Haydn Seek

1782 – The Music part 3 - A labor of love

Hob. #	Genre	Key	Name	Instruments
22:8	Catholic Mass Missa solemnis	C	Second Missa Cellensis or Mariazellermesse	S-A-T-B, Chorus, 2 Oboes, Bassoon, 2 Trumpets, Timpani, Strings & Continuo (Organ)

Mariazell Basilica Today

In 1781, as you recall, we saw a few letters from Haydn to Artaria concerning the Twelve Lieder. Something I left out of that exchange at the time was a conversation concerning dedicating the songs to a certain 'Mademoiselle Elisabeth Clair' who was, in fact, the Prince's mistress, something which made everyone just a bit squeamish about the dedication, most especially with the Prince's wife still healthy and vigorous! In the event, the dedication went to Francisca, daughter of Anton Liebe Von Kreutzner, a military officer and well known social figure.

One can hardly appreciate the importance of Mariazeller to Viennese history without having some idea of the major position which religion played in the lives of everyone, small to great, under the rule of the Holy Roman Empire. One of the major events, which we have already seen in Haydn's earliest years, was the Pilgrimage, undertaken by nearly every Viennese, in some cases every year. Haydn took it in 1750, probably with devotional motives, but also with the aim of making friends and influencing people. Both of which he accomplished. According to Wiki, pilgrims were already making their way to the Marian sanctuary in the 12th century. Larger numbers of pilgrims are documented beginning around 1330, when a secular court imposed a Zellfahrt (Zell journey) as a means of atonement for its criminals. In the following years increasing numbers of pilgrims came from neighboring lands. After the Counter-Reformation, the Habsburgs made Mariazell a national sanctuary. However, in 1783, Emperor Joseph II dissolved the monastery in Mariazell, and in 1787, he completely banned pilgrimages there. Once again scoring a hit with the people in his particular, Josephinian way. He wasn't cold in his grave before that edict went begging, you can be assured!

Why were people pilgrimaging to this little town in the countryside? Because of a small wooden statue of Mary which is attributed with miraculous powers. Called the Magna Mater Austriae, it was (is) believed to have caused miraculous happenings ranging from simply curing disease to the more complicated granting of victory in battle. Thus, an object of devotion and hope.

So, how does the father of the dedicatee of the 12 Lieder (the one who wasn't Nicholas' mistress) tie into all this, and bring Haydn along with him? Kreutzner was approached by representatives of pilgrim groups (professional pilgrims? Why not?) and asked to arrange a mass to be composed as an offering at the Basilica. Since Kreutzner knew Haydn, may even have been friends with him, it seems natural to ask him if he wanted the commission. As we have seen already with Haydn, even the faintest whisper of a commission to write a Mass, especially one dedicated to the Blessed Virgin, was like catnip.

We saw the first mass which Haydn probably wrote as a dedication to Mary, possibly as a gift to Mariazell, although too big to perform there, the so-called First Missa Cellensis. It would be an error in judgment, however, to compare this mass to that one. The first was a Neapolitan style cantata mass. It is huge and magnificent, with arias, recitatives, big orchestra, the whole nine yards, so to speak. A much more apt comparison here would be to the nearly concurrent Missa solemnis, the Große Orgelsolomesse (Great Organ Solo Mass) of 1768. Although Haydn didn't name his masses by genus, these are both Missa solemnis, or as it was more commonly called then, Missa longa. There is no telescoping of the text of the Gloria or the Credo such as we recently saw in the Missa brevis of 1775, the Kleine Orgelsolomesse, no scrimping of the instruments either. However, one thing we see in the time period from 1768 to 1782 is the progress Haydn has made in composition. Despite being expansive, the Mariazellermesse has no fat on the bones, just meat. The orchestration is generous, but entirely appropriate to the generally vigorous and even forceful choral writing that dominates the work. The buoyant sense of celebration which typifies Haydn's Six Late Masses is structured into the fugues which conclude the Gloria, Credo and Agnus Dei. The future is hinted at most strongly with a sonata (Vivace) in the Kyrie. There is an extended aria for the soprano in the Gratias episode of the Gloria. The Benedictus has a lovely sequential phrase which brings to mind the Emperor's Hymn, written in 1797 and subsequently the Austrian (and later German) national anthem.

The Mass was first performed (is that the right word?) at the Basilica at Mariazell, and it went on to become yet another of Haydn's Greatest Hits. There is scarcely a church in Europe, even many Protestant ones, which didn't have it in their repertoire. Let us jump on the rails of the Time Train for a moment to 1790, when Haydn was embarking upon his first London journey with Salomon at his side. They stopped in Bonn, Salomon's home town, and went to Sunday mass. To Haydn's surprise, the Elector's musicians were playing none other than this selfsame Mariazellermesse. It will be noted in passing here that this was the occasion, after the mass when he was introduced to the musicians, when Haydn met Beethoven, the Elector's violist and part-time organist, for the first time. So, no ephemeral thing then, this mass. Eight years later it was still considered ideal fare at the Elector's cathedral.

As you know, I enjoy constructing plausible Mass performances from the necessary music to go with an Ordinary like this one. In closing, here is a nice playlist which provides a fuller picture of what the original performance might have been like. So much music to choose from!

Gottlieb Muffat - Toccata #5 in C

Haydn Missa Cellensis

    Part 1 – Kyrie

    Part 2 - Gloria

    Part 3 - Credo

Mozart - Epistle Sonata #13 K. 317c in C (we can't use 317a because Haydn didn't provide us with horns)

Michael Haydn - Motet in F - Ave Maria

Haydn Missa Cellensis

          Part 4 – Sanctus

          Part 5 - Benedictus

          Part 6 – Agnus Dei

Communion

Eberlin Toccata & Fugue #5 in C

Michael Haydn – Te Deum

Of course, this agenda is based on music I have in my library, although I tried to pick things a music lover of this genre and era would be likely to have. Look for things dedicated to Mary, or celebratory in nature, they will probably fit well together.

In any case, Haydn took good care of us yet again. You should have a listen to his masses before the Great Six, you might find something very much to your taste!

Thanks for reading!

1782 – The Music part 2 - The Clever & Zealous Composer!

Hob. #	Genre	Key	Number	Instrument(s)
16:34	Sonata	e	53	Keyboard
Hob. #	Genre			Title - German	Title - English
26a:38	Lied			Der schlaue und dienstfertige Pudel	The Clever & Zealous Poodle

 ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

Haydn didn't often compose singles of keyboard sonatas; sets of three or six were the custom, and he pretty much followed suit. So, when in 1784 a London publisher issued the three sonatas here as a set, they really weren't more than three manuscripts of singles he was able to get hold of (without Haydn's permission).

