Books: Haydn

Pages:
1 | 2 | 3 | 4 | 5 | 6 | 7 | 8 | 9 | 10 | 11 | 12 | 13 | 14 | 15

To the widow Aloysia Polzelli, formerly
singer at Prince Nikolaus Esterhazy's, payable
in ready money six weeks after my death,...............100

And each year, from the date of my death, for
her life, the interest of the above capital,...........150

After her death her son, Anton Polzelli, to
receive 150 florins for one year, having always
been a good son to his mother and a grateful
pupil to me. N.B.--I hereby revoke the obligation
in Italian, signed by me, which may be
produced by Mdme. Polzelli, otherwise so many
of my poor relations with greater claims would
receive too little. Finally, Mdme. Polzelli must
be satisfied with the annuity of 150 florins.
After her death the half of the above capital,
viz., 3000 florins, to be divided into two shares--
one-half (1500) to devolve on the Rohrau family,
for the purpose of keeping in good order the
monument erected to me by Count von Harrach,
and also that of my deceased father at the door
of the sacristy. The other half to be held in
trust by the Count, and the annual interest of
the sum, namely, 45 florins, to be divided
between any two orphans in Rohrau.
52. To my niece, Anna Lungmayer, payable six weeks
after my death,.........................................100
Likewise a yearly annuity to her husband and herself,...150
All these legacies and obligations, and also
the proceeds of the sale of my house and legal
costs, to be paid within one year of my death;
all the other expenses to be deducted from the
sum of ready money in the hands of the executors,
who must account to the heir for the same. On
their demise this annuity to go to their children
until they come of age, and after that period the
capital to be equally divided among them. Of
the remaining 950 florins, 500 to become the
property of my beloved Count v. Harrach, as the
depositary of my last will and testament, and
300 I bequeath to the agent for his trouble.
The residue of 150 florins to go to my stepmother,
and, if she be no longer living, to her
children. N.B.--Should Mdme. Lungmayer or
her husband produce any document signed by
me for a larger sum, I wish it to be understood,
as in the case of Mdme. Polzelli, that it is to be
considered null and void, as both Mdme. Lungmayer
and her husband, owing to my great kindness, lavished
more than 6000 florins of mine during my life, which
my own brother and the citizens in Oedenberg and
Eisenstadt can testify.

(From No. 51 is repeatedly and thickly scored out.)

53. To the widow Theresia Eder and her two daughters,
lacemakers,..............................................150
54. To my pupil, Anton Polzelli,.............................100
55. To poor blind Adam in Eisenstadt,........................24
56. To my gracious Prince, my gold Parisian medal and
the letter that accompanied it, with a humble
request to grant them a place in the museum at
Forchtentein.
57. To Mdlle. C. Czeck, waiting-woman to Princess
Graschalkowitz (erased),.................................1000
58. To Fraulein Anna Bucholz,................................100
Inasmuch as in my youth her grandfather lent
me 150 florins when I greatly needed them,
which, however, I repaid fifty years ago.
59. To the daughter of the bookkeeper, Kandler, my
piano, by the organ-builder Schanz.
60. The small Parisian medal to Count v. Harrach, and
also the bust a l'antique of Herr Grassi.
61. To the widow Wallnerin in Schottenhof,...................100
62. To the Father Prior Leo in Eisenstadt, of the
"Brothers of Mercy,".....................................50
63. To the Hospital for the Poor in Eisenstadt (erased),.....75

For the ratification of this my last will and testament, I have
written it entirely in my own hand, and earnestly beg the
authorities to consider it, even if not strictly or properly legal,
in the light at least of a codicil, and to do all in their power to
make it valid and binding.

JOSEPH HAYDN.
May 5, 1801.

Should God call me away suddenly, this my last will and testament,
though not written on stamped paper, to be considered valid in
law, and the stamps to be repaid tenfold to my sovereign.

In the name of the Holy Trinity. The uncertainty of the
period when it may please my Creator, in His infinite wisdom,
to call me from time into eternity has caused me, being in sound
health, to make my last will with regard to my little remaining
property. I commend my soul to my all-merciful Creator; my
body I wish to be interred, according to the Roman Catholic
forms, in consecrated ground. A first-class funeral. For my
soul I bequeath No. 1.

