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The woman who had hoped for a permanent home in her widowhood ended her lonely existence in 1800, nine years before the close of her husband's career. With these facts in view, it is not surprising to find that Haydn at times sought elsewhere the consolation he was denied at home. He was fond of feminine companions, especially when they were well endowed with personal attractions.
Haydn ended with having to appease the woman, to lose his point, and pay the doctor and the druggist to boot. He had always drouth in his purse and despair in his mind. It is a true miracle that a genius in such a contrast could create the wonderful works that all the world knows.
People not deep in the sympathies and tastes of the musical world, have no idea how these compositions are loved and studied by the real disciples of Mozart, Beethoven, and Haydn; how particular passages are watched for; and how old gentlemen nod their heads, or shake them at each other, according as they agree or disagree in the manner of the interpretation.
That natural sincerity of feeling kept Haydn on the right path through all the weary Esterhazy years, when he was surrounded by French influences and every influence that made for artificiality and falsity. The clavier music, with the exception of a few bits, is of no great importance; still, I have played much of it with pleasure in Dr. Riemann's edition, and found many charming things.
Our own Arne tried his hand at them, and no one looking at his would dream that the sonata form was so nearly ripe at the time. Emanuel and Johann Christian Bach wrote them, and from these two Haydn got the hint which he turned to such splendid account. Abel, Stamitz and Wagenseil wrote them, and achieved nothing in particular.
Haydn could be comic as well as serious; and he has left a remarkable instance of the former, in the well known symphony, during which all the instruments disappear, one after the other, so that, at the conclusion, the first violin is left playing by himself. The origin of this singular piece is thus accounted for.
'Tickets will be distributed to the families of working men by the Rev. George Lind' pity they didnt engage Jenny Lind on purpose to sing with you. 'A limited number of front seats at one shilling. Please turn over. Part I. Symphony in F: Haydn. Arranged for four English concertinas by Julius Baker. Mr. 'Song: Rose softly blooming: Spohr. Miss Marian Lind. I wonder whether she can sing!
In 1767 the Prince, Haydn, band and all, took up their residence at the palace of Esterház. A few singers and players were left at Eisenstadt to keep up the chapel services, and doubtless had an easy time; the rest were worked almost to death. Esterház was a gorgeous, if solitary, residence. Built on a morass far from the busy world, it was the scene of constant hospitality and great functions. There were two theatres one, as I understand the matter, entirely for marionette shows; the scenery was regarded at the time as excellent. Most of the operas were sung in Italian by Italian singers; even books of the words were printed. In short, the opera at the Palace of Esterház seems to have been in no respect very different from the fashionable opera of to-day. Singers were engaged for a year or a longer period; casual artists called, and were engaged for one performance or more, and having been rewarded according to their deserts, passed on their way. Great personages visited the Prince in state, and were regally entertained, Haydn everlastingly writing special music. Maria Theresa stayed for three days in 1773, and thus we get the Empress Theresa symphony in C, also two operas of sorts, L'Infidelt
Kurz tries to describe the waves running mountains high, the pitching and tossing, the roll of thunder, and the howling of the wind; and Haydn produces all sorts of ugly, jerky, and noisy music, but none of it is in the remotest degree like a storm at sea, or anywhere else.
Centuries ere Haydn performed before emperors and kings, these Organ Mountains played his Oratorio of the Creation, before the Creator himself. But nervous Haydn could not have endured that cannonading choir, since this composer of thunderbolts himself died at last through the crashing commotion of Napoleon's bombardment of Vienna.
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