1790; one of the most momentous years in Haydn's life! A fairly portentous statement, but as you will see, not at all hard to justify.
As years go, this began like just any other in the long list which was Haydn's 'normal'. December, 1789, saw him still in Eszterháza, where the opera season didn't wrap up until December 6 (Nicholas' Name Day). Landon states that the recently reviewed works for musical clock were assembled for Niemecz in December, which must be based on the dated autograph of #16, as we saw. Some works for 1790, which were discussed in 1789, such as the three trios for Fortepiano, Flute & Cello for John Bland, were certainly greatly advanced in this time too. It is not until December 30 when we finally see Haydn making his way to Vienna for the remainder of the Holiday season.
By all accounts, and knowing what we do of Haydn's wants and needs at this point in his life, January, 1790 may have been the happiest, or most contented might be more accurate, month of his adult life. Although Haydn had many friends or acquaintances, some of whom surely occupied his time this month, we will mainly look here at the two major ones.
Haydn had never heard Le Nozze di Figaro; he was in Eszterháza in 1786 when it played in Vienna. But finally, the Prince asked for it to be performed this season. For those who don't know the entire Figaro story, Beaumarchais' play is actually a trilogy, of which 'The Crazy Day' is just the central piece. Part One of this giant work is the equally famous The Barber of Seville, in which we first meet Figaro, and witness the courtship of the Count and Countess Almaviva. This opening part, too, had been composed into an opera by one of the Prince's favorite opera composers, Giovanni Paisiello, in 1782. The Prince and Haydn clearly intended to stage these two famous operas back-to-back sometime during the year, something which is completely novel as far as can be documented. Il barbiere… had already been performed in Vienna as early as 1783 when it was only a year old, and printed libretti were readily available there, they are already on hand. Now it was time for some research on the Mozart version. A score was purchased and sent to Eszterháza, where we will see it in August. But the highlight of the business had to be seeing the opera itself twice. On January 8 and February 1, almost certainly in the company of the composer! If you were doing research on a composition by your best friend, what better way than to see it in his company? Another thought which occurs to me here; if events hadn't taken the turn which they will do soon, would Mozart & Family have been guests of the Prince in Eszterháza for the première? We will never know, but given Haydn's skillful way of manipulating Nicholas, I think we can safely surmise a positive.
We have already seen Michael Puchberg mentioned in Mozart's letters; fellow Freemason and financial savior of the Mozart's during hard times. But here is a different look at his role in Mozart's life, and also his relationship to Haydn:
[W.A. MOZART to MICHAEL PUCHBERG, VIENNA in German]
20th January, 1790
…[snip] if you can and would trust me with another 100fl. I would very much be your debtor….
Tomorrow is the first orchestral rehearsal in the theater - (NB - of Così fan tutte) Haydn will go with me – if your affairs allow it, and if you perhaps would like to attend the rehearsal, you need only to have the goodness to come to me tomorrow morning at 10 o'clock, and we will all go together.
Your Most sincere friend,
W.A. Mozart
These rehearsals are thought to be not the first time Haydn has heard this music, since Mozart also had played through it all in his own apartment on the fortepiano for him earlier. There were three performances of Così… in January while Haydn was still in Vienna (on the 26th, 28th & 30th) and he almost certainly attended one or more. Until November of this same year, this busy January would be the most extensive contact which these two had an opportunity to enjoy.
But the generous amount of time with his friend Mozart was not the only thing occupying Haydn this January. Last year we met a new character in the cast of Haydn's life. Maria Anna Genzinger, wife of the Prince's doctor, mother of five, ardent and capable amateur musician and big Haydn fan, introduced herself to Haydn and us in June last, when she sent Haydn a piano reduction she had made from one of his symphony scores. Never one to turn away from a lady, Haydn allowed the relationship to develop until, by the New Year, he became a regular house guest in a very amenable situation. As we will see, this relationship, although platonic, provided Haydn with exactly what he needed at this time, something which neither the nearly forgotten Mrs. Haydn nor the seemingly one-dimensional Polzelli was able to do. He spent many days being cheerfully adored by the Genzingers, plied with all sorts of delightful tasty treats, intelligent conversation, music; in short, all the things which were lacking in his marriage and relationships which a man who worked virtually every day of the year must have scarcely had time to realize he was missing!