Joseph Haydn

Vienna, Dec. 6, 1801

APPENDIX B: CATALOGUE OF WORKS

There are unusual difficulties in the way of compiling a
thoroughly satisfactory catalogue of Haydn's instrumental works.
From the want of any generally-accepted consecutive numbering,
and the fact that several are in the same key, this is
particularly the case with the symphonies. Different editions
have different numberings, and the confusion is increased by a
further re-numbering of the piano symphonic scores arranged for
two and four hands. In Breitkopf & Hartel's catalogue many works
are included among the symphonies which are also found among the
smaller compositions, and others are catalogued twice. Even the
composer himself, in compiling his thematic catalogue, made
mistakes. In the present list we have been content for the most
part to state the numbers of the various instrumental works,
without attempting to notify each individual composition. Indeed,
to do otherwise would have called for an extensive use of music
type. Nor have we thought it necessary to include the
supposititious and doubtful works, for which Pohl's list may be
consulted.

INSTRUMENTAL

125 symphonies, including overtures to operas and plays.
Of these 94 are published in parts, 40 in score; 29 remain in
MS. About 40 have been arranged for pianoforte 2 hands, 60
for 4 hands, 10 for 8 hands.

Pohl gives a thematic list of the 12 symphonies composed for
Salomon, numbered in the order of their occurrence in the
catalogue of the London Philharmonic Society. These include:

TITLE OF WORK KEY DATE

"The Surprise" G major 1791

"The Clock," referring D minor 1794
to the Andante

"The Military" G major 1794

Other symphonies known by their titles are:

TITLE OF WORK KEY DATE

"Le Matin" D major
"Le Midi" C major
"Le Soir" G major 1761
"The Farewell" A major 1772
"Maria Theresa" C major 1773
"The Schoolmaster" E flat 1774
"Feuer Symphonic" (probably
overture to "Die Feuersbrunst) A major 1774
"La Chasse" D major 1780
"Toy" Symphony C major 1780
"La Reine de France" B major for Paris, 1786
"The Oxford" G major 1788

"The Seven Words from the Cross." Originally for orchestra.
Arranged first for 2 violins, viola and bass; afterwards for soli,
chorus and orchestra.

66 various compositions for wind and strings, separately and
combined, including divertimenti, concerted pieces, etc.

7 notturnos or serenades for the lyre.
7 marches.
6 scherzandos.
1 sestet.
Several quintets.
1 "Echo" for 4 violins and 2 'cellos.
"Feld-partien" for wind instruments and arrangements from
baryton pieces.
12 collections of minuets and allemands.
31 concertos: 9 violin, 6 'cello, 1 double bass, 5 lyre, 3 baryton,
2 flute, 3 horn, 1 for 2 horns, 1 clarino (1796).
175 baryton pieces. Arrangements were published of several
of these in 3 parts, with violin (or flute), viola or 'cello as
principal.
1 duet for 2 lutes.
2 trios for lute, violin and 'cello.
1 sonata for harp, with flute and bass.
Several pieces for a musical clock.
A solo for harmonica.
6 duets for violin solo, with viola accompaniments. The
numerous printed duets for 2 violins are only arrangements from
his other works.
30 trios: 20 for 2 violins and bass, 1 for violin solo, viola
concertante and bass, 2 for flute, violin and bass, 3 for 3 flutes,
1 for corno di caccia, violin and 'cello.
77 quartets. The first 18 were published in 3 series; the
next is in MS.; then 1 printed separately; 54 in 9 series of 6
Nos. each; 2 more and the last.

CLAVIER MUSIC

20 concertos and divertimenti: 1 concerto is with principal
violin, 2 only (G and D) have been printed; the last alone
survives.
38 trios: 35 with violin and 'cello, 3 with flute and 'cello
Only 31 are printed.
53 sonatas and divertimenti. Only 35 are printed: the one
in C, containing the adagio in F included in all the collections
of smaller pieces, only in London.
4 sonatas for clavier and violin. 8 are published, but 4 of
these are arrangements.
9 smaller pieces, including 5 Nos. of variations, a capriccio, a
fantasia, 2 adagios and "differentes petites pieces."
1 duet (variations).

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

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

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

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

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

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

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

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

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

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

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

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

"George Thomson, the Friend of Burns" --Correspondence with
Haydn, pp. 303-308 --- Cuthbert Hadden --- London, 1898 TITLE OF
WORK --- AUTHOR --- PLACE AND DATE

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

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

"Joseph Haydn" in Great Musicians series --- Miss Pauline D.
Townsend -- London, N.D.

