Haydn by J. Cuthbert Hadden (books to read this summer .TXT) 📕

VOCAL

Church Music

14 masses. 1 Stabat Mater. 2 Te Deums. 13 offertories. 10 of these are taken from other compositions with Latin text added. 4 motets. 1 Tantum Ergo. 4 Salve Reginas. 1 Regina Coeli. 2 Aves Reginas; Responsoria de Venerabili. 1 Cantilena pro Aventu (German words). 6 sacred arias. 2 duets.

ORATORIOS AND CANTATAS

"The Creation." "The Seasons." "Il Ritorno di Tobia." "The Seven Words." "Invocation of Neptune." "Applausus Musicus." For the festival of a prelate, 1768. Cantata for the birthday of Prince Nicolaus, 1763. Cantata "Die Erwahlung eines Kapellmeisters."

OPERAS

Italian Operas:

"La Canterina," 1769; "L'Incontro Improviso," 1776; "Lo Speciale," 1768; "Le Pescatrice," 1780; "Il Mondo della Luna," 1877; "L'Isola Disabitata," 1779; "Armida," 1782; "L'Infedelta Delusa," 1773; "La Fedelta Premiata," 1780; "La Vera Constanza," 1786; "Acide e Galatea," 1762; "Orlando Paladino," 1782; "Orfeo," London, 1794.

German Opera or Singspiel, "Der Neue Krumme Teufel." 5 marionette operas. Music for "Alfred," a tragedy, and various other plays.

MISCELLANEOUS

SONGS:

12 German lieder, 1782; 12 ditto, 1784; 12 single songs; 6 original canzonets, London, 1796; 6 ditto; "The Spirit Song," Shakespeare (F minor); "O Tuneful Voice" (E flat), composed for an English lady of position; 3 English songs in MS.; 2 duets; 3 three-part and 10 four-part songs; 3 choruses, MS.; 1 ditto from "Alfred"; The Austrian National Anthem, for single voice and in 4 parts; 42 canons in 2 and more parts; 2 ditto; "The Ten Commandments" set to canons; the same with different words under the title "Die zehn Gesetze der Kunst"; symphonies and accompaniments for national songs in the collections of Whyte, Napier and George Thomson. 22 airs mostly inserted in operas. "Ariana a Naxos," cantata for single voice and pianoforte, 1790. "Deutschlands Klage auf den Tod Friedrichs der Grossen," cantata for single voice, with baryton accompaniment, 1787.

APPENDIX C: BIBLIOGRAPHY

The Haydn literature is almost entirely Continental. With the exceptions of Pohl's article in Grove's "Dictionary of Music" and Miss Townsend's "Haydn," nothing of real importance has appeared in English. The following list does not profess to be complete. It seems futile in a book of this kind to refer amateurs and students to foreign works, many of which are out of print and others generally inaccessible. For the benefit of English readers the English works have been placed first and apart from the Continental. It has not been thought necessary to follow Pohl in giving a separate list of German and other Continental critiques. His plan of citing works in the order of their publication has, however, been adopted as being perhaps preferable to an alphabetical order of writers.

TITLE OF WORK AUTHOR PLACE AND DATE

"History of Music," Vol. IV. Burney London, 1789

"Reminiscences," Vol. I, p. 190 Michael Kelly London, 1826

"Musical Memoirs" Parke London, 1830, 2 vols.

"Letters of Distinguished Musicians." ... London, 1867 Translated from the German by Lady Wallace. Haydn's Letters, pp. 71-204, with portrait

"Musical Composers and their Works" Sarah Tytler London, 1875 --Haydn, pp. 57-75

"Music and Morals"--Haydn, Haweis London, 1876 pp. 241-263

Leisure Hour, p. 572. Article, ... London, 1877 "Anecdotes of Haydn"

"The Great Composers Sketched Joseph Bennett London, Musical by Themselves"--No. 1, Haydn. Times, Sept. 1877 An estimate of Haydn drawn mainly from his letters

Article on Haydn in Grove's Pohl London, 1879 "Dictionary of Music"

"Studies of Great Composers"--Haydn, Parry London, 1887 pp. 91-118, with portrait

"History of Music," English edition, Naumann London (Cassell), Vol. IV., pp. 852-882. 1888 Portraits and facsimiles

