason, that Haydn here met Beethoven, then a youth of twenty, for the first time. Beethoven was a member of the Electoral Chapel, and we know that Haydn, after having one of his masses performed and being complimented by the Elector, the musical brother of Joseph II, entertained the chief musicians at dinner at his lodgings. An amusing description of the regale may be read in Thayer's biography of Beethoven. From Bonn the journey was resumed by way of Brussels to Calais, which was reached in a violent storm and an incessant downpour of rain. "I am very well, thank God!" writes the composer to Frau Genzinger, "although somewhat thinner, owing to fatigue, irregular sleep, and eating and drinking so many different things."

Haydn Sea-Sick

Next morning, after attending early mass, he embarked at 7:30, and landed at Dover at five o'clock in the afternoon. It was his first acquaintance with the sea, and, as the weather was rather rough, he makes no little of it in letters written from London. "I remained on deck during the whole passage," he says, "in order to gaze my full 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." Thus delicately does he allude to a painful episode.

Arrives in London

Haydn reached London in the opening days of 1791. He passed his first night at the house of Bland, the music-publisher, at 45 High Holborn, which now, rebuilt, forms part of the First Avenue Hotel. Bland, it should have been mentioned before, had been sent over to Vienna by Salomon to coax Haydn into an engagement in 1787. When he was admitted on that occasion to Haydn's room, he found the composer in the act of shaving, complaining the while of the bluntness of his razor. "I would give my best quartet for a good razor," he exclaimed testily. The hint was enough for Bland, who immediately hurried off to his lodgings and fetched a more serviceable tool. Haydn was as good as his word: he presented Bland with his latest quartet, and the work is still familiarly known as the "Rasirmesser" (razor) Quartet. The incident was, no doubt, recalled when Haydn renewed his acquaintance with the music-publisher.

But Haydn did not remain the guest of Bland. Next day he went to live with Salomon, at 18 Great Pulteney Street, Golden Square, which--also rebuilt--is now the warehouse of Messrs Chatto & Windus, the publishers. [See Musical Haunts in London, by F.G. Edwards, London, 1895] He described it in one of his letters as "a neat, comfortable lodging," and extolled the cooking of his Italian landlord, "who gives us four excellent dishes." But his frugal mind was staggered at the charges. "Everything is terribly dear here," he wrote. "We each pay 1 florin 30 kreuzers [about 2s. 8d.] a day, exclusive of wine and beer." This was bad enough.

An Enthusiastic Welcome

But London made up for it all by the flattering way in which it received the visitor. People of the highest rank called on him; ambassadors left cards; the leading musical societies vied with each other in their zeal to do him honour. Even the poetasters began to twang their lyres in his praise. Thus Burney, who had been for some time in correspondence with him, saluted him with an effusion, of which it will suffice to quote the following lines:

Welcome, great master! to our favoured isle, Already partial to thy name and style; Long may thy fountain of invention run In streams as rapid as it first begun; While skill for each fantastic whim provides, And certain science ev'ry current guides! Oh, may thy days, from human suff'rings, free, Be blest with glory and felicity, With full fruition, to a distant hour, Of all thy magic and creative pow'r! Blest in thyself, with rectitude of mind, And blessing, with thy talents, all mankind!

Like "the man Sterne" after the publication of Tristram Shandy, he was soon deep in social engagements for weeks ahead. "I could dine out every day," he informs his friends in Germany. Shortly after his arrival he was conducted by the Academy of Ancient Music into a "very handsome room" adjoining the Freemasons' Hall, and placed at a table where covers were laid for 200. "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