July 26, 2025 • 29 mins
Dive into the captivating life story of Joseph Haydn, as told by German music scholar, Ludwig Nohl. From his humble beginnings to his rise to international acclaim, Nohl paints a vivid picture of Haydns journey, complete with intriguing insights and humorous anecdotes. Explore the complexities of Haydns musical compositions, and discover how his work was both influenced by, and influential to, his contemporaries, including his close relationship with Mozart. Known affectionately as Papa Haydn, he is hailed as the Father of the symphony and the string quartet. (Summary by mkirkpat)
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Speaker 1 (00:00):
Section five of the Life of Heiden by lud Bignol,
translated by George p. Upton. This LibriVox recording is in
the public domain. Chapter three, The First London Journey, seventeen
eighty one to seventeen ninety two, Part A. I am
already at home in Vienna by my few works, and
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if the composer is not there, his children always are
in all the concerts, replied Heiden to that charity for
artist widows which wished to elect him as a foreigner
upon such severe conditions. We meet with a characteristic instance
of this popularity. About the year seventeen seventy, when he once,
as was his habit, went to Vienna on business. It
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was winter. Over his somewhat shabby garments, he had thrown
a fur cloak whose age was also conspicuous. An uncombed wig,
and an old hat completed his costume. Heiden, so great
a friend of neatness, on this occasion would hardly have
been recognized. He looked like a masquerader. When he entered Vienna,
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at the residence of a count and Cantenaer Street, he
heard the music of one of his own symphonies. The
orchestra was powerful the player's good stop coachman stop. Heiden
sprang out of the carriage, hurried up to the house,
ascended the steps, entered the vestibule, and listened quietly at
the door. A servant approached, surveyed the strange apparition from
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head to foot, and at last thundered out, what are
you doing here, sir? I would like to listen a little.
This is no place for listening. Go about your business.
Haiden pretended not to hear the abuse. The servant at
last seized him by the cloak with the words you
have heard enough, now pack off, or I will pitch
you outdoors. Heiden handed him a couple of Kreutzer pieces.
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As soon as the allegro was finished, the servant again
urged him to go. Heiden wanted to hear the adagio
and was searching his pocket anew when by chance the
door was opened and he was recognized by one of
the players. In an instant, the hall resounded with a
loud greeting. Heiden heidn was on every lip. The doors
were thrown open, and more than twenty persons surrounded the
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revered master and bore him into the salon. A part
of them greeting him as an acquaintance, and the rest
seeking an introduction. In the midst of the loud acclamation,
a shrill voice above them cried out, that is not Heiden.
It is impossible. Heiden must be larger, handsomer, and stronger,
not such a little insignificant man as that one there
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in the circle. Universal laughter ensued. Heiden, more astonished than
any of the rest, looked about him to see who
had disputed his identity. It was an Italian abbe who
had heard of Heiden and admired him very much. He
had mounted a table in order to see him. The
universal laughter only ended with the commencement of the adaggio,
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but Haiden remained until the close of the symphony. My
only misfortune is my country life, Heiden writes, in the
spring of seventeen eighty one. But he could be in
Vienna two of the winter months at least, and there
was he found the artist who, more than all others,
not accepting even Philip emmanuel Bach, influenced him and helped
to raise his fame to the stars. Mozart. Their personal
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acquaintance first commenced in the spring of seventeen eighty one,
when Mozart came to Vienna and permanently remained there. The
letters of Mozart's father during the journeys of seventeen sixty
four and seventeen sixty eight make no mention of Heiden,
and in the summer of seventeen seventy three, when Mozart
passed a short time in Vienna, Heiden, as usual, was
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at esterhas. Mozart's own letters, however, showed that even as
a boy he knew and admired Heiden. He sent for
his minuets from Italy, and also created a taste for
the German minuet among the Italians. The actual acquaintance between
these two artists, so widely apart in years, the true
foundation of which both in life and in their works
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rested above all upon that cordiality which is so intimate
a part of German life, must have brought them very
closely together. How Mozart felt towards Heiden. A statement of
Greasinger shows Heiden once brought out a new quartet in
the presence of Mozart and his old enemy, the Berliner
Leopold Kozluch, in which some bold changes occurred that sounds strange.
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Would you have written that, so said Cozluc to Mozart.
Hardly was the reply, But do you know why, because
neither you nor I could have hit upon such an
idea at another time when this talentless composer would not
cease his fault finding, Mozart excitedly exclaimed, Sir, if we
were melted down together, we would be far from making
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a Heiden association with the circles in which at this
golden time of music in Vienna, Heiden's compositions were cherished
with pleasure and love, and even with actual devotion by
artists and connoisseurs inspired him to accomplish something of equivalent Batle.
As early as the autumn of seventeen eighty two, he
commenced to write a series of six quartets, and the
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Italian dedication of them to Heiden is the most beautiful
instance of unselfish admiration that can be conceived. It was
written in the autumn of seventeen eighty five, and the
translation reads, my dear friend Heiden. When a father sends
his sons out into the wide world, he should, I think,
confide them to the protection and guidance of a highly
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celebrated man who by some happy dispensation is also the
best among his friends. So to this famous man and
most precious friend to THEE, I bring my six sons.
They are, it is true, the fruit of long and
laborious toil. But the hope which my friends hold out
to me leads me to anticipate that these works a
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part at least will compensate me. And it gives me
courage and persuades me that someday they will be a
source of happiness to me. You, yourself, dearest friend, expressed
your satisfaction with them during your last visit to our capital.
Your judgment above all inspires me with the wish to
offer them to you, and with the hope that they
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will not seem wholly unworthy of your favor, Take them kindly,
and be to them a father, guide and friend. From
this moment I resign all right in them to you,
and beg you to regard with indulgence the faults which
may have escaped the loving eyes of their father, and
in spite of them, to continue your generous friendship towards
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one who so highly appreciates it. Meantime, I remain with
my whole heart, your sincere friend, w A Mozart he
called Heidn Pampa, and when some one spoke of his dedication,
replied that was duty. For I first learned from Heiden
how one should write quartets. How Heidn, with his simple modesty,
always bowed to divinely inspire. Genius is shown by a
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letter from Mozart's father of the fourteenth of February of
the same year, seventeen eighty five, which may be found
complete in the book Mozart after Sketches by his Contemporaries, Leipzig,
eighteen eighty It reads, on Saturday evening here Joseph Heiden
was with us. The new quartets were played, which complete
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the other three we have. They are a little easier,
but delightfully written. Her Hayden said to me, I declare
to you, before God and upon my honor. Your son
is the greatest composer with whom I am personally acquainted.
