Sixth anniversary already? Time flies when one has such a fascinating subject to work for. Even now, after covering fully fifty years of Haydn's working life, we're not done with it. Which is part of the fascination, at least for me. How did this amazing person, in an age when such productive longevity was the exception, not only manage to live so long, but also to be so rich in ideas for his craft, always on the leading edge of them, never once trailing behind? I haven't discovered the answer to that question yet, although the endless fascination of trying certainly propels me onward. That, and knowing that at least 75,000 others who have read this blog over the last six years have the same questions in mind. So with that, I thank you for your loyal readership, and we will move on to the final essay of the endlessly fascinating 18th century. In another year, who knows where our Haydn will be? We shall find out together.
While the output of new music we got from Haydn this year was the lowest (in quantity) we've had in a long time, it isn't as though he wasn't: a) working with music all day, every day, and b) having a constant barrage of interesting social intercourse and world events raining down on him. There are enough of those things which contribute to the overall picture of Haydn's life that not bringing them out before we move on would be a major oversight in terms of the context of his life and times.
As in every year since 1796, the number one story of the day was Napoleon. As we saw in last year's discussion of the Nelson Mass, things took a decidedly quieter turn for a short while as Napoleon went back to France and strengthened his position with the governing body, the Directory. Established by the new Constitution of 1795, the Directory had sole power to make all political appointments. For the next little while, it was to Napoleon's advantage to keep them on his side. The time was not wasted, however, since both sides needed it to recover from their losses and evaluate and consolidate their resources. And of course, the anti-French, due to the destruction of the First Coalition, had to realign militarily, too.
The Second Coalition had its beginnings back in May, 1798, when a treaty was signed in Vienna between Austria and the Kingdom of the Two Sicilies (Naples). Since the Queen of Sicily was an aunt of Emperor Franz, this was not a hard one to predict. It was several months before things moved ahead though, and no doubt there was tension among the aristocrats of Vienna. As we saw, this didn't prevent life from moving on, but it provided fodder for conversation, and reasons for having benefit concerts, which were supported by Haydn, Beethoven, and all the musicians in the City. Much like the situation in England had been in 1794 which motivated Haydn to write the Military Symphony, there was a perfect background for its current wild popularity in Vienna in 1799.
Another major partner in the Second Coalition was Russia. Most of what we hear of Russia vs. Napoleon comes much later, when Napoleon mounted his ill-fated invasion of the Russian homeland. But like all things, it had its antecedents. As does even this current bit of participation. Last year, when we looked at the Nelson Mass and the Battle of the Nile, I failed to point out at the time that on the way to Aboukir, Napoleon's fleet stopped off at Malta. At the time, Malta was the possession of the Order of the Knights of St. John (the Knights Hospitaller), who had been the rulers there for some 268 years. The Knights had a fatal problem, however. Their little piece of territory was in a position in the center of the Mediterranean which made it a perfect stronghold. This was further abetted by the wonderful system of fortifications which had been built over the years. But they didn't have the strength needed to defend this gem, which left them ripe for the picking. Napoleon was already on his way to Egypt, so why not stop off in Valetta and snatch up a prize? Which he managed with ease. It took about a day and a half to force a surrender. A few days after the capitulation, the Grand Master and many knights left the island, taking with them a few movable possessions including some relics and icons. The Order received shelter from Paul I of Russia, who was eventually proclaimed Grand Master by some knights.
And there it is. Russia became part of the Second Coalition because the new Grand Master of the Knights Hospitaller was pissed off at Napoleon. Isn't it interesting how these things come together? As we will soon see, in March 1799, Russian troops were marching through Vienna on their way to Italy. Even though the Viennese generally considered them to be barbarians, they were a welcome addition in the fight against the ultimate terror, Napoleon! It wasn't only the Austrians who were a mite nervous about the Russians, but their other allies, the English, had their own reservations, as we see in the editorial cartoon below, published in May 1799 after the Russians under Suvorov handily defeated the French in Italy:
And now for some further tying up of loose ends. Really, I told you all that so I could tell you this:
Diary of Joseph Rosenbaum (19 March [1799]) - …at about 7:00 AM I went into town and saw the march through of the Russians in Schönbrunn… At about 4:00 [PM] Agnes, Tonerl and I went to Haydn's concert at the Burg Theater. Never, since the theater was built, has there been such a fearful and dangerous press [of people]. Pfersman [?] let us through the office and gallery to the box office, and we were thus able to get good seats. … Before The Creation began, there were…incidents [as the crowd battled for seats] ; the time passed unnoticed. I was very attentive and enjoyed it greatly. Haydn was greatly applauded, but by no means so greatly as I had expected. After the concert, Haydn was called forward, and only long afterwards the three vocal soloists, Saal, his daughter and Rathmayer.
