Haydn's Haus

[Bogey]

That Op. 77 is what hooked me on Haydn, Gurn.  How many more installments do we have ahead?

[Gurn Blanston]

That Op. 77 is what hooked me on Haydn, Gurn.  How many more installments do we have ahead?

I can understand that, Bill. It was Op 76 for me.

Well, 1800-02 have just small bits (2 masses and part of a quartet along with a couple of songs) and I might well do those all at once. Then there needs to be a closing bit too, some discussion of the Scottish songs that kept him into music up into 1804, along with events til his death in 1809. So I figure that even condensing some years together, it will be 3 more essays.

After that, there are some specifics I want to go on with about genres and such. Hope you will join in there too.

[Bogey]

I can understand that, Bill. It was Op 76 for me.

Well, 1800-02 have just small bits (2 masses and part of a quartet along with a couple of songs) and I might well do those all at once. Then there needs to be a closing bit too, some discussion of the Scottish songs that kept him into music up into 1804, along with events til his death in 1809. So I figure that even condensing some years together, it will be 3 more essays.

After that, there are some specifics I want to go on with about genres and such. Hope you will join in there too.

I want to go back and re-read all the installments and also play the pieces that were highlighted with what I have on the shelf.  Just work through these gems you created at a slow pace.  I am hoping that you might discuss his revival in a piece (did he have one?) and any fragment works worth mentioning that they may have found in recent time...if he had any.

[Gurn Blanston]

I want to go back and re-read all the installments and also play the pieces that were highlighted with what I have on the shelf.  Just work through these gems you created at a slow pace.  I am hoping that you might discuss his revival in a piece (did he have one?) and any fragment works worth mentioning that they may have found in recent time...if he had any.

OK, those would be good topics. Lots to discuss on the revivals thing, for sure.

You know, if you click the globe icon in my sidebar you go to a table of contents....

[Bogey]

OK, those would be good topics. Lots to discuss on the revivals thing, for sure.

You know, if you click the globe icon in my sidebar you go to a table of contents....

I was one of the folks that pressured you into making it.   I have been all over it like fleas on a prairie dog.

The revival thing (any composer) always fascinates me....that is, how did their music get left behind in the first place.

[Gurn Blanston]

I was one of the folks that pressured you into making it.   I have been all over it like fleas on a prairie dog.

The revival thing (any composer) always fascinates me....that is, how did their music get left behind in the first place.

  Yep, your memory is better than mine, you young rascal.

Well, not to get started on it now, but there have been 3 separate, distinct revivals in the 20th century alone!

[Gurn Blanston]

Part 49

1800 – 1803

I've decided to cover Haydn's last productive years in one swoop, since they are so interconnected.

On March 20, 1800, Haydn's wife died. It was an event which, if it had happened earlier in life, would have been cause for some celebration. As it was, he didn't seem unduly upset, but also made no attempt to replace her. Even when Polzelli wrote from Italy, the best he could offer was that if he married anyone other than her, he would pay her a nice sum of money, 300 florins. Not much danger of that happening at this late date though, and he did leave her half that amount in his will.

Haydn's fame by this time was such that even the most famous people of the day made an effort to stop in and visit. During the 1800 sojourn in Eisenstadt, the famous Admiral Nelson, fresh from his victory over the Napoleonic fleet at Alexandria, was traveling around Europe with his paramour Lady Emma Hamilton, her husband (!), and a crew of admirers, including the wife of one of Nelson's officers, Cornelia Knight. The tour went through Eisenstadt, where it was arranged that Haydn would be available. Among other things, the great Mass in d minor 'Missa in angustiis' was played by special request of Nelson, and since that time has been called the Nelson Mass.  It seems that Emma was fond of music, and so Haydn and a group of musicians were playing for a party (honest to god!!). Cornelia Knight pulled out a set of verses she had written praising Nelson's victory, and Haydn composed it into a cantata. Emma, who fancied herself a singer, took every opportunity to sing it for whatever gathering they were at, including to Nelson himself as she sat beside her husband, with Haydn at the piano!  Seems a bit uncomfortable to me, but there you go!

