One of the interesting aspects of how England thought of Haydn is well illuminated in the expectations which opened up 1793. While 60 may be the new 40 in 2016, in 1793 Haydn would have been considered to have reached a venerable old age, deserving of a comfortable retirement. You wouldn't have known it from reading the 'papers though.
Not that Haydn didn't bring it on himself, of course. When he left London circa July 1, 1792, it was with the understanding he would be back in January for next season. And as we have seen with Beethoven's expectations of Albion, he seemingly had every intention of doing just that.
1 January, 1793 Morning Post
Notice of 'Winter Musicals'
…. Salomon is resolved to make a bold stand against all opposition. He is to have, in addition to Mara and Haydn, the celebrated Viotti, supposed to be the first Violin in the World. He also expects a great addition to his band, in several of the most approved Performers on the Continent.
11 January, 1793 Morning Chronicle
Mr. SALOMON's CONCERT,
Hanover Square
Mr. Salomon respectfully acquaints the Nobility and Gentry, that his First Concert will be on Thursday the 7th of February next, to continue on successive Thursday (Passion Week excepted).)
Composer Mr. Haydn, who, not withstanding a very severe indisposition, will (Mr. Salomon trusts, from the very pressing letters he has written him to entreat his attendance), fulfill his engagement by assisting at the Harpsichord (later changed to Piano Forte), as soon as there is a possibility of his undertaking the journey (added later, "his place will be filled by Mr. Clementi").
17 January, The Diary or Woodfall's Register
Haydn, the great composer is prevented from visiting this country as early as he expected, by a polypus in his nose, on account of which he had been obliged to undergo a painful operation, but without the desired success.
Of the probable reasons why Haydn would have failed to show up in London for a commitment which was very near and dear to him, there are only two which are really credible. We have already done our lesson on the current status of France v. Europe, and by late December, things were even worse than they had been just a few months before. Even if Haydn was the sort (and there is no evidence he was) to throw caution to the winds, he was not really able to simply pick up and go without permission of Prince Anton Esterházy, who most certainly was not that sort. No one was better informed of the situation nor more aware of the implications than a high-ranking member of the aristocracy will have been. As we will see very shortly, things were very dire indeed.
The second reason is far more practical: when Haydn came home, we discussed the fact he had almost no music to publish. Certainly nothing which hadn't been heard already in London. Clearly it wouldn't do to arrive with an empty portfolio. But he also had obligations to maintain in October through December of 1792, as we saw, so he couldn't simply lock himself up in his room with his clavier and some paper and knock out a few symphonies and quartets. Besides all of that, as he said several times in early 1792, he couldn't wait to get home so he could get some rest. And why not? He had just spent two years in perpetuum mobile.
We already know how the death of his best friend, Mozart, in December of 1791, affected Haydn. On 20 January 1793, he was struck yet again with a completely surprising and affecting passing: Marianne Genzinger, only thirty-eight years old and in seeming good health, suddenly died. The apparent cause of death was 'lung ulcers', which in modern terms would be caused by either pneumonia or lung cancer. Here is Haydn's last letter to her, dated in November last:
[To MARIA ANNA VON GENZINGER, VIENNA. German]
Gracious Lady !
Apart from wishing you Good Morning, this is to ask you to give the bearer of this letter the final big Aria in F minor from my opera, because I must have it copied for my Princess. I will bring it back to you myself in 2 days at the latest. Today I take the liberty of inviting myself for lunch, when I shall have the opportunity of kissing Your Grace's hands in return. Meanwhile I am, as always,
Y[our] G[race]'s most obedient servant,
Joseph Haydn.
[Vienna:] From my home, 13th November 1792.
[Address:] Madame Noble de Gennzinger, a Son Logis
When it comes time to discuss the great haul of music from this year, we will talk more about one of Haydn's greatest works for keyboard, the Andante con variazioni in f minor, which he called, perhaps ironically, Un piccolo Divertimento. The great, sad theme comes from this very work he was asking Marianne for, a phrase from that final aria, Perduto un' altra volta, in which the inconsolable Orpheus, having lost his Eurydice, yearns for death. Is it any wonder that modern musicologists believe Haydn secretly wrote this work to help soothe his heart after Genzinger's death? Many people noted a change in his demeanor after this time, too. The jolliness seemed gone, to be replaced by a rather acerbic shortness with things foolish, something which Mozart or Genzinger would have never recognized in him.
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That the English were well aware of the perils of travel on the continent at this time is apparent from drawings such as this one from a London newspaper, depicting the execution of Louis XVI |
The very next day, although Vienna didn't find it out for some time, the event which had been building for years now finally arrived. Louis XVI arrived in the Place de la Révolution for his tête-à-tête with Madame la Guillotine. It is difficult to imagine a time of greater political uncertainty, especially since the French Revolutionary Army was still at war with the Habsburgs along the Rhine. The atmosphere in Vienna continued in denial, but there is no doubt that as the Redoutensaal band played on, Western Europe was being changed forever. This was a war which would last until The Congress of Vienna in 1815! The Morning Post article at the beginning, which talks about the presence of Viotti and the expectation of "a great addition to his band, in several of the most approved Performers on the Continent" is most certainly based on England's knowledge of the goings-on across the Channel.
By now, with all that was happening, it had become clear to Haydn that he wasn't going to be traveling to England this year. So began the twofold agenda which occupied him for the remainder of 1793, getting some of his London music published locally, and preparing the next great batch to take with him when he finally went in 1794. All the while, of course, looking after his obligations to Beethoven, young Polzelli (and his nagging Mama), and the Prince, and establishing a permanent base in Vienna. No small task list, even for a man half his age.