Hob.	33	43	34
Lan.	34	35	53
Key	D	Ab	e
Year	1773	1775	1782

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

I	Presto	e	6/8
II	Adagio	G	3/4
III	Finale: Molto vivace	e	2/4

As was not uncommon in those days, the manuscript wasn't preserved, and no other has ever turned up, so this work has attained the status of 'probably by Haydn', since the style is so similar to the G major sonata (Hob 39 / Landon 52) of 1780. According to James Webster, a couple of these stylistic points include the central Adagio being in full sonata form and the finale being a set double-variations. I'm not sure yet at that point in time anyone else was even writing double-variations, a Haydn invention. The opening movement is an ear-catcher, though, with extended minor key passages with a long, legato line. Since it is one of the most frequently performed of the pre-London Haydn sonatas today, you should treat yourself to a recording, or if you can actually play it, well, come visit me!

The sly and eager Poodle
In Greisinger's Biographical Notice of Joseph Haydn, one of the very few books written by people who actually knew and consulted with Haydn, we find this touching story (page 20 of Gotwal's Two Contemporary Portraits):In 1780, a military officer's daughter from the German town of Coburg wrote a letter to Haydn. In the letter, she told Haydn how she and her lover, a young Captain, together with his poodle and another friend, had taken a walk. She then relates the whole story of the walk, which is true, she claims, and it has been made into a poem (by herself??). In her letter, the young woman asks

Smart AND handsome!
Thanks to Susan Donley

Haydn to set the verses to music. She described her limited financial means, and said that she had heard high praises of the composer's good heart. So, she wrote, she hoped that he would accept the Ducat she had enclosed, as payment for the musical composition. Haydn immediately composed the music, and sent both the manuscript and the Ducat back to the young woman, along with a letter of explanation. Haydn wrote that he did not want the young woman to think that he would only use his talent for monetary compensation, especially for someone as charming as she. So, he asked for a pair of knit garters instead. The ribbons in red and white silk with a painted garland of forget-me-nots arrived a while later, and Haydn preserved them carefully amongst his other treasured possessions. The page and a half of handwritten music still exists today, in the Prussian State Museum in Berlin. The original poem was twenty verses, although counting them here I only see nineteen. I am reprinting an English synopsis here, and the full German original below, not least because you wouldn't find it elsewhere. There is one recording, the wonderful Elly Ameling accompanied by Jörg Demus, and at a minute and forty-one seconds, I'm thinking it leaves out at least a verse or two! And the lyrics aren't contained in the liner notes either.

The Clever and Zealous Poodle (the gist of it)

Two friends, Sebald and Petrill, took a walk through the forest...
Talking about this and that to shorten the way; Petrill constantly praised his poodle...

"He is so intelligent that he deserves to be fed pralines his whole life!"

To prove the poodle's faculties, he hid a coin under a bush...

"Let's go on for a mile; then I'll send the poodle back to fetch the coin."With great confidence, Petrill bet on his dog's success.

They went on their way; then a young workman came along...

He lay on the grass and thought about his love...

But soon he looked around, saw the coin and was very happy with his good fortune...

He put it in a pocket in his trousers and went away. After a few hours, the dog came back.

The dog couldn't find anything and followed the track of the Finder.

[When the dog caught up with the Finder] The working man was very happy, that, in addition to the coin, he'd now found a valuable dog, that he could sell!

The dog followed him into an inn; nobody understood what the dog intended.

The dog waited for morning to come.

The working man was sleeping heavily, and when nobody was watching, the dog took his trousers.

The two friends had wondered why the poodle stayed away; but he came in the morning with the trousers in his mouth.

The Wayfarer thought he was dreaming when he awoke and his trousers with the coin and the poodle had disappeared.

Somebody told him that dogs can steal and he should go to the gates of the town and ask for the poodle.

Moral: You should never trust in fortune.

Somehow it seems like a topic which would appeal to Haydn, as it isn't the only time a dog story appears along with his own, as we shall see. The 'don't trust in luck' would ring a bell with him too, a man who left little to chance throughout his career. Dies has it that Haydn told him he later wrote to the lady and it appeared she has died of tuberculosis, a common scourge of those days. So it goes.Next time we will look at one of Haydn's finest masses, his last before the long stretch until the post-London Six Great Masses period. Meantime, watch out for poodles, and…Thanks for reading!

For my German-speaking readers, maybe you can comment on this bit of doggerel:

Der schlaue und dienstfertige Pudel

Zwe'n Freunde, Sebald und Petrill.
Von einem guten Stande,
Aus Coburg, wie man melden will,
Im edlen Frankenlande,
Verreiesten einst zur Wonne nur
:Selbander durch Gehölz und Flur.:

Sie merkten dies und jenes an
Beim Anblick jedes Steges;
Gespräche sind dem Wandersmann
Verkürzung seines Weges.
Petrill hat einen Pudel mit,
:Den lobt er fast auf jeden Tritt.:

Sie red'ten von Geschicklichkeit,
Die mancher Hund besässe,
Wert, dasser seine Lebenszeit
Konfekt und Mandeln frässe.
Gesagt mit Eifer und Gewicht,
:Wie uns're Welt von Possen spricht.:

Petrill sprach: Suchtest du das auch
In meines Hunds Vermögen?
Ich will hier unter diesen Strauch
Den harten Taler legen.
Er wies das Geld hin, stolz von Mut,
:Fast wie ein Taschenspieler tut.:

Lass eine Meile weit von hier
Uns uns're Füsse tragen,
Ich will alsdenn zu meinem Tier
"Hund, such Verloren!" sagen;
Er läuft die Meile weit zurück
:Und bringt das hingelegte Stück.:

Was wettest du? Einen Carolin?
Du lachst? Gilt eine Wette?
Mir ist's soviel, als wenn ich ihn
Bereits gewonnen hãtte.
Und ich parier hingegen Nein,
:Versetzte Sebald, topp schlag ein!:

Sie gingen, und indessen kam
So mutig wie ein Hirschchen
Des Weges, ohne Sorg und Gram,
Ein rüstig Handwerkspürschchen,
Das jüngst erst in die Fremde ging
:Und manche gute Lehr empfing.:

Der lagert sich an diesem Strauch,
Spielt müssig an dem Grase,
Denkt an sein Mãdchen zart und auch
An seine liebe Base,
Die ihm mit milder Hand gebot:
:Da, Vetter, leid ja keine Not!:

Und, ei, jetzt sah er ohngefãhr
Das runde Silber blinken;
So lustig griff er zu: Komm her,
Du bist gut zu vertrinken.
Doch wer hat dich zu mir gesandt?
:Fortuna leb und mein Verstand!:

Bald aber wird ihm auf dem Platz
Vor einem Anspruch bange,
Er steckt das Geld zum andern Schatz
Und fördert sich im Gange.
Nach Stunden Weile kam der Hund
:Und suchte nach, weg war der Fund."