Haydn suffered a serious illness in winter 1800–01, as The Seasons neared completion, during which he identified with his own oratorio. His pupil Sigismund Ritter von Neukomm reported:

Speaking of the penultimate aria, 'Behold, O weak and foolish man, Behold the picture of thy life' ... he said: 'This aria refers to me!' And in this wonderful masterpiece he really did speak entirely from his inmost soul, so much so that he became seriously ill while composing it, and ... the Lord ... allowed him to see 'his life's image and his open grave'.

From 1800 on he received a steady stream of distinguished visitors, honors and medals of which a gold medal from and honorary citizenship of the City of Vienna, in recognition of his charitable performances, meant the most to him. He also continued to talk shop with younger musicians; in addition to Pleyel and Beethoven, those who benefited included Anton Wranitzky, Neukomm, Reicha, Eybler, Weigl, Seyfried, Hummel, Diabelli, Kalkbrenner and Weber.

Unlike his self-published work, The Creation, Haydn simply sold the rights to publication of The Seasons to Breitkopf & Härtel. Even his taste for self-promotion was fading with age!

Haydn's last public musical function was on December 26, 1803, when he conducted the Seven Last Words in a charity benefit concert.

But the completed part of Haydn's final work was done in 1803. It is fitting in so many ways that it was a string quartet. Even more, that the final completed movement he ever composed was a minuet for this work. He had single-handedly done more for the minuet than any other composer, to the point of turning it into the Scherzo idea that was soon to be perfected by his greatest pupil, Beethoven. This was to be the 3rd quartet of Op 77. According to Griesinger, he would take the quartet down and have a go at it, which habit continued until 1806 when he finally gave up. Griesinger sent the 2 movements to Breitkopf along with a copy of Haydn's calling card. On it was the poem 'Der Greis' ('The Old Man') by Gleim, which Haydn had set in 1796 (Hob 25c_5) for 4 voices. When the quartet Op 103 was published in 1806, the little 4 part setting was appended to the end of it ("in lieu of a small rondo") by way of explanation as to why it was just 2 movements.

Courtesy H.C. Robbins-Landon


The music of 1800-1803;

1800
Hob 26a_44 Lied with Keyboard   'Als einst mit Weibes Schönheit'
Hob 26a_45 Song with Keyboard   'Un tetto umil' (Eine kleines Haus)
Hob 26a_46 Song with Keyboard   'Pensi a me si fido amante'
Elly Ameling / Jorg Demus
Hob 26b_04  Song (Cantata) for Voice & Keyboard "The Battle of the Nile"
   Four Nations Ensemble



1801
Hob 21_03 Oratorio "The Seasons"
   English Baroque Soloists / Gardiner Monteverdi Choir


Hob 22_13 Schöpfungsmesse
   English Baroque Soloists / Gardiner Monteverdi Choir



1802
Hob 22_14 Harmoniemesse
   Concentus musicus Wien / Harnoncourt



1803
Hob 03_83 Quartet in d for Strings Op 103 (incomplete)
Hob 03_deest / 25c_ 5 Song arranged for String Quartet 'Der Greis'
   L' Archibudelli


1800
....being spent nearly completely in the composition of The Seasons, didn't allow for a lot else. A few songs, nicely portrayed here by Elly & Jörg, and the amusingly fawning cantata whose origin is described above pretty well covered it. Once again an opportunity arises to urge the Haydnistos in the group to grab off that Four Nations Ensemble disk while it is available. It is the only recording I have found of the cantata, and also the earlier recommended Italian Duets. In addition, it is set up like a Haydn evening, with 2 keyboard trios (Hob 18 & 19) and a nice version of the Piccolo Divertimento Variations for Fortepiano.

1801
The composition of The Seasons was finally completed in early 1801. I have two versions on period instruments to choose from, and despite, or because of, the different approach, the choice was hard to make. I finally went with Gardiner, which is a brilliant and moderately grandiose vision of this music. The playing and singing, especially the chorus, is just great here. The other option I have is this one;


Here, Kuijken seems to take a more pastoral view all'round. And who is to say that this is not congruent with Haydn's original vision? I certainly can't. All in all, it is more delicate and... chamberesque, as it were. So decide what appeals to you more, or get them both and then make your choice (or not) and have a fallback alternative.