[To MARIA ANNA GENZINGER, VIENNA in German]
Dear, kind Frau von Gennzinger! [sic]
This is to tell your Grace that all the arrangements for the little quartet party we agreed to have this coming Friday are completed. Herr von Haring* considered himself fortunate to be able to assist me on this occasion, the more so when I told him of the attention and all the other kind favors I had received from Your Grace. Now I hope only to receive a small measure of approbation. Your Grace shouldn't forget to invite the Pater Professor**.
Meanwhile I kiss your hands and am, most respectfully,
Your Grace's sincere and most obedient servant,
Josephus Haydn.
From my home, 23rd January 1790.
*JOHANN BAPTIST VON HARING (or possibly HERRING), a Viennese banker whose violin playing was highly esteemed.
** From the neighboring Scottish monastery
This party probably played Haydn's newly published Opp. 54/55 quartets, or possibly even Mozart's brand new K 575 string quartet and/or the newly completed Clarinet Quintet, K 581. Another 'wish I had been there' moment!
This sort of social activity, so near and dear to Haydn's heart, was what he needed to help him to get over the feelings of isolation which had been plaguing him for the last few years. This remoteness, which was once something to shrug off and soldier on about, had in recent years become more of a burden for him. We will see more of this very soon!
Just being on holiday in Vienna doesn't mean there was no business to attend. Acquiring operatic works was part of it, but for Haydn & Co., there was also business as usual:
[To ARTARIA & Co., VIENNA in German]
From my home, 11th January 1790.
Nobly born, Most highly respected Sir !
I had hoped, in vain, to see you here before yesterday morning, so that I could show you various pieces of music; but you won't have been able to come because of your many affairs. This is to inform you that this very day I received a letter from Mon. Bland in London, wherein he asks me for pianoforte Sonatas with accompaniment of a violin and violoncello. But this time I give you the preference and so I herewith inform you that you can have the first Sonata from me any time, the 2nd in a fortnight, and the third by the end of carnival time each, as usual, for 10 ducats. Will you be good enough to let me have your decision by tomorrow morning? A couple of lines will do. But in order to cancel my debt to you, you must also accept the 12 new and most splendid Minuets with 12 Trios, for 12 ducats.
Hoping to receive the favor of your reply,
I am, Sir, most respectfully,
Your wholly obedient servant,Josephus Haydn.
It is not quite clear which three Trios are meant here: either No. 14 in Ab and the first two flute trios, (likely) or all three flute trios. Since Artaria didn't publish the third flute trio for two more years, it is unlikely to have been all three. Artaria did not publish the dances.
There is no way to know what, exactly, spurred the Prince on to do whatever he wished to do. Notice wasn't required, simply obedience. So now, 3rd February, we see this:
[To MARIA ANNA VON GENZINGER, VIENNA in German]
Noble and kindest Frau von Gennzinger! [sic]
I was most flattered to receive yesterday Your Grace's most recent invitation that I should spend the evening with you today, but painful as it is, I must tell you that I cannot even thank you personally for all the kind favors I have received from you; I regret this very much, and from the bottom of my heart I wish you, not only tonight but for ever and ever, the most agreeable and happy of gatherings.
Mine are over, [for] tomorrow I return to dreary solitude. May God only grant me good health, but I fear the contrary, for I am far from well today.
God bless your Grace your dear husband and all your sweet children. I kiss your hands once more and am as always, now and my whole life
Your Grace's obedient servant,
Joseph Haydn.
From my home, 3rd February 1790.