Was tat der Hund? Er kam und sah,
Doch nichts mehr als ein Blinder;
Ein Mensch stünd ohne Rat nun da,
Der Hund verfolgt den Finder.
Allein zu schlau, zu ungestüm
:Gesellt er freundlich sich zu ihm.:

Geld und auch einen schönen Hund?
Das Glück muss für mich wachen,
So sprach und fing aus Herzensgrund
Der Jüngling anzu lachen.
Du Pudel bist zwar nicht für mich,
:Allein verkaufen kann ich dich.:

Bis in der Herberg, ist das Tier
Geschäftig, mitzugehen;
Doch, ach, die Sprache der Begier
Will niemand recht verstehen.
So folgt er in das Schlafgemach
:Zuletzt auch noch dem Purschen nach.

Das Geld umdecken auf der Bank
Die Hosen vor dem Bette.
Ihm wird die Weile Schrecklich lang,
Der längst gern Urlaub hätte;
Er wacht besorgt, der Tag bricht an,
:Die Kammertür wird aufgetan.:

Die Jungfer Schwester ruft he! he!
Zum Aufatehn. Doch der schnarchet
Noch fest in müdem Gliederweh,
Dass man's ihm nicht verarget.
Nun nahm der Hund die Hosen gar,
:Als um ihn her kein Zeuge war.:

Die beiden Freund' inzwischen nahm
Sein Aussenbleiben Wunder:
Am Morgen sahn sie ihn, er kam
Und trug den ganzen Plunder,
Die Hosen derb als einen Knaul
:Gekugelt und gepackt, im Maul.:

Was Teufel! denkt der Wandersheld,
Hält mich ein Traum gebunden?
Bin ich verzanbert? Hosen, Geld
Und Pudel sind verschwunden?
Er steht in Naturalibus;
:Es ist kein Spass, solch ein Verdruss.:

Ein Alter spricht: Mein, wiss ihr auch,
Dass Hunde stehlen können?
Ich rat euch, dem verwünschten Gauch
Von Stund an nachzurennen;
Nur in den Toren inquiriert,
:Wo so ein Pudel Durchpassiert!:

Die Macht des plaudernden Gerüchts
Hilft jeden Teil entdecken.
So werden Händel oft aus nichts
Und aus den Freuden Schrecken.
Dies kannzugleich die Welt erbaun,
:Dem grössten Glücke night zu traun.:

Lyrics courtesy of PoodleHistory.org

1782 – The Music part 1 - Out of the symphonic shadows?

Hob I:	Key	NC	HRL	Instruments
78	c	78	80	Flute, 2 Oboes, 2 Bassoons, 2 Horns (in Eb & C) & Strings
77	F	79	79	Flute, 2 Oboes, 2 Bassoons, 2 Horns (in Bb alto & F) & Strings
76	Eb	80	78	Flute, 2 Oboes, 2 Bassoons, 2 Horns (In Eb & Bb alto) & Strings
(Hoboken catalog N°s.)		(New Chronology / Gerlach N°s.)	(Robbins-Landon N°s.)

 As a byproduct of entrepreneurism, we have some firsts and some lasts to note among this year's symphonies. Let's get crazy and start with the 'lasts'! The last of the theater symphonies, based on works used for other purposes, has gone with the turn of the year. The 1782 works, and those which followed on, are all new, purpose-written works. So we have moved into a new phase, which, if you are keeping score, is Phase V. This phase certainly brings along plenty of features from the past, such as the 'popular style' of Phase IV (Theatrical), some of the drama of Phase III (Sturm und Drang) and any number of concepts developed right from the beginning of his symphonic efforts. What it presents to us as 'firsts' though are a couple of things we may not have thought about: the first symphonies intentionally composed as a set (as far as we know) since the 'Times of Day' works of 1761, and the first ones especially composed for foreign lands instead of the Esterházy (or Morzin) Band. Let's have a look then.

[To BOYER, MUSIC PUBLISHER IN PARIS. German] (written in 1783)*

Nobly born, Most highly respected Sir !

[There follows an explanation of why Haydn can't sell some undisclosed works to Boyer due to his contract with the Prince.]

Then this…

Last year I composed 3 beautiful, elegant and by no means over-lengthy Symphonies, scored for 2 violins, viola, basso, 2 horns, 2 oboes, 1 flute and 1 (2, actually) bassoon(s), but they are all very easy, and without too much concertante (solo passages) for the English gentlemen....

And then this tantalizing summary of the rest of the contents:

I intended to bring them over [to London] and produce them myself but certain circumstances hindered that plan and the journey did not materialize. I now offer you these Symphonies, and inquire after the best terms, for I am confident that these three pieces will enjoy tremendous sale.

And this wonderful closing line:

    No one else has them up to now: let me know at your earliest convenience what you are capable of paying me for them, that is to say, how much you want to let yourself in for, for my circumstances are such that he who pays best for my work is the one who receives it.

   [from autograph:]

Your obedient servant,

Josephus Haydn [m.p.] ria.

*Collected Correspondence and London Notebooks of Joseph Haydn H.C. Robbins-Landon

Apparently, Boyer wasn't 'letting himself in for' quite enough, since Torricella in Vienna (dedicated to the Prince), Forster in London and Hummel in Berlin also all came out with authorized editions at virtually the same time. One thing about Haydn, he learned quickly!

I find it to be both curious and strangely puzzling when I run across certain works of Haydn which are virtually ignored on all sides, and for no discernible reason. This set of three, and the subsequent set which Haydn publishes two years from now, seem to be fated for such oblivion. Not only are they rarely recorded (two of them are even unheard on period instruments!) but even writers of today seem to pass them over. Naturally, none of them has acquired a nickname, a sure ticket to the dustbin for the multitude of us who don't like being pressed to remember anything. The only way they show up at all is because two of them are in the minor key tonic, thus attracting the would-be Romantics in our midst.

