Haydn | Page 3

series of harmonic progressions broken up
into figures or patterns. Of real development and climax there is none;
of such things as well-defined, characteristic first and second subjects
there is little sign. The themes were of the formal mathematical type
developed during the fugal period--a type that "worked" easily, and in a
way effectively, in the fugue itself, but was unnecessary and, indeed,
tiresome when contrapuntal working was not the aim and object. The
endless variants on this kind of thing, for example--
[Illustration: some bars of music]
were simply a snare, and kept writers from seeing the importance of
singing and singable melody in the coming style. To show the
difference between the old and the new at once, let me here give two
bits of themes from Mozart and Haydn. They are in appearance not so
far removed from the contrapuntal type of theme, and while they sing
themselves they yet served their inventors capitally for contrapuntal
treatment.
[Illustration: some bars of music]
Numberless sonatas were written about the same time. Either the
subjects were contrapuntal, formal, in build, or consisted of patterns
made out of broken chord-series. Domenico Scarlatti got some
wonderful results; but his music simply tickles the ear for a moment:
meaning it has none. Polyphonic music of every sort had now to go for
a while; monodic music was coming in. But before it could come in
with any degree of security something else had to come and something
else to go. Up till now the old idea of modes had remained strong,
despite Sebastian Bach and his marvellous use of chromatic harmonies.
It had to yield to the modern idea of key; a sense of key relationships
had to be developed--much, at first all, depended on that. The new idea,
hinted at by Emanuel Bach, and first seized upon by Haydn, was that a
continuous stream of melody--not necessarily always in the top or
treble part--should run through a movement, and, whatever the interest
of the accompanying parts, should always be of the first importance.

For his inspiration, as well as many of his actual themes, Haydn went
to his native folk-dances and folk-songs; he brought in the fresh air
from the wilds, and the now dusty contrapuntalism was blown out
never again to return. We can see above the difference between the
full-bottomed wig theme and the newer kind; to show, on the other
hand, how near Haydn stood to Beethoven let me give bits of themes
from each composer.
[Illustration: some bars of music]
With the disappearance of the contrapuntal theme coincides the end of
purely contrapuntal "working" or development. The new kind I shall
describe later in its proper place. For the present all that need be said is
that here again key relationship was of the first importance, as we shall
see. Meantime, in this peroration I have sought to outline what Haydn
did. For, let there be no mistake, it was Haydn and no other who
brought about the change. If he was not the first to write in something
very like modern sonata or symphony form, he was the first to see its
full possibilities. Had he written no symphonies, but only quartets, his
achievement would have been none the less remarkable, and none the
less valuable to Mozart and Beethoven, for in many respects the quartet
and the symphony of the eighteenth century were the same thing, and
Mozart declared that it was from Haydn he learnt to write quartets.
This, then, is what Haydn did, and I shall now describe shortly what we
must call his career while he was working it out.
CHAPTER II
1732-1761
The first period of Haydn's life is marked by the two above dates--that
of his entry into this world and that of his entry into the service of
Prince Anton Esterhazy. He was born, then, in 1732, "between March
31 and April 1." As there is no "between" possible, either the Haydn
family had no clock or were averse to stating definitely that their son
was born on All Fool's Day. They need not have worried, for, however
simple Haydn might be, he was only once in his whole life a fool,

which is more than can be said for most men, great or small. But while
he was about it, there was no lack of completeness in Haydn's folly,
and he felt the consequences of it all his days. The place of his birth
was originally called Tristnik, translated into German, Rohrau, then
(whatever it may be now) a sleepy old-world village on the banks of the
Leitha, in the very heart of a Croatian settlement in Hungary. The
Leitha at Rohrau divides Hungary from Austria. Haydn's father,
Mathias Haydn, said to have been a master-wheelwright, came from
Hainburg, near