Article on Haydn in "Dictionary of Music." English ed. translated
by J. S. Shedlock --- Riemann --- London, Augener & Co.

Autobiographical Sketch by himself. 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 --- ... --- 1776

"Lexicon:' Additional particulars are given in 2nd edition, 1812
--- Gerber --- 1790

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

Article in journal des Luxus und der Moden --- Bertuch ---
Weimar, 1805

"Brevi notizie istorchie dells vita a delle opere di Guis.
Haydn." --- Mayer --- Bergamo, 1809

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

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

"Biographische Notizen uber Joseph Haydn" --- Griezinger ---
Leipzig, 1810

"Biographische Nachrichten von Joseph Haydn" --- Dies --- Vienna,
1810

"Joseph Haydn" --- Arnold --- Erfurt, 181O; 2nd ed., 1825

"Notice sur J. Haydn" --- Framery --- Paris, 1810

"Notice historique sur la vie et les ouvrages de Haydn" in the
Moniteur. --- Le Breton --- Paris, 1810 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 die J. Haydn" --- ... ---
Strassburg, 1812

"Le Haydine," etc. --- Carpani --- Milan, 1812; 2nd edition,
enlarged, Padua, 1823 This work was essentially reproduced,
without acknowledgment, in "Lettres ecrites de Vienne en
Autriche," etc., by L. A. C. Bombet, Paris, 1814; republished as
"Vie de Haydn, Mozart et Metastase," par Stendhal, Paris, 1817.
Bom- bet 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. See p. 123 of text

"Biogr. Notizen" --- Grosser --- Hirschberg, 1826

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

"Allg. Wiener Musikzeitung" --- ... --- 1843

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

"Joseph Haydn and 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 Sterling, 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 developed in the course of their musical
intercourse that eventually touched their hearts and gave rise to
a bright bond of friendship between the lady and the old, though
still youthful, maestro." Some brief extracts from the letters
now to be given have of necessity been worked into the biography.
The correspondence originated in the following note from Frau von
Genzinger:

January 1789.

DEAR M. HAYDN,

With your kind permission I take the liberty to send a pianoforte
arrangement of the beautiful adagio in your admirable
composition. I arranged it from the score quite alone, and
without the least help from my master. I beg that, if you should
discover any errors, you will be so good as to correct them. I do
hope that you are in perfect health, and nothing do I wish more
than to see you soon again in Vienna, in order to prove further
my high esteem.

Your obedient servant,

MARIA ANNA V. GENZINGER.

To this Haydn replies as follows:

ESTORAS, Janr. 14, 1789.

DEAR MADAM,

In all my previous correspondence, nothing was ever so agreeable
to me as the surprise of seeing your charming writing, and
reading so many kind expressions; but still more did I admire
what you sent me--the admirable arrangement of the adagio, which,
from its correctness, might be engraved at once by any publisher.
I should like to know whether you arranged the adagio from the
score, or whether you gave yourself the amazing trouble of first
putting it into score from the separate parts, and then arranging
it for the piano, for, if the latter, such an attention would be
too flattering to me, and I feel that I really do not deserve it.

Best and kindest Frau v. Genzinger! I only await a hint from you
as to how, and in what way, I can serve you; in the meantime, I
return the adagio, and hope that my talents, poor though they be,
may ensure me some commands from you.

I am yours, etc.,

HAYDN.

The next letter is from the lady:

VIENNA, Oct. 29, 1789.

DEAR HERR V. HAYDN,

I hope you duly received my letter of September 15, and also the
first movement of the symphony (the andante of which I sent you
some months ago), and now follows the last movement, which I have
arranged for the piano as well as it was in my power to do; I
only wish that it may please you, and earnestly beg that, if
there are any mistakes in it, you will correct them at your
leisure, a service which I shall always accept from you, my
valued Herr Haydn, with the utmost gratitude. Be so good as to
let me know whether you received my letter of September 15, and
the piece of music, and if it is in accordance with your taste,
which would delight me very much, for I am very uneasy and
concerned lest you should not have got it safely, or not approve
of it. I hope that you are well, which will always be a source of
pleasure to me to hear, and commending myself to your further
friendship and remembrance.

Pages:
1 | 2 | 3 | 4 | 5 | 6 | 7 | 8 | 9 | 10 | 11 | 12 | 13 | 14 | 15