He has taste and possesses the most consummate knowledge of composition.
That was truly an expression of satisfaction. And to such
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a father Mozart might well entrust his children. He understood
their merits and character. If Mozart had composed nothing else
but his quartets and his requiem, he would have been immortal.
The abbe Staddler heard Heiden remark afterwards, during a discussion
of the well known discord in the introduction to the
C Major Quartet, he declared that if Mozart wrote it so,
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he had some good reason for it. He never neglected
an opportunity of hearing Mozart's music, and declared that he
could not listen to one of his works without learning something. Kelly,
in his Reminiscences, tells of a quartet performance about the
year seventeen eighty six, in which Heiden, Dittersdorf, Mozart, and
bon Hall took part. Certainly an unprecedented gathering. Dittersdorff, of
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whose virtuoso plain mention has already been made, must have
played the first violin. In the year seventeen eighty seven,
Don Juan was brought out in Prague, and as Mozart
could not entertain a proposition for a second opera, application
was made to Heiden. He wrote from Esterhas in December,
one of the most beautiful of all his letters. It
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is contained in Mozart's biography. You desire a comic opera
for me, he says, gladly would I furnish it if
you desired one of my vocal compositions for yourself alone.
But if it is to be brought out in Prague,
I could not serve you, because all my operas are
so closely connected with our personal circle at Esterhaus, and
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they could not produce the proper effect which I calculated
in accordance with a locality. It would be different if
I had the inestimable privilege of composing an entirely new
work for your theater. Even then, however, the risk would
be great, for scarcely any one can bear comparison with
a great Mozart. Would that I can impress upon every
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friend of music, and especially upon great men, the same
deep sympathy and appreciation for Mozart's inimitable works that I
feel and enjoy. Then the nations would vie with each
other in the possession of such a treasure. Prague should
hold fast to such a dear man and also renumerate him,
for without this, the history of a great man is sad, indeed,
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and gives little encouragement to a posterity for effort. It
is for the lack of this so many promising geniuses
are wrecked. It vexes me that this matchless man is
not yet in gain age by some imperial or royal court.
Pardon me if I am excited, for I loved the
man very dearly. The above reproach which was superfluous so
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far as Mozart was concerned, for he had at that
time been appointed chamber composer at the Imperial Court, though Heiden,
being an Eisenstadt, did not know it. But without any
doubt the reproach was applicable in another case, that of
Heiden himself. The recognition of his special work had as
yet made but little progress among the professional musicians, critics,
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and influential circles. His letters are full of protests against
this injustice and misfortune, and the statements of Mozart already quoted,
show how just they were. The elegant leaders of Italian
fashion and Spanish etiquette were not more likely to encourage
a low born esterhas Kappelmeister in uncivilized hungry than they
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were the national humor, pleasantry, and vivacity, which had for
the first time found proper expression in music, and the
liberties which these qualities permitted contrary to the accepted style,
were either not recognized at all or looked upon as mistakes.
It was all the more unfortunate for him that Joseph
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the second was the very embodiment of this foreign manner.
The well known Reichardt, who met the Emperor in Vienna
in seventeen eighty three, relates, I thought, at least in
a conversation about Heiden, who I named with reverence and
whose absence I regretted, we should agree, I thought, said
the Emperor, you Berlin gentlemen, did not care for such trifling.
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I don't care much for it, and so it goes
pretty hard with the excellent artist. This, in a measure
is confirmed by a conversation between Joseph and Dittersdorf two
years later. What do you think of his chamber music?
That it is making a sensation all over the world?
And with good reason? Is he not too much addicted
to trifling? He has the gift of trifling without degrading
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his art. You are right there. While such malicious partiality
and miscomprehension must have distressed heightened very much, it secured
for him the renewed good opinion of Mozart and recognition
of his elevated character. And he did not refrain from
giving expression to it. It was truly touching. When he
spoke of the two Heightens and other great masters, one
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would have thought he was listening to one of his scholars,
rather than to the all powerful Mozart, says Nemachek, speaking
of Mozart's visit to Prague. Roklitz also reports the following opinion,
which Mozart expressed, no one can play with and profoundly
move the feelings, excite to laughter, and stir the deepest emotions,
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each with equal power, like Joseph Haydn. Such reverence must
have given the master the fullest conviction of his artistic power,
for who was better qualified to pass such judgment than
such a genius. Meanwhile, this judgment was confirmed by unprejudiced
hearers all over the world, as we learned from Growitz's
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auto biography, a symphony of this young master was played
in Paris as a favorite composition in all the theaters
and concerts, because it was mistaken for a work of Heidens.
He also had to specially protect his music from being
clandestinely copied and engraved. It is not surprising, therefore, to
hear him say at the close of a letter in
seventeen eighty seven, in which he offers a London publisher
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the seven words, six splendid symphonies and three very elegant nocturns.
I hope to see you by the close of this year,
as I have not yet received any reply from her
Kramer as to an engagement for myself this winter in Naples.
The London invitation concerned the so called professional concerts. A
year afterward, J. P. Salomon contracted with him for concert
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engagements in the Haymarket Theater. Mozart writes to his father
in seventeen eighty three as follows, I know positively that
Hofstetter has twice copied Heiden's music, and Haiden himself in
seventeen eighty seven, writes to Artaria, their own copyist is
a rascal, for he offered mine eight ducats this winter
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to let him have the seven Words. He justly complains
that he is not paid sufficiently for his works, and
on one occasion thanks Artaria without end for the unexpected
twelve ducats. I have until now kept it from my
readers that Haydn declared, on the occasion of my first
visit to him, he had been in straitened circumstances to
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his sixtieth year, says Dies, and he adds that, in
spite of all his economy and the generosity of Prince Nicholas,
at his death and thirty years of hard toil, his
entire property consisted of a small house and five hundred
florins in gold. Besides this he had about two thousand
florins in public funds, which he had laid aside against
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a time of need. Dias rightly attributes such penury after
such industry to the extravagance of his wife. But notwithstanding
the Estrahazi goodness, the fact remains that Haydn often found
himself longing for a change. It mattered little that he
had equal fame with Gluke and Mozart. Such a prince
should have kept the purse of a man of such
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sensitive and exalted feeling well filled. My greatest ambition is
to be recognized by all the world as the honest man,
which I really am. He writes about the year seventeen
seventy six, and dedicates all the praises he had received
to Almighty God, for to him alone are they due.
