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Full text of "The Collected Correspondence And London Notebooks Of Joseph Haydn"

THE COLLECTED CORRESPONDENCE 
AND LONDON NOTEBOOKS OF 
JOSEPH HAYDN 




H.iuln. Wax bust b\ Thaller (Vicnn., Qu Museum) 



The Collected Correspondence 
and London Notebooks of 

JOSEPH HAYDN 



H. C. ROBBINS LANDON 

AUTHOR OF 
THE SYMPHONIES OF JOSEPH HAYDN 



LONDON 
BARRIE AND ROCKLIFF 

1959 



PREFACE 

THE LETTERS collected in this volume probably represent only a 
small fraction of those Haydn wrote and received during his long 
life; in a note to his young friend Joseph Eybler, for example, 
Haydn excuses himself for being so curt and adds, "this is the tenth 
letter I have to mail [today]" (see 22nd March 1789); of these ten, 
one has survived. The title "Collected Correspondence" is perhaps a 
little presumptuous, for even as recently as after World War II, a 
large and vitally important collection of hitherto unknown letters was 
discovered in the Esterhazy Archives at Budapest, the "Acta Musi- 
calia" of which are just now being thoroughly examined for the 
first time. It is doubtful whether we shall find another treasure trove 
of this magnitude, but it should be said that the present edition 
the first attempt to collect all Haydn's letters within the covers of a 
book cannot be complete. Several letters were sold by antiquarian 
booksellers and have since disappeared, and there are several others 
of which we have only the contents, or extracts. On the other hand, 
it is highly doubtful if more than a handful of undiscovered letters 
still exists, and thus the title "Collected Correspondence" is as justi- 
fied as is possible in the present circumstances. 

Readers may find the following notes useful. The ^ appearing at 
the head of some earlier letters is equivalent to the sign of the Cross. 
Maria Anna von Genzinger begins all her letters with the three-fold 
Cross, i.e. the Holy Trinity. The "m.p." "m.pr." or "m.pria" at the 
end of the letters means "manu propria". Generally I have not 
translated the different kinds of money referred to in the letters, and 
I have also left the abbreviations as they stand. Fl. = Viennese 
Gulden; X, Xr, or Kr. = Kreutzer. i ducat = 4.5 Gulden. The 
terms ducat and Fl. (Gulden) were often used in one and the same 
document (see yth December 1792). The purchasing power of 
Viennese currency declined considerably after 1800, and Haydn's 
petitions for his musicians of this period constantly reflect the need 
for increased salaries "bey so theuren Zeiten". In 1786, a Viennese 
bachelor of the middle class could have lived on about 525 Fl. ; in 
1804, he would have required 1,200 Fl. See O. E. Deutsch, 'Austrian 
Currency Values and Their Purchasing Power (1725-1934)', Music 
& Letters, July 1934, pp. 236-238. . 500 were then 5,883 Gulden. 

v 



vi Preface 

The Castle at Esterhdza is sometimes referred to as "Estoras", 
sometimes as "Esterhdz" : I have not thought it necessary to standard- 
ize these terms. In Austrian dialect, the female sex was often (and 
still is, among the peasants) indicated by adding "-in" to the end of 
the name. Thus Haydn's soprano, Barbara Pilhofer, was referred to, 
even in official documents, as "Pilhoferin" or even the rather gro- 
tesque "Pilhofin"; Frau Kellerin = Frau Keller, and so forth. The 
most difficult problem of translation proved to be the formulae used 
at the beginning and the end of formal letters, e.g. to royalty, busi- 
ness associates, and in general persons with whom one was not on 
intimate terms. In fact they cannot be translated at all (a Prince was 
addressed as "Durchlaucht", for example, which literally means 
"Transparency"). At first I intended to leave them in the original 
German; but on second thoughts, it seemed very unfair to expect 
English readers to guess the meaning of "Durchlauchtig Hoch- 
gebohrner Reichs Fiirst, Gnadigst Hochgebiethender Herr, Herr". 
So I have attempted to give the flavour of these formal addresses ; I 
realize that "Nobly born Sir" and the like do not read well in the 
English language, but on the other hand it is wrong, I feel, to trans- 
late "Hoch Edlgebohrner, Insonders Hochzuvcrehrender Herr!" 
simply as "Sir" (as Lady Wallace and others have done). It is perhaps 
necessary to warn readers not to take these formulae too literally; 
neither the writer nor the recipient thought twice about the content. 
It meant no more to write (I translate literally) "High, nobly born, 
most especially respected Sir" than it does for us to write "Dear 
Sir" to someone whom we regard as anything but dear. 

When drafts of letters have been included, I have always retained 
the final version ; for obvious reasons it is not practicable to reproduce 
in translation the linguistic subtleties of a draft. 

I have always given the addresses (so far as they are still extant) 
in the original language; and when one of the publishing firms 
(such as Artaria) made notes concerning the arrival of the letter and 
when it was answered, I have retained the original language of the 
dates, etc. if they were easily understandable (e.g. "Haydn/Esterhaz / 
21 Februarii") and have simply translated such words as "beam." 
("ans'd"). Words which are underlined in the original texts have 
been printed in small capital letters; capital letters have also been 
used to indicate passages written in a very large size (e.g. when 
Haydn addresses Prince Esterhazy. (See illustration XIII.) 

Haydn scholars will perhaps look in vain for the letters which 
Count Morzin wrote to Haydn in the late lyyo's and lySo's (auto- 



Preface vii 

graphs in the Sdndor Wolf Museum, Eisenstadt) : the letters are 
forgeries very cleverly done, with old ink on old paper, but 
thoroughly spurious. It would take more space than the subject 
warrants to explain all the points where the forger erred, and I will 
limit myself to three: Morzin asks for Haydn's opera Flora: (i) 
Haydn never wrote an opera of this name; (2) no such opera was 
ever performed at Esterhaza; (3) no such opera is ever known to 
have been written by anyone. Morzin also asks for Haydn's 
opera Alceste: this is a clever touch, for Haydn actually did perform 
a marionette opera of this name by Carlos d'Ordoiiez. The forger 
did not, however, know this: he took his information from the 
booklet, Beschreibung des Hochfurstlichen Schlosses Esterhdsz . . ., 
Pressburg 1784, wherein (p. 39) we read . . . "the eternal MARIA 
THERESIA gave her gracious approval to the opera Alceste ", an 
opera seria performed at the marionette theatre in her presence. 
Finally Morzin talks in these letters of "Streichquartett" (string 
Quartet). The term did not exist in the eighteenth century (Morzin 
would have called it "Quadro", "Quartctt", "Divertimento", or 
"Quartetto": the prefix "Strcich-" docs not appear until fifty years 
later). 

The Esterhazy Archives and other private and public libraries 
contain many receipts, either entirely in Haydn's handwriting, or 
drawn up by a clerk and signed by him. Receipts are certainly not 
letters, and thus I have included only a very few of them those 
which I felt to be of exceptional biographical or musicological 
interest. 

The only substantial collection of Haydn's letters ever published 
in the English language is Lady Wallace's translation of NohTs 
Musikerbriefe (Letters of distinguished Musicians . . . London 1867). 
I have not hesitated to make free use of Lady Wallace's often 
rather quaint translation of Haydn's still quainter German: the 
source from which she translated, however, proved to be incom- 
plete and inaccurate in many cases, and I hasten to add that, where- 
ever possible, I have gone back to the autographs or other early 
sources (e.g. Fold's MS. copies). The only other major English 
translation of the material in this book is Krebiehl's edition of the 
first two London notebooks which, though not quite complete and 
not always completely accurate, often proved most useful. The 
remaining translations are all my own, except for one Dutch source, 
which Baron van Pallandt of Geneva kindly translated for me at 
the instigation of Mr. Geoffrey Robinson. Translations are in some 



viii Preface 

ways hopeless; they can never fully convey the subtleties of the 
originals. I can only assure readers that I have made every effort to 
show the difference, for example, between the ponderous verbosity 
of official documents (e.g. the letter of ist April 1804, the original 
German of which actually consists of only three gigantic sentences) 
and between the pithy Italian of Haydn's letters to Polzelli. 

In preparing the English translations of the London Notebooks, I 
have tried to retain the flavour of the original, in which the German 
is sprinkled with French, Italian and Latin words. Haydn learned 
English by hearing it spoken, and his spelling often reflects the 
sound of the word as it would have been written in German (e.g. 
"cahst" for cast). I have altered neither his English spelling nor his 
capitalization and spelling in other languages; when reproducing 
poetry, however, I have made the one concession of starting each 
line with a capital letter a procedure which Haydn himself some- 
times adopts. Where the translation was especially problematical, I 
have placed the original, in brackets, after my translation. I have 
retained the original languages of all the poetry and the aphorisms in 
these notebooks; a prose translation has been added m parentheses. 
Contrary to the letters, in which the commentary has been included 
in the form of footnotes (serially per letter), I found it more practical 
to use the Deutsch method for the London Notebooks: the com- 
mentary, when present, has been placed in smaller type directly after 
each entry. The reader is thus spared enormous numbers of un- 
sightly footnotes; the final entry of the Fourth Notebook a 
lengthy and very useful catalogue could not, however, be treated 
in this way, and for this one entry I have returned to footnotes. 

Several hundred letters to libraries, antiquarian booksellers and 
private collectors formed the basic attempt to collect Haydn's letters. 
Apart from personal contacts, there was a small response to "want 
letters" placed in newspapers and periodicals in England, the United 
States, the Continent and Australia. The autographs of Haydn's 
letters are spread over four continents and some fourteen countries, 
including Japan, Southern Rhodesia, most of Europe, England and 
the United States. In the arduous task of tracing private collections 
which might include Haydn sources, I was greatly assisted by some 
two dozen antiquarian booksellers, who provided me with the 
names and addresses of their clients; some of these booksellers 
actually went to the trouble of photographing Haydn's letters which 
happened to be in their possession, or they allowed me to consult the 
originals. My experience with these busy ladies and gentlemen has 



Preface ix 

been of the very happiest, and I wish to thank them collectively as 
well as individually. The private collectors to whom I wrote proved 
exceptionally cooperative in all but one or two cases (and these, I 
regret to say, were Americans) ; without their generosity some dozen 
letters would be missing entirely, and the texts of another score 
would be inaccurate and incomplete. Of the many libraries who 
placed their sources at my disposal, I am particularly indebted to the 
National Museum at Budapest, who sent microfilms of all the 
Haydn letters thus far discovered in the Esterhazy Archives; some 
of these documents are here published for the first time. Dr. Arisztid 
Valko is in the process of transcribing all these fascinating letters in 
the original German, and the first series has recently (1957) been 
published (see Sources). Professor Denes Bartha was kind enough to 
collate the texts of numerous letters in the National Museum, both 
in the manuscript department and in the Esterhazy Archives. As a 
result of his kindness, half-a-dozen of Haydn's letters to Artaria can 
now be published for the first time complete and in textually 
accurate (though of course translated) form. Professor Bence 
Szabolcsi also arranged to have an important letter in the Esterhazy 
Archives photographed for me before it was published in the afore- 
mentioned series of Dr. Valko. 

I have exchanged information and sources with two other 
scholars who have been collecting Haydn letters for many years : Dr. 
Antony van Hoboken, Ascona, who was good enough to send me 
photographs of the letters he owns and also of others which are at 
present unavailable; and Dr. E. H. M. von Asow, Director of the 
Internationales Musiker-Brief-Archiv, who also provided me with 
photographs of letters, the originals of which have in some cases 
disappeared or are now in unavailable private collections. I should 
like to express my gratitude to both these gentlemen for giving so 
unstintingly of their time and knowledge. 

Dr. E. F. Schmid, Augsburg, General Editor of the New Mozart 
Collected Edition, kindly placed at my disposal his card catalogue 
of Haydn letters; he also drew my attention to a hitherto unpub- 
lished letter in a South German private collection. On two occasions 
Mr. Paul Badura-Skoda took the time, in the midst of a busy concert 
tour, to secure unpublished Haydn letters for me; I am most 
obliged to him. Professor Jan LaRue, as always, proved a useful and 
indefatigable collaborator. Count C.-G. Stellan Morner, Stockholm, 
generously copied out two Haydn letters in Swedish private collec- 
tions. Miss Emily Anderson, London, was kind enough to give me 



x Preface 

all the addresses of private collections in which she had discovered 
Beethoven material, as a result of which I gained five "new" auto- 
graphs. Mr. John Pashby, of Sotheby & Co, took the great trouble 
to send me a list of all the Haydn letters that had passed through the 
firm's hands in recent years. I am also indebted to Mr. Albi Rosen- 
thai, Oxford; Mr. Cecil Hopkinson, London; Miss Mary Benjamin, 
New York City; Messrs. Lucien Goldschmidt, New York City; 
Mrs. H. J. Laufer, London; Mr. Heinrich Eisemann, London; Herr 
Heinrich Hinterberger, Vienna; and Messrs. V. A. Heck, Vienna 
those antiquarian booksellers who were particularly helpful to me 
in my research. 

The following public libraries answered queries, supplied photo- 
graphs or allowed me to examine their material personally: the 
Osterreichische Nationalbibliothck, Vienna; the Gesellschaft der 
Musikfreunde, Vienna; the Stadtbibliothek, Vienna; the Oster- 
reichisches Staatsarchiv, Vienna; Archiv fur Niederosterreich, 
Vienna; the Haus- Hof- und Staatsarchiv, Vienna; Archiv der 
Stadt Wien; the Archiv des Landcsgerichtes, Vienna; the Benedic- 
tine Monastery of Gottweig, Lower Austria; the Sandor Wolf 
Museum, Eisenstadt; the Mozarteuni, Salzburg; the Landesregie- 
rungsarchiv, Salzburg; the Archivio di Stato, Naples; the Biblioteca 
musicale di Conservatorio di Musica "G.B. Martini", Bologna 
(Dr. Luigi F. Tagliavini kindly copied out a letter for me in 
that library); Biblioteca Estense, Modena; Narodni Museum v 
Praze, Prague; the Wcstdeutsche Bibliothek, Marburg/Lahn 
(Dr. Martin Cremer); the Deutsche Staatsbibliothek, Berlin; the 
Goethe-Schiller- Archiv, Weimar; the Kastner Museum, Hanover; 
Kungl. Musikaliska Akademiens Bibliothek, Stockholm; Narodna 
i Univerzitetna Knjiznice v Ljubljani; Muse*e de Mariemont, 
Mariemont (Belgium); Conservatoire Royal de Musique, de 
Bruxelles (Dr. A. van der Linden) ; Bibliotheque Royale de Belgique, 
Brussels; Universitatsbibliothek, Zurich; Bibliotheque Nationale, 
Paris; Bibliotheque du Conservatoire de Musique, Paris; Maison 
Pleyel, Paris; the British Museum, London; Stanford Memorial 
Library, California; the Harvard College Library, Cambridge, 
Mass.; the Boston Public Library; the New York Public Library 
(Mr. Carleton Sprague Smith) ; the Historical Society of Penn- 
sylvania, Philadelphia, Pa.; the Library of Congress, Washington; 
the Gemeente-Archief, Amsterdam. 

Apart from these listed above, the following private individuals 
kindly sent photographs of their letters: S. L. Courtauld, Imbeza 



Preface xi 

Valley, Southern Rhodesia; Studienprofessor Filibert Boccali, Kemp- 
ten (Allgau); Frau Margarete Hummel, Florence; Dr. Felix Salzer, 
New York City; Dr. Max Thorek, Chicago; M. Henri Gouin, 
Royaumont (France); Mr. Toshitatsu Mayeda, Tokyo; Dr. Rudolf 
Floersheim, Bern; Mr. J. E. Kite, Hove, Sussex; Mr. Walter Hin- 
richsen, New York City; Mrs. Marguerite Manley, Scarsdale, 
N.Y.; Mr. Roger Barrett, Chicago; Ho/rat Viktor Keldorfer, 
Vienna; Mr. Richard Franko Goldman, Amawalk, N.Y.; Frau E. 
Sarasin-Geigy, Basel; Herr Hugo von Mendelssohn-Bartholdy, 
Basel; and the Heineman Foundation, Greenwich (Conn.). 

Many of my colleagues and friends answered questions, some of 
which were involved and required a great deal of time. Among 
others, I should like to single out Dr. Roger Fiske, London; Mr. A. 
Hyatt King, London; Mr. O. W. Neighbour, London; Mr. William 
Lichtenwanger, Washington (D.C.); Mr. Richard S. Hill, Washing- 
ton (D.C.); Professor Karl Geiringer, Boston; Professor Oliver 
Strunk, Princeton; Professor O. E. Deutsch, Vienna; Mr. Bernard 
Herrmann, North Hollywood, California; M. Francois Lesure, 
Paris; Dr. H. von Hase, Wiesbaden; President Wilhelm Kux, Chur; 
Mr. Harold Acton (then in Naples) ; Dr. Edmund Schilling, London; 
Mr. Irwin Lubroth, Madrid; Dr. Angelo Filipuzzi of the Instituto 
Italiano di Cultura per V Austria, Vienna; Professor Franz Stoessl, 
Vienna; and the National Maritime Museum, Greenwich (England). 
Christa Fuhrmann-Landon transcribed many of the letters and 
collated the texts of the London Notebooks with the autographs; 
and apart from this, she was of the greatest assistance to me through- 
out the preparation of this book. 

Vienna, Autumn 1958 H.C.R.L. 

POSTSCRIPTUM 

After having completed the manuscript of this book, the compiler 
made a three weeks' research trip to the Esterhazy Archives in Buda- 
pest, where he was able to check various doubtful textual points with 
the autographs there. Professor Denes Bartha and Professor Bence 
Szabolcsi kindly provided me with Dr. Arisztid Valko's transcrip- 
tions of another dozen unpublished letters to and by Haydn which 
had just been discovered in the Esterhazy Archives; and a number 
of useful facts could be gleaned from the "Eiscnstadcr Commissions 
Prothocol . . . von Jahr 1777 bis 1790" (Acta Musicalia, fasc. 
2489), the "Index deren von Sr. hochfiirstl. Durchlaucht bewilligten 



xii Preface 

Pensioner!, Conventions, Vermehrungen und neuen Anstellungen 
von Monath Junio 1788 bis Ende 1790" (Acta Musicalia, fasc. 2499) 
and the "Prothocoll iiber verschiedene hochfiirsd. Commissiones, 
Decretationes, Intima und andere Buchhaltereys Verordungen de 
Anno 1734 [etseq.]" (Acta Musicalia, fasc. 2488) all of which are 
unpublished, and are of vital importance to Haydn research. I am 
most grateful to these gentlemen for allowing me to copy these 
documents, and grateful to my publishers for arranging, at the last 
minute, that the letters be included (galley proofs were ready by the 
time I could send the new material to London). 

Budapest, 20th December 1958 H.C.R.L. 



CONTENTS 

Page 

Preface v 

Introduction xix 

THE COLLECTED CORRESPONDENCE i 

THE LONDON NOTEBOOKS 249 

APPENDIXES: The Sources 313 

INDEXES : Alphabetical Index to the Persons Addressed 349 

Haydn's Works Mentioned in this Book 353 

General Index 356 



xui 



LIST OF PLATES 

I. Haydn. Wax Bust by Thaller (Vienna City Frontispiece 
Museum) 

Facing page 

II. Vienna seen from the Schlag-Briicke. Engraving 
by Johann Ziegler, 1780 (Artaria & Co., 
Vienna) 18 

III. Der Stock"am Eisen Platz in Vienna ; in the back- 

ground, St. Stephen's Cathedral. Engraving by 
Carl Schiitz, 1779; our version shows changes 
made on the plate to bring it up to date (c. 
1 805) (Artaria & Co. , Vienna) 1 9 

IV. Title page of Artaria's edition of Haydn's Set 
Divertimenti Concertanti Op. XXI (see letter 

of 27th May 1781) 34 

V. Haydn. Engraving by J. E. Mansfcld, 1781 
(Artaria & Co., Vienna) : see letters of 27th 
May and 23rd June 1781 35 

VI. J. P. Salomon. Pencil sketch with touches of red- 
dish crayon by George Dance, 1794. From 
the editor's Collection. 50 

VII. Interior of Hanover Square Rooms, 1843, from 
Charles Knight's London (reproduced from 
Terry's John Christian Bach by kind permission 
of Oxford University Press) 5 1 

VIII. The King's Theatre, Haymarket, 1783, from the 
print by William Capon (reproduced from 
Terry's John Christian Bach by kind permis- 
sion of Oxford University Press) 66 

IX. The King's Theatre, Haymarket (interior), re- 
produced with kind permission of the Royal 
College of Music, London 67 

xv 



xvi List of Plates 

Between pages 106-107 

X. Three autograph receipts of the years 1761, 1799 
and 1804 (the first two in the Esterhdzy 
Archives, Budapest, the third in the British 
Museum) 

XL Letter to Anton Scheffstoss of 2Oth March 1768 
(Esterhazy Archives, Budapest) 

XII. Verso of above 

XIIL Letter to Prince Nicolaus Esterhdzy of 22nd 
December 1768 (Esterhdzy Archives, Buda- 
pest) : Detail from the first page 

XIV. Letter to Anton Scheffstoss of 22nd December 
1768, quoting the letter of this date for the 
Prince and asking if it meets with Scheffstoss's 
approval: detail from the first page (Esterhazy 
Archives, Budapest) 

XV. Receipt to Esterhazy Administration, "Schloss 
Eisenstadt", 29th April 1773 (Esterhazy 
Archives, Budapest) 

XVI. Letter to an official in the Esterhazy administra- 
tion, 7th November 1780 (Esterhazy Archives, 
Budapest) 

XVII. Letter to William Forster, London, of 28th June 

1787 (British Museum) 

XVIII. Letter to Artaria & Co., Vienna, of 1 7th August 

1788 (British Museum) 

XIX. Address and letter to Luigia Polzelli of 13th 
December 1791 (Harvard College Library) 

XX. Second page of a letter from Pietro Polzelli to his 
mother, Luigia (22nd October 1792) with a 
postscript in Haydn's hand. (From a facsimile 
in the Musical Quarterly of April 1932; the 
original has disappeared) 



List of Plates 

Between pages 106-107 

XXI. Letter to Prince Nicolaus II Esterhdzy of 6th July 
1804; the text and date in Johann Elssler's hand, 
the signature autograph (Esterhdzy Archives, 
Budapest) 

XXII. Receipt to George Thomson, Edinburgh, of 1 8th 
December 1803 (British Museum) 

XXIII. Letter to George Thomson, Edinburgh, of 6th 

April 1804 (British Museum) 

XXIV. Draft of a letter to Haydn's brother, Johann 

Michael, of 22nd January 1803 (Sandor Wolf 
Museum, Eisenstadt) 

XXV. Address (in Johann Elssler's hand with Haydn's 
seal "JH") and letter to J. N. Hummel, Eisen- 
stadt, 28th September 1804 (Frau Margarete 
Hummel, Florence) 

XXVI. Address (in Johann Elssler's hand with Haydn's 
seal "JH") and letter to Artaria & Co., of i?th 
August 1805 (the "1805" in another [Johann 
Elssler's?] hand). (From facsimile in Artaria- 
Botstiber; the original has disappeared) 



xvu 



Facing page 

XXVII. A page from a contemporary MS. copy of 
Haydn's String Quartets Op. 17, with correc- 
tions and additions in the hand of W. A. 
Mozart. Discovered by Professor W. Senn in 
the Archives of the HeiUg-Kreuz-Kirche, 
Augsburg (from Leopold Mozart's legacy) 252 

XXVIII. Page from Haydn's Second London Notebook 
(1791-1792), showing a German entry fol- 
lowed by Haydn's copies of letters sent to 
him by Rebecca Schroeter (Osterreichische 
Nationalbibliothek, Vienna) 253 



J.H.-B 



INTRODUCTION 

THE purpose of this Introduction is to introduce the reader to the 
principal persons figuring in Haydn's correspondence; it also serves 
the purpose of freeing the text from the long footnotes which would 
otherwise be necessary. 

The scene opens, as it were, on Haydn's negotiations with his 
second Prince, Nicolaus ("The Magnificent") Esterhazy, who 
acceded to the title in 1762 upon the death of his brother Paul 
Anton (often referred to simply by the second of his Christian 
names). With one or two exceptions, these fascinating letters were 
discovered in the Esterhazy "Acta Musicalia" after World War II, 
and are herewith printed in English for the first time (see also Pre- 
face, supra, p. v) ; some of them particularly the later ones to and 
from Nicolaus II have never been printed at all. The documents 
will undoubtedly shock many readers, for it is clear that at the 
beginning of Haydn's tenure as Vice-Capellmeister, he was treated 
little better than a servant. Nicolaus was certainly highly musical and 
highly intelligent, but he was obviously a despot used to "profound 
submission" from his personnel. The astonishing thing about the 
letters is not only their obvious importance as documents of the age, 
but also the brilliant searchlight they throw on that which has always 
been regarded as the "dark period", biographically, in Haydn's life: 
the first thirty years of his service under the Esterhazys. They reveal 
Haydn to be a master diplomat, clever enough to get his way with 
a Prince who could be as ruthless as the icy winter that often 
gripped the Hungarian countryside round Esterhdza. Time after 
time the Prince intended to dismiss a member of the band, and 
Haydn, who loathed writing letters (as we know from his biographer 
Griesinger), would laboriously make the sign of the Cross and write 
His Serene and Noble Prince of the Holy Roman Empire, Dread 
Lord and Sire; in every case thus far recorded, Haydn had his way. 
And gradually, as the years passed, Haydn's relationship with the 
Prince became a very different affair : it is perhaps not an exaggera- 
tion to say that the mellowed Prince who appears in the 1780*5 was 
partly Haydn's creation. First we see the composer writing directly 
to the Prince; shortly afterwards, when Haydn saw that personal 

xix 



xx Introduction 

interviews were more successful, he had the Princely Secretaire 
Scheffstoss act as intermediary; and finally, Haydn seems to have 
conducted such interviews himself. The famous story of the "Fare- 
well" Symphony now appears in its proper context, as one of 
Haydn's clever inspirations, designed, in this case, to get the Prince 
to leave the icy marshes of Esterhaza; it is obvious too, I think, that 
the beautiful and lonely Symphony succeeded far better than any 
letter could have done. Esterhazy for his part soon realized that his 
Capellmeistcr was a genius; he obviously wanted to keep Haydn 
content, and thus never hesitated, for example, to lend him money, 
and otherwise to satisfy his every-day needs. 

In the year 1780, a new aspect of Haydn's personality begins to 
appear: his business correspondence with the music-publishing house 
of Artana & Company, Vienna. 1 

The Artaria family came from Blevio on Lake Como. Five members 
of the family left Blevio in 1759 and attended fairs in Frankfurt, 
Leipzig and Wiirzburg. Two of them subsequently returned to 
Italy, while three members of the family formed a company in 
Mainz. The two cousins Carlo and Francesco then went on to 
Vienna where, in 1770, they established a business m engravings, 
optical goods and barometers. They soon imported music too, and 
in August of 1778, they began to publish and print music them- 
selves. Late in the year 1779, the firm and Haydn entered into a 
relationship which was to prove highly profitable to both. 

Haydn's letters to Artaria show the composer to have been a 
shrewd business man. We must remember that music-publishing, on 
a large scale, was a relatively new trade, at least in Central Europe. 
Previously, music of all kinds had been circulated by manuscript 
copies, which were cheaper and fairly quickly produced; side by 
side with Artana's new music-publishing activities, many music- 
copying firms continued to thrive in Vienna till the end of the 
century (e.g. L. Lausch, Traeg, Wenzel Sukowaty, etc.]. Composers 
received nothing for music distributed by these copyists, who often 
bribed members of an orchestra to get, for instance, Haydn's and 
Mozart's newest works ; it was piracy of the worst sort, but there 
was no such thing as a copyright law, and the composer was helpless 
against the thieving and unscrupulous activities of these professional 
musical gangsters. Haydn's letters to Artaria vividly reflect the 

x The following notes on the firm arc taken from the most recent source: the 
excellent and far too little-known Vollstandiges Verlagsverzeichnis Artaria & Comp. 
by Alexander Weinmann (Vienna 1952), pp. 4Jf. 



Introduction xxi 

"every-man-for-himself" attitude of composer, professional copyist 
and publisher. For years and years, Haydn must have watched with 
astonishment and frustration the mass of music published under his 
name in Paris, London, Berlin and Amsterdam some of it spurious, 
but a good part of it genuine compositions, for the publication of 
which he received nothing. It is quite certain that there are whole 
opera of Haydn published in Pans the very existence of which the 
composer never even realized. Consequently Haydn, though obvious- 
ly pleased and flattered at Artaria's interest m his music, regarded 
music publishers with a rather jaundiced eye. On the whole, Artaria 
turned out to be an exceptionally gentlemanly firm, who took great 
pains to keep one of their principal sources of income happy. The 
whole correspondence is not only interesting to students of Haydn, 
but it illuminates the entire field of music-publishing during the 
eighteenth century, and is indispensable to scholars of the period. 
Some of the problems have not changed a whit, and every composer 
will smile when he reads of Haydn's rage at a careless engraver, 
or his lament that nothing Artaria ever produced was without 
printers' errors. 

Towards the middle of the 'eighties, Haydn began to enter into 
negotiations with other publishers French (Boyer, Sicbcr) and 
English (Forster); he got into serious trouble with Forstcr for selling 
the same pieces to him and to Artaria, and when Haydn arrived in 
London, Forstcr sued Artaria's London agents, Longman & Bro- 
derip, and subpoenaed Haydn as a witness. 

In 1789, Haydn began the well-known correspondence with 
Maria Anna von Genzmger. 1 Her husband, Peter Leopold von 
Genzinger, was a popular "Ladies' Doctor", whom the Empress 
Maria Theresia had raised to the nobility in 1780; in 1792, he became 
Rector of the Vienna Hochschule. For many years before that, he had 
been Physician in Ordinary to Prince Nicolaus Esterhazy, in which 
capacity Haydn must have become friendly with him. Genzinger 's 
wife, Maria Anna Sabina (1750-1793) was the daughter of Joseph 
von Kayser, Prince Batthyam's Court Councillor, and Maria Anna, 
nee von Hackher zu Hart, an old Austrian aristocratic family. She 
seems to have married Genzinger about 1772 and subsequently bore 
him five children, three boys and two girls. Her musical education 
must have been exceptional, for she was able to read full orchestral 
scores and transcribe them for the pianoforte. The Genzingcrs gave 

1 The notes on the Genzmger family are drawn from Karajan's charming book 
J. Haydn in London, Vienna 1861, pp. 2Jf. 



xxii Introduction 

soirees to which Vienna's musical elite, including Mozart, was invited. 

The correspondence began with a letter to Haydn (her German, 
incidentally, is several grades more appalling, orthographically, than 
Haydn's). In the course of the next half dozen letters, it becomes 
apparent that Haydn was very much attracted to the charming and 
cultivated "gnadige Frau". Karajan, in 1861, found someone an 
acquaintance of Leopold von Sonnleithner who had been alive at 
the time, and who reported as follows: "Haydn seems to have 
cherished not only respect for the artistic abilities of this lady, but 
also more tender feelings. Their contemporaries knew nothing of 
such an emotion being returned, however, and Frau von Genzinger's 
well-disposed attitude towards Haydn seems to have been based 
purely on friendly attention and on her respect for his artistic 
position". 

In 1790, Prince Nicolaus died, and his successor, Anton, dis- 
missed the band, retaining only music for the hunt and, as nominal 
Capelltneister, Haydn. As is well known, J. P. Salomon came to 
Vienna and persuaded Haydn to go to England, and the two travel- 
lers arrived in Dover on New Year's Day, 1791. 

Haydn's London visits are vividly reflected in a number of ways: 
first, in the letters to his friends, acquaintances and Prince Ester- 
hazy in Austria ; secondly, in the London Notebooks (see infra)] and 
lastly, in the correspondence with his newly gained English friends. 
One of the principal recipients was Haydn's former mistress, Luigia 
Polzelli, a mezzo-soprano of mediocre talents whose character seems 
to have been commensurate with that of most mediocre operatic 
sopranos no longer in their prime. On 26th March 1779, the Polzelli 
couple had been engaged in the Esterhazy Capelk: Antonio, already 
old, as a violinist, and Luigia, his wife, nee Moreschi of Naples, 
then aged nineteen, as singer in the Opera Company. An Italian 
passport (which Pohl saw) describes her as having a small narrow 
face, olive skin and dark eyes, chestnut hair and eyebrows, and a 
graceful figure of medium size. The Prince dismissed them both 
from his service at the end of December 1780, but Haydn seems to 
have persuaded the Prince to retain them, even though Antonio was 
no longer able, because of illness, to fulfil his duties in the orchestra. 
There were three children, Pietro (born at Bologna in 1777), 
Antonia (born at Esterhaza in 1780, died there two years later) and 
Aloysius Antonius Nikolaus (born at Esterhaza in 1783). It was 
rumoured that Haydn was the father of the youngest son, but the 
letters to Luigia (in which there would have been no reason to con- 



Introduction xxiii 

ceal this fact) never suggest such a thing; moreover, Haydn's 
favourite seems to have been "Pietruccio". 1 

Upon his return to Vienna in 1795, following the second London 
visit, Haydn entered the service of Prince Nicolaus II Esterhazy, 
who seems to have been the most unsympathetic of all four Ester- 
hazys whom Haydn served. On the one hand, Haydn no longer 
considered himself a lackey and on the other, Nicolaus seems to have 
ignored such matters as the French Revolution and to have treated 
his personnel with a cold, despotic ruthlcssness which is sometimes 
quite appalling, even as reflected in the few documents included 
below. His charming and beautiful wife, however, won Haydn's 
heart, and looked after his interests. It was she who interceded with 
the Prince when matters between Haydn and His Highness were 
tense; and so, in time, this despotic tyrant, like his more cultivated 
namesake, became tamed and, towards the end of Haydn's life, 
almost human and friendly. One revealing story shows the relation- 
ship in the early stages : the Prince is said to have walked into one of 
Haydn's rehearsals and criticized something. "That, Your Highness," 
answered Haydn, "is my affair." The Prince, white with fury, 
turned on his heel and left the room. Haydn also insisted that he no 
longer be addressed like a lackey, in the third person, but as "Herr 
von Haydn" (the von, though properly indicating nobility, was also 
used as a term of respect). 

The principal publishers during Haydn's declining years were 
Breitkopf & Hartel, the famous Leipzig house which still exists 
today, though but a shadow of its former self. As "middle man" 
between Haydn and Leipzig, Breitkopf & Hartel found an excellent 
representative in the person of Georg August Griesinger, tutor in the 
household of the Royal Saxon Legation's Councillor, Count von 
Schonfeld. Griesinger came to Vienna in 1799, and his letters to 
Leipzig and about Haydn (which the editor hopes to publish 
separately) show the famous, now ageing composer in quite a new 
light. Most of Haydn's correspondence with Griesinger and Breit- 
kopf & Hartel has been preserved: it shows Haydn to be the clever 
business-man he always was, but also a man who could now afford 
to be generous with his publishers. 

Haydn's contact with Artaria still continued, for having issued his 
string Quartets of Op. 76, they then took over the distribution of 
the Creation. The composer himself published the full score by sub- 
scription, and this venture as a Selbstverleger was responsible for 
II, tyff. 



xxiv Introduction 

many of the letters written and received around the turn of the 
century. 

When Haydn was in the middle of composing the Seasons, he was 
approached by George Thomson, an enterprising Edinburgh pub- 
lisher, to write the accompaniments to a number of Scottish Songs. 
In the Autumn of 1799, Thomson sent him a batch of melodies to 
harmonize; the Secretary of the British Legation in Vienna, Alex- 
ander Straton, acted as the go-between, and on i6th February 1800 
he wrote to Thomson as follows : 

Dear Sir, 

Haydn called here yesterday and mentioned that he had already written to you 
and also begun the composition of the accompanyments to the scotch airs (15 in 
number) that you had sent him through me. He seemed desirous of having rather 
more than the two Ducats for each air, but did not precisely insist upon this point, 
which I therefore left undecided [,] exhorting him to proceed with his composition 
as speedily as its nature as well as that of his other occupations will admit of. This 
he solemnly promised but said he could not possibly determine a period for 
finishing the airs in question. Upon the whole he appears to be a rational animal, 
whereas all that can be said of the other, I mean Koz [eluch] is, that he is a Bipede 
without feathers. 1 

[Pohl III, 159] 

The correspondence with Thomson continued as long as Haydn 
was able to write letters. In the course of it, we have a tiny letter to 
Haydn's gifted pupil, Ncukomm, hitherto unpublished (cf. 3 April 
1803), which will be a considerable shock to Haydn scholars. (The 
letter also provides a neat example of a seemingly insignificant little 

a Straton had had his troubles with Leopold Anton Kozeluch (1752-1818), 
Court Composer to the Emperor Leopold II. The correspondence, which J. C. 
Hadden (George Thomson, London, 1898) describes as "in some respects rather 
diverting" shows Straton to have been a man of biting wit. Some years before, on 
28th October 1797, he had written of an interview with Kozeluch wherein the 
latter, misunderstanding the peculiar harmonic characteristics of Scottish national 
music, had "found most of [the songs] une musiquc barbare . . . courtier-like, [I] 
told M. Kozeluch that . . . you would naturally be desirous of seeing a specimen 
of it in its new garb ; and Mr. Kozeluch having, by an extraordinary exertion of his 
mental faculties, fathomed the meaning of my observation, sent me this morning 
the enclosed paper." 

As time went on, and "rude epistlefs]" went back and forth from Kozeluch via 
Straton to Thomson, Straton bewails that Thomson's arguments, "however 
pointed in themselves and forcibly directed, were not tantamount to force a 
passage through the fated armour which encompasses our friend's intellect". It 
must have been with considerable relief that Straton turned from Kozeluch to the 
civilized and courteous Haydn, whom he describes, on I9th June 1800, as "poor 
Haydn [who] laboured under so severe an illness during the course of this spring 
that we were not altogether devoid of alarm in regard to his discovery". 



Introduction 



XXV 



note revolutionizing our knowledge of the person or persons con- 
cerned.) The incongruous postlude to this pleasant exchange of 
letters occurred early in 1805, when Thomson, hearing the false 
news of Haydn's death, wrote a letter of condolence to Haydn's 
bankers in Vienna, Fries & Co. The bankers wrote back a letter, the 
gist of which Haydn dictated to them (6th February i8o5). 2 

The official letters to and from musical societies at home and 
abroad constitute a considerable part of the letters written after the 
turn of the century. Most of them were probably drafted by Haydn's 
friends, such as Gnesinger, or the Abbe Hofstatter (who is supposed 
to have written Haydn's reply to the Vienna City Magistracy in 
May 1803), and m them we miss the pithy personal quality of 
Haydn's own style. As the composer became steadily weaker, letter 
writing became more and more of a terrible burden to him, and 
after about 1805, his hand was too shaky to admit of his doing more 
than signing the letters. 

The London Notebooks, which have been placed together at the 
end of the correspondence, are an extraordinary mixture of observa- 
tions, naive and shrewd, scraps of poetry, Latin aphorisms, addresses, 
descriptions of places he visited, "anecdotes", banal gossip, and 
trenchant wit in short, the typical kind of eighteenth century 
"commonplace book". To provide the kind of commentary cur- 
rently in favour with German musicologists would have swelled the 
notes to about three times the size of the original documents, and I 
have therefore tried to keep my commentary down to a minimum 
the identification of Haydn's music, of the musicians and friends 
with whom he came m contact, but not, for instance, figures like the 
Prince of Wales, King George III, etc., the details of whose lives can 
be found in any encyclopaedia. 

Part of one notebook is filled with Haydn's copies of love letters 
he received from Rebecca Schroeter, widow of Johann Samuel 
Schroeter (Warsaw 1750 London 1788),]. C. Bach's successor as 
Master of the Queen's Music and a first-rate pianist. As a composer 

2 B.M. Add MS. 35263, f. 255 (French). The letter is not strictly Haydn's and 
thus had not been included in the main body of the text below: 

"Kindly say to Mr. Thomson that Haydn is very sensible of the distress that the 
news of his alleged death has caused him, and that this sign of affection has added, 
if that be possible, to the esteem and friendship he will always entertain for Mr. 
Thomson . . . You will notice that he has put his name and the date on the sheet 
of music to give better proof that he is still in this base world. At the same time he 
begs to have the letter of condolence copied and the copy sent to him. . 



xxvi Introduction 

he was very much under the shadow of J. C. Bach (as who, in 
England at that time, was not?), and it must have been out of 
politeness to the widow that Haydn carted home to Vienna several 
of Schroeter's harpsichord Concertos. It is reported that Schroeter 
"married a young lady of considerable fortune, who was his scholar" 
(Rees's Cyclopedia), but the marriage seems not to have been a very 
happy one. 

It is surprising that a love affair of these proportions, between the 
famous Haydn and a lady of London Society, managed to escape the 
gossip hounds of the day ; it must have been conducted very dis- 
creetly indeed. It is also curious that Haydn copied the letters into 
his notebook: the explanation is perhaps that when Haydn left 
London the second time and for good, Mistress Schroeter demanded 
the letters to be returned, and Haydn, for whom the affair must have 
meant a good deal, too, wanted to keep copies of them. The letters 
date only from the first London trip, 1791 and 1792; but Haydn, 
during his second journey, lived within a short walking distance of 
Mrs. Schroeter, and perhaps it was no longer necessary to exchange 
letters; or perhaps Haydn made no copies of them. The affair prob- 
ably did continue in 1794 and 1795, however, for the composer 
dedicated three of his most beautiful pianoforte Trios to her (Opus 
73, Longman & Brodenp 1795, Nos. 24-26 of the chronological 
list). 

It is typical of Haydn's mentality that he should have made 
friends with so many English people (rather than keeping to the 
German speaking community which was quite numerous at that 
time in London). To judge from his notebooks, he seems to have 
had a very large circle of acquaintances, ranging from the Prince 
of Wales and other members of the nobility to "Mister March, 
. . . dentist, Carossieur [sic. Carrossieur = coachmakcr] and 
dealer in wines." On the other hand, he seems to have been quite 
genuinely shocked at the heavy drinking in England, at the "miser- 
able trash" played at the English opera and the "common people's" 
reaction to it, and at what he calls "English fanaticism". We shall 
probably never know why he finally returned to Vienna (where, for 
example, his arrival had been scarcely noticed in 1792), but possibly 
he felt, that at sixty-three, he could not keep up with the pace of 
London indefinitely. 

Of the other letters, i.e. apart from those written to the principal 
recipients noted above, the editor would draw the reader's a t tention to 
one in particular, written on 23 November 1793 to the Elector of 



Introduction xxvii 

Cologne. The letter concerns Haydn's pupil Beethoven, and extra- 
ordinary as it sounds, this highly significant document is all but 
unknown in English-speaking countries (it was discovered and first 
printed in 1935 : see Sources). The letter is interesting for a number 
of obvious reasons, but among others, it shows how much London 
had changed Haydn; he could never have written such a letter before 
experiencing the country which was then, as perhaps now, the only 
true democracy in the world. Interested readers are invited to com- 
pare Haydn's early letters to Prince Esterhazy with that to the mighty 
Kurfurst, wherein (politely sprinkled among the usual formulae of 
the day) Haydn raps the Serene Electoral knuckles in a way which is 
quite unprecedented in Haydn's (and perhaps also in the Kurfurst's) 
earlier correspondence. The letter also enables us in future to dispense 
with pages of second- and third-hand trash concerning Haydn's 
relationship to his young and brilliant pupil. 

In closing, I would add a word concerning the illustrations. A 
selection of Haydn's letters in German, French, English and Italian is 
designed to show his handwriting in all these languages and further 
to provide scholars with the possibility of comparing his hand- 
writing from 1761 to 1805. Since there arc no letters extant before 
1765, 1 have placed side by side receipts of the years 1761, 1799 and 
1804. One of Haydn's drafts (to his brother Michael) has also been 
included, for a person's handwriting, when making notes for him- 
self, can be considerably different from that appearing on the final fair 
copy. As a striking example of such a difference, I have included 
details from two copies of the same letter, one to Prince Nicolaus 
Esterhazy and one, a "cover letter" to the Princely Secretaire, 
Scheffstoss, quoting the letter to the Prince and asking if it can be sent 
in that form. Johann Elsslcr, the copyist-cw/;-valet, who plays such 
an important role in Haydn's later years, is represented by three 
documents: two addresses and the texts of a letter which Haydn 
signed. A specimen page from one of the London Notebooks has 
been included. Apart from these literary documents, I have 
included inter alia a newly discovered profile of J. P. Salomon by 
George Dance (whose Haydn drawing the composer considered the 
best portrait made of him in England), and the beautiful wax bust of 
Haydn by Thaller, which, for some curious reason, is not very well 
known, though it is one of the best preserved likenesses. The name of 
Mozart frequently appears in these pages : rather than reproduce one 
of the Mozart portraits all of which are known and have been 
printed countless times I have chosen one of the most touching 



xxviii Introduction 

documents extant of Mozart's musical affection for his older friend. 
Professor Walter Senn recently discovered a contemporary MS. 
copy of Haydn's string Quartets Op. 17 with holograph corrections 
and additions in Mozart's hand. The source is part of a unique col- 
lection of Mozartiana owned by the Heilig-Kreuz-Kirche in 
Augsburg, whence it came from Leopold Mozart's legacy. Professor 
Senn, with whom the editor has been in friendly contact for many 
years, was kind enough to send me photographs of several specimen 
sheets, one of which graces these pages. 



ABBREVIATIONS 

Artaria-Botstiber: F. Artaria & H. Botstiber, Joseph Haydn und das 

Verlagshaus Artaria, Vienna 1909. 
Brand : Carl Maria Brand, Die Messen von Joseph Haydn, Wiirzburg 

1941. 
Dies: A. C. Dies, Biographische Nachrichten von Joseph Haydn, 

Vienna 1810. 
Griesinger: G. A. Griesinger, Biographische Notizen iiber Joseph 

Haydn, Leipzig 1810. 
Hase : H. von Hase, Joseph Haydn und Breiikopf & Hartel, Leipzig 

1909. 
Hoboken: A. van Hoboken, Joseph Haydn: Thematisch-biblio- 

graphisches Werkverzeichnis, Band I, Mainz 1957. 
Karajan: T. von Karajan,/. Haydn in London, 1791 und 1792, Vienna 

1861. 
Landon: H. C. Robbins Landon, The Symphonies of Joseph Haydn, 

London 1955. 

Larsen: J. P. Larsen, Die Haydn-Uberlieferung, Copenhagen 1939. 
Marton Coll.: Copies of Haydn letters in the Esterhazy Archives 

made by Dr. Eugen Marton (Osterreichische Nationalbibliothek, 

Vienna). 

Nohl: L. Nohl, Musiker-Briefe, 2nd ed., Leipzig 1873. 
Pohl I: C. F. VoU, Joseph Haydn (Vol. I), Berlin 1875. 
Pohl H: ditto (Vol. II), Leipzig 1882. 
Pohl III: Joseph Haydn: Unter Benutzung der von C. F. Pohl 

hinterlassenen Materialien weitergefuhrt von Hugo Botstiber, 

Leipzig 1927. 
Pohl Denkschrift: C. F. Pohl, Denkschrift aus Anlass des Hundert- 

ja'hrigen Bestehens der Tonkunstler-Societat . . . Vienna 1871. 
Pohl H. in L.: C. F. Pohl, Haydn in London, Vienna 1867. 
(For monetary abbreviations, see Preface). 



XXIX 



THE COLLECTED CORRESPONDENCE 



THE COLLECTED CORRESPONDENCE 



[To PRINCE NICOLAUS ESTERH^ZY. German] 

SERENE HIGHNESS AND NOBLE PRINCE OF THE HOLY ROMAN EMPIRE, 
GRACIOUS AND DREAD LORD I 1 

I have received with every submissive and dutiful respect YOUR 
ILLUSTRIOUS AND SERENE HIGHNESS* letter of the 8th inst. addressed 
to me, and I see from it that Your Highness has taken it very amiss 
that I protested against the detention of the jlauto traverse player 
Frantz Sigl 2 to Herr von Rahier, 3 whose commands I am now 
admonished to follow, in order that I may behave better in the 
future, on penalty of the dread displeasure of my SERENE HIGHNESS. 
MOST SERENE HIGHNESS ! GRACIOUS LORD ! On behalf of the above- 
namcd^Ztfwto traverse player, because of whom the fire started, I went 
with the whole band to Herr von Rahier, and it was not on account 
of the detention, but only on account of the rude detention and the 
hard treatment of the subject that I protested, but with all proper 
respect, to Herr von Rahier. But we could not get anywhere with 
the administrator, and I even had to put up with his slamming the 
door in my face, he pushed all the others out, and threatened every- 
one with detention. Similarly, this very day Friberth 4 fled excitedly 
from the administrator (on account of not doffing his hat, which 
must have been an oversight), and does not dare to come home, 
because this same administrator pretends that the first-mentioned 
Friberth was rude to him, and that therefore he will mete out his own 
punishment. But I testify, as do all the other musicians, that Friberth 
did nothing else except that, when the administrator threatened all 
of us with detention and without any reason he said he had no 
other master but His SERENE HIGHNESS, PRINCE ESTERH^ZY. I 
myself told the administrator to complain to YOUR SERENE AND 
ILLUSTRIOUS HIGHNESS if he felt his own person to have been insulted, 
but I was given the answer that the administrator is his own judge 
and will meet out the punishment himself. Everyone is very upset on 
this account, they find this treatment very unfair and hope that 
YOUR SERENE AND GRACIOUS HIGHNESS' intentions certainly do not 
extend this far, and that for this reason you will graciously put a stop 

J.H.-C 3 



4 The Collected Correspondence 

to such a procedure [Potere] whereby anyone can be his own judge 
without differentiating between guilty or not guilty. 

The orders of the oft-mentioned administrator (as YOUR SERENE 
AND GRACIOUS HIGHNESS knows anyway) have been correctly 
carried out at all times, and as often as I receive through him an 
order of YOUR SERENE AND GRACIOUS HIGHNESS, I shall always 
execute it to the best of my ability; if therefore the administrator has 
complained in this regard, it must be the result of his angry pen. But 
moreover YOUR SERENE AND ILLUSTRIOUS HIGHNESS must yourself 
remember, in your graciousness, that I cannot serve two masters, 
and cannot accept the commands of, and subordinate myself to, the 
administrator, for YOUR SERENE AND ILLUSTRIOUS HIGHNESS once 
said to me: COME FIRST TO ME, BECAUSE i AM ms 5 MASTER. 

I am therefore confident that YOUR SERENE AND ILLUSTRIOUS 
HIGHNESS will not receive ungraciously this my most submissive and 
obedient letter, but will regard me and the whole band with 
gracious eyes, and, since everyone is desirous of this grace, that you 
will watch over us in fatherly protection. I hope for further marks 
of favour and grace from YOUR HIGHNESS and I remain ever, with 
every mark of profound respect, 

YOUR SERENE AND GRACIOUS HIGHNESS* 
most humble and obedient 

Josephus Haydn. 
Eisenstadt, 9th September 176$ 

[On the outside, in another hand, the date of the letter again and the follow- 
ing summary of its contents: "Excusatio Capellae Magistn Haydn adversus 
delationem Regentis de Rahier".] 

1 "Durchleuchtig Hochgebohrner Rcichsfurst./Gnadigst Hochgebiettender 
HerrHerr!" 

2 pRANZ SIEGL was flautist in the Esterhazy band from 1762 to 1769. 
*Wirthschaftsrath and administrator ("Regent") of the Esterha*zy Castle at 
Eisenstadt. 

4 CARL FRIBERTH, tenor of the Esterhdzy band from 1759 to 1776. Fnberth 
also arranged and translated libretti: he wrote the word-book for Haydn's 
opera, L'incontro improvviso of 1775. 

5 Esterhdzy would have addressed Haydn and any other servant in the third 
person. It was not until his return from London that Haydn forced his 
Prince (then Nicolaus II) to drop this degrading form of address. 



[RAHIER TO PRINCE NICOLAUS ESTERHAZY. German] 
Most gracious Prince ! 

Yesterday Kapellmeister Haydn and Fnberth came to see me; the latter humbly 



1 765] of Joseph Haydn 5 

apologized for his unsuitable conversation recently and asked that it be forgiven 
him. I answered him that I had already informed Your Highness and that you 
would take any further action. But since he apologized so humbly, I respectfully 
suggest to Your Highness that this time you graciously leave it at the humble 
apology . . . Siegl has served his detention and has been set at liberty . . . 

Rahier m.pr. 
1765, 1 3th September. 



[To HAYDN. DRAFT OF AN ORDER FROM PRINCE NICOLAUS ESTERHAZY. German] 

Regulatto Chori Kissmartoniensis 1 

Inasmuch as the musicians of the Eisenstadt Chapel Choir have produced a great 
disorder in the choir-loft, because of indolence and lack of discipline, and have 
neglected the instruments through poor care and storage, Capellmeister Hayden 
[sic] is herewith earnestly enjoined as follows: 

First, to prepare a catalogue, in three identical copies, of all the extant instru- 
ments in the choir-loft, as well as of the music, according to the enclosed formula, 
with indication of the composers, number of parts, etc., and will deliver the 
same within eight days: one to us, the second to the bookkeeper's office, and 
the third to the choir-loft. 