So, back to Hungary. This letter which follows now is one of the more analyzed non-musical items ever to come from Haydn's inkwell. I feel I must print it in its entirety, if only to give the full flavor of its sentiment. Some feel it is tongue-in-cheek, others that it is absolutely serious. Is it poured from the heart or wryly ironic? I think it is a bit of both, although I know the future from this point while Haydn sees no end to his servitude. He alone knows the huge debt which he owes Nicholas, something which 19th century commentators seemed to have little grasp of. His personal integrity would never let him consider the thought of going back on his commitment. However, let it not be said he choked it down easily!
[To MARIA ANNA VON GENZINGER, VIENNA in German]
Nobly born, Most highly respected and kindest Frau von Gennzinger, [sic]
Well, here I sit in my wilderness forsaken like a poor waif almost without any human society, melancholy, full of the memories of past glorious days yes! Past alas! and who knows when these days shall return again? Those wonderful parties? Where the whole circle is one heart, one soul all these beautiful musical evenings which can only be remembered, and not described where are all these enthusiastic moments? All gone and gone for a long time. Your Grace mustn't be surprised that I haven't written up to now to thank you. I found everything at home in confusion, and for 3 days I didn't know if I was Capell-master or Capell-servant. Nothing could console me, my whole house was in confusion, my pianoforte, which I usually love so much was perverse and disobedient, it irritated rather than calmed me, I could only sleep very little, even my dreams persecuted me; and then, just when I was happily dreaming that I was listening to the opera, Le Nozze di Figaro, that horrible North wind woke me and almost blew my nightcap off my head; I lost 20 lbs. in weight in 3 days, for the good Viennese food I had in me disappeared on the journey; alas! alas! I thought to myself as I was eating in the mess here, instead of that delicious slice of beef, a chunk of a cow 50 years old; instead of a ragout with little dumplings, an old sheep with carrots; instead of a Bohemian pheasant, a leathery joint; instead of those fine and delicate oranges, a Dschabl or so-called gross Sallat [sic] [a salad]; instead of pastry, dry apple-fritters and hazelnuts and that's what I have to eat. Alas! alas! I thought to myself, if I could only have a little bit of what I couldn't eat up in Vienna. Here in Estoras no one asks me: Would you like some chocolate, with milk or without? Will you take some coffee, black, or with cream? What may I offer you, my dear Haydn? Would you like a vanilla or a pine-apple ice? If I only had a good piece of Parmesan cheese, especially in Lent, so that I could more easily swallow those black dumplings and noodles; just today I told our porter here to send me a couple of pounds.
Forgive me, kindest and most gracious lady, for filling the very first letter with such stupid nonsense, and for killing time with such a wretched scrawl, but you must forgive a man whom the Viennese terribly spoiled. I am gradually getting used to country life, however, and yesterday I studied for the first time, and [felt] quite Haydnish, too. Your Grace will certainly have been more industrious than I. The pleasing Adagio from the Quartet has, I hope, by now received its true expression from your fair fingers. My good friend Fraulein Peperl* will (I hope) be reminded of her teacher by singing the Cantata** frequently; she should remember to have a distinct articulation and a correct vocal production, for it would be a crime if so beautiful a voice were to remain hidden in her breast; so therefore I ask her to smile frequently, lest I be disappointed in her. Likewise I advise Mons. Francois* to cultivate his musical talents; even when he sings in his dressing-gown, he does very nicely. I shall often send him some new things to encourage him. Meanwhile I again kiss your hands for all your kind favors, and am, as always, most respectfully, Your Grace's most sincere and wholly obedient servant,
Josephus Haydn.
Estoras, 9th February 1790.
*PEPERL (JOSEPHA) and FRANCOIS (FRANZ), then sixteen and fifteen, the eldest children of Maria Anna.
** Arianna a Naxos
1790 turns out to be such an eventful year for Haydn, and the whole Esterházy clan, that rather than try to cover the entire year at once, I felt as though this snapshot, which begins things in such a delightful way for Haydn, was in order for now. Next time, we will take a look at the next series of events, sure to startle you in their stark, 18th century abruptness!
Thanks for reading!