His wish was neither to offend his neighbor nor his
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gracious Prince and above all the merciful God. Now that
he realized the beautiful, divine pleasure of reverence, and that
his unworthy situation, with its constant restrictions and distress, pressed
upon his artistic feeling, he longed for a change more
ardently than ever. I had a good prince, but at
times had to be dependent on base souls. I often
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sighed for release, He writes from London as seventeen ninety one,
his determination to accept the London invitation must have been
very strong. Letter of seventeen eighty one closes. Meanwhile, I
thank you very much for the lodgings offered me. His
gratitude actually prevented him from traveling, though he was literally
besieged by his friends, and as we have seen, was
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invited from abroad. He swore to the Prince to serve
him until death should separate them, and not to forsake him.
Though he was offered millions dese heard him say. The Prince,
in times oppressing necessity allowed him to draw upon his credit.
But Haiden availed himself of this privilege as seldom as possible,
and was always satisfied with small sums among impressions so
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varied in their nature. The letters were written which belonged
to the following year, and from which we must present
a few short extracts. They are addressed to Frauvron Gensinger
and Vienna, the wife of a physician who was also
a physician and ordinary to Prince Esterhazi. She was very
intimate with our master in his later years, for she
had made his friendship in connection with his art, having
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arranged symphonies of his for the piano. In reading these letters,
one truly feels the noble aspirations of Heiden's soul. The
influence which this excellent lady had upon the poetical character
of his works is evident in the beautiful Sonata, whose
adagio meant so much. Here, indeed, Vibrate accords as full
of life and longing as music was capable of expressing
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at that time in her soft measures. In the house
of this lady's doctor, as he was universally called in Vienna, Mozart, Dittersdorff,
Alberk Sperger. Afterward, Beethoven's teacher and Heiden, when he was
in Vienna, met regularly on Sundays, and it must have
been doubly painful to him to go back to his
wretched solitude from these delightful gatherings, where he could sit
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near her ladyship and hear the masterpieces of Mozart played.
Alas the separation came sooner than Hayden wished. The sudden
resolution of my prince to withdraw from Vienna, which is
hateful to him, is the cause of my precipitate journey
to Esterhaz, he writes in seventeen eighty nine, in contrast
with the other magnates, who were fond of displaying their
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splendor and gratifying their tastes. And nowhere was this so
true as in Vienna. Prince Nicholas, with his increasing years,
grew more and more unpopular in that city. Haiden himself
gives a most forcible expression to his dissatisfaction with his surroundings.
The address high and nobly born, highly esteemed, best of all,
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Trauvon Genzinger shows us the style of the time, and
the following letter of February ninth, seventeen ninety tells us
the whole story. Here I sit in my wilderness, deserted
like a poor orphan, almost without human society, sad full
of the recollections of past happy days, Yes, past alas,
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And who can say when those delightful days will return,
Those pleasant gatherings when the whole circle were of one
heart and soul, All those charming music evenings which can
only be imagined, not described. Where are all those inspired moments?
All are gone and gone for a long time, he writes,
And it was only his native cheerfulness that could allay
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this feeling of loneliness. Wonder not, dear lady, that I
have delayed so long in writing my gratitude. I found
everything at home torn up. For three days. I was
uncertain whether I was Capelmeister or Capel's servant. Nothing consoled me.
My entire apartment was in confusion. My piano, which I
loved so much, was inconstant and disobedient, and it vexed
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instead of tranquilizing me. I could sleep, but little my
dreams troubled me. So when I dreamed of hearing the
marriage of Figaro, a fatal north wind awoke me and
almost blew my night cap off my head. In his
next remarks, we learn of a composition about which he
had written a short time before to his publisher saying
that he had, in his leisure hours, composed a new
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capriccio for the piano, which, by its taste, originality in
close finish, would be sure to receive universal applause. I
became three pounds thinner on the way, he continues, because
of the loss of my good Vienna fair Alas thought
I to myself, when in my restaurant I had to
eat a piece of fifty year old cow instead of
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fine beef, an old sheep, and yellow carrots instead of
a ragout, and meat balls, a leathery grille instead of
a bohemian pheasant. Alas Alas thought I would that I
now had many a morsel which I could not have
eaten in Vienna. Here in Esterhaus, no one asks me,
would you like chocolate? Do you desire coffee with or
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without milk? With? What can I serve you, my dear Heiden,
Will you have vanilla or pineapple ice? Would that I
had only a piece of good Parmesan cheese, so that
I might the more easily swallow the black dumplings. Pardon me,
most gracious lady, for taking up your time in my
first letter with such piteous stuff. Much allowance must be
made for a man spoiled by the things in Vienna.
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But I have already commenced to accustom myself to the
country by degrees, And yesterday I studied for the first
time quite in the hide and manner. An event shortly
after occurred which for the time greatly stimulated his creative ability.
The princess died, and the Prince sank into such melancholy
that he wanted music every day. At this time he
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would not allow him to be absent for twenty four hours.
He speaks often of his deep distress of heart, and
of his many disappointments and ill humors. But thank God,
this time will also pass away, he says at the
close of a letter in which he is looking forward
to the winter. It is sad always to be a slave,
but Providence so wills it, he says. On another occasion,
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I am a poor creature, continually tormented with hard work,
and with but few hours for recreation. Friends, what do
I say, one true friend? There are no longer any
true friends save one. Oh, yes, I truly have one,
But she is far away from me. I can take refuge. However,
in my thoughts, God bless her, and so order that
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she shall not forget me. My friendship for you is
so tender that it can never become culpable, since I
always have before my eyes reverence for your exalted virtue.
He also wrote in reply to Frauvlon Genziger concerning a
letter which, to his regret, had been lost. We now
come to a time when the ill humors ceased, and
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Heiden secured a better situation and more than all, complete freedom.