Today Tuesday the 19th of March 1799
Will be performed in the K. K Hoftheater next to the Burg
THE CREATION
An oratorio set to music by
Herr Joseph Haydn, Doctor of Music and Kapellmeister
to His Serene Highness Prince Esterházy
Nothing can be more flattering to Haydn than the public's approval. To earn this has been his most earnest wish, and he has had the fortune to win it often — more, indeed, than he would have believed his due. Now he hopes, it is true, for the work here announced that same attitude which he has to his inner peace and thankfulness observed to prevail hitherto: but he would furthermore like to observe that if, in case there arises the opportunity for applause, it will be permitted him to receive it as a much appreciated mark of satisfaction: but not as a request for the repetition or one or the other individual piece; for otherwise the true connection between the various single parts, from the uninterrupted succession of which should proceed the effect of the whole, would be necessarily disturbed, and therefore the pleasure, the expectance of which a perhaps too favorable reception on the public's part has awakened, would of nature be markedly reduced.
The beginning is at 7 o'clock
The prices of admission are as usual.
The words will be given out gratis at the box-office
Handbill posted all over Vienna, Tuesday 19 March, 1799
The first public performance of The Creation. It wouldn't be unfair for me to go out on a limb here and say this night was possibly the highest point of Haydn's career. The history of homegrown musicians being passed over in Vienna is well-documented, nor is it over yet; just ask Schubert when you see him. Another aspect which we have spoken of is that vocal music was Haydn's true love, and this adulation was being poured out on just that, not on some popular, but trivial to him, symphony, concerto or quartet. By his standards, The Creation was his ticket to immortality. And indeed, even though the popularity dichotomy between instrumental and vocal music has ebbed and flowed in the intervening years, The Creation = Haydn has been a constant for the last two centuries. Nor was there a lag period required to allow for absorption into the mainstream:
[Report to the Allgemeine Musikalische Zeitung, dated 24 March 1799, unsigned]
Now I have been six weeks here and have still not found time to write to you about the present condition of music here, nor to give you even the slightest news of interesting events. I hope to be that much more diligent hereafter. I shall begin my news with an event which is a good omen for you.
On the 19th inst. I heard Haydn's Creation. Not to report immediately on this happy occasion (for I feel it was such) were to display too little feeling for the Art, or too little for Friendship. This masterpiece of the new musical age was given in the National Theatre next to the Burg. The audience was exceptionally large and the receipts amounted to 4088 Fl. 30 Kr., because the price of a box was 6 ducats and a Sperrsitz [a seat the owner of which could lock with his key] raised to 2 Fl. : — a sum that has never been taken in by any Viennese theatre. Even Marchesi Crescentini and Mde. Vigano, who have had the biggest successes here in Vienna up to now, did not have receipts like that. Apart from this, the aristocracy paid for all the by-no-means inconsiderable costs (the singers and orchestra consisted of more than 180 persons). One can hardly imagine the silence and the attention with which the whole Oratorio was heard, gently broken only by soft exclamations at the most remarkable passages; at the end of each piece and each section there was enthusiastic applause. Herr Saal and his daughter much distinguished themselves…
[Letter in Viennese dialect, quoted by Pohl]
… Finally the music began, and all at once it became so quiet, that you, cousin, could have heard a mouse running, and if they hadn't often applauded, you would have thought there weren't any people in the theater. But cousin, in my whole life I won't hear such a beautiful piece of music ; even if it had lasted three hours longer, and even if the stink-and-sweat bath had been much worse, I wouldn't have minded.
For the life of me, I wouldn't have believed that human lungs and sheep guts and calf's skin could create such miracles. The music all by itself described lightning and thunder and then, cousin, you'd have heard the rain falling and the water rushing and even the worms crawling on the ground. In short, cousin, I never left a theater more contented, and all night I dreamed of the Creation of the World.
The performance itself, then was a palpable hit, and Haydn did indeed have a night of substantial income. But if there is something he had learned from hard experience, it was that the real money came from publishing the music. Not that it BE published, this had been happening his whole life. But that YOU publish it and retain the rights. Artaria, after all, made a lot more from Haydn's instrumental works in the '80's and '90's than Haydn ever did. I can't imagine that there was a more important reason for him to undertake this huge chore at this point in his life.
