A modern Stations of the Cross Procession in Cádiz
It is always a disappointment when some major event happens in Haydn's life, and there is no documentation of it, except for some much later reminiscences. I always feel as though if I just knew what was said, I would have a much better grip on the situation. This is one of those years and events; Haydn received a commission (most likely in 1785) from Don José Sáenz de Santa María, a priest in Cádiz, Spain, who had caused an Oratory, El Oratorio de la Santa Cueva, to be constructed there and wanted an appropriately magnificent piece of music to go in it. As Haydn recalled in 1801, at the time of publication of the later, oratorio version;
Some fifteen years ago I was requested by a canon [priest] of Cádiz to compose instrumental music on the Seven Last Words of Our Savior on the Cross. It was customary at the Cathedral of Cádiz to produce an oratorio every year during Lent, the effect of the performance being not a little enhanced by the following circumstances. The walls, windows, and pillars of the church were hung with black cloth, and only one large lamp hanging from the center of the roof broke the solemn darkness. At midday, the doors were closed and the ceremony began. After a short service the bishop ascended the pulpit, pronounced the first of the seven words (or sentences) and delivered a discourse thereon. This ended, he left the pulpit and fell to his knees before the altar. The interval was filled by music. The bishop then in like manner pronounced the second word, then the third, and so on, the orchestra following on the conclusion of each discourse. My composition was subject to these conditions, and it was no easy task to compose seven adagios lasting ten minutes each, and to succeed one another without fatiguing the listeners; indeed, I found it quite impossible to confine myself to the appointed limits.
Difficult it may have been, but not to the point where he didn't succeed. And in fact, he exceeded all expectations, probably even his own. Up to the time of The Creation, this was Haydn's most famous work, performed in Christian churches throughout Europe and beyond.
1786 was more than The Seven Last Words, though.
It was the year which set a record at the Opera House. Fully one hundred twenty-five performances were registered, as well as a marionette opera. This phenomenal average of more than three operas a week, all prepared and conducted by Haydn, with the small staff consisting of Nunziato Porta (General Manager) and Pietro Travaglia (scenery and machinery), is an amazing accomplishment in and of itself. Here are some of the new works they tackled this year:
Alsinda by Niccolò Zingarelli – an opera seria. 13 performances, plus it was also given as a marionette opera at some point.
La ballerina amante – Domenico Cimarosa – a dramma giocoso - 6 performances
Chi dell'altrui si veste presto si spoglia – Domenico Cimarosa – a dramma giocoso – 3 performances
Ifigenia in Tauride – Tommaso Traetta – opera seria – 3 performances
L'albergatrice vivace – Luigi Caruso - dramma giocoso – 8 performances
L'incontro inaspettato – Vincenzo Righini – opera buffo – 3 performances
Idalide – Giuseppe Sarti – an opera seria – 6 performances
I due baroni di rocca azzurra – Domenico Cimarosa – dramma giocoso – 3 performances, including Nicholas' Name Day.
So, forty-five performances of new works for the year, and an additional eighty of works from the previous years. This is an impressive amount of opera for a house of any size! It also represents the peak of the Eszterháza Opera House. Given the recent mention of a swing in taste represented by the Prince, as well as by Haydn, towards serious opera, note the relative numbers of serious vs. comic operas in the new works; three vs. five, or nearly half. And only a few years previously, there were no serious operas at all!
A replacement aria for Barbara Ripamonti, Sono alcina, for the character 'Lesbia' in L'isola di Alcina by Giuseppe Gazzaniga, not a new opera but one from the archives, which still needed a bit of work to make it singable by the current cast. It is another example of the hundreds of little changes which Haydn made every year, even in works which one would have considered complete.
Along the same lines, we see an Italian Cantata, recitative and aria for soprano with orchestra. For people outside of Eszterháza, who never saw a Haydn opera, works like this were the only intimation of Haydn's abilities for vocal writing. There were actually two cantatas this year. Frederick the Great died at Sans-Souci, and Haydn composed a commemorative cantata which was played by his old friend, Carl Franz. Called Deutschland's Klage auf den Tod des grossen Friedrichs (Germany's Lament on the Death of Frederick the Great), it is a duet for Soprano and Baryton, and for many years only the singer's part remained. Apparently the accompaniment has finally been found, since within the last year it has been released on CD, although not yet in the USA. No matter, I shall have it soon.
The second cantata, Miseri noi, is probably on the largest scale of any scena he composed during this time. He took it to England with him in 1791, and there, added another flute part to enrich the sound even more. We will look at this piece this year, but for now, I wonder why, if it is, as Landon calls it, Haydn's 'most important piece in this genre', it is virtually unknown! We shall have to drop a line to Classic FM about this.
Another entertainment which continued on, nearly equaling the opera in its frequency and complexity, is the dramatic troupe, which by now included such musical requirements as a ballet troupe and singers who actually could double at the opera house when needed. The Diwald Troupe, which had been in Eszterháza for seven years through 1785, was replaced in 1786 by the troupe led by Johann Mayer. Mayer's contract extended from Easter to the end of the year 1786, and included "performance of plays, ballets, German operettas and a puppet opera". The ballet troupe included eight members of the total eighteen in the company. I greatly enjoyed reading about the repertoire of the Wahr company in 1775 while researching the year; it is a pity a similar listing for the Mayer's hasn't survived. We can only imagine to what extent Haydn was involved, but one doesn't stage ballet, operetta and puppet opera without music, and so it is likely another long list of duties for Haydn is added to the hundred twenty-five operas for the year!
Finally, we will see a lovely Adagio in F for Fortepiano, originally composed in this year, but later used, heavily modified, as the inner movement of Sonata #60 (Hob 16:50).
Oh yes, almost forgot; the 'Paris' symphonies! The final three of the set which became the basis for Haydn's lasting fame, and one of the underpinnings of both Classical Style and symphony-as-concert-centerpiece, two pieces of Haydn's legacy which exist even today.
So, a big year is here. Seems like they all are, lately…
Thanks for reading!