Haydn's Haus

[Gurn Blanston]

Part 50

To 1809

Despite the obvious physical ailments that age still brings, and brought even more 200 years ago, Haydn had a relatively pleasant and gratifying old age. As we discussed earlier, he had plenty of visits from friends, admirers and fellow composers. Also the Princess Marie Hermenegild, who thought the world of him, frequently stopped in to make sure he was doing well. Among other things of a more germane nature, she pressured her husband to insure that all of Haydn's medical bills were paid by the Esterházy's, something which took a lot of weight off Haydn's mind.

Two major blows came in rapid succession. In 1805, his youngest brother Johann, who had been a tenor in the Esterháza chorus since 1764, passed away in Eisenstadt. Then in 1806, his other younger brother and dear friend, J. Michael Haydn, died in Salzburg, where he had decided to stay just four years previously when he was offered Joseph's old job in Eisenstadt. Not that this left him without relatives, it seems they were a prolific bunch! But since the other two were musicians, he always was closer to them and identified more with them. He took it hard.

In his memoirs (since published, but called for many years 'The Unpublished Autobiography of Antonin Reicha') Reicha, a close friend of Haydn, speaks of his arrival in Vienna in late 1805 with a group of friends. Among others, the musicians included Luigi Cherubini and Pierre Baillot (a pre-eminent violinist of the day). The French, under Napoleon, had recently drubbed the Austrians and taken the country. Despite that, Haydn showed great hospitality to the guests, even including some French generals, and had them all sign his visitors book. He never backed down though, frequently playing his variations on the Kaiserhymne in their presence. Haydn had a very high opinion of Cherubini in particular (as did Beethoven after him). In Dies' 'Biographical Notices' he mentions some specifics of his music that are well-deserving of praise. In March of 1806, Cherubini asked for a score of one of Haydn's symphonies to have as a keepsake. In response, Haydn gave him 'a symphony which I understand is quite popular in Paris'. It is the autograph of Hob 103! Haydn then told him, 'let me call myself your musical father, and you my son'. Countless composers of that time called Haydn their musical father, among them Carl Maria von Weber who called him 'The Great Father Haydn'. But despite long told tales to the contrary, there was only one who ever called him 'Papa Haydn', and that was Mozart.

His last public appearance of any kind was on 27 March 1808, at a gala performance of The Creation in honor of his 76th birthday, in the Great Hall (Festsaal) of the University. The spirit of occasion is captured nicely in this painting by Balthasar Wigand. Haydn is seated in the center foreground. 

Haydn was presented a(nother!) gold medal, this one by the Ambassador of France on behalf of the Concert des Amateurs in Paris in tribute for The Creation. He sat surrounded by nobility, especially the Princess Esterházy. This painting, which was commissioned by her for the cover of a box that she presented to Haydn, captures the exact moment when Haydn, having complained of a bit of a draught in the hall, was being presented by her with her shawl to cover up with. Immediately after, several of the other ladies did the same until he was bundled up in finery! For him, the entire affair was so charged with emotion that it was feared that he would succumb to it, so at the end of Part I he was carried home. A week later Dies came to visit and Haydn was still excited about the beauty of the entire tribute concert. He wanted Dies to make sure that he wrote that Haydn had only left for his own health, and that he was overwhelmed by the quality of the music making.

In early 1809, the Austrians, apparently a warlike tribe at best, once again invaded Bavaria (by then a province of Napoleonic France) and caused Napoleon to come back from Spain and spank them yet again. Even the French held Haydn in such high regard that Napoleon had an honor guard posted around his house so that the war wouldn't find him by mistake. On May 26, a French Hussar (army officer) came to visit. He spoke with Haydn at length, praising him and his music and telling Haydn of the great emotion he felt just being there. Haydn asked him to go into the parlor and sing at the clavier, which he did with great perfection, an aria from The Creation (In Native Worth and Honor Clad). Haydn was deeply moved, no less the officer. They embraced and he left after signing the guest book. It was the last music Haydn heard, other than, perhaps, the constant stream of beautiful music that went on in his head. He died on May 31, 1809.

Other music from 1800-1809;


1800

30 Scottish Folksongs for George Thomson
Hob 31a_005bis Scottish Folksong     "Saw ye my father"
Hob 31a_011bis Scottish Folksong     "Barbara Allan"
Hob 31a_031bis Scottish Folksong     "The lea-rig"
Hob 31a_035bis Scottish Folksong     "Maggie Lauder"

..............................