Our other work this year harks back to the previous oratorio. It is the so-called Schöpfungsmesse or Creation Mass. If you, like me, have wondered at the name, the back story is typically amusing and so very Haydnish. It is based on one of Haydn's most incautious jokes. In the Gloria, listeners and performers who were steeped in the traditions of Austrian church music (that would be everyone there, eh?) fully expected the tempo to change from fast to slow around the point of 'Gratias agimus tibi' or 'Qui tollis peccata mundi'. Instead of that, our boy has the orchestra continue right on in Tempo I and begin quoting the Creation music associated with the text 'The dew-dropping morn, Oh how she quickens all', even with the same horns and instrumentation. In the mass, the bass then enters and repeats the Creation tune, only singing the words of the 'Qui tollis peccata mundi...'. Suddenly the choir catches on and abruptly switches tempo in midstream from Allegro to Adagio and sings the 'miserere nobis' plea for mercy. Since most of us today weren't brought up in this sort of tradition, we may not recognize the depth and outrageous humor of this multi-layered joke, but everyone there certainly did. The Empress actually asked Haydn to recompose it for her, removing the Creation quotation altogether, but leaving the tempo changes etc. My choice for this one, the Gardiner, reflects the fact that the Esterházy Orchestra had finally been rebuilt to the point where there were sufficient wind instruments available to really make a noise. I think Gardiner makes the most of this fact, I really like their work here.

1802

The Harmoniemesse, Haydn's last completed work in any genre. A mass, just like his first completed work in any genre. The symmetry, as so often in Haydn's life, is wonderful. This mass got its name actually in the late 19th century and it is reflective of the fact that it contains a full wind section, not only extraordinary at the time, but also for Haydn. It is his only mass containing one, and in fact it has the largest complement of instruments of any of Haydn's masses. The sonority is overwhelming at times. Unusually for him, he indicated the beginning of his labors, April 1802 in Vienna (Gumpendorf). He moved to Eisenstadt in August, of course, and had it all finished by September 8 for its premiere on the Princess' name day. He directed it in the chapel. So even at that late date, he was able to conduct his final composition. I have chosen Harnoncourt for this performance. The Concentus musicus really do a super job on it, and the sonorities, especially of the winds, stand out nicely. I think you would like this, if not above all others, then at least very well indeed.

1803

OK, it's true what you have suspected of me all along, I have trouble writing the sad parts. The modern phrase 'burned out' was not in use in 1803, but perhaps it should have been. I can't think of another phrase that is more suitably descriptive of Haydn by then. He told his friends and care givers that he still had a head full of great ideas, but he was simply unable to set them down on paper any more. For someone who had driven himself so hard throughout his life, it must have been an inner tragedy to be well able to realize that he was done. However, he did do us the service of getting the minuet of the final d minor quartet completed, so the two inner movements of what should have been Op 77#3 were done. But that was it. When Griesinger sent them off to Breitkopf & Härtel in 1806, there wasn't a note added to them. As he said at the time "we have had hopes for a small rondo to finish it up with, but if there isn't one by now, there will never be one'. I have chosen L'Archibudelli to play this Schwanengesang because they not only do a fabulous job with it, but they are the only ones to add in the appropriate 2 minutes of 'Der Greis' which B & H actually included as part of the score after the second (third really) movement. IMO, they are the only ones to play it fully and properly.   :`(


This is the 49th chapter of these essays. There will be one more. I want to look at the folk song settings, and how Haydn spent the remainder of his life after the creative part was past. For now, enjoy the late music. It is a simple fact that Haydn never deteriorated in his creative power right up to the end. The brilliance of his late music, the incorporation of the latest ideas of structure and harmony into his personal idiom, make one wonder what would have come out if he had been granted the healthy longevity of Elliot Carter, for example. Would 19th century music have taken a different turn? Can't know, of course, but I suspect it might have done. 

[Karl Henning]

Thanks, Leo. Man, you need to spin that McCreesh! I really think you will be blown away by the power unleashed there. The right mood will come more often after that.    I have never seen a 'live' performance of this work, but it is second on my bucket list (after THE 9th). 

Then, Gurn, mayhap you will come to Boston to hear the Handel & Haydn Society do it up…

[Gurn Blanston]

Then, Gurn, mayhap you will come to Boston to hear the Handel & Haydn Society do it up...