[Announcement for Subscription to The Creation
in the Allgemeine Musikalische Zeitung. German]
The success which my Oratorio, The Creation, has been fortunate enough to enjoy here, and the wish expressed in the 16th number of the [Allgemeine] Musikalische Zeitung that its dissemination would not, as was often the case previously, be left to those abroad, have moved me to arrange for its distribution myself.
Thus the work is to appear in three of four months, neatly and correctly engraved and printed on good paper, with German and English texts ; and in full score, so that, on the one hand, the public may have the work in its entirety, and so that the connoisseur may see it in toto and thus better judge it; while on the other, it will be easier to prepare the parts, should one wish to perform the work anywhere.
The price of the Oratorio, which will consist of some 300 pages, is to be 3 ducats, or 13 Fl. 30 Kr. in Viennese currency; and although payment does not need to be made until delivery, I wish nevertheless that those who contemplate its purchase would inform me provisionally thereof, and give me their names, in order that they may appear in the subscription list at the front of the score.
The actual appearance of the Oratorio in print—every copy will be signed—will be announced by a special notice, when the time comes.
Vienna, 15th June 1799.
Joseph Haydn,
Doctor of Music, Kapellmeister in the Service of His Highness the Prince Esterhazy, and Member of the Royal Swedish Musical Academy.
In Vienna, Vorstadt Gumpendorf, untere Steingasse, Nr. 73.
Nor did he ignore his friends in England. Here is a letter he wrote to Christoph Papendiek (we think), flutist and music teacher to the Royal Family, and husband of Charlotte, whom we saw earlier as a Huge Fan:
[To A Friend in England, (believed to be Christoph Papendiek). in German]
Nobly born, Most esteemed Friend,
You will certainly be surprised to receive this letter, after we have been separated for so long, but since I was convinced of your cordial friendship for me from the very first moment of our acquaintance, and since I know you are a truly good and generous man, I now take the liberty of asking you to read the following; you will then be able to decide whether you are in a position to help me.
Last year I composed a German Oratorio called The Creation, which has met with exceptional approval by everyone. This approval moved me to publish this Oratorio in full score, with German and English text; the score, which should be ready in 4 or at the most 5 months, will be correctly engraved, and printed on the finest paper, at a subscription price of £1 10 shillings, which sum, however, does not need to be paid until delivery. The subscription offer is made in advance so that the subscribers' names can be included in the score. The publication will be so arranged that those living abroad will be sent their copies 3 or 4 weeks earlier; I shall pay the consignment charges myself. Now my most ardent wish is to enjoy the royal favour of having Her gracious Majesty the Queen of England condescend to subscribe to this work (N.B. without making a deposit) : the presence of her name in the printed list of subscribers will convince the world that during my sojourn in London I enjoyed the royal favour of having displayed my small talents to the royal court by playing there.
In the hope that you will heed my request, and at the proper moment yourself persuade Her Majesty the Queen (before whom I prostrate myself), I am, my most esteemed friend, most respectfully,
Your most obedient friend and servant,
Joseph Haydn [m.p] ria.
Vienna, 25th June 1799.
If I should be fortunate enough to receive an answer, please address the letter to me in Vienna.
P. S. My respectful compliments to your wife.
And more from England:
[To Haydn from Charles Burney. English]
Chelsea College, August 19, 1799.
My dear and much-honoured Friend,
The reverence with which I have always been impressed for your great talents, and respectable and amiable character, renders your remembrance of me extremely flattering. And I am the more pleased with the letter which you have honoured me, of July 15 as it has pointed out to me the means by which I may manifest my zeal in your service, as far as my small influence can extend. I shall, with great pleasure, mention your intention of publishing your oratorio della Creazione del Mondo; by subscription, to all my friends; but you alarm me very much by the short time you allow for solicitation. In winter it would be sufficient, but now (in Aug.) there is not a single patron of music in town. I have been in Hampshire myself for three weeks, and am now at home for two or three days only, on my way to Dover, where I shall remain for a month or six weeks, and where I shall see few of the persons whom I mean to stimulate to do themselves the honour of subscribing to your work. I wish it were possible to postpone the delivery of the book in England till next winter…. [snip (the part where he talks about having heard the Opus 76 Quartets)]
Let me intreat you, my dear Sir, to favour me with your opinion of my proposition for postponing the publication of your oratorio, at least in England, till March, or April, 1800. But whatever you determine, be assured of my zeal and ardent wishes for your success, being, with the highest respect and regard,
Dear Sir,
your enthusiastic admirer and affectionate Servant,
Charles Burney.
