Part 4 (2/2)
It is ti this period At Esterhaz he ”wrote nearly all his operas, s, the music for the marionette theatre--of which he was particularly fond--and the greater part of his orchestral and cha the earlier part of the period In 1769, for example, when the whole musical establishment of Esterhaz visited Vienna, a perforiven at the house of Freiherr von Sommerau, and was repeated in the form of a concert Other works of the kind were performed at intervals, particularly on festival occasions, but as most of them have perished, and all of them are essentially pieces d'occasion, it is unnecessary even to recall their naina,” and in 1773 followed the Symphony in C which bears the na been written for the empress's visit to Esterhaz in September of that year In the course of the visit Haydn was naturally introduced to Her Majesty, when, as we have stated, he took occasion to re” she had ordered hi the old chorister days at St Stephen's ”Well, you see, ood fruit”
First Oratorio
In 1775 came his first oratorio, ”Il Ritorno di Tobia” This is an exceedingly interesting work It was first performed under Haydn's direction by the Tonkunstler Societat, with solo singers from Esterbaz, at Vienna, on April 2, 1775 In 1784 Haydn added two choruses, one a ”Storm Chorus,” which is sometimes confused with the ”Storm Chorus” (in the sa his sojourn in London
It is from ”Il Ritorno di Tobia” that the so-called motet, ”Insanae et Vanae Curae,” is adapted, and the ”Storm Chorus” immediately follows a fine soprano air in F inal work, a portion of which forms the beautiful second subject (in F) of the ”Insanae” The original words of this chorus--”Svanisce in un momento”--are to the effect that the soul threatens to yield to the fury of its enemies, yet trust in God keeps one steadfast Thesentiments, first in the tumultuous D minor section, and then in the tranquillity of the F major portion which follows, no less than in the trustful quietude of the D major conclusion Latin words were adapted to three of the original choruses, but nothing seein of the ”Insanae”
adaptation A full score of the motet, published by Breitkopf & Hartel in 1809, was reviewed in the Allgeust 15, 1810, as if it were an entirely original work The source of the Latin words also reether to fit Haydn's
It is interesting to know that Haydn brought the score of his ”Il Ritorno di Tobia” with hiland on the occasion of his first visit in 1791, probably with a view to its performance here Messrs Novello's private library contains an oblong volu of Vincent Novello, in which he has copied so the air of Anna already mentioned, but not the ”Insanae” chorus The inside cover of the book bears the following note in Novello's hand, written, not later than 1820, under the contents of the volume:
”The whole of the above are unpublished manuscripts, and were copied fro the full orchestral score of the entire oratorio, kindly lent to me for the purpose by my friend, Mr shi+eld, who had obtained it froland in the year 1791--VINCENT NOVELLO, 240 Oxford St”
[See an interesting account of ”Il Ritorno di Tobia” in The Musical Times for September 1901, p 600]
Soht do worse than revive this ally melodious, and the choruses bold and tuneful, ell-developed fugue subjects The ”Insanae” already referred to is frequently performed
Opponents
In 1776 Haydn composed ”La Vera Costanza” for the Court Theatre of Vienna, but owing to certain intrigues it was declined by the ement and produced at Esterhaz instead The opera was subsequently staged at Vienna in 1790, and six of its airs and a duet were published by Artaria This incidentthe musicians and critics of Vienna as well as elsewhere Burney says a friend in Haenius, fine ideas and fancy of Haydn, Ditters and Filitz were praised, but their mixture of serious and comic was disliked, particularly as there is more of the latter than the former in their works; and as for rules, they knew but little of them” If we substitute ”humorous” for ”comic,” this may be allowed to fully represent the views of the critics and aard to Haydn's music
And, unfortunately, the incident just mentioned was not a solitary one
In 1778 Haydn applied for membershi+p to the Tonkunstler Societat, for whom he had in reality written his ”Il Ritorno di Tobia” One would have expected such a body to receive him with open arms, but instead of that they exacted a suround of his non-residence in Vienna! Not only so, but they would fain have brought him under a promise to compose for them whenever they chose to ask him This latter condition Haydn felt to be iement at Esterhaz, and he withdrew his admission fee That the society were not ashamed of themselves is obvious from a further episode Soe his ”Tobia” for a special performance, and when he demanded payment for his trouble they pro comes to the man aits After his second visit to London the Tonkunstler Societat welco, and with one voice appointed him ”assessor Senior” for life In return for this distinction he presented the society with ”The Creation” and ”The Seasons,” to which gifts, according to Pohl, its prosperity is
”L'Isola Disabitata”
If Haydn was thus less highly appreciated at home than he deserved to be, there were others who knew his sterling worth In 1779 he composed one of his best operas, ”L'Isola Disabitata,” the libretto of which was by his old benefactor Metastasio, and this work procured his nomination as aextract of a letter written to Artaria in May 1781 is interesting in this connection He says: ”M le Gros, director of the 'Concerts Spirituels'
[in Paris], wrote s about reat applause; so this gentleraved They rave all eous terms, and are ularly pleasing
I, however, am not in the least surprised, for, as yet, they have heard nothing If they could only hear my operetta, 'L'Isola Disabitata,' and my last Shrove-tide opera, 'La Fedelta Premiata,' I do assure you that no such work has hitherto been heard in Paris, nor, perhaps, in Vienna either My greatin the country” It will be seen froht of ”L'Isola,” which was not heard in Vienna until its perforiven at the Court Theatre by Will of Spain, who showed his sense of the honour by the gift of a gold snuff-box, set in brilliants Other marks of royal attention were bestowed upon him about this tiold medal and his portrait in return for the dedication of six new quartets, while in 1787 King Frederick Willia which he afterwards alhen co
A Love Episode
But we have passed soical order The absence of love at hoes love abroad Haydn liked to have an occasional flirtation, as ardent as ht be within the bounds of decoru to our insular ideas of such things, he exceeded the bounds of decorum, as in the case of which we are now coed for the Esterhazy service in 1779 were a couple named Polzelli--the husband a violinist, the wife a second-rate vocalist Luigia Polzelli was a lively Italian girl of nineteen She does not seem to have been happy with Polzelli, and Haydn's pity was roused for her, much as Shelley's pity was roused for ”my unfortunate friend,” Harriet Westbrook The pity, as often happens in such cases, ultimately ripened into a violent passion
We are not concerned to adopt an apologetic tone towards Haydn But Signora Polzelli was clearly an unscrupulous woot her admirer into her power, and then used her position to dun him for money
She had two sons, and the popular belief of the tier is perpetuated in several of the biographies
Haydn had certainly a great regard for the boy, made him a pupil of his own, and left him a small sum in his first will, which, however, he revoked in the second Signora Polzelli's conduct was probably natural enough in the circu to Haydn After the death of her husband, she wheedled hi toa er
This promise he subsequently repudiated, but he cared for her well enough to leave her an annuity in his will, notwithstanding that she had ain She survived hihters were still living at Pesth in 1878
Returning to 1779, an untoward event of that year was the destruction by fire of the theatre at Esterhaz The re-building of the house was set about at once, the prince havingtook place on October 15, 1780, when Haydn's ”La Fedelta Preed