Haydn Seek

1793 – The Year part 2 - Even more plans gone awry

Beethoven in 1801, the earliest painting of him as an adult

"I never learned anything from Haydn", Beethoven is said to have told his friend, Ferdinand Ries. So begins one of the most commonly told anecdotes in the history of music. But is it true?

From our perspective in 2016, everything we 'know' about Beethoven has been filtered through 200+ years of myth-building, all of that tinged by the awestriking aura surrounding the IMMORTAL BEETHOVEN. But during the period when Haydn undertook teaching him composition lessons, late 1792-93, he was a smallish, darkish, pockmarked young man from Bonn with a precocious talent for playing the pianoforte, called Beethoven, still years away from all capital letters. By contrast, Haydn himself was a smallish, darkish, pockmarked old man who was, at the time, standing at the threshold of being the King of the Musical World. Perspective is everything.

Much of our understanding of the Haydn-Beethoven relationship comes from the Beethoven side of the story. For various cultural reasons, the 19^th century saw a diminution in stature of all of the 'Classic Era' composers, and as always, those who stood highest, in this case, Haydn and Mozart, fell furthest. Beethoven, meanwhile, was the man in the right place at the right time to become the epitome of the new age of music, and none could have predicted just how high his star would rise. The problem this makes is that he was essentially surrounded by sycophants like Schindler, and to a lesser extent Ries and Czerny, and from them, every whim or caprice he uttered would become chapter and verse in the Book of Ludwig from then on. Thus the supercilious sneers directed towards Haydn which I learned at my old Granny's knee, so to speak. But in a later, more enlightened age, some of these things have been reevaluated in the cold light of actual evidence, and a greater sense of what actually happened in 1793 is the result.

Marie Antoinette being led from prison to the guillotine – 16 October, 1793

As we saw last time, the year was a bust for Haydn's plan of returning to England for The Season. In October, the Emperor's aunt, Marie Antoinette, was led into Revolution Square to follow her husband, Louis XVI into oblivion. War ravaged western Europe, making passage from Vienna to London a precarious adventure. And the music bag was empty, so along with teaching young Beethoven and younger Polzelli, Haydn was busily writing music for next year. Beethoven was along with Haydn in Eisenstadt, where he spent his time alternately studying modal counterpoint from Haydn's lesson book copied from Fux's Gradus ad Parnassum, or looking over Haydn's shoulder as he composed the six string quartets of Opp.71/74, and playing the pianoforte for the entertainment of their hosts, the Esterházy family. He proved to be popular enough with them that they show up on the subscriber lists for his early works, and of course, living in one of the outbuildings there with food 'on the house' went a long way towards making ends meet.

Title page of a first edition Gradus ad Parnassum

I have written before about Haydn's belief that Fux provided the ideal textbook for composition. He first came under its spell in the early 1750's, and continued reading and notating his copy until he died. The original book is written in Latin, and Haydn's exhaustive commentaries are likewise. He corrects errors, clarifies ambiguities and even criticizes some subject matter. He used it for teaching, and he loaned it to others for the same purpose. Mozart, for example, uses some of the same points, which are clearly from Haydn's annotations and interpretations, in the study exercises he developed for his student, Thomas Attwood, circa 1786 when the two were at their closest. Given the depth of detail which Haydn noted in Fux, it is a very fair thing to say he had a more complete and thorough understanding of it than anyone since Fux! This is something which it is well to remember.

Leading into the centennial of Beethoven's birth and for a few years thereafter, there was a flurry of scholarly activity and publications, even as there would be today. Gustav Nottebohm, a noted Beethovenian and fine scholar by the standards of the time, had determined to straighten out a few inaccuracies, as he perceived them, in the Beethoven biography. In particular, a book published in 1832 by Seyfried, a fellow student of Beethoven, which opened with the line "These studies of the Unforgettable Master represent so invaluable a legacy to the entire world of the arts that it would have been preposterous to make even the slightest changes" sort of sums up the entire question so far, yes? But to Nottebohm's credit, he did succeed in proving that Seyfried's book was a work of fiction. The problem is, in doing so, he introduced his own brand of fiction into the discussion.

