Story Lives of Great Musicians Part 6

This piece of good fortune proved to be the turning-point in his career, for the eminent musicians whom he met at Mannersdorf not only received him very kindly, but evinced the greatest interest in his compositions, many of which were performed during this visit. His acquaintance with one of these musicians--a well-known violinist named Dittersdorf--ripened into friendship, and led to Haydn's receiving violin lessons at this master's hands. Another solid advantage accruing from his a.s.sociation with Porpora lay in the fact that the n.o.bleman himself, struck by Haydn's progress, and desirous of helping on one who showed so great a talent for art, allotted him a pension of six sequins (3) a month. Haydn's action on receiving the first instalment of this generous bounty was consistent with his desire to maintain a neat appearance, as well as an indication of the distress which his privations had hitherto caused him to suffer: he instantly repaired to the nearest tailor's and purchased a suit of black.

On his return to Vienna fortune continued to smile upon him, as if anxious to atone for her neglect in the past. One after another sought his aid in teaching and composing, with the result that he was enabled to raise his terms and move into decent lodgings. His struggles, if not actually ended, had become so lightened as to leave his mind free to pursue the higher walks of his art in comparative peace. From another quarter, too, the hand of friendship was extended to him. He received a summons to present himself at the house of the Countess Thun, whose devotion to music was only equalled by her generous patronage of those in whom she discerned the signs of genius. The Countess had lately heard one of Haydn's clavier sonatas performed, ma.n.u.script copies of which had, in accordance with the custom prevailing amongst unknown composers, been sent to the houses of the aristocracy, and, being charmed with the beauty of the work, she had inquired the name of the composer, with the object of engaging his services.

It is probable that the Countess had formed a very different conception of Haydn's appearance from his work, for she could scarcely conceal her surprise when he was ushered into her presence. That one so ill-dressed and--it must be confessed--so uncouth of manner could be the composer of such charming music seemed impossible. Her face showed this so plainly that Haydn, knowing her generous character, ventured to relate the story of his struggles. As he proceeded with his simple narrative, the Countess's eyes filled with tears. She was one of the n.o.blest of women, and her heart was touched by the reflection that the art which she loved should demand so much sacrifice and suffering from those whose lives were wholly given up to its enn.o.blement. She had supposed that one who could write such music must have the command of money and the influence of wealthy patrons--yet how different were the facts! Haydn's relation ended, the Countess a.s.sured him that thenceforth he might count upon her as his friend and well-wisher as well as pupil, and the happy young musician, having attempted to express his thanks, withdrew with a heart overflowing with grat.i.tude.

A future bright with promise had now dawned for Haydn. His works were to be heard in the best musical circles of Vienna, and praise and encouragement flowed in from every quarter. A wealthy music patron, Karl von Furnberg, who had recognised his genius, persuaded him to compose his first quartet, and thus turned his attention to the branch of composition in which he was later on to excel. At the instance of this patron Haydn, in 1759, received the appointment of music-director to a rich Bohemian n.o.bleman named Count Ferdinand Morzin, who was an ardent lover of music, and maintained a small orchestra at his country seat. This was a great step in his advancement, and the year which witnessed it is also memorable as having been that in which he composed his first symphony.

Haydn was now twenty-six, and no longer an unknown musician. One point with regard to his compositions had already struck many whose judgment carried weight, and had aroused some criticism on the part of the connoisseurs: this point was their originality. He appeared to have marked out for himself an independent line of work, and to be following it up with a boldness that, in the eyes of certain of his critics, savoured of an open defiance of established rules. But the fact was overlooked by these critics that the circ.u.mstances of Haydn's life had thrown him back upon himself and compelled him to be original. His knowledge of counterpoint, to the rules of which he showed a seeming disregard, had been derived almost entirely from self-study. Without a single helping hand to guide him, he had mastered the formidable difficulties of his 'Gradus'; and lighted only by his inborn genius, he had deliberately chosen the path which he felt to be that which would conduct him to the highest levels of his art. The independence thus gained--and which speedily showed itself in all that he wrote--was a possession born of suffering and solitude, though never of ignorance, and as such it represented the truest as well as the freest expression of his musical soul. With the dawn of brighter days he had procured and studied all the works on theory that were to be obtained, only to find himself strengthened in his determination to adhere to the line which those hours of lonely study and reflection had shown him to be the right one for him to adopt.