Hob 31a_179 Scottish Folksong        "Galashiels"
Hob 31a_181 Scottish Folksong        "Thro the wood, laddie"
Hob 31a_183 Scottish Folksong        "Pinkie House"
Hob 31a_185 Scottish Folksong        "Scornfu' Nansy"
   Haydn Trio Eisenstadt / L. Anderson  / J. MacDougall

1801

75 Scottish Folksongs for George Thomson
Hob 31a_004bis Scottish Folksong     Willie was a wanton wag
Hob 31a_007bis Scottish Folksong    Fy gar rub her o'er wi' strae
Hob 31a_008bis Scottish Folksong     'Green grow the rashes'
Hob 31a_013bis Scottish Folksong    Gramachree

................................

Hob 31a_249 Scottish Folksong       Oonagh
Hob 31a_252 Scottish Folksong       Jenny's bawbee
Hob 31a_263 Scottish Folksong       Jingling Johnie
Hob 31a_265 Scottish Folksong       Polwarth on the green
   Haydn Trio Eisenstadt / L. Anderson  / J. MacDougall

1802

49 Scottish Folksongs for William Whyte
Hob 31a_037bis Scottish Folksong    My Nanie, O
Hob 31a_176 Scottish Folksong       The blue bells of Scotland
Hob 31a_187bis Scottish Folksong    The birks of Invernay
Hob 31a_189bis Scottish Folksong    My apron deary

.................................

Hob 31a_218 Scottish Song       'Auld Lang Syne'
Hob 31a_219 Scottish Song       'She rose and loot me in'
Hob 31a_220 Scottish Song       'Katharine Ogie'
Hob 31a_257 Scottish Song       'Wandering Willie'
Hob 31a_261 Scottish Song       'Sweet Annie frae the sea-beach came'
Hob 31a_262 Scottish Song       'Farewell, thou fair day'
   Haydn Trio Eisenstadt / L. Anderson  / J. MacDougall

1803

26 Welsh Folksongs for George Thomson
Hob 31b_01 Welsh Song          'The rising of the lark'
Hob 31b_02 Welsh Song          'The march of the men of Harlech'
Hob 31b_44 Welsh Song          'The sweet melody of North Wales'
Hob 31b_45 Welsh Song          'Lady Owen's favourite'
Hob 31b_46 Welsh Song          'Winifreda'

...................................

30 Scottish Folksongs for William Whyte
Hob 31a_015ter Scottish Folksong    Galla Water
Hob 31a_022bis Scottish Folksong   The white cockade
Hob 31a_037ter Scottish Folksong    My Nanie, O
Hob 31a_052bis Scottish Folksong    Tibbie Fowler
   Haydn Trio Eisenstadt / L. Anderson  / J. MacDougall

1804
24 Scottish Folksongs for George Thomson
Hob 31a_255 Scottish Song       'The Palmer. O open the door'
Hob 31a_258 Scottish Song       'My jo Janet'
Hob 31a_259 Scottish Song       'The day returns'
Hob 31a_260 Scottish Song       'The siller crown'

........................................

36 Welsh Folksongs for George Thomson
Hob 31b_04 Welsh Song          'David of the White Rock'
Hob 31b_13 Welsh Song          'Farewell Frances'
Hob 31b_16 Welsh Song          'Away to the oaken grove'
Hob 31b_17 Welsh Song          'Over the stone'
   Haydn Trio Eisenstadt / L. Anderson  / J. MacDougall


In the section above, you recall mention of the Unpublished Autobiography of Antonin Reicha. One of the things to come out of that book was an interesting discussion between Haydn and Reicha concerning why Haydn was setting all of these folksongs for British publishers. Haydn stressed to Reicha the absolute imperative of working with music every day. Even if it was lowly folk music, it needed done properly, and he needed the practice and challenge to his imagination that this provided. Plus money, of course. He was well paid for these works, as were Beethoven, Hummel, Gyrowetz  and the several others who were doing it.

