It has been said, and rightly I believe; Haydn was a classic slow bloomer. He was certainly no Mozart nor a Mendelssohn, despite which, once he got going he never stopped until old age cut him off. But in 1754, he had still not got much further than any other professional musician of the time, which is to say, he was a struggling musician with a barely budding reputation as a composer too. But what he did accomplish in these formative years was to make contacts which served him well in the near and distant future.
In the summer of 1754, Haydn accompanied Porpora to the country palace of Prince Hildburghausen as his valet for three months. While there, he rubbed elbows with Gluck, Bonno and Wagenseil as well as other famous musicians and composers and frequently had to accompany Porpora's students in front of them. The fact they expressed approval was very good for his self-esteem, as you would imagine. In addition, the Prince’s violinist was Carl Ditters who became a lifelong friend. Given Haydn’s semi-seclusion in Eisenstadt and Esterházy while Ditters worked prominently in Vienna itself, there was an extended period when Ditters outshone Haydn in the public’s estimation. No matter though, it was beneficial both for them and for music when they become fast friends in 1754.
With summer gone, it was back to Vienna and the grind of playing in churches around the city. According to Griesinger, the demand for his services steadily increased, and in addition, his fee for being a teacher went up from 2 gulden to 5 gulden (although for how many lessons is never made clear), both sure signs his name and reputation were improving steadily. He now played on Sundays and holy days at 3 different churches: lead violin at the Church of the Barmherzigbrüder in Leopoldstadt for 60 gulden/yr at 8 am, then at 10 am, he played organ at the chapel of Count Haugwitz and finally, at 11 am he sang at St Stephen's for 17 kreuzer/service. One can picture him hustling around the city to keep these appointments with his violin under his arm! This schedule would last for fully two more years, likely not ending until he joined in with Count Morzin in 1757. It offered opportunities to write music too, which we will see in the proper time and place.
The final connection that arose from these years was perhaps the most important for his future career though. There was a circle of people who were instrumental in 18th century Vienna (as in Paris, London and likely elsewhere) in promoting certain musicians and composers from the ranks of the many into the elite circle of the few. These were members of nobility, but more importantly, they were the social fabric of that group, whose salons introduced art and artists to the patrons who supported them. One of these, and perhaps one who was more equal than the others, was the Countess Thun, surely the mother (in-law?) of Maria Wilhelmine Thun. She and her family will be seen later as tireless promoters of the likes of Mozart and Beethoven. Having heard one of Haydn’s keyboard sonatas played, she asked to meet the composer. Upon being introduced, she was said to be a bit taken aback that this distinctly un-pretty, dark and pockmarked youth was the one she was looking for, but after testing him and finding that he was indeed the composer, she rather impulsively retained him as her voice and clavier teacher, which relationship was the key that opened the door to his future.
As mentioned in an earlier essay, Haydn was also employed by Reutter to sing at St. Stephen’s during Holy Week. As we will see soon, this was to lead to several more opportunities to play for the royal family. In addition, the evening serenades continued, apparently Ditters even joined in from time to time, since anecdotes concerning their activities exist which could only have arisen from that context. And some of the music which Haydn wrote for this venue is a clear precursor of his earliest symphonies, still three years in the future.
So we see all the phases of Haydn’s formative years still continuing and growing. The basis for all to come was being formed in the leaky roofed garret in the Michaelerhaus, and the crest of the wave was not far off now!
Below are a few recordings which represent some of the music of these years. We will go over the music itself in more detail in later essays, but here are some fine listening choices for the meantime.
Thanks for reading!
Some early divertimentos for winds and strings, lovingly played by a group led by one of the pioneers of the early music movement.
Three early works, one of them an attribution of unknown origin (Hob II:D8) plus a bonus divertimento by brother Michael.
A nice choice for many early sonatas, especially if your taste runs to clavichord as well as harpsichord. Wataya plays both superbly.
Schornsheim has produced a full set performed on a variety of appropriate instruments. She is a wonderful player, seemingly transported from the 18th century!
And finally, the mysterious string trio. These are the works which have proven most difficult to date. References to them occur as early as 1752, and yet the current dating scheme doesn't show them until 1757! I say, split the difference and start listening to them now. You will surely love them as much as I do!