Few, indeed, of those who had risen to be masters in music could claim to have been less influenced by the composers of their own or a previous day than could Joseph Haydn; and the progress of our story will show in what manner opportunity favoured the further growth and development of that independence which even at the present stage had impressed its stamp upon his works.

We must first of all, however, relate what befell our hero in a very different sphere from that in which we have hitherto followed his fortunes.

Some time before the period at which our story has arrived, Haydn had been engaged to teach the harpsichord to the two daughters of a wig-maker named Keller. As the lessons progressed the teacher became conscious of a growing attachment for the younger of his pupils. There was something spiritual about the character of this maiden which appealed strongly to his musical temperament, though probably the loneliness of his life at the time may have added force to his longing to possess her for his wife. His poverty, however, must have convinced him of the hopelessness of declaring himself at the moment, and for some time his love remained as a cherished secret, fed by the hope which formed almost his sole resource. But now that fortune had smiled upon him he ventured to press his cause with a.s.surance--albeit it must be confessed that this a.s.surance rested on no more secure basis than a salary of some twenty pounds a year and the prospect of an extended teaching connection. But his hopes were doomed to disappointment, for the maiden had in the meantime elected to take the veil, prompted so to do, most probably, by the very same leanings which had rendered her nature so attractive to poor Haydn.

Could he but have been content to bear with his disappointment, seeking in his art the consolation which she had it in her power to bestow, Haydn would have been saved much unhappiness in the future.

Most likely he would have adopted this course in the end, had his will and his self-regard been stronger; but neither, it seems, was proof against the blandishments of the match-making perruquier. Anxious to secure an alliance with one who showed so much promise, Keller brought all his powers of persuasion to bear in favour of Haydn's accepting the hand of his eldest daughter, and, sad to relate, he succeeded.

Maria Anna was not only three years older than the man who pledged his faith to her before the altar of St. Stephen's, but she comprised in her nature as much of the quality of the virago as her younger sister had exhibited of the angel. She was heartless and extravagant, p.r.o.ne to outbursts of uncontrollable temper, and in every way utterly unfitted to be the wife of a man whose fame had yet to be compa.s.sed.

Indeed, she soon showed that she had not the slightest reverence either for her husband or his art; for all she cared, Haydn might just as well have been a cobbler as an artist, provided he supplied her with money to satisfy her extravagant desires.

Fortunately for Haydn, the circ.u.mstances of his life were about to undergo an important change. Count Morzin was compelled to reduce his establishment, and hence dismissed his band and its director. What might otherwise have proved a great misfortune for Haydn was, however, the means of securing for him a post which not only raised him to the position which he had set his heart on attaining, but precluded the possibility of his wife's living with him. Amongst those who had visited Count Morzin's house and listened with delight to the performance of Haydn's compositions was the then reigning Prince of Hungary, Paul Anton Esterhazy. No sooner had the Prince been made aware of Count Morzin's intentions than he offered Haydn the post of second Capellmeister at his country seat of Eisenstadt. The chief Capellmeister, whose name was Werner, was old and infirm, but the Prince retained him in his position on account of his length of service. To Haydn, however, was a.s.signed the sole control of the orchestra, as well as a free hand in regard to most of the musical arrangements.