There are a certain number of these (70 or so) that are believed to have been done by Neukomm under Haydn's supervision. Since Neukomm was there to study composition, it is no surprise that Haydn had him do some of these as exercises. Even knowing which ones they are, it is difficult to hear any particular failing in them that makes them lesser works. The thing with folk music; you like it or you don't. If you don't, then no amount of craft is going to suit your fancy. If you do, then chances are that rusticity is a positive attraction rather than polish. These have both. It is unfortunate that he wasn't provided with more to go by, just a lyric and an incipit. I think he made the best of it though, as these are clearly piano trio accompaniments and quite pleasant all on their own.

I suppose it is a no-brainer to recommend the Haydn Trio Eisenstadt, since they are the only ones to have done the lot. Nonetheless, they are very well done, this was a great project by Brilliant, and probably the only time this mountain will ever be scaled (much like their Baryton Trio project). If you have the Big Box, then give these a listen. As occasional works they are quite  suitable.


There are still some few Haydn works that are unrecorded. As an example I point out Hob 27, which consists of 57 vocal canons for 2-6 voices, both secular and sacred. Hungaroton did a single disk many years ago but it is totally unavailable, and no other exists to my knowledge. Then, there are the marches and dances that I have been whining about for quite a while now. And certainly a few others. It is strange to me that one keeps seeing new disks of works "by Haydn" which have been known for decades to not be by Haydn, and yet many genuine works still languish either unrecorded, or else, as I have pointed out all along the way, only recorded once! As time goes by, this situation is being very slowly rectified. Many of the works that I presented to you here would not have been possible as recently as a decade ago.

If this series has brought you pleasure, and perhaps piqued your interest in the greatest composer of most time, then I feel hugely successful. I plan to go back to the beginning and upgrade the earlier essays which were very tentative and for which I hadn't developed a framework for. I hate to give the impression that the early works aren't worth the effort, I just didn't have a plan. That will be remedied in time, I hope.

Thanks for your interest and all the feedback and input I got.

[Antoine Marchand]

Thank you very much for doing this, Gurn. It has been a great journey. 

[kaergaard]

Great writing, Gurn. Applause! It got me back here, because I wanted you to know that your talent of putting into plain words, easy to understand, is appreciated also by a non-Haydn follower and devotee. 

[mc ukrneal]

Very interesting! Thanks for the effort and hard work for something you did purely because you had the interest. Maybe you could add one more chapter that covers sources and available writings about Haydn and his music? I'd love a separate 'book review' chapter. Amyway, just thoughts and do not diminish the work already done!

[Florestan]

Many thanks for this most interesting series, Gurn! Now that your work of love and knowledge is completed I cannot help but cry out loud: Bravo, maestro!

[mszczuj]

The great work is completed! It will serve us for years.

[Opus106]

I have nothing much to what has already been said about your series, Gurn. It was a labour of love, truly, the fruits of which you shared with the rest of the world. Your enthusiasm easily comes through the paragraphs and sometimes it is very infectious (and as Karl is wont to point out, financially damaging ). And the balanace of history infused with dry humour and recording recommendations (of the non-authoritative sort, if I might cheekily add) was nigh perfect and felt like a breath of fresh air. I realise that there is some more to come before the series comes to a close, but in a way this isn't the end but a beginning to many of us for a thorough exploration, or as near as we can get to one, of Haydn's oeuvre. Thank you.

[Leon]

I have nothing much to what has already been said about your series, Gurn. It was a labour of love, truly, the fruits of which you shared with the rest of the world. Your enthusiasm easily comes through the paragraphs and sometimes it is very infectious (and as Karl is wont to point out, financially damaging ). And the balanace of history infused with dry humour and recording recommendations (of the non-authoritative sort, if I might cheekily add) was nigh perfect and felt like a breath of fresh air. I realise that there is some more to come before the series comes to a close, but in a way this isn't the end but a beginning to many of us for a thorough exploration, or as near as we can get to one, of Haydn's oeuvre. Thank you.

I very much appreciate this comment and do not interpret it in any kind of negative manner.  But on the contrary, I am so tired of classical music reviews and critics who exude conceit that it has almost entirely turned me off of reading professional reviews.  Gurn, you are certainly a sophisticated and knowledable listener and commenter on Haydn, and classical music in general, and I do not wish to impune your depth in the subject but only wish to applaud your ability to share you expertise and enthusiasm but without any of the negative traits so often found in reviewers/critics.

Many thanks!

[Gurn Blanston]

I would like to thank you all so very much for your enthusiasm. Haydn would thank you. And as I have said, if even a few people will have discovered and loved something new, then it is wildly successful for me.

