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Carpani in his thirteenth letter draws a pleasant picture of Haydn's life with his mistress Boselli, and incidentally describes how various composers composed: Gluck with his piano in a summer meadow and the bottled sunshine of Champagne on each side; Sarti in a dark room at night with a funereal lamp pendant from the ceiling; Salieri in the streets eating sweets; Paer while joking with his friends, gossiping on a thousand things, scolding his servants, quarrelling with his wife and children and petting his dog; Cimarosa in the midst of noisy friends; Sacchini with his sweetheart at his side and his kittens playing on the floor about him; Paesiello in bed; Zingarelli after reading the holy fathers or a classic; Anfossi in the midst of roast capons, steaming sausages, gammons of bacon and ragouts.
By C. E. BOURNE No composer has ever given greater or purer pleasure by his compositions than is given by "papa" Haydn; there is an unceasing flow of cheerfulness and lively tone in his music, even in the most solemn pieces, as in his Masses, the predominant feeling is that of gladness; as he once said to Carpani: "At the thought of God my heart leaps for joy, and I cannot help my music doing the same."
Among those names were those of the Princes Lichnowsky and Lichtenstein, the Countesses Kaunitz and Spielmann, of Beethoven and Salieri, Kreutzer and Clementi, and finally, those of the poets Collin and Carpani.
One of the most striking of this composer's works in invention and ingenious development of ideas, Carpani says of it: "It contains enough to furnish not one but four operas.
The splendors and symphonies and the ecstacies of a higher world are with us now in the rudimentary organs of eye and ear and heart. Much we have to do, much we have to love, much we have to hope for; and our "joy is the grace we say to God." "When I think upon God," said Haydn to Carpani, "my heart is so full of joy that the notes leap from my pen." Says Gibbons:
Here two beautiful ladies of high rank came to meet him, and presented to him, on cushions of gold-embroidered velvet, poems written by Collin and Carpani and printed on silken ribbons. At the same time many hundred copies of these poems flittered through the hall, and all shouted joyously, "Long live Joseph Haydn, the German maestro!"
He published these under the pen name of L.A.C. Bombet. Carpani exposed the theft, but a little later the imperturbable Beyle published a second edition of his work under the name De Stendhal. An English translation from the French work is commonly seen, though never with credit to Carpani. Carpani, in his account of the home life of the Haydns, says they were happy for a honeymoon.
An account of the married life of these two is given by Haydn's friend Carpani, which incidentally brings up a bit of literary thievery of unusual quaintness. Carpani wrote his "Le Haydine" in the form of letters from Vienna; they were published in Milan. Some time after one Marie Henri Beyle published in Paris what purported to be an original series of "Letters written from Vienna."
These vicissitudes in great part explain why Haydn, though he earned much, could not for a long while put aside a penny and make himself a little ease." It is not a pretty picture that Carpani draws of this home life, and Anna is made out to be far from a lovable creature. She is compared to the patron saint of shrews, Xantippe.
It was then that he went to London." This mistress of Haydn's, whom Carpani and Fétis call Boselli and whom Dies calls Pulcelli, is now generally called Polzelli, following the spelling in Haydn's own handwriting. The pleasant legend Carpani gives of Haydn's life with this woman, undisturbed by ambition until her death, is as much upset by later writers as is the spelling of her name.
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