It is needless to recount the joyful feelings with which Haydn received the news of his appointment, offering as it did the most exceptional opportunities for prosecuting his beloved art. Not even in his wildest dreams could he have pictured such magnificence as that which greeted him on his arrival at the Palace of Eisenstadt. For generations past the Esterhazys had been devotedly attached to music, and the reigning Prince had spared neither pains nor expense to equip his establishment with the means of performing not only the fullest Church services, but complete operas as well. The sight of the huge building, with its s.p.a.cious halls and apartments and its troops of servants; the enchanting grounds, decked with parterres of choicest flowers; and the lakes and fountains scintillating in the sunshine, must have presented to the young musician, fresh from his lodging in the crowded city, a vision of endless beauty. The very air of the place breathed a music of its own, as, laden with the perfumes of countless blossoms, it was wafted into the apartments set aside for his use. Hard work lay before him; but what work could be too hard when performed amidst such exquisite surroundings as these, and for a master whose unstinting generosity and fatherly care for those about him were so widely known? From the outset Haydn realised that here he would enjoy the freest scope for the exercise of his gifts, with the additional advantage, for which the greatest masters might well have envied him, of being able to give practical effect to whatever he wrote before committing it to the judgment of the world outside.

No wonder, then, that under such favouring conditions as these compositions poured from his pen; nor was it long ere the musicians whom he commanded had learnt to regard him with affection, and to vie with each other in their eagerness to fulfil his wishes.

In about a year from the date of Haydn's engagement Prince Paul Anton died, and the event marked a further advancement in the composer's fortunes. Prince Nicolaus, who succeeded his brother, was a pa.s.sionate lover of the arts and sciences, in addition to being one of the most generous and warm-hearted of men. His succession implied an added magnificence and pomp to what seemed already perfect. To Haydn he gave an a.s.surance of his good-will and appreciation by raising his salary from four hundred to six hundred florins, and, later, to seven hundred and eighty-two florins (or 78), allowed him to select additional musicians, and at the same time gave him to understand that he should look for an increase in the number of performances. The Prince himself played the baryton, or viola di bardone--a stringed instrument of sweet, resonant tone, which, like the viol da gamba, to which it bore some resemblance, has long since ceased to be heard. As the Prince prided himself on his playing, Haydn was required to produce endless pieces for the instrument, and he was even at considerable pains to acquire a knowledge of the baryton itself, thinking thereby to afford his master pleasure. To his chagrin, however, he discovered that his efforts in this direction were not at all appreciated by the royal performer, who had no fancy to see himself outskilled.

In 1766 Werner died, and Haydn succeeded to the full t.i.tle. He had thus reached the summit of his boyish ambition, and could look back with pride to those early days when he studied the 'Complete Chapel-master' in his lonely garret, and longed for the day to come when his father's dream might be realised. And what of the parents whom he had left behind in the little village? How had they fared during these long years of struggle and success? The mother died seven years before Haydn received his appointment to the Esterhazy family, and while he was still striving to make his way; and the pleasure which success had brought to him must have been tinged with the regret that she had not lived to witness it. Mathias had married again, but he managed to find his way to Eisenstadt, where, to his pride and joy, he heard Joseph addressed as 'Herr Capellmeister!' Thither, also, came Michael, who had been appointed director and concertmeister to Archbishop Sigismund of Salzburg, to spend several happy days with his elder brother.

Haydn's fame as a composer had spread far beyond the walls of Eisenstadt. Musicians of Leipzig, Paris, Amsterdam, and even London, were playing his symphonies, trios, and quartets, whilst the _Wiener Diarium_--the Austrian official gazette--for 1766 refers to him as 'the favourite of our nation,' and pays him the high compliment of comparing him with Gellert, the most esteemed poet of the day. 'What Gellert is to poetry Haydn is to music,' writes the critic.

Werner's death was shortly followed by an event which implied a still greater change in Haydn's surroundings. Prince Nicolaus had been engaged in carrying out a scheme for the rebuilding of his shooting-box near Suttor on a scale of magnificence rivalling that of Versailles in its palmiest days, and, the works being completed, the Prince moved thither with the major portion of his household. No more lonely spot or one more unhealthy in its natural state, could have been chosen than that which formed the site of the new residence.