As you can see above, Haydn thought highly of them, and well he should. As his first set of purely musical symphonies in several years, that is, as absolute music, they combine all the best features of his accumulated bag of tricks! In any case, I'm not going off on a rant here, although I would like to. Let's take a very brief look, followed by a nice, long listen, and see if we can all answer for ourselves 'why the obscurity?'.

Hob I:76 in Eb

I	Allegro	3/4		Eb
II	Adagio, ma non troppo	2/4		Bb
III	Menuet: Allegretto - Trio	3/4		Eb
IV	Finale: Allegro, ma non troppo	2/2 (₵)		Eb

Something we have seen frequently in recent years is the slow introduction leading in to the opening movement. But here Haydn goes back to earlier times, and with one unison note, we are off and running. Despite Haydn's note to Boyer, there is no shortage of interesting, and at times difficult playing for all. The entire movement seems to be best described as 'suave'; far from 'easy listening' but also not displaying the sort of jagged rhythms which characterize some of his works for Eszterháza. If, in fact, this is an attempt to woo the English public with his works, then the combination of smooth tunefulness and exquisite craftsmanship must have been what he felt they were looking for! The emphasis of the entire work seems to be on rhythm more than on melody. One of the main attractions for me is how Haydn apparently wheels along in a sunny major key, then suddenly and unexpectedly inserts a phrase or two in minor before returning to the major, then back again to the new theme in the minor. This added element of mystery dominates the thinking of the first movement, and makes it much more interesting than it seemed when starting out.

The second movement uses a lot of contrast between major and minor also. It has very quiet pulsating strings for the long opening section, finally joining in the winds, but not with the sorts of virtuosic filigree we have come to expect at Eszterháza, instead they play long held notes above the strings, almost as though accompanying them from above rather than below. There is also a furioso excursion. Much in keeping with his recent symphonic ideas, there is no melody in sight that I can detect in this movement. The brilliance comes from the fact that one doesn't miss it at all!

The minuet is classic style, international for the occasion, perhaps, certainly not one of Haydn's quirky scherzi! The trio seems to me to be a waltz rather than a minuet, if that is likely. The finale, though, is back to being a bustle of activity. It sounds operatic, amusing and happily animated all at once. Even a short interlude in minor doesn't dampen the proceedings, which sound like a good time, possibly with drinking involved. Nice thing about this symphony is it shows that even though he is writing light entertainment, Haydn can do it without being banal or predictable!

Hob. I:77 in Bb

I	Vivace	2/2 (₵)		Bb
II	Andante sostenuto	3/8		F
III	Menuetto: Allegro - Trio	3/4		Bb
IV	Finale: Allegro spiritoso	2/4		Bb

  I always enjoy this symphony, I can hardly think of a better example of a work which is, on the one hand, suave and casual, and on the other highly 'learned'; i.e. - it is chock-full of counterpoint, especially canon, and so is a combination of connoisseur's bon-bon and listener's delight! In this first movement, Haydn keeps the overall texture very transparent, with the strings being shadowed by the bassoons, until finally he works into some steadily denser canonic imitation. It is all done in a very nonchalant sort of way, always entertaining the listener while demanding more and more from the player. The second movement, Adagio sostenuto, continues the chamber music-like texture while working out a combination of rondo and variations. Once again, canon is used to intensify the expressive quality of the music. The third movement is minuet which is strictly the country dance type, with the trio being an Austrian Ländler, as rustic as can be desired, with stomping beat over a real oompah section!

It is interesting to see Matthew Rye, in his liner notes to Goodman's recordings of these symphonies, giving but a scant nod to all the previous, and singling out just the final movement for comment. Structurally, if you are into that sort of thing, this can be justified because this Finale is one of the earliest extant examples of sonata-rondo form, where the 'C' section of the rondo, instead of being just a statement of a different theme is in fact the development section of earlier material. And of course, this is a major thing, since sonata-rondo form was a mainstay for the next few decades. Listening to this finale, it seems to me like the ongoing quest which we have been tracing since the early 1760's, is finally reaching full bloom. The finale movement has now arrived at a point where it is more than holding its own in the delicate balance of distributing the weight of the work between front and back end. It must have been satisfying for him to look at this, if indeed the perceived quest was real to him, and not just a retrospective exercise for us!

Hob. I:78 in c

I	Vivace	3/4		c
II	Adagio	2/4		Eb
III	Menuetto: Allegretto - Trio	3/4		C
IV	Finale: Presto	2/4		c - Eb

An interesting aspect of this work which harks back to the question I posed at the beginning is this: Peter Brown, in his book The First Golden Age of the Viennese Symphony, one of my main guides for these works, presents me with an anomaly. For every symphony so far, which includes some pretty obscure works, Brown has presented an analysis; not always helpful to me, but at least it is to musicians. Yet at this point, 78 symphonies in, he suddenly offers nothing at all about #'s 76 & 77, finally coming back for #78 , but only to wade into a dense forest of technical jargon! Brown does tell us about the importance of this work because the key structures and basic forms were adopted by Mozart in his Piano Concerto #24, and Schubert used the finale as a model for the finale of his String Quartet D. 32. Not to forget Spohr, who once again may have modeled his 'double string quartet in d minor', Op 65, after it, or Joseph Kraus' famous c minor symphony which also may have been modeled after it. It seems a cottage industry developed from this one humble work!

Well, not exactly humble. It is a superb symphony, heavy on Baroque texture and tinged with Sturm und Drang drama without losing sight of my listening pleasure. The fugal opening does have a Baroque sound to it, serious, heavier texture than what we've been hearing, almost like his early symphonies. There is a constant switching back and forth between the c minor and its relative major, Eb. Overall though, the sound resembles nothing so much as a work which could have been from ten years earlier.

The intended audience, strolling in Vauxhall Gardens - 1785

The Adagio doesn't dwell on creating lovely melody, making it rather non-Haydnish in that way. Instead, the strings provide a lightly woven background in which the winds, especially the horns, provide an occasionally rather dense 'wall of sound'. Soloistic effects by the bassoons provide a different texture which contrasts and provides a dramatic effect which is quite effective. Resemblance to symphonies from the storm and stress years goes away with the minuet, though; no minor key minuet/major key trio here. It is major key throughout, with a curious rhythm in both the minuet and the trio. Heavily dominated by the winds, this is not like the two earlier minuets in the set, it is more like the Haydn we have come to know.