The Prince died and crowned his generosity with the legacy
of a pension of one thousand gulden. The new Prince,
paul Antone, added four hundred gulden more to it, so
that Heiden could now live comfortably upon a stipend of
two thousand, eight hundred marks. He discharged the orchestra and
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only required of Heiden that he should retain the title
of Kapelmeister at Esterhaus. Heiden called this position poorly requited,
and added that he was on horseback without saddle or bridle,
but hoped one day or by his own service, for
I cannot flatter or beg or by the personal influence
of his gracious Prince, to be placed in a higher position.
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But this did not occur. Until a later time, and then,
by the help of his fourth prince, he soon removed
to Vienna and declined the invitation of Prince Grasselkowitz to
enter his service. It was not long before his affairs
took a happy turn in another direction, and in the
place of rural restraint, he enjoyed the widest and most
unrestricted public liberty. The violinist J. P. Salomon, a native
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of a Bond who had played in Heightened's quartets long
before and occupied a distinguished place in the musical world
of London, entered his room one evening and curtly said,
I am Salomon of London, and have come to take
you away. We will close the bargain tomorrow. He was
on his travels engaging singers for the theatrical manager Gallini,
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and on his return to Cologne heard of the death
of Prince Esterhazi. Haiden at first offered various objections, his
ignorance of foreign languages, his inexperience in traveling and in
his old age. But Salomon's propositions were so brilliant that
he wavered five thousand gulden, and the sale of his
compositions were something worth unusual consideration in the straightened circumstances
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of a simple musician entering upon old age. Besides, he
had plenty of compositions finished which no one knew of
outside of Esterhas. He made his assent conditional upon the
Prince's permission, and gave no further heed to Salomon's persuasions.
Mozart himself, who had traveled much about the world, interposed
his objections with the best intentions. Papa was too old,
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he was not fitted for the great world. He spoke
too few languages. A man of fifty eight ought to
remain quietly among his old and sure friends. I am
still active and strong, and my languages understood all over
the world, he replied. The Prince did not refuse his permission,
and the expenses of the journey were in vance. Heiden
sold his little house at Eisenstadt, took the five hundred
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gulden which he had saved up, consigned his bonds to
his highly Cherishedvion, a friend to whom he commanded his wife,
and made all his preparations for the journey, which was
to establish his fame all over the world. He started
December fifteenth, seventeen ninety. Mozart did not leave his beloved Papa.
The whole day he dined with him, and tearfully exclaimed,
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at the moment of separation, we are Saint, our last
farewell to day. Heiden was also deeply moved. He was
twenty four years older, and the thought of his own
death alone occurred to him. It was but a year
later that he heard of Mozart's death and shed bitter tears.
I shall rejoice in my home and embracing my good
friends like a child. He wrote at a later time
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to Frauvon Genzinger. Only I lament that the great Mozart
will not be among them. If it be true, which
I hope not, that he is dead, Posterity will not
find such talent again for seine entry. He was the
one who was destined to be the heir of Mozart,
and it was his London visit which broadened his intellectual
horizon and gave his fancy freer development. He was then
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the direct guide of Beethoven, whose sonatas, quartets and symphonies
were more closely developed and patterned upon the works which
Heiden had then written than upon Mozart's The Marvelous Beauty
of whose music was more like an inspiration from above,
which could scarcely be appropriated or imitated by his followers.
His letters to Frau von Denzinger abound in information about
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the events of this journey, and thanks to the detailed
investigation of C. F. Pohl in his little book Mozart
and Heiden in London Vienna, eighteen sixty seven, we are
now placed in full possession of them. But we shall
confine ourselves only to those details which are indispensable to
a record of Heiden's progress. In Munich, Heiden became acquainted
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with Kannebich, who had so greatly promoted symphony performances in Germany,
an acquaintance which must have been of twofold interest to
the founder of the symphony in Bond, particularly where his
music had many friends and had been played exceedingly often
in churches, theaters, public and chamber concerts see Beethoven's Life,
Volume one. He was astonished on one occasion. According to
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Diaz's narrative, Salomon took him on Christmas night to the Mass.
The first chords revealed a work of heydens our. Heiden
regarded it as an accident, though it was very agreeable
to him to listen to one of his own works.
It is said towards the close a person approached him
and invited him to enter the oratory. Heiden was not
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a little astonished when he saw that the Elector Maximilian
had summoned him. He took him by the hand and
addressed his musicians in these words, let me make you
acquainted with your highly cherished heidn The elector allowed him
time for them to become acquainted, and then invited him
to his table. The invitation caused him a little embarrassment,
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for he and Salomon had arranged a little dinner in
their own house. Heyden took refuge and excuses, and thereupon
withdrew and betook himself to his residence, where he was
surprised by an unexpected proof of the good will of
the elector. At his quiet command, the little dinner had
changed into a large one for twelve persons, and the
most skillful of the musicians had been invited. Could the
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elector's court organist Beethoven have been among the guests. He
was at that time twenty years old, and certainly was
among the most skillful of the musicians. Heiden writes about
the remainder of the journey and his arrival in London
to his friend in Vienna. He remained on deck during
the entire passage, that he might observe to his heart's
content that huge monster the sea. He might have thought,
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with an ironical smile, of the storm in the devil
on two sticks. He was completely overwhelmed with the endlessly
great city of London, which astonishes me with his varied
beauties and wonders. But it still further broadened his experience
to see with his own eyes the representatives of a
great free people, like those of England. His arrival had
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already caused a great sensation, and for three days he
went the rounds of all the newspapers. After a few days,
he was invited to an amateur concert, and, leaning upon
the arm of the director, passed through the hall to
the front of the orchestra amid universal applause, stared at
by all, and greeted with a multitude of English compliments. Afterward,
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he was conducted to a table set for two hundred guests,
where he was requested to sit at the head, but
he declined the honor, since he had already dined out
that noon and eaten more than usual, But in spite
of this he was obliged to drink the harmonious good
health of the company in Burgundy end of Section five.