Navneeth & Arnold, as you have faultlessly discerned, it is and always was my intent to filter the recordings through my personal taste and put it out there as such. For me, although certainly not for everyone, things like authenticity are very important. So some of my choices seem bizarre at times, but they are never unmusical, just different. I am clearly on board with you about the current state of musical criticism, and I long for some old-fashioned enthusiasm too.

Also, thanks for the idea on a review of the available literature. It will take me a while to whip into shape, since there are some (outrageously expensive) things that I don't have yet. Working on that though. That factor will probably be included in the criteria!

Kaergard, so nice to see you again. I'm delighted that I could get you to de-lurk...

Thanks again, and happy listening to all.

[Opus106]

But on the contrary, I am so tired of classical music reviews and critics who exude conceit that it has almost entirely turned me off of reading professional reviews.

Contrary? I think we are on the same page. I should have probably written "non-(self-appointed)-authoritative".

[Karl Henning]

"... it needed done" is on the colloquial side. Not sure if you slipped, O Gurn, or if that's the side where you mean to leave it hang...

[Gurn Blanston]

"... it needed done" is on the colloquial side. Not sure if you slipped, O Gurn, or if that's the side where you mean to leave it hang...

?

In any case, I was born colloquial, so it's probably OK by me.

[Leo K.]

Gurn, a grand and worthy effort, well written and fun to read, and the guide to have for anyone interested in Haydn, and it opens doors for experienced listeners too.

Thank you!!!

[Gurn Blanston]

Gurn, a grand and worthy effort, well written and fun to read, and the guide to have for anyone interested in Haydn, and it opens doors for experienced listeners too.

Thank you!!!

No, thank you. I hope it serves you well.

I was thinking of getting Greg to do some illustrations for me, maybe something like this;



What do you think? 



PS - Picture stolen from DavidW 0:)

[Leon]

No, thank you. I hope it serves you well.

I was thinking of getting Greg to do some illustrations for me, maybe something like this;



What do you think? 

LOL 

[DavidW]

Awesome you still remember that one!  I think to date that was still my best avatar.   And yes it was shamelessly stolen from elsewhere on the web.

[Gurn Blanston]

Awesome you still remember that one!  I think to date that was still my best avatar.   And yes it was shamelessly stolen from elsewhere on the web.

Oh, that's a beauty! It makes me want to write a graphic novel... biography/chronology. 

If it just had some big-eyed girls in it, I'm sure Greg would learn to do it.

[Leon]

I've been listening to this disc from the Hogwood Haydn symphony set -

[asin]B000004CY1[/asin]

Vol. 3, #3 - the entire volume contains a batch of early works, but disc 3 has No. 16, 40, and 72. 

I remain enamored of the early Haydn symphonies.  But this is really only limited to the symphonies and does not generally extend to the chamber or keyboard works.  But, it is true that I like very much works by other composers from the period of transition from the Baroque to the Classical, roughly 1740-1770. 

[Gurn Blanston]

I've been listening to this disc from the Hogwood Haydn symphony set -

[asin]B000004CY1[/asin]

Vol. 3, #3 - the entire volume contains a batch of early works, but disc 3 has No. 16, 40, and 72. 

I remain enamored of the early Haydn symphonies.  But this is really only limited to the symphonies and does not generally extend to the chamber or keyboard works.  But, it is true that I like very much works by other composers from the period of transition from the Baroque to the Classical, roughly 1740-1770. 

Oddly, 40 & 72 are contemporary with 6, 7, 8 etc. When Mandyzewski (sic) ordered them back in <>1905, he made some tragic mistakes which were more than balanced out by the good things. That is just the sort of thing that lives on forever, despite the mistake having been pointed out...

I like a lot of the other early works. I've always been a divertimento sort of guy, I guess...

[Leon]

Oddly, 40 & 72 are contemporary with 6, 7, 8 etc. When Mandyzewski (sic) ordered them back in <>1905, he made some tragic mistakes which were more than balanced out by the good things. That is just the sort of thing that lives on forever, despite the mistake having been pointed out...

I like a lot of the other early works. I've always been a divertimento sort of guy, I guess...

Yes, I am aware that 40 and 72 are contemporaneous with the lower numbers, but may written my post in indicate otherwise.  I was just mentioning which symphonies were on the third disc.

Speaking of divertimenti, I just got this and love it:

[asin]B000031X8Y[/asin]