J. Cuthbert Hadden

“ The definite embodiment of feeling which we find in Beethoven is not to be found in him. It was not in his nature. "My music," says Schubert, "is the production of my genius and my misery." Haydn, like Mendelssohn, was never more than temporarily miserable. But in music the gospel of despair seldom wants its preachers. To-day it is Tschaikowsky; to-morrow it will be another. Haydn meant to make the world happy, not to tear it with agony. ”

“ His music has beauty, purity, and a delicate and noble simplicity which commends it to every hearer. His cassations, quartets and trios may be compared to a pure, clear stream of water, the surface now rippled by a gentle breeze from the south, and anon breaking into agitated billows, but without ever leaving its proper channel and appointed course. His symphonies are full of force and delicate sympathy. In his cantatas he shows himself at once captivating and caressing, and in his minuets he is delightful and full of humour. In short, Haydn is in music what Gellert is in poetry. ”

“ It was not such a precocity as that of Mozart, who was playing minuets at the age of four, and writing concertos when he was five; but just on that account it is all the more credible. One's sympathies are with the frank Philistine who pooh-poohs the tales told of baby composers, and hints that they must have been a trial to their friends. Precocious they no doubt were; but precocity often evaporates before it can become genius, leaving a sediment of disappointed hopes and vain ambitions. ”

“ In 1768, Leopold Mozart, the father of the composer, declared that the Viennese public had no love of anything serious or sensible; "they cannot even understand it, and their theatres furnish abundant proof that nothing but utter trash, such as dances, burlesques, harlequinades, ghost tricks, and devils' antics will go down with them." There is, no doubt, a touch of exaggeration in all this, but it is sufficiently near the truth to let us understand the kind of attention which the disgraced chorister of St Stephen's was likely to receive from the musical world of Vienna. ”

“ Certainly it ought to be taken into account in any critical estimate of "The Creation"; for when a man admits his own shortcomings it is ungracious, to say the least, for an outsider to insist upon them. It is obvious at any rate that Haydn undertook the composition of the oratorio in no light-hearted spirit. "Never was I so pious," he says, "as when composing 'The Creation.' I felt myself so penetrated with religious feeling that before I sat down to the pianoforte I prayed to God with earnestness that He would enable me to praise Him worthily." ”

“ Among other things, Herr v. Kees writes to me that he should like to know my position in London, as there are so many different reports about me in Vienna. From my youth upwards I have been exposed to envy, so it does not surprise me when any attempt is made wholly to crush my poor talents; but the Almighty above is my support. My wife wrote to me that Mozart depreciates me very much, but this I will never believe. If true, I forgive him. There is no doubt that I find many who are envious of me in London also, and I know them almost all. Most of them are Italians. ”

“ Haydn could never have written "The Messiah," but, on the other hand, Handel could never have written "The Creation."
The chief beauty of Haydn's work lies in its airs for the solo voices. While never giving consummate expression to real and deep emotion, much less sustained thought, they are never wanting in sincerity, and the melody and the style are as pure and good as those of the best Italian writing for the stage. ”

“ Often when contending with the obstacles of every sort opposed to my work, often when my powers both of body and mind failed, and I felt it a hard matter to persevere in the course I had entered on, a secret feeling within me whispered, 'There are but few contented and happy men here below; everywhere grief and care prevail, perhaps your labours may one day be the source from which the weary and worn or the man burdened with affairs may derive a few moments' rest and refreshment.' What a powerful motive to press onwards! ”

“ In a subsequent letter to Frau von Genzinger he comically laments the change from Vienna to Esterhaz: "I lost twenty pounds in weight in three days, for the effect of my fare at Vienna disappeared on the journey. 'Alas! alas!' thought I, when driven to eat at the restaurateurs, 'instead of capital beef, a slice of a cow fifty years old; instead of a ragout with little balls of force-meat, an old sheep with yellow carrots; instead of a Bohemian pheasant, a tough grill; instead of pastry, dry apple fritters and hazelnuts, etc.! Alas! alas! would that I now had many a morsel I despised in Vienna! ”

“ It is pathetic to think of the boy assiduously scratching innumerable notes on scraps of music paper, striving with yet imperfect knowledge to express himself, and hoping that by some miracle of inspiration something like music might come out of it. ”