Secondly, to deliver the necessary music for each service to the schoolmaster 
Joseph Diezl, 2 put it in their proper order after the service, and have it returned to, 
and stored in, the cupboards wherein it belongs, so that nothing will be taken away 
or miscatalogued. 

Thirdly, to see to it that the schoolmaster keeps all the instruments constantly 
in good repair and in proper order, to which end said schoolmaster should always 
appear in the choir-loft a quarter of an hour before the service begins. 

Fourthly, to take especial pains to ensure that all the players appear regularly at 
the church services and fulfil their duty and obligations in a proper and disciplined 
way. 

Fifthly, to hold in our absence two musical concerts [Academien] every week 
in the Officers' room at Eisenstadt, viz., on Tuesdays and Saturdays from 2 
to 4 o'clock in the afternoon. All the musicians shall appear and to assure that in 
future no one is absent without permission from the church services or concerts 
(as was the case hitherto), a written report will be delivered to us every fortnight, 
with the name of, and reason for, anyone presuming to absent themselves from 
duty. 

Finally, said Capel Meister Haydn is urgently enjoined to apply himself to 
composition more diligently than heretofore, and especially to write such pieces as 
can be played on the gamba, 3 of which pieces we have seen very few up to now; 
and to be able to judge his diligence, he shall at all times send us the first copy, 
cleanly and carefully written, of each and every new composition. 4 

[Nicolaus, Prince Esterhdzy] 
Siittor, the [blank = October or November] 1765. 

I KISMARTON, the Latin (and Hungarian) name for Eisenstadt. 



The Collected Correspondence [i 766 

JOSEPH DIEZL (see also page 12), a tenor, was in charge of the church choir. 
He entered the Prince's service in 1753 and remained in it until his death, 
in 1777. 

3 The baryton, Prince Nicolaus's favourite instrument. 
4 Siitt6r was the hunting lodge which stood on the grounds later occupied 
by Estoras (Esterhaza) Castle. The reason for the existence of this docu- 
ment is seen if we examine a letter, dated October 1765, which Haydn's 
superior, Capellmeister Gregonus Werner (who was to die the next year, 
and whose letter was "written from [his] sick-bed") sent to the Prince. 
Werner bitterly complains about Haydn's supposed lack of discipline and 
the chaotic conditions of the music in the choir-loft; the letter also contains 
an accusation that, as a result of Haydn's neglect, the instruments were being 
pilfered. The document (Estcrhazy Archives, Acta Musicaha, Fasc. I, 84) 
was published by J. Hanch in Muzieka (Budapest), II, 1930, Nos. 4 and 5. 
Prince Esterhazy's letter to Haydn is nevertheless a harsh reprimand, 
especially the last paragraph, wherein Haydn is "enjoined to apply himself to 
composition more diligently . . . ." a grotesque accusation if we remem- 
ber his enormous output from 1761-1765. But this despotic letter may have 
been the cause of Haydn's beginning his thematic Entwurf-Katalog (Draft 
Catalogue), which is so vital to establishing authenticity and chronology in 
his music. Haydn soon managed to satisfy the Prince, as is shown by an 
extract from Esterhazy's letter to Wirthschaftsrath von Rahier, dated Esterhdza 
Castle, 4th January 1766: "... This very moment I received 3 pieces 
from Hayden, and I am very satisfied with them. You will therefore see that 
he gets 12 ducats from the cashier's office in my name; tell him at the same 
time to wnte 6 more pieces similar to those he sent me, and also 2 Solo 
pieces, and to see that they are sent here at once . . ."See Pohl I, 248/1 



[To PRINCE NICOLAUS ESTERH^ZY. German] 
MOST SERENE HIGHNESS AND NOBLE PRINCE OF THE HOLY ROMAN 
EMPIRE GRACIOUS AND DREAD LORD! 

The most joyous occasion of your name day 1 (may YOUR HIGH- 
NESS celebrate it in divine Grace and enjoy it in complete well-being 
and felicity!) obliges me not only to deliver to you in profound 
submission 6 new Divertimenti, 2 but also to say that we were de- 
lighted to receive, a few days ago, our new Winter clothes and 
submissively to kiss the hem of your robe for this especial act of 
grace: adding that, despite YOUR HIGHNESS' much regretted absence, 
we shall nevertheless venture to wear these new clothes for the first 
time during the celebration of High Mass on YOUR HIGHNESS* name 
day. I have received YOUR HIGHNESS* order to have the Diverti- 
menti I wrote (twelve pieces in all) bound. But since YOUR HIGHNESS 
has returned some of them to me to be altered, and I have not noted 
the changes in my score, I would respectfully ask you to let me have 



1 766] of Joseph Haydn 7 

the first twelve you have at hand for three days, and then the others 
one after the other, so that apart from the required changes, they 
may be all neatly and correctly copied and bound: in this connection 
I would like to ask respectfully in which way YOUR HIGHNESS would 
like to have them bound? 

Incidentally, the two oboe players report (and I myself must agree 
with them) that their oboes are so old that they are collapsing, and no 
longer keep the proper pitch [Torn/wi]; for this reason I would 
humbly point out to YOUR HIGHNESS that there is a master Rocko- 
bauer in Vienna, who in my opinion is the most skilful for this sort 
of work. But because this master is continually busy with work of 
this kind, and since it requires an exceptionally long time to complete 
a pair of good and durable oboes with an extra length of reed pipe 
(as a result of which, however, all the necessary notes can be pro- 
duced) for these reasons the cheapest price is 8 ducats. I therefore 
await YOUR HIGHNESS' gracious consent whether the above- 
mentioned and most urgently needed two oboes may be constructed 
for the price indicated. 3 1 hope for your favour and grace, 

YOUR SERENE AND GRACIOUS HIGHNESS' 
most humble 
Joseph Haydn, 
[jth December 1766]* 

1 *'Nahmens Fest" or "Namenstag" (the modern and more usual form): 
Festival of the anniversary of one's saint. St. Nicholas' Day falls on 
December 6th. 

2 Divertimenti for baryton, viola and 'cello. We cannot determine exactly 
which works are described, but they may have been among HV 21-31, of 
which HV 24 is dated 1766 (see Larsen, pp. 22jff.). 

S MATHIAS ROCKOBAUER seems not to have delivered the oboes; at least the 
Estcrhazy Archives show no record of his having made them. One receipt, 
dated 3Oth December 1766 and countersigned by Haydn, lists only wood- 
wind mouthpieces. Another, of 2Oth June 1767 (countersigned by Haydn 
a week later), also lists only mouthpieces for oboes and English horns; 
while a third, of 25th September 1767, concerns the repair of an English 
horn. The first document in the Marton Coll. (VNat), the other two in 
Astnd Valk6, p. 649. 

4 The date recorded on the letter by the Esterhazy administration: the letter 
was probably delivered by a messenger the same day. 



8 The Collected Correspondence [1768 

[To ANTON SCHEFFSTOSS, "SECRETAIRE" AND CHIEF BOOKKEEPER OF 
THE ESTERHAZY ADMINISTRATION. German] 

t 

Eisenstadt, 20th March 1768. 
Nobly born, 
Highly respected Sir I 1 

You will recall that last year I set to music with all my power the 
highly esteemed hymn, called Stabat Mater, and that 1 sent it to the 
great and world-celebrated Hasse 2 with no other intention than that 
in case, here and there, I had not expressed adequately words of such 
great importance, this lack could be rectified by a master so success- 
ful in all forms of music. But contrary to my merits, this unique 
artist honoured the work by inexpressible praise, and wished nothing 
more than to hear it performed with the good players it requires. 
Since, however, there is a great want of singers utriusque generis in 
Vienna, I would therefore humbly and obediently ask His Serene 
and Gracious Highness through you, Sir, to allow me, Weigl and 
his wife, 3 and Friberth 4 to go to Vienna next Thursday, there on 
Friday afternoon at the FFr. :Miscric : 5 to further the honour of our 
gracious prince by the performance of his servant; we would return 
to Eisenstadt on Saturday evening. 

If His Highness so wishes, someone other than Friberth could 
easily be sent up. Dearest Mons. Scheffstoss, please expedite my 
request; I remain, with the most profound veneration, 

Your nobly born Sir's 

most devoted 

Josephus Haydn, [m.] pria. 

P.S. My compliments to all the gentlemen. The promised Diverti- 
menti 6 will surely be delivered to His Highness one of these next 
weeks. 

1 "Wohl Edl Gebohrn/In Senders HochgeEhrtester Herr!" Concerning 
Scheffstoss, see also n.3 infra. 

2 J. A. HASSE (1699-1783), especially well known for his vocal music. 
JOSEPH WEIGL, the 'cellist, who had joined the band in June, 1761. In 1764 
he married Anna Maria Josepha, the daughter of Anton Scheffstoss, who 
had been engaged as soprano in the church choir in 1760. Haydn was 
devoted to the family and was godparent to their first child, Joseph (born 
1766). See letter of n January 1794. 
4 See p. 3. 

6 The Order of the Brothers of Mercy (Ger : Barmhcrzigc Briider), whose 
Viennese convent in the Leopoldstadt (now 2nd district) is still extant. 
8 Baryton Trios. We cannot identify exactly which ones are referred to. 



1 768] of Joseph Haydn 9 

[LETTER TO AN UN-NAMED AUSTRIAN MONASTERY PROBABLY 
ZWETTL IN LOWER AUSTRIA ACCOMPANYING THE SCORE OF 
THE Applausus CANTATA (1768). German} 

[Undated: but written in 1768]* 

Since I cannot be present myself at this Applaus [sc.: Applausus], 
I have found it necessary to provide one or two explanations con- 
cerning its execution, viz.: 

First, I would ask you to observe strictly the tempi of all the arias 
and recitatives, and since the whole text applauds, I would rather 
have the allegros taken a bit more quickly than usual, especially in 
the very first ritorncllo and in one or two of the recitatives; but no 
less in the two bass anas. 

Secondly: for the overture all you need to play is an allegro and 
an andante, for the opening ritornello takes the place of the final 
allegro. If I knew the day of the performance, I might perhaps send 
you a new overture by that time. 

Thirdly: in the accompanied recitatives, you must observe that 
the accompaniment should not enter until the singer has quite 
finished his text, even though the score often shows the contrary. 
For instance, at the beginning where the word "metamorphosis" is 
repeated, and the orchestra comes in at "-phosis", you must never- 
theless wait until the last syllabic is finished and then enter quickly; 
for it would be ridiculous if you would fiddle away the word from 
the singer's mouth, and understand only the words "quae metamo 
. . . ". But I leave this to the harpsichord player, and all the others 
must follow him. N.B.: our scholars in Eisenstadt and there are 
very few disputed a great deal over the word "metamorphosis"; 
one wanted the penultimate syllable short, the other long; and 
despite the fact that in Italian one says "metamorfosi", I have always 
heard it pronounced "metamorphosis" in Latin; should I have made 
a mistake, the error can be easily corrected. 

Fourthly : that the fortes and pianos are written correctly through- 
out, and should be observed exactly; for there is a very great differ- 
ence between piano and pianissimo, forte and fortiss[imo], between 
crescendo andforzando, and so forth. It should be noted, too, when in 
the score the one or the other forte or piano is not marked throughout 
all the parts, that the copyist should rectify this when preparing the 
performance material. 

Fifthly: I have often been annoyed at certain violinists in various 
concerts, who absolutely ruined the so-called ties which are among 
the most beautiful things in music in that they bounced the bows 



10 



The Collected Correspondence 



[1768 



off the tied note, which should have been joined to the preceding 
note. And so I would point out to the first violinist that it would be 
silly to play the following (as found in bar 47) 




in which the first two notes are to be taken on one bow in such 
a disagreeable and mistaken way as 




all staccato, and as if there were no ties present. 

Sixthly: I would ask you to use two players on the viola part 
throughout, for the inner parts sometimes need to be heard more 
than the upper parts, and you will find in all my compositions that 
the viola rarely doubles the bass. 

Seventhly: if you have to copy two sets of violin parts, the 
copyist should see that they do not turn their pages at the same time, 
because this takes away a great deal of strength from an orchestra 
with only a few musicians. The copyist should also sec that the da 
capo signs are written in one of the violin parts as in the score, 
but in the other he can put the da capo a couple of bars after the sign 
ss, and then write the sign in its proper place. 

Eighthly: I suggest that the two boys [soloists] in particular have a 
clear pronunciation, singing slowly in recitatives so that one can 
understand every syllabic ; and likewise they should follow the method 
of singing the recitation J 



whereby, 


for 

=#JF 


P. ir r 


=i= 

quae 

and 


me - 

not 


to- mor - 

flF* 


fb. 
^ 


^ 

513 

*P 


^ 


must 

^ 


be sung 

I* 



quac me - ta tnor - pfio 515 quac me - to mor - pho - sis 

The penultimate note "g" drops out entirely, and this applies to all 
similar cases. I rely on the skill of the tenor, who will explain such 
things to the boys. 

Ninthly: I hope for at least three or four rehearsals for the entire 
work. 

Tenthly: in the soprano aria the bassoon can be omitted if abso- 
lutely necessary, but I would rather have it present, at least when the 
bass is obbligato throughout. And I prefer a band with 3 bass instru- 



i r j6S\ of Joseph Haydn 1 1 

ments 'cello, bassoon and double bass to one with 6 double 
basses and 3 'celli, because certain passages stand out better that way. 
Finally I ask everyone, and especially the musicians, for the sake 
of my reputation as well as their own, to be as diligent as possible: if 
I have perhaps not guessed the taste of these gentlemen, I am not to 
be blamed for it, for I know neither the persons nor the place, and 
that fact that they were concealed from me really made my work 
very difficult. For the rest, I hope that this Applausus will please the 
poet, the worthy musicians, and the honourable reverend Auditorio, 
all of whom I greet with profound respect, and for whom I remain 

Your most obedient servant, 

Giuseppe Haydn. 
Maestro di Cap: di Sua Alt: 
Sere: Prencipe d'Estorhazy. 

1 The autograph of the Applausus Cantata is dated 1768 (Gesellschaft der 
Musikfrcunde, Vienna). For many years it was not known for which 
Austrian monastery the work was intended : Haydn himself, as an old man, 
believed Krcmsmiinster and added a note to this effect over the incipit of 
the work in his Entwurf-Katalog. Pohl, having discovered that Kremsmiin- 
ster was the wrong place, decided on Gottwcig (because a new abbot had 
been installed there in August 1768). Leopold Nowak, however, shows 
convincingly that Applausus was probably intended for the birthday cele- 
bration of the abbot of Zwcttl Monastery (Lower Austria); this was where 
the autograph, the letter, and a set of parts were discovered. Previously, 
Haydn scholars had forgotten that Applausus was written, not for the 
installation of an abbot, but to celebrate a birthday, and had consequently 
overlooked the obvious choice of Zwettl because there was no installation 
of an abbot there during 1768. See Nowak's Haydn, p. 206. It is most curious 
that Haydn was not informed of the circumstances for which Applausus 
was intended as the piece de resistance. 



[To ANTON SCHEFFSTOSS, "SECRETAIRE" AND CHIEF BOOKKEEPER OF 
THE ESTERH^ZY ADMINISTRATION. German] 

Nobly born, 
Highly respected Sir ! 

I send you herewith my petition to His Highness, reading as 
follows: 
Your Serene Highness, etc. 

Your Illustrious and Serene Highness graciously gave me to 
understand, not long hence, that not only was the Rent Collector 



12 The Collected Correspondence [1768 

Frantz Nigst 1 found superfluous as a violinist, but also Joseph Died 2 
as a member of the band; and moreover I was ordered to demand the 
2 uniforms from the former. Concerning the former, i.e., Franz 
Nigst, I must respectfully persuade Your Highness, and admit myself 
candidly, that the second violin section in all the operas hitherto 
produced was, with him, in the best possible hands, because he is the 
only one capable of leading the seconds: therefore if he were dis- 
missed, one would fear for the future on account of the mistakes 
which would creep in that is, unless Your Highness were minded 
graciously to engage another permanent second violinist, or to have 
one come from Vienna when we produce operas. Because there are 
no other players for the seconds except the horn players Frantz 3 and 
May, 4 with whom one is really not properly equipped. It is true that 
if the whole band goes to Esterhaz next year, he could not be in 
Esterhaz permanently on account of the rent office, but nevertheless 
it is my humble opinion that he should be brought to Esterhaz when 
the Imperial and Royal Court, or other high dignitaries, are present 
there. I humbly ask Your Highness, moreover, graciously to allow 
him the yearly 50 Gulden, and also the Winter and Summer clothes 
(in which he has already seen service m Esterhaz). Joseph Dietzl 
[sic] is in my opinion especially necessary in the choir loft if the whole 
band goes off to Esterhaz, so that the customary church services can 
be held by him, his praeceptor and the boy choristers who are in his 
apprenticeship. I hear from many people that he cannot possibly 
support himself with his position as schoolmaster. I ask you humbly 
to grant him in your graciousness enough so that he can live. 



hi case you find anything imprudent in the above, please kindly 
let me know of it at once. I flatter myself that through my petition 
and through your confirmation of it, something may have an effect 
on His Highness. 

Apart from wishing you best greetings for the coming Holidays, 
and a happy farewell to the old and welcome to the new year, I am, 

Highly respected Sir, 
Your obedient servant, 

Joseph Haydn [m.] pria. 
Eisenstadt, 22nd December 1768. 

[A second copy, to the prince, has instead of the last two paragraphs 
addressed to SchefFstoss, die following addressed to the Prince:] 

In the next few days I will respectfully send Youn ILLUSTRIOUS 



7770] of Joseph Haydn 13 

AND SERENE HIGHNESS some new trios, 6 and I most humbly com- 
mend myself to your high favour and grace, 

YOUR ILLUSTRIOUS AND SERENE HIGHNESS' 
most humble 
Joseph Haydn. 
Eisenstadt, 22nd December 1768. 

[Another hand has noted, on the cover of the file, the letter's date and a 
short summary of its contents in Latin.] 

^RANTZ NIGST, violinist in the band from 1760 to 1772. When he was 
engaged m 1760, his contract read inter alia: . . . Must attend the church 
choir, and make himself useful m the Tafebnusique, and in copying music." 
PohlII,372. 

2 See p. 5 In the copy to Prince Esterhazy, Haydn writes "Dictzl". 
8 KARL FRANZ, a member of the band from 1763 to 1776, was also an excel- 
lent baryton player. See Pohl 1, 267. 

4 JOHANN MAY, a member of the band from 1765 to 1772 (Pohl II, 373). 
6 Baryton trios. We cannot identify exactly which ones are referred to. 



[To PRINCE NICOLAUS ESTERH^ZY. German] 

[Autumn, 1770] 

Serene Highness and Noble Prince of the Holy Roman Empire, 
Gracious and dread Lord ! 

In order to purchase my house, I had to borrow 400 Gulden in 
cash some years ago, and now this capital has been recalled. Since I 
do not have the sum, I wanted to take out another loan in this 
amount (on which I would pay interest) to repay the debt. But I 
could not find any creditors here in Eisenstadt, and inasmuch as I 
have to repay this loan soon, I would humbly ask Your Highness 
graciously to allow me to have these 400 Gulden, against a receipt 
from the cashier's office, whereby the 50 Gulden I receive quarterly 
from that source (of which the first payment is due to me by the end 
ofjanuary 1771) would be withheld until such time as the whole debt 
is repayed. I most humbly commend myself to your favour and 
grace, 

Your Serene Highness' 
most humble 
Josephus Haydn. 

[Another hand has noted on the cover of the file a short summary of the 
letter's contents (in German), and a third hand has added the following 
note: "Vide resolu[tion]em Parts. Miscit. D. Fol. 5", referring to a 
parallel file. Haydn's request was granted.] 



14 The Collected Correspondence [1771 

CONTRACT BETWEEN ZACHARIUS PoHL 1 AND XAVIER MARTEAU 2 

IN HAYDN'S PRESENCE. German] 

Contractum inter Zachariam Pohl et Xaverium Marteau 
Musicos vi cuius hie ob laesum Musici Pohl oculum ad respondas 

in curam habitans expensas senet obligat. 

This day on the date and year recorded below is herewith set 
down and agreed the following settlement and contract between the 
Princely Esterhazy oboist, Zacharias Pohl, and the Princely Ester- 
hazy bass-player, Xavier Marteau, because of the scandalous brawl 
between them which occurred on the 23rd of the previous month of 
June in the Esterhazy Castle Tavern, whereby Zacharias Pohl lost his 
right eye; to wit: 

Whereas, according to the statements of both parties and various 
witnesses, it may be surmised that Xavier Marteau did not pur- 
poseJy intend to inflict this damage with his ring on the eye of 
Zacharias Pohl, but on the other hand, Zacharias Pohl is not entirely 
guiltless, both parties have therefore agreed, in the presence of 
Hen Kappelmeister Hay den [sic], to the following settlement: that 
Xavier Marteau shall recompense Zacharias Pohl for the costs of the 
cure and trip arising from the above-mentioned damage, in the 
amount of forty-nine Gulden 13 Kreutzer, within six months, at the 
rate of 8 Gulden 17 J Kr. per month, of which the first 8 Fl. iy Kr. 
are to be paid on the first of January 1772; but Zacharias Pohl, 
because of the indemnification here given him as a result of the 
damage to his eye, shall not and can not demand anything at any 
time from Xavier Marteau. 

As witness thereto both parties have set their hands and their 
customary seals. 
Eisenstadt, the 2ist of December 1771. 

L.s. Zacharias Pohl, 

hochfurstlicher Hautboist. 
L.s. Xavier Marteau, 

hochfurstlicher Bassetist. 
In my presence: Josephus Haydn, 

Hochfurstlicher Capellmeister L.s. 

1 PoHL was engaged in 1769 and remained in the band until his death, in 178 1 . 
2 FRANZ XAVIER MARTEAU (recte: Hammer) was a 'cellist and double-bass 
player in the band from 1771 to 1778. He was also a composer. 



1 77 3\ of Joseph Haydn 1 5 

[To ANTON SCHEFFSTOSS, "SECRETAIRE" AND CHIEF BOOKKEEPER 
OF THE ESTERHAZY ADMINISTRATION. German] 

Eisenstadt, pth January 1772. 
Nobly born and highly respected Monsieur Scheffstoss, 

You have my grateful thanks for all your kind efforts on behalf of 
my wishes, the fulfilment of which is the result of your intercession 
for me. I would have thanked you long ago and acknowledged my 
indebtedness, if I were not, and had not been, prevented by illness. 
Dearest Monsieur Scheffstoss, please also help Marteau 1 through 
your kindness to get the 6 cords of wood, 30 Ibs. of candles, and 
30 Gulden lodging money which should be his, and which His High- 
ness promised me to give him; the mistake in this case lies in his 
contract, according to which he is to receive the same allowance as 
Lidl, 2 although even in LidTs contract there is no mention of the 
30 Ibs. of candles (which, I assure you on my honour, His Highness 
agreed to grant him). Apart from this please present my respectful 
compliments to your wife and the Weigl 8 family (to whom I shall 
write shortly), and to all other good friends. And I remain, with all 
respect, noble Sir, 

Your obedient servant, 
Josephus Haydn. 

[On the cover of the file, in another hand: "circa melioratione in Salarn 

Musicae Marton exoperans".] 4 

1 See p. 14. 

2 ANDREAS LIDL, a baryton (and presumably 'cello) player, was a member of 

the band from 1769 to 1774. 

8 See p. 8. 

4 In the Prothocoll uber verschiedene hochfurstl. Commissiones , Decretationes, 

Intimata und andere Buchhaltereys Verordungenen deAnno 1734 \et seq.] (Ester- 

hdzy Archives, fasc. 2488, No. 776), we learn that Haydn's request was 

quickly granted: "Resolution of His Serene Highness, dated Vienna, I4th 

January 1772, according to which the bass player Marton [sic] is to be 

granted annually six cords of firewood, 30 Ibs. of candles and 30 Fl. 

lodging money. ..." 

[To PRINCE NICOLAUS EsiERHAzv. German] 
[Apparently an archive copy in a copyist's hand] 

[March 1773] 

Most Serene and Noble Prince of the Holy Roman Empire, 
Gracious and dread Lord ! 

Your Highness intimated to me, through His Highness' secretary 



16 The Collected Correspondence [i 773 

Schefstoss 1 [sic.] that you would be minded graciously and gener- 
ously to provide a year's salary to me and to those chamber musicians 
who entered the service of Your Serene Highness* brother 2 (provided 
that each of us would submit a petition to that effect to Your 
Highness). 

May I therefore ask, in profound submissiveness, that Your 
Highness confirm, in your infinite kindness, your willingness to 
grant us this exceptionally gracious mark of esteem. For this, I shall 
offer you at all times my most faithful services, and I recommend 
myself to your serene favour and grace. 

Your Serene Highness* 

most humble 
Joseph Hayden [sic] 

Capell-Meister 

[Address:] To His Serene and Noble Highness, Prince of the Holy 
Roman Empire, Lord and Sire, Nicolaum Esterhazy von Galantha, 
Knight of the Golden Fleece, Privy Councillor in actual service of 
His Imperial and Royal Majesty, General Field Marshal of the 
Imperial and Royal Aristocratic Guards, Captain &c. &c. My 
gracious Prince and Sire : this humble request is submitted ut intus by 
CapellMster Haydn. 

[On the same sheet containing the above address is the following autograph 
note by Prince Esterhazy : "If there is no counter-claim, the suppliant should 
be paid one year's salary according to the contract then in force, minus ten 
percent inheritance tax; this sum is to be paid out by our Chief Cashier's 
Office, but the sum for the inheritance tax is to be delivered to Doctor 
Sonleithner 8 after securing the necessary receipt. Vienna, ist April 1773. 
Nicolaus Fiirst Esterhazy m.p."] 
l Recte: Scheffstoss; see also p. 8. 

2 PwNCE PAUL ANTON, who had died on i8th March 1762, at the age of fifty. 
B CHRISTOPH SONNLETTHNER (1734-1786), lawyer and also composer (his 
symphonies were passed off as Haydn's), who managed the Prince's legal 
affairs in Vienna. 



[HAYDN'S RECEIPT TO THE ESTERHAZY CASHIER FOR MONEYS RECEIVED 

AS A RESULT OF THE ABOVE PETITION. German] 

t 

I, the undersigned, herewith acknowledge to have received 
correctly and in cash from Herr Ziisser, receiver-general of the 
Princely Cashier's Office, the sum of 400 Fl. (in words: Gulden four 



1774] of Joseph Haydn 17 

hundred), which according to a decree issued by His Serene High- 
ness has been bequeathed to me as qua staff officer under the pro- 
visions of the last will and testament of his late lamented Highness 
Prince Antony Esterhazy; and I acknowledge further that I cannot 
make any other claim whatever on the Princely house. 
Eisenstadt Castle, the 29th of April 1773. 

Josephus Haydn [m.Jpria 
Capell Meister 



[To PRINCE NICOLAUS ESTERHAZY. German] 

[c. 1 8th March I774] 1 

Most Serene and Noble Prince of the Holy Roman Empire, 
Gracious Prince and Lord ! 

Inasmuch as Your Serene Highness has ordered a month's salary 
to be docked from the musicians Marteau, 2 Specht, 8 and Chorus, 4 1 
humbly beg to remind Your Serene Highness graciously to remem- 
ber how in Vienna recently, I myself asked and kindly received per- 
mission of Your Highness for Marteau to absent himself for a few 
days. The reason why he remained a little longer is that he copied 
some new concert! there, and also had to have his violoncello re- 
paired. Concerning Chorus, there was not enough time to inform 
Your Highness in advance of the fact that he had the chance to go 
there [to Vienna] with Dr. Bertrand (who prescribed a change of air 
for him on account of his constant ill health) for nothing, at no cost; 
and it fell to me to give him permission to go. As far as Specht goes, 
it so happened that his mother-in-law suddenly fell ill in Neustat. I 
allowed him to go there just during the three days when he would 
not miss any of the church services. For this reason I submit my 
humble and obedient petition to Your Serene Highness, to refrain 
from insisting on this financial punishment; we ask for such a mark 
of graciousness in the most profound submissiveness. 
Your Serene Highness* 

humble and obedient servant, 
Haydn. 

x The date of this letter can be estimated accurately by examining the related 
correspondence in the files of the Acta Musicalia (Esterhdzy Archives). On 
1 5th March 1774, Prince Esterhdzy writes to Rahier, asking him at once to 
"summon the Capellmeister and all the musicians to [him], so 
that [he] can see for [himself], and report immediately to me, whom of the 



1 8 The Collected Correspondence [1776 

musicians are absent, and how long they have been absent". (Acta Musicaha, 
1370). On 1 6th March, Esterhazy writes again, meanwhile having received 
Rahier's report, and orders a month's salary to be docked from "Cnstien 
Specht, Xavier Marteau, Carl Corus, and Joseph Oliva". (Oliva's case seems 
to have cleared itself up at once, since his name is not mentioned in Haydn's 
letter). Esterhdzy then adds, rather amusingly: "But you must see that 
neither the Capcllmeister Haydn nor the other musicians notice anything, 
and you must act as if nothing had happened." Of course Haydn got wind 
of what had occurred, and immediately protested on behalf of the three 
unfortunates. 
2 See p. 14. 

'CHRISTIAN SPECHT, a viola player and bass singer, was a member of the 
Esterhazy band from 1768 to 1790 It was also his responsibility to tune the 
harpsichords and wind up the special clocks (Kunstuhren) : see Pohl II, 373. 
4 CARL CHORUS, an oboe player, was engaged in 1771 and left five years later. 



[CONTENTS OF A LETTER FROM HAYDN TO PRINCE NICOLAUS 
ESTERHAZY. German] 

[Estoras], [March] I776. 1 

Haydn informs the Prince that Count Erdody, 2 "because of his satisfaction with 
the pupil he entrusted to me", has given him two horses and a carriage. But as he is 
not capable of supporting the horses, he asks the Prince "in his serene graciousness 
to grant him hay and oats". [Pohl II, 23.] 

1 Pohl does not give the exact date. However, the Prothocoll . . . de Anno 
1734 (see supra), No. 1091, includes the following note, the contents of 
which show that the Prince granted Haydn's request, and the date of which 
indicates that Haydn's letter must have been written sometime during 
March: "Resolution of His Serene Highness d[e] d[ato\ Esterhaz, 2Qth March 
1776, according to which Cappelmeister [sic] Haydn is to be issued the neces- 
sary fodder for 2 horses." 

2 A famous aristocratic family with whom Haydn was friendly. He dedicated 
his Quartets of Op. 76 to Count Joseph. Here it is undoubtedly Count 
Ladislaus of Pressburg who is meant, and I suggest that the pupil is none 
other than Pleyel, Erdody 's protdge*, whom the Count sent to Haydn as 
a pupil in composition about this time (see Pohl II, 102). 
3 The Prince granted Haydn the necessary fodder, which was henceforth 
added to his yearly salary (Pohl II, 23). 



[AUTOBIOGRAPHICAL SKETCH; TO MADEMOISELLE LEONORE. 1 German] 

Estoras, 6th July 1776. 
Mademoiselle! 

You will not take it amiss if I hand you a hotchpotch of all sortsof 






U 



<^ 

o 




3 

5 



W o 



^^ 

^ o 



o & 



^ A 

u ^ 



of Joseph Haydn 19 

things as an answer to your request: to describe such things properly 
takes time, and that I don't have; for this reason, I do not dare write 
to Mons. Zoller personally, and therefore ask forgiveness. 

I send you only a rough draft, for neither pride, nor fame, but 
solely the great kindness and marked satisfaction that so learned a 
national institution has shown towards my previous compositions, 
have induced me to comply with their demand. 

I was born on the last day of March I733, 2 in the market town of 
Rohrau, Lower Austria, near Prugg on the Leytha. 8 My late father 
was a wheelwright by profession, and served Count Harrach, 4 a 
great lover of music by nature. He [my father] played the harp 
without knowing a note of music, and as a boy or 5, 1 correctly sang 
all his simple little pieces: this induced my father to entrust me to 
the care of my relative, the schoolmaster in Haimburg, 6 in order 
that I might learn the rudiments of music and the other juvenile 
acquirements. Almighty God (to Whom alone I owe the most pro- 
found gratitude) endowed me, especially in music, with such 
proficiency that even in my 6th year I was able to sing some 
masses in the choir-loft, and to play a little on the harpsichord and 
violin. 

When I was 7, the late Capellmeister von Reutter 6 passed through 
Haimburg and quite accidentally heard my weak but pleasant voice. 
He forthwith took me to the choir house [of St. Stephen's Cathedral 
in Vienna] where, apart from my studies, I learnt the art of singing, 
the harpsichord, and the violin, from very good masters. Until my 
1 8th year I sang soprano with great success, not only at St. Stephen's 
but also at the Court. Finally I lost my voice, and then had to eke out 
a wretched existence for eight whole years, by teaching young 
pupils (many geniuses are ruined by their having to earn their daily 
bread, because they have no time to study) : I experienced this, too, 
and would have never learnt what little I did, had I not, in my zeal 
for composition, composed well into the night; I wrote diligently, 
but not quite correctly, until at last I had the good fortune to learn 
the true fundamentals of composition from the celebrated Herr 
Porpora 7 (who was at that time in Vienna) : finally, by the recom- 
mendation of the late Herr von Fiirnberg 8 (from whom I received 
many marks of favour), I was engaged as Directeur at Herr Count 
von Morzin's, 9 and from there as Capellmeister of His Highness the 
Prince [Esterhdzy], in whose service I wish to live and die. 

Inter alia the following compositions of mine have received the 
most approbation: 

J.H.-D 



2O The Collected Correspondence [i 776 



The operas 



Le Pescatrice [1769: perf. 1770] 
L'tncontro improvizo [sic] [1775] 
L'infedelta delusa, performed in the presence 



of Her Imperial and Royal 
Majesty [Maria Theresia, in I773]. 10 
The oratorio // Ritorno di Tobia, performed in Vienna [in 1775] 
The Stabat Mater [1767], about which I received (through a good 
friend) a testimonial of our great com- 
poser Hasse, 11 containing quite undeserved 
eulogiums. I shall treasure this testimonial 
all my life, as if it were gold; not for its 
contents, but for the sake of so admirable 
a man. 

In the chamber-musical style I have been fortunate enough to 
please almost all nations except the Berliners; this is shown by the 
public newspapers and letters adressed to me. I only wonder that the 
Berlin gentlemen, who are otherwise so reasonable, preserve no 
medium in their criticism of my music, for in one weekly paper they 
praise me to the skies, whilst in another they dash me sixty fathoms 
deep into the earth, and this without explaining why; I know very 
well why: because they are incapable of performing some of my 
works, and are too conceited to take the trouble to understand them 
properly, and for other reasons which, with God's help, I will answer 
in good time. Hen Capellmeister von Dittersdorf, 12 in Silesia, wrote 
to me recently and asked me to defend myself against their hard 
words, but I answered that one swallow doesn't make the Summer; 
and that perhaps one of these days some unprejudiced person would 
stop their tongues, as happened to them once before when they 
accused me of monotony. Despite this, they try very hard to get all 
my works, as Herr Baron von Sviten, 13 the Imperial and Royal 
Ambassador at Berlin, told me only last winter, when he was in 
Vienna : but enough of this. 

Dear Mademoiselle Leonore: You will be good enough to give 
this present letter, and my compliments, to Mons. Zotter for his 
consideration: my highest ambition is only that all the world regard 
me as the honest man I am. 

I offer all my praises to Almighty God, for I owe them to Him 
alone: my sole wish is to offend neither my neighbour, nor my 
gracious Prince, nor above all our merciful God. 

Meanwhile I remain, Mademoiselle, with high esteem, 

Your most sincere friend and servant 
Josephus Haydn [m.p.] ria 



1777] of Joseph Haydn 21 

MADEMOISELLE LEONORE was later the wife of Prince Esterhazy's Wirth- 
schaftsrath (economic adviser) and Guterdirector (estates' director), Lechner. 
Haydn was requested to write this sketch for a publication entitled "Das 
gelehrteOesterreich", in which it appeared in volume 1, 3rd Stuck, p. 309(1776). 
The editor, Ignaz de Luca, seems to have applied for it in a very roundabout 
manner to a "Mons. Zoller" (see beginning of the letter), possibly an 
official in the Prince's service, who in turn asked "Mademoiselle Leonore". 
See Pohl I, 75 and II, 381. 
2 Recte: 1732. 

3 Recte (or rather in modern German orthography) : Bruck-an-der-Leitha. 
4 The family owned a winter palace in Vienna (still extant opposite the 
Schottenkirche) and a castle in Rohrau. Haydn remained devoted to the 
family throughout his life. In 1793, Harrach erected a monument to Haydn 
in his castle gardens at Rohrau a gesture which naturally delighted the 
composer. 

5 Recte: Hainburg (on the Danube). The school rector, Johann Mathias 
Frankh, who was then still alive, died in 1783, shortly before his 75th birth- 
day. See Pohl I, 23. 
8 GEORG KARL, Sen. (1708-1772). 

7 NicoL6 PORPORA (1685-1766), an Italian composer whose vocal music, in 
particular, was much admired at that time. 

8 Haydn's first quartets were written about 1757 in Fiirnberg's Summer 
Castle at Weinzierl, near the Monastery of Melk (Lower Austria). See 
Fritz Dworschak, "Joseph Haydn und Karl Joseph Weber von Furnberg" 
(Unsere Heitnat, 1932). 

9 Haydn was engaged in 1759: Morzin's castle was in Lukavec (Bohemia). 
10 This clause ("performed . . .") is written in the autograph to the right of 
L'incontro improvise ; I have placed it here in its correct position. 
11 See supra, p. 8. 

12 CARL DITTERS VON DiTTERSDORF (1739-1799), one of Haydn's oldest 
friends, was a celebrated and prolific composer. 

1 GOTTFRIED VAN SWIETEN. This diplomat and patron of music was to play a 
decisive role in Haydn's later life, as the translator and arranger of the 
libretti of the Seven Words (choral version), Creation and Seasons. See also 
pp. 151, 162, 193 passim. 



[To SEITZ, AN OFFICIAL IN THE ESTERJL(ZY ADMINISTRATION. German] 
Monsieur Seitz ! 

You are herewith requested please to issue to Herr Svoboda 1 on 
presentation of the enclosed receipt two bundles of E-strings. I 
remain, Monsieur, 

Your obedient 
Estoras, I June 1777. Josephus Haydn [mpjria. 

Capell Meister 

1 Not in the list of musicians; he was probably a valet or servant. His auto- 
graph signature on the same document reads "Joseph Swoboda". 



22 The Collected Correspondence [1 779 

[To THADDAUS HUBER, SECRETARY OF THE "TONKUNSTLER- 
SOCIETAT" (SOCIETY OF MUSICIANS) IN VIENNA. German] 

Estoras, 4th February 1779. 
Nobly born, 
Most highly respected Sir ! 

It was with considerable astonishment that I read through your 
letter of 1 8th January I779, 1 and also the declaration appended to the 
end thereof (which I am supposed to sign and return), in default of 
which I am threatened with the immediate cancellation of my 
admission THOUGH THIS is ALREADY AN ACCOMPLISHED FACT; for 
the fact that the worthy Society admits me only under the proviso 
that I shall compose oratorios, cantatas, choruses, symphonies, etc., 
as they require, flatly contradicts the circumstances of the session 
wherein my admission was considered. In the presence of Herr 
Kapellmeister von Bonno, 2 Herr von Starzer, 3 and the other honour- 
able men, I directly protested against such a binding and obligatory 
declaration, for the following obvious reason: to satisfy a demand of 
this extraordinary kind would require two or three months every 
year, and therefore I should be unable to fulfil the duties required by 
my gracious Prince and Lord. But provided a clause reading "if time 
and circumstances permit me" were added, I agreed gladly to sign 
this declaration with all the demands enumerated above. Whereupon 
this my proposal was unanimously accepted, and my admission 
approved. In order to validate my admission, I was ordered to 
deposit on the spot the sum of 368 fl. 10 kr., in the presence of the 
assembled company, for it was particularly explained to me that as 
soon as the money was deposited, my admission would become 
valid. I deposited the money, and was thereupon admitted WITHOUT 
any such declaration. I was congratulated. I expressed, in all 
humility, many thanks for my admission. Of course, in matters of 
this kind, the whole affair should have been entered into the protocol 
by the duly authorized notary, and a declaration of this admission 
as an accomplished fact presented to the newly admitted member; 
but a worthy Society has not yet seen fit to do so in my case. More- 
over: 

This clause, with the so-called DISCREET demands, depends in my 
opinion wholly on the fancy, or the envy, of some of the members; 
in time it might depend largely on those who have the least possible 
insight into the art of composition, for they could judge as DISCREET 
that which is INDISCREET (for instance, a whole oratorio instead of a 
few symphonies). I should be forced to compose the most DISCREET 



1 7/p] of Joseph Haydn 23 

oratorios in plurali as a result of the INDISCRETION which they 
consider their right; and if not, the majority of the v ota purely out 
of DISCRETION, of course would roar for my suspension sine jure 
(just as is now threatened). Why? Perhaps because I, freely and 
without any gain to myself, have provided the worthy Society with 
many good services and useful advantages? Perhaps because I am a 
"foreigner"? 4 In my case, the "foreign" means only that my person 
is of no use to the aborigines [Inwdrtigen] : through my works I'm 
quite aboriginal enough, and if not the composer, oh well, his 
children are there in almost every concert and provide many nice 
advantages. 

Now, my good friend ! I am a man of too much sensitivity to 
permit me to live constantly in the fear of being quashed: the fine 
arts, and such a wonderful science as that of composition allow no 
gyves on their handicraft: the heart and soul must be free if they are 
to serve the widows 5 and collect profits. One more thing: 

This generous provision of 300 fl. I regard as a well deserved 
reparation for the 1000 fl. which the Society made on my Ritorno di 
Tobia, especially written for them free of charge. God the all-wise 
Provider of us all will also protect me and my wife, through my 
most gracious Prince and Lord, especially since I am convinced, that 
even the least of persons in the Princely Esterhazy house has re- 
ceived an adequate pension. Therefore, on the I5th inst., Herr von 
Kleinrath, Princely Esterhazy Inspector, will appear in my name, 
and to him a worthy Society will repay my 368 fl. 10 kr. in cash. 

For my part, however, despite such a crude and threatening 
treatment, I shall "if time and circumstances so permit" compose 
various new pieces for the widows at no cost. I remain, Sir, with 
due respect, 

Your obedient servant, 
Josephus Haydn, m.p. 
Kapell-Meister. 

1 The circumstances of this letter are briefly explained as follows. In 1775, 
Haydn had written an oratorio, // Ritorno di Tobia, which was performed at 
one of the benefit concerts of the "Tonkiinstler-Societat", a Viennese 
Society formed to provide pensions for the widows of composers. Most 
of Vienna's finest musicians belonged to the Society, and Haydn naturally 
wished to join. In the session of iStli November 1778 Haydn's petition 
was considered, and in view of his previous services to the Society, "but 
mainly because of the services he is to perform in future (he is to submit a 
declaration to that effect)", his petition was approved. The Society added 
the clause that "the demands for services to be rendered as per the enclosed 



24 The Collected Correspondence [i 780 

declaration shall never be indiscreet", and this clause with the use of the 
word "indiscreet" seems to have infuriated Haydn (with some justifica- 
tion). The real point, however, was that most of Haydn's bitterest enemies 
were members of the Society a fact which the "foreigner" (i.e. non- 
resident of Vienna) felt very strongly. But because he was a non-resident, 
he would have been required to pay a reduced entrance fee (see end of the 
letter). See p. 150 for the happy end of this unfortunate episode. See Pohl, 
I, 84. 

GIUSEPPE BONNO (1710-1788) was Court Kapellmeister in Vienna. 
JOSEPH STARZER (1726-1787) was a well-known composer of the time; his 
ballets were especially highly thought of. Burncy heard him play first 
violin (together with Carlos d'Ordonez, Count Briihl and Weigl) in some 
Haydn quartets, given at the English Ambassador's house in Vienna. See 
The Present State of Music in Germany, etc., London 1773, 1, p. 290. 
4 "Auswartiger", i.e. a non-resident of Vienna. 
5 Of the composers it was for their benefit that the Society existed. 



[To ARTARIA & Co., VIENNA. German] 

Estoras, 3 ist January 1780. 
Nobly born Gentlemen ! 

I send you herewith the 6th pianoforte Sonata, 1 because it is the 
longest and most difficult: I will certainly deliver the 5th in the next 
few days; meanwhile I remain, in the greatest haste, Messieurs, 

Your most obedient servant, 
Josephus Haydn [m.] pria. 
[No address. Artaria's clerk notes: "Esterhase 31 Jan. 1780".] 

1 Artaria > s first Haydn publication was six pianoforte Sonatas dedicated to 
the Demoiselles Francisca and Marianna von Aucnbrugger, op. 30 (Nos. 
35-39 and 20 of the chronological list). These two talented ladies, both 
excellent pianists, were the daughters of the well-known physician and 
scholar, Leopold von Auenbruggcr, from Graz. The Sonatas were published 
in April, 1780 (pi. no. 7). 



[To ARTARIA & Co., VIENNA. German] 

Estoras, 8th February 1780. 
Nobly born Gentlemen ! 

I send you herewith the 5th and last Sonata, and I would ask you 
to send me all 6 once more for correction; in any event, I hope to 
gain some honour by this work, at least with the judicious public; 
criticism of the works will be levelled only by those who are jealous 
(and there are many) ; should they have a good sale, this will encour- 



of Joseph Haydn 25 

age me to further efforts in the future, and to serve you diligently at 
all times in preference to all others. I remain, Messieurs, 

Your wholly obedient servant, 
Josephus Haydn 
Capellmeister. 



[To ARTARIA & Co., VIENNA. German] 

Estoras, 25th February 1780. 
Most highly respected Gentlemen ! 

I send you herewith the corrected proofs of all 6 Sonatas, and ask 
you to study them as carefully as possible: those numbers marked in 
red are the most urgent of all. The approval of the Demoiselles von 
Auenbrugger is most important to me, for their way of playing and 
genuine insight into music equal those of the greatest masters. Both 
deserve to be known throughout Europe through the public news- 
papers. 

Incidentally, I consider it necessary, in order to forestall the criti- 
cisms of any witlings, to print on the reverse side of the title page the 
following sentence, here underlined: 

Avertissement 

Among these 6 Sonatas there are two single movements in which the 
same subject occurs through several bars: the author has done this inten- 
tionally, to show different methods of treatment. 1 

For of course I could have chosen a hundred other ideas instead of 
this one; but so that the whole opus will not be exposed to blame on 
account of this one intentional detail (which the critics and especially 
my enemies might interpret wrongly), I think that this avertissement 
or something like it must be appended, otherwise the sale might be 
hindered thereby. I submit the point in question to the judicious 
decision of the two Demoiselles Auenbrugger, whose hands I respect- 
fully kiss. Please send one of the six copies you promised me to Herr 
Zach von Hartenstein 2 through the Royal Bavarian post-office, but 
the other 5 are to be addressed to Estoras. 

I hope soon to receive an answer to the above point, and have the 
honour to be, most respectfully, 

Your most obedient servant. 

Joseph Haydn 
[No address] 

1 Artaria did include an "Avertimento" which reads as follows: "Tra 
queste sei Sonate vi si trovano due Pezzi che cominciano con alcunc battute 



26 The Collected Correspondence [i 780 

dell'istesso sentimento, cioe 1'Allegro scherzando della Sonata No. II, e 
1' Allegro con brio della Sonata No. V. L'Autore prcviene averlo fatto a 
Bella posta, cangiando pero in ogn'una di esse la Continuazione del Senti- 
mento medesimo." 

2 Das Osterre ichische Adclslexikon, Vienna 1822 (edited by F. G. Nageli von 
Mtihlfeld) lists two Austrian aristocrats under the name of Zach von 
Hartenstem: Johann Franz (raised to the nobility in 1764) and Joseph 
(raised to the nobility m 1756). Both are listed as "Postoffizicr", i.e. officials 
in the Postal Department. The Hof- und Staats-Schematismus, Vienna 1785, 
p. 5, lists only "Franz Zach von Hartenstem, k.k. Oberst Hof- Postamtsver- 
walter Adjunkt". 



[To ARTARIA & Co., VIENNA. German] 

Estoras, 20th March [1780]. 
Most highly respected Sir ! 

Everything that you write to me meets with my entire approval; 
I only regret one thing, that I cannot have the honour of dedicating 
these Sonatas to the Demoiselles von Auenbruggcr myself. 1 1 remain, 
with all due respect, Sir, 

Your obedient servant 
Josephus Haydn 
[Address:] Monsieur 

Monsieur Artaria et Compag 
press : a 

Vienne. 
[Artaria's clerk notes: "Haydn/ Esterhas 2Oth March/ 1780".] 

1 Many eighteenth-century dedications were made by the publisher rather 
than the composer. 



[To ARTARIA & Co., VIENNA. German] 

Estoras, 29th March 1780. 
Messieurs! 

I received in the past day or two a letter from Herr Humel, 1 Royal 
Prussian Musical and Commercial Advisor, in which among other 
things I read with astonishment that my Sonatas have been sent to 
Berlin some time ago. Please therefore don't forget completely about 
my five copies. I remain, Messieurs, very respectfully, 

Your most obedient servant, 
Joseph Haydn. 
X J. J. HUMMEL, the famous music publisher of Amsterdam and, later, Berlin. 



of Joseph Haydn 27 



[TO AN UNIDENTIFIED OFFICIAL OF PRINCE 

ADMINISTRATION. German] 
Nobly born, 
Gracious Sir ! 

On the order of His Serene Highness, Your Grace should instruct 
the administrator of Forchtenstein Castle 1 or the inspector-general 
of ordnance there to send at the earliest possible opportunity a pair of 
good military kettledrums [Feld Paucken] (such as are kept in the 
arsenal there) to Estoras: to this end one should, in my humble 
opinion, request the Forchtenstein schoolmaster and the Pater Regens 
Chori of the Serviten Order to give their expert opinion as to the 
best and most useful instruments. I remain, most respectfully, 

Your Grace's 

Obedient servant, 
Josephus Haydn 
CapellMeister. 
Estoras, yth November 1780 

Forchtenstein Castle, an ancient fortress belonging to the Esterhdzy family, 
in the province of Burgenland. The castle stood good service in the second 
Turkish invasion of 1683. A photograph of Forchtenstein may be found 
on the jacket of Nowak's Haydn (Vienna, 1950). The Serviten Monastery 
still owns some contemporary MSS. of Haydn's works (Missa StLJoannis 
de Deo, etc.); and some scraps of instrumental music I found there recently 
(1958) e.g., part of Haydn's Symphony No. 35, the reverse sheet of which 
was used to copy a piece of church music suggest that the collection must 
have been much more extensive at one time. 



[To ARTARIA & Co., VIENNA. German] 

Estoras, 2yth May 1781. 
Nobly born, 
Most highly respected Sir ! 

I am most obliged to you for the 4 copies, so beautifully en- 
graved. 1 Concerning the Lieder* I have completed 14 of the same 
with all possible diligence, and the number would have been com- 
pleted long ago if I had had the texts of them; I cannot quite under- 
stand why Hen Ho/rath von Greiner 8 does not return them to me, 
since at one time they were in my hands. I only wanted his opinion 
as to the expression contained therein, and sent them to him via 
Herr Walther, the organ-builder; but now I receive no answer from 
either of them. If you would be good enough to try to press the 



28 The Collected Correspondence [i 781 

matter with Herr Walther, I should be most obliged to you, for I 
assure you that these Lieder perhaps surpass all my previous ones in 
variety, naturalness, and ease of vocal execution. I rather doubt, 
however, that you will take them, for in the first place I ask 30 ducats, 
secondly 6 copies, and thirdly the following short dedication, to be 
placed on the title page: 

Collection of German Lieder 
for the pianoforte, 

dedicated 
as a mark of special homage 

to 
Mademoiselle Clair 

by 

Mr. Joseph Haydn 
Chapel Master to Prince Esterhazy. 

Between ourselves, this Mademoiselle is the darling of my Prince. 
You will certainly see for yourself what an impression such things 
make ! If you agree to these points, I shall not fail to complete the 
others one after the other. These Lieder however, must appear first 
on Elizabeth Day, for this is the name-day of the fair lady. 

Now something from Paris. Monsieur Le Gros, 4 Directeur of the 
Concert Spirituel, wrote me the most flattering things about my 
Stabat Mater, 5 which was performed there four times with the 
greatest applause; the gentlemen asked permission to have it en- 
graved. They made me an offer to engrave all my future works on 
the most favourable terms for myself, and were most surprised that 
I was so singularly successful in my vocal compositions; but I wasn't 
at all surprised, for they have not yet heard anything. If they only 
could hear my operetta L'isola disabitata* and my most recent opera, 
Lafedelta premiata? I assure you that no such work has been heard in 
Paris up to now, nor perhaps in Vienna either; my misfortune is that 
I live in the country. 

I enclose Herr Boccherini's letter: 8 please present my respectful 
compliments to him. No one here can tell me where this place 
Arenas is. It cannot be far from Madrid, however; please let me 
know about this, for I want to write Herr Boccherini myself. 
I remain most respectfully, 

Your most obedient servant, 
Joseph Haydn. 

P.S. Many people are delighted with my portrait. 9 Return the oil- 
portrait to me in the same case. 