Standing in the middle of a salt marsh, forming the southern extremity of the great lake called the Neusiedler-See, Esterhaz, as the palace was named, was quite cut off from the outside world. The work of draining and reclaiming the land, however, had effected such an improvement that what in its primitive condition had been little better than desolate swamp, resounding to the harsh cries of wild-fowl, was now become a scene of veritable enchantment. The thick wood which lay behind the house had been transformed into shady groves and open glades for deer, whilst the front windows of the palace looked upon extensive flower-gardens, with a profusion of hothouses, summerhouses, arbours, and temples. The castle itself comprised a hundred and sixty-two apartments, splendidly decorated, and filled with costly collections of art. Even Eisenstadt itself paled before the beauty and magnificence of this new palace of Aladdin which the genie of wealth had raised on the dismal marsh.

The provision for music and acting was on a scale as elaborate as that of the rest of the palace. A splendid theatre, designed and equipped for the performance of operas and dramatic works, had been reared near the castle, and beside this stood a smaller theatre, fitted up for the marionette performances, to the perfecting of which the Prince had devoted much attention. The orchestra was reinforced by travelling players of eminence, whilst, in addition to singers especially engaged from Italy, various strolling companies were invited to give their services from time to time. It was an essential part of the scheme that this body of musicians and actors--temporary as well as permanent--should form one family, with Haydn as its head; but the appellation of 'Father Haydn,' by which the Capellmeister was known to the members of his orchestra, had its origin in an affection which owed nothing to discipline or arrangement. 'Friend, go back to the first _allegro_,' was the wording of a direction written by Haydn on the cover of one of his confrere's music-books, and it may be taken as an indication of the happy relations which existed between the chief of orchestra and his men.

A picture of the daily life at Esterhaz from spring to autumn would show a constant round of life in its fullest and gayest sense.

Visitors poured in at its hospitable gates in an unbroken stream; and the strain upon those whose duty it was to provide amus.e.m.e.nt for the pleasure-seekers must have been enormous. If there was abundance of work, however, there was no lack of helpers, and thus Esterhaz became a little world in itself--a centre of music and acting, as well as an emporium of art treasures. Thither came the Empress Maria Theresa on a visit, and Haydn seized the opportunity of reminding her of the chastis.e.m.e.nt which she had ordered him to receive when, as a fair-haired chorister, he had clambered up the scaffolding-poles of the royal palace. 'Ah, well!' replied the Empress with a smile; 'you must see yourself, my dear Haydn, that the whipping has produced good fruit!'

Prince Nicolaus, though an excellent master, and one for whom Haydn entertained a deep affection, was, nevertheless, somewhat unreasonable in expecting his Capelle to share his devotion to Esterhaz as an almost continuous residence. The visits to Vienna were getting fewer and shorter--even the winter at Eisenstadt had been reduced to its shortest limits--and, admitting the attractions of the new palace as a summer residence, the musicians were pining to see their wives and families, and to breathe once more the air of the city. In 1772 the stay at Esterhaz was prolonged so far into the autumn that the musicians became impatient. The Prince had made no announcement of the date of his departure, and Haydn at length resolved to convey to his royal master a delicate hint of the orchestra's desire to be set free. He therefore announced the performance of what he called 'The Farewell Symphony'; and when the evening arrived, sixteen performers took their seats in the orchestra to carry out the Capellmeister's scheme, whilst the Prince, having no suspicion of what was intended, occupied his accustomed place. All went as usual until the last movement was reached, when one pair of performers rose from their chairs, extinguished their candles, and quietly left the orchestra.

The music proceeded, and a little later a second pair arose, went through the same pantomime, and disappeared, the Prince watching their movements with a puzzled expression that almost destroyed the gravity of the rest of the performers. Pair after pair thus left the building, until at last only Tomasini (the Prince's favourite violinist) and Haydn remained. Finally, Tomasini blew out his candle, bowed to the Prince, and retreated, and as Haydn prepared to follow his example, the Prince's eyes were opened to their drift. Good-humouredly regarding the whole thing in the light of a joke, he exclaimed, 'If all go, we may as well go too!' and immediately quitting the theatre, he gave directions for the departure of the household.

