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Updated: June 2, 2025
Krehbiel's book. The abbreviations are curious and explain themselves. M.L. is "my love," D.L. is "dear love," M.D. is "my dear," and M. Dst. is its superlative. The abbreviations were possibly due to the fact that the letters exist only in Haydn's own handwriting, copied into his note-book without attention to their proper order. Or they may have been simply the amorous shorthand of that day.
"Now, my child, you shall hear something worth listening to;" and with a sigh of relief he would turn to some old piece by Mozart or Bach, some minuet of Haydn's, some romance of Beethoven's, which he would play with no great power of execution, indeed, but with a rare sweetness and delicacy of touch and expression, and with an intense absorption in the music, which communicated itself to even so small a listener as Madelon.
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.
Without the sublimity of Handel's "Messiah," it is marked by a richness of melody, a serene elevation, a matchless variety in treatment, which make it the most characteristic of Haydn's works. Napoleon, the first consul, was hastening to the opera-house to hear this, January 24, 1801, when he was stopped by an attempt at assassination.
Haydn's piety was not a mere feeling, capable, as is often the case with worldly men, of being excited for the moment by circumstances, and dying away when the external influence is removed; it was an active principle, which guided the whole tenor of his life and conduct.
Life had dedicated to him the laurel- wreath which usually only death grants to poets and artists. The Audience was still silent, when all at once a powerful voice exclaimed: "Let us sing the second verse of Haydn's favorite hymn the second verse of 'Gott erhalte Franz den Kaiser!" "Yes, yes," shouted all, enthusiastically, "the second verse! the second verse!"
She could look at her over it, to comply with her duties as a respectful listener. But not to overdo them, she could play the treble of Haydn's Gipsy Rondo on the chair back with fingers that would have put a finishing touch on the exasperation of Helen of Troy. Her ladyship continued: "We are speaking of the same thing. Your father and I have had several conversations about it.
Haydn's, Mozart's and Beethoven's symphonies were played almost exclusively, and Mendelssohn's were introduced with the greatest difficulty. Only fragments of vast compositions like the oratorios were given. An author who was still alive was looked upon as an intruder. However, the conductor was permitted to introduce a solo of his own selection.
How any one with the recollection of Beethoven's fondness for describing character in music, even in youth upon the pianoforte, with the "Coriolanus Overture" before him, and the "Wellington's Victory at Vittoria" at hand, and, above all, with any knowledge of the composer's love for the universal, the all-embracing, and his contempt for minute musical painting, as shown by his sarcasms upon passages in Haydn's "Creation" can suppose the first movement of the "Heroic Symphony" to be in the main intended as a battle-picture, passes our comprehension.
On another occasion we find Mozart taking to task a Viennese professor of some celebrity, who used to experience great delight in turning to Haydn's compositions to find therein any evidence of the master's want of sound theoretical training a quest in which the pedant occasionally succeeded. One day he came to Mozart with a great crime to unfold.
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