Haydn | Page 4

career simply and directly, to give a clear picture of the man, and to discuss the composer without trenching on the ground of the formalist.
J.C.H.
EDINBURGH, September 1902.

HAYDN

CHAPTER I
BIRTH--ANCESTRY--EARLY YEARS
Introductory--Rohrau--A Poor Home--Genealogy--Haydn's Parents-- His Birth--His Precocity--Informal Music-making--His First Teacher--Hainburg--"A Regular Little Urchin"--Attacks the Drum-- A Piece of Good Luck--A Musical Examination--Goes to Vienna--Choir School of St Stephen's--A House of Suffering--Lessons at the Cathedral--A Sixteen-Part Mass--Juvenile Escapades--"Sang like a Crow"--Dismissed from the Choir.
Haydn's position, alike in music and in musical biography, is almost unique. With the doubtful exception of Sebastian Bach, no composer of the first rank ever enjoyed a more tranquil career. Bach was not once outside his native Germany; Haydn left Austria only to make those visits to England which had so important an influence on the later manifestations of his genius: His was a long, sane, sound, and on the whole, fortunate existence. For many years he was poor and obscure, but if he had his time of trial, he never experienced a time of failure. With practical wisdom he conquered the Fates and became eminent. A hard, struggling youth merged into an easy middle-age, and late years found him in comfortable circumstances, with a solid reputation as an artist, and a solid retiring-allowance from a princely patron, whose house he had served for the better part of his working career. Like Goethe and Wordsworth, he lived out all his life. He was no Marcellus, shown for one brief moment and "withdrawn before his springtime had brought forth the fruits of summer." His great contemporary, Mozart, cut off while yet his light was crescent, is known to posterity only by the products of his early manhood. Haydn's sun set at the end of a long day, crowning his career with a golden splendour whose effulgence still brightens the ever-widening realm of music.
Voltaire once said of Dante that his reputation was becoming greater and greater because no one ever read him. Haydn's reputation is not of that kind. It is true that he may not appeal to what has been called the "fevered modern soul," but there is an old-world charm about him which is specially grateful in our bustling, nerve-destroying, bilious age. He is still known as "Papa Haydn," and the name, to use Carlyle's phrase, is "significant of much." In the history of the art his position is of the first importance. He was the father of instrumental music. He laid the foundations of the modern symphony and sonata, and established the basis of the modern orchestra. Without him, artistically speaking, Beethoven would have been impossible. He seems to us now a figure of a very remote past, so great have been the changes in the world of music since he lived. But his name will always be read in the golden book of classical music; and whatever the evolutionary processes of the art may bring, the time can hardly come when he will be forgotten, his works unheard.
Rohrau
Franz Joseph Haydn was born at the little market-town of Rohrau, near Prugg, on the confines of Austria and Hungary, some two-and-a-half hours' railway journey from Vienna. The Leitha, which flows along the frontier of Lower Austria and Hungary on its way to the Danube, runs near, and the district
[Figure: Haydn's birth-house at Rohrau]
is flat and marshy. The house in which the composer was born had been built by his father. Situated at the end of the market-place, it was in frequent danger from inundation; and although it stood in Haydn's time with nothing worse befalling it than a flooding now and again, it has twice since been swept away, first in 1813, fours years after Haydn's death, and again in 1833. It was carefully rebuilt on each occasion, and still stands for the curious to see--a low-roofed cottage, very much as it was when the composer of "The Creation" first began to be "that various thing called man." A fire unhappily did some damage to the building in 1899. But excepting that the picturesque thatched roof has given place to a covering of less inflammable material, the "Zum Haydn" presents its extensive frontage to the road, just as it did of yore. Our illustration shows it exactly as it is to-day. [See an interesting account of a visit to the cottage after the fire, in The Musical Times for July 1899.] Schindler relates that when Beethoven, shortly before his death, was shown a print of the cottage, sent to him by Diabelli, he remarked: "Strange that so great a man should have been born in so poor a home!" Beethoven's relations with Haydn, as we shall see later on, were at one time somewhat strained; but the years had softened his asperity, and this indirect tribute to his brother composer may readily be accepted as a set-off to some