15 March saw, finally, the introduction of some of his London music to the Viennese, with himself at the helm. He had already had his personal copyist, Ellsler, make copies of symphonies 93 & 96-98 for Kraft Ernst Oettingen-Wallerstein, interestingly with the fine little keyboard solo omitted from #98. Another indication, to me, that no one led from the keyboard in Vienna so there was no keyboard. And he now hired the Small Redoutensaal in which to hold a private Akademie with the tickets (either 400 or 600? Depends who you ask) selling out at a ducat apiece. Unlike in London, we have little idea which works were played, there were three of the four symphonies listed above, although we don't know which, and there were some vocal numbers, since he hired a soprano and a tenor who were currently starring at the opera. The seemingly eternal Count Zinzendorf, the very same who filled us in on the happenings of 1763, was there, and apparently approved ("Good time", he ended laconically). No newspaper reviews, of course. If it weren't for a diary and a letter, we wouldn't even know it happened. In addition to this, Haydn also conducted a performance for Von Swieten's group of Mozart's adaptation of Handel's Alexander's Feast (KV 591), along with an unnamed new choral number by himself. Most probably The Storm had already become Der Sturm.
May brought the opportunity Haydn needed to finally get some work done. He packed up his apprentice and they went off to Eisenstadt for the summer. While there, Haydn composed the six string quartets of Opp. 71/74, and continued with Beethoven's lessons. Beethoven, meanwhile, spent the time studying and practicing, playing for the Esterházy family, and watching Haydn's composition processes. Even though the formal instruction isn't documented beyond a few counterpoint lessons, the inestimable value of having worked along with Haydn to prepare for the March concerts, followed by the 'workshop' time was probably where the true value of his time with Haydn paid off.
The Polzelli affair winds down, twisting slowly in the wind. Her main interest seems to be 'send me money, Giuseppe', but the interesting part of the letter shows up nearer the end, where Haydn discusses the upcoming trip to England for next year. His comment about "that depends mainly on whether the battleground changes;" most seemingly refers to why he didn't go this year as planned. He never did make it to Italy, despite all the reasons and opportunities that came his way.
[To LUIGIA POLZELLI, BOLOGNA. Italian. "Tu" form]
Eisenstadt, 20th June '793.
Dear Polzelli !
I hope that you will have received the two hundred florins [Gulden] which I sent … and perhaps also the other hundred, a total of 300 florins; I wish I were able to send more, but my income is not large enough to permit it. … Remember how much your son costs me, and how much he will cost me until such a day as he is able to earn his own daily bread. Remember that I cannot work so hard as I have been able to do in the years past, for I am getting old and my memory is gradually getting less reliable… and that I don't have any other salary except the pension of my Prince Nicolas Esterházy (God rest his soul), and that this pension is barely sufficient to keep body and soul together, particularly in these critical times… [snip]
At present I am alone with your son in Eisenstadt, and I shall stay here for a little while to get some fresh air and have a little rest. You will receive a letter from your son along with mine; he is in good health, and kisses your hand for the watch. I shall stay in Vienna until the end of September, and then I intend to take a trip with your son, and perhaps to go to England again for a year; but that depends mainly on whether the battleground changes; if it doesn't, I shall go somewhere else, and perhaps I shall see you in Naples. My wife is still sick most of the time, and is always in a foul humor, but I don't really care any more, after all, this woe will pass away one day. …[snip]
I kiss you, and am your most sincere
Giuseppe Haydn.
[Address:] Madame Loise Polzelli
Virtuosa di Musica
in Ferma in posta. Bologna en Italie.
It would be a few years yet before "this woe will pass away" came to fruition, but in the meantime, Haydn remembered her letter to him in England, asking for funding for a little house in Gumpendorf. As Haydn later told Dies, she asked for the money to buy a house where she could live out her widowhood. Such a tactful lady! But as he told Dies, the tables were turned on her when she died a just a few years later, and HE ended up living out his old age there!
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Haydn's 'little house' in Gumpendorf, pictured ca 1840. There were no neighboring houses at the time, and one can see a glimpse of the little garden in the back where he spent many happy days. |
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[To THE VIENNA CITY MAGISTRACY. German (unknown hand]
To the worthy Magistracy of the Imperial and Royal capital city of Vienna :
The undersigned is thinking of slightly enlarging his house, which is situated at No. 71, Kleine Steingasse near Gumpendorf, in the territory of the Windmühl property, and therefore comes under the Registry of Landed Property pertaining to your worthy Magistracy. Ground-plan A, attached, shows said enlargement, whereby another story would be added to the original building. Since your exalted consent is required beforehand, the undersigned begs you to grant it to him; in support of his request, he would point out that:
Firstly, in this projected construction, good materials would be employed, but altogether it would be planned in accordance with the rules established by the Board of Works, and would contribute to improving the general looks of the street.
He hopes therefore that his plan will be approved, the more so because:
Secondly, By enlarging the building, an increase of tax-money would accrue to the most exalted orario.
Vienna, 14th August '793.
Franz Heiden [sic] Furstl. Esterhazis.
Capellmeister and Property Owner in the Kleine Steingasse No. 71.
With this second story added, Haydn was able to live out his life in relative comfort in the house his wife found. It still sits today in Kleine Steingasse, although (no surprise) the street is now the Haydngasse. Currently a Haydn Museum, it is one of the greatest attractions on the list for music lovers visiting Vienna.
Those are the main events of a busy year. We will look at the music and its context as we arrive upon it, and of course, just a bit more at the peculiar relationship developing between Haydn and the curious young man from Bonn.
Thanks for reading!