As years go, 1771 was a quiet one. At least by Haydn's standards. The Prince was in Vienna for much of the year, and consequently things on the home front weren't nearly as hectic as in 1770, for example.
The year began with a recovery from whatever illness had struck at the end of 1770, and Haydn began by keeping his promise to write a hymn of thanks. The lovely Salve Regina in g minor was the result. With an organ part for himself to play, he made it especially challenging, presumably to be a praiseful act in itself. As we will see at the proper time, it is an especially nice work, worthy of the promise he made to write one.
Among the accounts for the year, we see one which goes along with last year, and especially with next year. The Passer Troupe of performers was rehired for the season. As I mentioned previously, last year their seasonal contract was extended to October 15. This year they negotiated to have it shortened to the 10th, but that effort was a failure. Nicholas was going to stay in Eszterháza as long as he could, and he was going to have his amusements while he was there! At least the players had their wives; the musicians did not!
One of the highlights of the year came on Good Friday. Haydn went to Vienna, and in the Piarist Order's Basilica of Maria Treu, a beautiful Baroque church, he conducted his Stabat Mater in front of a large audience. The church is still known for its acoustics, and throughout its history has been a performance center for religious music including that of Anton Bruckner, but long before then, it also saw the world premiere of Haydn's Missa in Tempore Belli (Mass in Time of War - Hob 23:9 of 1796). This is the first documented occasion where Haydn had his way concerning orchestral and choral forces for one of his large choral works. There were 60 musicians playing, which for Vienna in 1771 was huge for anything outside of the Tonkünstler-Societät annual benefit concerts. There was reported to be a very large congregation in the audience. As you recall, for Good Friday 1768, Haydn had begged leave to take the main singers to Vienna and to conduct a performance of this same work at the Church of the Brothers of Mercy, where he had been employed in the mid-1750's, for the benefit of the composer Hasse. So despite being buried in the wilderness, he still managed to have this major work performed twice under his direction in front of people who counted in the music business!
Sometimes things also work out in a timely way in civilian life too. When Haydn's house burned down in 1768, the Prince paid for its reconstruction. However, this didn't cover the cost of replacing the furniture and all of their household belongings, and by 1771, the Haydn's were in debt for a fair amount. The paperwork still exists in the archives of Haydn's request (granted) to borrow 400 gulden to help him repay all this. A few short weeks later, a ten year old inheritance came along to bail him out! When Prince Paul Anton, Nicholas' brother, died in 1762, his will left a year's pay to each of the 'house officers', which included the musicians. It only took ten years to get through probate, and finally Haydn got his legacy.
Oh, and the drama! If you recall from the original contract, it was Haydn's job to keep the peace among the musicians. He was unable to prevent the following from taking place, but he did intercede to clean up the mess as well as possible:
[Contract between Zacharius Pohl and Xavier Marteau in Haydn's presence [in German]
This day on the date and year recorded below is herewith set down and agreed the following settlement and contract between the Princely Esterházy oboist, Zacharias Pohl, and the Princely Esterházy bass-player (note: 'Bassetist' = Cellist), Xavier Marteau, because of the scandalous brawl between them which occurred on the 23rd of the previous month of June in the Eszterházy Castle Tavern, whereby Zacharias Pohl lost his right eye; to wit:
Whereas, according to the statements of both parties and various witnesses, it may be surmised that Xavier Marteau did not purposely intend to inflict this damage with his ring on the eye of Zacharias Pohl, but on the other hand, Zacharias Pohl is not entirely guiltless, both parties have therefore agreed, in the presence of Herr Kapellmeister Hayden [sic], to the following settlement: that Xavier Marteau shall recompense Zacharias Pohl for the costs of the cure and trip arising from the above-mentioned damage, in the amount of forty-nine Gulden 13 Kreutzer, within six months, at the rate of 8 Gulden 17 1/6 Kr. per month, of which the first 8 Fl. 17 1/6 Kr. are to be paid on the first of January 1772; but Zacharias Pohl, because of the indemnification here given him as a result of the damage to his eye, shall not and cannot demand anything [additional] at any time from Xavier Marteau.
As witness thereto both parties have set their hands and their customary seals,
Eisenstadt, the 21st of December 1771.
L.s. Zacharias Pohl, hochfürstlicher Hautboist.
L.s. Xavier Marteau, hochfürstlicher Bassetist
In my presence: Josephus Haydn - Hochfürstlicher Kapellmeister L.s.
(From The Collected Correspondence and London Notebooks of Joseph Haydn by H.C Robbins-Landon)
And you thought being Kapellmeister was easy!
In addition to this bit of jurisprudence, December 22 also saw the publication of Book 4 of the baryton trios. We know a bit more about this one because it is the sole survivor of the ravages of time. These twenty-four trios bring the total to ninety-six! Even though the output had slowed a bit, that is still nearly one hundred works in five years! The final volume was still six years away, and would only bring the final total to 126, still a huge oeuvre for any composer to have invested with the quality which these possess!
On that note, we leave the context-building and move ahead to the music. Next time we will start on the symphonies. Until then, happy listening and…
Thanks for reading!