The finale is a rondo, alternating its episodes between major and minor. It seems to be, by turns, serious and jolly. One of Haydn's more popular little tricks shows up here too; stating a phrase, totally stopping, repeating… It always leaves the foot-tapping listener hanging for time!

My supposition in answer to my own question of earlier, is if someone writes 106 superb symphonies, how will all 106 float to the top? And of course, the answer is 'they won't'. However, before we come to yet another recording of the 'Paris' or 'London' symphonies, maybe some period instrument band with a sense of history will resurrect these three, and their three brothers from 1784, and give Haydnistos a fresh treat for the ears. It most certainly wouldn't harm their reputation to be the first on record!

Have a listen to these and see if you agree. Next time, some keyboard works will keep us amused,

Thanks for reading!

1782 – The Year Enlightenment Flourished

There are many constructs which have been created ex post facto to help those who came after to understand what history tells us. Apparently the need to give some context can only be realized by relating to now, totally disregarding the probability that 'now' will be 'then' someday!

One of my favorite examples is also one of my least favorite constructs and has been the subject of a rant or two in these pages in the past, although I certainly have no objection to taking another swipe at it now by way of illustration. This, of course, is Sturm und Drang, a legitimate literary movement, whose beginning 'officially' dates from the 1774 publication of Goethe's The Sorrows of Young Werther. Haydn's so-called Sturm und Drang period stretches from the symphonies of 1767-68 through the symphonies of 1772, including many aspects of the string quartets and other works written in that period. In other words, it was over for him by the time of Werther. Yet, even now one sees writing devoted to the culture of the late 18^th century, such as Melton's Musical Cultures in Haydn's Vienna from 2004, which still try to make this connection despite the incontrovertible law of physics which demonstrates that time is like an arrow which travels solely in one direction. *sigh*

Of course, this is far from the only term from the past which is commonly used today, without even a second thought as to its meaning or propriety. Ones which leap to mind in this context are 'Baroque', 'Romantic' and most especially 'Classical'. If one were to look into the traits which determine these styles, and then go and apply them to the music itself, suddenly lines will blur to the point of disappearing. What will remain is the clear continuum of the evolution of music since the end of the Renaissance. Of course, this subject comes up just now because at the beginning of this year Haydn 'invented the Classical Era' with his publication of the Opus 33 string quartets. It's true, look it up!

Sarcasm aside, there IS a construct which was not only universally (that is to say pan-European) recognized then, but is still legitimate in today's view of history. This is what is called in English The Age of Enlightenment, or more properly in French, Le Siècle des Lumières. In terms of forming our modern world, this is perhaps one of the most important cultural phenomena of all times. Modern science and philosophy as well as literature and music all find their early flourishing here. What I, as a simple, linear realist, find compelling and acceptable about this construct is that it was recognized and named by the people who were carrying it on, not by some down-the-road armchair ponderer. This painting by Lemonnier is a typical example of thousands of paintings of the time, I use it in particular because of the subject matter, a French salon during a reading of Voltaire's tragedy The Orphan of China. But the imagery, the strong beam of sunlight coming in from above and shining over the head of the reader onto the listeners beyond is one of the strongest and most compelling symbols illustrating Enlightenment!

So how does this relate to Haydn? Enlightenment is so intricately twined with music that it would take a book to fully explore it. Both directly and indirectly, the images which fueled enlightened thought and created the processes which allowed it to spread throughout Europe affected music every bit as much as every other art. It is no mere coincidence that Haydn's first symphony composed for the Esterházy Prince, his Symphony #6, Le Matin, opened with an unmistakable musical portrayal of a rising sun, the symbolic totem of the Enlightenment. This year we will see a Mass, one of his finest, which will also be his last one for 14 years, due to the Reforms of Emperor Joseph II, a monarch who governed with so-called Enlightened Absolutism. But in addition, the entire concept of chamber music as Haydn saw it and developed it; i.e. – as a conversation among intelligent friends, came directly from the salon, which, by both cause and effect is a child and/or parent of the Enlightenment.

Joseph II Habsburg - Enlightened Absolutist
by Joseph Hickel

Of course, Haydn had his duties this year. There were ninety documented opera performances by a half dozen composers, not least including himself with an entirely new opera, Orlando Paladino. We also will have three entirely new symphonies, a keyboard sonata and a wonderful little song, composed gratis for a young lady. We will also see our newly-coined entrepreneur hard at work.

I hope this little bit of history will inspire you to look further into this fascinating period in our own cultural ancestry. All the clichés concerning not knowing the past come up here, and there is sadly little expectation that the course of human events will be changed by knowing or not knowing what mistakes have been made and corrected (or not!) in the last three-hundred years, but neither does it harm anything to have ones' thought processes tempered somewhat by actual knowledge!

So we now see very clearly what a fork in the road the Haydn journey came to in 1779. It is as though Haydn now lived two lives. He certainly did the work of two men! But with his finest yet to come, he is proving once again that the value of genius can never be overestimated!

Next time we will look at the first installment of the sextet of symphonies which comprise one of the great oversights of the modern period instrument repertoire, the first symphonies destined for foreign lands.

Thanks for reading!

1781 – The Music part 3 - The Lieder in the Salon

Hob. #	Genre	Key	Tempo	Title - German	Title - English	Poet
26a:01	Lied	Bb	Adagio	Das strickende Mädchen	The Knitting Maiden	Sir Charles Sedley trans. J.G. Herder
26a:02	Lied	E	Allegretto	Cupido	Cupid	G. Leon
26a:03	Lied	Eb	Andante	Der erste Kuss	The First Kiss	J.G. Jacobi
26a:04	Lied	G	Allegretto	Eine sehr gewöhnliche Geschichte	An All-too-common Story	C.F. Weisse
26a:05	Lied	g	Adagio	Die Verlassene	The Abandoned Woman	L.L. Haschka
26a:06	Lied	A	Vivace	Der Gleichsinn	Indifference	G. Wither trans. J.J. Eschenburg
26a:07	Lied	Bb	Poco adagio	An Iris	To Iris	J.A. Weppen
26a:08	Lied	D	Allegro	An Thyrsis	To Thrysis	1st stanza: C.M. von Ziegler rest anon.
26a:09	Lied	f	Adagio	Trost unglücklicher Liebe	Comfort for Unhappy Love	Anonymous
26a:10	Lied	C	Allegro molto	Die Landlust	Country Pleasure	Stahl
26a:11	Lied	D	Adagio	Liebeslied	Love Song	Leon
26a:12	Lied	Eb	Allegretto	Die zu späte Ankunft der Mutter	The Mother's Belated Arrival	Weisse

 

[To ARTARIA & Co., VIENNA. German]

                        Estoras, 2nd May 1781.

