[ Pobierz całość w formacie PDF ]

contented and happy men here below; everywhere grief and care prevail, perhaps your
labours may one day be the source from which the weary and worn or the man burdened
with affairs may derive a few moments' rest and refreshment.' What a powerful motive to
press onwards! And this is why I now look back with heartfelt, cheerful satisfaction on
the work to which I have devoted such a long succession of years with such persevering
efforts and exertions."
With this high ideal was combined a constant effort to perfect himself in his art. To
Kalkbrenner he once made the touching remark: "I have only just learned in my old age
how to use the wind instruments, and now that I do understand them I must leave the
world." To Griezinger, again, he said that he had by no means exhausted his genius: that
"ideas were often floating in his mind, by which he could have carried the art far beyond
anything it had yet attained, had his physical powers been equal to the task."
His Piety
Closely, indeed inseparably, connected with this exalted idea of his art was his simple
and sincere piety. He was a devout Christian, and looked upon his genius as a gift from
God, to be freely used in His service. His faith was never assailed with doubts; he lived
and died in the communion of the Catholic Church, and was "never in danger of
becoming either a bigot or a free-thinker." When Carpani, anticipating latter-day
criticism, hinted to him that his Church compositions were impregnated with a light
gaiety, he replied: "I cannot help it; I give forth what is in me. When I think of the Divine
Being, my heart is, so full of joy that the notes fly off as from a spindle, and as I have a
cheerful heart He will pardon me if I serve Him cheerfully."
His reverent practice during the composition of "The Creation" has been mentioned.
"Never was I so pious," he said. There are many proofs of the same feeling in his
correspondence and other writings. Thus he concludes an autobiographical sketch with
the words: "I offer up to Almighty God all eulogiums, for to Him alone do I owe them.
My sole wish is neither to offend against my neighbour nor my gracious prince, but
above all not against our merciful God." Again, in one of his later letters, he says "May
God only vouchsafe to grant me the health that I have hitherto enjoyed, and may I
preserve it by good conduct, out of gratitude to the Almighty." The note appended to the
first draft of his will is also significant. Nor in this connection should we forget the words
with which he inscribed the scores of his more important compositions. For the
conclusion he generally adopted Handel's "Soli Deo Gloria" or "Laus Deo," with the
occasional addition of "et B.V. Mae. et Oms. Sis. (Beatae Virgini Mariae et Omnibus
Sanctis)." Even his opera scores were so inscribed, one indeed having the emphatic close:
"Laus omnipotenti Deo et Beatissimae Virgini Mariae." The superscription was
uniformly "In nomine Domini." It is recorded somewhere that when, in composing, he
felt his inspiration flagging, or was baulked by some difficulty, he rose from the
instrument and began to run over his rosary. In short, not to labour the point, he had
himself followed the advice which, as an old man, he gave to the choirboys of Vienna:
"Be good and industrious and serve God continually."
His Industry
The world has seen many an instance of genius without industry, as of industry without
genius. In Haydn the two were happily wedded. He was always an early riser, and long
after his student days were over he worked steadily from sixteen to eighteen hours a day.
He lived strictly by a self-imposed routine, and was so little addicted to what Scott called
"bed-gown and slipper tricks," that he never sat down to work or received a visitor until
he was fully dressed. He had none of Wagner's luxurious tastes or Balzac's affectations in
regard to a special attire for work, but when engaged on his more important compositions
he always wore the ring given him by the King of Prussia. In Haydn's case there are no
incredible tales of dashing off scores in the twinkling of an eye. That he produced so
much must be attributed to his habit of devoting all his leisure to composition. He was
not a rapid worker if we compare him with Handel and Mozart. He never put down
anything till he was "quite sure it was the right thing"--a habit of mind indicated by his
neat and uniform handwriting ["His notes had such little heads and slender tails that he
used, very properly, to call them his, flies' legs."--Bombet, p. 97.]--and he assures us: "I
never was a quick writer, and always composed with care and deliberation. That alone,"
he added, "is the way to compose works that will last, and a real connoisseur can see at a
glance whether a score has been written in undue haste or not." He is quoted as saying
that "genius is always prolific." However the saying may be interpreted, there does not
seem to have been about him anything of what has been called the irregular dishabille of
composers, "the natural result of the habit of genius of watching for an inspiration, and
encouraging it to take possession of the whole being when it comes."
Habits of Composition
His practice was to sketch out his ideas roughly in the morning, and elaborate them in the
afternoon, taking pains to preserve unity in idea and form. "That is where so many young
composers fail," he said in reference to the latter point. "They string together a number of
fragments; they break off almost as soon as they have begun, and so at the end the
listener carries off no definite impression." The importance of melody he specially
emphasized. "It is the air which is the charm of music," he remarked, "and it is that which
is most difficult to produce. The invention of a fine melody is the work of genius." In
another place he says: "In vocal composition, the art of producing beautiful melody may
now almost be considered as lost; and when a composer is so fortunate as to throw forth a
passage that is really melodious, he is sure, if he be not sensible of its excellence, to
overwhelm and destroy it by the fullness and superfluity of his instrumental parts."
[Compare Mozart's words as addressed to Michael Kelly: "Melody is the essence of
music. I should liken one who invents melodies to a noble racehorse, and a mere
contrapuntist to a hired post-hack."]
He is stated to have always composed with the aid of the pianoforte or harpsichord; and
indeed we find him writing to Artaria in 1788 to say that he has been obliged to buy a
new instrument "that I might compose your clavier sonatas particularly well." This habit
of working out ideas with the assistance of the piano has been condemned by most
theorists as being likely to lead to fragmentariness. With Haydn at any rate the result was
entirely satisfactory, for, as Sir Hubert Parry points out, the neatness and compactness of
his works is perfect. It is very likely, as Sir Hubert says, that most modern composers
have used the pianoforte a good deal--not so much to help them to find out their ideas, as
to test the details and intensify their musical sensibility by the excitant sounds, the actual
sensual impression of which is, of course, an essential element in all music. The
composer can always hear such things in his mind, but obviously the music in such an [ Pobierz całość w formacie PDF ]