17$*] of Joseph Haydn 29 

1 Of the Sei Divertimenti Concertanti (fl., 2 horns, str.) Op. 31, published in 
April (pi. no. 7). See illustration IV. 

2 Artaria accepted the Lieder, which they published in two sets : the first in 
December 1781, the second two years later. Concerning the dedication, 
see infra, p. 34 (35). 

3 pRANZ VON GREINER, a well-known music-lover in Vienna. His daughter, 
Caroline Pichler, wrote memoirs which arc a useful source of information 
about contemporary Vienna. Mozart, Haydn, Salieri, Paisiello and Cima- 
rosa were all friends of the house. See Artana-Botstiber, p. 12. 
JOSEPH LE GROS (1739-1793) was a singer in the Pans Ope*ra. In 1777, he 
assumed the directorship of the Concert Spmtuel. See Pohl II, 175. 
5 See p. 20. 

6 Performed at the Esterhdza Theatre on the Prince's name-day, 6th 
December 1779. 

'Performed at the Esterhdza Theatre in the Autumn of 1780. 
8 Boccherini wrote to Artaria from Arenas in February 1781 as follows: 
". . . Spcro mi faranno un favore, che 10 stimero moltis mo ed che se alcuno 
di lor Sig" (come probabile) conoscesse il Sigr. Giuseppe Haidn [sic], 
scnttore da me, e da tutti aprezzato al Maggior segno, gli offra i miei 
rispetti, dicendoh che sono uno de i suoi piu appassionati stimaton, e 
ammiraton insieme del suo Gemo, e Musicali compommenti dci quali qui 
si fa tutto quel apprezzo, che in ngor di Giustizia si mantano . . . ." 
(Artaria-Botstiber, p. n; Pohl II, 180, n. 6.) 

9 Artaria published a series of portraits (engravings) of well-known persons, 
musical and otherwise. In June 1781, Haydn's portrait, painted and en- 
graved by J. E. Mansfeld, was announced. Although Haydn was pleased 
with it (it is the earliest picture of Haydn which we can date with certainty), 
the engraving is not a good likeness; at best one can describe it as "flatter- 
ing". See Illustration V. 



[To ARTARIA & Co., VIENNA. German] 

Estoras, 23rd June 1781. 
Nobly born, 
Most highly respected Sir ! 

I received with the greatest pleasure the oil-portrait together with 
the twelve copies you enclosed of the beautifully engraved portrait. 
My gracious Prince, however, was even more delighted, for as soon 
as his attention was drawn to it, he immediately asked me to give 
him one. Since these 12 copies are not enough, I would ask you, 
good Sir, to send me another six at my expense. You can subtract the 
sum from my fee for the Lieder, six of which I shall send you in a few 
weeks. 

Fifteen are now finished, but among them is one 1 which the strict 
censorship may perhaps not allow; it is one of those which you 



30 The Collected Correspondence [1781 

yourself gave me, and you shall have the words of it in a few days. I 
should be sorry about this, for I have composed a remarkably good 
air to it. To tins day I have not received the other Lieder from Herr 
von Greiner; they are certainly lost. You would therefore oblige me 
if you would procure a dozen others from Herr von Greiner, but 
only good ones and varied, so that I may have a choice: for it often 
happens that a certain poem has a real antipathy to the composer, or 
the composer to the poem. 

Moreover, I agree to the stipulated price of one ducat a piece, but 
no one should know anything about this. Also I do not want any 
money until all the proofs have been passed. I am still in doubt about 
the dedication: i.e., whether I should dedicate it to her [Mademoiselle 
Clair] or to someone else. But enough I reserve this right, and 
12 free copies. 

As soon as I come to Vienna, will you be kind enough, good Sir, 
to present me to the worthy Herr von Mansfeld? 

Meanwhile I thank you for the copies [of the music] 8 and the 
other portraits and remain, Sir, most respectfully, 

Your obedient servant, 
Joseph Haydn. 

[No address: Artaria's clerk notes: "Haydn/ Esterhaz 13 June 
ans. 5th July".] 

1 The twelfth,"Die zu spate Ankunft der Mutter", in which the daughter cries 
to the mother: "It has happened, so you might as well go away again." 
Probably either the Sonatas op. 30 and/or the Divertimenti Op. 31: see 
supra. 



[To ARTARIA & Co., VIENNA. German] 

Estoras, 20th July 1781. 
Nobly born, 
Most highly respected Sir ! 

I send you herewith the first 12 Lieder, and will endeavour to send 
you the second dozen, good Sir, as soon as possible: some of them are 
written twice over, in case my handwriting should not always be 
entirely legible, but I would prefer that you engrave them from my 
autograph. 

In the third Lied, please note that following the completed text, at 
the bottom, the words "N.B." must be engraved in just the same 
way as I have indicated below the text. 



1 7$ i ] of Joseph Haydn 3 1 

You will find the words of the 4th, 8th and pth Lieder in Friebert's 1 
Lieder, as published by Herr von Kurzbock, 2 but in case you cannot 
get them, I shall send them to you. These 3 Lieder have been set to 
music by Capellmeister Hofmann, 8 but between ourselves, miserably; 
and just because this braggart thinks that he alone has ascended the 
heights of Mount Parnassus, and tries to disgrace me every time 
with a certain high society, I have composed these very three Lieder 
just to show this would-be high society the difference: Sed hoc 
inter nos. 

You will find the texts of the loth and I2th Lieder among those 
you sent me, and I enclose herewith the texts. Under No. 12 you 
will find the text of which I recently expressed some doubt as to the 
censorship. 

Those notes which I have marked in red should be engraved in 
very small type; They appear in only very few of the Lieder and are 
indicated by a "NB" in front of each line. 

Above all I ask you to engrave the musical signs as I have written 
them: for instance, you will find the following: w, *, tr, H^ and 
likewise the da capo sign ss such as appears in every Lied. Please 
return the printed Lied which I have attached to No. 7. 

I pray you especially, good Sir, not to let anyone copy, sing, or in 
any way alter these Lieder before publication, because when they are 
ready, I shall sing them myself in the critical houses. By his presence 
and through the proper execution, the master must maintain his 
rights: these are only songs, but they are not the street songs of 
Hofmann, wherein neither ideas, expression nor, much less, melody 
appear. 

You once again make me your debtor for the portraits you sent; 
but do they sell? I'm curious. In any event the frame-makers and 
guilders have profited by those you sent to me. 

When you have an opportunity, please send back the cardboard 
cover in which the Lieder were packed : such material is not to be had 
here. 

Meanwhile I remain, most respectfully, 

Your most obedient servant, 
Joseph Haydn. 

[No address; Artaria's clerk notes: "Haydn / Esterhaz 20th July 
I78i/ans.20th Sept/'] 

1 KARL FRIBERTH, a member of the Esterhazy opera troupe: see supra, p. 3. 
JOSEPH VON KURZBOCK, a Viennese publisher who had issued six pianoforte 
Sonatas (Nos. 21-26 of the chronological list) for Haydn in 1774. 



32 The Collected Correspondence [i 781 

LEOPOLD HOFMANN (1738-1793), Chapel Master of St. Stephen's Cathedral 
in Vienna, was a prolific composer of both secular and sacred music. His 
early compositions, which circulated as far as Pans and Leipzig in 1760 
and 1761, arc fully as talented as Haydn's of that period, though (like so 
many promising composers in Vienna) he did not develop beyond a certain 
point. Several dozen of his works were circulated in MS. and printed under 
Haydn's name. 



[To ART ARIA & Co., VIENNA. German] 

Estoras, i8th October 1781. 
Sir, 

In great haste I inform you that next Monday I shall send you the 
proofs together with 6 new Lieder. Some small matters, and the 6 
new Quartets 1 which must be ready in 3 weeks, kept me from the 
Lieder\ but I shall deliver them in 14 days at the latest. I would like 
if it is possible to have them quickly to receive three new, gentle 
Licder texts, because almost all the others are of a lusty character. The 
content of these can be melancholy, too : so that I have shadow and 
light, just as in the first twelve. 

Your most obedient servant, 
Joseph Haydn. 

Please send me some more of my portraits. 
[Address:] Monsieur 

Monsieur Artaria et Compag. press : 
Kupferstecher Comp. 
a 

Vienne. 

[Artaria's clerk notes: "Haydn. 1781 /Esterhaz i8th Oct./ (rec'd) 

22nd ditto / (ans.) 23rd ditto".] 

1 The Quartets are those known as Op. 33 (from Artaria's numbering). 



[To J. C. LAVATER, ZURICH.* German] 

[Only the signature autograph] 
Most learned Sir and 
Dearest Friend ! 

I love and happily read your works. As one reads, hears and 
relates, I am not without adroitness myself, since my name (as it 



of Joseph Haydn 33 

were) is known and highly appreciated in every country. Therefore 
I take the liberty of asking you to do a small favour for me. Since I 
know that there are in Ziirch [sic] and Winterthur many gentlemen 
amateurs and great connoisseurs and patrons of music, I shall not 
conceal from you the fact that I am issuing, by subscription, for the 
price of 6 ducats, a work, consisting of 6 Quartets 2 for 2 violins, 
viola and violoncello concertante, correctly copied, and WRITTEN IN 

IN A NEW AND SPECIAL WAY (FOR I HAVEN*T COMPOSED ANY FOR IO 

YEARS). I did not want to fail to offer these to the great patrons of 
music and the amateur gentlemen. Subscribers who live abroad will 
receive them before I print the works. Please don't take it amiss that 
I bother you with this request; if I should be fortunate enough to 
receive an answer containing your approval, I would most appreciate 
it, and remain, 

Most learned Sir, 

Your ever obedient 
Josephus Haydn m.pr. 
Furst Estorhazischer 
Capell Meister 

Vienna, 3rd December 1781. 
To be delivered to Prince Esterhazy's house. In Vienna. 

iJoHANN CASPAR LAVATER (1741-1801), a well-known Swiss writer, was one 
of the most talented and curious figures of the German-speaking Sturm und 
Drang literary movement. He was also a master of me silhouette and 
developed the science of physiognomy. 
2 0p. 33. 



[To PRINCE KRAFFT ERNST OETTiNGEN-WALLERSTEiN, 1 
WALLERSTEIN CASTLE (BAVARIA). German] 
[Only the end, from "humble . . ." to "Capell Meister" 
autograph] 

Most Serene Highness, 
Gracious Prince and Dread Lord ! 

As a great patron and connoisseur of music, I take the liberty of 
humbly offering Your Serene Highness my brand new a quadro 
[Quartets 2 ] for 2 violins, viola [and] violoncello concertante correctly 
copied, at a subscription price of 6 ducats. They are written in a new 
and special way, for I have not composed any for 10 years. The 
noble subscribers who live abroad will receive their copies before I 



34 The Collected Correspondence [1782 

issue them here. I beg for your favour, and a gracious acceptance of 
your offer, and remain ever, in profound respect, 

Your Serene Highness* 
humble and obedient 
Josephus Haydn, 

Fiirst Estorhazischer Capell Meister. 
Vienna, 3rd December [lySi] 3 
[Address:] To be delivered to Prince Esterhazy's house in Vienna. 

I PRINCE KRAFT ERNST OETTINGEN-WALLERSTEIN, one of Southern Ger- 
many's most ardent patrons of music, maintained a band of virtuoso musi- 
cians, including the composer Rosetti (for some years Kapellmeister). In 
the following years the Prince became more and more enamoured of 
Haydn's music: see correspondence up to 1789. 
2 0p. 33- 
3 The year is missing, but see St. George's answer of 1 8th February 1782. 

[To ARTARIA & Co., VIENNA. German] 

Estoras, 4th January 1782. 
Monsieur! 

To my astonishment I read in the Vienna Diario that you intend 
to publish my Quartets 1 in 4 weeks; I wish you had shown sufficient 
consideration for me to delay the announcement till I had left 
Vienna: such a proceeding places me in a most dishonourable 
position and is very damaging; it is a most usurious step on your 
part. At least you could have waited with the announcement until 
the whole opus was completed, for I have not yet satisfied all my 
subscribers: Mons. Hummel 2 also wanted to be a subscriber, but I 
did not want to behave so shabbily, and I did not want to send them 
to Berlin wholly out of regard for our friendship and further tran- 
sactions; and by God ! you have damaged me to the extent of more 
than 50 ducats, since I have not yet satisfied many of the subscribers, 
and cannot possibly send copies to many of those living abroad: this 
step must cause the cessation of all further transactions between us. 

I would only ask you to send a copy of the Lieder, bound in red 
taffeta, to Herr von Liebe 3 and an ordinary copy to my brother-in- 
law, Keller, 4 and three copies to me. You can substract the sum from 
the second dozen. Meanwhile I remain, respectfully 

Your obedient servant, 

Joseph Haydn. 

[No address; Artaria's clerk notes: "Haydn/Esterhasj 4th Jan/iySz/ 

ans. I4th ditto".] 



a ^ PartitV)' C on<Trtintt>> 



MMOSUPH IIAYDX 
0,-w zxxi 




IV Title page of Artana's edition of Hasdn's Set Dn'citnncntiConmtanti Op. XXXI(scc letter 
of 27th May 1781) 




V Haydn. Engraving byj. E. Mansfcld, 178 j (Artana & Co , Vienna)- sec letters 
of 27th May and 2}rd June 1781. 



1 782] of Joseph Haydn 3 5 

'Op. 33. 

8 See p. 26. 

^he songs were dedicated to Francisca, daughter of ANTON LIBBE VON 

KRJBUTZNER, who was to receive the copy bound in red taffeta. Kreutzner 

ordered, also in 1782, a new solemn Mass from Haydn for performance in 

the pilgrimage church at Mariazell (the Missa Cettensis in C, called the 

"Mariazellermesse") . 

JOSEPH KELLER, whose son later boarded with Haydn's old friend, Anton 

Stoll, at Baden. See p. 171. 



[To ARTARIA & Co., VIENNA. German] 

Estoras, 2Oth January 1782. 
Nobly born, 
Most highly respected Sir ! 

I must apologize for having written my last letter to you in the 
heat of anger, and I hope that nevertheless we shall remain good 
friends. There is no doubt that I gave you the Quartets so that you 
could engrave them, but it never entered my head that you would 
put it right into the newspapers. 

Well, it happened that way; another time both of us will be more 
cautious. I shall send you the Lieder with the next mail. I thank you 
for those you sent 1 and remain, most respectfully, 

Your most obedient servant, 
Joseph Haydn. 
[Address:] Monsieur 

Monsieur Artaria et Compag 
press: 

i 

Vienne 

[Artaria's clerk notes: "Haydn iy82/Esterhasi 2Oth Jan./rec'd 23rd 

ditto/ answered: (not filled in)".] 

*See last paragraph of previous letter. 



[To ARTARIA & Co., VIENNA. German] 

Estoras, I5th February 1782. 
Nobly born, 
Most highly respected Sir ! 

Herr Breunig, 1 with whom I am engaged in a most unpleasant 
correspondence, and to whom I sent a copy of the passage in your 
J.H.-E 



36 The Collected Correspondence [1782 

last letter concerning the quartets of my composition which he 
offered you, has sent me the enclosed disgusting letter with the most 
impertinent threat that I should immediately forward this letter to 
you for his satisfaction; otherwise Herr Breunig must believe I am a 
liar. You will therefore have to defend not only me but also your- 
selves : but the further away from Herr Breunig you can put me, the 
more satisfactory will be your service to me. I remain, Sir, most 
respectfully, 

Your wholly obedient servant, 

Josephus Haydn. 

P.S. About the songs, please have a little patience for a short time. I 
would like to see at least one single copy of my Quartets. 
[No address; Artaria's clerk notes: "Haydn / Esterhazy 15. feb: 



I CONRAD BREUNIG, a composer from Mainz, whose "6 Duetti per due 
Violini" Artana had issued in 1776, offered Haydn's Quartets (Op. 33), 
obviously pirated from one of the advance subscription copies in MS. 
Artana very decently refused to accept them. 



[To HAYDN FROM ST. GEORGE, PRIVY COUNCILLOR AND CASHIER TO THE 

COURT OF PRINCE OETTINGEN-WALLERSTEIN ] [Draft in German] 
Monsieur, 

Since I received neither an answer to my letter which I sent to you as early as 

24th December, nor anything of the music we expected, my gracious Prince has 

instructed me to ask you for it once again: I do so herewith, and would ask you to 

be good enough to send whatever you have ready of the new & qwcwfro 1 to His 

Serene Highness, at this address, but to inform, me thereof, so that 1 can see that 

payment is made to you without delay. In expecting this, I have the honour to be, 

Sir, with every expression of my esteem . . . 

S. 
Wallerstem, i8th February 1782. 

1 Op. 33 : see Haydn's letter to the Prince of 3rd December 1781. 



[To ARTARIA & Co., VIENNA. German} 

Estoras, i6th August 1782. 
Nobly born, 
Most highly respected Sir ! 

Many thanks for the Cantata 1 you sent, which is very neatly en- 
graved; as to the Overture of my new opera 2 (which isn't composed 



1782] of Joseph Haydn 37 

yet), I cannot let you have this Overture before the first performance, 
but if you would like two others from my operas that no one not 
a living soul owns, you can have them at 5 ducats apiece. I promise, 
by the way, to make up half-a-dozen for you. Next week I shall send 
you 4 new Lieder. Meanwhile I remain, most respectfully, 

Your most obedient servant, 
Joseph Haydn. 
[Address :] Monsieur 

Monsieur Artaria et Compag 
press: 

a 
Vienne. 

1 "Come il cuore mi palpita", issued in score (pi. No. 29). 

^Orlando Paladino. Artaria accepted the offer, and the set grew from two to 

five and then six, as the next letters show. 



[To ARTARIA & Co., VIENNA. German] 

[c. 25th August 1782] 
Nobly born, 
Most highly respected Sir ! 

On the very day that I received your kind letter of the 2nd ult., 
I had the misfortune to injure my left foot by a fall so severely that I 
have not been able to leave the house up to now, and have had to 
live on a strict diet: this explains why my answer to you, which is 
long overdue, was delayed. 

I foresaw the consequences of my bringing Herr Hummel 1 into 
the business of the Quartets just as easily as you will see, in the future, 
the unfortunate consequences entailed on me; for among many 
other people, Herr Baron van Sviten 2 gave me distinctly to under- 
stand that in future I should dedicate my compositions directly to 
the public. I hope you will see that this state of affairs is due to your 
over-hasty announcement, and that this very precipitation obliged 
me to offer my Quartets all over the place. 

I send you herewith the enclosed 8 letter, and only regret that I 
cannot at present write to Herr Boccherini in my own hand, but 
when occasion offers, please present my devoted respects to him. 

Many thanks for the copies 4 you sent me. As to the pianoforte 
Sonatas with violin [i.e., trios], you will have to be patient a long 
time; for I have to compose a new Italian opera, and the Grand Duke 



3 8 The Collected Correspondence [i 782 

and Duchess and perhaps His Majesty the Emperor will be coming 
here for it. fi 

Your defence against Breunig is excellently done. He received it 
recently against a signed receipt. Meanwhile I remain, Sir, most 
respectfully, 

Your most obedient servant, 
Josephus Haydn, m.pria. 

[No address; Artaria's clerk notes: "Haydn 1782/Esterhaze dto. 

/rec'd. 27th August".] 

*Haydn had obviously sold the Quartets to Hummel, who announced 

them in May 1782. 

z Recte: Swieten. See pp. 20, etc. 

8 The original is not clear. Nohl reads "beide" (both), but Pohl's MS. copy 

suggests "beilig[ende]" (enclosed), and Professor Bartha, who examined 

the autograph for me in Budapest, is inclined to agree with Pohl's reading. 

4 Of the Quartets, Op. 33 (See P.S. in letter of I5th February). 

^he opera was to be Orlando Paladino. The planned visit of the Russian 

Grand Duke Paul, with his wife, Maria Feodorowna (n& Princess of Wiirt- 

temberg), did not materialize; but Haydn had won the Grand Duchess* 

heart the previous winter, when he had participated in a concert given in 

Vienna before the Emperor and the Grand Ducal pair on Christmas Day, 

1781. She subsequently took a few music lessons with Haydn. See her 

letter to Haydn of 1 5th February 1805. 



[To ART ARIA & Co., VIENNA. German] 

Estoras, 29th September 1782. 
Nobly born, 
Most highly respected Sir ! 

At last I can send you the five Symphonies [Overtures] you 
wanted, neatly and correctly written and also well constructed; I 
rehearsed them myself with my orchestra; I assure you that you will 
make a considerable profit by their publication, for their brevity will 
make the engraving very cheap. I would ask you to put the 25 ducats 
(N.B. : full weight) into a little box, seal it up, and wrap or sew it in 
an oil-cloth cover, and write nothing on it except a Mons. Haydn\ 
for I don't want anyone in my house here to know of my transac- 
tions. You can deliver the box to the Prince's porter, 1 and just tell 
him that it contains some money, and then I shall get it safely from 
the porter. In any event, you can get a receipt from the porter, which 
says that he has safely received the box. 

The 5 Lieder are also herewith enclosed: you must engrave them 



of Joseph Haydn 39 

in the order in which I have numbered them. I shall try to complete 
the remainder as soon as possible and remain, meanwhile, 

Your wholly obedient servant, 

Josephus Haydn. 

[No address; Artaria's clerk notes: "Haydn iy82/Estoras 29th Sept. 

/received 3rd Oct."] 

1 HfiRR ROSENBAUM, whose name appears on the envelopes of later letters. 



[To ARTARIA & Co., VIENNA. German] 

Estoras, 20th October 1782. 
Nobly born, 
Most highly respected Sir ! 

I cannot understand why you did not receive my last letter four- 
teen days ago, in which I reported that when I was last in Vienna, I 
had made an agreement myself with your partner 1 for five ducats for 
each piece, to which Mon. Artana 2 willingly agreed. I also wrote that 
instead of Sinfonie you were to put Overture? so this resolves your 
doubts. I have been very annoyed at the delay, for I could have had 
40 ducats from another publisher for those 5 pieces, and you make 
such a fuss about something from which (considering how short the 
pieces are) you will derive a thirty-fold profit. Your partner has long 
since had the sixth piece. So finish the affair and send me either my 
music or my money, and with this I remain, most respectfully, 

Your most obedient servant, 
Joseph Haydn. 
[Address :] Monsieur 

Monsieur Artaria et Com 
a 

VlENNE 

[Artaria's clerk notes: "Haydn iy82/Estoras 20 October/ rec'd 22 

ditto/ ans.23 ditto".] 

1 Probably either Tranquillo Mollo or Giovanni Cappi. 
2 One of the young Artaria nephews, Carlo or Francesco. 
Respite Haydn's request, the works appeared as "Sei Sinfonie a gran 
orchestra opera XXXXV" ; they include overtures from his earlier operas 
Lo speziale (1768), Vincontro improvviso (1775), La vera costanza (1776?), 
Visola disabitota (1779), the oratorio II ritorno di Tobia (1774, perf. in 1775) 
and one unidentified piece, probably the Overture to L'infedehh delusa 
(1773). 



40 The Collected Correspondence 

[To ARTARIA & Co., VIENNA. German] 

Estoras, 2yth January 1783. 
Nobly born, 
Most respected and honoured Sir ! 

You will certainly receive the Licder together with the Sympho- 
nies 1 by the end of this month, through our palace superintendant 
[Haus HofMeister] or via the Hussars: don't be angry at me, because 
upon my return home I caught a severe catarrh and had to stay in bed 
a fortnight. 

I remain, most respectfully, 

Your ever obedient servant, 
Joseph Haydn. 
[Address :] Monsieur 

Monsieur Artaria & Compagn 
a 

Vienne 

[Artaria's clerk notes: "Haydn lySs/Esterhaz 2yth January / rec'd 
30th ditto/ ans'd nth February".] 

Previously I thought that the Symphonies must be Nos. 76-78 (see The 
Symphonies of Joseph Haydn, p. 388, 11.48); I now consider that Haydn was 
referring to the proofs of the Sei Sinfonie (see supra). 

[To ARTARIA & Co., VIENNA. German] 
Nobly born, 
Most highly respected Sir ! 

Next Monday you will receive the Symphony (full of mistakes) 1 
and also some Lieder. 

I cannot understand what you write me about the trios of Count 
von Durazzo; 2 it's just the other way round: I never received from 
him, but the Count did receive from me a thematic list, and only 
yesterday I sent his nephew a catalogue. Possibly the letter and the 
catalogues went astray: would you please therefore let me have the 
exact details on the next post-day, for I value Count Durazzo's house 
above all others. Meanwhile I remain, Sir, respectfully, 

Your most obedient servant, 
Joseph Haydn. 
Estoras, 20th March 1783. 
[Address :] Monsieur 

Monsieur de Artaria et Compagne 
a 
Vienne. 



of Joseph Haydn 41 

1 Symphony No. 69 in C, written about 1778. Haydn subsequently dedicated 
it to the Austrian Feldmarschall Laudon (or Loudon). Artana published 
only a piano arrangement, which Haydn either made or looked through. 
2 JOHANN JACOB, COUNT DURAZZO, formerly Director of the Vienna Stadt- 
theater nachst dem Karnthnerthor, was appointed Austrian Ambassador to 
Venice in 1764. 



[To ARTARIA & Co., VIENNA. German] 

Estoras, 8th April 1783. 
Nobly born, 
Most highly respected Sir ! 

I send you herewith the Symphony, 1 Sir, which was so full of 
mistakes that the fellow who wrote it ought to have his paw 
[Brdtere] chopped off. The last or 4th movement is not practicable for 
the pianoforte, and I don't think it necessary to include it in print: 
the word "Laudon" will contribute more to the sale than any ten 
finales. My continued unhappy condition, that is, the present 
necessity to operate a polypus on my nose, made it impossible for me 
to work up to now. You must therefore have patience about the 
Lieder for another week, or at most a fortnight, until my enfeebled 
head, with God's help, regains its former vigour. Please have the 
goodness to present my respects to Count Durazzo, 2 and tell him 
Slat I cannot remember the themes of the trios nor can I recall having 
received them. I searched carefully all through my music and papers, 
and could find no trace of them; if it please the Count, however, I 
shall send him a catalogue of all my trios. I await the favour of your 
reply and remain, Sir, most respectfully, 

Your wholly obedient servant, 
Joseph Haydn. 
P.S. Many thanks for the copies 

you sent me. 3 
[Address:] Monsieur 

Monsieur Artaria et Compag 
a 
Vienne 

1 Scc previous letter. 
2 See previous letter 
Possibly of the Sei Sinfonie, which had appeared that winter (see supra). 



42 The Collected Correspondence 

[To ARTARIA & Co., VIENNA. German] 

Estoras, 1 8th June 1783. 
Nobly born, 
Most highly respected Sir ! 

I send you herewith the Laudon Symphony, for which the violin 
part is not at all necessary and may be therefore omitted entirely. 
Please send me either the music or the first strophe of each of the 2nd 
part of the Lieder, so that I can complete the missing ones. Many 
thanks for the pianoforte Sonatas by Clementi, 1 they are very 
beautiful; if the author is in Vienna, please present my compliments 
to him when opportunity offers. I remain, Sir, most respectfully, 

Your wholly obedient servant, 
Joseph Haydn. 

P.S. As to the pianoforte Sonatas with violin and bass, you must still 
be patient, for I am just now composing a new opera serial 
[Address :] Monsieur 

Monsieur Artana et Compag 
a 

Vienne. 

[Artaria's clerk notes: "Haydn lySs./Esterhaz i8th June/ rec'd 2Oth 
and/ans'd i8th July."] 

1 Probably Artana's edition of Op. 7 and/or Op 9 (pi. nos. 32 and 36). 
fl, first performed at the Esterhdza Theatre in February 1784. 



[To BOYER, MUSIC PUBLISHER IN PARIS. German] 
Nobly born, 
Most highly respected Sir ! 

I did not receive your esteemed favour of 2nd June until my return 
yesterday, and noted your requests with much pleasure; I doubt, 
however, whether I can satisfy your wants, for the following reasons. 
First, I am not allowed, according to the terms of my contract with 
my Prince, to send any of my own autographs abroad, because he 
retains these himself. I could of course make two scores of a work, 
but I don't have the time and don't really see any adequate reason for 
doing so. For if a piece is neatly and correctly copied [in parts], it is 
able the more quickly to be engraved. Secondly, you must rely on 
my word of honour, and not believe in a scrap of paper. Last year I 
composed 3 beautiful, elegant and by no means over-lengthy 
Symphonies, 1 scored for 2 violins, viola, basso, 2 horns, 2 oboes, 



1 784} of Joseph Haydn 43 

i flute and I bassoon 2 but they are all very easy, and without too 
muchconcertante .... 
[Summary of the rest of the contents:] 8 

I wanted to produce them in England, but the journey did not materialize. I now 
offer you these Symphonies, and inquire after the best terms, for I am confident 
that these three pieces will enjoy tremendous sale. I am 
[from the autograph:] 

Your obedient servant, 
Josephus Haydn [m.p.] ria. 
Estoras, isthjuly 1783. 
[ Address :] Monsieur Boyer 

au Magazin de Musique 
Paris 

Symphonies Nos. 76-78 (E flat, B flat, C minor). The Viennese firm of 
Torncella issued them in July 1784; an announcement in the Wiener 
Zeitung specifies that Haydn himself corrected them. He also sold them to 
Forster in London, where they appeared in 1784. Boyer, too, purchased the 
Symphonies and published them as Op. 37. 
2 There are in fact two bassoon parts. 

3 Summary from Martin Breslauer (London), Cat. No. 71 (1950) item 39, 
written in the third person. 



[To ARTARIA & Co., VIENNA. German] 

Estoras, 3rd February 1784 
Nobly born, 
Most highly respected Sir ! 

I shall send you the missing Lieder next Friday or Saturday; I 
would only ask you to let me know the key of the final printed 
Lied, and how its text begins, so that I can decide the keys of the ones 
to follow. Meanwhile I remain, Sir, most respectfully, 

Your wholly obedient servant, 
Joseph Haydn. 
N.O. Please present my compliments to the Bavarian house 1 and 

Herr von Hoffmann. 
N.B. I have mislaid among my papers the print of the Lieder you sent 

me long ago, and cannot find it any more. 
[Address :] Monsieur 
Monsieur 
Artaria et Compag 
i 

VlENNE 



44 The Collected Correspondence [1784 

Herr Rosenbaum 2 is asked to expedite this. 

[Artaria's clerk notes: "Haydn 1784/ Esterhatz 3 febr 1 / rec'd 

6th/ ans'd 6th."] 

1 It is not clear what is meant by the "Bavarian house". 
Prince Esterhazy's porter. 



[To HAYDN from HHNRICH, PRINCE OF PRUSSIA.* German] 
I thank you for the Quartets 2 which were sent to me, and which give me 
much pleasure. Please accept the enclosed trifle 3 as a token of my particular satis- 
faction. I remain, with sincere esteem, 

Your ever well-disposed 4 
Heinnch. 
Berlin, 4th February 1784. 

I HEINRICH, PRINCE OF PRUSSIA, brother of the King, Friedrich II. 
2 Op. 33, to which the Prince probably subscribed directly from Haydn. 
3 A gold medal and the Prince's portrait (Dies, p. 70). 
4 "Ihr wohlaffectiomrter". 



[To ARTARIA & Co., VIENNA. German] 

Estoras, 1st March 1784. 
Dearest and best friend ! 

The day after tomorrow, this coming Wednesday, you shall 
certainly receive the Lieder. Yesterday my Armida 1 was performed 
for the 2nd time with general applause. I am told that this is my best 
work up to now. I ask Frdulein Nanet Peyer, 2 whom I embrace a 
thousand times, to forgive my mistake; she may rest assured that not 
I, but the press of work, is responsible for it. Meanwhile I remain, 
most respectfully, 

Your wholly obedient servant, 

Haydn. 
In haste 

[Address :] Monsieur 

Monsieur d'Artaria 
a 

Vienne 
Herr Rosenbaum is asked to expedite this at once. 

1 Haydn f s new opera (see also, p. 46). 

2 NANETTE PEYER (see also letter of 5th May 1786) was Kammermadchen to 

Count Apponyi at Pressburg. 



1784] of Joseph Haydn 45 

[To ARTARIA & Co., VIENNA. German] 

Estoras, 5th April 1784. 
Nobly born, 
Most highly respected Sir ! 

Although I have always received more than 100 ducats for my 
quartets 1 by subscription, and although Herr Willmann 2 also 
promised to give me this sum, I agree to your offer of 300 fl. with 
the following stipulations; first that you are patient until July, 
though all six should be finished by then; secondly, I demand either 
12 copies or my choice of the dedication. If this proposal is agreeable 
to you, I shall await your draft of a contract: those quartets which I 
am at present working on, and of which half are finished, are very 
short and consist of three pieces only; they are intended for Spain. 8 
On the next post-day I shall send you an article, i.e., an analysis of 
my Cantata 4 which you engraved, and which has been a great 
success. Professor Kramer 6 from Kiel sent it to me together with a 
letter. 

Farewell, meanwhile : I am pressed for time. 

Your most obedient servant, 
Joseph Haydn. 
[Envelope :] Monsieur 

Monsieur d'Artaria et Comp 
a 
Vienne. 

J Op. 50 ("Prussian"), which did not, however appear till December 1787 

(see infra). 

2 Probably MAXIMILIAN WILLMANN, 'cellist in the service of Prince Grassal- 

kovics and not, as in Hoboken (p. 4o8n.), Johann Ignaz, the violinist, who 

was later leader in the Theater an der Wien under Count Palffy's patronage. 

3 It is doubtful if Haydn really completed his set: the single quartet, Op. 42 

(autograph: 1785) may belong to it. 

44 'Ah, come il cuore". 

*Recte: C. F. Cramer, who wrote the forty-two page analysis himself. It 

was published the year before, in Cramer's Magazin der Musik. 



[To ARTARIA & Co., VIENNA. German] 

Estoras, 8th April 1784 
Nobly born, 
Most highly respected Sir ! 

In my last letter I forgot to ask you to have someone deliver a 



46 The Collected Correspondence 

copy of the new Lieder in my name to Fraulein von Liebe. 1 She now 
lives in the Leopoldstadt. 2 The Prince's porter will be able to tell you 
where. More on next Wednesday. 

Josephus Haydn [m.] pria. 

Please could you get for me the German book on composition, in 
4 to format, by Capellmeister Fux, entitled Gradus ad Parnassum. I 
would be much obliged to you. 
N.B. : Herr von Liebe lives at No. 10. 
[Address :] Monsieur 

Monsieur d'Artaria 
a 

VlENNE 

[Artaria's clerk notes: "Haydn iy84/Esterhaz 8. Apr./ rec'd the loth 
ditto/ ans'd the 29th ditto".] 

I FRANCISCA LIEBE VON KRLUTZNER, to whom both sets of the Lieder were 

dedicated: see supra, p. 35. 

2 A suburb of Vienna, now the 2nd District. 



[To ARTARIA & Co., VIENNA. German] 

Estoras, i8th May 1784. 
Mon tres cherc Amy! 

As to the Quartets, 1 the agreement remains; as to the extract 2 
from myArmida, I cannot yet say for certain, because I would like to 
show it to the world in its entirety. I am grateful to you for Cramer's 
Magazin* and am your debtor for it. I would ask you only to send to 
me at my expense 2 copies of the last Lieder, and also of the first. 
Meanwhile I remain, as always, 

Your wholly obedient servant, 

Haydn. 

[Address :] Monsieur 

Monsieur d'Artaria 

a [Artaria's clerk writes: "Haydn 

Vienne. i?84/ Esterhaz i8th May/ rec'd 

20th".] 



. 50. 

"Auszug": Haydn may mean here "Piano-vocal score", in which case 
"in Ihrer ganzen gestalt" would mean "in full score" rather than "in its 
entirety." 
3 See also letter of 5th April. Artaria must have sent a new number. 



1 784] of Joseph Haydn 47 

[To NADERMANN, MUSIC PUBLISHER IN PARis. 1 German] 
Nobly born, 
Most highly respected Sir ! 

Since you, good Sir, accepted three of my Symphonies last year, 
once again I offer you three brand new Symphonies, 2 very diligently 
composed and neatly and correctly copied, for the price of 15 ducats; 
I would deliver them by the end of November. If, good Sir, you 
accept this offer, I shall devote my energies to delivering to you at 
the first opportunity the pianoforte piece which you asked for in 
your last letter. In the hope of receiving the favour of an early reply 
I am, with the most sincere esteem, Sir, 

Your wholly obedient servant 

Josephus Haydn. 
Estoras, 25th October 1784. 

1 This letter was published for the first time in 1838 (Neue Zeitschrift fur 
Musik: see Sources). The man who discovered it, C. A. Mangold, reports 
that he found it in a bundle of old music, and that it is addressed to Nader- 
mann, who as Mangold does not mention became Boyer's successor 
a few years later. Mangold does not, however, give the actual address and 
it is possible that none was included on the letter Either Nadermann was 
a partner in Boyer's business earlier than we knew, or else the letter is really 
addressed to Boycr. Perhaps the bundle of music had belonged formerly to 
the Nadermann music business, and Mangold was not aware that Nader- 
mann was Boyer's successor (and thus that the letter may have been 
addressed to Boyer). The connection between this letter and that to Boyer 
of 1 5th July 1783 is, however, obvious. In conclusion it should be said that 

Ci) Boyer really bought Symphonies Nos. 76-78 and issued them; (2) that 
e did not buy Nos. 79-81 ; (3) Nadermann issued neither. 
2 Symphomes Nos. 79-81, which Haydn also sold to Torncella (see next 
letter), and (except No. 79) to Forster. 



[To ARTARIA & Co., VIENNA. German] 

Estoras, 20th November 1784. 
Dearest friend ! 

Don't be angry at me that I cannot fulfil any of your wants just 
now; the 3rd Symphony 1 is now ready, but you cannot have it 
before my arrival in Vienna because of some small profit which I 
shall try to make on all three. The main difficulty in everything is the 
long sojourn of my Prince in Estoras, even though he doesn't have 
much to amuse him, since half of the theatre is sick or away. So you 
can imagine what trouble I constantly have to amuse His Highness. 

You will therefore be good enough to be patient until I have the 



48 The Collected Correspondence [1784 

pleasure of seeing you personally. Meanwhile I remain, with pro- 
found esteem, 

Your most sincere friend and servant, 

Joseph Haydn [m.] pria. 

My respectful compliments to the Bavarian house. 
[Address:] Monsieur 

Monsieur d'Artaria 

a 

VBENNE 
[Artarias clerk writes: "Haydn / Esterhaz 20th Nov./ 1784".] 

J Nos. 8 1, 80 and 79 (in that order) were published as Op. 38, 39 and 40 
in March 1785. Haydn sold them to the Viennese publisher Torricella who, 
after having engraved the first one (No. 81), ceded the rights of all three to 
Artaria, who then issued them. Torricella was obviously in straightened 
financial circumstances at this time, and shortly afterwards went bankrupt; 
Artaria subsequently acquired most of Torricella's plates, which were sold 
by public auction. 



[To FRANZ PHILIPP VON WEBER, Hofsecretaire AND MASTER OF 
CEREMONIES AT THE MASONIC LODGE "ZUR WAHREN EINTRACHT", 

VIENNA 1 . German] 
[Only the signature autograph] 
Nobly born, 
Most highly respected Herr Hoff Secretaire, 

The highly advantageous impression which Freemasonry has 
made on me has long awakened in my breast the sincerest wish to 
become a member of the Order, with its humanitarian and wise 

Erinciples. I turn to you, Sir, with the most urgent request that you 
ave the great kindness to intervene on my behalf with the Lodge of 
the Order, in order to implement this my petition, as indicated 
above. 

I have the honour to remain, with profound esteem, 
Your obedient servant, 
Josephus Haydn, 

CapellMeister to Prince Esterhdzy. 
Vienna, the 2pth of the Christmas Month 
1784. 

*Haydn, like Mozart (who was an ardent freemason) was attracted to the 
"humanitarian and wise principles" of Freemasonry, and applied for 
membership. His sponsors were Count Anton Georg Apponyi of Pressburg 



of Joseph Haydn 49 

(see pp. 52/i), von Weber to whom the letter is addressed, and Heinnch 
Joseph Walter von Aland, "Privy Councillor [Geheimer Rat] to the Kurftirst 
of Trier and Accredited Minister to the Archiepiscopal Court of Passau at 
the Imperial and Royal Court in Vienna". On loth January 1785, through 
Weber's motion, Haydn was proposed to the Lodge officially, on 24th 
January he was voted in "by unanimous and delighted consent" and his 
official initiation took place on the 28th. Mozart attended that meeting, but 
Haydn was prevented from coming, and his initiation had to be postponed 
until nth February. Unlike Mozart, however, Haydn seems to have been 
disappointed by what he found, and never attended another meeting, 
though his name appears on the rolls until 1787, when it was removed 
entirely. See O. E. Deutsch, "Haydn bleibt Lehrling", Neue Freie Presse, 
14 March 1933, p. 6. 



[To COUNT ANTON GEORG APPONYI, VIENNA 1 German] 
[Extracts] 

Estoras, 2nd February 1785 

. . . Just yesterday I received a letter from my future sponsor Herr 
von Weber, saying that they had anxiously awaited me last Friday 
[28th January], when I should have been admitted (and to which 
event I look forward with great longing) ; but since I did not receive 
the letter of invitation in time, because of an oversight by our 
Hussars, they have postponed the occasion till next Friday [4th 
February.] Oh, if it were only Friday ! so that I could have the 
inexpressible Joy of being among a circle of such worthy men .... 

[Pohl II, 208] 

1 CouNT APPONYI had his principal palace at Pressburg but seems to have 
spent at least part of each winter in Vienna. The circumstances of this letter 
are explained in the notes to the previous letter, of 2pth December 1784. 



[To HAYDN FROM W. A. MozART 1 . Italian, in the "Tu" form] 
To my dear friend Haydn: 

A father, having resolved to send his sons into the great world, finds it advisable 
to entrust them to the protection and guidance of a highly celebrated man, the 
more so since this man, by a stroke of luck, is his best mend. Here, then, cele- 
brated man and my dearest friend, are my six sons. Truly, they are the fruit of 
a long and laborious effort, but the hope, strengthened by several of my friends, 
that this effort would, at least in some small measure, be rewarded, encourages 
and comforts me that one day, these children may be a source of consolation to 
me. You yourself, dearest friend, during your last sojourn in this capital, 2 
expressed to me your satisfaction with these works. This, your approval, en- 
courages me more than anything else, and thus I entrust them to your care, and 
hope that they are not wholly unworthy of your favour. Do but receive them 



50 The Collected Correspondence [1785 

kindly, and be their father, guide, and friend! From this moment I cede to you 
all my rights over them: I pray you to be indulgent to their mistakes, which a 
father's partial eye may have overlooked, and despite this, to cloak them in the 
mantle of your generosity which they value so highly. From the bottom of my 
heart I am, dearest friend, 

Your most sincere friend, 
W. A. Mozart. 
Vienna, ist September 1785. 

1 Written as a dedication to Artaria's edition of Mozart's Six String Quartets 
Op. X (K. 387, 421, 428, 458, 464, 465). 

LEOPOLD MOZART, when visiting Wolfgang in his house in the Schuler- 
strasse (still extant), writes to his daughter on i6th February 1785: 
"Saturday evening Herr JOSEPH HAYDN and the two Baron Tindis were 
here; the new Quartets were played, but only the 3 NEW ones which he 
[Wolfgang] has added to the 3 we already have they are a little easier 
but excellently written. Herr Haydn said to me: 'I TELL BEFORE GOD AND 

AS AN HONEST MAN, THAT YOUR SON IS THE GREATEST COMPOSER I KNOW, 
PERSONALLY OR BY REPUTATION, HE HAS TASTE AND APART FROM THAT THE 
GREATEST POSSIBLE KNOWLEDGE OF COMPOSITION.' " The autograph of this 

letter is in private possession in New York City; Professor O. E. Deutsch 
kindly showed me a photograph. 



[To ARTARIA & Co., VIENNA. German] 

Estoras, 26th November 1785. 
Dearest friend ! 

Please let me know, by the Monday dispatch of the Princely 
Hussars, if my Sonatas 1 are already engraved, and when you intend 
to give them to the Countess Witzey ; 2 the reason why I would very 
much like to know is that, before my departure, which will be in a 
fortnight at the latest, I want to pay a visit to the Countess at her 
estate; I only waited for the first proofs of the Sonatas, in order to 
correct them, for there is a mistake that needs to be set right. There- 
fore please write me once more on next Monday. I would also ask 
you to send me a copy of the last Lieder on this occasion; I shall pay 
for it with thanks. I am, most respectfully. 

Your wholly obedient servant, 

Haydn. 
[Address :] Monsieur 

Monsieur d'Artaria et 
Compag 

a 

Vienne. 
Please expedite. 





VI J 1*. Salomon Pencil sketch with touches of reddish crayon b\ George Dance, 1794. 
From the editor's collection 




II - - 

x /> -? 

'-4-1 M 4_1 ~ 



1785] of Joseph Haydn 51 

[Artaria's clerk notes: "Haydn/ Esterhass 26th Nov. 17%$! answered 
6th Dec."] 

Pianoforte Trios Nos. 6-8 of the chronological list, which Artaria published 
as Op. 40 the following Spring. 

MARIANNE WITZEY (or Witzay), nte Countess Grassalkovics de Gydrak, to 
whom Artaria dedicated these three Trios. Haydn was befriended by the 
Grassalkovics family, at whose palace in Pressburg he had conducted the 
music for a splendid ball, given on i6th November 1772 (Pohl II, 52). 



[To ARTARIA & Co., VIENNA. German] 

Estoras, loth December 1785. 
Mon tres cher Amy! 

Day before yesterday I received the pianoforte Sonatas, 1 and was 
greatly astounded to have to see such bad engraving, and so many 
glaring errors in all the parts, especially in the pianoforte part. I was 
at first so furious that I wanted to return the money to you and send 
the score of the Sonatas instantly to Herr Hummel 2 in Berlin; for 
the sections which are occasionally illegible, and the passages omitted 
or badly spaced, will bring little honour to me and little profit to 
you. Everyone who buys them will curse the engraver and have to 
stop playing, especially on page 8, and on the first page of the 3rd 
Divertimento, 8 page 15, where the | ] marked in red are 

especially badly laid out, and this really seems to be the result of 
complete torpidity. I would rather pay for two new plates out of 
my own pocket than to see such confusion. 

Even a professional would have to study before disentangling this 
passage, and then where would the dilletante be? Four notes are 
missing on page 18, and in the last line the engraver was too lazy to 
write out the whole of the bass part: such abbreviations 4 and signs 
are all very well in the viola part of symphonies, but not in piano- 
forte parts. Moreover, most of the natural signs I] are so small, and 
occasionally so close to the note, that you can barely see them: one 
such case is found on page 18, at the end of the uppermost stave. 
There are prodigiously many wrong notes and omitted notes. On 
pages 6 and 8 most of the following signs * are wrongly placed, for 
they ought not to be put directly over the note but over the 

90 

neighbouring dot, in this way: J""""^ (page 6, bar 4). All the 

way through, the dots ought to be further away from the notes, 
so that the sign 0* comes directly over the dot. And on this very 
J.H.-F 



52 The Collected Correspondence [i 785 

page, in the second stave, you should put instead of the sign tr: 
the following: ^ 9 f r ^ e fast one, as the engraver has done it, 
means a trill, whilst mine is a half mordent. 5 If, therefore, the Herr 
Engraver doesn't know signs of this sort, he should inform himself 
by studying the masters, and not follow his own stupid ideas. In the 
2nd Sonata he even forgot the tempo at the beginning, where the 
clef is. A whole bar is missing in the violin part, too. I spent the whole 
of yesterday and half of today in correcting, and yet I have only 
glanced over them. 

Now, my good friend, see to it that everything is corrected, for 
otherwise little honour will accrue to either of us. By the way, I hope 
to see you personally and am, meanwhile, most respectfully, 

Your wholly obedient servant, 
Joseph Haydn. 

1 Tnos, see previous letter. 

2 HuMMEL, the celebrated music publisher, whose name often occurs in 

these letters. 

Divertimento, another name for Sonata (i.e. Trio). 

4 "Schlender", literally "lounger", "dawdler". Probably the engraver put 

// or "col basso", as Haydn would have written it in the score. Since 

Artaria published parts, the abbreviations would be meaningless. 

6 I have recently examined the autograph of the second Trio, in D, No. 7 

of the chronological list; it is owned by Thomas Odling, Esq., London. 

Haydn even took the trouble to put the three principal ornaments, /r, c* 

and ^ all by themselves in the bottom right-hand corner of the first 

page which is, apart from the title, etc., blank. 



[To NANETTE PEYER, PRESSBURG. 1 German] 

Estoras, 5th May 1786. 
Dearest Nanette ! 

I cannot tell you how happy I am that I shall be seeing you soon. 
Would you kindly ask His Grace the Count 2 if he would be good 
enough to send his carriage for me on this coming Thursday the 
nth inst. as far as Fraunkiirchen, 3 where I shall arrive on Friday the 
I2th at 9 o'clock at the latest, having left Estoras at 5 in the morning 
with my own horses. I would then go on to Pressburg with the 
Count's carriage and arrive there between I and 2. 1 must tell you in 
advance, however, that I can't stay there more than 24 hours. 
Hoping to embrace you soon, I am, with the greatest esteem, 

Your most obedient servant, 
Joseph Haydn. 



of Joseph Haydn 



53 



P.S. I respectfully kiss the hands 

of the Count and Countess. 

[On the outside is the following note in another hand: "dt. 5 et 

accept 7*. May 1786 / Jos Hayden (sic)".] 

iSee p. 44- 

2 Apponyi. 

8 Frauenkirchen, a pilgrimage town in Burgenland, about midway between 

Esterhdza and Pressburg. 



[CONTRACT WITH WILLIAM FORSTER, LONDON. French] 
[Only the signature in Haydn's hand] 

[1786: the exact date is not known] 
D 1 

I acknowledge to have received of Monsieur Guillaum Forster, 
merchant and music publisher, domiciled in the Strand at London, 
the sum of seventy pounds Sterling for 2O 2 Symphonies, Sonatas, 
and other pieces of music composed by me, as enumerated below, 
the beginnings of which are as follows : 

No. i a Symphony for various instruments which begins thus 8 : 

No.2 



w* 



T 



Vivooe con brio 




jpiritaso 



[6 Diverrimenti] for 2 Flutes traversieres and Violoncello, which 
begin as follows 4 : 



54 



No.l 



The Collected Correspondence 

No.2 



[1786 




Allegro corTwpresslone " AU moderate 

First Set of three Sonatas for the Harpsichord, with Accompani- 
ment of a Violin [and Violoncello] 5 : 

No.l opera 4O No 2 - . i 






Adqgu) 



Alt'ooitbru) 





m 



No3 




Second Set of three different Sonatas for the Harpsichord, with 
Accompaniment of a Violin [and Violoncello]*: 



No. I opera 42 



No.2 




No.3 






i 



1 r - 

i r 






ijS6\ of Joseph Haydn 55 

And I certify and declare to the whole world that I sold the said 
Symphonies, Sonatas and other pieces to said Monsieur Guillaum 
Forster, and that I sent him the manuscripts on the following dates, 
viz. : 

The six Sonatas for two Flutes traversieres and Violoncello on 3ist 
May 1784. 

The Symphonies listed above as Nos. i and 2 through Monsieur le 
General de Jermingham 7 on ipthjune 1784. 

The Symphonies Nos. 4, 5 and 6 together with the afore- 
mentioned First Set of 3 Sonatas for the Harpsichord on 25th 
October 1784. 

The Symphonies listed above as Nos. 7, 8 and 9 on 8th November 
1784. 

And the afore-mentioned Second Set of 3 Sonatas for the Harpsi- 
chord on 28th October 1785. 

I further certify and declare that he has paid me the price we 
agreed upon, and that this sum of seventy pounds Sterling has been 
paid to me in full by letters of exchange on Vienna which he sent me 
for this purpose (with the exception of the fee for the two Sympho- 
nies Nos. i and 2, which fee was paid on my behalf to Monsieur le 
General de Jermingham 7 , then in London). 

And I further certify and declare that the said Guillaum Forster is 
the sole proprietor of the said works, that I sold them to him as such, 
and that I cede and transfer to him all my rights and covenants there- 
to. In witness of which I have set my signature to this document at 
Esterhaz, this [not filled in] 1786. 

Giuseppe Haydn [m.p.jria, Maestro 
di capella di S: Alt: S: il principe 
Estorhazy. 

1 This "D", which may mean "Document", was probably added when the 
paper was used as evidence against Longman and Brodenp. On the reverse 
side of this contract is a note, "Haydns subjects", and "D/Forster agt Long- 
man & ant This Paper Writing was shewn to Jos. Haydn at the time of 
his exam", in this Court before [me?] Ja Eyre". This curious note refers to 
the suit between the two London publishers which must have taken place 
m 1791 or 1792, when Haydn was in England. Longman had imported the 
Artana prints of the very pieces which Haydn had sold to Forster under 
exclusive contract. No more details of this suit are known. See letter 
of 28th February 1788 and the correspondence with Artana of this period, 
^he figure "o" is almost illegible. 

3 Symphonies 74, 70, 76, 77, 78, 81, Overture to Armida, Symphony 80. 
4 These six Divertimenti are partly based on pieces from Haydn's earlier 
(1777) opera, // mondo delta luna. 