We must pa.s.s over the years which intervened between the date of the 'Farewell Symphony' (the merits of which as a musical work must not be confused with the circ.u.mstances under which it was written), and the year 1790, when, to his great grief, Haydn lost the master to whom he had become so deeply attached. The Prince left Haydn a pension of one thousand florins, on condition that he retained his post as Capellmeister to the family. Prince Anton, however, who succeeded his brother, had no taste for music. The Capelle was practically disbanded, and though Haydn kept his official position, his constant presence at the palace was no longer necessary, and he took up his residence in Vienna.

Some three years before this event several attempts had been made by English musicians of eminence to induce him to come to London and play at the professional concerts, but he had resisted these offers with one and the same excuse--he could not leave the master whom he loved.

On the last occasion Salomon, the well-known musician and concert-director, had dispatched a publisher named Bland to Esterhaz to endeavour to persuade Haydn to alter his mind. Bland was shown into a room adjoining that in which Haydn happened to be shaving, and whilst seated there he overheard the composer growling to himself over the bluntness of his razors. At length Bland caught the exclamation, 'Ach! I would give my best quartet for a good razor!' and without more ado, he rushed off to his lodgings and returned in a few minutes with a pair of razors, which he presented to Haydn. The Capellmeister accepted the gift with a smile, and rewarded the enterprising publisher with a copy of his latest quartet, which, later on, was produced in London, and has ever since been known by the t.i.tle of the 'Rasirmesser' (Razor) quartet.

The death of Prince Nicolaus removed the only obstacle to Haydn's undertaking a journey to London; consequently, when one morning he found a visitor awaiting him at his house, who announced his business thus: 'My name is Salomon; I have come from London to fetch you; we will settle terms to-morrow,' Haydn regarded the matter as practically settled.

Mozart was in Vienna at the date of Salomon's visit. Haydn had been strongly drawn towards the young musician ever since the time, five years before, when, after listening to one of Mozart's quartets, he had delighted the heart of Leopold Mozart by declaring that his son was the greatest composer he had ever heard. Mozart's affection for Haydn was equally warm, and now, on hearing that the latter contemplated a journey to England, he tried to persuade him against it, urging that he was advanced in years and unacquainted with the English language. Haydn listened to his friend's objections, and then observed with a smile, 'No matter; I speak a language which is understood all over the world.' 'Then,' said Mozart, grasping Haydn's hand as he spoke, it is good-bye, for we shall never meet again!' The words were prophetic, for only a year later Haydn in London was stunned by the news of Mozart's death.

It was a stormy December day when Haydn and Salomon set sail from Calais, and the pa.s.sage to Dover was a long and trying one for the travellers. Nevertheless, Haydn, taking his stand on the deck, enjoyed his first sight of the waves, and as the spray dashed in his face he recalled with a smile how he had attempted to write the tempest music for the actor-manager Kurz. A long interval separated him from those days of keen want and fierce struggle, when he strove, almost against hope, to establish a foothold for himself in the music-loving city of Vienna! Now he was travelling to a greater city, not as an unknown, struggling student, but with the a.s.surance of a welcome befitting one whom fame had already claimed for her own.

[Ill.u.s.tration: '_Haydn enjoyed his first sight of the waves._']

The night of his arrival in London was pa.s.sed at Bland's music warehouse, No. 45, High Holborn,[8] but the following day he went to live with Salomon at the latter's lodgings, No. 18, Great Pulteney Street, Golden Square.[9] Salomon had by no means overestimated the warmth of the welcome which London was prepared to give to the composer whose works were already familiar to English music-lovers.