Nobly born, Most highly respected Sir!

I am most obliged to you for the 4 copies, so beautifully engraved. Concerning the Lieder* I have completed 14 of the same with all possible diligence, and the number would have been completed long ago if I had had the texts of them; I cannot quite understand why Herr von Greiner** does not return them to me, since at one time they were in my hands. I only wanted his opinion as to the expression contained therein and sent them to him via Herr Walther the organ builder; but now receive no answer from either of them!

If you would be good enough to try to press the matter with Herr Walther, I should be most obliged to you, for I assure you that these Lieder perhaps surpass all my previous ones in variety, naturalness, and ease of vocal execution….

 *Artaria accepted the Lieder, which they published in two sets: the first in December 1781, the second three years later.

** FRANZ VON GREINER, a well-known music-lover in Vienna. His daughter, Caroline Pichler, wrote memoirs which are a useful source of information about contemporary Vienna. Mozart, Haydn, Salieri, Paisiello and Cimarosa were all friends of the house.

---

[To ARTARIA & Co., VIENNA. German]

                        Estoras, 23rd June 1781.

Nobly born, Most highly respected Sir!

I received with the greatest pleasure the oil-portrait together with the twelve you enclosed of the beautifully engraved portrait. My gracious Prince, however, was even more delighted, for as soon as his attention was drawn to it, he immediately asked me to give him one. Since these 12 copies are not enough I would ask you, good Sir, to send me another six at my expense. You can subtract the sum from my fee for the Lieder, six of which I shall send you in a few weeks. Fifteen are now finished, but among them is one which the strict censorship may perhaps not allow; it is one of those which you yourself gave me, and you shall have the words of it in a few days. I should be sorry about this, for I have composed a remarkably good air to it. To this day I have not received the other Lieder from Herr von Greiner; they are certainly lost. You would therefore oblige me if you would procure a dozen others from Herr von Greiner, but only good ones and varied, so that I may have a choice: for it often happens that a certain poem has a real antipathy to the composer, or the composer to the poem. Moreover, I agree to the stipulated price of one ducat apiece, but no one should know anything about this. Also I do not want any money until all the proofs have been passed…

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                                         [To ARTARIA & Co., VIENNA. German]

                        Estoras, 20th July 1781.

Nobly born, Most highly respected Sir!

I send you herewith the first 12 Lieder, and will endeavor to send you the second dozen, good Sir, as soon as possible: some of them are written twice over in case my handwriting should not always be entirely legible, but I would prefer that you engrave them from my autograph. In the third Lied, please note that following the completed text, at the bottom, the words "N.B." must be engraved in just the same way as I have indicated below the text. You will find the words of the 4th, 8th and 9th Lieder in Friebert's Lieder, as published by Herr von Kurzbock, but in case you cannot get them, I shall send them to you. These 3 Lieder have been set to music by Kapellmeister Hofmann, but between ourselves, miserably; and just because this braggart thinks that he alone has ascended the heights of Mount Parnassus, and tries to disgrace me every time with a certain high society I have composed these very three Lieder to show this would-be high society the difference: Sed hoc inter nos.

You will find the texts of the 10th and 12th Lieder among those you sent me, and I enclose herewith the texts. Under No. 12 you will find the text of which I recently expressed some doubt as to the censorship…

Above all I ask you to engrave the musical signs as I have written them….

I pray you especially, good Sir, not to let anyone copy, sing or in any way alter these Lieder before publication, because when they are ready, I shall sing them myself in the critical houses. By his presence and through the proper execution, the master must maintain his rights; these are only songs, but they are not the street songs of Hofmann, wherein neither ideas, expression nor, much less, melody appear.

---

I know in this day and age, it is a commonly held belief that the German Lied was invented by Franz Schubert, and when he died, he took the recipe with him. But this is one of those stories which has elements of truth but is totally wrong in its conclusion. Perhaps it is inevitable when a form peaks so early in its existence, as this one did, that this sort of thinking gets applied. Of course, Schubert neither began nor ended the Lied, and the Lieder of Schumann, Brahms, and Wolf, for example, are proof of its continued existence and well-being. I have never heard anyone argue, though, that their efforts equaled or surpassed Schubert's. But then, I have rarely heard anyone at all mention the Lieder which preceded Schubert's!

As I have mentioned here, more than a few times, the salon is a vitally important part of culture in Vienna. By this time it has been an established presence for only ten years or so, unlike the two hundred years which it had graced Paris. It's very existence is almost certainly due to the ascension of a woman, Maria Theresia, to the throne of Holy Roman Empress which made possible the major cultural shift it took to allow salons into the position which they now occupied. Why? Well, they were run by women; intelligent, socially influential women. Austria at the time didn't even allow women an identity apart from 'wife of…', so this was a big deal. Since one has to tell history in order to, umm, tell history, I must tell you the first Viennese salon was begun by a lady named Charlotte Greiner, who had been a lady-in-waiting at the court and who married a bureaucrat named Frans Sales von Greiner. They began a salon in 1773, and soon had attracted the cream of the Viennese and visiting intelligentsia to their door on a weekly basis. As Maria Theresia's 'reader', Charlotte had acquired a tremendous education in several languages, as well as the social skills which come with being a courtier. Her husband was wealthy, intelligent and also well-connected at court and in government in general. In short, they were the perfect couple to host an open-house party which lasted for the next thirty years and beyond! Much of the information we have about salon life comes from the autobiography of their daughter, Caroline Pichler, who grew up with Mozart and Haydn in her living room, and went on in the 19^th century to host cultural icons of the class of Beethoven and Grillparzer!

In reviewing Haydn's letters to Artaria above, we note the name of 'von Greiner' as the supplier of the verses used in the twelve (eventually twenty-four) Lieder in question. The Lied itself was a new phenomenon. It isn't just the literal translation 'song', there is a specific meaning to it, best translated or thought of as German Art Song. It isn't folk music, it is German poetry with (usually keyboard) accompaniment which does more than play a directional chord for the singer. The Greiner salon was Haydn's entrée into the literary world, something his education and experience until now hadn't prepared him for very well. Anybody who was anybody, as they say, was there regularly, and the opportunity to hear science theories, poetry, political essays, music and other cultural forms, presented by their originators, was as important and influential for him as it was for others to hear him and Mozart, for example, presenting their own music either personally or by proxy. Thus Haydn's statement to Artaria above, "I shall sing them myself in the critical houses". Let us not forget, Haydn was a great singer, trained at Stephansdom, and he never lost the ability; as we shall see, he would one day sing duets with the Queen of England!