VERZEICHNISS der SUBSCRIBENTEN
lhre Majestät die Kayserinn Königinn
Seine Churfürstliche Durchlaucht von Cölln
ihre Königl. Hoheiten {der Erzherzog Grossherzog und die Erzherzoginn Grofsherzoginn von Toscana}
Seine Königl. Hoheit der Erzherzog Joseph Palatinus von Hungarn
S. K. H. der Erzherzog Ferdinand
S. K. H. der Herzog Albert von Sachsen - Teschen.
~~~~~~~~~~
Seine Majestät der Konig von England
Ihre Majestät die Königinn von England
S. K. H. der Prinz von Wallis
l. K. H. die Prinzessinn von Wallis
I. K. H. die Herzoginn von Yorck
I.I. K.K. H.H. {Augusta, Elizabeth, Maria, Sophia, Amalia} Prinzessinnen von England
Seine Durchlaucht der Erbprinz von Sachsen - Gotha
S. D der Prinz Friedrich von Sachsen - Gotha
S. D. der Prinz Georg von Hessen - Darmstadt
Ihre Durchlaucht die Herzoginn Amalia von Sachsen -Weymar
I. D. die Herzoginn Francisca von Wirtemberg
Die K. K. Hofbibliothek.
DIRECTORY of SUBSCRIBERS
Her Majesty, the Empress & Queen
His Electoral Highness von Cölln
Their Highnesses {The Archduke & Grand Duke and Archduchess & Grand Duchess of Tuscany}
His Imperial Highness the Archduke Joseph - Palatine of Hungary
His Imperial Highness the Archduke Ferdinand
His Imperial Highness the Archduke Albert of Saxony-Teschen
~~~~~~~~~~~~~~~~
His Majesty, the King of England
Her Majesty, the Queen of England
His Highness, the Prince of Wales
Her Highness, the Princess of Wales
Her Highness, the Duchess of York
Their Highnesses {Augusta Elizabeth Maria Sophia Amalia} Princesses of England
His Highness the Heir-Prince of Saxony-Gotha
His Highness Prince Frederick of Saxony-Gotha
His Highness Prince George of Hesse-Darmstadt
Her Highness the Duchess Amalia of Saxony-Weimar
Her Highness the Duchess Francisca of Württemberg
The Imperial & Royal Palace Library
Lots of abbreviated titles in German!
My Best try at a translation into English
As you can see from the eventual printed first page of the list in the score, Haydn's bid for support from England was wildly successful. It added much to the prestige of the list, which in the end totaled six and a half pages, many from among his old English friends. It is an eclectic list, with some surprises; since names like the Empress and the King of England graced the masthead, names as 'humble' as Princess Marie Hermenegild Esterházy, with her six copies, ended up back in the 'E' section along with musician Anton Eberl.
The score itself was not released to the subscribers (and eventually to the public) until early in 1800, but the work on it dominated the final year of Haydn's 18th century. Just as performances of it would dominate much of the remainder of his life.
Now, finally, we reach the end of the long 18th century. It was a timespan which was so packed with events that it would be impossible to sum it up in any sort of thumbnail sketch. But what began as being just the appearance of yet another century in the Ancien régime, with the seemingly eternal rule of the Church and the Aristocracy, had suddenly turned into a breakthrough of the middle-class into education, business, bureaucracy, and the beginnings of actual self-rule. Like any other major change, we are seeing war and brutality, along with total abandonment of many of the attainments of culture which had become outdated. Thus the heartbreaking note we saw in the autobiography of Dittersdorf, and the abandonment and falling into disrepair of the Magnificent Eszterháza, the 'Versailles of the East'. The 'French Revolutionary Wars' had now evolved into the 'Napoleonic Wars', and would continue for another fifteen years. In Vienna, the Emperor (soon to be merely a King) had his secret police going full force, sniffing out signs of revolutionary fervor among his own people. And the rigors of being at war for their lives was taking its toll on all classes, neither rich nor poor were spared some degree of the hardships created. But there is another side to all this; Vienna had indeed become The City of Music. To be middle class practically demanded ownership of a pianoforte. And the ability to play well and entertain one's social circle was a treasured commodity. As we move into the 19th century, one thing should be certain by now; Haydn did more than his share to bring this state of affairs into existence. In his few remaining years, he would continue down that same road.
Thanks for reading!