56 The Collected Correspondence [17*7 

6 Trios Nos. 3-5 of the chronological list. The first two are actually by 

Haydn's pupil Pleyel. 

8 Trios Nos. 9, 2 and 10 of the chronological list. 

'GENERAL GERMINGHAM, English Ambassador to the Court of Vienna. See 

also letter of 28th February 1788. It was he who provided the connection 

between Forster and Haydn. 



[To ARTARIA & Co., VIENNA. German] 

Estoras, nth February 1787. 
Mon tres cher Amy! 

This is to report that I have arranged 4 of the Sonatas 1 as quartets, 
and have completed them; you will receive the whole work this 
coming Friday. Meanwhile you can give the first violin part 2 of the 
first four Sonatas to the engraver, just as it stands, because there was 
no need to change anything. You will receive the Quartet 3 a week 
from tomorrow. Please don't forget my portraits. 4 Should you not 
find any safe and convenient opportunity in the Esterhazy mansion, 
please send them next Monday by the diligence to the following 
address in Oedenburg: 

A Monsieur 

Mons. Baumgartner, Princely Esterhazy House-Master 

a 

Oedenburg 

from whom I shall have them collected by my own carriage. In any 
event you can dispatch it under my name, or inform the conductor 
about it verbally. 

Meanwhile I am, most respectfully, 

Your most obedient servant, 
Joseph Haydn. 
[Address :] Monsieur 

Monsieur d' Artaria et Comp. 
a 
Vienne. 

J The Oratorio, The Seven Words of the Saviour on the Cross, written for Cadiz 
in 1785, and consisting of seven "Sonatas", an Introduction and a Finale 
("The Earthquake"). It was scored for full orchestra. 
2 Of the orchestral version, which Artaria also issued. 
8 One of Op. 50, which Artaria was preparing to publish. 
4 See supra, p. 29. 



1787] of Joseph Haydn 57 

[To ARTARIA & Co., VIENNA. German] 

Estoras, I4th February 1787. 
Mon tres cher Amy! 

I enclose herewith all four altered parts, 1 and hope that the copyist 
will understand me well, and especially that he will do all the parts in 
the right order, that is, as proper quartets. If there should arise any 
doubt about certain passages, the copyist should let me know about 
them at once, so that I can help him in time. All 4 parts, that is, each 
Sonata in which there are changes, must be written out anew. 

As soon as proofs of the Sonatas (both as quartets and for full 
band) can be made, please send me the first copy, so that I can correct 
it. The content 2 of the Sonatas expressed in music is also enclosed 
herewith, and it must be printed in the quartet version as well. 

The Quartet 3 will follow soon. The opera rehearsals here detain 
me. Meanwhile I am, most respectfully, 

Your most obedient servant, 
Joseph Haydn. 

P.S. Please buy 7 copies of the enclosed sheet of "Bemerkungen und 
Errinerungen" at Hcrr von Tratncrn 4 and send them to me here. I 
shall pay for it with thanks. 

[No address; Artaria's clerk notes: "Joseph Haydn 1787/Esterhatz 
14. February /ans'd 17 ditto."] 

1 Of the Seven Words (see previous letter). Obviously Haydn took the four 

principal string parts of the orchestral version and adapted them to make 

the quartets. 

2 Haydn means the actual words of the Saviour (see letter of 8th April 1787), 

which were prefaced to each Sonata. 

8 From Op. 50. 

4 A Viennese bookseller and publisher; recte: (Johann Thomas) Trattnern. 



[To ARTARIA & Co., VIENNA. German] 

Estoras, 27th February 1787. 
Mon tres cher Amy! 

Many thanks for the portraits you sent me, which arrived safely 
the day before yesterday; please have the kindness to let me know 
what I owe you for the frames. 

But now, my dear friend, as to the letter from Paris that you sent 
me, 1 I must frankly tell you that after due consideration, I cannot 
agree to it, for the following reasons: first, because by so doing I 
would terribly offend the gentlemen from Cadiz, who after all are 



58 The Collected Correspondence 

responsible for my having written the Sonatas, and who paid me for 
them; secondly, the French gentlemen would be even more offended 
if I accepted payment for a work which was to be published in three 
weeks, from which work you, my good friend, certainly stand to 
derive the greatest possible profit, the more so since it can be sold as 
a whole as well as in quartet form. 

Another thing: yesterday I received a letter from Herr von 
Jacoby, 2 Royal Prussian Minister, in which he wrote the following : 
WHAT ARE THE CIRCUMSTANCES oi SOME PIECES OF YOURS WHICH 
HERR ARTARIA INTENDS ro SEND TO THE KING AT BERLIN? I WOULD 

LIKE TO HAVE AN EXPIANATION I-ROM YOURSELF, AND THEREFORE BEG 
YOU TO GIVE ME ONE. 

I hope that you do not perhaps intend to dedicate these Sonatas 3 
to His Majesty, either as quartets or for full band, because that 
would be contrary to all common sense; but I believe that you must 
mean the new Quartets, which I highly approve of, if this is what 
you intend to do. 

Please let me know about this, to allay my suspicions; I wouldn't 
want you thereby to disgust me altogether, for I have always been 
your sincere friend and will remain so. 

Your most obedient servant, 

Joseph Haydn. 

[Address :] Monsieur 

Monsieur d'Artaria 

et Compagnie 
a 

Vienne. 
[Artana's clerk notes: * 'Haydn lySy./ Esterhatz 27 February"] 

3 From the Concert Spmtuel, who must have offered to print the work or 

perform it from MS parts. 

2 KoNSTANTiN VON jACOBi (jACOBv), Prussian Minister to the Court at 

Vienna, was also on good terms with the Mozarts. See Leopold's letter of 

2ist February 1785 (Deutsch-Paumgartner, Leopold Mozarts Brief e an 

seme Tochter, Salzburg 1936, p 72) 

3 The Seven Word*. 



[To ARTARIA & Co., VIENNA. German] 

Estoras, yth March 1787. 
Dearest friend ! 

I have no objections to any of the negotiations you propose to 



17$7\ of Joseph Haydn 59 

undertake because of the Sonatas, 1 but motives of policy prevent my 
agreeing to the letter from the Concert Spirituel. 2 If you wish to 
make an offer in your name, I shall be quite satisfied. I approve of 
your holding back the engraving, and quite see the substantial and 
advantageous profits you will thereby gain. I am sincerely delighted 
for your sake, for I know that you will not be stingy with me on 
other occasions. Herr von Jacobi [sic] only wanted to know what 
work it was that you intended to dedicate to the King of Prussia, 
and I wrote to him that I believed it would be quartets. 

I send you herewith the first movement of the 3rd Quartet; 3 you 
will receive the others one of the next days. I am pressed for time. 

Your wholly obedient servant, 

Joseph Haydn. 
[No address.] 

1 Thc Seven Words. 
2 Scc previous letter. 
3 Prom Op 50 



[To WILLIAM FORSTER, LONDON. German] 

Estoras, 8th April 1787. 
Monsieur! 

After a long silence 1 must at last enquire after your health, and at 
the same time report that the following new works may be had of 
me, viz.: 6 elegant Symphonies; 1 a big pianoforte Concerto; 2 
3 small pianoforte Divertimenti for beginners, with violins and 
bass 3 ; a Sonata for pianoforte alone. 4 

A brand new work, consisting of purely instrumental music 
divided in 7 Sonatas, each Sonata lasting 7 or 8 minutes, together 
with an opening Introduction and concluding with a Terremoto, or 
Earthquake. These Sonatas are written around, and composed 
according to, the Words which Christ our Saviour spoke on the 
Cross, and arc entitled the Seven Words. 

The first Word: Pater, diinitte illis, quia nescumt, quid facmnt. 

The 2nd hodie mecum ens in Paradiso. 

The 3rd Mulier, Ecce films tuus. 

The 4th Deus meus, Deus meus, ut derehquisti me? 

The 5th Sitio. 

The 6th Consumatum est. 

The 7th In manus tuas commendo Spintum mcum. 



60 The Collected Correspondence [i7&7 

The conclusion follows immediately afterwards, i.e., The Earth- 
quake. 

Each Sonata, or rather each setting of the text, is expressed only 
by instrumental music, but in such a way that it creates the most 
profound impression even on the most inexperienced listener. The 
whole work lasts a little more than one hour, but there is a bit of a 
pause after each Sonata so that one can contemplate the following 
text. As far as the copying goes, all the Sonatas together require a 
little more space than one of my symphonies, and the whole work 
would take about 37 sheets. Item: I have, moreover, 3 brand new 
and charming Notturm 5 with violin obligato but not at all difficult 
flute, violoncello, 2 violins ripicno, 2 hunting horns, viola and 
contra basso. If you want anything of all these works, please be good 
enough to let me know at your earliest convenience, and also the fee 
you propose to give me. The 7 Sonatas are already copied, neatly 
and clearly, on small-sized music paper for mailing [klein(es) Post 
Papier]. Hoping for an answer I am, with esteem, 

Your wholly obedient servant, 

Joseph Haydn. 
Please answer in French. 

I hope to see you personally at the end of the year, but since I haven't 
heard from Herr Cramer 6 up to now, 1 shall accept an engagement 
to go to Naples this Winter. 7 But I am much obliged to you for your 
kind offer to put me up. 

[Envelope:] To Mr. Will. Forster, Musical-Instrument-Maker 
to the Prince of Wales, N. 348, Strand. 

[The letter is written on 3 pp. ; the 4th is blank : no envelope is bound in with 
the letter at present, but Pohl (H in L, p. 356) quotes the above address: perhaps 
at that time the envelope was still extant.] 

a The six "Pans" Symphonies (Nos. 82-87), written in 1785 and 1786 for the 
Concert de la Loge Olympique. 

2 The famous D major Concerto, known as "Op. 37", Hoboken XVIII: II. 
3 Probably earlier works : Haydn wrote numerous Divertimenti and Con- 
ccrtini for this combination of instruments, mostly about 1760. 
4 Possibly the piano Sonata No. 48 in C. 

5 This description is not clear: Haydn may refer to the Divertimenti which 
A r tana had issued as Op. XXXI (Hoboken X, 12, 3, 5, i, 4, 2) for flute, two 
violins, viola, bass and two horns; or (and this seems more likely) he may 
mean arrangements of some of the Concerti for 2 lyrae (a kind of hurdy- 
gurdy), 2 violins, 2 violas, 'cello (bass) and 2 horns which Haydn had com- 
posed for Ferdinand IV, King of Naples, in 1786. 

6 WiLHELM CRAMLR, born in Mannheim, came to London and made a con- 
siderable reputation for himself as leader, solo violinist and impresario. 



1787] of Joseph Haydn 61 

He almost succeeded in persuading Haydn to come to London at this time. 
7 The afore-mentioned Concert! had evidently so delighted Ferdinand that 
he had invited Haydn to come to Naples. 



[To HAYDN FROM FRIEDRICH WILHELM II, KING OF PRUSSIA. German] 
His Majesty, King of Prussia, &c., &c. is sensible of the mark of respect which 
Hen Kapellmeister Haydn, in sending him six new Symphonies 1 , again wishes to 
show to His Serene Majesty. They have especially pleased him, and there is no 
doubt that His Highness has always appreciated Herr Kapellmeister Haydn's works, 
and will appreciate them at all times. To provide concrete assurance of the same, 
he sends him the enclosed ring as a mark of His Highness' satisfaction and of the 
favour in which he holds him. 

F Wilhelm. 
Potsdam, 2ist April 1787. 

J The "Paris" Symphonies (Nos. 82-87). F r some curious reason Dies, 
and every later biography, substituted the word "Quartets*' for "Sympho- 
nies", and it was Hoboken who first discovered the correct text, as printed 
in the Wiener Zeitung on 6th June 1787; see Hoboken, p. 408. 



[To ARTARIA & Co., VIENNA. German] 

Estoras, 26th April 1787. 
Dearest friend ! 

Thank you many times for the unexpected 12 ducats a proof of 
your friendship, mine, and your efforts on my behalf. I hope to earn 
the same often by my diligence, especially if, as a true friend and 
honest man, you will candidly tell me who it was that offered you 
my new Symphonies; 1 I swear to you on my honour not to say a 
word about it; but as such a theft can be disastrous to me in the 
future, and might thereafter cause damage to you, too, your con- 
science should dictate to you to tell me the truth of the matter, so 
that I can discover this dangerous embezzlement in time : I assure you 
that I shall be eternally grateful to you. I therefore await with distress 
a speedy reply, and then I shall explain further about the Sympho- 
nies. I am, most respectfully, 

Your most obedient servant, 

Joseph Haydn. 

[No address: Artaria's clerk notes: "Haydn from Esterhaz/ 26 Apl 
!787/ans'd27ditto".] 

1 The "Pans" Symphonies (Nos. 82-87). As the next letter shows, Artaria 
must have been offered other symphonies, already known. 



62 The Collected Correspondence [178? 

[To ARTARIA & Co., VIENNA. German] 

Estoras, 2nd May 1787. 
Nobly born, 
Most highly respected Sir ! 

I was most delighted to hear of the falsehood concerning my 
Symphonies. I daily expect a letter from Paris: as soon as I receive 
the permission, you alone shall have the right to them. I enclose a 
letter from Wallerstein. 1 I would like to know, one day, who this 
Ludwig is, 2 but there's no hurry about it. In the next mail you will 
hear of a present which I received quite unexpectedly from a great 
man. 3 Meanwhile I am, most respectfully, 

Your wholly obedient servant, 

Joseph Haydn. 

P.S. A young Viennese composer by the name of Joseph Eybler 4 has 
composed 3 pianoforte Sonatas, not at all badly written, and has 
asked me to recommend them to you for engraving and publication. 
The young man is very promising, plays the pianoforte well, and 
knows a great deal about composition. If you wish to examine these 
works further, in order to guard yourself against loss, you can dis- 
cuss the details with him personally. He lives on the Hoher Markt in 
the Juden Gassl in the Lagenhof No. 500, 2nd floor, at Herr Hobert's, 
silvermaster. 
[No address] 

1 From someone in the service of Prince Oettingen- Wallerstein, with whom 

Haydn was in contact (sec supra, p. 33 and infra, p. 74). 

2 The man who offered Artana some of Haydn's symphonies (see previous 

letter). 

3 The ring from Fncdnch Wilhelm II (see supra, p. 61). 

JOSEPH EYBLER (1765-1846) was later Court Kapellmeister in Vienna. See also 

next letter. 



[To JOSEPH EYBLER, VIENNA. German] 

Estoras, 2nd May 1787. 
Well born, 
Most highly respected Sir ! 

I never received your first letter. The second, however which is 
not dated , I read with pleasure, and have sent a letter in today's 
mail to Herr Artaria, suggesting to him as warmly as possible (for 
you certainly deserve it) that he agree with your wish. In case you do 
not hear about this from Herr Artaria, be good enough to go and 



1 787] of Joseph Haydn 63 

see him personally, and then he will discuss the details with you. I 
consider it my obligation to serve you in any way I can, and am, 
with great esteem, 

Your most obedient servant, 

Josephus Haydn [m.p] ria. 
[No address on the other side of the sheet.] 



[To ARTARIA & Co., VIENNA. German] 

Estoras, ipth May 1787. 
Most worthy friend ! 

This is to inform you that I have already finished the 4th Quartet, 1 
and will certainly send it next Friday. Now here is something im- 
portant I have to tell you: you know that I received a beautiful ring 
from His Majesty, the King of Prussia. I feel deeply in His Majesty's 
debt because of this present, and for my part I can think of no better 
and more fitting way to show my thankfulness to His Majesty (and 
also in the eyes of the whole world) than by dedicating these 6 
Quartets to him; but you won't be satisfied with that, because you 
will want to dedicate the works yourself, and to someone else. But 
to make amends for this loss, I promise to give you other pieces free 
of charge. Let me know what you have to say to this. Perhaps we 
can both be satisfied. In haste, 

Your most obedient 
Joseph Haydn. 
[Address :] Monsieur 

Monsieur d'Artaria et 
Compag 
a 

Vienne. 
[Artaria's clerk notes: "Haydn, Giuseppe/ Esterhase/ 19 Mag /87".] 

1 From Op. 50. 



[To ARTARIA & Co., VIENNA. German] 

Estoras, lorhjune 1787. 
Dearest friend ! 

Since I shall complete the 5th Quartet this week, I assure you that 
you shall receive both Quartets in good order by a week from to- 
morrow, and finally the 6th in a short time. 



64 The Collected Correspondence [i7&7 

I read in the paper today that my Seven Words is already at the 
engraver's. Please send me only one single copy. I understand that we 
shall soon have the honour of seeing you here: this would give me 
great pleasure. 

Meanwhile I remain, most respectfully, 

Your wholly obedient servant, 
Josephus Haydn. 



[To ARTARIA & Co., VIENNA. German] 
Nobly born, 
Most highly respected Sir ! 

I have revised and corrected the Seven Words, not only for full 
band but also for quartet and piano score; but I cannot send it today 
with the Hussars because the parcel is too large, and so I shall send 
you everything, together with the 4th and 5th Quartets, 1 on Sunday 
at the latest, with the widowed Princess von Liechtenstein, 2 or 
Count von Lamberg. 3 I am sorry that the Berliners have anticipated 
you, but you are to blame for it yourself, for they did not receive it 
from me. 4 As for the dedication of the Quartets to His Majesty, the 
King of Prussia, I should prefer that you have it drawn up yourself 
by some intelligent person in Vienna, but brief and to the point. The 
Minister, Herr von Jacoby, 5 could assist you best of all. You can ask 
him in my name, too, and I shall write to the worthy gentleman 
myself this coining Thursday. 

Meanwhile you can announce the Quartets on your own sub- 
scription. 

If you want to have the first 3 Symphonies 6 from me, please let 
me know. Meanwhile I am, most respectfully, 

Your wholly obedient servant, 

Joseph Haydn. 
Estoras, 2ist June 1787 

[No address; Artaria's clerk notes: "Haydn Giuseppe/ die Esterhazi/ 
2ist June 87 / ans'd 5th July".] 

^rom Op. 50. 

PRINCESS VON LIECHTENSTEIN, apparently the wife of Joseph Wenzel (1696- 

1772), the celebrated general and statesman. 

3 CouNT VON LAMBERG, Prince Esterhazy's nephew. 

4 It is not quite clear to which work (or works) Haydn refers. The passage 

may refer to Hummel's first set of the Paris Symphonies, which he brought 

out in the same month (December 1787) as did Artaria; it seems unlikely, 

however, that Hummel would have announced the works half a year before 



1787] of Joseph Haydn 65 

he issued them. The Seven Words cannot be meant either, because Hummers 

edition of that work did not appear until after Artana's. 

5 See supra, p. 58. 

e Of the "Paris" set: see letter of 2nd August 1787. Artaria published them 

in sets of three each, as Op. 51 and 52. 



[To ARTARIA & Co., VIENNA. German] 

Estoras, 23rd June 1787. 
Dearest friend ! 

I send you the proofs of the Seven Words in all 3 forms. 1 Inter alia 
I compliment you on the piano score, which is very good and has 
been prepared with the greatest care. I should be happy if you could 
place the word "Fr lim" 2 of the 3rd Sonata in the first violin part 
of the version for full band, just as I have indicated it in the quartet 
version. I enclose the fourth Quartet, 8 you will quite certainly 
receive the 5th this coming week. 

I am, as always, 

Your most obedient servant, 

Haydn. 

N.B. The last movement, // Terremoto, is not engraved in the viola 
part at all. 

[No address: Artaria's clerk notes: "Haydn Giuseppe/ Esterhaze 
23rd June/ 8y/ ans'd 5th July".] 

1 See previous letters. 

2 It is unclear what Haydn means here : the Words which preface the third 

Sonata are "Mulier, Ecce films tuus", nor does "Fr lim ' stand for these 

words in French or German. 
3 From Op. 50. 



[To WILLIAM FORSTER, LONDON. French] 
Monsieur! 

I enclose the music composed after the Seven Last Words which 
Jesus Christ spoke on the Cross; I leave it to your judgement to send 
me what you think I deserve for it. 

I hope perhaps to have the pleasure of seeing you this Winter; 
meanwhile I am, Monsieur, respectfully, 

Your most humble and obedient servant, 

Joseph Haydn [m.p.] ria. 
Estoras, 28th June 1787. 



66 The Collected Correspondence [1787 

[No address on the letter (it was sent with the Oratorio in one parcel) ; 
the blank reverse side contains the date of arrival in London: "July 
i6th/p".] 



[To ARTARIA & Co., VIENNA. German] 

Estoras, I2th July 1787. 
Well born, 
Most highly respected Sir ! 

I send you herewith the 6th Quartet. 1 Lack of rime prevented my 
having the 5th copied up to now, but I have composed it meanwhile. 
I would have gladly sent you the Quartet version of the Seven 
Words, but there was no opportunity yet; I hope, however, to find 
one soon. 

I shall bring you the Symphonies 2 myself after St. Anne's Day. 3 
Meanwhile I am, most respectfully, 

Your most obedient servant, 

Joseph Haydn. 

[No address; Artaria's clerk notes: "Haydn Giuseppe/ Esterhaze 
I2th July/87".] 

1 From Op. 50. 

2 Thc first of the "Pans" Symphonies. 

3 July 26. 



[To JOHN GAixiNi, 1 LONDON. Italian] 

Estoras, ipth July 1787. 

... I acknowledge to have received your letter dated the 26th of 
last June and then, when I thought to have heard of your offers, you 
request once more to know my terms. So I tell you this: that I 
promise and commit myself to write a new opera and to assist at 
your concerts in Hanover Square, and my final demand for this is 
^500 Stirling [sic] and a free benefit concert. And in giving me that 
sum within a limited time, I shall be entirely at your service during the 
contract. If, on the other hand, you can agree with Mr. Cramer 2 and 
his Associates that between you the sum of 500 shall be made up, 
I will write a new opera for you, assist at your concerts in Hanover 
Square, and I will compose for Mr. Cramer and his Associates six 
pieces of instrumental music, and in that case, each of you must give 




g g -3 

t! O "* O ,5 

< 



O O *J 

JS J* g > 

H * i 



M ^ 

t rt - 
. T< JC / 




l>* * MA H07SF. or KlJVlrN TM1 AT<V , Hir 



J T 




IX The Kind's Theatre. Ha\ rn.irkc.-t. interior, reproduced with kind permission of the Ko\ a I 



of Joseph Haydn 67 

me a free benefit; so that if you choose to have me alone, I ask 
500 and only one free benefit. If, on the other hand, with Cramer 
&c., the same sum of . 500 and two benefits, i.e. one from you and 
another from Mr. Cramer and his Associates. If you come to an 
agreement with each other for this sum, I am ready to comply with 
your request, and as soon as it is settled, I oblige myself by these 
presents to execute the commission, and give you authority to 
announce my arrival in the public newspapers. I desire nothing more 
at present than the pleasure of knowing you personally, as I have 
hitherto by reputation, and look forward to putting my modest 
talents at your disposal. . . . 

Giuseppe Haydn. 

[From the English translation in Sotheby, Wilkinson 
& Hodge's Catalogue No. 569, of 1905.] 

I GALLINI, impresario and director of the Italian opera, later commissioned 
Haydn to write L'anima deljilosolo, in 1791 (see infra, pp. U5/., 126). 
2 WiLHELM CRAMER, see supra, p. 60. 



[To GEORG ANTON KREUSSER,* Kapellmeister TO THE Kurfurst 

von Mainz. German} 

Estoras, 28th July 1787. 
Nobly born, 
Most highly respected Sir, 

I take the liberty of asking you to be good enough to deliver in my 
humble name the two Symphonies 2 herewith enclosed to your 
gracious Prince and Serene Highness; and as he recently wanted to 
know the costs of all the music I sent him up to now, I beg to inform 
His Highness that the copying charges were 50 gulden, and for my 
undcrserving self I humbly suggest one hundred Taler. If this 
demand should seem in any way exorbitant to your most gracious 
Prince, I won't demand a Kreutzer. 3 I deem myself fortunate to 
enjoy the privilege of having His Highness condescend to listen to 
my humble efforts. 

I commend these two Symphonies to your profound insight; and 
with the hopes that they will be performed in a manner commensu- 
rate with the same, I am, Sir, with profound respect, 

Your wholly obedient servant, 

Josephus Haydn [m.] pria. 
[No envelope extant] 

J.H.-G 



68 The Collected Correspondence 1 787] 

1 KniussER was a well-known composer; his Symphonies and other works 
were widely circulated in manuscript and printed editions (e.g. Hummel). 
Adolf Sandberger, who first published the letter (see Sources), thought the 
letter might have been addressed to Johann Michael Schmid (or Schmidt), 
but he was a very old man in 1787 (if in fact he was still alive), and Kreusser 
was undoubtedly the recipient. 

2 Either two of the "Paris" Symphonies (Sandberger's and Larsen's opinion) 
or Symphonies Nos. 88 and 89 (1787) (Hoboken's opinion). In view of the 
fact that Haydn was offering the "Pans" Symphonies to many publishers 
and individuals at this time, I consider Sandberger's and Larsen's suggestion 
the more plausible of the two. 
3 I.e. f "I won't demand a farthing." 



[To ARTARIA & Co., VIENNA. German] 

Estoras, 2nd August 1787. 
Well born, 
Most highly respected Sir ! 

Last time I forgot to indicate the order of the Symphonies, 1 which 
should be engraved as follows: the Symphony in A Number i, in 
Bb No 2, in g [minor] No. 3, in Eb No. 4, in D No. 5, in C No. 6. 

You can print the first 3 in 3 months, as you have promised, but 
if at all possible I would ask you to wait a little with the last 3. 

You must tell the person to whom you will give the Symphonies 
for copying emphatically not to pass them on. 

Now may I ask you, if it is possible, to have the piano score of the 
Seven Words copied for one of my special friends; I promise you on 
my honour that you will not suffer the least damage because of it. I 
shall pay for the copying at once. Please send me the portraits of 
Morichelli and Salieri. 2 Meanwhile I remain, most respectfully, 

Your most obedient servant, 

Jos: Haydn. 
[Address :] Monsieur 

Monsieur d'Artaria et 
Compag. 
a 

Vienne. 
[Artaria's clerk notes: "Haydn Giuseppe/ Esterhaze 2 Agt/S/'.] 

1 The "Pans" Symphonies. Artaria's order is possibly the order in which 
they were written, i.e. 87, 85, 83, 84, 86, 82; 87 and 83 are dated 1785 on 
the autographs, 84, 86 and 82, 1786; the complete MS. of 85 has not sur- 
vived. 
2 The famous soprano, ANNA MORICHELLI, who later sang in Haydn's benefit 



of Joseph Haydn 69 

concert (sec p. 306) and the Court Kapellmeister Antonio Salien (1750-1825), 
both of whose portraits (engraved, as had been Haydn's, by Mansfeld) 
Artana had published. 



[To WILLIAM FORSTER, LONDON. French] 
Monsieur, 

I hope that you will have received my last letter [28th June], and 
the music of the Seven Words. I would like to inform you that I have 
composed six Quartets and six Symphonies, 1 which I have not yet 
given to anyone. If you would like them, be good enough to let me 
know it at your earliest convenience. I will give you all twelve pieces 
for twenty-five guineas. I am, with all possible esteem, 

Your most humble servant, 

Joseph Haydn. 
Estoras, 8th August 1787. 
[Address:] [postal stamp "Au[g] 25", the date of arrival in London] 

To M r Forster Musical 
Instrument-Macker, to the 

Prince of Wales. 
N ro 346 [sic] a 
in the Strand 

London. 

Quartets Op. 50 and the "Pans" Symphonies. Forster took them both. 



[To ARTARIA & Co., VIENNA. German] 

Estoras, i6th September 1787. 
Nobly born, 
Most highly respected Sir ! 

Because no safe opportunity presented itself, I could not send the 
enclosed Quartet 1 before. Now, thank God ! I am glad that I finished 
them at last. 

Please send the proofs of the first [Quartets] of the series for 
correction as soon as possible. 
I am, most respectfully, 

Your wholly obedient servant, 
Joseph Haydn [m.] pria. 
[No address] 

fifth of Op. 50. 



70 The Collected Correspondence [1787 

[To WILLIAM FORSTER, LONDON. French] 
Monsieur! 

I received your letter with much pleasure. I would inform 
you that I have received five guineas from Mons. le General Jerming- 
ham, 1 but you must see yourself that for music such as that of the 
Seven Words I deserve more; you could give me at least five guineas 
more. 2 Meanwhile I send you the six Quartets, 3 for which you will 
be kind enough to send me twenty guineas as soon as possible, as 
stipulated in the contract. I shall not fail to send you the six Sympho- 
nies 4 at the first opportunity. I await the favour of your early reply, 
and remain with afl possible esteem, Monsieur, 

Your most humble and obedient servant 

Joseph Haydn [m.p.] ria. 
Estoras, 20th September 1787. 

[No address, since the letter was sent with the Quartets in a parcel ; on the other 
side of the sheet, Forster or one of his clerks has written: 'with Haydn's 4 tos 
[quartettos] Op. 44", the Op. No. under which Forster published them.] 

J See supra, p. 55 (56). 

2 Forster seems to have paid Haydn the additional five guineas; in the firm's 
account book is the note: "July 1787. Rec d of Haydn M.S.S. of the Cruci- 
fixion published with title of 'Passion'. Ten guineas was paid for this instru- 
mental piece; and the Postage cost fifteen Shillings" (Sandys and Forster, 
The History of the Violin, London 1864, p. 310). 

3 Op. 50. Forster made Haydn sign a contract. The following interesting 
letter from Charles Jermingham throws some light on the negotiations : 
"Sir/I received Your favour 21 ins. 1 & send here inclosed a letter for M r 
Giuseppe Hayden to whom I have written very circumstantially & inclosed 
to him a procuration which he is to gett drawn up either in French, German, 
or Latin, & authenticated by two wittnesscs & a pubhck notary, which 
gives it full force in all Countries; you may depend on it that what I have 
sent to M r . Hayden is to the full as strong as the letter of Attorney you sent 
me in which theres nothing but a repetition of words. If you receive from 
Hayden a letter for me send it to Lady Jerminghams in Grovener [sic] 
square she will take care I get it[.] when Hayden has sent you his procuration 
to print his musick lett me know it and am Sir Your most obed 1 humble 
serv* Charles Jermingham. Cawsey August 24th 1787." 
4 The "Pans" Symphonies. 

[To ARTARIA & Co., VIENNA. German] 

Estoras, 7th October 1787. 
Mon ires cher amy, 

I shall send you the Quartets, 1 at the very first opportunity, and 
I shall be playing through them today; I cannot send them in the 
mail bag. I was astonished at your penultimate letter concerning the 



17 $7\ of Joseph Haydn 71 

theft of the Quartets. 2 1 assure you on my honour that they were not 
copied by my copyist, 3 who is a most honest fellow, whereas your 
copyist is a rascal, for he offered mine 8 gold ducats this Winter if he 
would give him the Seven Words. I am sorry not to be in Vienna 
myself so as to have him arrested: My plan would be to make Herr 
Lausch appear before Herr von Augusti, the mayor, and make him 
confess from whom he received the Quartets. Herr von Augusti is an 
old friend of mine and will certainly help you in this matter, as he 
did once before in just such an affair. Although you have everything 
copied on your own premises, you may be swindled all the same, 
because the rascals put a piece of paper aparte under the music, and 
thus by degrees they secretly copy the part they have in front of 
them. I am sorry that this misfortune happened to you. In future I 
shall take the precaution of sending my own copyist up to you. I am, 
most respectfully, 

Your wholly obedient servant, 

Haydn. 
[Address :] Monsieur 

Monsieur d' Artaria et 

Compag 
a 

Viennc. 

[Artaria's clerk notes: "Haydn Giuseppe/ Esterhazc yth Oct/ 1787 
ans'd 25th Oct."] 

1 The proofs of Op. 50. 

2 L. LAUSCH, a well-known Viennese music copyist who sold MS. copies of 
the newest works of Haydn, Mozart, etc., seems to have bribed someone to 
get the Quartets (Op. 50) which Artana was in the process of publishing. 
Apparently Artaria felt that die sale of these copies, even though in MS., 
was detrimental to liis business. In a letter to Artaria of 1 8th August 1788, 
Haydn's old friend Dittersdorf (see supra, p. 21) offers some new quartets, 
and adds in a P.S. "I must add that no one has the quartets (not like the 
Hayden Quartets you printed, which not only the Prince here, but various 
other people had bought long before in MS. copies, on subscription, for 
6 J [ducats]) . . ." (Artana-Botstiber, p. 43). 
3 Probably Johann or Joseph Elssler Jr. 

[To ARTARIA & Co., VIENNA. German] 

Estoras, 22nd November 1787. 
Nobly born, 
Most highly respected Sir ! 

I regret that it was not till today that I had a safe opportunity by 



72 The Collected Correspondence 

which I could return to you the corrected Quartets and Symphonies. 1 
Concerning the lie of Herr Bartolozzi, or rather the true cavalier 
of Verona, 2 1 don't know whether I should laugh or be angry, since I 
am grateful to the Lord when I am able to complete my works once 
in my handwriting; these are boastful and wild imaginings, and such 
falsifications attempt to belittle my credit. In the end I won't publish 
anything at all. Meanwhile I am, Sir, most respectfully, 

Your wholly obedient servant, 

Josephus Haydn. 
[Address :] Monsieur 

Monsieur Artaria et 
Compag. 
^ 

Vienne. 

Together with a parcel of music 
[Artaria's clerk notes: "Haydn di / Esterhaze 2(recte:22) Nov./ 

1787".] 

J Op. 50 and the "Pans" Symphonies. 

Probably GAETANO BARTOLOZZI, the well-known artist and engraver, who 
lived in London and with whom Haydn later became friends. See also p. 
265. The clause "des sicheren Cavaliers aus Verona" may be a paraphrase of 
some play or Singspiel (a translation of Shakespeare's Two Gentlemen of 
Verona*). Bartolozzi must have informed Artaria of Forster's forthcoming 
edition of the new Quartets (see next letter), and said that Haydn had sent 
a second autograph to London. Forster had received parts, of course. 



[To ARTARIA & Co., VIENNA. German] 

Estoras, 27th November 1787. 
Nobly born, 
Most highly respected Sir ! 

You will forgive me, good Sir, that I have been unable to answer 
you sooner, for want of a good opportunity. You want me to give 
you a certificate [,4tfe$] for the 6 Quartets: I enclose it herewith. It is 
not true, however, that I gave a separate certificate to Herr Forster, 
giving him the sole rights to these works ; but it is true that I sent one 
to him after the Quartets had already been engraved. It's your own 
fault, because you could have sent the Quartets to Herr Langmann 1 
3 months ago, and at the same time given him the sole rights. But 
your having held them back derives from your own great selfishness : 



oj 'Joseph Haydn 73 

no one can blame me for attempting to secure some profit for myself, 
after the pieces have been engraved: for I am not properly recom- 
pensed for my works, and have a greater right to get this profit than 
the other dealers. Therefore you will see that the contracts between 
us are more carefully drawn up, and I that I am sufficiently remu- 
nerated. If you lose GENERALLY because of this, however, I shall find 
a way to compensate you in another way. Meanwhile I remain, with 
the greatest esteem, Sir, 

Your most obedient servant, 

Joseph Haydn. 
[Artaria's clerk notes: "Haydn Giuseppe / Esterhaze 2yth Nov. 



LONGMAN & BRODERIP, Artaria's London associates, later published many 
of Haydn's late pianoforte trios, etc. 



[To FRANZ ROTH (Ron), 1 Oberverpflegs-Verwalter, PRAGUE. German] 

December lySy. 2 

.... You ask me for an op era buffa. Most willingly, if you want to 
have one of my vocal compositions for yourself alone. But if you 
intend to produce it on the stage at Prague, in that case I cannot 
comply with your wish, because all my operas are far too closely 
connected with our personal circle (Esterhaz, in Hungary), and 
moreover they would not produce the proper effect, which I cal- 
culated in accordance with the locality. It would be quite another 
matter if I were to have the great good fortune to compose a brand 
new libretto for your theatre. But even then I should be risking a 
good deal, for scarcely any man can brook comparison with the 
great Mozart. 

If I could only impress on the soul of every friend of music, and 
on high personages in particular, how inimitable are Mozart's works, 
how profund, how musically intelligent, how extraordinarily sensi- 
tive! (for this is how I understand them, how I feel them) why 
then the nations would vie with each other to possess such a jewel 
within their frontiers. Prague should hold him fast but should 
reward him, too; for without this, the history of great geniuses is sad 
indeed, and gives but little encouragement to posterity to further 
exertions; and unfortunately this is why so many promising intellects 
fall by the wayside. It enrages me to think that this incomparable 



74 The Collected Correspondence [i 787 

Mozart is not yet engaged by some imperial or royal court ! Forgive 
me if I lose my head: but I love the man so dearly. I am, &c. 

Joseph Hay den [sic]. 

N.S. My respectful compliments to the Prague Orchestra and all 
the virtuosi there. 

1 RoiH (or more probably Rott, as in Dlabacz) held concerts several times a 
year in his house in Prague. See Schonfeld, Jahrbuch der Tonkunstfur Wien 
und Prog, 1796, p. 140; Dlabacz, Ktinstlcr-Lexicon fur Bbhmen, Prague 1815, 

U. 597- 

2 The letter, first printed in Nicmetschek's Mozart (Prague 1798, pp. 5i/.) 
and later that year in the Allgemeine Musikaluche Zeitung, is not dated more 
exactly. The autograph has not survived. 



[To FERDINAND MULLER VON MuixEGG, 1 VIENNA. German} 

Estoras, 3rd February 1788. 
Nobly born, 
Most highly respected Herr von Miiller ! 

The appreciation which His Highness the Prince von Oettingen 
has shown for my modest compositions is of the greatest possible 
value to me, and I only regret that at present I cannot have the great 
pleasure of writing the 3 Symphonies that are demanded, because I 
now have to compose 6 Notturni for His Majesty the King of 
Naples 2 and a new opera 3 for my gracious Prince. But when these 
works are finished, I shall make every effort to compose the 3 
Symphonies, for which I do not presume to set a price, but beg to 
leave this entirely to the discretion of His Most Serene Highness the 
Prince. For the oratorio, 4 which I recently improved by adding two 
new choruses, I beg to ask 16 ducats, five of which I must pay the 
copyist. Should I be fortunate enough to receive the gracious 
approval of some of these proposals, I shall then await further com- 
mands. Meanwhile I am, Sir, in profound submission, 

Your most obedient servant, 
Joseph Haydn. 

FERDINAND MULLER VON UND zu MULLEGG (c. 1758-1824) was an ardent 
amateur musician and, among other things, Prince Oettingen-Wallerstein's 
Court Agent in Vienna. On i6th January the Prince had written to von 
Miiller concerning the oratorio and 3 new Symphonies, which (said the 
Prince) "no one should own except me". See letter off. iyth October 1789. 
This and the following notes are based largely on Diemand, 'Joseph Haydn 
und der Wallersteiner Hof ' (Zeitschrift des historischen VereinsfUr Schwaben 
undNeuburg, Band 45 [1920-1922), pp. 



1 788] of Joseph Haydn 75 

FERDINAND IV. Haydn delivered the Notturm in 1790, when Ferdinand 

was visiting his royal relatives in Vienna. 

8 This is possibly a white he, because Haydn wrote his last opera for the 

Prince in 1784 (Armida). 

4 The oratorio was // ritorno di Tobia (1774-1775) : the score is still preserved 

in the Oettingen-Wallerstein Archives, Harburg Castle. 



[To ARTARIA & Co., VIENNA. German] 
Nobly born, 
Most highly respected Sir ! 

Please don't take it amiss that through lack of time I couldn't 
write to you myself recently 1 about the Oratorio. Should the 
Oratorio be copied already (which I trust is the case), please give it 
to our porter, from whom I shall receive it safely. Send him the bill 
for the copying costs at the same time, which I shall repay at the 
first available opportunity. By the way, I am very much obliged to 
you for the excellent cheese you sent me, and also for the sausages, 
for which I am your debtor; But I shall not fail to return the obliga- 
tion, when an opportunity offers. 

Please also send me C. P. Emanuel Bach's last two pianoforte 
works. 2 Meanwhile I remain, Sir, most respectfully, 

Your most obedient servant, 

Joseph Haydn. 
Estoras, i6th February 1788. 
[Address :] Monsieur 

Monsieur d'Artaria et Compag 
a 

Vienne. 
Please expedite. 

*Haydn got his brother, Johann, who was a tenor in the Esterhdzy choir, 
to write. The letter (Stadtbibihothek, Vienna, cat. 69610) reads: "Nobly 
born and highly respected Sir, At the request of my brother, Cappell 
Meister Hayek, I take the liberty of asking you to send me the Seven Words 
for the pianoforte, in his arrangement; you should give it, marked with my 
address, to Herr Rosenhaum, Prince Esterhdzy's porter. My brother will 
sec to the payment, and he has permitted me in the future to ask in his name 
for those pieces which I require. He will confirm this when he pays you his 
next visit. Hoping to receive the piece soon, I remain, Sir, &c. Johann 
Haydn. Eisenstadt, pth December 1787." 
2 C.P.E. Bach, who died in December 1788, published only one work with 



76 The Collected Correspondence [1788 

Artaria: Six Sonatas for Harpsichord (pi. no. 181). Haydn, however, prob- 
ably referred to the recent German editions of the 5th and 6th collections of 
Clavier-Sonaten (1785 and 1787 Wotquenne 59 and 61), or the Seeks 
neue Sonatinen, 1787 (Wotquenne 63). 



[To WILLIAM FORSTER, LONDON. German] 

Estoras, 28th February 1788. 
My very dear Mans: Forster! 

Don't be angry at me that you have disagreeableness with Herr 
Langmann. 1 1 shall make it up to you another rime. It's not my fault 
but the usurious practices of Herr Artaria. This much I can promise 
you: that as long as I live neither Artaria nor Langmann shall have 
anything from me, directly or indirectly. I am too honest and 
straightforward to want to hurt your feelings or to damage you. But 
you certainly must realize that whoever wants to have the exclusive 
rights for 6 new pieces of mine must pay more than 20 guineas. In 
fact I have recently signed a contract with someone who pays me 
100 and more guineas for each 6 works. I shall write you more about 
this another time. Meanwhile I am, with great respect, 

Your wholly obedient servant, 

Joseph Haydn. 
[Address:] [postal stamp "M[a]r 15", the date of arrival in London] 

To M r Forster Musical 

Instrument-Macker to the Prince 

of Wales. N ro 348 in the Strand. 

a 

London. 
1 Recte: Longman ( & Brodenp): see supra. 



[To ARTARIA & Co., VIENNA. German] 

Estoras, 22nd May 1788. 
Dearest friend ! 

I would be unjust and ungrateful if I were to throw away your 
friendship so boorishly. I shall never forget that you gave me pre- 
ference over many, though I well know that I occasionally deserved 
it more than the others; as soon as my present affairs are completed, 
you shall have some of my works, as before. If you were to write me 
before your departure, so that I could answer it in time, I should be 



1788] of Joseph Haydn 77 

pleased for a number of reasons. My time is too short today. I am, as 
always, most respectfully, 

Your wholly obedient servant, 
Josephus Haydn. 



[To ARTARIA & Co., VIENNA. German] 

Estoras, loth August 1788. 
Well born, 
Most highly respected Sir ! 

My manifold affairs have prevented me from writing my long- 
overdue answer to your last letter. I repeat that it will always be a 
pleasure to supply you with my works. Since I am now in a position 
where I need a little money, I propose to write for you, by the end 
of December, either 3 new Quartets or 3 new pianoforte Sonatas 
with accompaniment of a violin and violoncello. I would ask you, 
for your part, to send me an a conto of 25 gold ducats next Wednes- 
day by our outgoing Hussars. You can leave the letter and the money 
with our porter Wednesday morning. Meanwhile the present letter 
should serve as your security. You shall have the receipt on the 
coming Monday. Of course it is understood that I shall then com- 
plete the other 3 Quartets, or pianoforte Sonatas, so that the edition 
will comprise half-a-dozen, as usual. NB. For 6 Quartets the 
previous sum of one hundred ducats, for 6 pianoforte Sonatas 300 fl. 
In the hope of a favourable answer, I am Sir, most respectfully, 

Your most obedient servant, 

Josephus Haydn. 
[Address :] Monsieur 

Monsieur d'Artaria et Compag 
a 
Vienne. 



[To ARTARIA & Co., VIENNA. German] 

Estoras, I7th August 1788. 
Well born, 
Most highly respected Sir ! 

Many thanks for the 25 ducats which you sent me. The zeal I shall 
bestow on the 3 pianoforte Sonatas 1 with accompaniment of a violin 



78 The Collected Correspondence [1788 

and violoncello which you want, shall be a guarantee of my wish to 
retain your friendship in the future. Meanwhile I am, Sir, most 
respectfully, 

Your most obedient servant, 
Josephus Haydn. 

1 Nos. 11-13 of the chronological list: Artaria published them in July 1789 
as Op. 57 (pi. no. 239). 



[To ARTARIA & Co., VIENNA. German] 

Estoras, 2pth August 1788. 

[No copy available : the only known reference to this letter occurs in 
a Parisian antiquarian bookseller's catalogue of 1887.] 



[To ARTARIA & Co., VIENNA. German] 

Estoras, 22nd September 1788. 
Monsieur 
et mon trcs cher Amy! 

A few days ago I was told that you, my dear Sir, were supposed to 
have purchased from Herr Tost 1 my very newest 6 Quartets and 
2 new Symphonies. Since I would like to know, for various reasons, 
if this is true or not, I would ask you to let me know on the next post- 
day. I remain, Sir, most respectfully, 

Your most obedient servant, 

Joseph Haydn. 
[Address :] Monsieur 

Monsieur d' Artaria et compag: 
a 
Vienne. 

^OHANN TOST, violinist in the Esterhdzy band, who went on a journey to 
Pans about this time, taking with him the 6 Quartets Op. 54 and 55, and 
two new Symphonies, Nos. 88 and 89. Tost, when he returned to Vienna 
in 1789 or 1790, married a rich wife and became a well-known merchant 
(Grosshandlungs-Gremialist) and patron of chamber music. Both Haydn and 
Mozart wrote some of their loveliest works for him. See Larsen, p. 114 n. 
56, and Hoboken's address in Das Archiv fur Photogramme (brochure pub- 
lished by the Osterreichische Nationalbibliothek, Vienna 1958, pp. 37/.) f 
for the most recent research on the subject. 



i J88] of Joseph Haydn 79 

[To ARTARIA & Co., VIENNA. German] 

Estoras, 26th October 1788. 
Well born, 
Most highly respected Sir ! 

In order to compose your 3 pianoforte Sonatas particularly well, 
I had to buy a new fortepiano. Now since no doubt you have long 
since realized that scholars are sometimes short of money and that 
is my situation at present I should like to ask you, Sir, if you would 
be kind enough to pay 3 1 gold ducats to the organ and instrument- 
maker Wenzl Schanz, who lives on the Leimgruben at the Blauen 
Schifjf] N- 22; which 31 ducats I shall repay to you, with thanks, 
by the end of January of the coming year 1789. To convince you that 
I shall keep my word, I have enclosed a small promissary note which 
I have recalled today. But should you have any doubts of my 
integrity, I shall send you on the next post-day a bond for a thousand 
Gulden signed by my Prince himself. I don't like to be in debt to 
tradesmen, and thank God! I am free of such burdens; but since 
great people keep me waiting so long for payment, things have 
come to a standstill. Meanwhile this letter should be your security, 
and shall be valid in any court. I will pay off the interest in cash. 1 
Confident that you will not refuse my request I wrote to the organ- 
builder, who will quite certainly come to get his money. 

Please excuse this liberty: it is bestowed on a man who is grateful, 
and will ever remain 

Your most obedient servant, 
Joseph Haydn 
Capell Meister. 

P.S. I shall have the pleasure of seeing you in Vienna towards the 
end of December. 
[Address :] Monsieur 

Monsieur d'Artaria et 
Compag. 
a 

Vienne. 

[Artaria's clerk notes: "Heydn [sic] Giuseppe/Esterhaze 26th Oct/ 
I788/ ans'd 30th ditto".] 

1 Haydn writes "mit Notten ersetzen", which may mean either "in [bank] 
notes", i.e. cash, or "with music". 



8o The Collected Correspondence [1788 

[To ARTARIA & Co., VIENNA. German] 

Estoras, i6th November 1788. 
Well born, 
Most highly respected Sir ! 

Many thanks for the correct payment which you made in my 
name to Herr Schanz. I shall keep my word punctually, not only as 
to the repayment but also as to the 3 new Sonatas, of which one and 
one-half are already completed. Meanwhile I remain, respectfully, 

Your most obedient servant, 

Joseph Haydn. 

[Address "as always" note on PohTs MS. copy, the earliest pre- 
served source.] 



[To ARTARIA & Co., VIENNA. German] 

Estoras, 8th March 1789. 
Well born, 
Most highly respected Sir ! 

The abrupt decision of my Prince to leave Vienna, which he hates, 
caused my hasty departure for Estoras, and prevented my being able 
to take leave of the greater number of my friends; I hope that you, 
too, will therefore forgive me. On the day of my departure I was 
seized with such a violent catarrh that for three whole weeks I was 
of no use to anyone, but now thank God ! I feel better. I promise 
to send the 3rd Sonata 1 in a week, and enclose herewith the two 
signatures you requested. As to the other works some of which I 
have finished I shall inform you another time. Meanwhile I am, 
dear Sir, most respectfully, 

Your most obedient servant, 

Josephus Haydn. 

[No address; Artaria's clerk notes: "Heydn Giuseppe/ Esterhaze 8. 
Marzo/1789".] 

J The last of the three pianoforte Trios: see supra, p. 77 (78). 



[To JOHANN TRAEG, 1 VIENNA. German] 

Estoras, 8th March 1789. 
Well born, 
Most highly respected Sir ! 

This is to inform you that the new pianoforte Sonata which Herr 



of Joseph Haydn 81 

Breitkopf requested 2 shall be finished by the coming week. You will 
therefore be good enough to let me know to whom I should address 
the sonata, and who shall pay me the 10 ducats upon delivery of the 
same. I hope to receive a satisfactory reply and am, most respectfully, 

Your most obedient servant, 
Josephus Haydn [m.p] ria. 
Capell Meister von 
Flint Esterhazy. 
P.S.: You need only leave your letter at the porter's in the Prince's 

mansion; a carriage leaves almost daily. 
[Address:] 

Dem Wohl Edlen Herrn Johann 
Traeg Musicalien Handler zu 
zustellen. 3 

auf den Hohcn Marck[t] in 
N ro 423 in Wienn. 

4 tn Stock 



TRAEG, one of Vienna's busiest copyists, later became a music 
publisher. 

2 CHRISTOPH GOTPLOB BREITKOPF had made a journey to Austria in the 
autumn of 1786, and had intended to visit Haydn mEsterhaza; the composer 
happened to come to Vienna in December, however, and Breitkopf met 
him there. On 10 January 1789, Breitkopf wrote a letter to Haydn. The 
letter no longer exists, but we can quote a summary of it (Hase, pp. 3^!) 
Breitkopf writes that "he would like to have a new pianoforte Sonata, one 
which has never before been printed, to include in a collection of various 
pieces of music which he [Breitkopf] is putting together. As a recommenda- 
tion for the whole undertaking, he would like to have an original composi- 
tion by Haydn, even if it is only one movement. Haydn can choose his own 
fee, and the Sonata must be in his hands by March at the latest, because he 
intends to start the publication in that month ... He asks if Haydn would 
not do him the honour of giving his firm other compositions, and if so, 
would [Haydn] not write six pianoforte Sonatas; he can choose his own 
fee for these works, too." Haydn chose the Sonata No. 48 in C which, 
however, he could not send until 5th April (see letter, infra). The Sonata 
was published as the first number of "Musikahscher Pot-Pourri". In all 
these dealings, Traeg acted as the go-between. 
3 "To be delivered to . . ." &c. 



[To JOSEPH EYBLER, 1 VIENNA. German] 

Estoras, 22nd March 1789. 
Dearest Mons. Eybler \ 

Thank you so much for all your good wishes: I return them all to 



82 The Collected Correspondence 

you with my whole heart. I was pleased to hear of the good reception 
of your Symphony and regret that I could not be there as an eye- 
and ear-witness, but I hope to hear it in Vienna. Now, my dear 
friend, I would ask you to write 3 new Dance Minuets for me, but 
including a Trio with each one. I shall tell you the reason for my 
request myself, by and by; meanwhile I can only say that these 3 
Minuets are intended for one of my best friends, and that you must 
not give them to anyone else beforehand, much less have them per- 
formed. Sed hoc inter nos. 

You can tell Herr Humel 2 that 2 of my Symphonies, which I 
composed for Herr Tost, 8 will soon appear in print. The other two, 
however, will not appear for a few years. Please excuse this hasty 
note, but this is the loth letter I have to mail. Meanwhile I am, most 
respectfully, 

Your most sincere friend and servant, 

Jos: Haydn. 

Please send my affectionate greetings 4 to the 2 great men, Mozart 
and Albrechtsberger. 6 
[Address :] Monsieur 

Monsieur Joseph Eybler 
Maitre de la Musique 

in der Kohlmesser 

gasse N r : 668 im a 

2 ta Stock Vienne. 

1 See supra, p. 62. 

2 Huimnel, the Berlin music publisher. 

3 Symphonies Nos. 88 and 89: see supra, p. 78. 

4 "Kussen Sie stat meiner". 