Section five of the Life of Heiden by lud Bignol,
translated by George p. Upton. This LibriVox recording is in
the public domain. Chapter three, The First London Journey, seventeen
eighty one to seventeen ninety two, Part A. I am
already at home in Vienna by my few works, and
(00:22):
if the composer is not there, his children always are
in all the concerts, replied Heiden to that charity for
artist widows which wished to elect him as a foreigner
upon such severe conditions. We meet with a characteristic instance
of this popularity. About the year seventeen seventy, when he once,
as was his habit, went to Vienna on business. It
(00:44):
was winter. Over his somewhat shabby garments, he had thrown
a fur cloak whose age was also conspicuous. An uncombed wig,
and an old hat completed his costume. Heiden, so great
a friend of neatness, on this occasion would hardly have
been recognized. He looked like a masquerader. When he entered Vienna,
(01:04):
at the residence of a count and Cantenaer Street, he
heard the music of one of his own symphonies. The
orchestra was powerful the player's good stop coachman stop. Heiden
sprang out of the carriage, hurried up to the house,
ascended the steps, entered the vestibule, and listened quietly at
the door. A servant approached, surveyed the strange apparition from
(01:27):
head to foot, and at last thundered out, what are
you doing here, sir? I would like to listen a little.
This is no place for listening. Go about your business.
Haiden pretended not to hear the abuse. The servant at
last seized him by the cloak with the words you
have heard enough, now pack off, or I will pitch
you outdoors. Heiden handed him a couple of Kreutzer pieces.
(01:49):
As soon as the allegro was finished, the servant again
urged him to go. Heiden wanted to hear the adagio
and was searching his pocket anew when by chance the
door was opened and he was recognized by one of
the players. In an instant, the hall resounded with a
loud greeting. Heiden heidn was on every lip. The doors
were thrown open, and more than twenty persons surrounded the
(02:11):
revered master and bore him into the salon. A part
of them greeting him as an acquaintance, and the rest
seeking an introduction. In the midst of the loud acclamation,
a shrill voice above them cried out, that is not Heiden.
It is impossible. Heiden must be larger, handsomer, and stronger,
not such a little insignificant man as that one there
(02:32):
in the circle. Universal laughter ensued. Heiden, more astonished than
any of the rest, looked about him to see who
had disputed his identity. It was an Italian abbe who
had heard of Heiden and admired him very much. He
had mounted a table in order to see him. The
universal laughter only ended with the commencement of the adaggio,
(02:52):
but Haiden remained until the close of the symphony. My
only misfortune is my country life, Heiden writes, in the
spring of seventeen eighty one. But he could be in
Vienna two of the winter months at least, and there
was he found the artist who, more than all others,
not accepting even Philip emmanuel Bach, influenced him and helped
to raise his fame to the stars. Mozart. Their personal
(03:16):
acquaintance first commenced in the spring of seventeen eighty one,
when Mozart came to Vienna and permanently remained there. The
letters of Mozart's father during the journeys of seventeen sixty
four and seventeen sixty eight make no mention of Heiden,
and in the summer of seventeen seventy three, when Mozart
passed a short time in Vienna, Heiden, as usual, was
(03:37):
at esterhas. Mozart's own letters, however, showed that even as
a boy he knew and admired Heiden. He sent for
his minuets from Italy, and also created a taste for
the German minuet among the Italians. The actual acquaintance between
these two artists, so widely apart in years, the true
foundation of which both in life and in their works
(03:59):
rested above all upon that cordiality which is so intimate
a part of German life, must have brought them very
closely together. How Mozart felt towards Heiden. A statement of
Greasinger shows Heiden once brought out a new quartet in
the presence of Mozart and his old enemy, the Berliner
Leopold Kozluch, in which some bold changes occurred that sounds strange.
(04:22):
Would you have written that, so said Cozluc to Mozart.
Hardly was the reply, But do you know why, because
neither you nor I could have hit upon such an
idea at another time when this talentless composer would not
cease his fault finding, Mozart excitedly exclaimed, Sir, if we
were melted down together, we would be far from making
(04:44):
a Heiden association with the circles in which at this
golden time of music in Vienna, Heiden's compositions were cherished
with pleasure and love, and even with actual devotion by
artists and connoisseurs inspired him to accomplish something of equivalent Batle.
As early as the autumn of seventeen eighty two, he
commenced to write a series of six quartets, and the
(05:06):
Italian dedication of them to Heiden is the most beautiful
instance of unselfish admiration that can be conceived. It was
written in the autumn of seventeen eighty five, and the
translation reads, my dear friend Heiden. When a father sends
his sons out into the wide world, he should, I think,
confide them to the protection and guidance of a highly
(05:28):
celebrated man who by some happy dispensation is also the
best among his friends. So to this famous man and
most precious friend to THEE, I bring my six sons.
They are, it is true, the fruit of long and
laborious toil. But the hope which my friends hold out
to me leads me to anticipate that these works a
(05:50):
part at least will compensate me. And it gives me
courage and persuades me that someday they will be a
source of happiness to me. You, yourself, dearest friend, expressed
your satisfaction with them during your last visit to our capital.
Your judgment above all inspires me with the wish to
offer them to you, and with the hope that they
(06:10):
will not seem wholly unworthy of your favor, Take them kindly,
and be to them a father, guide and friend. From
this moment I resign all right in them to you,
and beg you to regard with indulgence the faults which
may have escaped the loving eyes of their father, and
in spite of them, to continue your generous friendship towards
(06:31):
one who so highly appreciates it. Meantime, I remain with
my whole heart, your sincere friend, w A Mozart he
called Heidn Pampa, and when some one spoke of his dedication,
replied that was duty. For I first learned from Heiden
how one should write quartets. How Heidn, with his simple modesty,
always bowed to divinely inspire. Genius is shown by a
(06:55):
letter from Mozart's father of the fourteenth of February of
the same year, seventeen eighty five, which may be found
complete in the book Mozart after Sketches by his Contemporaries, Leipzig,
eighteen eighty It reads, on Saturday evening here Joseph Heiden
was with us. The new quartets were played, which complete
(07:15):
the other three we have. They are a little easier,
but delightfully written. Her Hayden said to me, I declare
to you, before God and upon my honor. Your son
is the greatest composer with whom I am personally acquainted.
He has taste and possesses the most consummate knowledge of composition.
That was truly an expression of satisfaction. And to such
(07:37):
a father Mozart might well entrust his children. He understood
their merits and character. If Mozart had composed nothing else
but his quartets and his requiem, he would have been immortal.
