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Updated: June 2, 2025
The orchestra was playing one of Haydn's symphonies, and when Bertin's eyelids drooped over his eyes, he saw again the Bois, the crowd of carriages around him, and facing him in the landau the Countess and her daughter. He heard their voices, followed their words, felt the movement of the carriage, inhaled the air, filled with the odor of young leaves.
And, bearing it in mind, we can see in Haydn's early attempts much in a style that had been used before or was being used at the time, much that is simply copied from the younger Bachs, from Domenico Scarlatti, Dittersdorf, Wagenseil, perhaps even his Parisian contemporary Gossec. But we see the character of the themes becoming more and more his own.
To the nineteenth century mind it seems rather an odd life for an artist: at least it strikes one as a life, despite Haydn's own opinion, not particularly conducive to originality. To use extreme language, it might almost be called a monotonous and soporific mode of existence. Probably its chief advantage was the opportunity it afforded, or perhaps the necessity it enforced, of ceaseless industry.
Pohl, closely followed by Haydn's recent biographer, Schmidt, describes Luigia Polzelli as a Neapolitan who was nineteen when she was engaged to sing at the theatre of the Prince Esterházy. She was the wife of Anton Polzelli, an insignificant and sickly violinist, with whom she was apparently not in love.
He had got as far as Cologne on his way back to England, when he heard news that sent him flying again to Vienna as fast as wheels and horses' legs could carry him. The Esterhazy chapter of Haydn's life had closed with something of a snap. On September 28 Prince Nicolaus died. He had started by being Haydn's patron and master, but long before the end he had become his friend.
Mozart, we know, was born when Haydn had just reached manhood, so that when Mozart became old enough to study composition the earlier works of Haydn's chamber music had been written; and these undoubtedly formed the studies of the boy Mozart, and greatly influenced his style; so that Haydn was the model and, in a sense, the instructor of Mozart.
One hot summer afternoon, when the Saucy Sally was taking in cargo and the Skipper was ashore, Mr. Topper, seated on the coamings of the hatchway, abandoned himself to the melancholy pleasures of Haydn's "Surprise," the tune being wrung out of a tarnished German-silver flute.
Haydn's oratorio was to be performed that evening; the ladies were anxious to hear the music, and we also expressed a wish to that effect. The escort piquet was ordered out; and Lannes requested that Napoleon would join the party. He consented; his carriage was ready, and he took along with him Bessieres and the aide de camp on duty. I was directed to attend the ladies.
"Likewise, to my much-beloved wife and legitimate spouse, Marie Gretchen Van Cloth, dwelling at Amsterdam: First, a sum of twenty thousand francs, which I have agreed by contract to pay her; Second, a sum of sixty thousand francs, to be distributed by her, as it may please her, among the different children whom she has by me; Third, my dinner-service in Delph, known as No. 3; Fourth, a barrel-organ, set with four of Haydn's symphonies.
At last, after Kurz had become hoarse with his nautical disquisitions, and Haydn's fingers were tired of scrambling all over the piano, the little musician in a rage crashed his hands down on the two extremes of the instrument, exclaiming: "Let's have done with this tempest!"
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