If you were a Beethoven scholar in 1870, or even for many years after, that line from Seyfried rang true no matter the reality. So Nottebohm believed that when Beethoven said he learned nothing from Haydn, and in other places that he complained that Haydn didn't even correct his work, that was the true gospel from which all else flowed. In addition, Nottebohm was not really a musicologist, and when he looked at the original exercises and saw some uncorrected errors, they merely served to reinforce his belief that Haydn was a careless and slipshod teacher. His conclusion, that Haydn did Beethoven wrong, was gospel for the next 100 years. And for a vast number of authors and liner note writers, it still is today.

In 1970, for the bicentennial of Beethoven's birth, another musical historian/musicologist, Alfred Mann, set out to review Nottebohm 100 years later (Beethoven's Contrapuntal Studies with Haydn). What he found was that the conclusions of Nottebohm were greatly based on interpretation, not on any sort of cut and dried issues. By all appearances, Nottebohm didn't consider other possibilities when he drew his conclusions. As an example, certain errors are corrected while other errors on the same page are ignored. To Nottebohm, this was a sign of hasty and superficial review. Or, during the correction of an error called 'parallel fifths', Haydn's solution introduced a second error, 'parallel octaves'. Obviously, Haydn didn't have a good grip on Fux! Well, someone doesn't have a good grip on Fux, that much is true.

Mann proposes and supports some very logical alternatives. Haydn had Beethoven working on some very specific problems, not on problems in general. And those specific problems are corrected to the smallest detail. Even where some occurrences are corrected while others of the same error are not, since they were sitting in the same room working together, verbal instruction on the error was more probable than merely possible. Or equally, 'I am showing you the error here, go through the rest and find other occurrences'. As for the 'parallel' issue, there can be no doubt that the 'error' which Haydn introduced sounds far superior to the error which was corrected. Since Haydn and Beethoven had already been together for several months, and Haydn had looked over several of his compositions, can there be any doubt that he realized Beethoven was far more concerned over results than over application of rules? Does this not echo Haydn's own attitude towards rules? Without question, Haydn saw a bit of himself when he looked across the table!

If you are a musical theorist or an interested musician, the paper is readily available. The summary is what interests us here, though. Given the workload Haydn had on his shoulders at the time, and the expectations which Beethoven had (rightly or wrongly) of being the only thing of importance to a teacher, something which wouldn't even come to be in the future when he worked with other teachers, Haydn gave Beethoven something far greater than simple rote instruction. As Mann puts it,

"Studies in music theory and music history were separate domains ruled by different standards… and it is for this reason that he (Nottebohm) does not grasp the full scope of Haydn's didactic influence. …Haydn's instruction guided his student far beyond the rudiments of the polyphonic language. To Beethoven applies in equal measure what Alfred Einstein wrote of Mozart: "he learned from Haydn to handle polyphony and counterpoint lightly, as a playful exercising of humor and wit, although, also, to be sure, as an object of the greatest seriousness"".

Is there a greater lesson for the would-be composer?

Late in the year, as Haydn was beginning to wrap things up in preparation for the trip to London, he reached out to the Elector in an attempt to get a few gulden into Beethoven's pockets for the trip. He asked for some compositions, possibly not telling Beethoven what they were for, and took what he was given and sent them to the Elector, along with this very complimentary letter.

[HAYDN TO MAXIMILIAN FRANZ, THE ELECTOR OF COLOGNE, BONN. German] [Only signature & title autograph]

Serene Electoral Highness !

I humbly take the liberty of sending Your Serene Electoral Highness some musical works, viz., a Quintet, an eight-part Parthie, an oboe Concerto, Variations for the fortepiano, and a Fugue, compositions of my dear pupil Beethoven, with whose care I have been graciously entrusted. I flatter myself that these pieces, which I may recommend as evidence of his assiduity over and above his actual studies, may be graciously accepted by Your Serene Electoral Highness. Connoisseurs and non-connoisseurs must candidly admit, from these present pieces, that Beethoven will in time fill the position of one of Europe's greatest composers, and I shall be proud to be able to speak of myself as his teacher; I only wish that he might remain with me a little while longer.