The abbe Staddler heard Heiden remark afterwards, during a discussion
of the well known discord in the introduction to the
C Major Quartet, he declared that if Mozart wrote it so,
(08:00):
he had some good reason for it. He never neglected
an opportunity of hearing Mozart's music, and declared that he
could not listen to one of his works without learning something. Kelly,
in his Reminiscences, tells of a quartet performance about the
year seventeen eighty six, in which Heiden, Dittersdorf, Mozart, and
bon Hall took part. Certainly an unprecedented gathering. Dittersdorff, of
(08:24):
whose virtuoso plain mention has already been made, must have
played the first violin. In the year seventeen eighty seven,
Don Juan was brought out in Prague, and as Mozart
could not entertain a proposition for a second opera, application
was made to Heiden. He wrote from Esterhas in December,
one of the most beautiful of all his letters. It
(08:45):
is contained in Mozart's biography. You desire a comic opera
for me, he says, gladly would I furnish it if
you desired one of my vocal compositions for yourself alone.
But if it is to be brought out in Prague,
I could not serve you, because all my operas are
so closely connected with our personal circle at Esterhaus, and
(09:05):
they could not produce the proper effect which I calculated
in accordance with a locality. It would be different if
I had the inestimable privilege of composing an entirely new
work for your theater. Even then, however, the risk would
be great, for scarcely any one can bear comparison with
a great Mozart. Would that I can impress upon every
(09:27):
friend of music, and especially upon great men, the same
deep sympathy and appreciation for Mozart's inimitable works that I
feel and enjoy. Then the nations would vie with each
other in the possession of such a treasure. Prague should
hold fast to such a dear man and also renumerate him,
for without this, the history of a great man is sad, indeed,
(09:49):
and gives little encouragement to a posterity for effort. It
is for the lack of this so many promising geniuses
are wrecked. It vexes me that this matchless man is
not yet in gain age by some imperial or royal court.
Pardon me if I am excited, for I loved the
man very dearly. The above reproach which was superfluous so
(10:10):
far as Mozart was concerned, for he had at that
time been appointed chamber composer at the Imperial Court, though Heiden,
being an Eisenstadt, did not know it. But without any
doubt the reproach was applicable in another case, that of
Heiden himself. The recognition of his special work had as
yet made but little progress among the professional musicians, critics,
(10:32):
and influential circles. His letters are full of protests against
this injustice and misfortune, and the statements of Mozart already quoted,
show how just they were. The elegant leaders of Italian
fashion and Spanish etiquette were not more likely to encourage
a low born esterhas Kappelmeister in uncivilized hungry than they
(10:53):
were the national humor, pleasantry, and vivacity, which had for
the first time found proper expression in music, and the
liberties which these qualities permitted contrary to the accepted style,
were either not recognized at all or looked upon as mistakes.
It was all the more unfortunate for him that Joseph
(11:13):
the second was the very embodiment of this foreign manner.
The well known Reichardt, who met the Emperor in Vienna
in seventeen eighty three, relates, I thought, at least in
a conversation about Heiden, who I named with reverence and
whose absence I regretted, we should agree, I thought, said
the Emperor, you Berlin gentlemen, did not care for such trifling.
(11:35):
I don't care much for it, and so it goes
pretty hard with the excellent artist. This, in a measure
is confirmed by a conversation between Joseph and Dittersdorf two
years later. What do you think of his chamber music?
That it is making a sensation all over the world?
And with good reason? Is he not too much addicted
to trifling? He has the gift of trifling without degrading
(11:57):
his art. You are right there. While such malicious partiality
and miscomprehension must have distressed heightened very much, it secured
for him the renewed good opinion of Mozart and recognition
of his elevated character. And he did not refrain from
giving expression to it. It was truly touching. When he
spoke of the two Heightens and other great masters, one
(12:19):
would have thought he was listening to one of his scholars,
rather than to the all powerful Mozart, says Nemachek, speaking
of Mozart's visit to Prague. Roklitz also reports the following opinion,
which Mozart expressed, no one can play with and profoundly
move the feelings, excite to laughter, and stir the deepest emotions,
(12:39):
each with equal power, like Joseph Haydn. Such reverence must
have given the master the fullest conviction of his artistic power,
for who was better qualified to pass such judgment than
such a genius. Meanwhile, this judgment was confirmed by unprejudiced
hearers all over the world, as we learned from Growitz's
(12:59):
auto biography, a symphony of this young master was played
in Paris as a favorite composition in all the theaters
and concerts, because it was mistaken for a work of Heidens.
He also had to specially protect his music from being
clandestinely copied and engraved. It is not surprising, therefore, to
hear him say at the close of a letter in
seventeen eighty seven, in which he offers a London publisher
(13:22):
the seven words, six splendid symphonies and three very elegant nocturns.
I hope to see you by the close of this year,
as I have not yet received any reply from her
Kramer as to an engagement for myself this winter in Naples.
The London invitation concerned the so called professional concerts. A
year afterward, J. P. Salomon contracted with him for concert
(13:44):
engagements in the Haymarket Theater. Mozart writes to his father
in seventeen eighty three as follows, I know positively that
Hofstetter has twice copied Heiden's music, and Haiden himself in
seventeen eighty seven, writes to Artaria, their own copyist is
a rascal, for he offered mine eight ducats this winter
(14:04):
to let him have the seven Words. He justly complains
that he is not paid sufficiently for his works, and
on one occasion thanks Artaria without end for the unexpected
twelve ducats. I have until now kept it from my
readers that Haydn declared, on the occasion of my first
visit to him, he had been in straitened circumstances to
(14:25):
his sixtieth year, says Dies, and he adds that, in
spite of all his economy and the generosity of Prince Nicholas,
at his death and thirty years of hard toil, his
entire property consisted of a small house and five hundred
florins in gold. Besides this he had about two thousand
florins in public funds, which he had laid aside against
(14:45):
a time of need. Dias rightly attributes such penury after
such industry to the extravagance of his wife. But notwithstanding
the Estrahazi goodness, the fact remains that Haydn often found
himself longing for a change. It mattered little that he
had equal fame with Gluke and Mozart. Such a prince
should have kept the purse of a man of such
(15:07):
sensitive and exalted feeling well filled. My greatest ambition is
to be recognized by all the world as the honest man,
which I really am. He writes about the year seventeen
seventy six, and dedicates all the praises he had received
to Almighty God, for to him alone are they due.