5 JOHANN GFORG ALBRECHTSBERGER (1736-1809), a well-known composer 

and theorist ; especially esteemed for his knowledge of counterpoint. He 

was one of Haydn's oldest friends, and had played 'cello in the quartet 

parties at Schloss Weinzierl, where Haydn first performed his early string 

Quartets. 



[To ARTARIA & Co., VIENNA. German] 
Estoras, 2pth March 1789. 
Mon tres cher amy! 

I send you herewith the 3rd Sonata, 1 which I have rewritten with 
variations, to suit your taste. Please hurry the engraving of all 3 
as best you can, because many people are anxiously awaiting the 



1 7$9\ of Joseph Haydn 83 

publication. In my leisure hours I have completed a new Capriccio* 
for the pianoforte which, from its taste, singularity and careful 
execution cannot but fail to be received with approbation from 
professional and non-professional alike. It's only one piece, rather 
long, but not all too difficult; since I always give you the preference 
in my works, I now offer it to you for 24 ducats: the price is rather 
high, but I assure you a profit on it; since in any case I am your 
debtor, you can deduct the sum from the debt. In awaiting your 
opinion, I remain, most respectfully, 

Your most obedient servant, 

Joseph Haydn. 
[Address :] Monsieur 

Monsieur d'Artaria et 
Compag 
With a roll of music 

Vienne. 

[Artaria's clerk notes: "Heydn Giuseppe / Esterhaze 29.Marzo/i789/ 
ans'd2Apl.".] 

Pianoforte Trio (see supra, p. 77 (78). 

2 The Fantaua in C, which Artaria published as Op 58 (pi. No. 250) in 
September; an advance copy was sent to Haydn two months earlier (see 
letter of 5th July 1789) 



[To CHRISTOPH GOTTLOB BREITKOPF, LEIPZIG. German] 

Estoras, 5th April 1789. 
Well born, 
Most highly respected Sir ! 

Through Herr Tracg 1 I am sending you the new pianoforte 
Sonata, fully hoping that it will meet with the musical world's 
approbation. I have received the 10 # [ducats] in good order, for 
which I thank you. As for the other demands in your letter, I cannot 
accomodate you because I am simply overloaded with work. I would 
only ask for a clean engraving, and that you send me a few copies. 
Meanwhile I remain, most respectfully, 

Your most obedient servant, 
Joseph Haydn. 

I would ask you at your convenience to send me a few English en- 
gravings, but beautiful ones, for I am a great admirer of them; I shall 
repay you gratefully by something of my work. 
J.H.-H 



84 The Collected Correspondence [i7&9 

1 Scc the commentary on Haydn's letter to Traeg of 8th MarchjySp. The 
passage in the present letter concerning "the other demands" may be 
explained as follows : we have seen that Breitkopf wanted Haydn to write 
six new Sonatas. Haydn seems to have told Traeg that he would do so, and 
that the price would be do ducats; if pianoforte Trios, his price would be 80 
ducats, but this time he would give them to Breitkopf for only 70. Breitkopf 
thereupon announced the six pianoforte Sonatas m February 1789 on a 
subscription basis, and wrote to Haydn in March reminding him of the 
works. As it happened, the response to the subscription was not very 
promising, and Breitkopf subsequently (June 1789) asked Haydn to send 
two rather than six Sonatas, which would be included in further numbers 
of the "Pot-Pourri". But nothing came of this new plan, either. (Hase, 
PP-4/-) 



[To JEAN-GEORGES SIEBER, PARIS. German] 

Estoras, 5th April 1789. 
Monsieur! 

I am very surprised not to have received a letter from you, because 
(as Herr Tost 1 wrote to me a long time ago) you are supposed to 
have purchased 4 Symphonies and 6 pianoforte Sonatas for one 
hundred Louis d'or : as far as I am concerned, I regret being bound to 
Herr Tost for the 4 Symphonies, because he still owes me 300 f 
[Gulden] for the 4 pieces. If you will take over this debt of 300 f, I 
guarantee to compose these four Symphonies for you; but Herr Tost 
has no rights at all to the six pianoforte Sonatas, and has thus swindled 
you; you can claim your damages in Vienna. Now I would ask you 
to tell me candidly just how, and in what fashion, Herr Tost behaved 
in Paris. Did he have an Amour there? And did he also sell you the 
6 Quartets, and for what sum? Please let me know all this as soon as 
possible. Meanwhile I remain, most respectfully, 

Your wholly obedient servant, 

Josephus Haydn. 

[Address:] Monsieur Sieber 

Marchand de la Musique, 
Paris. 

1 With this letter the affaire Tost, to which Haydn had previously referred 
in a letter to Artaria (see supra, p. 78), becomes even more mysterious. Tost 
had with him Symphonies Nos. 88, 89 and six Quartets (known as Op. 54 
and 55). Haydn never denied Tost's rights to these works, and obviously 
expected Tost to sell them, as the end of the present letter shows. But how 
the two Symphonies suddenly became four is most unclear. Perhaps Haydn 
intended to write two more for Tost. (See also the passing reference to the 
four works in the letter of 22nd March, supra.) In 1788 and 1789, Haydn 



1789] of Joseph Haydn 85 

did in fact compose three new Symphonies (Nos. 90-92), but he dedicated 
them to the Comte d'Ogny in Paris, and they were patently intended for the 
Concert de la Loge Olympique, for which he had written the "Paris" Sym- 
phonies. The affaire Tost is further complicated by the fact that Tost seems 
to have sold Sieber a Gyrowetz Symphony under Haydn's name (Sym- 
phony in G: see Larsen, p. 115 and Landon, p. 3). The six Sonatas are 
possibly Nos. 33, 34 and 43 together with 40-42; three, however, may have 
been Nos. 44-46, earlier works which Artaria issued as Op. 54 about this 
time. 



[To ARTARIA & Co., VIENNA. German] 

Estoras, 6th April 1789. 
Well born, 
Most highly respected Sir ! 

I enclose the two security receipts which you asked for, and also 
the Capriccio, 1 with the solemn promise that no other soul shall 
receive it from my hands. I am sorry that the work involved does 
not allow me to reduce the price of 24 ducats by a single Kreutzer. I 
would ask you only that the Sonatas 2 and the Capriccio be neatly and 
legibly engraved. 

Please expedite at once the enclosed letter to Herr Sieber, 3 the 
Parisian publisher: it concerns his best interests. 
Meanwhile I remain, most respectfully, 

Your most obedient servant, 

Joseph Haydn. 

Please answer in the German language. 
[Address:] Monsieur 

Monsieur d' Artaria et 
Compag a 

Please expedite. Vienne. 

[Artaria's clerk notes: "Heydn Giuseppe / Esterhaze 6 April/ 17897 
(ans'd) iSthJune".] 

1 The Fantasia in C : see supra, p. 83 . 
2 The piano Trios: see supra, p. 77 (78). 
3 The previous letter (sth April). 



[To HAYDN FROM MARIA ANNA GENZINGBR. German] 

t t t 

Most respected Herr v. Hayden, 

With your kind permission, I take the liberty of sending you a pianoforte 
arrangement of the beautiful Andante from your so admirable composition. I 



86 The Collected Correspondence [i 789 

made this arrangement from the score quite by myself, without the least help 
from my teacher; please be good enough to correct any mistakes you may find in 
it. I hope that you are enjoying perfect health, and I wish for nothing more than 
to see you soon again in Vienna, so that I may demonstrate still further the esteem 
in which I hold you. I remain, in true friendship, 

Your obedient servant, 
Maria Anna Noble v. Gennzinger 

My husband and children also nk Noble v. Kayser. 

ask me to send you their 
kindest regards. 
Vienna, xothjune 1789. 



[To MARIA ANNA VON GENZINGER, VIENNA. German] 
Nobly born and gracious Lady ! 

In all my previous correspondence, nothing delighted me more 
than the surprise of seeing such a lovely handwriting, and reading so 
many kind expressions; but even more I admired the enclosure the 
excellent arrangement of the Adagio, which is correct enough to be 
engraved by any publisher. I would like to know only whether Your 
Grace arranged the Adagio from the score, or whether you took the 
amazing trouble of first putting it into score from the parts and only 
then arranging it for the pianoforte; if the latter, such an attention 
would be too flattering to me, for I really don't deserve it. 

Best and kindest Frau v. Gennsinger ! [sic] I only await a hint from 
you as to how and in what fashion I can possibly be of service to 
Your Grace. Meanwhile I return the Adagio, and very much hope 
to receive from Your Grace some demands on my modest talents; 
I am, with sincere esteem and respect, 

Your Grace's 

most obedient servant, 

Josephus Haydn [m.p] ria. 
Estoras, 1 4th June 1789. 
N.S. Please present my respectful compliments 
to your husband. 



[To ARTARIA & Co., VIENNA. German] 

Estoras, 5th July 1789. 
Well born, 
Most highly respected Sir ! 

Thank you very much for the 3 Sonatas and the Fantasia 1 which 



1 789] of Joseph Haydn 87 

you sent to me; I only regret that, here and there, some mistakes have 
crept in, which can no longer be corrected, because the works are 
already circulated and on sale. It is always painful for me that not a 
single work of mine that you have published is free from errors. 
Formerly you always sent me the first copy, before publication, and 
you acted wisely; I could not use the single copies of the Sonatas you 
sent me as samples, because I didn't want to soil them and was also 
afraid of having to do without them for such a long time, or perhaps 
of losing them altogether, which is always irritating to an author. 
As to my debt of 39 fl., I ask you to be patient a little longer; I have 
hopes of collecting a debt of seven years' standing from the Arch- 
duke of Milan, and would then gratefully repay you in cash. Mean- 
while please be good enough to send me 3 copies of the Sonatas, 3 
of the Fantasia, likewise a copy of the Seven Words in piano score, 
and a copy of the new Quartets. 2 

Now I would like to know the truth about something: that is, 
from whom you procured the 2 new Symphonies 3 which you 
recently announced whether you purchased them from Herr Tost 
or whether you got them already engraved from Herr Sieber in 
Paris. If you purchased them from Herr Tost, I beg you to furnish 
me at once with an a parte written assurance of the fact, because I am 
told that Herr Tost pretends I sold these 2 Symphonies to you and 
thereby caused him a great loss. 

Hoping for a speedy reply I am, Sir, most respectfully, 

Your most obedient servant, 

Josephus Haydn. 
[No address] 

1 See supra, p. 87. 

"Op- 50. 

3 Nos. 88 and 89. 



[To JEAN-GEORGES SIEBER, PARIS. German] 

Estoras, 27th July 1789. 
Monsieur! 

[Contents of the first part of the letter:] 

[Haydn discusses publication of the four Symphonies (see letter of 5th April 1789) 
and two Sonatas (probably pianoforte Trios), and describes his correspondence 
with Artaria on the subject. He agrees] 1 

to compose [the Symphonies], and this present letter should serve to 
protect your interests in any court. On the other hand, I beg you to 



88 The Collected Correspondence 

convince Herr Tost as well, and in order to deprive him of all his 
other claims to these 4 Symphonies, please send me your authentic 
signature of contract so that my interests are protected. Thus you are 
protected for your part, and I am for mine, while Herr Tost will be 
reduced to silence for ever. I hope to receive the favour of an early 
reply. Meanwhile I am, most respectfully, 

Your most obedient servant, 
Josephus Haydn. 

1 Summary from Maggs Brothers' Catalogue No. 320 (1914), item 328. 



[To JEAN-GEORGES SIEBER, PARIS. German] 

Estoras, 28th August 1789. 
Monsieur! 

[Abbreviated translation] 1 

Since I am now quite certain that the four Symphonies which I am 
to compose are for you, I shall make every possible effort to furnish 
them as soon as possible, and will send them one after another as they 
are completed. You need have no doubts as to the care I shall take, 
for I never forget either my honour or my reputation. N.B. I want 
one of the four Symphonies to be entitled the "National" Sym- 
phony. . . . 
[Address:] Monsieur Sieber 

Marchand de la Musique tres Renomme 
a 
Paris. 

a The original letter is unavailable at present. See Sources. 



[To PRINCE NICOLAUS ESTERHAZY. German] 

[Esterhdza, beginning of October 1789] 

Most Serene Highness and Noble Prince of the Holy Roman Empire, 
Gracious and dread Lord ! 

The undersigned, together with all the members of the Princely 
band, make the following humble request to your illustrious and 
Serene Highness: that Your Highness graciously allow them to 
receive the value of their summer uniforms in cash, as was the case 
in previous years, instead of receiving the actual uniforms; for they 



1789} of Joseph Haydn 89 

are all in possession of several brand new summer uniforms which 
they have saved. Commending ourselves in profound submissiveness, 

Your Illustrious and Serene Highness* 
humble and obedient servant, 
Joseph Hayden, Kapellmeister. 1 
[The file contains the following note as an answer:] 
On the loth mst., His Highness granted the suppliants' request that they be paid 
cash instead of the new summer uniforms which would have had to have been 
made, the payment to take place at the time the uniforms would have been de- 
livered, viz. : the Hen Capellmeister one hundred and fifty Gulden, and the other 
musicians seventy-five Gulden each. 

Datum ex Commissione Celsissimi Principatus Esterhaziam Kismartonn 12- 
Octobris 1789. 

Paulus Otvos Praeses 
Franciscus Gall mp Act. 

1 Thc whole letter is a copy written by a Princely clerk. 



[To FERDINAND MULLER VON MULLEGG, VIENNA. German] 

Estoras [c. lyth October 
Nobly born, 
Most highly respected Herr von Miiller ! 

At last I can deliver to you, Sir, the 3 Symphonies for His Serene 
Highness, the most gracious Prince Oettingen von Wallerstein. I beg 
you sincerely to forgive the delayed delivery, but you, Sir, must see 
for yourself how difficult it is (when one serves a master who even at 
an advanced age has an insatiable appetite for music) to keep one's 
word. I intended day after day to satisfy the most kind Prince 
von Wallerstein, but my many daily duties prevented me against my 
will from doing so. A week from today, at the latest, I shall take the 
liberty of sending 12 brand new Dance Minuets with 12 Trios for this 
wonderful celebration. 2 

Now I would humbly ask you to tell the Princely Kapellmeister 
there that these 3 Symphonies, because of their many particular 
effects, should be rehearsed at least once, carefully and with special 
concentration, before they are performed. 

Meanwhile I am, Sir, most respectfully, 

Your most obedient servant, 
Josephus Haydn. 

J On 2ist October von Miiller writes to the Pnnce that he "will send to His 
Highness the 3 requested Symphonies, which the composer Herr Josef 
Haydn finally, and after repeated requests, delivered; I shall place it on the 



The Collected Correspondence [*7$9 

next mail-coach." Haydn's undated letter must have been written shortly 
before. The Symphonies are Nos. 90-92, and the copies arc still extant in 
the Oettingen-Wallerstein Archives at Harburg Castle. Haydn actually 
wrote the works for the Comte d'Ogny m Pans: see supra p. 85n. 
2 Prmce KrafFt Ernst's (second) marriage celebrations. 



[To HAYDN FROM MARIA ANNA VON GENZINGER. German] 

Vienna, 29th October 1789. 

t t t 

Most respected Herr v. Hayden, 

I hope that you will have safely received my letter of 1 5th September together 
with the ist movement of the Symphony (the Andante of which I sent you some 
month ago), and now here is the last movement, too, which I have arranged for 
the pianoforte as best I could; I only hope that it pleases you, and I entreat you to 
correct at your leisure any mistakes that you may find a service which I shall 
always accept from you, dear Herr v. Hayden, with the utmost gratitude. Please 
be good enough to let me know whether you received my letter of 1 5th Septem- 
ber together with the movement, and if it suits your taste, which would delight 
me; for I am very uneasy and concerned whether you have received them safely, 
or if perhaps it has not met with your approval. I hope you enjoy the best of health, 
which I would be very happy to hear, and commending myself to your further 
friendship and remembrance, I remain your devoted friend and servant, 

Maria Anna Noble v. Gennzinger 

ne'e Noble v. Kayser 
My husband also sends you his compliments. 



[To MARIA ANNA VON GENZINGER, VIENNA. German] 
Nobly born and gracious Lady ! 

I beg your forgiveness a million times for the long delay in return- 
ing your laborious and admirable work: when my apartments were 
cleaned, which occurred just after receiving the first movement, my 
copyist mislaid it among the mass of other music, and just recently I 
was fortunate enough to find it in an old opera score. Dearest and 
best Frau von Gennziger ! [sic] Don't be angry at a man who values 
you above everything else; I should be inconsolable if this delay was 
responsible for my losing even a fraction of your favour (of which I 
am so proud). 

These two movements are fully as admirably arranged as the first. 
I do admire the trouble and patience which Your Grace spends on 
my modest talents, and on the other hand I assure you that, in my 
frequent depressed moods, nothing cheers me so much as the flatter- 
ing conviction that your memories of me are pleasant; for which 



1789} of Joseph Haydn 91 

favour I kiss your hands a thousand times and remain, with sincere 
esteem, 

Your Grace's 

most obedient servant, 

Estoras, yth November 1789. Joseph Haydn [m.p.] ria. 

P.S. My respectful compliments to your husband and the whole 
family. I shall soon claim permission to wait on you. 



[To HAYDN FROM MARIA ANNA GENZINGER. German] 

Vienna, I2th November 1789. 

t t t 

Most respected Herr v. Hayden, 

I am quite incapable of expressing adequately the pleasure I felt on reading your 
kind letter of the 9th [sic]. How well am 1 rewarded for my pains when I see your 
satisfaction ! I would wish nothing more ardently than to have more time (which 
my many household affairs do not allow), for then I would certainly devote many 
hours to music, my most agreeable and favourite of occupations. You must not 
take it amiss, dear Herr v. Haydn, that I bother you once again with a letter (but 
I could not miss the chance of informing you of the safe arrival of your letter) : 
I look forward with the greatest pleasure to the happy day when I shall see you in 
Vienna. I commend myself to your further friendship and remembrance, and 
remain as always 

Your most devoted friend and servant, 

[no signature]. 

My husband and children also send you their compliments. The bearer of this 
letter is a jeweller here, his name is Siebert and he's a trustworthy man. 



[To ARTARIA & Co., VIENNA. German] 

Estoras, I5th November 1789. 
Well born, 
Most highly respected Sir ! 

Since you have often shown me various kindnesses, and since I 
really am your debtor, you may be assured that at all times you shall 
have the preference for my works. I have various new pieces which I 
shall tell you about when and this will be soon I arrive in Vienna. 
Last week Mr. Bland, an Englishman, was here to see me and wanted 
to purchase various pieces from me; but on your account he did not 
receive a single note. 1 Hoping to see you soon, I am, Sir, most 
respectfully, 

Your wholly obedient servant, 
Josephus Haydn. 



92 The Collected Correspondence [1789 

[Address :] Monsieur 

Monsieur Artaria et Compag. 
a 
Vienne. 

1 This is, of course, not true. John Bland, a well-known London music 
publisher, supposedly took with him the autographs of the "Razor" 
Quartet (from Op. 55) and the Cantata Arianna a Naxos. See note to the 
letter of nth January 1790. 



[To MARIA ANNA VON GENZINGER, VIENNA. German} 

Estoras, 1 8th November 1789. 
Nobly born and gracious Lady ! 

The letter which 1 received through the jeweller Sibert gave me 
still another proof of your excellent heart, for Your Grace, instead of 
rebuking me for my recent remissness, gave me renewed proof of 
your friendship, and this, combined with such great indulgence, 
kindness and special attention, quite astonished me; in return 1 kiss 
Your Grace's hands a thousand times. If my modest talents enable 
me, even in small measure, to return so many compliments, 1 venture 
to offer you a little musical vegetable pot; indeed, I do not find too 
much that is fragrant in this pot-pourri ^ but perhaps the publisher may 
rectify this fault in future editions. 1 If the arrangement of the Sym- 
phony in it is yours, Oh ! then I shall be doubly pleased with the 
publisher; if not, I dare to ask Your Grace to have one of the 
Symphonies you arranged copied at your leisure and sent to me, 
when I shall then deliver it forthwith to the publisher at Leipzig to 
be engraved. 

I am happy to have found an opportunity which, I trust, will lead 
to few more delightful lines from you. Meanwhile I am, in lifelong 
respect, 

Your Grace's 

sincere friend and obedient 
servant, 

Josephus Haydn [m.p] ria. 
My sincere compliments to your husband 
and the whole family. 

1 Breitkopf 's "Musikalischer Pot-Pourri", the first volume of which included 
Haydn's piano Sonata No. 48 and a pianoforte arrangement of Symphony 
No 79 in F. See also above, p. 83 (84). 



of Joseph Haydn 93 

[To FERDINAND MULLER VON MULLEGG, VIENNA. German] 
Nobly born, 
Most highly respected Herr von Miiller ! 

According to our arrangement, I should have sent scores of the 
Symphonies 1 and not copies of the parts. But because I suffered 
almost all Summer from the most terrible pains in my eyes, I was 
unfortunately quite incapable of writing a clean score, and thus was 
forced to have these 3 illegible Symphonies (of which the enclosed, 
the best of the three, can serve as a sample) copied in my room by 
one of my composition pupils, and then to have the parts made by 
several copyists (so that the works would not be stolen). Any con- 
noisseur can judge from the enclosed illegible score what the others 
are like; this time it is not my fault, for since my youth I have been 
accustomed to write very neat scores. If, however, there are any 
wrong notes in the Symphonies I sent, I would ask the Conccrtmeister 
there to inform me of them at once in a letter, so that I can send him 
the exact corrections. Therefore I would ask His Serene Highness the 
Prince humbly to excuse me: but if His Highness nevertheless insists 
on the scores, I shall of course dutifully deliver them (but it will be 
very hard for me, because I am still not free of the pains in my eyes). 
The most gracious Prince's approbation of these 3 Symphonies is a 
source of great encouragement to me, and will remain so to the last 
days of my life. I would like to have a portrait of His Highness, but 
only a silhouette, for I am a great collector of leading personalities. 

My dear Hcrr Miiller (our long-standing acquaintance makes me 
bold enough to suggest this form of address), you will be kind 
enough to excuse me to the gracious Prince, on account of the true 
reasons given above. 

I remain, noble Sir, with every esteem, 

Your most obedient servant, 

Esterhaz, 2pth November 1789. Joseph Haydn. 

I did not receive your letter till yesterday, 
because it was addressed to Eisenstadt instead 
of to Esterhaz. 

1 Nos. 90-92 (see the previous correspondence with von Miiller). The Prince 
seems to have objected to Haydn's having sent parts rather than the scores. 
Haydn's answer at first satisfied the Prince, for he asks von Miillcr ". . . 
to write to Haiden [sic] and ask him if he can take it upon himself to write 
3 new Symphonies and bring them here in score . . .". Haydn apparently 
had no time for this new commission, although the Prince repeatedly asked 
von Miiller about it. Subsequently the Prince seems to have heard that he 
was by no means the sole owner of Nos. 90-92 (the autographs of wliich, 



94 The Collected Correspondence [i jgo 

beautifully written, Haydn dedicated to the Comte d'Ogny in Paris). On 
9th December 1789, von Miiller tries to convince the Pnnce of Haydn's 
innocence; in fact von Kees, whom the Prince suspected as having the 
Symphonies, did own them (the copies are now in the Thurn und Taxis 
Library at Regensburg). Von Miiller writes: "He [Haydn] wrote 3 new 
Parthyen [Symphonies] some time ago and published them, too, and 
these will be the ones that Herr von Kees owns, for I am convinced that 
he [Haydn] will not give the works he wrote specially for you to anyone 
else, as is stipulated." The "3 new Parthyen" von Miiller refers to are prob- 
ably Symphonies from the Paris set, though he may mean Nos. 76-78 or 
79-81. Concerning von Kees, a famous Viennese patron of music, see 
Landon, pp. $6ff. 



[To ARTARIA & Co., VIENNA. German] 

[Vienna] From my home, 

nth January 1790. 
Nobly born, 
Most highly respected Sir ! 

I had hoped, in vain, to see you here day before yesterday morn- 
ing, so that I could show you various pieces of music; but you won't 
have been able to come because of your many affairs. This is to 
inform you that this very day I received a letter from Mon. Bland in 
London, wherein he asks me for pianoforte Sonatas with accompani- 
ment of a violin and violoncello. 1 But this time I give you the pre- 
ference and so I herewith inform you that you can have the first 
Sonata from me any time, the 2nd in a fortnight, and the third by 
the end of carnival time each, as usual, for 10 ducats. Will you be 
good enough to let me have your decision by tomorrow morning ? 
A couple of lines will do. But in order to cancel my debt to you, you 
must also accept the 12 new and most splendid Minuets with 12 
Trios, for 12 ducats. 2 Hoping to receive the favour of your reply, I 
am, Sir, most respectfully, 

Your wholly obedient servant, 

Josephus Haydn. 
[Address :] Monsieur 

Monsieur d'Artaria 
et Compag. 
a 

Son Logis. 
[Artaria's clerk notes: "Haydn Giuseppe / di qui"] 

J It is not quite clear which three Trios are meant here: either No. 14 in 



1 79} of Joseph Haydn 95 

A flat, and Nos. 15 and 16 (with flute instead of violin), or Nos. 15-17 (the 
latter also with flute). In view of the fact that Artaria published Nos. 14-16 
in 1790, but No. 17 two years later, it would seem that this letter refers to 
the former three. Haydn sold Nos. 15-17 to Bland, but not No. 14, which 
he later asked Genzinger to send him to London (see p. 123). Bland pub- 
lished the Trios with the following note: "This & the Two following 
Trios were wrote at the particular request of the Publisher when he was 
with Mr. Haydn in Novr. last [1789] . . . J. Bland thinks this sufficient 
notice to other Publishers not to pirate the same.*' Bland must have received 
the first work (No. 16) early in 1790, the second (No. 15) about June he 
entered it at Stationers' Hall on June 28th and the third (No. 17) probably 
on 1 2th July: an envelope large enough to contain a Trio, addressed in 
Haydn's hand to Bland, and containing someone's (Bland's?) note "Haydn 
12 July 90", has been discovered recently; the owners, J. A. Stargardt of 
Marburg/Lahn, kindly permitted me to examine this envelope. See also 
Hoboken, p. 701. Artaria accepted Haydn's offer, and Haydn signed a 
a receipt in two (or three?) almost identical copies, dated Vienna, I3th 
January 1790. He received 35 Gulden for the Trios, and Artaria was to be 
the sole owner. 
2 Artana did not publish these Dances 



[To MARIA ANNA GENZINGER, VIENNA. German] 
Dear, kind Frau von Gennzinger ! 

This is to tell your Grace that all the arrangements for the little 
quartet party we agreed to have this coming Friday are completed. 
Herr von Haring 1 considered himself fortunate to be able to assist 
me on this occasion, the more so when I told him of the attention 
and all the other kind favours I had received from Your Grace. Now 
I hope only to receive a small measure of approbation. Your Grace 
shouldn't forget to invite the Pater Professor. 2 

Meanwhile I kiss your hands and am, most respectfully, 

Your Grace's 

sincere and most obedient servant, 
Josephus Haydn. 

[Vienna] From my home, 23rd January 1790. 
[Address:] Madame 

Madame de Gennzinger 
Noble de Kayser 
a 

Son Logis. 

^OHANN BAPTIST VON HARING (or possibly HERRING), a Viennese banker 
whose violin playing was highly esteemed. See Nohl, p. 1 12. 
Probably from the neighbouring Schottcn (Scottish) Monastery. 



96 The Collected Correspondence [i 790 

[To MARIA ANNA VON GENZINGER, VIENNA. German] 
Noble and kindest Frau von Gennzinger ! 

I was most flattered to receive yesterday Your Grace's most recent 
invitation that I should spend the evening with you today, but pain- 
ful as it is, I must tell you that I cannot even thank you personally for 
all the kind favours I have received from you; I regret this very 
much, and from the bottom of my heart I wish you, not only to- 
night but for ever and ever, the most agreeable and happy of 
gatherings. Mine are over tomorrow I return to dreary solitude. 
May God only grant me good health, but I fear the contrary, for I 
am far from well today. God bless your Grace your dear husband 
and all your sweet children. I kiss your hands once more and am 
as always, now and my whole life 

Your Grace's 

obedient servant, 
Joseph Haydn. 

[Vienna] From my home, 3rd February 1790. 
[Address:] Madame 

Madame Noble de 
Gennzinger Noble de 
Kayser 
a 
Son Logis. 



[To MARIA ANNA VON GENZINGER, VIENNA. German] 
Nobly born, 
Most highly respected and kindest Frau von Gennzinger, 

Well, here I sit in my wilderness forsaken like a poor waif 
almost without any human society melancholy full of the 
memories of past glorious days yes ! past alas ! and who knows 
when these days shall return again? Those wonderful parties? Where 
the whole circle is one heart, one soul all these beautiful musical 
evenings which can only be remembered, and not described 
where are all these enthusiastic moments? all gone and gone for a 
long time. Your Grace mustn't be surprised that I haven't written 
up to now to thank you. I found everything at home in confusion, 
and for 3 days I didn't know if I was Cape//-master or C^pe//-servant. 
Nothing could console me, my whole house was in confusion, my 
pianoforte which I usually love so much was perverse and dis- 
obedient, it irritated rather than calmed me, I could only sleep very 



1 79] of Joseph Haydn 97 

little, even my dreams persecuted me; and then, just when I was 
happily dreaming that I was listening to the opera, Le nozze di 
Figaro, 1 that horrible North wind woke me and almost blew my 
nightcap off my head; I lost 20 Ibs. in weight in 3 days, for the good 
Viennese food I had in me disappeared on the journey; alas! alas! I 
thought to myself as I was eating in the mess here, instead of that 
delicious slice of beef, a chunk of a cow 50 years old; instead of a 
ragout with little dumplings, an old sheep with carrots; instead of 
a Bohemian pheasant, a leathery joint; instead of those fine and 
delicate oranges, a Dschabl or so-called gross Sallat [sic] ; instead of 
pastry, dry apple-fritters and hazelnuts and that's what I have to 
eat. Alas ! alas ! I thought to myself, if I could only have a little bit of 
what I couldn't eat up in Vienna. Here in Estoras no one asks me: 
Would you like some chocolate, with milk or without? Will you 
take some coffee, black, or with cream? What may I offer you, my 
dear Haydn? Would you like a vanilla or a pine-apple ice? If I only 
had a good piece of Parmesan cheese, especially in Lent, so that I 
could more easily swallow those black dumplings and noodles; just 
today I told our porter here to send me a couple of pounds. 

Forgive me, kindest and most gracious lady, for filling the very 
first letter with such stupid nonsense, and for killing time with such 
a wretched scrawl, but you must forgive a man whom the Viennese 
terribly spoiled. I am gradually getting used to country life, how- 
ever, and yesterday I studied for the first time, and quite Haydnish, 
too. Your Grace will certainly have been more industrious than 1. 
The pleasing Adagio from the Quartet has, I hope, by now received 
its true expression from your fair fingers. My good friend Fraulein 
Peperl 2 will (I hope) be reminded of her teacher by singing the 
Cantata 8 frequently; she should remember to have a distinct articu- 
lation and a correct vocal production, for it would be a crime if so 
beautiful a voice were to remain hidden in her breast; so therefore 
I ask her to smile frequently, lest I be disappointed in her. Likewise I 
advise Mons. Francois 2 to cultivate his musical talents; even when he 
sings in his dressing-gown, he does very nicely. I shall often send him 
some new things to encourage him. Meanwhile I again kiss your 
hands for all your kind favours, and am, as always, most respectfully, 

Your Grace's 

most sincere and wholly obedient 

servant, 

Josephus Haydn. 
Estoras, pth February 1790. 



98 The Collected Correspondence [i 790 

N.S. Please present my respectful compliments to Your Grace's 
husband, and also my compliments to Mons. Hofmeister Junior, to 
Frdulein Nanette and the whole Hacker family. 4 

1 Mozart's opera was revived in August 1789. But Figaro was in Haydn's 
head for another reason too : he was intending to perform it at the Ester- 
hdza Court Theatre. Recently the bills for copying, etc. have come to light 
in the Esterhdzy Archives, Budapest (now National Museum). The first 
reference is a Nota "Datu ex comissione Celsissimi Principatus Esterhaziani 
Kismartonn [Eisenstadt] 7 January 1789", in which a number of scores were 
bought for the Princely Theatre. Haydn countersigned the receipt, which 
includes "Score Le Nozze di Figaro ... 30 [Gulden]" and "vocal parts 
for the above-mentioned operas ... 30 [Gulden]." The bill for the 
scenery has also been found, as well as the whole orchestral material: 
Pietro Travagha, the stage designer for the Esterhdzy Theatre, submitted 
his bill for Figaro on 8th August 1789, but most of the parts are dated 
"1790"; the performance probably took place during the 1790 season. 
2 PEPERL (JOSEPHA) and FRANCOIS (FRANZ), then sixteen and fifteen, the 
eldest children of Maria Anna. 
^Arianna a Naxos (see next letter). 

4 Hofmeister was the family tutor in foreign languages (see letter of 1 3th 
May) ; Fraulein Nanette is Maria Anna de Jerhschek or Gerhschck (see 
infra, p. 133), who apparently became Prince Nicolaus' housekeeper after 
the death of the Princess Esterhazy (25th February); she later married 
Johann Tost, who has figured in these pages so often (Hoboken p. 775). 
Anna Maria's mother was nte. Hacklier zu Hart, an old Austrian aristo- 
cratic family. 



[To MARIA ANNA VON GENZINGER, VIENNA. German] 

Estoras, I4th March, 1790. 
Nobly born, 
Most esteemed and kindest Frau von Gennzinger ! 

I ask Your Grace's forgiveness a million times for having so long 
delayed the answer to your kind 2 letters. This is not negligence (a 
sin from which Heaven will preserve me as long as I live) but is 
because of the many things I have to do for my most gracious 
Prince in his present melancholy condition. The death of his wife 1 so 
crushed the Prince that we had to use every means in our power to 
pull His Highness out of this depression, and thus the first 3 days I 
arranged enlarged chamber music every evening with no singing; 
but the poor Prince, during the concert of the first evening, became 
so depressed when he heard my Favourite Adagio in D that we had 
quite a time to brighten his mood with the other pieces. 

On the 4th day we had an opera, on the 5th a comedy [play], and 



179] of Joseph Haydn 99 

then our theatre daily as usual. Meanwhile I ordered them to prepare 
the old opera L'amor Artigiano by Gasman, 2 because the Prince had 
said to me recently that he would like to sec it: I wrote 3 new arias 
for it, 3 which I shall be sending Your Grace shortly, not because of 
their beauty but to show Your Grace how diligent I am. Your Grace 
shall receive the promised Symphony 4 during the month of April, 
but in time so that it can be produced at the Kees Concert. 6 

Meanwhile I respectfully kiss Your Grace's hands for the Zwie- 
back you sent me, which however I did not receive till last Tuesday; 
but it came at just the right moment, for I had just eaten up the last 
of the previous lot. I am delighted that my favourite Arianna 
[Cantata] is well received at the Schottenhof, 6 but I do recommend 
Frdulein Pepcrl to articulate the words clearly, especially the passage 
"chi tan to amai". I take the liberty of sending you my best wishes 
for your approaching name-day, 7 and ask you at the same time to 
retain me in your favour, and to consider me on every occasion as 
your own, though unworthy, teacher. 

I also take the liberty of informing you that the language teacher 
can come here any day, his journey will be paid for here, and he can 
travel either by the diligence or by some other carriage, the schedules 
of which may be found daily in the Madschakerhof. 8 

I shall return the box for the Zwieback to Your Grace at the first 
opportunity. 

Since I am sure that Your Grace takes an interest in all my doings 
(far more, in fact, than I deserve), I should like to tell Your Grace 
that last week I received a present of a charming gold snuff-box, 
weighing the value of 34 ducats, from Prince Getting von Waller- 
stein, 9 together with an invitation to pay him a visit at his expense 
sometime this year; His Highness is specially desirous of making my 
personal acquaintance (a pleasant encouragement for my drooping 
spirits). Whether I shall make up my mind to go is another question. 

Do please forgive this hasty letter; I am, with every possible 
esteem, as always 

Your Grace's 

sincere and obedient servant, 
Josephus Haydn. 

N.S. My respectful compliments to Your Grace's 
husband and the whole Hacker family. 

I have just lost my faithful and 
honest coachman; he died on 
the 25th of last month. 

J.H.-I 



ioo The Collected Correspondence [1790 

1 MAWA EIISABETH, & COUNTESS WEissENWOLF, died on 25th February. 
2 FLORiAN LEOPOLD GASSMANN (1723-1774), whose L'amor Artigiano was 
first produced at the Burgtheater in Vienna in 1767 (Gustav Donath, 
'Flonan Leopold Gassmann als Opernkomponist', Studien zur Musikwissen- 
schaftHcft II [1914], p. 50). 

3 At least one of these "insertion arias" has survived: "Da che penso a 
maritiarmi" (for tenor, E flat). 

4 Haydn did not then compose this Symphony, though he later refers to it. 
Perhaps it turned into one of the Salomon Symphonies (No. 93 ? ) : see 
letter of 2nd March 1792. 
5 See supra, p. 94. 

6 The Schottenhof, still extant, is the group of buildings in one part of which 
the Genzmger family lived : it is next to the Schottenkirchc. 
7 Haydn must have confused the date, because the Virgin Mary's Ascension 
(and Maria Anna's name-day) occur on I5th August (see letter of that 
day, infra). 

8 A Viennese tavern, connected with the Monastery of Gottweig. 
9 For Symphonies Nos. 90-92; see the previous correspondence with von 
Muller. On 9th February, von Miiller wrote to the Prince: ". . . je lui ai 
e*cnt, pourqu'il m'assigne une personne, qui jc pouvais Conner la Tabat- 
tiere d'or avcc les 50 Ducats, afFin qu'ils lui parvicnnent . . . et lui ai propos 
de faire un tour a Wallerstein aux frais de Votre Altesse, qui souhaite- 
roit faire la connoissance personelle . . ." (L. Schiedermair, 'Die Bliitezeit 
der Ottingen-Wallerstein'schcn Hofkapelle', Recueil de la Sociite Inter- 
nationale de Musique, 9ieme Anne"e, Livr. i, Oct.-Dec. 1907, p. 106. 



[To MARIA ANNA VON GENZINGER, VIENNA. German] 

Estoras, I3th May 1790. 
Nobly born, 
Gracious and kindest Frau von Gennzinger ! 

I was astonished to see from your kind letter that Your Grace did 
not receive my last letter, in which I mentioned that our landlord 
had engaged a French teacher, who came by chance to Estoras, and 
so I at once made my excuses not only to Your Grace but also to 
Herr Hofmeister. 1 My dear benefactress, this is not the first time that 
some of my letters, and also those of many others, have gone astray, 
inasmuch as our letter-bag, on its way to Oedenburg, is always 
opened by the house-master there (in order to put the letters into it), 
as a result of which mistakes and other disagreeable occurrences 
have often arisen: for greater security in the future, however, and to 
put a stop to this disgraceful curiosity, henceforth I shall enclose all 
my letters in an extra envelope addressed to our porter, Herr 
Pointner. This occurence makes me the more unhappy because Your 



1790] of Joseph Haydn 101 

Grace might blame me for my negligence, from which Heaven 
defend me ! Anyway, these curious people, male or female, cannot 
have discovered anything improper in this last letter, or in any of 
the others either. And now, my dear benefactress, when shall I have 
the inexpressible happiness of seeing Your Grace in Estoras? Since 
business doesn't permit me to go to Vienna, I console myself with 
the thought that I shall quite surely kiss your hands here this summer. 
In which flattering thought, meanwhile, I am, most respectfully, 

Your Grace's 

most sincere and obedient servant, 
Josephus Haydn [m.p] ria. 
My respectful compliments to 
Your Grace's husband and the whole family. 

1 See supra, p. 98. 



[To MARIA ANNA VON GENZINGER, VIENNA. German] 

Estoras, 30th May 1790. 
Nobly born, 
Most highly esteemed and kindest Frau von Gennzinger ! 

I was just at Oedenburg when I received your last welcome letter, 
whence I had gone to enquire about the lost letter : the house-master 
there swore by all that is holy that he had seen no letter in my hand- 
writing at that time, and so this letter must have gone astray in Estoras. 
Be that as it may, this curiosity can do me no harm, much less Your 
Grace, for the whole contents of the letter were partly about my 
opera, La vera costanza, which was performed at the new theatre in 
the Landstrasse, 1 and partly about the French teacher who was to 
have come to Estoras. Your Grace need have no fear, therefore, 
either about the past or about the future, for my friendship and the 
esteem in which I hold Your Grace (tender as they are) will never be 
reprehensible, because I always have in mind my respect for Your 
Grace's profound virtue, which not only I, but all who know Your 
Grace, must admire. Therefore I beg Your Grace not to be frigh- 
tened away from consoling me occasionally by your pleasant letters, 
for they comfort me in my wilderness, and are highly necessary for 
my heart, which is so often deeply hurt. Oh ! If only I could be with 
Your Grace for a quarter of an hour, to pour forth all my troubles to 
you, and to hear all your comforting words. I have to put up with 
many annoyances from the Court here which, however, I must 



102 The Collected Correspondence [1790 

accept in silence. The only consolation left to me is that I am thank 
God! well, and eagerly disposed to work; I am only sorry that 
despite this eagerness, Your Grace has had to wait so long for the 
promised Symphony, but this time it's simply bare necessity which 
is responsible, arising from my circumstances here and the present 
rise in the cost of living. Your Grace therefore mustn't be angry at 
your Haydn who, often as his Prince absents himself from Estoras, 
cannot go to Vienna even for 24 hours; it's scarcely credible, and yet 
the refusal is always couched in such polite terms, so polite in fact 
that I just don't have the heart to insist on receiving the permission. 
Oh well ! As God pleases ! This time will also pass away, and the day 
come when I shall have the inexpressible pleasure of sitting beside 
Your Grace at the pianoforte, hearing Mozart's masterpieces, and 
kissing your hands for so many wonderful things. With this hope, 
I am, 

Your Grace's 

most sincere and humble servant, 

Josephus Haydn. 

My respectful compliments to Your Grace's 
husband and the whole family, likewise to 
the Hackers and the P. Professor. 

1 Written in 1776 for Vienna, where intrigue prevented its being given; 
the first performance took place in Esterhdza in the Spring of 1779. The 
theatre in the Landstrasse then a suburb of Vienna (now the 3rd District) 
had been opened in 1790. Sec Gustav Gugitz, Alt- Wiener Thcsjitskarreti, 
Vienna 1925, pp. 235-237, 382/ 



[To MARIA ANNA VON GENZINGER, VIENNA. German] 

Estoras, 6th June 1790. 
Nobly born, 
Most estemed and kindest Frau von Gennzinger ! 

I am terribly sorry that Your Grace was so long in receiving my 
last letter, but the previous week none of the Hussars was dispatched 
from Estoras, so it's not my fault that the letter reached you so late. 

Between ourselves! I must inform Your Grace that our Mademoiselle 
Nanette 1 has commissioned me to compose a new pianoforte Sonata 
for you, but which no one else can own. I esteem myself fortunate to 
have received such a command. I shall deliver the Sonata to Your 
Grace in a fortnight at the latest. This Mademoiselle Nanette promised 
to pay me for the work, but you can easily imagine that I shall refuse 



179] of Joseph Haydn 103 

it now or any other time: the best reward for me will always be to 
hear that I have in some measure received your approbation. Mean- 
while I am, most respectfully, 

Your Grace's 

most obedient servant, 
Jos: Haydn. 

I NANETTE was (Maria) ANNA DEJERLISCHECK: see supra, p. 98. The Sonata 
was to be No. 49 in E flat, and Haydn began it on the ist of June (the auto- 
graph is now in the Vienna Stadtbibhothek). 



[To FRIEDRICH JAKOB VAN DER NULL,* VIENNA. German] 

Estoras, ythjune 1790. 
Nobly born, 
Most highly respected Sir ! 

One of my pupils, by the name of Magnus, a poor but well- 
educated and well-bred young man from Livonia, to whom I give 
composition lessons free of charge because of his extraordinary dili- 
gence, has at last, through my insistent intervention, received a 
cheque from his father in the amount of [not filled in]. No one here- 
abouts can or will accept this cheque, and since I have long been 
convinced of your inborn love for your fellow men, I come to you 
with the humble request, please, if at all possible, to help the poor 
young man in this instance. Our porter, Herr Pointner, who is a 
trustworthy man, will deliver this cheque to you, good Sir, and you 
can entrust him with the money without any risk at all. 

Hoping that you will fulfil my wish to encourage this poor young 
man in his industry, I am, Sir, with all possible esteem, 

Your wholly obedient and humble servant, 

Joseph Haydn. 

N.S. My respectful compliments to all the gentlemen who live in 
the Haring 2 house; as for the ladies, I respectfully kiss their hands 
with all the musical tenderness which I have been capable of express- 
ing throughout my life. 

I FRIEDRICH JAKOB VAN DER NULL, a wholesale merchant and a partner in the 
firm of Ignaz von Schwab; Haydn usually refers to him as "von" rather 
than "van" der Null. His house was on the Michaclerplatz. See Caroline 
Pichler, Dcnkwurdigkciten aus meinetn Leben, a new edition (E. K. Blumml), 
Munich 1914, I, pp. 545/1 Van der Null was a passionate admirer and 
"amateur" of music; he subscribed to Haydn's Creation, for example. See 
also letter of 25th March 1796. 



IO4 The Collected Correspondence [*79<> 

2 HXHING (Herring), probably the banker and amateur violinist mentioned 
in the letter of 23rd January 1790. 



[CERTIFICATE FOR JOSEPH EYBLER. German] 
[Only the place, date, signature & title in Haydn's hand] 
I the undersigned cannot fail to give the bearer of these lines, Herr 
JOSEPH EYBLER, the certificate which he humbly requested of me, and 
which should wholly reflect his outstanding talents and the diligence 
he has hitherto shown in the field of music. He possesses not only all 
the musical and theoretical knowledge necessary to pass with dis- 
tinction the most difficult examination of any musical judge; but as a 
practical musician he is a highly respectable pianoforte player and 
violinist, and as such can win the approval of any connoisseur. In 
view of the former, he can fill the post of a Kapellmeister with dis- 
tinction, and in view of the latter, he can be a useful member of any 
chamber music concert. 

As far as his knowledge of COMPOSITION is concerned, I think that 
I can give no higher recommendation than if I say that he is a pupil 
of the justly celebrated Herr Albrechtsbcrger. 1 Equipped with all 
these abilities, he lacks nothing more than a generous Prince who 
will give him the position wherein he can further develop and 
demonstrate his talents, in which capacity the undersigned hopes 
soon to be able to congratulate him. 

Josephus Haydn [m.] pria, 
Furst: Esterhazischer 
Capell Mcister. 
Esterhaz, 8th June 1790. 

1 See supra, p. 82. Mozart also wrote a letter of recommendation for 
Eybler (30 May 1790) 



[To MARIA ANNA VON GENZINGER, VIENNA. German] 

Estoras, 2Oth June 1790. 
Nobly born, 
Most esteemed and kindest Frau von Gennzinger ! 

I have taken the liberty of sending Your Grace a brand new 
pianoforte Sonata with accompaniment of a flute or violin, not as 
anything remarkable, but simply a trifle to amuse you in moments 
of utmost boredom. 1 1 would only ask you to have it copied as soon 
as possible and then to send it back to me. The day before yesterday 



179] f J ose ph Haydn 105 

I delivered the new Sonata 2 to Mademoiselle Nanette, my patroness; 
I had hoped that she would express a wish to hear me play this 
Sonata, but up to now I have not received any such order, and for 
this reason I also do not know whether Your Grace will receive this 
Sonata in today's mail or not. This Sonata is in E flat, brand new, 
and was written especially for Your Grace to be hers forever, but it 
is a curious coincidence that the last movement is the very same 
Minuet and Trio which Your Grace asked me for in your last letter. 
This Sonata was destined for Your Grace a year ago, and only the 
Adagio is quite new, and I especially recommend this movement to 
your attention, for it contains many things which I shall analyze for 
Your Grace when the time comes; it is rather difficult but full of 
feeling. It's a pity, however, that Your Grace has not one of Schantz's 3 
fortepianos, for Your Grace could then produce twice the effect. 

N. B. Mademoiselle Nanette must know nothing of the fact that 
this Sonata was already half completed, for otherwise she might get 
the wrong impression of me, and this might be very disadvantageous 
for me, since I must be very careful not to lose her favour. Mean- 
while I consider myself fortunate to be at least the means of provid- 
ing her with some amusement; especially since the sacrifice is made 
for your sake, dearest Frau von Gennzinger. Oh ! how I do wish that 
I could only play this Sonata to you a few times; I could then recon- 
cile my staying for a while in this wilderness. I have so much to say 
to Your Grace, and so many things to tell you about which are 
destined for Your Grace alone and no one else: but what cannot be 
now will, I hope to God, come to pass this Winter; almost half the 
time has already elapsed. Meanwhile I console myself patiently, and 
am content that I have the inestimable privilege of subscribing myself 

Your Grace's 

most sincere and obedient friend 
and servant, 

Josephus Haydn [m.p] ria. 
My respectful compliments to your 
husband and all the family. I kiss 
Your Grace 1000 times on the hands. 

1 A pianoforte Trio : from the presence of the flute we can deduce that it was 

either Trio No. 15, 16 or 17; if it was really "brand new", it was probably 

No. 17, which Haydn seems to have sent to Bland at this time. Sec also 

supra, p. 95. 

Pianoforte Sonata No. 49: see supra, p. 103. 

8 WBNZEL SCHANZ: see also letters of 26th October and i6th November 

1788. 



106 The Collected Correspondence [i79<> 

[To MARIA ANNA VON GENZINGER, VIENNA. German] 

Estoras, 2yth June 1790. 
Nobly born, 
Highly esteemed and kindest Frau von Genzinger ! 

Your Grace will certainly have received the new pianoforte 
Sonata, but if not, you will perhaps receive it along with my letter. 
3 days ago I had to play this Sonata at Mademoiselle Nanette's in the 
presence of my gracious Prince. At first I rather doubted, because of 
its difficulty, whether I would receive any applause, but was soon 
convinced of the contrary, inasmuch as I was given a gold tobacco- 
box as a present from [her] own hand. Now I only hope that Your 
Grace will be satisfied with it, so that I may earn the increased 
approval of my benefactress; and for this reason I would ask Your 
Grace to tell her, if not personally, then at least through your hus- 
band, that I could not conceal my delight at her generosity, the more 
so since I am sure that Your Grace shares my pleasure at all the 
benefits conferred on me. It's only a pity that Your Grace doesn't 
own a Schantz fortepiano, on which everything is better expressed. 
I thought that Your Grace might turn over your still tolerable piano 
to Frdulein Pepcrl, and buy a new one for yourself. Your beautiful 
hands and their facility of execution deserve this and much more. I 
know I ought to have composed this Sonata in accordance with the 
capabilities of your piano, but I found this impossible because I was 
no longer accustomed to it. 

Again I find that I am forced to remain here. Your Grace can 
imagine how much I lose by having to do so. It really is sad always 
to be a slave, but Providence wills it so. I'm a poor creature ! Always 
plagued by hard work, very few hours of recreation, and friends ? 
What am I saying? One true one? There aren't any true friends any 
more one lady friend? Oh yes! There might be one. But she's far 
away from me. Oh well ! I have my thoughts. God bless you, and 
may you never forget me ! Meanwhile I kiss Your Grace's hands 
1000 times, and am as always, most respectfully, 

Your Grace's 
sincere and most obedient servant, 

Joscphus Haydn. 

My respectful compliments to your husband 
and all the family. 

Please forgive my bad handwriting today: I am suffering a little 
from pains in my eyes. 



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(X Second page of a letter from Pietro Polzclli to his mother, Lnigia (22nd October 1 792' 
vith a postscript in Hauln's hand (From a facsimile in the Musical Quaiicrly of April 1932 
he original has disappeared.) 



XXI Lottrr rn 




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no The Collected Correspondence [i/po 

still have room for one more wish, then mine should change and 
become identical with your own, for I am sure that none other 
remains, except that I always wish to be allowed to subscribe myself 

Your Grace's 
most sincere friend and servant, 

Josephus Haydn [m.p] ria. 
My respectful compliments to your husband 
and the whole family. 

On the day after tomorrow I expect an answer about the fortepiano; 
Your Grace shall then receive the alteration in the Adagio. 

J The letter, though undated, was obviously written on Mana Anna's name- 
day, 1 5th August (the Virgin Mary's Ascension Day). 



[To ARTARIA & Co., VIENNA. German] 

I the undersigned promise and swear to deliver the 6 new Varia- 
zioni 1 for the pianoforte to Herr Artaria one week from today. 
Vienna, 22nd November 1790. 

Joseph Haydn 
Capellmeister. 

1 Artana, hearing of Haydn's imminent journey to London, must have 
feared that he would not find the time to finish the Variazioni, for which 
Artana had presumably contracted and paid The above receipt exists in 
two autograph copies, with minor differences (the second one lias an abbre- 
viated date and no "Capellmeister"). The Variations (Hoboken XVII: 5) 
appeared early in 1791. 



[To MARIA ANNA VON GENZINGER, VIENNA. German] 

Calais, 3ist December 1790. 
Nobly born, 
Most highly respected Frau von Gennzinger ! 