From every quarter admiration and attentions were lavished upon him; all the most celebrated people besought his acquaintance, and he was invited everywhere. Yet his equanimity never deserted him. He took everything very simply, and as if it were his due, and thoroughly enjoyed the river parties and picnics which were arranged in his honour. Not so, however, the lengthy dinners or evening entertainments in town, where his ignorance of the language and customs of his hosts made him feel less at his ease. The incessant noise of the streets was a source of great discomfort to one who had been so long accustomed to the silence of the country; and he positively refused to fashion himself to the late hours of London. When, later on, he removed his lodging to Lisson Grove, he writes in a strain of rejoicing to a Vienna friend that he has at length found himself in the country amid lovely scenery, where he lives as if he were in a monastery! It is difficult for us to imagine the Lisson Grove of a century ago, when the road stretched away through green fields and woodland s.p.a.ces.

The first of Salomon's concerts was held on March 11, 1791, at the Hanover Square Rooms. The hall was crowded, and the performance of Haydn's 'Symphony' (Salomon, No. 2) was received with great applause; nor would the audience remain satisfied until the _adagio_ movement had been repeated--an event of such rare occurrence in those days as to call for comment in the newspapers. This marked the beginning of a most successful series of concerts, at each of which Haydn received a great ovation. His benefit took place on May 16, and realized 350.

The Handel Commemoration Festival--the fifth and last of the century--was held in Westminster Abbey during this visit, and it must have been a moving sight to Haydn to observe the crowds flocking to the Abbey early on that summer morning in order to hear the master's greatest work. Haydn had secured a seat close to the King's box--a position which commanded a view of the nave and the vast concourse of listeners. Rarely had those venerable walls looked down upon such a sea of expectant faces as that which was turned towards the distant bank of musicians and singers when the moment drew nigh for the performance to begin. There was reverence expressed in the hushed silence which pervaded every nook and corner of the Abbey at that supreme moment--a befitting reverence both for the dead composer whose immortal work was to be celebrated, and for the sacredness of the subject which he had chosen for ill.u.s.tration. As the oratorio proceeded Haydn became more and more impressed. He had never heard the 'Messiah' performed on so grand a scale before, and when the opening chords of the 'Hallelujah Chorus' rang through the nave and the entire audience sprang to their feet, he burst into tears, exclaiming to those around him, 'He is the master of us all!'

[Ill.u.s.tration: '_Lisson Grove a century ago._']

The first week in July found him at Oxford, at Commemoration, whither he had gone to receive the honorary degree of Doctor of Music. Three grand concerts were given in his honour, the princ.i.p.al singers and performers having been brought from London, and on each occasion his compositions were greeted with great applause. He appeared at the third concert clad in his Doctor's gown, and met with an enthusiastic reception. It was evident, however, that he was not feeling quite at home in his new vestment, for when the students clapped their hands and shouted he raised the gown as high as he could, exclaiming as he did so, 'I thank you,' whereupon the applause was redoubled. Haydn writes to a friend that he had to walk about for three whole days clad in this guise, and he only wishes that his Vienna friends could have seen him.

Amidst the wealth of incident which signalised his visit two little scenes found a cherished corner in Haydn's memory. He was invited by the Prince of Wales to visit Oatlands Park as the guest of the Duke of York, who was spending his honeymoon there with his young bride, the Princess of Prussia. The seventeen-year-old bride welcomed the sight of Haydn's kindly face and the familiar sound of the German tongue, and in one of his letters he describes how the _liebe Kleine_ sat beside him as he played his 'Symphony,' humming the well-known airs to herself, and urging him to go on playing until long past midnight. The Princess also sang and played to him, whilst the Prince of Wales played the violoncello, their attention being entirely given to Haydn's works. It was during this visit that the portrait by Hoppner was painted, which hangs in the gallery at Hampton Court.

The second picture, though one of a very different kind, he himself described as having afforded him one of the greatest pleasures of his visit. He went to St. Paul's to witness the gathering of the charity children at their anniversary meeting, and the sight of the children's faces and the sound of their young voices echoing through the vast building touched him deeply, and no doubt recalled to his mind the singing of the choristers in St. Stephen's Cathedral in bygone days.

Frau Haydn had evidently heard reports of her husband's successes, for she troubled him with a letter at this time, in which she related how she had found a small house and garden in the suburbs of Vienna, which she felt would exactly suit her requirements when she became a widow.

