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Updated: June 2, 2025
We have both the horse and the worm in The Ring, treated exactly in Haydn's manner, and with an effect not a whit less ridiculous to superior people who decline to take it good-humoredly.
And now this next little notion is scarcely of substance sufficient to assume the garb of authorship: it is little more than a passing whim, but I choose for the very notion's sake to make it better known. Except in a very few instances as Haydn's 'Seasons, e.g. Oratorios, from some conventional idea of Lent, we may suppose, seem obligated to concern matters sacred.
Of Haydn's one hundred and eighteen symphonies, many are simple trifles written from day to day for Prince Esterhazy's little chapel, when the master was musical director there. But after Haydn was called to London by Salomon, a director of concerts, where he had a large orchestra at his disposal, his genius took magnificent flights.
Nearly all Haydn's art, and a good deal of the art of Beethoven, may be found in the B flat symphony. This is a very paltry discussion of a great matter, but no more space can be given to it here. In spite of all that has been written since Haydn drew the final double-bar of the D symphony, all the twelve are yet worth days and nights of study.
Nevertheless, I believe Haydn's Menuets are generally taken too quick; undoubtedly the Menuets of Mozart's Symphonies are; this will be felt very distinctly if, for instance, the Menuetto in Mozart's Symphony in G minor, and still more that of his Symphony in C major, be played a little slower than at the customary pace.
Flaxman took up her fan and held it as if shielding her eyes from the light. Bovyer usually awakened when she listened to his music. His first touch on the piano arrested me, and I turned around to watch his face. I recognized the air the opening passage from Haydn's Creation. I was soon spellbound, as were all the rest. Mrs.
He early in life acquired the irrepressible joyousness in his compositions, which was Haydn's distinguishing trait. It is the key-note to much of Beethoven's work up to the time of composing the Grand Mass. It figures to some extent in his subsequent work. It is a feature which Wagner never tires of exploiting in Beethoven's work. The two are almost synonymous with him.
Thus cynically writes Schmidt of the woman who for a score of years occupied Haydn's affections. And all of the biographers are inclined to heap upon her more or less contempt; but as you shall see a little later, the genial master himself was not above reproach, and Loisa's anxiety was not unfounded, for her Joseph was casting amorous glances elsewhere.
At Moreton she sang for the local Choral Society, taking the soprano solos in the first part of Haydn's Spring, and the local paper reported that her "birdlike voice added much to the beauty of the cantata." In the second part of the concert she gave The Bird that came in Spring, by Sterndale Bennett.
"I pray you, therefore," she said, "to be kind enough to accompany me to the concert which is to be given at the university hall. Haydn's 'Creation' will be performed there, and I believe the old maestro himself will be present to receive the homage of his admirers." "H'm, h'm!
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