The recent bad weather and the continual downpour of rain were 
responsible for my having just arrived (as I write this letter to you) 
at Calais this evening. Tomorrow morning at 7 we cross the sea to 
London. I promised Your Grace to write from Brussels, but I could 
not stay there more than an hour. I am well, thank God ! though I 
am somewhat thinner, owing to fatigue, irregular sleep, and eating 
and drinking so many different things. In a few days I shall describe 
my journey in more detail to Your Grace, but I must beg you to 



179 1 ] of Joseph Haydn 1 1 1 

excuse me today. I hope to God that Your Grace, your husband and 
the whole family are well. I am, most respectfully, 

Your Grace's 
most obedient servant, 

Jos: Haydn. 
[Address:] Madame 

Madame Noble de Gennzinger 
nee Noble de Kayser 
a 
Vienne. 



[To MARIA ANNA VON GENZINGER, VIENNA. German] 

London, 8th January 1791. 
Nobly born, 
Gracious Lady ! 

I hope that you will have received my last letter from Calais. I 
should have written you immediately after my arrival in London, 
but I wanted to wait a few days so as to be able to write about several 
tilings at once. So I can tell you that on the ist inst., New Year's Day, 
after attending early mass, I boarded the ship at 7: 30 a.m. and at 5 in 
the afternoon I arrived, thank God! safe and sound in Dower [sic]. 
At the beginning, for the first 4 whole hours, we had almost no 
wind, and the ship went so slowly that in these 4 hours we didn't go 
further than one single English mile, and there are 24 between 
Calais and Dower. Our ship's captain, in an evil temper, said that if 
the wind did not change, we should have to spend the whole night 
at sea. Fortunately, however, towards 11:30 o'clock a wind arose 
and blew so favourably that by 4 o'clock we covered 22 miles. Since 
the tide, which had just begun to ebb, prevented our large vessel 
from reaching the pier, 2 smaller ships came out to meet us as we 
were still fairly far out at sea, and into these we and our luggage were 
transferred, and thus at last, though exposed to a medium gale, we 
landed safely. The large vessel stood out to sea five hours longer, till 
the tide turned and it could finally dock. Some of the passengers 
were afraid to board the little boats and stayed on board, but I fol- 
lowed the example of the greater number. I remained on deck during 
the whole passage, so as to gaze my fill at that mighty monster, the 
ocean. So long as it was calm, I wasn't afraid at all, but towards the 
end, when the wind grew stronger and stronger, and I saw the 



H2 The Collected Correspondence [*79i 

monstrous high waves rushing at us, I became a little frightened, and 
a little indisposed, too. But I overcame it all and arrived safely, with- 
out vomiting, on shore. Most of the passengers were ill, and looked 
like ghosts, but since I went on to London, I didn't feel the effects of 
the journey right away; but then I needed 2 days to recover. Now, 
however, I am fresh and well again, and occupied in looking at this 
endlessly huge city of London, whose various beauties and marvels 
quite astonished me. I immediately paid the necessary calls, such as 
to the Neapolitan Ambassador and to our own; both called on me in 
return 2 days later, and 4 days ago I lunched with the former N.B. 
at 6 o'clock in the evening, as is the custom here. 

My arrival caused a great sensation throughout the whole city, 
and I went the round of all the newspapers for 3 successive days. 
Everyone wants to know me. I had to dine out 6 times up to now, 
and if I wanted, I could dine out every day; but first I must consider 
my health, and 2nd my work. Except for the nobility, I admit no 
callers till 2 o'clock in the afternoon, and 4 o'clock I dine at home 
with Mon. Salomon. I have nice and comfortable, but expensive, 
lodgings. My landlord is Italian, and also a cook, and serves me 4 
very respectable meals; we each pay i fl. 30 kr. a day excluding 
wine and beer, but everything is terribly expensive here. Yesterday 
I was invited to a grand amateur concert, 1 but I arrived a bit late, 
and when I showed my ticket they wouldn't let me in but led me to 
an antichamber, where I had to wait till the piece which was then 
being played in the hall was over. Then they opened the door, and I 
was conducted, on the arm of the entrepreneur, up the centre of the 
hall to the front of the orchestra, amid universal applause, and there 
I was stared at and greeted by a great number of English compli- 
ments. I was assured that such honours had not been conferred on 
anyone for 50 years. After the concert I was taken to a handsome 
adjoining room, where a table for 200 persons, with many places set, 
was prepared for all the amateurs; I was supposed to be seated at the 
head of the table, but since I had dined out on that day and had eaten 
more than usual, I declined this honour, with the excuse that I was 
not feeling very well, but despite this I had to drink the harmonious 
health, in Burgundy, of all the gentlemen present; they all returned 
the toast, and then allowed me to be taken home. All this, my 
gracious lady, was very flattering to me, and yet I wished I could fly 
For a time to Vienna, to have more quiet in which to work, for the 
noise that the common people make as they sell their wares in the 
street is intolerable. At present I am working on symphonies, 2 



1791} of Joseph Haydn 113 

because the libretto of the opera 8 is not yet decided on, but in order 
to have more quiet I shall have to rent a room far from the centre of 
town. I would gladly write you in more detail, but I am afraid of 
missing the ma2-coach. Meanwhile I am, with kindest regards to 
your husband, Fraulein Pepi and all the others, most respectfully, 

Your Grace's 

most sincere and obedient servant, 

Joseph Haydn. 

Now I have a request to make of Your Grace. I don't know whether 
I left the Symphony in E flat, 4 which Your Grace returned to me, in 
my apartments at home, or whether it has been stolen from me en 
route. I missed it yesterday and need it urgently, and so I beg you to 
get it from my kind friend, Herr von Kees, and to copy it in your 
own home on small-sized paper for mailing, and send it here in the 
mail as soon as possible. Should Herr von Kees hesitate about this, 
which I don't think likely, Your Grace can always send him this 
letter. My address is as follows: 

A Mo[ns]: 

Mon : Haydn 

N ro 1 8 great Pulteney Street. 

1 The Academy of Ancient Music, given at Freemasons Hall ; Salomon was 

the leader, and Michael Kelly and Nancy Storace sang. Dr. Arnold was 

the conductor. 

2 Nos. 96 and 95 (probably in that order). 

*L 9 anima delfihsofo see next letter. 

4 No. 91, as yet unknown in England. 



[To PRINCE ANTON EsTERiiAzv, VIENNA. German] 
Most noble Prince of the Holy Roman Empire ! 

I report respectfully that, despite unpleasant weather and a great 
many bad roads throughout the whole trip, I arrived in London this 
2nd of January, happy and in good health. My arrival created a great 
stir, and forced me to take larger quarters that same evening: I 
received so many calls that I shall hardly be able to repay them in 
6 weeks. Both the ambassadors, i.e. Prince Castelcicala of Naples 1 
and Herr Baron von Stadion; 2 and I had the pleasure of lunching 
with both of them at 6 o'clock in the evening. The new opera 
libretto which I am to compose is entitled Orfeo, in 5 acts, 8 but I shall 
not receive it for a few days. It is supposed to be entirely different 
from that of Gluck. The prima donna is called Madame Lops 4 from 



H4 The Collected Correspondence 

Munich she is a pupil of the famous Mignotti. 5 Seconda donna is 
Madam Capelletti. 6 Primo homo [sic] is the celebrated Davide. 7 The 
opera contains only 3 persons, viz. Madam Lops, Davide, and a 
castrato, who is not supposed to be very special. 8 Incidentally, the 
opera is supposed to contain many choruses, ballets and a lot of big 
changes of scenery : the first opera, Pino by Paisiello, will be given in 
a fortnight. The concerts will begin next month on the nth of 
February, and I shall dutifully write Your Highness more about that 
later. Meanwhile I remain, 

Your Serene Highness' 
submissive and obedient 

Joseph Haydn [m.p.] ria. 
London, 8th January 1791. 

I take the liberty of respectfully kissing the hands of the loveliest 
Princess, Your Highness' most charming wife, and also the Princess 
Marie and Her Highness' husband. 9 My address is, unofficially, 

N 10 1 8 Great Pulteney Street 
Golden Square 
London 

FERDINAND IV, KING OF NAPLES and the TWIN SICILIES, had given this 
recommendation to Haydn personally; the King was in Vienna for the 
triple marriage of the Crown Prince Francis of Naples with the Arch- 
duchess Mane Clementine, and Ferdinand's two daughters, the Princess 
Marie Theresc and Ludovika Louise, with the Archduke Francis (later 
Emperor Francis II of Austria) and Ferdinand, Grand Duke of Tuscany ; 
the ceremony took place on iyth September. Haydn saw the King a few 
days before he left for London (on I5th December) ; see also supra, p. 74. 
2 The letter of recommendation from Prince Kaumtz to Count Stadion, 
dated I3th December 1790, has survived; it is printed in its entirety in Pohl 
III, 15 (with a wrong date). 

*L'anima del filowfo, the text by Da Ponte's arch-enemy, Carlo Francesco 
Badini. Haydn completed four acts, which means either that the opera is 
unfinished (which an examination of the music suggests is doubtful) or 
poet and composer merged five acts into four. Because of an operatic 
squabble, Haydn's Orfeo was not given. See also infra. 
4 RosA LOPS, "a good and finished singer; she has every accomplishment 
but youth and beauty" (Morning Chronicle of February 1791: see Pohl, 
H. in L. p. 125). 

5 REGiNA MINGOTTI, a Neapolitan, was then seventy. She accompanied her 
pupil, Lops, to London. 

THERESA POGGI CAPPELLETTI was also engaged to sing at the Haydn- 
Salomon Concerts. See Landon, pp. 44 1/ 

7 GiACOMO DAVIDDE sang at the Haydn-Salomon Conceits and was a 
brilliant success. Haydn wrote a concert aria for him which is unfortunately 
lost. See Landon, pp. 441-459, 461-463 and Pohl H. in L. etc. 



1 79 1 ] of Joseph Haydn 115 

8 The principal characters in Haydn's opera are Orfeo (tenor, Daviddc), 
Eundice (soprano, Lops), the Gemo (castrato) she sings only one brilliant 
and difficult ana and a high baritone part, Creonte. 
9 It is difficult, in view of the many Mane's and Marie Therese's in the 
Esterhdzy family, to know just whom Haydn means, but the most likely 
choice would seem to be the Princess Maria Josepha Hermenegild, youngest 
daughter of Prince Franz Joseph von Liechtenstein, who was the wife 
of Prince Nicolaus II Esterhizy, Haydn's last patron. Haydn was very 
attached to the Princess; while in London the second time he dedicated 
three pianoforte Trios (Nos. 21-23) to her. 



[To LUIGIA POLZELLI, VIENNA. Italian, "Tu" form] 

London, I4th March 1791. 
Most esteemed Polzclli, 

I am very sorry for you in your present circumstances, and I hope 
that your poor husband will die at any moment; you did well to put 
him in the hospital, to keep him alive. I hope that my Pietro feels 
better; please tell him to pay better attention to his health and to 
obey his mother. Dear Polzelli, you will receive one hundred florins 
[Gulden] from Mons. Pierre, the steward-in-waiting to the Prince. 
As soon as I have given my benefit concert, I shall send you some 
more. I have written to Mons. Pierre that your sister 1 has sent the 
money, because I don't want him to know that it comes from me. 
Your sister told me that she will send you something herself. I haven't 
seen her for some time, because I have a lot to do, with all the 
concerts and opera, and I am persecuted the whole time by the 
subscription concerts. Up to now our opera has not yet opened, and 
since the King won't give the licence, Signor Gallini 2 intends to open 
it as if it were a subscription concert, for if he doesn't, he stands to 
lose twenty thousand pounds Sterling. I shan't lose anything, because 
the bankers Fries in Vienna have already received my money. My 
opera, entitled L'anima delfilosofo, will be staged at the end of May ; 
I have already completed the Second Act, but there arc five acts, of 
which the last are very short. In order to show the public his theatre, 
his opera and his ballet, Signor Gallini has had the clever idea of 
arranging, one evening a few days ago, a dress rehearsal in such a 
manner as if it were the real opening night; he distributed four 
thousand tickets, and more than five thousand came. The opera, 
entitled Pyhro [Pirro], by Paisicllo, was very successful. Only our 
prima donna is a silly goose, and I shan't use her in my opera. The 
ballet was simply magnificent. We now await a yes or a no from the 

J.H.-K 



n6 The Collected Correspondence 

King, and if our theatre is opened, the other theatre, that is, our 
rivals, will have to close their doors, because the castrate and the 
prima donna are too old, and their opera didn't please anyone. At the 
first concert of Mr. Salomon I created a furor with a new Sym- 
phony, 3 and they had to repeat the Adagio: this had never before 
occurred in London. Imagine what it means to hear such a thing 
from an Englishman's lips ! Write soon, dear Polzelli, and think of 
me. I am, and will always be, 

Your most sincere friend, 

Giuseppe Haydn. 
[Address:] Madame Polzelli a Vienna 

im Starnbergischen Freyhaus auf der Wieden N ro 161 
[Polzelli added the following note in pencil: "He will die an 
enemy has followed Haydn to London to overthrow him".] 

1 Luigia's sister Cnstina Negn, was a soprano in the Italian opera. 
Director of the Opera; see also p. 67. 

8 Symphony No. 96 in D, in all probability the first Symphony Haydn 
performed at the Salomon Concerts (March nth). 



[AN OPEN LETTER TO MR. HAYWARD, 1 OXFORD. English] 

[London, c. 25th May 1791] 

Whereas at the Request of Mr. Jung, an Acquaintance of mine from 
Vienna, I faithfully promised to play the Harpsichord at Mr. Hay- 
ward's Benefit Concert, the i8th, Instant (which Day I had appointed 
myself), but was prevented from coming on Account of a Rehearsal 
at the Opera House, which lasted from Two till Half-past Four on 
that Day, I take the Liberty by this Paper to express the greatest 
Sorrow for not having been able to stand to my Promise. As the 
University of Oxford, whose great Reputation I heard abroad, is too 
great an Object for me not to see before I leave England, I shall take 
the earliest Opportunity of paying it a Visit, and hope at the same 
time to make a personal apology to those Ladies and Gentlemen who 
were kind enough to honour Mr. Hayward with their Company. 

Joseph Haydn. 

x Hayward was one of Oxford's leading musicians; his Benefit Concert took 
place on i8th May, and the following week several London newspapers 
printed a report from Oxford, in which Haydn's absence was "bitterly and 
justly complained of". Hayward himself published a letter of protest on 
2ist May. Haydn's letter of apology was published in Jackson s Oxford 
Journal of 28th May, which suggests that he wrote it two or three days 
previously. 



1 79 1 ] of Joseph Haydn 117 

[To LUIGIA POLZELLI, VIENNA. Italian } "Tu" form] 

London, 4th August 1791. 
DearPolzelli! 

I hope that you will have received my last letter through Count 
Fries and also the hundred florins [Gulden] which I transferred to 
you. I would like to do more, but at present I cannot. As far as your 
husband is concerned, I tell you that Providence has done well to 
liberate you from this heavy yoke, and for him, too, it is better to be 
in another world than to remain useless in this one. The poor man 
has suffered enough. Dear Polzelli, perhaps, perhaps the time will 
come, which we both so often dreamt of, when four eyes shall be 
closed. 1 Two are closed, but the other two enough of all this, it 
shall be as God wills. Meanwhile, pay attention to your health, I beg 
of you, and write me very soon, because for quite some time now I 
have had days of depression without really knowing why, and your 
letters cheer me, even when they are sad. Good bye, dear Polzelli, 
the mail won't wait any longer. I kiss your family and remain always 

Your most sincere 

Haydn. 
[Address:] Madame Polzelli Virtuosa di Musica a 

Vienna en Autriche 

abzugeben im Starnbergischen Freyhaus auf der Wieden N ro - 161 
[This last sentence is crossed out and the postman has written "nicht 
auf der Wieden"; Polzelli had already left, but obviously the letter 
was forwarded and she did receive it.] 

1 The sentence refers to Frau Haydn and Sig. Polzelli. 



[To MARIA ANNA VON GENZINGER, VIENNA. German] 
Nobly born and gracious Lady ! 

I have received no reply as yet to my 2nd letter of 3rd July, which 
I entrusted to a composer here, Herr Diettenhofer, together with the 
pianoforte arrangement of a little Andante from one of my new 
Symphonies, 1 to give to Your Grace; nor have I any answer either 
about the Symphony in E flat 2 which I asked for; and so 1 cannot 
wait any longer to enquire after Your Grace's health, and that of 
your husband and all your dear family. Could it be that the odious 
proverb, "Out of sight, out of mind", is true everywhere? Oh no! 
either urgent affairs, or the loss of my letter and the Symphony, are 
responsible. I feel sure that Herr von Keess [sic] is quite willing to 



1 1 8 The Collected Correspondence [1791 

send the Symphony I asked for, because he said so in his letter to me; 
but since both of us will have to bear this loss, we shall have to leave 
it to Providence. I flatter myself that I shall receive a short answer to 
this. Now, my dear good gracious lady, how is your fortepiano ? Is 
a Haydnish thought brought to mind, now and then, by your fair 
hand ? Does my dear Frdulein Pepi sometimes sing poor Ariadne ? Oh 
yes ! I can hear it even here, especially during the last two months, 
when I have been living in the country, amid the loveliest scenery, 
with a banker's 3 family where the atmosphere is like that of the 
Gennzinger family, and where I live as if I were in a monastery. I am 
all right, thank the good Lord! except for my usual rheumatism; I 
work hard, and when in the early mornings I walk in the woods, 
alone, with my English grammar, I think of my Creator, my family, 
and all the friends I have left behind and of these you are the ones I 
most value. Of course I had hoped to have the pleasure of seeing you 
sooner, but my circumstances in short, fate will have it that I 
remain in London another 8 or 10 months. Oh, my dear gracious 
lady ! how sweet this bit of freedom really is ! I had a kind Prince, 
but sometimes I was forced to be dependent on base souls. I often 
sighed for release, and now I have it in some measure. I appreciate 
the good sides of all this, too, though my mind is burdened with far 
more work. The realization that I am no bond-servant makes ample 
amends for all my toils. But, dear though this liberty is to me, I 
should like to enter Prince Esterhazy's service again when I return, if 
only for the sake of my family. I doubt whether this will be possible, 
however, for in his letter my Prince strongly objects to my staying 
away for so long, and absolutely demands my speedy return; but I 
can't comply with this, owing to a new contract which I have just 
made here. And now, unfortunately, I expect my dismissal, whereby 
I hope that God will give me the strength to make up for this loss, 
at least partly, by my industry. Meanwhile I console myself by the 
hope of hearing something soon from Your Grace. You shall receive 
my promised new Symphony in two months, but in order to inspire 
me with good ideas, I beg Your Grace to write, and to write a long 
letter, too, to one who is ever 

Your Grace's 
most sincere friend and obedient 

servant, 
Jos: Haydn. 

London, iyth September 1791. 
My respectful compliments to Herr von Gennzinger and the whole 



1 79 1 ] of Joseph Haydn 119 

family. Please forgive my taking the liberty of enclosing a letter to 
Herr von Keess, but I didn't have his address. 

J No. 95 in C minor (as subsequent correspondence shows), JOSEPH DIETTEN- 

HOFER was a Viennese composer who had lived for some time in England: 

see also letter of 20th December 1791. 

2 No. 91, see supra and infra. 

NATHANIEL BRASSEY, whose house, Roxford, was about a mile from the 

village of Hertingfordbury in Hertfordshire. See also London Notebooks, 

p. 271. 

[To MARIA ANNA VON GENZINGER, VIENNA. German] 

London, I3th October 1791. 
Nobly born and gracious Lady ! 

1 take the liberty of making the urgent request that you advance 
150 fl. for a short time to my wife, but only on the condition that 
Your Grace doesn't imagine that since my departure I have become a 
bad manager. No, my dear gracious lady, God has been kind to me. 
There are 3 circumstances to blame. First, that since my departure I 
have repaid my Prince the 450 fl. he advanced me for the journey; 
secondly, I cannot demand any interest from my bank bonds, be- 
cause the bonds are in the strong-box which I entrusted to Your 
Grace's care, and moreover I can't remember their names or num- 
bers and therefore couldn't write a receipt; thirdly, I cannot get at 
the 5883 fl. which I recently deposited, 1000 in my Prince's hands 
and the rest at the Count von Fnes's, especially since it is English 
money. Your Grace can see, therefore, that I am still a good manager. 
This leads me to hope that Your Grace will not refuse my present 
request, to lend my wife 150 fl. This letter shall be Your Grace's 
security, and shall be valid in any court. I shall repay the interest with 
a thousand thanks on my return. Meanwhile I am, most respectfully, 
with my kindest regards to your husband, Fraukin Pepi and all the 
others, 

Your Grace's 

most obedient servant, 
Jos: Haydn [m.p] ria. 

Since I cannot remember the little opening Adagio at the begin- 
ning of the Symphony in E flat, 1 I take the liberty of noting the 
ensuing Allegro : 



etc 



I2O The Collected Correspondence [i79* 

Shall I be so fortunate as to receive this Symphony by the end of 
January 1792 ? Oh yes, I flatter myself that I shall ! But how strangely 
things sometimes come to pass: I think that Your Grace will have 
received my letter on the very day that I was reading your cruel 
reproach that Haydn was capable of forgetting his friend and bene- 
factress. Oh ! how often I wish that 1 could be with you at the piano 
even for a quarter of an hour, and then to have some good German 
soup for lunch. Well, we can't have everything in this world ! May 
God grant me good health; I've enjoyed it up to now, and I hope 
that through my good conduct the Almighty will continue to grant 
it to me. I was very pleased to hear that Your Grace is well. May 
Providence long watch over you ! By the way, I hope to see Your 
Grace in the course of 6 months: I shall have many things to tell you. 
[Original language:] Adieu. Good Night it is time to go to bed. 
Auf deutsch gute nacht, es ist zeit zu bettc zu gehen, [German:] 
it's 11:30. One more thing: to ensure the safety of the money, Herr 
Hamburger, 2 a very good friend of mine, a man of tall stature, who 
is my wife's landlord, will bring you this letter himself; and you can 
safely entrust him with the money; but just the same you should get 
a receipt from him, and from my wife. 

Inter alia Herr von Keess writes me that he would like to know my 
circumstances here in London, because there are various rumours 
about me in Vienna. From my youth on, I have been exposed to 
envy, and so I am not surprised that people attempt wholly to crush 
my modest talents; but the Almighty is my support. My wife 
writes me, but I don't believe it, that Mozart speaks very ill of me. 1 
forgive him. There is no doubt that many people in London are also 
envious of me, and I know almost all of them. Most of them are 
Italians. But they cannot harm me, for my credit with the common 
people has been firmly established for a long time. Apart from the 
professors, 8 1 am respected and loved by everyone. As for my remu- 
neration, Mozart can enquire of Count Fries for information, with 
whom 1 deposited 500, and of my Prince, who has 1000 Gulden, 
that makes nearly 6000 fl. in all. I thank my Creator daily for this 
boon, and I flatter myself that 1 can take home a few thousand more, 
notwithstanding the fact that I have many expenses, and notwith- 
standing the costs of the journey. Now 1 won't bother Your Grace 
any more. Isn't this handwriting appalling? 

How is Pater 4 ? My compliments to him. 

. 91. 

NEPOMUK HAMBURGER, an official ("Registrator") in the Lower 



1791] of Joseph Haydn 121 

Austrian Government whose house was on the Wasserkunst-Bastei. It was 

rebuilt in 1805 and occupied the place now known as the beginning of the 

Seilerstatte. Karajan, pp. I5/ and Pohl II, 244, n. 8. 

3 Haydn probably means the rival Professional Concerts. 

4 Probably the Pater Professor (of the Schottenstift?) referred to in earlier 

letters. 



[To MARIA ANNA VON GENZINGER, VIENNA. German] 

London, iyth November 1791. 
Nobly born and gracious lady ! 

In the greatest haste I beg you to deliver the accompanying 
parcel, which I have addressed to you, to Herr von Keess, for it con- 
tains the two new Symphonies 1 I promised. I was waiting all this 
time for a good opportunity, but could hear of none, and was 
therefore obliged to send them by mail. Please tell Herr von Keess 
that I ask him respectfully to have a rehearsal of both these Sym- 
phonies, because they are very delicate, especially the last movement 
of that in D major, for which I recommend the softest piano and a 
very quick tempo. I will write you in more detail in a few days. N.B. 
I was forced to send both Symphonies to Your Grace, because I 
don't know Herr von Keess' address. I kiss Your Grace's hands, and 
with kind regards to your husband and family, I am 

Your most obedient servant, 

Haydn. 

I have just returned from the country today. I have been staying 
with a Lord for the past fortnight, 100 miles from London. 2 
[Address :] Madame 

Madame Anne Noble de 

Gennzinger Noble de Kayser. 
in schotten Hof, auf a 
der Haupt Stiege Vienne 

im 2 tn Stock an autriche. 

1 Nos. 96 in D major and 95 in C minor. Kees entered them in his catalogue 
of Haydn Symphonies as "NB. arrived from London". 
2 SiR PATRICK BLAKE: see London Notebooks infra, p. 272. 



[To LUIGIA POLZELLA, BOLOGNA. Italian, "Tu'form] 

London, I3th December 1791 
DearPolzelli! 

You gave me quite a shock with you last letter, because I thought 



122 The Collected Correspondence [*79i 

my letter had gone astray, and also the money with it. I was so upset 
that I couldn't sleep for three days, until I received your second 
letter. I hope that you will never again entertain such cruel sus- 
picions of me, for I esteem and love you as I did on the very first 
day. I am very sorry for you, and it pains me terribly that I can't do 
more for you. But be patient, perhaps the day will come when I can 
show you how much I love you. Write soon, and let me know how 
your lodgings are, how you are, and if you arrived safely with your 
two dear sons. Tell Pietro to be obedient and to study hard; if he 
doesn't, I shan't take him with me. Your sister sends you a thousand 
kisses; she is still in a most unhappy state: the poor thing now lives 
in a room, separated from her husband, with whom she is still on 
bad terms. She will send you a little something. Dear Polzelli, I 
can't write more today. More another time. 

Meanwhile I am your most sincere 

Giuseppe Haydn. 
[Address:] Madame 

Madame Loise Polzelli, 

Virtuosa di Musica 
a 
Bologna. 



[To MARIA ANNA VON GENZINGER, VIENNA. German] 

London, 20th December 1791. 
Nobly born and gracious Lady ! 

I was very surprised that you did not get my letter at the same 
time as the 2 Symphonies, 1 for I posted them myself here and gave 
them every instruction. My mistake was that I didn't enclose the 
letter in the parcel. That is what generally happens, gracious lady, 
to those who have too much head work. But I do hope that you will 
receive the letter somewhat later; if not, I should explain that both 
Symphonies were destined for Hcrr von Keess, but with the stipula- 
tion that after Herr von Keess had copied them, the scores were to be 
delivered to Your Grace, so that Your Grace could make a piano- 
forte arrangement of them, if you felt so disposed. As for the 
Symphony intended for Your Grace, I shall deliver it by the end of 
February at the latest. I am sorry to have had to address this large 
package to Your Grace, but I didn't have Herr von Kcess' address; 



1 79 * ] of Joseph Haydn 123 

Herr von Keess will of course refund you the postage costs and, I 
hope, give you 7 ducats a parte. Now may I respectfully ask Your 
Grace to use this money and have the Symphony in E flat, 2 which I 
ask for so often, and of which I sent you the incipit recently, copied 
on small-sized paper for mailing, and sent to me by mail as soon as 
possible; for it may be half a year before a courier is dispatched from 
Vienna, and I need the Symphony very urgently. Further I must 
bother Your Grace once again; this time it is the last pianoforte 
Sonata in A flat 3 that is, with 4 [7 signs with accompaniment of a 
violin and violoncello, and one other piece, the Fantasia in C [for 
pianoforte] unaccompanied; please buy these at Herr Artaria's, and 
have them, too, copied on small-sized paper for mailing and sent 
here by mail, because these works are not yet engraved in London. 
Your Grace, however, must be clever enough not to mention a 
word of this to Herr Artaria, for otherwise he will anticipate the sale 
here. Your Grace should subtract the costs from the 7 ducats. To 
come back to the aforesaid 2 Symphonies, I must tell Your Grace 
that I sent the pianoforte arrangement of Andante of that in C 
minor through Herr Diettenhofer. It is reported, however, that Herr 
Diettenhofer* cither died en route or must have met with an accident, 
and so you can make the pianoforte arrangements yourself, if you 
are so disposed. The principal part of the letter I entrusted to Herr 
Diettenhofer described the conferment of the doctor's degree on me 
at Oxford, and all the honours I received there. 5 I must take this 
opportunity of informing Your Grace that 3 weeks ago I was in- 
vited by the Prince of Wales to visit his brother, the Duke of York, 
at the lattcr's country seat. The Prince presented me to the Duchess, 
the daughter of the King of Prussia, who received me very graciously 
and said many flattering things. She is the most delightful lady in the 
world, is very intelligent, plays the pianoforte and sings very nicely. 
I had to stay there 2 days, because a slight indisposition prevented 
her attending the concert on the first day. On the 2nd day, however, 
she remained continually at my side from 10 o'clock in the evening, 
when the music began, to 2 o'clock in the morning. Nothing but 
Haydn was played. I conducted the symphonies from the pianoforte, 
and the sweet little thing sat beside me on my left and hummed all 
the pieces from memory, for she had heard them so often in Berlin. 
The Prince of Wales sat on my right side and played with us on his 
violoncello, quite tolerably. I had to sing, too. The Prince of Wales is 
having my portrait painted just now, and the picture is to hang in his 
room. 6 The Prince of Wales is the most handsome man on God's 



124 The Collected Correspondence 

earth; he has an extraordinary love of music and a lot of feeling, but 
not much money. Nota bene, this is between ourselves. I am more 
pleased by his kindness than by any financial gain. On the third day 
the Duke of York sent me two stages with his own span, since I 
couldn't catch the mail-coach. 

Now, gracious lady, I would like to take you to task a little, for 
believing that I prefer the city of London to Vienna, and that I find 
the sojourn here more agreeable than that in my fatherland. 1 don't 
hate London, but I would not be capable of spending the rest of my 
life there, even if I could amass millions. I shall tell Your Grace the 
reason when I see you. I look forward tremendously to going home 
and to embracing all my good friends. I only regret that the great 
Mozart will not be among them, if it is really true, which I trust it is 
not, that he has died. Posterity will not see such a talent again in 100 
years ! I am delighted that Your Grace and your family are well. I 
have enjoyed excellent health up to now, thank God ! but a week ago 
I got an attack of English rheumatism which was so severe that some- 
times I had to cry aloud. I hope soon to get rid of it, however, 
inasmuch as I have adopted the usual custom here of wrapping 
myself in flannel from head to foot. I must ask you to excuse the 
fact that my handwriting is so poor today. In the hope of being 
consoled by a letter, and with every esteem for yourself and my 
respectful compliments to your husband, dear Fraulein Pepi, and all 
the others, I am 

Your Grace's 

most obedient servant, 
Joseph Haydn. 

Please convey my respects to Herr von 
Kreybich. 7 

1 Nos. 96 and 95 : see supra. 
2 No. 91 : see supra and infra. 

3 No. 14: it was performed by the young JOHANN NEPOMUK HUMMEL 
(1778-1837), Salomon and Menel at the eighth Haydn-Salomon Concert 
of the 1792 season (2Oth April), and engraved shortly afterwards by Long- 
man and Brodenp. Concerning Hummel, see also infra, p. 234. From 1804 
to 1811 he was Prince Esterhdzy's Kapellmeister. He had been a pupil of 
Mozart, and was later a popular composer, and as a pianist a rival of 
Beethoven. 

4 Diettenhofer did not die en route, for Gerber (Neues historisch-biogra- 
phisches Lexikon der Tonkunstler, Leipzig, 1812, 1, p. 891) reports that he was 
still active in London in 1799. 

6 Haydn had received an honorary degree (Mus.Doc.) at Oxford on 8th July. 
The portrait was by JOHN HOPPNER (1758-1810), who had been Court 



179 2 ] of Joseph Haydn 125 

Painter to the Prince of Wales from 1789. Haydn's portrait now hangs in 
Buckingham Palace; it is reproduced in colour in Geinngcr's Haydn (1932). 
? FRANZ KREIBICH (1728-1797), Court Director of Chamber Music under 
Joseph II, was formerly one of Haydn's (and Mozart's) bitterest enemies. 



[EXTRACTS FROM A LETTER TO JOHANN MICHAEL PUCHBERG, 
VIENNA. German] 

London, January 1792. 

.... For some time 1 was beside myself about his [Mozart's] 
death, and I could not believe that Providence would so soon claim 
the life of such an indispensable man. I only regret that before his 
death he could not convince the English, who walk in darkness in 
this respect, of his greatness a subject about which I have been 
sermonizing to them every single day .... You will be good 
enough, my kind friend, to send me a catalogue of those pieces 
which are not yet known here, and I shall make every possible effort 
to promote such works for the widow's benefit; I wrote the poor 
woman three weeks ago, and told her that when her favourite son 
reaches the necessary age, I shall give him composition lessons to the 
very best of my ability, and at no cost, so that he can, to some 
extent, fill his father's position. . . . 



MICHAEL PUCHBERG, the Viennese banker, was one of Mozart's 
friends. Puchberg and Haydn attended the rehearsals of Cost fan tutte in 1790, 
the only two friends Mozart invited. This letter was first printed in Notte- 
bohm's Mozartiana (1880), without the exact date and including only the 
passages pertaining to Mozart. The autograph has probably disappeared 
forever. 



[To LUIGIA POLZELLI, PIACENZA. Italian, "Tu" form] 

London, I4th January 1792. 

My dearest Polzelli ! This very moment I received your letter, and 
hasten to answer it. I am relieved that you are in good health, and 
that you have found a position in a little theatre; not so much be- 
cause of the payment but to have the experience. I wish you every 
possible success, in particular a good role and a good teacher, who 
takes the same pains with you as did your Haydn. You write that 
you would like to send your dear Pietro to me; do so, for I shall 



126 The Collected Correspondence [i 792 

embrace him with all my heart; he is always welcome, and I shall 
treat him as if he were my own son. I shall take him with me to 
Vienna. I shall remain in London until the middle of June, not 
longer, because my Prince and many other circumstances make it 
imperative that I return home. Nevertheless I shall try, if possible, to 
go to Italy, in order to see my dear Polzclli, but meanwhile you can 
send your Pietro to me here in London; he will always be either 
with me or with your sister, who is now alone and who has been 
separated quite some time now from her husband, that beast. She is 
unhappy, as you were, and I am very sorry for her. I see her but 
rarely, for I have a lot to do, especially now, when the Professional 
Concert has had my pupil Pleyel 1 brought over, to face me as a 
rival; but I'm not afraid, because last year I made a great impression 
on the English and hope therefore to win their approval this year, 
too. My opera was not given, because Sig. Gallini 2 didn't receive the 
licence from the King, and never will; to tell you the truth, the 
Italian opera has no success at all now, and by a stroke of bad luck, 
the Pantheon Theatre burned down just this very day, two hours 
after midnight. Your sister had been engaged in the last piece; 3 1 am 
sorry for all of them. 

I am quite well, but am almost always in an "English humour", 
that is, depressed, and perhaps I shall never again regain the good 
humour that I used to have when I was with you. Oh! my dear 
Polzclli: you are always in my heart, and I shall never, never forget 
you. I shall do my very best to see you, if not this year, then certainly 
the next, along with your son. I hope that you won't forget me, and 
that you will write me if you get married again, for I would like to 
know the name of him who is fortunate enough to have you. 
Actually I ought to be a little annoyed with you, because many 
people wrote me from Vienna that you had said the worst 
possible things about me, but God bless you, I forgive you 
everything, for I know you said it in love. Do preserve your good 
name, I beg you, and think from time to time about your Haydn, 
who esteems you and loves you tenderly, and will always be faithful 
to you. Write me, too, if you have seen and spoken with anyone who 
was formerly in Prince Esterhazy's service. Good bye, my dear, 
that's all for this evening : it's late. 

Today I went to see your dear sister, to ask her if she would be 
able to put up Pietro in her house. He will be received with the 
greatest pleasure; he can sleep there and have his meals there, too, 
since I always eat out and am invited out every day; but Pietro can 



179 2 ] of Joseph Haydn 127 

come every day to me for his lessons I live only a little way from 
your sister's. I give your sister a bit of money, because I am very 
sorry for her; she is not exactly poor, but she has to be very econo- 
mical. I shall clothe your son well, and do everything for him. I don't 
want you to have any expense on his account; he shall have every- 
thing he needs. I shall certainly leave for Vienna in the middle of 
June, but I shall take the route via Holland, Leipzig and Berlin (in 
order to see the King of Prussia) ; my Petruccio 4 will always be with 
me. I hope, however, that up to now he has been an obedient son 
to his dear mother, but if he hasn't been, I don't want him, and you 
must write me the truth. I don't want to have an ungrateful boy, for 
then I would be capable of sending him away at a moment's notice. 
Your sister embraces you and kisses you thousands and thousands of 
times. Write me often, dear Polzelli, and remember that I shall be 
always your faithful 

Haydn. 

My compliments to Signor Negri. 5 

Dear Polzelli, Signor Hauder, who is Prince Esterhazy's Master of 
the Horse, and a rascal, wrote to me that you had sold his harpsi- 
chord. I cannot recall that you ever had any other harpsichord than 
mine. See how they torment me on your account ! My wife, that 
devilish beast, wrote me so many things that I was forced to answer 
her that I would never go home the rest of my life; and from that 
moment she was much more sensible. Take good care of this letter. 
[Address:] Madame 

v [ON] LONDON Madame Aloise Polzelli nee 

Moreschi. Virtuosa di Musica 

a 

Piacenza 
al Theatro 
di Piacenza en Italic. 

MGNAZ PLEYEL (1757-1831), Haydn's pupil (see supra, p. 18), was later 
Maitre dc Chapcllc in Strasbourg. In his tune a famous composer, he later 
retired to Pans (after being arrested and almost guillotined) and became a 
successful music publisher, in which capacity Haydn wrote to him several 
times. See infra, letters of 4th May 1801 and 6th December 1802. 
2 See supra, p. 67. 

8 Gughelmi's La pastorella nobile : see the London Notebooks, p. 266. 
4 The Italian diminutive for Pietro. 

6 SiGNOR NEGRI, probably the singer who had been a member of the Ester- 
hazy opera company from 1782-1784: he had sung Rodomonte in Haydn's 
Orlando Paladino (1782). 



130 The Collected Correspondence [i?9 2 

the Fantasia and the Sonata a ire. 1 But I was rather saddened, on 
opening the parcel, because I had hoped and believed that the 
Symphony in E flat 2 for which I have so long and patiently waited 
would be included. Gracious lady ! I beg you urgently to have it 
copied at once on small-sized paper for mailing and then to send it 
to me immediately; I shall be only too happy to pay for all the 
expenses incurred, for God only knows when the Symphonies will 
arrive here from Brussels. 3 1 cannot dispense with this work without 
great loss. Please forgive me, kindest and most gracious lady, for 
bothering you so often with this matter; I shall appreciate it very 
much. I am so burdened with work at present that I simply cannot 
write to Hcrr von Keess, and therefore I beg you to apply to him for 
the said Symphony, and to present my respectful compliments to 
him. Meanwhile I remain, with kind respects, 

Your Grace's 

most obedient servant, 

[no signature.] 

My respects to your husband, the 
dear children, and von Kreubich. 4 
Your Grace shall receive a good portion 
of the sewing needles. 5 
[Address:] Madame 

Madame Anna Noble de 
Gennzinger nee noble dc Kayser 

a 

im Schotten Hof auf Viemic 

der Haupt Stiege. en autriche. 

1 Scc supra, p. 123. 

2 No. 91 : sec supra and infra. 

3 Kccs had sent off the parts, which had apparently got as far as Brussels. Sec 

letter of 2nd March 1792. 

4 Kreibich: see supra, p. 125. 

6 See London Notebooks, infra, p. 251. 



[To JOHANN JOSEPH DussEK 1 (CZASLAU, BOHEMIA). German] 
My dear Friend ! 

I thank you with all my heart that you also remembered me in 
your last letter to your son. I return the compliment with interest, 



179 2 ] of Joseph Haydn 131 

and consider myself fortunate to be able to assure you that you have, 
in your son, a most honourable and polished man who is a distin- 
guished musician. 

I love him just as dearly as I do you, and he well deserves it. If you 
give him a father's blessing, he will continue to be happy, which 
because of his great talents I heartily wish him to be. 

With every respect, I am 

Your most sincere friend, 

Joseph Haydn. 
London, 26th February 1792. 



JOSEPH DUSSEK (or Dussik) was a well-known musician in his day, 
and was organist at Czaslau. His son, JOHANN LUDWIG (LADISLAUS) (1761- 
1 8 12) was a brilliant pianist and a talented composer ; he appeared in many of 
the Haydn-Salomon concerts. His wife, Sophia Corn, also sang in Haydn's 
programmes. Later they formed the firm of Corn, Dussek & Co., with 
which some of Haydn's new works appeared. (See J. W. Davison's article 
on Dussek in Grove's Dictionary, ist ed. (1879) I, pp. 473-477, where (p. 474) 
this letter was first printed.) 



[To MARIA ANNA VON GENZINGER, VIENNA. German] 

London, 2nd March 1792. 
Nobly born and gracious Lady ! 

Yesterday evening I received your welcome letter and the 
Symphony 1 I had asked for; I respectfully kiss Your Grace's hands 
for the prompt and careful delivery. Six days before I had in fact 
received it through Herr von Keess from Brussels, but the score was 
much more useful, for I have to change many things for the English 
public. 2 I only regret that I must bother Your Grace so often with 
my commissions, the more so since at present I cannot show you how 
grateful I am. I must confess and admit to Your Grace that this 
causes me great embarrassment and that there are days in which I am 
terribly sad; especially because at present I cannot send Your Grace 
the Symphony 3 which is dedicated to you, for the following reasons: 
first, because I intend to alter the last movement of it, and to im- 
prove it, since it is too weak compared with the first. I was con- 
vinced of this myself, and so was the public, when it was played the 
first time last Friday; notwithstanding which, it made the most pro- 
found impression on the audience. The second reason is that I really 
dread the risk of its falling into other hands. I was not a little shocked 

J.H.-L 



132 The Collected Correspondence [1792 

to hear the unpleasant news of the Sonata. 4 By God ! I would rather 
have lost 25 ducats than to hear of this theft, and no one except my 
own copyist can have done it. Nevertheless I hope to God to be able 
to replace the loss, once again through Madam Tost, for I certainly 
don't want to incur any reproaches from her. Your Grace must 
therefore be indulgent towards me until the end of July, when I can 
have the pleasure of delivering personally not only the Sonata but 
also the Symphony; nota bene, I shall give you the Symphony myself, 
but the Sonata through Madam Tost. Moreover, I cannot deliver 
the promised Symphonies 5 to Herr von Kees either, for here too 
there is a want of faithful copyists. If I had the time I would copy 
them myself, but there isn't a day, not a single day, in which I am 
free from work, and I shall thank the dear Lord when I can leave 
London the sooner the better. My labours have been augmented 
by the arrival of my pupil Pleyel, whom the Professional Concert 
have brought here. He arrived here with a lot of new compositions, 
but they had been composed long ago; he therefore promised to 
present a new work every evening. As soon as I saw this, I realized at 
once that a lot of people were dead set against me, and so I announced 
publicly that I would likewise produce 12 different new pieces. In 
order to keep my word, and to support poor Salomon, I must be the 
victim and work the whole time. But I really do feel it. My eyes 
suffer the most, and I have many sleepless nights, though with God's 
help I shall overcome it all. The people of the Professional Concert 
wanted to put a spoke in my wheel, because I would not go over to 
them; but the public is just. I enjoyed a great deal of success last year, 
but still more this year. Pleycl's presumption is sharply criticized, 
but I love him just the same. I always go to his concerts, and am the 
first to applaud him. I am delighted that Your Grace and the family 
are well. Please give my kind respects to all of them. The time is 
drawing near when I must put my trunks in order. Oh ! how happy 
I shall be to see Your Grace again, to show you how much I missed 
you and to show the esteem in which, gracious lady, you will ever 
be held by 

Your most obedient servant, 

Jos: Haydn. 

I hasten to ask Your Grace to present my respectful compliments 
to Herr von Keess, and to tell him that the press of affairs does not 
give me time to write, and to explain to him that, for the above 
reasons, I cannot send him the new Symphonies. I shall have the 
honour of conducting them at his coming Christmas Concert. 



1 79 2 ] of Joseph Haydn 133 

[Address:] Madame 

Madame Anna Noble de 
Gennzinger, nee Noble de Kayser 
a 

Vienne 
im Schotten Hof. en autriche. 



o. 91. 

2 Haydn's revision has not, unfortunately, survived, though the score Maria 
Anna sent him is probably the "score on small-sized paper for mailing" of an 
E flat Symphony listed in Haydn's musical legacy. Presumably Haydn 
would have added trumpets and kettledrums, and possibly a second flute 
part. 

8 This passage is not quite clear. On 2nd March, Symphony No. 98 was 
first performed, and the first and last movements encored. "Last Friday", 
however, Symphony No. 93 had been performed, not for the first but for 
the second time (see Landon, p. 480). Obviously No. 93 is the work to 
which Haydn, rather inaccurately, refers. It is not known if the version of 
the finale we play today is the revised one, or if Haydn ever found the time 
to "improve it". 

4 Thc Sonata referred to is probably No. 49, which Haydn had delivered to 
Madam Tost when she was still Anna de Jerhscheck (see supra, p. 98). 
Meanwhile Artaria had printed the Sonata it had been announced in 
August 1791 and presumably "Mademoiselle Nanette", or rather Madam 
Tost, had objected to Maria Anna. Haydn obviously suspected Johann 
Elssler, who by that time had become Haydn's personal copyist, of having 
stolen the work and sold it to Artaria. The new Sonata which Haydn in- 
tended to deliver, again "via Madam Tost", is perhaps the piano Trio in 
G major (Hoboken XV: 32) which has hitherto been wrongly regarded as 
a violin Sonata. (Haydn refers to it in his London Catalogue see infra, p. 
309 as a Sonata, as he usually describes his piano trios.) Hoboken's cata- 
logue, pp. 717/1 and 774/, needs correcting in this respect. 
5 Some of the new Salomon Symphonies (Haydn had already sent Nos. 95 
and 96 to von Kees) : perhaps Nos. 93, 94 and 98. 



[To PRINCE ANTON ESTERH^ZY, (EISENSTADT?). German] 
Most Serene Prince of the Holy Roman Empire, 
Gracious Lord and Sire ! 

Since I must leave England in a short time, I hasten to place my 
entire faithful services in all matters as far as I shall be able to fulfil 
them at Your Serene Highness' disposal. Our concerts will be 
finished at the end of June, after which I shall begin the journey 



134 The Collected Correspondence [1792 

home without delay, in order to serve my most gracious Prince and 

Lord again. I am, in humble submission, 

Your Serene Highness* 
Most humble Joseph Haydn, m.p., 
Capellmeister. 

London, loth April 1792. 



[To MARIA ANNA VON GENZINGER, VIENNA. German] 

London, 24th April 1792. 
Nobly born and gracious lady ! 

Yesterday evening I was delighted to receive your last letter of 
5th April, with the enclosed newspaper cutting in which the 
Viennese are informed of my poor talents. I must admit that this 
little choral piece, 1 my first attempt at the English language, has 
earned me considerable credit as a composer of vocal music with the 
English. It is only a pity that I could not compose more such pieces 
during my present stay here, but we couldn't have any boy choris- 
ters on the days our concerts were held, because they had already 
been engaged for a year past to sing at other concerts, of which there 
is a great number. Despite great opposition and the musical enemies 
who are so much against me all of whom, together with my pupil 
Pleyel, tried their very hardest to crush me, especially this Winter 
I have gained (thank God !) the upper hand. But I must admit that 
with all this work I am quite exhausted and wearied, and look for- 
ward longingly to the peace which will soon be mine. I kiss Your 
Grace's hands for your kind solicitude about my person, and just as 
Your Grace advises, I do not intend to go to Paris at present; but 
there are other reasons too, which 1 shall explain to Your Grace when 
I see you. I am expecting my Prince, to whom I wrote recently, to 
tell me where I am to go. It may be that he summons me to Frank- 
furt, 2 but if not, I shall go (entre nous) via Holland to Berlin, to the 
King of Prussia, and from there to Leipzig, Dresden, Prague and at 
last ! to Vienna, where I shall embrace all my friends. Meanwhile 
I remain, most respectfully, my kindest 

Frau von Gennzinger's 
most obedient servant, 
Joseph Haydn. 

My kind regards to your husband, Fraulein Pepi and all the others, 
no less to Her von KREUBiCH 3 "I am so gl- gl- glad" that he has the 



1 79 2 ] of Joseph Haydn 135 

pleasure of enjoying your friendship. N.B. I hope to be able to kiss 
Your Grace's hands at the end of July. Please forgive my not making 
an envelope today, but there isn't time. 
[Address:] 

VON LONDON 

Madame 

Madame Anna Noble de 
Gennzinger nee Noble de Kayser. 
a 

Vienne 
IM SCHOTTEN HOP. en autriche. 

l Thc Storm: Madrigal, a work for soli, chorus and orchestra, first performed 
at the Haydn-Salomon concert of 24th February 1792. 
2 For the Coronation of the Emperor Francis II. 
3 Kreibich: see supra, p. 125. 



[OPEN LETTER TO CHARLES CLAGGET, LONDON. English] 

[London, April I792 1 ] 

To Mr. Clagget, musical Museum, Greek street, Soho. Sir! I 
called at your house, during your absence, and examined your im- 
provements on the Pianoforte, and Harpsichords, and I found you 
had made them perfect instruments. I therefore, in justice to your 
invention, cannot forbear giving you my full approbation, as by 
this means you have rendered one of the finest instruments ever 
invented, perfect, and therefore the fittest to conduct any musical 
performance, and to accompany the human voice. I wish you to 
make this known through such channels as may appear to be most 
advantageous to you. I am etc. Josephus Haydn. 

1 This letter appeared in The Morning Herald on 27th April 1792. 



[To LUIGIA POLZELLI, BOLOGNA. Italian, "Tu" form] 

London, 22nd May 1792. 
Dear Polzelli, 

I received your letter and saw from it that at any rate you are well 
again. You write that I should get you an engagement at a theatre; 
I assure you that there is no chance of that in London now, for they 
don't know whether there will be any Italian opera here next year. 



136 The Collected Correspondence [*79 2 

The English are not too fond of Italian opera, because they don't 
understand the language; but I shall do my very best to get some- 
thing for you when I return to Vienna. I shall send you the money 
for Pietro very soon, as I promised, and shall let you know the day 
of my departure from London. The ENGLISH WANT ME TO STAY HERE, 

BUT THIS IS IMPOSSIBLE AT PRESENT, BECAUSE IT'S ABSOLUTELY ESSEN- 
TIAL FOR ME TO GO HOME, in order to put my affairs in proper order; 
I left all my things in Estcrhaza. My Prince wants me to come to the 
Coronation at Frankfurt. I shall go there, for I have to take this route 
home anyway. I shall very soon be sending a trunk with various 
things for Pietro, and some clothes for you from your sister. Mean- 
while farewell; in the hope that God will allow me to see you and 
embrace you, I am, as always, your faithful 

Giuseppe Haydn. 
[Address :] Madame 

Madame Loise Polzelli 
Virtuosa di Musica 

a 

Ferma in Posta BOLOGNA 

en Italie. 



[To LUIGIA POLZELLI, BOLOGNA. Italian, "Tu" form] 

London, 1 3th June 1792. 
My dearPolzelh! 

I received your letter with the false news about my wife: in fact 
she is not quite well, but with her usual sicknesses she may, if she 
pulls through, outlive me by many years. Well, we shall have to 
leave her fate to Providence. I SHALL LEAVE LONDON AT THE END OF 
THIS MONTH, and shall write you from Frankfurt. Yesterday I heard 
that my Prince will go there as Bohemian Ambassador and will 
arrive on the 25th of this month, together with his musicians. I 
think, therefore, that I shall have to stay with him for a time. 
Enough, I shall write you soon, to tell you when your Pietro should 
leave. Yesterday I purchased a little trunk in which to put the things 
that we bought together, your sister and I. Pietruccio 1 can then use 
this same trunk when he leaves Bologna. My dear Polzelli, I hope to 
see you next year, and to tell you about all the things that have hap- 
pened to me since I left you; and I hope, as God is my witness, 



1 79 2 ] of Joseph Haydn 137 

always to be the same to you as I have been. I love you and will 
always be your faithful 

Giuseppe Haydn. 
I send your sons many kisses. 

My compliments to your dear sister. 2 

1 See supra, p. 127. 

2 We know nothing of this second sister, who apparently lived in Bologna. 



[To MARIA ANNA VON GENZINGER, VIENNA. German] 
Gracious Lady ! 

Since Herr von Kecss has invited me for lunch today, I shall have 
the opportunity to give his wife the knitting-needles I promised her. 
If, therefore, Your Grace would be good enough to have some sent 
over, I shall be able to fulfil my promise, for which I kiss Your 
Grace's hands and remain, respectfully, 

Your wholly obedient servant, 
Joseph Haydn. 