That would be most interesting, Karl. I know the Boston Haydn Society to be a very talented bunch, plus they perform in an historically accurate sort of way, so I'm told.

[Karl Henning]

Gurn - thanks for the ongoing and outstanding timeline on Papa Haydn, and glad that you liked the McCreesh - it is DAMN good (and in English -  ) - Dave

Gosh, youze guys — this Haus is a genuine financial peril. I've never given The Creation a proper shake yet, and this recording has all the earmarks of one I should likely enjoy.

[Gurn Blanston]

Gosh, youze guys — this Haus is a genuine financial peril. I've never given The Creation a proper shake yet, and this recording has all the earmarks of one I should likely enjoy.

Well, it is damned good, Karl...   What does "&mdash" mean? 

[Karl Henning]

… 1803

OK, it’s true what you have suspected of me all along, I have trouble writing the sad parts.

Well, and it is sad, even though it's the end of a long and musically well-lived life. Your wonderful series here of engaging essays, O Gurn, has really brought "Papa" to life for me, and spurred me to investigate much more of his music than ever I imagined I should (and it's all been time excellently spent). My hat's off to you!

[Karl Henning]

Well, it is damned good, Karl... :-  What does "&mdash" mean? 

It means that Tapatalk and the Forum don't quite communicate togedder.

[Gurn Blanston]

Well, and it is sad, even though it's the end of a long and musically well-lived life. Your wonderful series here of engaging essays, O Gurn, has really brought "Papa" to life for me, and spurred me to investigate much more of his music than ever I imagined I should (and it's all been time excellently spent). My hat's off to you!

Well, thank you so much, Karl. It is particularly gratifying to be able to contribute to the righting of a ship that went off the rails...   Don't'cha just love mixed metaphors? 

But seriously, Haydn's music speaks for itself, if only people can get past the dogma of the ages and give it a listen.

[Gurn Blanston]

It means that Tapatalk and the Forum don't quite communicate togedder.

Ah, gotcha. Well, still better than actually typing...

[Bogey]

Well, and it is sad, even though it's the end of a long and musically well-lived life. Your wonderful series here of engaging essays, O Gurn, has really brought "Papa" to life for me, and spurred me to investigate much more of his music than ever I imagined I should (and it's all been time excellently spent). My hat's off to you!

....and added a feature to this forum of the likes I have not seen before, but hope someone tries to recreate with other composers.  Gurn is now our Ken Burns.

[Gurn Blanston]

....and added a feature to this forum of the likes I have not seen before, but hope someone tries to recreate with other composers.  Gurn is now our Ken Burns.

Thanks, Bill. I have also been hoping that someone would undertake a project like this. Choosing a subject can be difficult, but Haydn was a natural choice for me, since it is not only MY opinion that he is the greatest virtually unknown composer. Plus I already loved the music, which really helps! I really would encourage anyone who has an abiding interest in a composer, plus the resources to be able to satisfy their curiosity, to have at it. We would love to share your interest, as I thank all those who shared mine.

[Leon]

I too wish to congrtulate Gurn on his contribution - the essays are a rich trove of information about Haydn that will be something I return to again and again.  Also, the chronological lists are a really nice thing to have handy.

Now, in your honor I am playing this interesting disc:

[asin]B003JIQEF0[/asin]

These are transcriptions of baryton trios for basset horns. 

[Gurn Blanston]

I too wish to congrtulate Gurn on his contribution - the essays are a rich trove of information about Haydn that will be something I return to again and again.  Also, the chronological lists are a really nice thing to have handy.

Now, in your honor I am playing this interesting disc:

[asin]B003JIQEF0[/asin]

These are transcriptions of baryton trios for basset horns. 

Thank you kindly, Arnold. Your finding of the chronological lists as handy is precisely what started me on this project 5 years ago. I thought it would be so easy to do. Well, I was wrong!     If interested parties can make good use of them, with the caveats made early on, then they will have served the purpose.

That's a great disk, very entertaining. Enjoy!



----------------
Now playing:

Schuppanzigh Quartet - Hob 03_24 Quartet in A for Strings Op 9 #6 1st mvmt - Presto

[Leon]

That's a great disk, very entertaining. Enjoy!

Yes, it is interesting to hear another setting for those trios - but the cherry on top of the sundae is the last track featuring the glass harmonica!