While we are on the subject of Beethoven, Your Serene Electoral Highness will perhaps permit me to say a few words concerning his financial status. 100# [ducats] were allotted to him during the past year. Your Serene Electoral Highness is no doubt yourself convinced that this sum was insufficient, and not even enough to live from; undoubtedly Your Highness also had his own reasons for choosing to send him into the great world with such a paltry sum. Under these circumstances, and to prevent him from falling into the hands of usurers, I have in part gone bail for him and in part lent him money myself, with the result that he owes me 500 fl., of which not a Kreutzer was spent unnecessarily; which sum I would ask you to send to him here. And since the interest on borrowed money grows continually, and is very tedious for an artist like Beethoven anyway, I think that if Your Serene Electoral Highness were to send him 1000 fl. for the coming year, Your Highness would earn his eternal gratitude, and at the same time relieve him of all his distress: for the teachers which are absolutely essential for him, and the display which is necessary if he is to gain admission into numerous salons, reduce this sum to such an extent that only the bare minimum remains. As for the extravagance which one fears will tempt any young man who goes into the great world, I think I can answer for that to Your Serene Electoral Highness: for a hundred circumstances have confirmed me in my opinion that he is capable of sacrificing everything quite unconstrainedly for his art. In view of so many tempting occasions, this is most remarkable, and gives every security to Your Serene Electoral Highness in view of the gracious kindness that we expect that Your Highness will not be wasting any of your grace on usurers as far as Beethoven is concerned. In the hope that Your Serene Electoral Highness will continue his further patronage of my dear pupil by graciously acceding to this my request, I am, with profound respect,

Your Serene Electoral Highness most humble and obedient,

Joseph Haydn

Capell Meister von Furst Nicolas Esterhazy

Vienna, 23rd November 1793.

Haydn does seem quite proud of his student, confident in his efforts, and assured of his ultimate success. So you can imagine his consternation and embarrassment when he receives this reply a few weeks later!

[To HAYDN FROM MAXIMILIAN FRANZ, THE ELECTOR OF COLOGNE.German]
[Draft in a secretary's hand, corrected in the Elector's hand].

Nomine Serenissimi

To Prince Esterházy's Kapellenmeister [sic] in Vienna

Bonn the 23^rd of December 1793

I received the music of the young Beethoven which you sent me, together with your letter. Since, however, with the exception of the Fugue, he composed and performed this music here in Bonn long before he undertook his second journey to Vienna, I cannot see that it indicates any evidence of his progress.

Concerning the money which was hitherto available for his subsistence in Vienna, it is true that this consists only of 500 fl. [450, actually]; but apart from these 500 fl., his salary here of 400 fl. has been paid to him the whole time, so that he will always receive 900 fl. annually. Therefore I do not see at all why his financial circumstances should be as reduced as you have indicated to me.

I am wondering if he would not do better to begin his return journey here, in order that he may once again take up his post in my service: for I very much doubt whether he will have made any important progress m composition and taste during his present sojourn, and I fear that he will only bring back debts from his journey, just as he did from his first trip to Vienna.

Johann Georg Albrechtsberger ca 1800 by Unk.

Yikes! Not even signed!! Well, this had to be pretty distasteful for Haydn. Probably for Beethoven too, one would have to believe. The unprecedented rudeness of the Elector's reply to Haydn can really only mean one thing: he felt as though Haydn was party to some scheme by Beethoven to get more money. Probably he reconsidered that later on, since in the long run he maintained his high opinion of Haydn, but at the time it must have stung. And while it caused a breach of trust between the two musicians, and very likely resulted in Haydn leaving for London a few weeks later without his pupil, he didn't leave Beethoven in the lurch; he arranged with his old friend Johann Georg Albrechtsberger to continue the counterpoint lessons. This he did, taking up where Haydn left off, after modal counterpoint and into tonal. For his part, Beethoven applied himself to the lessons for quite some time before moving along. But the relationship which had existed with Mozart was never to become a reality with Beethoven. Despite further legends, there was always mutual respect there, but never again any degree of closeness.

Next time, we will look at some of the music produced in this year, nearly all destined for the busy metropolis impatiently waiting across the Channel.

Thanks for reading!

1793 – The Year things didn't go as planned

The Neumarkt (New Market Square) in Vienna - mid 1790's

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 7^th 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, 13^th 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.

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, 20^th 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!

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.

 [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, 14^th 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!