"Musical Reminiscences"--Music and William Spark London, 1892 Sunshine, pp. 141-149, with quotations from Haydn's music to show "the happy state of his mind whilst composing"

"Musical Haunts in London"--Haydn in F. G. Edwards London, 1895 London, pp. 32-36

"The Pianoforte Sonata"--Haydn, J. S. Shedlock London, 1895 pp. 111-120

"Music and Manners from Pergolese Krehbiel London, 1898 to Beethoven"--Haydn in London: (1) His Note-book; (2) His English Love, pp. 57-95

"George Thomson, the Friend of Burns" Cuthbert Hadden London, 1898 --Correspondence with Haydn, pp. 303-308

"Old Scores and New Readings"--Haydn J. F. Runciman London, 1899 and his "Creation," pp. 85-92

"The Birthplace of Haydn: Dr Frank Merrick London, Musical a Visit to Rohrau" Times, July 1899

"Joseph Haydn" Miss Pauline London, N.D. in Great Musicians series D. Townsend Article on Haydn in "Dictionary Riemann London, of Music." English ed. translated Augener & Co. by J. S. Shedlock

Autobiographical Sketch by himself. ... 1776 This was made use of by (1) De Luca in "Das gelehrte Oesterreich," 1778; (2) in Forkel's "Musikalischer Almanach fur Deutschland," 1783; and (3) in the European Magazine for October 1784. The latter includes a portrait

"Lexicon." Additional particulars Gerber 1790 are given in 2nd edition, 1812

Musik Correspondenz der teutschen Gerber 1792 Filarm. Gesellschaft, Nos. 17 and 18

Article in Journal des Luxus und Bertuch Weimar, 1805 der Moden

"Brevi notizie istorchie della vita Mayer Bergamo, 1809 e delle opere di Guis. Haydn."

Obituary in the Vaterland. Blatter ... Vienna, 1809 fur den ost Kaiserstaat

"Der Nagedachtenis van J. Haydn" Kinker Amsterdam, 1810

"Biographische Notizen uber Griezinger Leipzig, 1810 Joseph Haydn"

"Biographische Nachrichten von Dies Vienna, 1810 Joseph Haydn"

"Joseph Haydn" Arnold Erfurt, 1810; 2nd ed., 1825

"Notice sur J. Haydn" Framery Paris, 1810

"Notice historique sur la vie et les Le Breton Paris, 1810 ouvrages de Haydn" in the Moniteur. This was reprinted in the "Bibliographie Musicale," Paris, 1822. It was also translated into Portuguese, with additions by Silva-Lisboa. Rio Janeiro, 1820

"Essai Historique sur la vie ... Strassburg, 1812 de J. Haydn"

"Le Haydine," etc. Carpani Milan, 1812; This work was essentially reproduced, 2nd edition, without acknowledgment, in "Lettres enlarged, ecrites de Vienne en Autriche," etc., Padua, 1823 by L. A. C. Bombet, Paris, 1814; republished as "Vie de Haydn, Mozart et Metastase," par Stendhal, Paris, 1817. Bombet and Stendhal are both pseudonyms of Henri Beyle. An English translation of the 1814 work was published in London by John Murray, in 1817, under the title of "The Life of Haydn in a Series of Letters," etc.

"Biogr. Notizen" Grosser Hirschberg, 1826

"Allg. Encyclopadie der Ersch und Gruber Leipzig, 1828 Wissenschaften und Kunste," 2nd section, 3rd part, with a biographical sketch by Frohlich

"Allg. Wiener Musikzeitung" ... 1843

"J. Haydn in London, 1791 and 1792" Karajan Vienna, 1861

"Joseph Haydn und sein Bruder Michael" Wurzbach Vienna, 1861

"Joseph Haydn" Ludwig Nordhausen, 1867

"Mozart and Haydn in London" Pohl Vienna, 1867

"Joseph Haydn." Pohl ... This, the first comprehensive biography of Haydn, was published --the first half of Vol. I. in 1875, the second half in 1882. After the death of Pohl in 1887 it was completed (1890) by E. V. Mandyczewski

Notice in "Biographie Universelle" Fetis ...

APPENDIX D: HAYDN'S BROTHERS

Of the large family born to the Rohrau wheelwright, two, besides the great composer, devoted themselves to music.

The first, JOHANN EVANGELIST HAYDN, made some little reputation as a vocalist, and was engaged in that capacity in the Esterhazy Chapel. His health had, however, been delicate from the first, and his professional career was far from prosperous.