[Vienna] From my home, 4th August 1792. 
[Address:] Madame 

Madame de Gcnnzinger 

a 
Son Logis. 



[PlETRO POLZILLI TO LuiGIA POLZtLLI (BOLOGNA) WITH A POSTSCRIPT BY 

HAYDN.] [Italian: Pietro m "Lei" form, Haydn in the "Tu"\ 

[Vienna] 22nd October [1792.] 
Dearest Mother ! 

I beg you to forgive me for not being able immediately to answer the letter of 
2nd October you sent to me. The reason is that I had kept on hoping to be able 
to include a little something with it. Dear Mother, I have spoken to il Sig T Maestro 
Hayde [sic] and begged him many times on your account, dearest Mother, but he 
cannot do more than he has done already. Through Sig: Valentino Pertoja 1 of 
Venice whom you know well from Esterhaza, and who is at present here in 
Vienna on business, il Sig r Maestro Hay den [sic] sends you twenty-six florins 
[Gulden] and 30 xr [Kreutzer] together with tins present letter He says to tell you 
that he cannot send more at present, because he is incapable of doing so : he has 
many expenses on my behalf, and also for his own household. Dearest Mother, I 
must inform you that I shall leave Cnstma's 2 house today, since il Sigre Maes 
Haydn has found a place for me in his own home, so as to have more tune to be 
able to teach me everything. I must further inform you that through the kindness 



138 The Collected Correspondence [1792 

of Sig rc Maestro Haydn I have found a house where I can earn something, it is at 
the home of the Countess Wcissenwolf, 3 where I teach her own daughter how to 
play the harpsichord. Thus I hope to be able to help a little, and I shall never fail to 
do my very best I am, as always, 

Your most obedient son, 

Pietro Polcclh [sic] 
The 22nd of October 



[HAYDN'S POSTSCRIPT] 

Dear Polzelli, Your son has been very well received by my wife, and 
I hope this situation will continue. Pietro must teach the Countess 
Weissenwolf 's daughter, and he asked me of his own accord to send 
all the money he earns to his dear mother. I am mortified not to be 
able to send you any more than these twenty-six florins at present, 
but I have many expenses. Farewell. I am your most sincere 
Giuseppe Haydn. 

I PERTOJA or BERTOJA, violoncellist in the Estcrhazy band from 1780 to 1788. 
2 We do not know who this "Cnstina" was; probably a relative 
PRINCE NICOLAUS I had been married to Freim Maria Elisabeth von Weis- 
senwolf (d 1790 see supra, p 100), his second son, Count Nikolaus, had 
married Countess Maria Anna von Weissenwolf in August 1777, for which 
occasion Haydn had written // mondo dclla lima. 



[To MARIA ANNA VON GENZINGER, VIENNA. German] 
Gracious Lady ! 

Apart from wishing you Good Morning, this is to ask you to give 
the bearer of this letter the final big Aria in F minor from my opera, 1 
because I must have it copied for my Princess. I will bring it back to 
you myself in 2 days at the latest. Today I take the liberty of inviting 
myself for lunch, when I shall have the opportunity of kissing Your 
Grace's hands in return. Meanwhile I am, as always, 

Yfour] G[race's] 

most obedient servant, 

Joseph Haydn. 

[Vienna] From my home, I3th November 1792. 
[Address:] Madame 

Madame Noble dc Gcnnzinger 
a 

Son Logis. 

1 Orfeo's ana in the second act ofL'anima deljilosofo. 



1 793] of Joseph Haydn 139 

[RECEIPT TO ARTARIA & Co., VIENNA. German] 
[Only the signature autograph] 




For the sum of twenty-four ducats I, the under- 
signed, herewith cede to Messrs. Artana Comp. here in Vienna all 
the rights to the Minuets and German Dances 1 which I composed for 
the benefit of the Artists' Widows Society here, and which were 
performed at the Rcdoutcnsaal Ball on 25th November of this past 
year. I promise to give the afore-mentioned Minuets and German 
Dances to no one else, and acknowledge to have received this day 
the correct sum of twenty-four ducats in cash. Vienna, yth Decem- 
ber 1792. 

Attested : 

Joscphus Haydn. 
For 24 ducat pieces 



[Artana's clerk notes: "Haydn / 108 Gulden /I792".] 

1 The works arc Hobokcn IX: TT & 12 Haydn probably wrote them in 
England; sec Landon, p 563. Artana published only an arrangement for two 
violins and bass 



[To LUIGIA POLZELLI, BOLOGNA. Italian. "Tu" form] 

Eisenstadt, 20thjune 1793. 
Dear Polzelh ! 

I hope that you will have received the two hundred florins [Gul- 
den] which I sent via Sig. Buchbcrg, 1 and perhaps also the other 
hundred, a total of 300 florins; I wish I were able to send more, but 
my income is not large enough to permit it. I beg you to be patient 
with a man who up to now has done more than he really could. 
Remember what I have given and sent to you; why, it's scarcely a 
year ago that I g^ve you six hundred florins ! Remember how much 
your son costs me, and how much he will cost me until such a day as 
he is able to earn his own daily bread. Remember that I cannot work 
so hard as I have been able to do in the years past, for I am getting 
old and my memory is gradually getting less reliable. Remember, 
finally, that for this and many other reasons I cannot earn any more 
than I do, and that I don't have any other salary except the pension of 



140 The Collected Correspondence [*793 

my Prince Nicolaus Esterhdzy (God rest his soul), and that this 
pension is barely sufficient to keep body and soul together, particu- 
larly in these critical times. Your son received the watch from Sig. 
Molton, who however didn't want to give it to him, and made up 
all sorts of reasons, excuses and lies for not doing so; I had to go to 
him myself in order to get it. This man is a terrible liar ! He told me 
to my face that he had sent you the 25 florins I had given him four 
months ago; and he boasted in front of me how much he had done 
for you, and how he was ready at any time to have you come to 
Vienna and marry him; you can imagine just what I thought of you ! 
But I am studying this man carefully, to ascertain his true character, 
and I am getting to know him better and better: tomorrow he is 
leaving for Poland with his Princess, but he won't slip through my 
fingers with those twenty-five florins ! At present I am alone with 
your son in Eisenstadt, and I shall stay here for a little while to get 
some fresh air and have a little rest. You will receive a letter from 
your son along with mine; he is in good health, and kisses your 
hand for the watch. I shall stay in Vienna until the end of September, 
and then I intend to take a trip with your son, and perhaps perhaps 
to go to England again for a year; but that depends mainly on 
whether the battleground changes; if it doesn't, I shall go somewhere 
else, and perhaps perhaps I shall see you in Naples. My wife is still 
sick most of the time, and is always in a foul humour, but I don't 
really care any more after all, this woe will pass away one day. 
Apart from this, I am much relieved that you, for your part, are a 
little more relieved about your dear sister. 2 God bless you and keep 
you in good health ! I shall see to it that you receive what little I can 
offer you, but now you really must be patient for a while, because I 
have other onerous debts; I can tell you that I have almost nothing 
for all my pains, and live more for others than for myself. I hope to 
have an answer before you leave for Naples. I kiss you, and am your 

most sincere 

Giuseppe Haydn. 
[Address:] Madame 

Madame Loise Polzelli 
Virtuosa di Musica 

in 

Ferma in posta. Bologna 

en Italic. 

1 Michael Puchberg: see supra, p. 125. 

Probably CRISTINA NEGRI in London: see supra, p. 116. 



1793\ of Joseph Haydn 141 

[To THE VIENNA CITY MAGISTRACY. German] 
[Copy in an unknown hand in the Vienna City files] 
To the worthy Magistracy of the Imperial and Royal capital city of 
Vienna : 

The undersigned is thinking of slightly enlarging his house, which 
is situated at No. 71, Kleine Stein-gasse near Gumpendorf, in the 
territory of the Windmuhl property, and therefore comes under the 
Registry of Landed Property pertaining to your worthy Magistracy. 
Ground-plan A, attached, shows said enlargement, whereby another 
storey would be added to the original building. Since your exalted 
consent is required beforehand, the undersigned begs you to grant it 
to him; in support of his request, he would point out that: 
i mo In this projected construction, good materials would be em- 
ployed, but altogether it would be planned in accordance with the 
rules established by the Board of Works, and would contribute to 
improving the general looks of the street. He hopes therefore that his 
plan will be approved, the more so because 

2 do By enlarging the building, an increase of tax-money would 
accrue to the most exalted orario. 

Vienna, I4th August 1793. 
Franz Heiden [sic] Furstl. Esterhazis. 
Capellmeister and Property Owner in 
the Kleine Steingasse No. 71. 



[HAYDN TO MAXIMILIAN FRANZ, THE ELECTOR OF COLOGNE, BONN. 

German] 

[Only signature & title autograph] 
Serene Electoral Highness ! 

I humbly take the liberty of sending Your Serene Electoral High- 
ness some musical works, viz., a Quintet, an eight-part Parthie, an 
oboe Concerto, Variations for the fortepiano, and a Fugue, 1 com- 
positions of my dear pupil Beethoven, with whose care I have been 
graciously entrusted. I flatter myself that these pieces, which I may 
recommend as evidence of his assiduity over and above his actual 
studies, may be graciously accepted by Your Serene Electoral 
Highness. Connoisseurs and non-connoisseurs must candidly admit, 
from these present pieces, that Beethoven will in time fill the posi- 
tion of one of Europe's greatest composers, and I shall be proud to 
be able to speak of myself as his teacher; I only wish that he might 
remain with me a little while longer. 



142 The Collected Correspondence [i 793 

While we are on the subject of Beethoven, Your Serene Electoral 
Highness will perhaps permit me to say a few words concerning his 
financial status. 100 # 2 were allotted to him during the past year. 
Your Serene Electoral Highness is no doubt yourself convinced that 
this sum was insufficient, and not even enough to live from; un- 
doubtedly Your Highness also had his own reasons for choosing to 
send him into the great world with such a paltry sum. Under these 
circumstances, and to prevent him from falling into the hands of 
usurers, I have in part gone bail for him and in part lent him money 
myself, with the result that he owes me 500 fl., of which not a 
Kreutzer 3 was spent unnecessarily; which sum I would ask you to 
send to him here. And since the interest on borrowed money grows 
continually, and is very tedious for an artist like Beethoven anyway, 
I think that if Your Serene Electoral Highness were to send him 
1000 fl. for the coming year, Your Highness would earn his eternal 
gratitude, and at the same time relieve him of all his distress: for the 
teachers which are absolutely essential for him, and the display which 
is necessary if he is to gain admission into numerous salons, reduce 
this sum to such an extent that only the bare minimum remains. As 
for the extravagance which one fears will tempt any young man 
who goes into the great world, I think I can answer for that to Your 
Serene Electoral Highness: for a hundred circumstances have con- 
firmed me in my opinion that he is capable of sacrificing everything 
quite unconstrainedly for his art. In view of so many tempting 
occasions, this is most remarkable, and gives every security to Your 
Serene Electoral Highness in view of the gracious kindness that 
we expect that Your Highness will not be wasting any of your 
grace on usurers as far as Beethoven is concerned. In the hope that 
Your Serene Electoral Highness will continue his further patronage 
of my dear pupil by graciously acceding to this my request, I am, 
with profound respect, 

Your Serene Electoral Highness* 
most humble and obedient 

Joseph Haydn 

Capell Meister von Furst Nicolas Esterhazy 
Vienna, 23rd November 1793. 
[The envelope also includes a short letter from Beethoven.] 

x The compositions referred to in this letter have been more or less satis- 
factorily identified (see Kinsky-Halm, etc.) with the exception of the oboe 
Concerto, which is believed to be lost. I should like to make the tentative 
suggestion that the oboe Concerto in C, originally found under "Anony- 



1794] of Joseph Haydn 143 

mous" in Zittau (Haydn's name was apparently added later), may be 

Beethoven's lost work. 

*= loo ducats, or 450 Gulden, not 500 (as in the Elector's answer). 

3= "Not a farthing". 



[To HAYDN FROM MAXIMILIAN FRANZ, THE ELECTOR OF COLOGNE. 

German] 

[Draft in a secretary's hand, corrected in the Elector's hand]. 1 
Nomine SerenissimL 

To Prince Esterhdzy's Kapellenmeister [sic] in Vienna, d. d. Bonn the 23rd of 
December 1793 [in a third hand: "Exped. sequenti."]. 

I received the music of the young Beethoven which you sent me, together with 
your letter. Since, however, with the exception of the Fugue, he composed and 
performed this music here in Bonn long before he undertook his second journey to 
Vienna, I cannot see that it indicates any evidence of his progress. 

Concerning the money which was hitherto available for his subsistence in 
Vienna, it is true that this consists only of 500 fl. ; but apart from these 500 fl., his 
salary here of 400 fl. has been paid to him the whole time, so that he will always 
receive 900 fl. annually. Therefore I do not see at all why his financial circumstances 
should be as reduced as you have indicated to me. 

I am wondering if he would not do better to begin his return journey here, in 
order that he may once again take up his post in my service: for I very much 
doubt whether he will have made any important progress m composition and 
taste during his present sojourn, and I fear that he will only bring back debts from 
his journey, just as he did from his first trip to Vienna. 

1 The original letter, dictated to a secretary, is still more unfriendly: for 
example, m the last paragraph, the Elector had written: "for I very much 
doubt if he can have learnt anything from you. . ." 



[To JOSEPH WEIGL/ JR. VIENNA. German] 
Dearest Godson ! 

When I took you in my arms after your birth, and had the 
pleasure of becoming your godfather, I implored Omnipotent 
Providence to endow you with the highest degree of musical talent. 
My fervent request has been heard: It has been a long time since I 
felt such enthusiasm for any music as for your La Principessa d'Amalfi* 
yesterday: it is full of ideas, it has grandeur, it is expressive; in short 
a masterpiece. I heartily participated in the well-deserved applause 
with which it was received. Continue, my dearest godson, to write 
in this genuine style, so that you may once again convince the 
foreigners of that which a German can accomplish. Meanwhile, keep 



144 The Collected Correspondence [*794 

a place in your memory for an old fellow like myself. I love you 
affectionately and am, dearest Weigl, 

Your bosom-friend and servant, 

Joseph Haydn. 
[Vienna] From my home, nth January 1794. 

1 The son of the Joseph Weigl who had been 'cellist in the Esterhizy band: see 
supra., p. 8. Haydn left for England eight days after having written this 
letter. 
Performed at the Burgtheater. 



[To (JOHN?) PARKED LONDON. English] 

[London, 22nd October I794 2 ] 

I am much obliged to you for the two so charming Prints, I tack 
me the liberty to Send for the Mistris Park a little Sonat, and to come 
to Her next Friday or Saturday between i and 2 o'clock. I am 

Your most obedient S l 

Haydn 

[Address:] M r Park 

Piccadilly N r 32. 

1 There were two PARKE brothers, both oboists: the elder, John, was a 
member of the Prince of Wales' private band, while the younger, William, 
was oboist at Covent Garden and later wrote his celebrated Musical Memoirs. 
Haydn had a close connection with the whole family. The Mistress Parke 
she was twenty-one at this point was John's daughter, and often sang 
at the Haydn-Salomon concerts; Haydn "presided" at her benefit concert 
in 1794 (Landon, p. 525). Presumably the letter was addressed to John, where 
"Mistris Park" would have been living. The two prints mentioned are listed 
under No. 46 of the catalogue of Haydn's legacy. See Pohl, Haydn in Lon- 
don, pp. 40/. 

2 Undated; but at the bottom of the letter is the following note: "22 Oct. 
1794" followed by "The celebrated Musician, D r . Haydn." (the latter in 
another handwriting). 



[To THOMAS HoLCROFT, 1 LONDON. English] 

[London, 1794 or I795 2 ] 
Dear Sir! 

I tack me the liberty to Send you the Canon, and the 2 Songs and 
if is possible, I self will come to you to day, o[r] to morrow. I was 



1794] of Joseph Haydn 145 

oblieged to tack a Medicine to Day, perhaps I see you this Evening. 
I am 

Sir with the greatest Respect 

Your 
Oblig Ser v 

Haydn 3 
[Address:] M r . Holcroft 4 

I THOMAS HOLCROFT, the well-known dramatist (1745-1809), translated 

Haydn's German Lied, "Eine sehr gewohnliche Geschichte" (B. 8c H. 

Gesamtausgabe, Ser. XX/I, No. 4), into English. Perhaps this is one of the 

"2 Songs" mentioned in the letter. The Canon may be "Thy Voice, O 

Harmony, is Divine" (written for the Oxford Faculty in 1791), or possibly 

one of the "Ten Commandments" which Haydn wrote for the Saxon 

Ambassador in London, Count von Bruhl. 

2 I suggest that this undated letter was written in 1794 or 1795, rather than 

during the first London visit, when Haydn had spoken practically no 

English at all. 

3 Under the signature is the following, in another hand: "The immortal/ 

'The Shakespeare of/Music* J. H. 1805" followed by an asterisk and an 

explanation that these additions are in the handwriting of [Thomas] 

Holcroft. 

4 Under Haydn's words is the following, in another hand: "communicated 

by M Monoft [Holcroft?] ist 8-1800 to me leho [?]" and in a third hand: 

"the handwriting of HAYDN". 



[To CHARLES BURNEY (CHELSEA?). Italian] 

[During the second(?) London 

sojourn] 1 
Most esteemed Sig r D 1 Burney, 

I beg you to send me a copy of that canzonetta, because I can 
recall neither the melody nor the text of it. I shall not fail to be at 
your disposal in the future, Sir, and remain, with every esteem, 

Your most obedient servant, 
Haydn. 

a This letter is obviously the kind delivered by messenger: therefore it was 
written during one of the London visits. The mention of a canzonetta sug- 
gests that the song Haydn wanted was part of "Dr. Haydn's VI Original 
Canzonettas . . . Printed for the Author, & Sold by him at No. I Bury 
Street, St. James's at Mess"- Corri Dussek & Co. . . .", published in 
1794, or part of the "Second Sett of Dr. Haydn's VI Original Canzonet- 
tas". In other words, the letter if (as I assume) it refers to the English 
Canzonettas must have been written m 1794 or 1795 and not in 1791 or 
1792. 



146 The Collected Correspondence [i 795 

[AGREEMENT WITH JOHANN PETER SALOMON, LONDON. German] 
[Only the signature autograph] 

The undersigned herewith testifies that, according to the agree- 
ment signed this day between myself and Herr Johan [sic] Peter 
Salomon, the afore-mentioned Herr Salomon shall have the exclusive 
rights pertaining to the following specified Overtures 1 which I com- 
posed for his concerts; and that I hereby renounce any further claims 
whatever on him, now or at any other time. The afore-mentioned 
Overtures have the following incipits: 




BIJyilUT'JH) Jllf'l 

"[lc] V* " ^* *^ a 




Executed at London this I3th of August 1795. 

Joseph Haydn [m.p] ria. 

1 Overturcs, the English term then generally applied to symphonies; the six 
Symphonies listed are those composed for the first London trip, in 1791 and 
1792, as follows: No. 96, No. 98, No. 95, No. 93, No. 93, No. 97, No. 94; 
they are not in chronological order, which would be: Nos. 96, 95, 93, 94, 
98, 97. It is curious that Salomon did not make Haydn sign the agreement 
for the second set until the following February. 



[AGREEMENT WITH JOHANN PETER SALOMON, LONDON. German] 

Vienna, 2yth February 1796. 

I, the undersigned, testify and declare that Herr Salomon shall be 
in perpetuity the sole owner and proprietor of my last six Sympho- 
nies, of which 3 are of the year 1794, and the last 3 of the year I795, 1 
and promise on my honour to make no other but personal use of 
them. 

Josephus Haydn [m.p] ria. 

x Haydn refers to the dates when the works were first performed, not 
necessarily when they were composed (e.g. No. 99 was written in 1793). 
The last six London Symphonies are Nos. 99-104. 



of Joseph Haydn 147 

[To FRIEDRICH JAKOB VAN DER NiiLL, 1 VIENNA. German] 
A.T. 
My good Herr von der Null ! 

I herewith take the liberty of asking you respectfully if you would 
be good enough to lend me, just on the strength of my pock-marked 
face, one hundred Gulden in bank notes, to be repaid after 6 weeks. 
My signature below is your guarantee, so help me God, and so help 
me that it is also an honour to be, my dear Herr v. der Null, most 
respectfully, 

Your most sincere and obedient servant, 

Jos. Haydn. 

[Vienna] 25th March 1796. 
[Address :] Monsieur 

Monsieur Von der Null. 

1 See supra, p. 103. 



[To THE COMMISSIONERS OF PARLIAMENT. 1 English] 

Vienna, y e 15 th Aprill 1796. 

I empower herwith M r . Squire to receive for me from the H ble 
Comissioners One hundred Pounds due to me by His Royal High- 
ness the Prince of Walis and acknowledge hereby the receipt of that 
Sum in full of all demands. 

Doctor Haydn [mp] ria. 

1 Haydn never received any fee for his numerous appearances before the 
Prince of Wales (see London Notebooks, infra, pp. 305), and upon the 
advice of his friends, the composer finally decided to send a bill to Parlia- 
ment, which was promptly paid. 



[To CHRISTOPII GOTTLOB BREITKOPF, LEIPZIG 1 . German] 

Vienna, i6th April 1796. 
[BreitkopFs clerk notes: "rec'd the 2ist".] 
Nobly born, 
Most highly respected Sir ! 

I must apologize a thousand times for not having answered all 
your letters. Please do not be angry at a man who will never be 
ungrateful. If you will be patient a little longer, I shall send you the 
J.H.-M 



148 The Collected Correspondence [1796 

money and the music, and this as surely as I am, Sir, most respect- 
My, 

Your devoted and indebted servant, 

Jos: Haydn. 

[Address:] Dem Wohl Edl gebohrnen Herrn 
Breitkopf Music Verleger zu 

zustellen. [Breitkopf 's clerk notes above the 

Leipzig. address: "1796/16 Ap / 21 / (blank 
space for date of answer)" and to 
the right "Wien / Haydn."] 

I CHMSTOPH GOTTLOB BREITKOPF (i75O-i 8oo) was the son of Johann 
Gottlob Immanuel, who had visited Haydn in 1786. The money Haydn 
owed the firm was probably for the English engravings he had ordered 
(see letter of 5th April 1789). The promised music was, as the next letter 
shows, the pianoforte Trio in E flat (No. 30, 1795), which Breitkopf pub- 
lished as Op. 88. 



[To CHRISTOPH GOTTLOB BREITKOPF, LEIPZIG. German] 

Vienna, 9th November 1796. 
[Breitkopf 's clerk notes: "rec'd loth Dec."] 
Nobly born, 
Most highly respected Sir ! 

The bearer of this letter, Herr Wagl 1 from Vienna, will at last 
give you the promised pianoforte Sonata together with 15 f. in 
bank notes: meanwhile I thank you once again and am, Sir, most 
respectfully, 

Your obliging and obedient servant, 

Jos: Haydn 

FtirstL Esterhazyscher Capell Meister. 
[Address:] 

von Vicnne 

Monsieur 
Monsieur de Breitkopf 

Leipzig. 

[Breitkopf s clerk notes: "1796 / 9 Nov. /(rec'd) 10 Dec. / (ans'd) 
2 Jan 97." To the right: "Wien / Haydn".] 

Probably JOSEPH WEIGL JH. (see supra, pp. 8, us/!). In Hase, Joseph Haydn 
und Breitkopf & Hartel, p. 6, the date of this letter is wrongly given as 1795, 
and Breitkopf 's answer as 2nd January 1796, which has caused great con- 
fusion in subsequent Haydn literature (see Larsen, Hoboken, etc.). 



1797\ of Joseph Haydn 149 

[To PRINCE ESTERHAZY'S ADMINISTRATOR] 

[End of 1796 or beginning of I797 1 ] 
[From an old copy] 
Nobly born, 
Highly respected Administrator ! 

From the letter addressed to me and the enclosure of the worthy 
Privy Economic Administration of His Serene Highness Prince 
Esterhazy, I saw that I am more or less CONDEMNED to pay the debt 
of Luegmayer, 2 who because of INSOLVENCY is not able to do so. 
Why? Because I am thought to possess the necessary MEANS: I wish 
to God it were so ! But I SWEAR by the Kyrie eleison which I am at 
this moment supposed to compose for my FOURTH Prince, that since 
the death of my SECOND Prince God rest his soul ! I have fallen 
into the SAME STATE OF INSOLVENCY as that of Luegmayer, but with 
the difference that he has fallen from his horse to the back of an ass, 
whilst I have managed to remain on the horse, but without saddle 
or harness. 3 

I therefore beg the worthy Privy Economic Administration of His 
Highness to wait at LEAST till I have finished the Dona nobis pacem, 
and until the Prince's house-master Luegmayer shall begin to receive 
the salary rightly due to him from his most gracious Prince, instead 
of drawing it, as he has hitherto done, from the SMALL salary of 
Capellmeister Haydn (who has been 36 years in the Princely service). 
For nothing is sadder or more dissonant than when one SERVANT 
pays another SERVANT, in this case the Capellmeister having to pay the 
house-master. If I should, perhaps today or tomorrow, be placed in 
a BETTER position, either as a result of my own merits or by the 
voluntary impulse of my most gracious Prince (FOR FLATTER AND 
BEG I WILL NOT), of course I shall not fail to comply with the above 
demand. 

I am, Sir, with every respect, 

Your most obliging servant, 

Franfz] J: Haydn 

Doctor of Oxford and Princely Esterhazy 
Capellmeister. 

x The passage, "36 years in the Princely service", would place the date in 
the year 1797. Two Masses were written (or rather begun) in 1796, the 
Missa in tempore belli (dated "Eisenstadt 1796") and the Missa Sti. Bernardi 
de Offida (1796, probably begun in Vienna), and no mass was composed in 
1797. It seems probable, therefore, that the letter was written at the end of 
1796, in which year the "Kyrie eleision" of both Masses were begun. 
JOSEPH ALOIS LUEGMAYER was married to Haydn's niece, Anna Katharina 



1 50 The Collected Correspondence [*797 

(daughter of Haydn's sister, Anna Maria Frohlich of Rohrau). Luegmayer 
was often a source of embarrassment and frustration to Haydn, who gave 
him large sums of money over a long period of time: see also letter of loth 
June 1798 and Haydn's Will. 

3 This robust simile has its basis in the difference in horsemanship between 
Don Quixote and Sancho Panza 



[To HAYDN FROM ANTONIO SALIERI AND PAUL WRANI(T)ZKY, ON BEHALF 

OF THE Tonkunstler-Societdt, VIENNA. 1 German] 
To Herr Joseph Hay den, Capellmeister to His Serene Highness Prince Esterhazy. 

Most esteemed Hen Capellmeister! 

You must and should rightly be accustomed to hearing the praises of your own 
unattainable services to music, and accustomed to being admired for your in- 
exhaustible creative mind, for you have won the most fervent and justified 
approbation of entire nations. 

The Society for the Promotion of Musicians' Widows and Orphans for 
which you, worthy Sir, have so often earned considerable sums through your 
admirable compositions will therefore forgo all eulogies; it now has the honour 
of thanking you for all the kindnesses you have shown it in the past, and assures 
you of its boundless admiration. As a small token of its gratitude, it sends you a 
free ticket of admission for all future concerts of the Society ; you need only show 
this ticket when you enter, retaining it for further use. Please do not in any way 
consider this act to be a kind of small recompense, 2 but rather the wish to show you 
our kindest and best intentions, and to assure you of the gratitude, but also of the 
eternal obligation which will always be owed you by 

The Society for the Promotion of Musicians' 
Widows and Orphans. 

Ex concluso Sessionis 

dat. 20. January 1797 Paul Wramzky, 

Anton Sahen. pro tcmpore Secretary. 

I ANTONIO SALILRI (1750-1825). The two brothers, ANTON and PAUL 
WRANIZKY (or Wrarutzky), were amongst Vienna's leading musicians and 
composers. Anton (1761-1819) was a violinist and was ^Kapellmeister to 
Prince Lobkowitz; Paul (1756-1808), also a violinist, studied with Haydn, 
was one of the moving figures in the Tonkunstler-Societat, and was leader 
of the Court Theatre Orchestra in the Burgtheater. His opera Oberon 
(Vienna, 1789) is generally cited as his outstanding work. 
2 For the appalling way in which they had treated Haydn m 1779, see pp 22ff. 
Wramzky was in large measure responsible, not only for this letter, but also 
for making the Society admit Haydn as a member without charging him 
any entrance fee. In the session of 2Oth January, Wramzky hoped that the 
Society's "previous conduct would be forever erased from my memory, 
and from Haydn's too, if that is possible." (Pohl, Dcnkschrift, p. 23). Haydn 
was then elected in December 1797, and made Assessor senior for life. His 
performances of the Seven Words, Creation and Seasons made the Society a 
nuge fortune. 



of Joseph Haydn 151 

[To FRANZ COUNT SAURAU, VIENNA. German] 

[Vienna, 28th January (?) I797 1 ] 
Excellence! 

Such a surprise and such mark of favour, especially as regards the 
portrait of my dear monarch, I never before received in acknow- 
ledgement of my unworthy talents. I thank Your Excellency with 
all my heart, and am ready at all times to serve Your Excellency. I 
shall deliver the proof by 1 1 o'clock. I am, in profound respect, 

Your Excellency's 
Most humble and obedient servant, 
Jos. Haydn. 

1 This conjectured dating is based on the content of the letter, which con- 
cerns the Austrian national hymn, "Gott erhalte". In 1820, Count Saurau, 
then President of the Lower Austrian Government (later Minister of the 
Interior), gave this letter, together with an accompanying note concerning 
the hymn, to Count Montz Dietnchstein; otherwise we should not have 
known to whom it was written. Here is a brief summary of the origin of 
"Gott erhalte". Inspired by "God save the King", Haydn wanted to write 
something similar for his country, and asked Baron van Swieten, who had 
just written the text for the choral version of the Seven Words, for his advice. 
Swieten in turn asked Saurau, who had the poet Lorcnz Leopold Haschka 
prepare the words, which Haydn then set to music. On 28th January, Count 
Saurau gave his "imprimatur" to the final proofs, and the new hymn was 
then performed at the Burgthcater on I2th February, in the Emperor's 
presence. This letter must have been written on 28th January or perhaps 
the day before because Haydn speaks of the "Abdruck" (i.e. proof); if it 
were printed, he would have said "Exemplair" (copy). Presumably Haydn 
gave his "imprimatur" for the musical part, "dehver[cd] the proof by 
IT o'clock" to Saurau, who then gave the order to print. Sec Pohl III, nsff- 
The "mark of favour" was a snuff-box, containing the Emperor's portrait, 
and a substantial sum of money (Pohl III, 118). 



[To HERR KURCHNER, PRINCE ESTERH^ZY'S Valet de chambre, 
Oedenburg. German] 

Vienna, ist June 1798. 
Dearest Friend ! 

I would ask you to be good enough to advance my niece Lueg- 
mayer 1 25 fl. (though she really doesn't deserve it); you shall be 
repaid this sum at the earliest possible moment by the Chief Cashier 
Stessel, whom I have already informed about the matter. For this 
kindness I shall wait on your dear daughter, when 1 arrive in 



152 The Collected Correspondence 

Eisenstadt, with a new pianoforte Sonata. Meanwhile I am, with my 
kind regards to your wife, most respectfully, 

Your most obedient servant, 
Joseph Haydn. 
[Address :] Monsieur 

Monsieur de Kiirchner Valet 
d Chambre de S : Alt Monseig le 
Prince Nicolaus Esterhazy 
in fiirst Esterhazisch[en] a OEDENBURG 
Hauss. en Hongern. 

1 Anna Kathanna: see supra, p. 149. 



[To C. F. FREDENHEIM, PRESIDENT OF THE ROYAL SWEDISH 
ACADEMY OF Music IN STOCKHOLM. German] 

[End of April 1799*] 
Nobly born, 
Most highly respected Sir ! 

I cannot express adequately in words the surprise and delight 
which I felt, and will always feel, upon receiving, through the 
Councillor of Legation Herr von Silvcrstolpe, the diploma wherein 
I am graciously nominated a member of your worthy Royal 
Swedish Academy of Music. I only regret that at present my 
advanced age and weakened powers do not permit me to repay this 
great honour. If, however, PROVIDENCE should grant me a few more 
years of the necessary musical strength, I shall try to compose a 
small remembrance for your worthy Society; meanwhile I take the 
liberty of conveying my respectful thanks to the President C. F. von 
Fredenheim, and to the whole worthy Society, and am, Sir, most 
respectfully, 

Your obedient servant, 
J:H: 

1 C.-G. Stellan Morner's excellent book, Johan Wikmanson und die Brndcr 
Silverstolpe, Stockholm 1952, provides us with the necessary background to 
the above letter. In May 1796, F. S. Silvcrstolpe was sent to Vienna as 
Councillor of Legation, and as a passionate music-lover, soon made Haydn's 
personal acquaintance. At Silverstolpe's instigation, Albrechtsberger, Salien 
and Haydn were made honorary members of the Academy. The diplomas 
arrived in April 1799, and on the loth Silverstolpe writes that he will 
deliver the diplomas that week (Morner, p. 339). Having announced the 



1 79P] of Joseph Haydn 153 

matter in the Viennese papers, Silverstolpe then writes to the Academy's 
Secretary, Pehr Fngel, thanks him for his own (Silverstolpe's) nomination, 
and encloses letters by the three Viennese composers (Morner, p. 341). Since 
Silverstolpe's letter is dated 22nd May, Haydn must have received the 
diploma and thanked the Academy between loth April and 22nd May; 
Haydn always answered such things punctually, and we may assume that 
the above letter was written about the end of April. 



[To JOHANN PETER SALOMON, LONDON. German] 

Vienna, i8th May 1799. 
Dearest Friend ! 

The bearer of this letter is Herr von Sonleithner, 1 a distinguished 
young man of great wit, whose character you, with your great in- 
sight, will be able to judge far better and more accurately than I am 
able to do. His musical project is one of the most interesting, but I 
fear that without the help and counsel of many people he will not be 
able to realize it. He has asked me to recommend someone in London 
who was honest and well-informed, and I therefore took the liberty 
of suggesting you, my dear friend. If you are able to assist him in his 
project, you will be of great service to the world. Apart from this 
I am, with every esteem, dearest friend, 

Your sincere friend and servant, 

Jos: Haydn [m.p] ria. 
[Address:] 

M r . Salomon. 
N ro 34, 

Clipstone Street, London, 
Fitzroy Squarre [sic] 

JOSEPH SONNLEITHNER'S project was a kind of Denkmaler der Tonkunst 
a history of music in score, i.e. a representative selection of masterpieces 
from all schools and all periods. Haydn obviously thought the idea a 
magnificent one, but doubted Sonnlcithner's ability to execute it, for a 
few days later Georg August Gnesmger (Breitkopf & Hartel's "middle- 
man" between Haydn and the Leipzig firm) writes (25th May) that Haydn 
"considers this plan to be a swindle and is sure that nothing will come of it" 
(Pohl III, 139). Nothing did. Sonnleithner (1766-1835) was an official in 
the Ministry of War, a writer, and a member of an illustrious family. He 
was later one of Schubert's admirers and friends. (See O. E. Deutsch, 
Schubert: Die Erinnerungen seiner Freunde, Leipzig 1957, p. 3 passim.) His 
father has been mentioned above (see p. 16). 



154 The Collected Correspondence [i?99 

[To CHRISTOPH GOTTLOB BREITKOPF, LEIPZIG. German] 

Vienna, I2thjune 1799. 
Dearest Friend ! 

I am really very much ashamed to have to offend a man who has 
written so often 1 and honoured me with so many marks of esteem 
(which I do not deserve), by answering him at this late date; it is not 
negligence on my part but the vast amount of BUSINESS which is 
responsible, and the older I get, the more business I have to transact 
daily. I only regret that on account of my growing age and (un- 
fortunately) the decrease of my mental powers, I am able to dispatch 
but the smallest part of it. Every day the world pays me compli- 
ments on the fire of my recent works, but no one will believe the 
strain and effort it costs me to produce them: there are some days in 
which my enfeebled memory and the unstrung state of my nerves 
crush me to the earth to such an extent that I fall prey to the worst 
sort of depression, and thus am quite incapable of finding even a 
single idea for many days thereafter; until at last Providence revives 
me, and I can again sit down at the pianoforte and begin to scratch 
away again. Enough of this ! 

Yesterday Herr Griesinger 2 brought me the 2nd, 3rd and 4th 
volumes of our immortal Mozart, together with the musical periodi- 
cal. 8 Please let me know how much I owe you for them, and to 
whom I should give the money here in Vienna. 

The publication of both these things does you great credit. I 

WOULD ONLY WISH, AND HOPE, THAT THE CRITICS DO NOT DEAL TOO 
SEVERELY WITH MY CREATION : THEY MIGHT PERHAPS OBJECT A LITTLE 
TO THE MUSICAL ORTHOGRAPHY OF CERTAIN PASSAGES, AND POSSIBLY 
SOME OTHER MINOR POINTS ELSEWHERE; BUT THE TRUE CONNOISSEUR 
WILL SEE THE REASONS FOR THEM AS READILY AS I DO, AND WILL PUSH 
ASIDE THIS STUMBLING-BLOCK. NULLA REGOLA sfENZA] EJCCEZIONE]. 
N.B.: AS FOR THE TATTERED SECTION IN THE DUET OF THE "CREA- 
TION*', YOU WILL FIND IT ENTIRELY DIFFERENT IN THE EDITION FROM 
THAT WHICH HERR TRAEG HAD THE TWOPENNY KRAMER 4 PREPARE FOR 

HIM: but all this UNDERLINED INTER NOS. 

Apart from all this, I shall be very happy to serve you in any 
possible way. Meanwhile, my dear friend, I remain, with every 
esteem, 

Your obliging and obedient servant, 

Joseph Haydn [m.p] ria. 
[Letter enclosed a full score of the Creation and also a letter from 



1 7Pp] of Joseph Haydn 155 

Griesinger to Breitkopf & Hartel; therefore no address; Breitkopf's 
clerk notes: "V 99/ 12 Juny/ (rec'd) 3 July / Wien / J. Haydn".] 

Breitkopf & Hartel wrote to Haydn in the Summer of 1798, and asked him 
to contribute to the newly-established periodical, theAllgemeine Musikalische 
Zeitung. Haydn did not answer, and Breitkopf wrote him again in April 
1799. See Hase, p. 8. 
2 See Introduction and supra, p. 153. 

3 Thc Mozart volumes were part of the Ocuvres comphttes\ the periodical is 
the Allgemeine Musikalische Zeitung. When Griesinger brought him the 
Mozart volumes, which were to serve as a model for the proposed Oeuvres 
completes of Haydn, he "looked through them several times and said: 
really fine, really fine; Mozart and 1 appreciated each other very much, and 
he too used to call me his Papa." (Gnesinger's report to Breitkopf of I2th 
June 1799; Hase, p. 21.) 

4 Thc Allgemeine Musikalische Zeitung had printed the Duet, "Der thauende 
Morgen", as a "Beilage" to the periodical: they had used the text 
printed by the Viennese publisher Traeg (see also supra, p. 81), which 
was, however, very faulty. This "lO-Kreutzer" Kramer, as it turned out, 
had copied the Duct from memory, after having heard a few performances 
of the work. Traeg issued the Duet, separately, in March 1799. See 
Alexander Wemmann, "Verzcichms der Musikalicn dcs Verlages Johann 
Traeg in Wicn" (Studien zur Musikwissenschaft XXIII, 1956, p. 147) and 
Hase, p. 10. 



[ANNOUNCEMENT FOR SUBSCRIPTION TO THE Creation IN THE 
Allgemeine Musikalische Zeitung. German} 

The success which my Oratorio, The Creation, has been fortunate 
enough to enjoy here, and the wish expressed in the i6th number of 
the \Allgcmeine\ Musikalische Zeitung that its dissemination would 
not, as was often the case previously, be left to those abroad, have 
moved me to arrange for its distribution myself. 

Thus the work is to appear in three of four months, neatly and 
correctly engraved and printed on good paper, with German and 
English texts; and in full score, so that, on the one hand, the public 
may have the work in its entirety, and so that the connoisseur may 
see it in toto and thus better judge it; while on the other, it will be 
easier to prepare the parts, should one wish to perform the work 
anywhere. 

The price of the Oratorio, which will consist of some 300 pages, 
is to be 3 ducats, or 13 Fl. 30 Kr. in Viennese currency; and although 
payment does not need to be made until delivery, I wish never- 
theless that those who contemplate its purchase would inform me 



156 The Collected Correspondence [i jgg 

provisionally thereof, and give me their names, in order that they 

may appear in the subscription list at the front of the score. 

The actual appearance of the Oratorio in print every copy will 

be signed will be announced by a special notice, when the time 

comes. 

Vienna, I5thjune 1799. 

Joseph Haydn, 

Doctor of Music, Kapellmeister 
in the Service of His Highness 
the Prince Esterhazy, and Mem- 
ber of the Royal Swedish Mus- 
ical Academy. 

In Vienna, Vorstadt Gumpendorf, untere Stemgasse, Nr. 73. 



[To A FRIEND IN ENGLAND, POSSIBLY CHRISTOPH 

German] 
Nobly born, 
Most esteemed Friend ! 

You will certainly be surprised to receive this letter, after we have 
been separated for so long, but since I was convinced of your cordial 
friendship for me from the very first moment of our acquaintance, 
and since I know you are a truly good and generous man, I now take 
the liberty of asking you to read the following; you will then be 
able to decide whether you are in a position to help me. 

Last year I composed a German Oratorio called the Creation, 
which has met with exceptional approval by everyone. This 
approval moved me to publish this Oratorio in full score, with 
German and English text; the score, which should be ready in 4 
or at the most 5 months, will be correctly engraved, and printed 
on the finest paper, at a subscription price of ^i 10 shillings, which 
sum, however, does not need to be paid until delivery. The sub- 
scription offer is made in advance so that the subscribers' names can 
be included in the score. The publication will be so arranged that 
those living abroad will be sent their copies 3 or 4 weeks earlier; I 
shall pay the consignment charges myself. Now my most ardent 
wish is to enjoy the royal favour of having Her gracious Majesty the 
Queen of England condescend to subscribe to this work (N.B. 
without making a deposit): the presence of her name in the printed 
list of subscribers will convince the world that during my sojourn in 
London I enjoyed the royal favour of having displayed my small 



i /pp] of Joseph Haydn 157 

talents to the royal court by playing there. In the hope that you will 
heed my request, and at the proper moment yourself persuade Her 
Majesty the Queen (before whom I prostrate myself), I am, my most 
esteemed friend, most respectfully, 

Your most obedient friend and servant, 

Joseph Haydn [m.p] ria. 
Vienna, 25th June 1799. 

If I should be fortunate enough to receive an answer, please address 
the letter to me in Vienna. 
P. S. My respectful compliments to your wife. 

I CHRISTOPH PAPENDIEK, a flautist, taught music to the Royal Family. His 
wife, Charlotte, was Assistant Keeper of the Wardrobe to Queen Charlotte, 
and wrote some delightful memoirs (see Landon, pp. 446/1 for her descrip- 
tion of the first Salomon concert). Of all Haydn's English friends, none 
stood closer to the Royal Family, and I think it very likely that this letter 
was addressed to Papendiek. At any rate, almost the whole Royal Family 
subscribed, including the King. 



[To AN UNKNOWN FRIEND. 1 German] 

Vienna, 5th July 1799. 
Dearest Friend ! 

I sent you the Mass with today's mail-coach. The costs for copy- 
ing it were n f. 56 xr. and the carrying charges I f. 34 xr. If you 
should ever have a similar wish in the future, you have only to com- 
mand your servant, 

Joseph Haydn. 

1 There are several possibilities: the first choice would be perhaps Anton 
Stoll, the Regenschori at Baden, who was Mozart's friend, and at whose 
house Frau Haydn later boarded. As music director of the Stadtpfarrkirche, 
Stoll often performed Haydn's late masses. If the Nelson Mass (1798) is the 
work referred to, the letter may be addressed to the Regenschori of Kloster- 
neuburg Monastery near Vienna, where I discovered an authentic set of 
parts of the Nelson Mass, copied by Johann Elssler (Haydn's copyist). 
Klosterneuburg also owns a very early and important set of parts of the 
Missa in tempore belli (1796) which Haydn may have sent them. 



[To ARTARIA & Co., VIENNA. German] 
Messieurs! 

I am most grateful to you for the copies of the Quartets 1 you sent 
me, which are a great credit to me and because of the legible en- 
graving and the neat title page to you. 



158 The Collected Correspondence [*799 

Herr Count Joseph Erdody wrote me many kind things, and 
thanked me for having made them available to the world at last. I 
hope that His Excellency will have received his copy by now. In a 
little while I will send the 5th Quartet in D major, and then the last 
in E flat. 2 

Meanwhile I remain, with respects to the whole firm, 

Your most obedient servant, 
Joseph Haydn [m.p.] na. 
Eisenstadt, I2th July 1799. 
[Address:] Monsieur 

Monsieur Artaria et Compag : 
a 

Vienne. 

[Artaria's clerk notes: "Haydn / Eisenstadt 1 2th July i?99./ rec'd 
1 6th ditto/ ans'd i6th ditto".] 

1 Op. 76, composed in 1796 and dedicated to Count Erdody Artaru issued 
them in two sets of three, with I laydn's portrait on the title page, as Op. 
75 and 76; they were announced (in the \Viener Zcitung of I7th July) with 
the proud words that "nothing which our house has ever published 
equals this edition" (Artana-Botstiber, p 73) The second set (the last three) 
were still in preparation, as the letter shows 
2 The MSS. of Op 76, Nos. 5 and 6 (Artaria's Op 76, Nos 2 and 3). 



[To HAYDN FROM PRINCE NICOLAUS II ESTERHAZY German] 
Herr Kapellmeister Haydn 

I expect your written opinion concerning die enclosed petition 1 of the 
trumpeters Sebastian Bmdtcr [j/fj 2 , Michael Altmann, and Johann Pfann, who ask 
that an annual salary be granted them for their services in the choir loft and in other 
musical performances here, in particular, what kind of yearly contract could be 
established, taking into account the number of services in which they perform 3 
And what would be the best wages they would otherwise get for each single 
performance ? 

By the way, I have instructed that their bill for 50 Fl 15 xr. be paid to them. 
Eisenstadt, 1 8th July 1799 

Exp ' Esterhazy 

J Thc three trumpeters began this particular period of their service, according 
to an attached bill, on 30th September 1798 thus, they had played the three 
trumpet parts m Haydn's "Nelson Mass", which had been first performed 
in honour of the Princess Maria's Name Day that Autumn. The petition 
(Esterhazy Archives, Acta Musicaha, Fasc. XXVI, 1^55) is dated July 1799 
and reads "Last year, the undersigned made bold most humbly to ask 
Your Highness if, in your graciousness, you would grant us an annual 
salary; the suppliants, however, have not hitherto received any decision 



1 799\ f Joseph Haydn 1 59 

regarding their humble petition, and thus take the liberty of presenting 

Your Highness the enclosed bill for 50 Fl. 15 xr. with the most humble 

request that Your Highness have the grace to instruct payment therefor to 

be made ..." 

2 Bmdtcr's name is usually spelled "Binder". 

3 "Exp." = "expedited for", i.e. actually sent. These late letters to Haydn 

are, of course, copies for the Princely files. 



[To PRINCE NICOLAUS II EsTERnAzv. German] 

[Eiscnstadt, between the middle of 
July and September lypp] 1 

Inasmuch as, for some years now, the 3 trumpeters have been 
paid per performance, which amounted to an annual sum of in Fl., 
in my humble opinion it would be something of a saving to pay 
each of them a cash annual salary of 25 Fl. and two measures [Metzen 
--- 6.88 litres] of corn : they, for their part, should be obliged to attend 
all the performances which arc scheduled, in the church and other- 
wise. 2 

Joseph Haydn [m.pjria, 
Mcister. 



1 The date is uncertain. Its earliest date is I9tli July (sec above) and its latest 
I4th September, when the Prince decided to accept Haydn's proposal: 
Estcrhazy's letter to the Economic Administration, written in Eisenstadt, is 
preserved in the Acta Musicaha (Fasc XXVI, 1854) of the Estcrhazy 
Archives The letter ends with the request that the "Kapellmeister Haydn 
is to be reminded . . " of the acceptance 

2 GcTinon "in dcr Rammer" ("and otherwise"), which of course means not 
only "in the chamber", i.e. for chamber music (wherein trumpets do not 
ordinarily play) but in symphonies, operas, ctt This fine distinction cannot, 
unfortunate!) , be rendered literally into English 



[To ARTARIA & Co., VIENNA. German] 
Messieurs! 

I send you herewith the 5th Quartet, which you should arrange to 
have copied at the earliest opportunity; and as soon as you send it 
back to me, you shall have the last one. Please send me at the same 
time the names of the subscribers to date, so that I can enter them in 
my book. 1 
Meanwhile I am, most respectfully, 

Your most obedient servant, 

Jos: Haydn. 
Eisenstadt, 2Oth July 1799. 



160 The Collected Correspondence [*799 

[Address :] Monsieur 

Monsieur Artaria et Compag: 
a 

Vienne. 

[Artaria's clerk notes: "Haydn/Eisenstadt 20th July I799/ received 
23rd ditto/ answered 24th ditto."] 

1 Haydn's booklet, listing the subscribers to the Creation, is still preserved in 
the Vienna Stadtbibhothek (cat. 99280) and is entitled: Verzeichnuss der 
Praenumerantett uber die Schopfung. It is an important source of addresses and 
names of Haydn's friends, and will be referred to several times infra. 



[To FRANZ XAVER GLOGGL, 1 LINZ. German} 
Well born, 
Most highly respected Sir ! 

You have done me an inestimable honour, Sir, by subscribing to 
the Creation, and it will be a pleasure to include your name in the 
subscribers' list; I am still more indebted to you for the important 
recommendation to my old and clever friend, the Hen Abbe von 
Stadler; all this inspires an old man to further energies. Thus as soon 
as the work is printed, I shall not fail to send you a copy by the 
diligence. Meanwhile I am, Sir, with my compliments to the Herr 
Abbe, most respectfully, 

Your most obedient servant, 

Joseph Haydn. 
Vienna, 24th July 1799. 
[Address:] An den Wohlgebohrn Herrn Franz Xaver Gloggl 

Stadt und Dom Capell Meister in Linz 

in Oberoesterreich. 

I GLOGGL'S father, JOHANN JOSEPH, was one of Haydn's ardent admirers; the 
Monastery of St. Flonan owns Gloggl's copies of four Haydn Symphonies. 
FRANZ XAVER (1764-1839) was City and Cathedral Chapel-Master at Linz 
and, like his father, Thurnermeister there. He later gained a certain reputation 
as the author of various musical treatises. See Musik in Geschichte und 
Gegenwart, V, 296-298. 



[To KARL FRIEDRICH MORITZ PAUL, COUNT VON BRUHL/ 

WEIMAR. German] 
Excellence! 

Your Excellency has done me an inestimable honour and favour 



1799\ of Joseph Haydn 161 

by subscribing to the Creation, and inspired an old man to further 
energies. Thus as soon as the work is printed, I shall not fail to send a 
copy, and also one to the most charming Baroness von Loewenstern, 
by the diligence. Meanwhile I am, in profound submission, 

Your Excellency's 
obedient servant, 
Joseph Haydn [m.p.] ria. 
Vienna, loth August 1799. 
[No name nor address extant] 

1 The mention of the Baroness Loewenstern helps us to identify the Count 
von Bruhl to whom this letter is supposedly written. Haydn's list of sub- 
scribers to the Creation, mentioned above, includes "Baronesse Loewenstern 
von Weimar in Sachsen"; the young Count Bruhl (1772-1837), nephew of 
the infamous Saxon Minister under August III, Heinrich (1700-1763), was 
in Weimar during the year 1799. (The next year he moved to Berlin, as 
Kammerherr of Prince Heinrich of Prussia.) But despite the mention of the 
Baroness von Loewenstern, it is just possible that Haydn wrote the letter to 
another member of the family. The son of the Saxon Minister, as we have 
seen (p. 24 supra), had been in Vienna and Burney had heard him play 
viola in a Haydn quartet. See also Meyer's Konversations-Lexikon, 6th ed. 
(1908), III, p. 492/T To complete this picture of confusing Count Briihls, 
one should add that Haydn had written his canons. "The Ten Command- 
ments", in London for Count Hans Montz von Bruhl, Saxon Minister to 
the Court of St. James. Hans Montz died in London in 1809, and it seems 
doubtful if he would have ordered the Creation for Baroness Loewenstern in 
Weimar. Haydn's invaluable subscription list does not help us in this case, 
for it says only: "Graf Bruhl komgl. preussischejagd Junker." See also letter 
of ii May 1800. 



[To P. CORNELIUS KNOBLICH, GRISSAU MONASTERY NEAR 

LANDESHUT IN SILESIA. German] 
Most worthy and Reverend Sir ! 

Your most worthy Abbot 1 has done me an inestimable honour 
by subscribing to the Creation, and thus as soon as the work is 
printed, I shall not fail to send a copy to Your Reverence by the 
diligence. 