His wish was neither to offend his neighbor nor his
(15:28):
gracious Prince and above all the merciful God. Now that
he realized the beautiful, divine pleasure of reverence, and that
his unworthy situation, with its constant restrictions and distress, pressed
upon his artistic feeling, he longed for a change more
ardently than ever. I had a good prince, but at
times had to be dependent on base souls. I often
(15:50):
sighed for release, He writes from London as seventeen ninety one,
his determination to accept the London invitation must have been
very strong. Letter of seventeen eighty one closes. Meanwhile, I
thank you very much for the lodgings offered me. His
gratitude actually prevented him from traveling, though he was literally
besieged by his friends, and as we have seen, was
(16:13):
invited from abroad. He swore to the Prince to serve
him until death should separate them, and not to forsake him.
Though he was offered millions dese heard him say. The Prince,
in times oppressing necessity allowed him to draw upon his credit.
But Haiden availed himself of this privilege as seldom as possible,
and was always satisfied with small sums among impressions so
(16:37):
varied in their nature. The letters were written which belonged
to the following year, and from which we must present
a few short extracts. They are addressed to Frauvron Gensinger
and Vienna, the wife of a physician who was also
a physician and ordinary to Prince Esterhazi. She was very
intimate with our master in his later years, for she
had made his friendship in connection with his art, having
(16:59):
arranged symphonies of his for the piano. In reading these letters,
one truly feels the noble aspirations of Heiden's soul. The
influence which this excellent lady had upon the poetical character
of his works is evident in the beautiful Sonata, whose
adagio meant so much. Here, indeed, Vibrate accords as full
of life and longing as music was capable of expressing
(17:23):
at that time in her soft measures. In the house
of this lady's doctor, as he was universally called in Vienna, Mozart, Dittersdorff,
Alberk Sperger. Afterward, Beethoven's teacher and Heiden, when he was
in Vienna, met regularly on Sundays, and it must have
been doubly painful to him to go back to his
wretched solitude from these delightful gatherings, where he could sit
(17:46):
near her ladyship and hear the masterpieces of Mozart played.
Alas the separation came sooner than Hayden wished. The sudden
resolution of my prince to withdraw from Vienna, which is
hateful to him, is the cause of my precipitate journey
to Esterhaz, he writes in seventeen eighty nine, in contrast
with the other magnates, who were fond of displaying their
(18:08):
splendor and gratifying their tastes. And nowhere was this so
true as in Vienna. Prince Nicholas, with his increasing years,
grew more and more unpopular in that city. Haiden himself
gives a most forcible expression to his dissatisfaction with his surroundings.
The address high and nobly born, highly esteemed, best of all,
(18:30):
Trauvon Genzinger shows us the style of the time, and
the following letter of February ninth, seventeen ninety tells us
the whole story. Here I sit in my wilderness, deserted
like a poor orphan, almost without human society, sad full
of the recollections of past happy days, Yes, past alas,
(18:50):
And who can say when those delightful days will return,
Those pleasant gatherings when the whole circle were of one
heart and soul, All those charming music evenings which can
only be imagined, not described. Where are all those inspired moments?
All are gone and gone for a long time, he writes,
And it was only his native cheerfulness that could allay
(19:12):
this feeling of loneliness. Wonder not, dear lady, that I
have delayed so long in writing my gratitude. I found
everything at home torn up. For three days. I was
uncertain whether I was Capelmeister or Capel's servant. Nothing consoled me.
My entire apartment was in confusion. My piano, which I
loved so much, was inconstant and disobedient, and it vexed
(19:34):
instead of tranquilizing me. I could sleep, but little my
dreams troubled me. So when I dreamed of hearing the
marriage of Figaro, a fatal north wind awoke me and
almost blew my night cap off my head. In his
next remarks, we learn of a composition about which he
had written a short time before to his publisher saying
that he had, in his leisure hours, composed a new
(19:57):
capriccio for the piano, which, by its taste, originality in
close finish, would be sure to receive universal applause. I
became three pounds thinner on the way, he continues, because
of the loss of my good Vienna fair Alas thought
I to myself, when in my restaurant I had to
eat a piece of fifty year old cow instead of
(20:18):
fine beef, an old sheep, and yellow carrots instead of
a ragout, and meat balls, a leathery grille instead of
a bohemian pheasant. Alas Alas thought I would that I
now had many a morsel which I could not have
eaten in Vienna. Here in Esterhaus, no one asks me,
would you like chocolate? Do you desire coffee with or
(20:38):
without milk? With? What can I serve you, my dear Heiden,
Will you have vanilla or pineapple ice? Would that I
had only a piece of good Parmesan cheese, so that
I might the more easily swallow the black dumplings. Pardon me,
most gracious lady, for taking up your time in my
first letter with such piteous stuff. Much allowance must be
made for a man spoiled by the things in Vienna.
(21:01):
But I have already commenced to accustom myself to the
country by degrees, And yesterday I studied for the first
time quite in the hide and manner. An event shortly
after occurred which for the time greatly stimulated his creative ability.
The princess died, and the Prince sank into such melancholy
that he wanted music every day. At this time he
(21:21):
would not allow him to be absent for twenty four hours.
He speaks often of his deep distress of heart, and
of his many disappointments and ill humors. But thank God,
this time will also pass away, he says at the
close of a letter in which he is looking forward
to the winter. It is sad always to be a slave,
but Providence so wills it, he says. On another occasion,
(21:43):
I am a poor creature, continually tormented with hard work,
and with but few hours for recreation. Friends, what do
I say, one true friend? There are no longer any
true friends save one. Oh, yes, I truly have one,
But she is far away from me. I can take refuge. However,
in my thoughts, God bless her, and so order that
(22:04):
she shall not forget me. My friendship for you is
so tender that it can never become culpable, since I
always have before my eyes reverence for your exalted virtue.
He also wrote in reply to Frauvlon Genziger concerning a
letter which, to his regret, had been lost. We now
come to a time when the ill humors ceased, and
(22:24):
Heiden secured a better situation and more than all, complete freedom.
The Prince died and crowned his generosity with the legacy
of a pension of one thousand gulden. The new Prince,
paul Antone, added four hundred gulden more to it, so
that Heiden could now live comfortably upon a stipend of
two thousand, eight hundred marks. He discharged the orchestra and
(22:47):
only required of Heiden that he should retain the title
of Kapelmeister at Esterhaus. Heiden called this position poorly requited,
and added that he was on horseback without saddle or bridle,
but hoped one day or by his own service, for
I cannot flatter or beg or by the personal influence
of his gracious Prince, to be placed in a higher position.