“ Nothing do I wish more ardently than to have more time (now so absorbed by household affairs) , for in that case I would certainly devote many hours to music, my most agreeable and favourite of all occupations. You must not, my dear Herr v. Haydn, take it amiss that I plague you with another letter, but I could not but take advantage of so good an opportunity to inform you of the safe arrival of your letter. I look forward with the utmost pleasure to the happy day when I am to see you in Vienna. ”

“ DEAR BEETHOVEN,—You are travelling to Vienna in fulfillment of your long-cherished wish. The genius of Mozart is still weeping and bewailing the death of her favourite. With the inexhaustible Haydn she found a refuge, but no occupation, and is now waiting to leave him and join herself to someone else. Labour assiduously, and receive Mozart's spirit from the hands of Haydn. ”

“ I often regretted that we had not, like the English, a national air calculated to display to all the world the loyal devotion of our people to the kind and upright ruler of our Fatherland, and to awaken within the hearts of all good Austrians that noble national pride so indispensable to the energetic fulfillment of all the beneficial measures of the sovereign. ”

“ Many of the peculiarities of Emanuel Bach's style are certainly to be found in Haydn's works—notes wide apart, pause bars, surprise modulations, etc., etc.—but if every young composer who adopts the tricks of his model is to be charged with caricature, few can hope to escape. The truth is, of course, that every man's style, whether in music or in writing, is a "mingled yarn" of many strands, and it serves no good purpose to unravel it, even if we could. ”

“ After the gay life of Vienna, Eisenstadt must have been dull enough, and there is plenty of evidence to show that the young artist occasionally fell into the dumps. In one letter he complains that he "never can obtain leave, even for four-and-twenty hours, to go to Vienna." In another he writes: "I am doomed to stay at home. What I lose by so doing you can well imagine. It is indeed sad always to be a slave, but Providence wills it so. I am a poor creature, plagued perpetually by hard work, and with few hours for recreation." ”

“ I work hard, and in the early mornings, when I walk in the wood alone with my English grammar, I think of my Creator, of my family, and of all the friends I have left—and of these you are the most valued of all. ”

“ But the wheelwright managed to send the boy six florins, and that sum was immediately expended on Fux's Gradus ad Parnassum and Mattheson's Volkommener Capellmeister—heavy, dry treatises both, which have long since gone to the musical antiquary's top shelf among the dust and the cobwebs. These "dull and verbose dampers to enthusiasm" Haydn made his constant companions, in default of a living instructor, and, like Longfellow's "great men," toiled upwards in the night, while less industrious mortals snored. ”

“ That alone," he added, "is the way to compose works that will last, and a real connoisseur can see at a glance whether a score has been written in undue haste or not." He is quoted as saying that "genius is always prolific." However the saying may be interpreted, there does not seem to have been about him anything of what has been called the irregular dishabille of composers, "the natural result of the habit of genius of watching for an inspiration, and encouraging it to take possession of the whole being when it comes." ”

“ Rest assured that, if I had not met with a kind reception, I would long since have gone back to Vienna. I am beloved and esteemed by everyone, except, indeed, professors [of music] . As for my remuneration, Mozart can apply to Count Fries for information, in whose hands I placed 500 pounds, and 1000 guilders in those of my Prince, making together nearly 6000 florins. I daily thank my Creator for this boon, and I have good hope that I may bring home a couple of thousands besides, notwithstanding, my great outlay and the cost of the journey. ”

“ Lessons at St Stephen's
Haydn was supposed to have lessons from two undistinguished professors named Gegenbauer and Finsterbusch. But it all amounted to very little. There was the regular drilling for the church services, to be sure: solfeggi and psalms, psalms and solfeggi—always apt to degenerate, under a pedant, into the dreariest of mechanical routine. How many a sweet-voiced chorister, even in our own days, reaches manhood with a love for music? It needs music in his soul. Haydn's soul withstood the numbing influence of pedantry. ”

“ True, he was not a very distinguished man himself. He had composed a large amount of music, chiefly sacred, including thirty-nine masses and twelve "Oratorios for Good Friday," besides some grotesque pieces intended as burlesques of the musical life of Vienna. Not one of his works has any real musical value; but, as is usually the case with the talent which stops short of genius, he thought a great deal of himself, and was inclined to look down upon Haydn as an interloper, unskilled in that rigid counterpoint which was the "heaven's law" of the old-time composer. ”

“ Of Haydn's general style as a composer it is hardly necessary to speak. To say that a composition is "Haydnish" is to express in one word what is well understood by all intelligent amateurs. Haydn's music is like his character—clear, straightforward, fresh and winning, without the slightest trace of affectation or morbidity. ”