She therefore begged that he would send her the money--a matter of two thousand gulden--to complete the purchase. Haydn did not comply with this simple request, but on his return journey to Vienna he inspected the house, approved it, and bought it for himself!

It was in pa.s.sing through Bonn, on his homeward journey, that Haydn met Beethoven, and praised the composition which the young a.s.sistant Hof-organist submitted to him.[10] The reception accorded to the composer on his arrival at Vienna was in every way worthy of the fame which his London visit had added to his reputation, and every one was anxious to hear the symphonies which had taken the Londoners by storm.

The success of this visit led to a repet.i.tion in 1794. On this occasion Haydn was accompanied by his faithful copyist and servant, Johann Elssler, a son of the copyist to Prince Esterhazy, to whom, since his birth, Haydn had acted as benefactor. Elssler's attachment to his master was coupled with the greatest veneration for his genius, and it was even reported that at such times as he thought himself un.o.bserved he would stop with the censer before his master's portrait, as if it were an altar.

Once more Haydn was to pa.s.s through a series of successes under Salomon's direction. His symphonies formed part of all the London programmes. His popularity reached a height that rendered him the 'lion' of the season. He was frequently invited to Buckingham Palace to perform to the King and Queen, and he was not allowed to depart without a pressing request on the part of her Majesty that he would settle in England. When London went to Bath, Haydn went there too, in company with Dr. Burney, the eminent musician, and at once became the centre of fashion and interest.

A description of all the incidents which this second visit comprised would extend our story to an undue length. We will therefore content ourselves by describing a touching little incident that marked his homeward journey in August of the following year. To Haydn's complete surprise he was invited by Count Harrach and a party of n.o.blemen and gentlemen to accompany them to the Count's park, situated close to Rohrau, where a monument and bust of himself had been erected. He was next taken to Rohrau itself, to inspect his old home and birthplace, which had been preserved with every mark of loving care by those who held the composer in such high esteem.

Haydn's emotions were deeply stirred by this action on the part of his countrymen, as well as by the sight of his dear old home. Memories of his happy childhood crowded upon him as he stood before the door, and, prompted by a sudden impulse, he stooped and imprinted a kiss upon the threshold; then, bidding his friends enter the cottage, he pointed to the settle which stood beside the stove, and told them that it was when seated on that settle, listening to his parents' singing, that his musical career had begun. What, after all, were the grand palaces, in which he had pa.s.sed so many years of his life, with their costly furniture and troops of servants, compared with that dear old cottage home in which he had dreamed his childish dreams of music, and listened to the hammers in the workshop beating out the time as he played on his toy violin?

During his London visits Haydn had often expressed his admiration for the English 'G.o.d save the King,' and he regretted that his own country had no National Anthem of its own. This thought weighed the more with him after his return because war had broken out with France, and he felt that the people needed a means of giving expression to their loyalty. He accordingly wrote the song 'Gott erhalte Franz den Kaiser,' or 'The Emperor's Hymn,' which was performed for the first time simultaneously at the Vienna National Theatre and the princ.i.p.al theatres of the country on the Emperor's birthday, February 12, 1797.

This beautiful air was always a favourite one with Haydn during the remainder of his life.

A portrait of Haydn at this time shows a man of short, substantial build, and a somewhat ill-proportioned frame. The face, of which the aquiline nose, projecting under-lip, and ma.s.sive jaw were strongly marked features, was very dark, and its habitual expression was dignified and earnest, with an inclination to sternness. The dark grey eyes, however, shone with a benevolent light that afforded an insight into their owner's true nature--indeed, he used to say of himself humorously that 'anyone could see by the look of him that he was a good-natured sort of fellow.' He always wore a wig, with side-curls and a pigtail, and the wig partly concealed his broad forehead. His dignified expression relaxed in conversation, but although he was not at all averse to joking, his laughter was always moderate and controlled. Towards children he showed a love and sympathy that never failed to win their confidence and affection. The t.i.tle of 'Papa Haydn,' by which he was known both to young and old during his lifetime and with which his memory has ever since been coupled, was the natural outcome of the universal affection in which he was held by all cla.s.ses. He was the 'father' of his chapel, sympathising with them in their difficulties, and interceding in their behalf with the Prince whenever occasion arose. In the same way his interest went out to all young and struggling men of talent, to whom he gave advice and help.