JOHANN MICHAEL HAYDN was much more distinguished. Born in 1737, he became, as we have seen, a chorister and solo-vocalist at St Stephen's, Vienna. He was a good violinist, and played the organ so well that he was soon able to act as deputy-organist at the cathedral. In 1757 he was appointed Capellmeister to the Bishop of Grosswardein, and in 1762 became conductor, and subsequently leader and organist to Archbishop Sigismund of Salzburg. There he naturally came in contact with Mozart, in whose biography his name is often mentioned. Mozart on one occasion wrote two compositions for him which the archbishop received as Michael Haydn's. The Concertmeister was incapacitated by illness at the time, and Mozart came to his rescue to save his salary, which the archbishop had characteristically threatened to stop. Mozart also scored several of his sacred works for practice.

Michael Haydn remained at Salzburg till his death in 1806. He had the very modest salary of 24 pounds, with board and lodging, which was afterwards doubled; but although he was more than once offered preferment elsewhere, he declined to leave his beloved Salzburg. He was happily married--in 1768--to a daughter of Lipp, the cathedral organist; and with his church work, his pupils--among whom were Reicha and Weber--and his compositions, he sought nothing more. When the French entered Salzburg and pillaged the city in 1801 he was among the victims, losing some property and a month's salary, but his brother and friends repaired the loss with interest. This misfortune led the Empress Maria Theresa to commission him to compose a mass, for which she rewarded him munificently. Another of his masses was written for Prince Esterhazy, who twice offered him the vice-Capellmeistership of the chapel at Eisenstadt. Joseph thought Michael too straightforward for this post. "Ours is a court life," he said, "but a very different one from yours at Salzburg. It is uncommonly hard to do what you want." If any appointment could have drawn him away from Salzburg it was this; and it is said that he refused it only because he hoped that the chapel at Salzburg would be reorganized and his salary raised.

Michael Haydn is buried in a side chapel of St Peter's Church, Salzburg. A monument was erected in 1821, and over it is an urn containing his skull. He is described by Pohl as "upright, good-tempered and modest; a little rough in manners, and in later life given to drink." His correspondence shows him to have been a warm-hearted friend; and he had the same devout practice of initialing his manuscripts as his brother. The latter thought highly of him as a composer, declaring that his Church compositions were superior to his own in earnestness, severity of style and sustained power. When he asked leave to copy the canons which hung in Joseph's bedroom at Vienna, Joseph replied: "Get away with your copies; you can compose much better for yourself." Michael's statement has often been quoted: "Give me good librettos and the same patronage as my brother, and I should not be behind him." This could scarcely have been the case, since, as Pohl points out, Michael Haydn failed in the very qualities which ensured his brother's success. As it was, he wrote a very large number of works, most of which remained in manuscript. A Mass in D is his best-known composition, though mention should be made of the popular common-metre tune "Salzburg," adapted from a mass composed for the use of country choirs. Michael Haydn was nominated the great composer's sole heir, but his death frustrated the generous intention.

APPENDIX E: A SELECTION OF HAYDN LETTERS

The greater number of Haydn's extant letters deal almost exclusively with business matters, and are therefore of comparatively little interest to the reader of his life. The following selection may be taken as representing the composer in his more personal and social relations. It is drawn from the correspondence with Frau von Genzinger, which was discovered by Theodor Georg von Karajan, in Vienna, and published first in the Jahrbuch fur Vaterlandische Geschichte, and afterwards in his J. Haydn in London, 1791 and 1792 (1861). The translation here used, by the courtesy of Messrs Longman, is that of Lady Wallace.

The name of Frau von Genzinger has been mentioned more than once in the biography. Her husband was the Esterhazy physician. In that capacity he paid frequent visits to Eisenstadt and Esterhaz (which Haydn spells Estoras) and so became intimate with the Capellmeister. He was fond of music, and during the long winter evenings in Vienna was in the habit of assembling the best artists in his house at Schottenhof, where on Sundays Mozart, Haydn, Dittersdorf, Albrechtsberger, and others were often to be found. His wife, Marianne--nee von Kayser--was a good singer, and was sought after by all the musical circles in Vienna. She was naturally attracted to Haydn, and although she was nearly forty years of age when the correspondence opened in 1789, "a personal connection was gradually