In any case, the recently invented Lied was a staple of salon life, and Haydn was a contributor to the scene. The twelve of the present instance are not Schubertian, they lack the device which Schubert's genius contributed to the Lied; obbligato interweaving of the keyboard into the vocal line. However, they are far more than mere accompaniment of keyboard and voice. At first they may seem like mere accompaniment, but further listening will reveal a rich palette of expression and construction. They represent many moods, and even though the German critics of the time faulted him for using poetry which wasn't on par with his musical talent, clearly the music buying public during his lifetime didn't agree, as these were consistent bestsellers in the sheet music shops.

So once again we see the evils of comparing things from different times or places. Schubert didn't create his stupendous oeuvre of songs ex nihilo, he worked in a genre and for a market which had been developed by those who came before. And critics of Northern Germany, with a different perspective on poetry from talents such as Goethe, were not really in a suitable position to objectively criticize Austrian tastes, for this is what was actually going on. But the net result is the shrouding, to the point of ignoring, some marvelous music by composers which include not only Haydn, but Mozart and Beethoven too! I commend these works to you. These twelve can be had either alone, or in a set which includes the second volume. Take a chance!

Next time we will look at the year 1782. Our entrepreneur is just beginning!

Thanks for reading!

1781 – The Music part 2 - A new and special way...

Hob. #	Genre	Key	Opus	No. *	Instruments / Notes
3:37	Quartet	b	33 #1	31	2 Violins, Viola & Cello
3:38	Quartet	Eb	33 #2	30	2 Violins, Viola & Cello
3:39	Quartet	C	33 #3	32	2 Violins, Viola & Cello
3:40	Quartet	Bb	33 #4	34	2 Violins, Viola & Cello
3:41	Quartet	G	33 #5	29	2 Violins, Viola & Cello
3:42	Quartet	D	33 #6	33	2 Violins, Viola & Cello
				* = indicates probable order of composition

 

Title page to Artaria's Op 33 (courtesy James Boyd Editions)

[To J. C. LAVATER, ZURICH.*][German][Only the signature autograph]

Most learned Sir and Dearest Friend !

I love and happily read your works. As one reads, hears and relates, I am not without adroitness myself, since my name (as it were) is known and highly appreciated in every country. Therefore I take the liberty of asking you to do a small favor for me. Since I know that there are in Zurich and Winterthur many gentlemen amateurs and great connoisseurs and patrons of music, I shall not conceal from you the fact that I am issuing, by subscription, for the price of 6 ducats, a work, consisting of 6 Quartets for 2 violins, viola and violoncello concertante, correctly copied, and written in a new and special way. I haven't composed any for 10 years, I did not want to fail to offer these to the great patrons of music and the amateur gentlemen. Subscribers who live abroad will receive them before I print the works. Please don't take it amiss that I bother you with this request; if I should be fortunate enough to receive an answer containing your approval, I would most appreciate it, and remain,

Most learned Sir,
Your ever obedient

Josephus Haydn m.pr.
Fürst Estorhazischer
Capell Meister

Vienna, 3rd December 1781.

* Johann CASPAR LAVATER (1741-1801),a well-known Swiss writer, was one of the most talented and curious figures of the German-speaking Sturm und Drang literary movement. He was also a master the silhouette and developer of the science of physiognomy.

**********************************************************************************

[To PRINCE KRAFFT ERNST OETTINGEN-WALLERSTEIN,** WALLERSTEIN CASTLE (BAVARIA)][German][Only the end, from "humble . . ." to "Capell Meister" autograph]

Most Serene Highness,

Gracious Prince and Dread Lord!

As [you are] a great patron and connoisseur of music, I take the liberty of humbly offering Your Serene Highness my brand new á quadro [Quartets] for 2 violins, viola [and] violoncello concertante correctly copied, at a subscription price of 6 ducats. They are written in a new and special way, for I have not composed any for 10 years. The noble subscribers who live abroad will receive their copies before I issue them here. I beg for your favor, and a gracious acceptance of your offer, and remain ever,

In profound respect,
Your Serene Highness'
Humble and obedient

Josephus Haydn,

Fürst Estorhazischer
Capell Meister.

Vienna, 3rd December 1781

To be delivered to Prince Esterhazy's house in Vienna.

** PRINCE KRAFT ERNST OETTINGEN-WALLERSTEIN, one of Southern Germany's most ardent patrons of music, maintained a band of virtuoso musicians, including the composer Rosetti (for some years Kapellmeister). In the following years the Prince became more and more enamored of Haydn's music: see correspondence up to 1789.

(from H.C. Robbins-Landon Collected Correspondence & London Notebooks of Joseph Haydn)

The entrepreneur, hard at work! We don't know exactly how many of these letters were sent out on December 3, 1781, but estimates range from ten to twenty, with only three still surviving. What is not discussed in reference to these is whether this was a common practice in those times, or if Haydn actually invented what we term today 'junk mail'! I rather suspect it was fairly common to sell manuscripts by subscription this way; how else would music get distributed far and wide, as it surely was? Even so, it seems Artaria was completely unaware of Haydn's side business, since they unknowingly tossed a spanner in the works only three weeks later (the referenced advert seems to have been published 12/29):

[To ARTARIA & Co., VIENNA. German]

Estoras, 4th January 1782.

Monsieur!

To my astonishment I read in the Vienna Diario that you intend to publish my Quartets in 4 weeks; I wish you had shown sufficient consideration for me to delay the announcement till I had left Vienna: such a proceeding places me in a most dishonorable position and is very damaging; it is a most usurious step on your part. At least you could have waited with the announcement until the whole opus was completed for I have not yet satisfied all my subscribers: Mons. Hummel also wanted to be a subscriber, but I did not want to behave so shabbily and I did not want to send them to Berlin wholly out of regard for our friendship and further transactions; and by God! You have damaged me to the extent of more than 50 ducats, since I have not yet satisfied many of the subscribers, and cannot possibly send copies to many of those living abroad: this step must cause the cessation of all further transactions between us. … &c.