But the t.i.tle 'Papa Haydn' may claim to possess a further significance in its use at the present time, 'as if musicians of all countries claimed descent from him.'

Along with his indomitable industry went a love of order and method by which every action was ruled, every habit framed. He rose very early to begin work, for Nature seemed sweetest to him in her waking hours; but he would never put a pen to paper or see a visitor until he was fully dressed; and even when old age prevented his leaving the house he maintained the same degree of punctiliousness in regard to his appearance. His devoutness formed an indissoluble part of his nature, and he regarded his genius as a gift of G.o.d which he was bound to use thankfully for the benefit of mankind and to the glory of Him who gave it. He never wrote a score without the words 'In nomine Domini'

appearing as an inscription, whilst 'Laus Deo' came at the end.

Haydn's love of humour is brought out in many of his compositions, notably in the 'Surprise Symphony,' where the drums come in with a tremendous bang at the end of the _andante_ movement. He is said to have invented this part in order to arouse the attention of the audience and make the ladies scream. Again, in the 'Toy Symphony,' he shows a child-like appreciation of drollery in producing genuine music out of such toy instruments as tin whistles, jew's-harps, toy trumpets, etc. The 'Toy Symphony' was composed at Eisenstadt, where, having visited a village fair and purchased a number of toy instruments, Haydn was seized with the idea of making his orchestra play upon them--an order which upset their gravity so much that they could hardly keep time for laughing. A little story ill.u.s.trative of his love of fun may be told here. During his second visit to London he came in contact with a certain amateur violinist whose professed fondness for the extreme upper notes of his instrument was such as to incite Haydn to perpetrate a joke at his expense. He therefore wrote a seemingly simple sonata for piano and violin, which he called 'Jacob's Dream,' and dispatched it anonymously to the conceited violinist. The player was charmed with the manner in which the piece began. It was apparent that the composer thoroughly understood the instrument! As he proceeded, however, the notes rose higher and higher, like the steps of a ladder, and at length, seeing that there was no prospect of their ever descending again, the perspiration broke out on his forehead, and, flinging the music from him with disgust, he declared that the writer knew nothing whatever of the violin!

Haydn was now sixty-five, but the crowning work of his life had yet to be achieved. Whilst in London Salomon had shown him a poem, founded upon 'Paradise Lost,' which had been written many years before, in the hope that Handel would have set it to music. Haydn carried the poem home, and later on conceived the idea of writing an oratorio on the subject. From the moment of its inception the task of composing the 'Creation,' as the new work was called, became a labour of increasing love with Haydn. 'Never was I so pious,' he writes, 'as when composing the "Creation." I knelt down every day and prayed G.o.d to strengthen me for the work.' The oratorio was first publicly performed in Vienna on March 19, 1799, and created a profound impression. Haydn himself was almost overcome by the sensations which the occasion aroused. In a short time the 'Creation' was heard in every princ.i.p.al city of Europe.

In places where no means existed for its production choral societies were formed for this special object, so that for many years the work took equal rank in popular favour with the 'Messiah.' As a work of art, however, the 'Creation' differs essentially, both in character and style, from Handel's masterpiece. We have here none of the declamatory pa.s.sages which are so prominent in the 'Messiah,' the story of the Creation being unfolded to us in a series of wonderful tone-pictures--strengthened where necessary by choruses, but keeping throughout to the epic character of the poem. Many of the pa.s.sages are strikingly beautiful. Who that has heard them can ever forget the airs, 'With Verdure Clad,' and 'In Native Worth,' or the splendid chorus, 'The Heavens are telling the Glory of G.o.d'?