(23:09):
But this did not occur. Until a later time, and then,
by the help of his fourth prince, he soon removed
to Vienna and declined the invitation of Prince Grasselkowitz to
enter his service. It was not long before his affairs
took a happy turn in another direction, and in the
place of rural restraint, he enjoyed the widest and most
unrestricted public liberty. The violinist J. P. Salomon, a native
(23:34):
of a Bond who had played in Heightened's quartets long
before and occupied a distinguished place in the musical world
of London, entered his room one evening and curtly said,
I am Salomon of London, and have come to take
you away. We will close the bargain tomorrow. He was
on his travels engaging singers for the theatrical manager Gallini,
(23:54):
and on his return to Cologne heard of the death
of Prince Esterhazi. Haiden at first offered various objections, his
ignorance of foreign languages, his inexperience in traveling and in
his old age. But Salomon's propositions were so brilliant that
he wavered five thousand gulden, and the sale of his
compositions were something worth unusual consideration in the straightened circumstances
(24:18):
of a simple musician entering upon old age. Besides, he
had plenty of compositions finished which no one knew of
outside of Esterhas. He made his assent conditional upon the
Prince's permission, and gave no further heed to Salomon's persuasions.
Mozart himself, who had traveled much about the world, interposed
his objections with the best intentions. Papa was too old,
(24:41):
he was not fitted for the great world. He spoke
too few languages. A man of fifty eight ought to
remain quietly among his old and sure friends. I am
still active and strong, and my languages understood all over
the world, he replied. The Prince did not refuse his permission,
and the expenses of the journey were in vance. Heiden
sold his little house at Eisenstadt, took the five hundred
(25:04):
gulden which he had saved up, consigned his bonds to
his highly Cherishedvion, a friend to whom he commanded his wife,
and made all his preparations for the journey, which was
to establish his fame all over the world. He started
December fifteenth, seventeen ninety. Mozart did not leave his beloved Papa.
The whole day he dined with him, and tearfully exclaimed,
(25:26):
at the moment of separation, we are Saint, our last
farewell to day. Heiden was also deeply moved. He was
twenty four years older, and the thought of his own
death alone occurred to him. It was but a year
later that he heard of Mozart's death and shed bitter tears.
I shall rejoice in my home and embracing my good
friends like a child. He wrote at a later time
(25:47):
to Frauvon Genzinger. Only I lament that the great Mozart
will not be among them. If it be true, which
I hope not, that he is dead, Posterity will not
find such talent again for seine entry. He was the
one who was destined to be the heir of Mozart,
and it was his London visit which broadened his intellectual
horizon and gave his fancy freer development. He was then
(26:11):
the direct guide of Beethoven, whose sonatas, quartets and symphonies
were more closely developed and patterned upon the works which
Heiden had then written than upon Mozart's The Marvelous Beauty
of whose music was more like an inspiration from above,
which could scarcely be appropriated or imitated by his followers.
His letters to Frau von Denzinger abound in information about
(26:33):
the events of this journey, and thanks to the detailed
investigation of C. F. Pohl in his little book Mozart
and Heiden in London Vienna, eighteen sixty seven, we are
now placed in full possession of them. But we shall
confine ourselves only to those details which are indispensable to
a record of Heiden's progress. In Munich, Heiden became acquainted
(26:53):
with Kannebich, who had so greatly promoted symphony performances in Germany,
an acquaintance which must have been of twofold interest to
the founder of the symphony in Bond, particularly where his
music had many friends and had been played exceedingly often
in churches, theaters, public and chamber concerts see Beethoven's Life,
Volume one. He was astonished on one occasion. According to
(27:17):
Diaz's narrative, Salomon took him on Christmas night to the Mass.
The first chords revealed a work of heydens our. Heiden
regarded it as an accident, though it was very agreeable
to him to listen to one of his own works.
It is said towards the close a person approached him
and invited him to enter the oratory. Heiden was not
(27:37):
a little astonished when he saw that the Elector Maximilian
had summoned him. He took him by the hand and
addressed his musicians in these words, let me make you
acquainted with your highly cherished heidn The elector allowed him
time for them to become acquainted, and then invited him
to his table. The invitation caused him a little embarrassment,
(27:58):
for he and Salomon had arranged a little dinner in
their own house. Heyden took refuge and excuses, and thereupon
withdrew and betook himself to his residence, where he was
surprised by an unexpected proof of the good will of
the elector. At his quiet command, the little dinner had
changed into a large one for twelve persons, and the
most skillful of the musicians had been invited. Could the
(28:20):
elector's court organist Beethoven have been among the guests. He
was at that time twenty years old, and certainly was
among the most skillful of the musicians. Heiden writes about
the remainder of the journey and his arrival in London
to his friend in Vienna. He remained on deck during
the entire passage, that he might observe to his heart's
content that huge monster the sea. He might have thought,
(28:44):
with an ironical smile, of the storm in the devil
on two sticks. He was completely overwhelmed with the endlessly
great city of London, which astonishes me with his varied
beauties and wonders. But it still further broadened his experience
to see with his own eyes the representatives of a
great free people, like those of England. His arrival had
(29:05):
already caused a great sensation, and for three days he
went the rounds of all the newspapers. After a few days,
he was invited to an amateur concert, and, leaning upon
the arm of the director, passed through the hall to
the front of the orchestra amid universal applause, stared at
by all, and greeted with a multitude of English compliments. Afterward,
(29:27):
he was conducted to a table set for two hundred guests,
where he was requested to sit at the head, but
he declined the honor, since he had already dined out
that noon and eaten more than usual, But in spite
of this he was obliged to drink the harmonious good
health of the company in Burgundy end of Section five.
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I’m Jay Shetty host of On Purpose the worlds #1 Mental Health podcast and I’m so grateful you found us. I started this podcast 5 years ago to invite you into conversations and workshops that are designed to help make you happier, healthier and more healed. I believe that when you (yes you) feel seen, heard and understood you’re able to deal with relationship struggles, work challenges and life’s ups and downs with more ease and grace. I interview experts, celebrities, thought leaders and athletes so that we can grow our mindset, build better habits and uncover a side of them we’ve never seen before. New episodes every Monday and Friday. Your support means the world to me and I don’t take it for granted — click the follow button and leave a review to help us spread the love with On Purpose. I can’t wait for you to listen to your first or 500th episode!