Your obedient servant,

Josephus Haydn

(from H.C. Robbins-Landon Ibid.)

Oops. Well, in the event, of course, they kissed and made up. Haydn sent an apology letter two weeks later. I think it is interesting to see how, despite his obvious anger with Artaria, he still signed off 'Your obedient servant'; mustn't let anger carry things too far!

The 'Russian' Quartets proved to be lastingly popular, once they finally hit the streets. They got this one of their three nicknames from an early (not first!) edition dedication to Grand Duke Paul (later Czar Paul) of Russia who was on an extended tour of Europe with his wife, Maria Fyodorovna. It was quite an interesting trip for them from a musical standpoint; Maria took keyboard lessons from Haydn while they were there, and they threw a private party on Christmas Day at which one or some of the new Opus 33 quartets was played. Thus the eventual dedication. But that's not all; on Christmas Eve, Emperor Joseph II, in recognition of the talents of two current residents of Vienna, Muzio Clementi and Wolfgang Mozart, decided to set up a keyboard duel between the two. It is important to note that he did not inform either Clementi nor Mozart about the duel. He invited the Grand Duke Paul and Maria Fyodorovna, and other royal leaders to witness the spectacle. When people started pouring in, the two composers realized what was happening. The famous 'piano duel' which ensued is still discussed today among Mozartians, and Clementians too, for that matter. What is of more interest is recent speculation that this is where Haydn and Mozart first met. It would certainly have given Mozart a great opportunity to make a first impression on his older, well-established contemporary. We will likely revisit this idea again when the very close relationship between the two becomes the thème du jour.

The other two nicknames are the 'Maiden Quartets' and the 'Gli scherzi' quartets. Hummel's first edition title page (above, right) should explain the 'Maiden' designation. Gli scherzi means 'the jokes', which specifically refers to another innovation of this set: the dance movements aren't minuets, they are scherzos; jokes. Today, the name 'Joke Quartet' is applied specifically to Op 33 #2 in Eb, but really, one thing which is shared by all of these works is a lighthearted (but not lightweight!) attitude.

Hob. #	Key	Opus	No.		Hob. #	Key	Opus	No.
3:37	b	33 #1	31		3:40	Bb	33 #4	34
1. Allegro moderato		4/4			1. Allegro moderato	4/4
2. Scherzo: Allegro di molto		3/4			2. Scherzo: Allegretto	3/4
3. Andante		6/8	D major		3. Largo	3/4	Eb major
4. Finale: Presto		2/4			4. Finale: Presto	2/4
Hob. #	Key	Opus	No.		Hob. #	Key	Opus	No.
3:38	Eb	33 #2	30		3:41	G	33 #5	29
1. Allegro moderato		4/4			1. Vivace assai	2/4
2. Scherzo: Allegro		3/4			2. Largo e cantabile	4/4	g minor
3. Largo		3/4	Bb major		3. Scherzo: Allegro	3/4
4. Presto		6/8			4. Finale: Allegretto	6/8
Hob. #	Key	Opus	No.		Hob. #	Key	Opus	No.
3:39	C	33 #3	32		3:42	D	33 #6	33
1. Allegro moderato		4/4			1. Vivace assai	6/8
2. Scherzo: Allegretto		3/4			2. Andante	4/4	d minor
3. Adagio ma non troppo		3/4	F major		3. Scherzo: Allegretto	3/4
4. Finale: Rondo: Presto		2/4			4. Finale: Allegretto	2/4

Collectively, what do we get with Opus 33? Haydn wasn't much of a talker about his reasons for doing things, he didn't keep journals; in short, he didn't feel a need to explain himself. So if he said something like 'written in a new and special way', it is likely he meant something by it, more than just a sales pitch. So, what do we get with Opus 33 which we didn't have before?

If we look back on Haydn's previous opera, such things as independent texture had already been introduced with Opus 9, and expanded and improved upon in the successive efforts, 17 and 20. The first violin carries much of the burden in Opus 9 (and even in 1 and 2, perhaps more so), but in each opus thereafter, the other instruments shoulder more of the burden, right up to Opus 20 which can be fairly said to have a true 'quartet' texture, if we will assume this means each instrument having an equal voice. This can take different forms, such as counterpoint, in which each instrument plays different melodic lines. A fugue is a good example of this. But there are also places where each instrument is playing a different rhythmic pattern, and this is independence too. There are also many examples of instruments exchanging roles in the texture when they are playing homophonically, so that the melody is passed to a different instrument and the first drops back into the accompaniment. This is a feature of Opus 20. In the opening of #2, the cello alternates being the bass with the viola, while at the same time alternating being the lead with the first violin. There are also places where Haydn uses both of these methods at the same time, adding a bit of counterpoint among the accompanying instruments while the two instruments sharing the lead are busy with that.

It is then fair to say the texture puzzle had been solved by now. So what does Opus 33 bring to the table? Perhaps the main thing is that all of the movements are well-balanced now, and in a complementary sequence. For a man who is, in retrospect, most masterful in slow movements, his quartet ones haven't really impressed up until now, often being just a simple melody-plus-accompaniment sort of texture. But in Opus 33, the textures change over the course of the movement and are more complex, not dwelling on just the first violin. Another difficult area was finales. Even though the fugal finales of Opus 20 were novel and interesting, they were really proof of the problem. It is damned difficult to write a finale which complements the opening movement without imitating it. You can hear how Haydn solved this problem, by making the finale simpler in texture and more regular in phrasing, but with more emphasis on soloistic passages for each instrument.

There are a variety of other 'new and special ways' employed throughout. Lots of little details and changes of pattern, sections of tonal instability like he uses in symphonies, like using different inversion chords (the same way he started out Symphony 73 this year). Overall, though, the most obvious changes don't require a practiced ear to pick out. The tone throughout is lighter and more 'popular', and there are more folk-like themes, which were nearly absent from Opp. 9, 17 & 20. More than anything, they seem to follow the trend of the recent symphonies in appealing to far more people than merely the Kenner. But they don't abandon art, they merely conceal it behind apparent simplicity.

It is important when looking at Haydn's works, whether it is sonatas, symphonies or anything in between, to not dwell too much on any one stop on the road, but to look at the entire continuum and how growth is maintained from beginning to end. We have spoken before about the tool-bench aspect of the string quartets; here we see yet another place where little problems are worked out, always to our advantage!

Next time, we'll sit at the keyboard and sing a little. I need to brush up my German…

Thanks for reading!