Inasmuch as my present young Prince issued the moderate com- 
mand four years ago that in my old age I must compose a new Mass 
once a year, it will be indeed a pleasure to be able to send you one 
of them; but you must only write me if, apart from trumpets and 
kettledrums, you also have 2 oboes or clarinets, so that I can make 



1 62 The Collected Correspondence [i?99 

the proper choice that is, if you do not find 12 fl. too expensive for 
the copying charges. 2 

Your Reverence has only half enjoyed The Seven Words of Our 
Saviour, because 3 years ago I added a new 4-part vocal music 
(without changing the instrumental parts). The text was written by 
a well-versed and musicianly canon at the Passau Cathedral, 3 and 
our great Baron von Swieten 4 corrected it; the effect of this work 
surpassed all expectation, and if I should ever travel to your part of 
the world before I die, I would take the liberty of performing it 
before your Abbot. But at present no one possesses it except our 

Monarch. Perhaps . 

Write me (BETWEEN OURSELVES) the day and the month of your 
Abbot's birthday and name-day. Hoping to receive an answer, I am, 
most respectfully, 

Your Reverence's 
most obedient servant, 
Joseph Haydn. 
Vienna, loth August 1799. 

[Address :] To the Worthy and Reverend Herr Cornelius Knoblich 
Music Director and Member of the Cistercian Monas- 
tery of Grissau bey Landeshutt [sic] in Silesia. 

JOHANNES LANCER (note in Haydn's Creation subscription book). 
2 The invaluable subscription book (sec note i) tells us which Mass Haydn 
sent them. His entry reads: "Knoblich from Grissau in Upper Silesia payed 
a copy of the Creation and the Mass in C" (i.e., the Missa in tempore belli 
(1796). 

JOSEPH FRIBERTH, brother of Carl (sec supra, p. 4), who made his vocal 
version in 1792. On his way back to Vienna in 1795, Haydn heard a per- 
formance of the Fnberth arrangement in the Passau Cathedral, and thought 
he "could have written the vocal parts better". A year later, with van 
Swieten's collaboration, Haydn produced the vocal version, which was 
performed in Eisenstadt (textbook printed by Anna Klara Sicss in Ocden- 
burg) and in Vienna (textbook printed by Matthias Andreas Schmidt). Sec 
Sandberger's excellent article, 'Zur Entstehungsgeschichte von Haydns 
"Sieben Worte desErlosers am Krcuzc" * (Peters Jahrlntch 1903). 
4 See supra (p. 151) and infra (p. 193 passim). 



[To ARTARIA & Co., VIENNA. German] 
Messieurs! 

I take the liberty of sending you the enclosed letter from Frank- 
furt, and would ask you to inform me how and in what way I should 
react to the request of these two gentlemen, Gayl and Hedler, since 



1 799] of Joseph Haydn 163 

I have never engaged in transactions of this kind. I realize that every 
publisher looks to his own interests in these matters, but I would like 
you to write me your frank opinion whether they ought to pay 
cash for every copy, or whether one pays the bill for each dozen 
sold with the I3th copy. I think, however, that neither the one nor 
the other applies here, because the application comes directly to me 
from abroad. I am convinced of this as a result of orders I have 
already received from Berlin, Danzig, Leipzig, Regenspurg [sic], and 
so forth. Nevertheless I should be glad of your opinion, and shall 
certainly be most grateful to you for all your trouble. 

I should have delivered the Third Quartet 1 to you, but certain 
doubts hold me back from doing so: I have not yet received an 
answer as to the last three Quartets which I sent to London, 2 and I 
fear that if the gentlemen issue all 6 Quartets together and not 
divided i.e., if they have not yet announced them your edition 
and announcement could appear earlier than that in London; 
though that is difficult to believe, for I sent the first 3 Quartets as 
early as 27th March and the last 3 on 1 5th June. If the publication in 
Vienna should be earlier than that in London (which I hope will not 
be the case), and if the gentlemen were to discover that you at once 
received the same 3 Quartets from me, I should lose 75 Sterling, 
which would be a serious matter. You must therefore take imme- 
diate action, sub rosa, to ascertain positively whether the first 3 are 
out, and likewise approximately when the last 3 will appear, so that 
I won't have a double fine imposed on me. I shall send you the 
Third Quartet shortly, but you must wait with the publication until 
we know that the 2nd set has been published in London. I rely on 
your integrity in this matter, and for my part I shall always be, 

Messieurs, 

Your most obedient servant, 

[signature forgotten], 

I would ask you to answer by return of mail; if at the same time you 
can let me have some of the names of the subscribers [to the Creation], 
I should be grateful. 
Eisenstadt, I5th August 1799. 

[Artaria's clerk notes: "Haydn/ Eisenstadt I5th August 1799/ 
received i6th ditto/ answered i6th ditto"./ 

1 Op. 76, No. 6 (Artana's Op. 76, No. 3). 

2 To Messrs. Longman, Clcmcnti & Co., who issued them as Op. 76, Books 
i and 2. The first book, though announced as early as April, did not appear 
till June; the second book appeared nearly a year later. 
J.H.-N 



164 The Collected Correspondence [*799 

[To HAYDN FROM CHARLES BURNEY. English] 

Chelsea College, August 19, 1799. 

My dear and much-honoured Friend ! 

The reverence with which I have always been impressed for your great talents, 
and respectable and amiable character, renders your remembrance of me extremely 
flattering. And I am the more pleased with the letter which you have honoured 
me, of July 15 th as it has pointed out to me the means by which I may manifest 
my zeal in your service, as far as my small influence can extend. I shall, with 
great pleasure, mention your intention of publishing your oratorio della Creazione 
del Mondo; by subscription, to all my friends; but you alarm me very much by 
the short time you allow for solicitation. In winter it would be sufficient, but now 
(in Aug.) there is not a single patron of music in town. I have been in Hampshire 
myselffor three weeks, and am now at home for two or three days only, on my 
way to Dover, where I shall remain for a month or six weeks, and where 1 shall 
see few of the persons whom I mean to stimulate to do themselves the honour of 
subscribing to your work. I wish it were possible to postpone the delivery of the 
book m England till next winter. The operas, oratorios, and concerts, public, and 
private, seldom begin in London till after Christmas, nor do the nobility and gentry 
return thither from the country till the meeting of Parliament about that time. 
Now, three months from the date of your letter, my dear Sir, will only throw 
your publication to the middle of October, the very time in the whole year when 
London is the most uninhabited by the lovers of field sports, as well as music. 

I had the great pleasure of hearing your new quartctti (opera 76) well performed 
before I went out of town, and never received more pleasure from instrumental 
music: they are full of invention, fire, good taste, and new effects, and seem the 
production, not of a sublime genius who has written so much and so well already, 
but of one of highly-cultivated talents, who had expended none of his fire before. 
The Divine Hymne, written for your imperial master, m imitation of our loyal 
song, "God save great George our King", and set so admirably to music by 
yourself, I have translated and adapted to your melody, which is simple, grave, 
apphcating, and pleasing. La cadenza particolarmente mi pare nuova e squisitusima. I 
have given our friend, Mr. Barthelemon, 1 a copy of my English translation to 
transmit to you, with my affectionate and best respects. It was from seeing in your 
letter to him, how well you wrote English, that I ventured to address you in my 
own language, for which my translation of your hymn will perhaps serve as an 
exercise; in comparing my version with the original, you will percieve that it is 
rather a paraphrase than a close translation; but the liberties I have taken were in 
consequence of the supposed treachery of some of his Imperial Majesty's generals 
and subjects, during the unfortunate campaign of Italy, of 1797, which the English 
all thought was the consequence, not of Bounaparte's heroism, but of Austrian 
and Italian treachery. 

Let me mtreat you, my dear Sir, to favour me with your opinion of my 
proposition for postponing the publication of your oratorio, at least m England, 
till March, or April, 1800. But whatever you determine, be assured of my zeal and 
ardent wishes for your success, being, with the highest respect and regard, 

Dear Sir 

your enthusiastic admirer and 
affectionate Servant 

Charles Burney. 



1799\ of Joseph Haydn 165 

[Address:] 

Al Celebernmo 

Signore Giuseppe Haydn, in Vienna. 

1 F. H. Barthdemon, the violinist, to whom Haydn was very attached. See 
infra, p. 264. 



[To CHARLES BURNEY, CHELSEA. Italian] 
Most esteemed and dearest Sig T Dottore! 

I regret extremely, my dear Sir, that you did not receive my 
letter dated 2ist September [sic], 1 in which I had said that I could not 
wait too long with the subscription, as you, my dear Sir, were 
thinking of doing, in view of the fact that I have promised publicly 
to issue my Creation towards the end of September, or at the latest 
in the month of January 1800. Meanwhile I am very happy to be 
able to include in my list of subscribers all the names which you, my 
dear Sir, indicated in your kind letter, and to these I shall now add 
the name of Sir William Parson, and also the name of the Duke of 
Leed's son (I regret extremely the death of his amiable father). As 
soon as the printing of the opus is finished, I shall not fail to send all 
the copies immediately, and also a few extra ones besides. 

It makes me very happy to be able to show to the world how I 
was, and still am, esteemed in England; I really don't deserve such a 
fine list of subscribers, but I hope that this work will meet with 
everyone's satisfaction, particularly when it is performed. 

My dear and much-honoured Doctor! I cannot sufficiently ex- 
press to you how very grateful I am for all your efforts on my behalf. 
God bless you for them ! I shall always remember your good heart, 
and I only regret that I cannot be there personally to show you my 
gratitude: I do not find the words; but enough! He who knows 

YOUR GREAT TALENT also kllOWS YOUR KIND NATURE I happy he who call 

boast of enjoying your dear friendship ! As for myself, there remains 
only to say that I am, and shall always remain, with every regard and 
the highest respect, 

my dearest Sig T Dottore, 
your most humble and devoted servant, 

Giuseppe Haydn [m.p] ria. 
Vienna, I4th September 1799. 

1 Obviously Haydn wrote the wrong date: I suggest that he meant "2" 
instead of "21". Meanwhile Burney had written again, and had apparently 



166 The Collected Correspondence [i?99 

rounded up a goodly number of subscribers; he then followed it up with 
a second letter, adding the names of Sir William Parsons (recte), the con- 
ductor and specialist in old music who is also mentioned in the London 
Notebooks (see infra, p. 290), and the son of the Duke of Leeds (see 
infra, p. 251). 



[To M. B. VELTMANN, OSNABRUCK (WESTPHALIA). German] 

Vienna, 2ist September 1799. 
Nobly born, 
Most highly respected Sir ! 

I am most obliged to you for the honour you have shown me in 
subscribing to my Creation, and in your satisfaction of my poor 
talents; as soon as the work is printed, I shall send it to you through 
the music dealers Gayl and Hedler 1 in Frankfurt, and would ask you 
to inform them of this. Should you not find any banker in Osna- 
brick [sic] who is in correspondence with ours, please send me the 
money through the gentlemen I mentioned above. I should so much 
like to be able to admire not only the 4 great organs, but also you, 
who, I am told, are one of the greatest living players. 

The best Roman gut strings are to be had of Herr Artaria here. 
Meanwhile I am, most respectfully, 

Your most obedient servant, 

Joseph Haydn. 
[Address:] S r Wohlgebohrn 

Dem Herrn M. B. Veltmann Organist zu St. Marien und 
Musikhandler 

in 

Osnabrick [sic] 
in Westphalen. 

1 See also supra, p. 162. Haydn delivered the work about October 1800. 
One of Artaria's receipts to Haydn for copies sold the receipt is undated 
but must have been written sometime in October 1800 mentions "i Es. 
spedito a Weltmann [sic] d'Osnabruck . . . . fl. 13.30" See Artana- 
Botstiber, p. 83. 



[To E. L. GfiRBER, 1 (SONDERSHAUSEN?). German] 
[Only extracts preserved] 

Vienna 23rd September 1799. 
. . [Speaks of his new Oratorio, The Seasons.] Since this subject 



1799] of Joseph Haydn 167 

cannot be as sublime as that of the Creation, comparison between the 
two will show a distinct difference. Despite this, and with the help 
of Providence, I shall press on, and when this new work is completed 
I shall retire, because of the weakened state of my nerves, in order to 
be able to complete my last work. This will consist of vocal quartets, 2 
with accompaniment only of the pianoforte, based on German 
texts of our greatest poets; I have already composed thirteen such 
pieces, but have not yet performed any of them. . . ." 



LUDWIG GERBER (1746-1819), the famous German musical lexico- 
grapher, whose Historisch-biographischcs Lexikon der Tonkwistlcr (Leipzig, 
1790-1792) and Nenes historisch-biographischcs Lexikon dcr Tonkunstler 
(Leipzig, 1812-1814) are among the most important musico-biographical 
lexica ever written. The extract from this letter is taken from the second 
volume of this latter publication (sec Sources). 

2 These choruses, of which Haydn was very proud, were later published by 
Breitkopf &Hartcl 



[To HAYDN FROM NIKOIAUS SiMROCK, 1 BONN. German] 

Bonn, 3Oth September 1799. 
To Herr Kapellmeister Haydn 

in Vienna. 

It was not until today that 1 discovered you are publishing the score of your 
Creation. I herewith subscribe to 2 copies, which I would ask you to send to me at 
the following address: Herr Halm, postmaster in Sieburg, for Herr Simrock via 
Frankfort am Mayn. When the time comes I shall arrange payment through the 
music dealer Trag [Traeg] 2 . I wish I could have engraved the work myself, for I 
would have made every effort to do justice to it. 

J Haydn had visited the famous German music publisher on his way back 
from London in 1792. Simrock published the first edition of Symphonies 
Nos. 99, 102 and 104 as Op. 98, possibly under Salomon's licence. (When 
Simrock published the pianoforte trio arrangement of the last six London 
Symphonies, he announced them as the property of Mr. Salomon, "who 
has given me full rights to engrave, print and publish them." See Hoboken, 
204.) 
2 The Viennese music dealer: sec letter of 8th March 1789. 



[To CHRISTOPH GOTTLOB BREITKOPF, LEIPZIG. German] 
Well born, 
Most highly respected Sir ! 

The score of the Creation will not appear until the end of Decem- 
ber, and so if you will let me have the names of your subscribers by 



168 The Collected Correspondence [*799 

January, I shall be able to include them in the printed subscription 
list at the front of the score; perhaps no work has ever been pub- 
lished with as many different subscribers as this one. 

You do me great honour by supporting my undertaking with 
such assiduity, and I shall be pleased to send you the copies you asked 
for: the subscription price will not be raised by a single farthing 
[Heller] after publication. 

You shall receive one copy for the use of your concerts for the 
widows' benefit, and I shall send it to you by mail as soon as it comes 
off the press; I would like to be able to conduct it myself. 

Since the Creation will be engraved and printed here in Vienna, 
I was obliged to give Herr Artaria the principal commission. But as 
far as the pianoforte arrangement is concerned, lack of time prevents 
me from doing this myself. Anyone is free to do it. 

Apart from all this, I am much obliged to you for all your kind 
wishes and remain, as always, Sir, most respectfully, 

Your most obedient servant, 

Joseph Haydn. 
Vienna, ist November 1799. 



[To THE BADEN CITY MAGISTRACY. German] 
[Only the signature autograph] 

[Baden, 24th March 1800] 
Worthy Magistracy, 

Inasmuch as my wife, the late Maria Anna Haydn, 1 has deemed 
me residuary legatee under the terms of her last will and testament, 
dated 9th September 1799 and publ. on 22nd March 1800: 

I would ask to be declared legatee cum Beneficio Legis et Inventarij 
under the terms of said will, and request this my statement of legacy 
to be noted protho-collando. 

Joseph Haydn [m.] pria. 

[On reverse side of sheet the following remarks by the Baden 
Syndicates : "The original to be retained, and copies made upon 
request. Baaden [sic] 25th March 1800. In Baden City Mag. 
Joseph Grundtgeiger mp, Synd [icatus]. Prato: 24th March 1800. 
City Magistracy Baaden [sic] Joseph Hayden [sic] asks that this 
statement of legacy be accepted."] 

1 Haydn's wife had died at Baden on 2Oth March. 



iSoo] of Joseph Haydn 169 

[To A FRIEND IN BERLIN. 1 German] 
My most esteemed Friend ! 

I am most obliged to you for the 9 gold ducats you sent me (it is 
A RARITY for us Viennese to see gold coins) I probably can't expect 
such from the Count von Briihl, 2 but meanwhile you might remind 
His Excellency, so that by degrees I can retrieve my large expenses. 

The 3 copies of the piano score you asked for will be sent from 
here on this coming Wednesday. It's true about the 4 Seasons] just 
now I am working on the "Summer" and hope, despite the fact that 
I was very ill recently, that I can finish it by the end of the coming 
Winter. But if such a difficult task should not prove successful, every 
connoisseur of music will understand the reason why. 

The retail price of the score of the Creation is the same as the sub- 
scription price. As often as you speak of our Naumann, 3 1 envy you 
his friendship; perhaps I shall be able to see him before 1 die. Mean- 
while I am, most respectfully, 

Dearest Friend, 

Your most sincere servant, 

Jos. Haydn. 

Vienna, nth May 1800. 

[No address; on the cover someone has written the date of arrival: 
"Praessent. Berlin/ den 23sten Mai".] 

Perhaps the music publisher J J. Hummel, with whom Haydn had been m 
contact often before. The letter concerns payment for the Creation. 
2 See supra, letter of 10 August 1799. 

^OHANN GOTTLIEB NAUMANN (1741-1801) Haydn went all the way to 
Dresden on his return from England in 1795, to see Naumann, but found 
him away. See also letter to Naumann's widow of 22 September 1802. 

[STATEMENT TO LUIGIA POLZELLI. Italian] 

I, the undersigned, promise to Signora Loisa Polzelli (in case I 
should consider marrying again) to take no wife other than said 
Loisa Polzelli, and should I remain a widower, 1 promise said Polzelli 
to leave her, after my death, a pension for life of three hundred 
Gulden (in figures, 300 fl.) in Viennese currency. Valid before any 
judge, I herewith set my hand and seal, 

Joseph Haydn 

Maestro di Capella di S. Alt. il Principe 
Esterhazy. 

[Haydn's seal] 
Vienna, 23rd May 1800. 



i jo The Collected Correspondence [1800 

[To HAYDN FROM JOSEPH MICHAEL BonrnM, 1 BERLIN. German] 

Berlin, 1 6th June 1800. 
[Contents:] 

.... The writer, despite his profession as an actor, has run a music shop 
for the past 12 years; the only things missing in his stock are the articles from 
the Viennese publishers. Haydn should suggest someone with whom he 
could procure Viennese music. Bohcim asks for 12 copies of the Creation in 
pianoforte arrangement, all his newest Quartets, etc. Mentions the first 
performance of the Creation in Berlin, which took place on yth May 
1800. The King had ordered it to be performed for the benefit of Weber, 2 
music director at the Schauspielhaus; it was then performed twice again upon 
special request, each time to a full house, and with enormous applause. 
Boheim also wants good wind-band pieces and small symphonies, for these 
are in great demand by amateur orchestras, whose forces are suited for 
works of tins kind. . . . 

*An actor at the Royal National Theatre in Berlin. Haydn turned the letter 
over to Artana, which is why it was (is ?) still preserved. 

2 BERNHARD ANSELM WtBER (1766-1821). 



[To GEORG AUGUST GRIESINGER, VIENNA. German] 

ist July 1800. 
[No copy available] 

[It is just possible that this letter is in fact identical with that to Hartel of the 
same date.] 



[To GOTTFRIED CHRISTOPH HARTEL, LEIPZIG. German] 

Vienna, istjuly 1800. 

.... Please forgive an old and busy man who, instead of having 
written the late-lamented Herr Breitkopf, 1 writes to you, his succes- 
sor, at this late date to thank you for the precious ring. 2 Dearest 
Friend ! I shall never be unthankful, but I regret that at present I am 
not capable of serving you with new pianoforte Sonatas. The 
difficult task which 1 now have, to compose the Seasons, and my 
weakened physical state do not permit me to work on two things at 
once; but to show my gratitude, at least in some measure, I will, if it 
is agreeable to you, send you the full score of the Seven Words in the 
vocal version as soon as possible. You could then publish the work 
with the vocal parts by Michaelmas, either in piano score, which is 
already printed without the vocal parts, or in full score, as you see fit. 
I do not doubt that it will have a good sale, for it is undoubtedly one 



i8oo\ of Joseph Haydn 171 

of my best works, and is not difficult to perform. 3 Meanwhile I send 
you two little Duets, 4 of which one is especially esteemed by the 
connoisseurs. As soon as the Seasons are finished, I shall serve you 
before everyone else, by writing a pianoforte Sonata. . . . 

Between ourselves, I am really to be pitied that I entrusted my 
costly Creation to the sleepy Herr Artaria, the more so since I let 
them have the piano score, and some other small things, at no cost. 
Therefore 1 should be happy to come to some sort of an arrangement 
with you in the future, and meanwhile I should like to know, at 
your convenience, and after you have duly considered the matter, 
what you think about the entire production of the Seasons. . . . 

1 Chnstoph Gottlob had died on 7th April 1800. 

2 Breitkopf & Hartel had sent Haydn a ring, as a small recompense for all his 
work on the Oeuvres complettes: the Leipzig firm had sent Haydn long lists 
of his earlier works, and Haydn had marked which were genuine and which 
not, and had dated the authentic ones in groups of ten years. Griesinger 
reports: "The honourable Father Haydn won't admit that you owed him 
anything, and he was ashamed and delighted with your courteous and 
generous gift. 'Tell Messrs. Breitkopf & Hartel [said Haydn] that they 
have touched my weak spot: I'm like a child, for presents of this sort are 
much more agreeable to me than large sums of money. . . ." (Hase, 
p. 20). 

3 Breitkopf were not at first very eager to publish the work, but then 
changed their minds. Sec Hartel's letter of 1 8th July. 
4 Two delightful Italian Ducts, for soprano, tenor and pianoforte, which 
Haydn had written in 1796. The words arc by Carlo Francesco Badini, who 
had written the libretto to L'anima del filosofo (London, 1791): of the two 
works, "Guarda qui, che lovedrai; scnti qui, chc il sentirai" (F major), and 
"Saper vorrci se m'ami" (G major), the first is perhaps the more beautiful. 
Breitkopf printed them, some years later, in Cahier 8 of the Oeuvres 
complettes. 



[To ANTON SiOLL, 1 BADEN. German] 
Dearest Friend ! 

Frau von Keller, my sister-in-law, has asked me to send her kind 
regards to both of you, and to send you the 30 fl. which she has long 
owed you for the board of her little son; 2 1 would only ask you to 
send a receipt for it at your convenience. I would also ask you to give 
the enclosed receipt for 59 fl. 6 kr., which I paid to the Lower 
Austrian Receiver-General's Office, and also the 9 Gulden which I 
am supposed to pay to the Baden Town Mortuary, 8 to the City 
Receiver's Office, and to present my respectful compliments to that 
gentleman. Moreover, I shall not fail to send all the other receipts of 



172 The Collected Correspondence [1800 

the heirs, as soon as they have been paid out in full. Meanwhile I 
hope that everyone is well, and am, 

Dearest Friend, 

Your most sincere servant, 

Joseph Haydn. 
Vienna, ythjuly 1800. 

1 See supra, p. 157. 

2 His father was Joseph Keller. 

8 Bills connected with Frau Haydn's death. 



[To HAYDN FROM GOTTFRIED CHRISTOPH HARTEL, LEIPZIG. German] 

Leipzig, 1 8th July 1800. 

To Herr J. Haydn, Vienna. 

Concerning your admirable music to the Seven Words, which every con- 
noisseur considers a masterpiece, it is true that the instrumental version is already 
generally known, but my firm would nevertheless consider it an honour to 
publish this work in a correct score; for with the added vocal parts it will appear 
like a new work to its admirers, and will thus be the more interesting for them. 

I presume that you would rather see it appear in score, and am therefore pre- 
pared to print it in its entirety, just as I receive it from you; I await only the 
manuscript so that I may begin with the publication. As far as my part of the 
transaction is concerned, this remains to be fulfilcd, and I shall expect your terms. 
If, on the other hand, you should want me to make a proposal, I should have to 
admit, with a certain embarassment, that my offer would by no means approxi- 
mate to die high value of this work; but perhaps I may ask if in view of the fact 
that I cannot set too high a price on this work if it is to achieve the proper dis- 
tribution and recognition you would be willing to accept 50 ducats as a token 
of our good will in this matter. 1 

[Gottfried Chnstoph Hartel] 

x Haydn accepted the sum because, as Gnesinger reported, "he wants to 
return the many favours with at least one of his own." (Hase, pp. 42/) 
Haydn later signed the foreword which Gnesinger, using information 
which the composer had given him, drafted (March 1801). 



[To LUIGIA POLZELLI, VIENNA (?). Italian, "Tu" form] 

Eiscnstadt, 2nd August 1800. 

.... Up to now I have felt ill the whole time, and today is the first 
day that I am better; but in a little while I hope to be cured com- 
pletely. . . . I shall answer your letter in a few days, and meanwhile 
I send you 15 fl. to pay the rent of your house. . . . 

Your sincere and faithful friend, 
Giuseppe Haydn. 



1 8oo] of Joseph Haydn 1 73 

[To GEORG HfiLBic, 1 VIENNA. German] 

Eisenstadt, 3rd August 1800. 
Well born and respected Sir ! 

Since at present my many affairs of business do not permit my 
going to Vienna myself, I would ask you to pay out to the bearer of 
this letter, my copyist, this small bill in the amount of 37 fl. 30 x 
[Kreutzer] which is made out to you. He will give you a receipt for 
it at once. I hope to have the opportunity of making your personal 
acquaintance and remain, meanwhile, with every esteem, Sir, 

Your most obedient servant, 

Jos: Haydn. 
[Address:] An den Wohl Edlen Herrn 

Georg Helbig biirgerlichen Instrumenten Macher 
in 

Wienn. 

1 GEORG HELBIG a manufacturer of musical instruments. Almost nothing is 
known about him. 



[To ARTARIA & Co., VIENNA. German] 

Eisenstadt, nth August 1800. 
Messieurs! 

I would ask you please to read through the enclosed letter from 
Herr Schritter in Wurzburg, and to send him the missing pages 1 as 
soon as possible. By the way, I would like to know the address of 
Herr Georg Helbig, burgerlicher 2 instrument-maker, and if possible 
to deliver to him the enclosed letter 3 and a receipt for monies received 
in the amount of 37 fl. 30 kr., and to send the receipt down to me 
through our Princely porter, Mayer. As always I remain 

Your most indebted servant 
Joseph Haydn. 

*An imperfect copy of the Creation. 

literally: "bourgeois", i.e. not an "Imperial and Royal" instrument-maker. 

3 See the previous letter. Obviously Haydn's copyist, Johann Elssler, could 

not go to Vienna, and Haydn therefore asked Artana to get the money 

instead. 

[To ARTARIA & Co., VIENNA. German] 

Eisenstadt, 22nd August 1800. 
Messieurs! 

Yesterday I received a letter of 1 6th July from Herr dementi in 



174 The Collected Correspondence [1800 

London, in which I read to my surprise that the copies of my Creation 
had not arrived there. I would ask you urgently to ascertain the 
reason for the delay, for they were dispatched more than 3 months 
ago. Because of this delay, I am in danger of losing two thousand 
Gulden, because Hcrr dementi has already published the work 
himself. 

Please write if you really have not received any confirmation of 
its arrival there. Meanwhile I remain, Messieurs, 

Your most obedient servant, 

Jos. Haydn. 

[Pohl notes on his MS. copy the earliest preserved source 
"Address as usual".] 



[CERTIFICATE FOR JOHANN SPECH. 1 German] 

I, the undersigned, acknowledge and certify that my pupil Herr 
Johan [sic] Spech, under my direction and supervision, has mastered 
advanced composition, and consequently everything which con- 
cerns the vocal and instrumental branches; I further certify that he 
has made sufficient progress therein to enable him to preside over any 
music school, not only as director but also as a teacher of pianoforte 
and organ. I herewith testify to this. 

Eisenstadt, 28th August 1800 

Joseph Haydn [m.p] ria, 
Capell Meister to Prince Esterhdzy. 

^OHANN SPECH was born in Budapest in 1764, studied law and then, follow- 
ing the advice of his fnend Count Leopold Nadasdy (with whom he is 
buried in the family vault at Obcrlimbach [Felso-Lcrdya]), devoted himself 
entirely to music. After leaving Haydn, he went to Pans and studied for 
four years at the Conservatoire there. Upon his return to Hungary, he 
devoted himself to the reform of church music; he died in 1836. His great- 
great-grandson, Studienprofessor F. Boccali of Kemptcn in the Allgau, now 
owns this letter, and kindly provided the above information. 



[To ARTARIA & Co., VIENNA. German] 

Eisenstadt, 3rd September 1800. 
Messieurs! 

Forgive me for bothering you once again. From the enclosed 
letter of my pupil Pleyel, 1 you will see that I cannot, in such critical 
times, procure for him the passport he requires from the Foreign 



i8oo\ of Joseph Haydn 175 

Office [Stadts Canzley] especially now, when the name-day 2 of my 
Princess renders it impossible for me to go to Vienna, not to speak of 
Dresden. But I want to oblige him about my portrait, and so I would 
ask you, gentlemen, to send to Dresden, in my name, a pull of the 
very good portrait 3 which I saw at your office last time, and which is 
perhaps published by now. He will copy and publish it in a reduced 
size with the Quartets. 4 I shall pay the costs at the earliest opportu- 
nity. In the hope of your complying with this request, 1 am, 
Messieurs, most respectfully, 

Your most obedient servant, 

Joseph Haydn. 

P.S. Two days after I received your last letter, I heard from Herr 
Clementi that the first hundred copies had arrived in London at 
last. 5 N. B. If you are able and willing, Gentlemen, to go to the 
trouble of procuring that passport for Herr Pleyel from the Foreign 
Office, you will greatly oblige us both. I hope for a few lines about 
this. One more thing. My Princess, who has just arrived from 
Vienna, tells me that Mylady Hamilton 6 is coming to Eisenstadt on 
the 6th of this month, when she wishes to sing my Cantata Ariadne a 
Naxos? but I don't own it, and would therefore ask you to procure 
it as soon as possible and sent it here to me. 
[Address :] Monsieur 

Monsieur Artana et Compag 

a 

VIENNE. 

[Artaria's clerk notes: "Haydn / Eisenstadt 3rd Sept. 1800 / received 
5th ditto / answered 5th ditto".] 

1 Plcyel had meanwhile become a successful Parisian publisher and a French 

citizen. The Parisians intended to perform the Creation in the Grand Ope*ra, 

and Pleyel was supposed to persuade Haydn to go to Pans and conduct the 

performance personally. From Hamburg he wrote to Artana on ipth 

August (m French !), asking them to forward letters for Haydn and Pichl, 

and announcing his arrival in Vienna. He must have asked Haydn to get him 

a passport. But neither Haydn nor Artana could procure it, and Pleyel only 

got as far as Dresden. (Artana-Botstiber, pp. 8i/.) 

2 8th September; the church service generally took place on the Sunday 

following, which, in the year 1800, was the i4th. 

8 Probably that engraved by J. Neidl after the Zitterer portrait: it is 

certainly not a "very good portrait". 

4 Pleyel was preparing a collected edition of Haydn's quartets in parts. 

6 See letter of 22nd August, supra. 

6 NELSON and LADY HAMILTON did come to Eisenstadt, and they later visited 

Haydn a second time, in Vienna. For the most accurate account of this visit, 



176 The Collected Correspondence [1800 

see Brand, Die Messen von Joseph Haydn, pp. 313$ See also O. E. Deutsch, 
'Haydn und Nelson* (Die Musik, 1932). 
7 Artaria had published the Cantata in 1790. 



[To PAUL WRANi^zKY, 1 VIENNA. German] 

Eisenstadt, 3rd September 1800. 
Dearest and most highly-honoured Friend ! 

Much as I have tried to help everyone all my life long, I can only 
very unwillingly give my consent to this performance, for a work of 
this kind is not at all suitable for the place. 2 With your own profound 
insight you will surely understand my refusal; nevertheless, one 
could surely help poor Neuherz 8 a little if all the musicians in Vienna 
were to combine forces to assist him. But since I cannot be present at 
this proposed benefit concert, I take the liberty of sending him the 
enclosed bank-note for ten f. [Gulden], I kiss your wife's hands, and 
remain, my highly-honoured Friend, most respectfully, 

Your most obedient servant, 

Joseph Haydn [m.p] ria. 
[Address :] Monsieur 

Monsieur Paul Wranitzky, 
Maitre de la Musique tres c&ebre 
a 

Vienne 
Enclosing 10 f. 

1 See supra, p. 150. 

2 Apparently "Wranitzky suggested that one of Haydn's operas or oratorios 

be performed. 

3 Possibly NAUCHARZ (Nohl's reading). 



[To ARTARIA & Co., VIENNA. German] 

Eisenstadt, 6th October 1800. 
Messieur! 

Please be good enough to send a copy of my Creation as soon as 
possible to M r . Silvester in London. The bearer of this letter, a 
servant [Cammerdiener] in the Princely house, will give you the 
address. You make me more and more your debtor by your diligent 
attention, for which I shall always remain 

Your most obedient servant, 
Joseph Haydn. 



i8oo\ of Joseph Haydn 177 

[Underneath is the following address, written in pencil by another 

hand: "adressate a Noveletti e Bombardon! / per spedirle a Londra: / 

a M r . Charles Silvester / Messenger / at Lord Grinvills [sic] office / 

London".] 

[Address :] Monsieur 

Monsieur Artaria et Compafg] 
a 

Vienne. 

[Artaria's clerk notes: "Haydn/Eisenstadt 6th Oct. i8oo/ received 
8th ditto/answered O".] 



[To ARTARIA & Co., VIENNA. German] 

Eisenstadt, i6th October 1800. 
Messieurs, 

Yesterday I received the two enclosed letters, of which the small 
slip, presumably from the House of Arnstein, contains the instruction 
(as you will see for yourselves) to send a copy [of the Creation] to 
Danzig. 1 In case none has been sent there yet, please do send a copy, 
packed, with a statement of costs, to the specified office in the 
Herrngasse. At the same time I should like to know if in the mean- 
time some more copies [of the Creation] have been printed or not, and 
if not, I would ask you once again to press the matter through 
Baron von Swicten, to whom 1 send my respects; for yesterday I 
received a letter from Dr. Burney in London, in which he asks for 
40 copies more to be sent to him as soon as possible. In the hope that 
you will grant my request, I am, most respectfully, 

Messieurs, 
Your most obedient servant, 

Jos: Haydn. 
[Address :] Monsieur 

Monsieur Artaria et Compag 
a 

Vienne. 

[Artaria's copyist notes: "Haydn/Eisenstadt i6th Oct. 1800 / re- 
ceived the 1 7th inst./ answered O".] 

1 The letters were from one Johann Fnedrich Wagner and are dated ist July 
and 30th September. The autographs were formerly in possession of 
Artaria and Co. Tlie Arnsteins directed a famous banking house with 
branches throughout Europe. 



178 The Collected Correspondence [1800 

[To PRINCE NICOLAUS n ESTERHAZY. German] 

[October or November 1800] 

Since the petition of Gabriel Lendway 1 contains nothing but the 
complete truth, I can equally truthfully make the obedient request to 
Your Serene Highness that, in connection with the present enlarge- 
ment of the orchestra, and since he is a very useful individual, he be 
engaged in YOUR SERENE HIGHNESS* SERVICE, at a yearly salary of 
200 Fl. and the assurance, WHEN THE TIME COMES, of a lodging and 
SOME firewood; this is in accordance with the two oral resolutions 
which Your Highness gave me on ist October 1800. 

Joseph Haydn [m.p] ria, 
Capell Meister 

KJABRIEL LENDVAY or LENDWAY had been engaged as a horn player in 1787. 
In the Esterhazy band of 1800 he appears in the list as "Supernumeranus 
Gabriel Lendvay". See Brand, op. rif., p. 318. 



[To HAYDN FROM PRINCE NICOLAUS II ESTERHAZY German] 

To Herr Kapellmeister Haydn: 

Well born, Dear Kapellmeister von Haydn ! 

Inasmuch as frequent warnings to the violoncellist Maukert 1 have had so little 
effect that, against the standing orders, without my permission, and without in- 
forming you, he has ignored his duties and gone to Vienna, I wish you to remove 
him permanently from his post, and I also wish you to look for the best possible 
substitute for his job, concerning which 1 shall expect your proposal. 
Eisenstadt, loth December 1800. 

Exp. Esterhazy. 

: IGNAZ MAUKERT (in some lists he appears as "Mauker" or "Manker"), 
who had been in the band for several years. 



[To AUGUST HARTUNG, BRAUNSCHWEIG. German] 
[Contents:] [No date: c. iSoo? 1 ] 

Haydn sends seven subscription copies [of the Creation] with a list of 
the subscribers. 

[From R. Geermg's Cat. 402: see Sources] 

1 The letter obviously deals with subscription copies of the Creation, and 
was probably written some time during the year 1800, or at the latest in 
1801. August Hartung seems to have been a music dealer. 



1 So i ] of Joseph Haydn 1 79 

[To HAYDN FROM PRINCE NICOLAUS II ESTERHAZY. German] 

To Kapellmeister Haydn: 

Concerning the request of Major Mayern from Gyor, I would not object to 
his receiving old but still useable wind instruments for use abroad by the Insur- 
rections-Bataillon, and I herewith instruct you to find a number of such instruments 
as soon as possible, and to suggest the best price to me beforehand; whereby, 
when the Insurrections-Bataillon is dissolved, the instruments could then be used 
again by my own band. 
Vienna, soth March 1801. Exp. Esterhdzy. 



[To HYDE & CLEMENTI, LONDON. German] 
Sir! 1 Vienna, 28th April 1801. 

Thank you for the hundred guineas which you sent to me, but I 
also hope to receive the rest of the money at your earliest conveni- 
ence. For my part, I shall endeavour to serve you with 3 good piano- 
forte Sonatas by the end of the Summer. 

You received through Herr Artaria and Comp. two hundred and 
twelve (IN FIGURES : 212) copies [of the Creation]. I should now like to 
inform you that the music of my Four Seasons has been received with 
the same undivided approbation as was the Creation', in fact some 
prefer it to the Creation because of its variety. The words have 
already been translated into English and French. In hopes of a speedy 
answer, I remain, with every esteem, 

Your most obedient servant, 

Joseph Haydn [m.p] ria. 

[Address:] [postal stamp, indicating date of arrival: "Foreign 
Office 1801, Ma[y] 19".] 

M r Hyde and Clementi. 
N ro 26. 
Cheapside. London. 

lP rhe letter is probably addressed to Clementi personally. Together with 
Haydn's autograph, an old, possibly contemporary translation has been 
preserved; it is in rather curious English to say the least and inaccurate 
in details. 



[To IGNAZ PLEYEL, PARIS. German, "Du" form] 

Vienna, 4th May 1801. 
Dearest Pleyel, 

I would very much like to know when your beautiful edition of 
J.H.-O 



i8o The Collected Correspondence [1801 

my Quartets will appear, and whether or not you have received the 
copy of my Creation and also the portrait which Artaria sent to you. 1 
Is it really true that one can buy the Creation in Paris, both the score 
and the pianoforte reduction ? At the same time, please do tell me if 
it has been well received there, and whether there is any truth in the 
report that the entire orchestra has expressed a desire to offer me a 
gold medal. Please let me know about all these matters as soon as 
possible, because here in Vienna the whole thing is thought to be a 
wild exaggeration. 

Last week they performed my new work, The Four Seasons, three 
times in front of the nobility, with an unparalleled success; in a few 
days it will be given for my benefit, either at the Theatre, or in the 
Large Redoutensaal. 2 We prefer performing the Seasons to the 
Creation, for it makes a pleasant change. It [the Seasons] has already 
been translated into French and English, after Tompson [sic], by our 
great Baron von Swieten. Everyone hopes for a speedy publication ; 
but it will not appear for a little while, because I want to print the 
English and French words a parte, which will render the work 
easier to perform. 

I send you my best regards, as always, and ask to be remembered 
to your wife. I am, 

Dearest Pleyel, 

Your most sincere friend, 

Joseph Haydn. 

P.S. My poor wife has been dead for a year now. 
[Address :] Monsieur Pleyel, 

Compositeur tr&s-celebre 
a 
Paris. 

1 See letter to Artaria of 3rd September 1800, supra. 
2 There were two "general" (i.e public) rehearsals of the Seasons, followed 
by the first, semi-private performance at the Schwarzenberg Palace, on 
24th April. On 24th May, Haydn conducted a performance at the Court, 
in which the Empress Marie Therese sang the soprano part (Haydn: "much 
taste and expression, but a weak voice"), and the first public performance 
took place in the Large Redoutensaal on 29th May. Nancy Storace was 
among the audience. Pohl III, pp. 178/1 



[To HAYDN from the "FELIX MERITIS" SOCIETY,* AMSTERDAM, Dutch] 
The Society of Merit, founded in Amsterdam under the motto "Felix Mentis", 
wishes happiness and prosperity for each and everyone. Its primary purpose is to 



iSoi] of Joseph Haydn 181 

further the general well-being of this country's inhabitants; by a knowledge of true 
merits, and by encouraging and practicing useful arts and sciences, it wishes to 
expand and increase this country's trade, its merchant marine, its agriculture, its 
factories, &c. Nothing can be more pleasing to the Society than to increase its 
membership by the constant addition of men of good will, capacity and ability. 

To further this end, it has elected Joseph Hay dn, Professor of Music, member of 
the Royal Swedish Academy of Music, and Kapellmeistei in the actual service of 
H. H. Prince Esterhizy, as an honorary foreign member of this Society, in the hope 
that said Joseph Haydn will assist them in their salutary intentions, and will live up 
to the flattering hopes they entertain of him. 

As proof of his election, the majority of the members voted to send you the 
present open letter, signed by the commission appointed thereto, and affirmed by 
their seal. 
Executed at Amsterdam this 4th of May 1801 

Wagtendorp Presiding Commissioner 

Secretary Jacques Breguet. 

x The files of the "Felix Mentis" Society, of which photostatic copies were 
placed at my disposal, show that Haydn's membership was proposed and 
agreed to on 3Oth March. The Secretary, A. Buijn, then asked Haydn if he 
would accept the membership, and upon receiving an affirmative answer, 
he thanked Haydn (see 25th July 1801) and sent him the official diploma 
and the Society's statutes. Haydn's formal note of acceptance was then 
written on i8th October 1801 (see infra). Pohl III, p. 182 thus requires 
correction. 



[To HAYDN FROM THE COMMISSION OF THE "FELIX MERITIS" SOCIETY, 

AMSTERDAM, Dutch 1 ] 

The Commission chosen by the Philanthropic Society in Amsterdam, "Felix 
Mentis". 

To Joseph Haydn, Teacher of Music, Member of the Royal Swedish Music 
Academy and Kapellmeister in the actual service of His Highness, Prince Esterhazy. 

Amsterdam, 4th May 1801. 

Since the Society which we have the honour of representing always directs its 
aim towards fulfilling its primary purpose, as explained in the accompanying open 
letter, it is therefore a pleasure for us to offer you, in said open letter, our honorary 
foreign membership. Your numerous merits, so very well known, vouch for the 
Society's inclination, and remove from it every doubt that you will accept its 
offer, thereby assisting its name and its philanthropy: to which end we commend 
ourselves and enclose a copy of our statutes. 
We remain, respectfully, 

Commissioners of the above Society, and in 
its name and at its request : 

Jacques Breguet, 
M. Wagtendorp. 

X A German translation of the year 1 81 1 is included in the Esterhdzy Archives 
see Sources. 



182 The Collected Correspondence [1801 

[To FREIHERR MAX VON DROSTE-HuisHOFF, 1 MUNSTER. German] 

Vienna, 2Oth May 1801. 
Nobly born Freiherr von Droste, 

The general and undeserved success of my Creation so inspired my 
69-year-old soul that I have dared to compose yet another one, the 
Seasons, after Tomson [sic]. People here are very satisfied with this 
work, the composition of which was exhausting. If I should receive 
as much success abroad, perhaps I shall undertake to write some- 
thing more (if my physical powers are equal to the task). Then, 
when I am in Heaven, I shall thank my Almighty God for having 
given me His blessing, and shall remember all those to whom I could 
render some little pleasure. I remain, Sir, most respectfully, 

Your most obedient servant, 
Joseph Haydn [m.p] ria. 
[Address:] An 

Den Freiherrn Max: Von Droste 
zu HulshoffHochwohlgeboren, 
zu 

MUNSIEK 

Lives near the in Westphalcn 

Lambertii Church 
there. 

1 The father of ANNFTIE ELISABLTH, the celebrated German poetess (1797- 
1849). 

[To HAYDN FROM PRINCF NICOLAUS II ESTIRHAZY. German] 
To Kapellmeister Haydn ! 

Since I am not accustomed to receiving reports from anyone except from those 
who are directly responsible, through whom the material [Vcrhatidlungsgegeti- 
stande] is passed to me for my information, I do not see how the report of Clavier- 
meister Fuchs concerning the petition of the trumpeter Martin Zech from the 
Insurrections-\Batallion] could be sent to me; for Fuchs is not in a position to act as 
your substitute. I shall therefore expect the necessary information directly from 
yourself, and return herewith the files on the subject to you. 
Eisenstadt, 2nd June 1801. 

Exp. Esterhazy. 

[To GEORG AUGUST GRIESINGER, VIENNA. German] 

Eisenstadt, ist July 1801. 
Well bom, 
Most highly respected Sir ! 

I am really quite astonished to see how badly much of the Seven 



1 8oi] of Joseph Haydn 183 

Words was translated, and also astonished at the delay. My dear 
Friend, I cannot possibly make the corrections myself at present, 
because of my Prince, 1 and I cannot think of any other solution than 
that Herr H artel should find someone in Leipzig who can make the 
necessary improvements. Meanwhile Herr Hartel should publish 
the work as soon as possible in German. I hope that neither you, dear 
Herr von Griesingcr, nor Herr Hartl [sic] will be angry at me, and 
remain, Sir, most respectfully, 

Your most obedient servant, 
Joseph Haydn [m.p] na. 

1 Haydn was about to compose the Schopfunguwsse, his penultimate Mass, 
in B flat major, winch was to be performed on the Princess' name-day in 
September He began the score on 28th July. 



[To GEOUG AUGUST GRIESINGER, VIENNA. German] 
Wellborn, 
Most highly respected Sir ! 

I have never doubted Herr Hartel's trustworthiness and integrity, 
and as a proof of my opinion he shall have the preference over all the 
others, provided that he agrees with what I now propose. First, in 
order to rid me of Herr Andre 1 and his female negotiator in Vienna, 
and so as to lose no time, Herr Hartel or you, Sir, as his business 
representative, must write me that Herr Hartel (I having demanded 
6000 fl. for the Seasons) is willing to pay me 5000 fl. to have the 
exclusive rights thereof; which sum Herr Andre will never be able 
to give, the less so since I demanded cash from him. BUT OF COURSE 

THE AGREEMENT BETWEEN US FOR 45OO FL. IN VIENNESE BANK-NOTES 

STANDS. Secondly, I ask for one thousand Gulden immediately 
upon signature of contract and delivery of the score, and the 
remaining 2500 fl. 2 within a period of 6 weeks following the Easter 
fair. On the other hand, I waive all further rights to the score and 
pianoforte reduction, except for two copies for my personal use; 
but Herr Hartel must agree to send 24 copies (which, however, will 
be paid for), as soon as the score shall have been printed, to the group 
of noblemen here, 3 either through me or through Herr Baron von 
Swieten. N.B.: This must take place a week or two before the 
official publication, but Herr Hartel can then publish both the score 
and the pianoforte reduction, as soon as this period of time expires. 
I shall not fail to correct said pianoforte reduction, but I cannot stop 



1 84 The Collected Correspondence [1801 

its being pirated in the Imperial and Royal States, since publication 
will take place abroad. Herr Hartel should not worry about this 
point, however, for our publishers here are quite incapable of under- 
taking anything of this size. At any rate, I hope that Herr Hartel will 
be satisfied with my proposal. I must add only one thing more : the 
autograph, like that of the Creation is to remain in the hands of 
Baron von Swieten, inasmuch as, after the Baron's death, both 
works, together with his own beautiful collection, will be left as 
mementos to the Imperial and Royal Library. Meanwhile I have had 
a clean, legible copy prepared in my house, under my own super- 
vision, and have corrected it; this cost me 80 fl., but I do not require 
this sum to be repaid to me. I hope to have the favour of your early 
reply, and remain, Sir, with profound esteem, 

Your obedient servant, 

Joseph Haydn. 
Eisenstadt, 3rd July 1801. 

1 The well-known music publisher, whose offices were at Offenbach on the 

Main. 

2 Thcre is obviously a mistake here (Haydn's autograph is not available : see 

Sources): the "one thousand Gulden" and the "2500 fl. [Gulden]" do not 

add up to 4,500 Gulden. Haydn was probably paid 2,000 Gulden upon 

signature of contract. 

3 The group of noblemen who guaranteed the costs of the first performance 

and also Haydn's fee. 



[To GEORG AUGUST GRIESINGER, VIENNA. German] 
Well born, 
Most highly respected Sir ! 

Two hours before I received the favour of you letter, con- 
taining the assurance that Herr Hartel had decided to pay me the sum 
of four-thousand-five-hundred Gulden for the Seasons, Herr 
Hofmeister 1 from Leipzig walked into my room and in all serious- 
ness demanded the score of the Seasons from me; he agreed to pay 
cash at once, even if it cost five thousand Gulden. But I answered him 
that this very day I was expecting a letter from Herr Hartl [sic] with 
the assurance that Herr Hartel would pay me the five-thousand 
Gulden I demanded without hesitation. Scarcely a quarter of an 
hour after Herr Hofmeister had left my room, I received your 
letter, which I subsequently showed to Herr Hofmeister so that he 
could pass on its contents to the home office. At the same time I asked 
him to inform Madame N. N. von Offenbach 2 in Vienna that I had 



i8oi] of Joseph Haydn 185 

actually sold the work to Herr Hartel, so that she will no longer 
entertain any hope of getting it: in this way I got rid of both these 
plagues at once. Therefore I await the contract, and as soon as that is 
signed, I shall have my servant deliver the score to you, Sir. Mean- 
while I remain, my dear Sir, most respectfully, 

Your obedient servant, 

Jos. Haydn. 
Eisenstadt, lothjuly 1801. 

1 In 1784, the composer FRANZ ANTON HOFFMEISTER (rccte) had opened a 
music-publishing business in Vienna. He subsequently published some 
Haydn and a good deal of Mozart for the first time, and after various vicissi- 
tudes sold most of his business to Artana (1793) and then moved to Leipzig 
where, with Ambrosius Kuhnel, he formed the firm of "Hoffmeister und 
Comp.", which later became the "Bureau de musique", and still later 
C. F. Peters. Hoffmeister 's Leipzig firm was about a year old at the time of 
present letter. See Alexander Wcinmann, 'Wiener Musikverlegcr und 
Musikalienhandler von Mozarts Zeit bis gegen 1860* (Festgabe dcr Akadenne 
der Wissenschafteti, Band 230, 4th Abhandltmg, Vienna 1956). 
2 Andre"s "female negotiator" mentioned in the previous letter. 



[To HAYDN FROM 142 FRENCH MUSICIANS, PARIS. French] 

De Pans, ce i Thermidor an g de la Re- 
pubhque Francaise. 
[zoth July 1801] 

The French artists, gathered together in the Theatre des arts to perform that 
immortal work, the Creation of the World, composed by the celebrated HAYDN, 
are filled with a just admiration for his genius, and beg him to accept the hom- 
mage of their respect, of the enthusiasm which inspired them, and the medal 1 
which they have struck in his honour. 

No year goes by in which a new product of this composer docs not enchant 
the artists, enlighten their minds, contribute to the progress of the art, widen the 
immense spaces of harmony, and prove that its expanses are boundless if one 
follows the luminous torch with which HAYDN has brilliantly illuminated the 
present and which points the way to the future. But the imposing conception of 
the ORATORIO even surpasses, if such a thing be possible, everything which this 
wise composer has hitherto offered to an astonished Europe. 

When in this work HAYDN imitates the FIRE OF HEAVLN, he seems to have por- 
trayed himself, and thus persuades us all that his njnic will shine fully as long as 
the stars whose rays he seems to have absorbed. 

P. S. If we here admire the skill and the talent by means of which Citizen 
GATTEAUX has so well reflected our intentions in the engraving of the medal we 
offer to HAYDN, we must also pay tribute to the loftiness of his [Gatteaux's] 
sentiments, for he has been content to receive for his efforts merely the glory which 
is his today. 

Rey, chefde rorchestrc du theatre des art*. Scgur le jeunc. Auvray. Fr. Rousseau. 
Xavier. Rey 3 mc . Saillar. [etc., etc.] 



1 86 The Collected Correspondence [1801 

x The large gold medal, N. Gatteaux sculpsit, was reproduced in the Allgemeine 
Musikalische Zcitung, 4. Jahrgang, 5. Stiick. Haydn left it to Prince Ester- 
hazy (see Will of 1801, 56). 



[To GEORG AUGUST GRIESINGER, VIENNA. German] 
Well born, 
Most highly respected Sir ! 

On the 1 8th 1 inst I duly received your kind letter together with 
the attached contract, and send you herewith the contract, which I 
find well drawn-up, and which I have signed. I cannot, however, 
allow the part of the public announcement which I have underlined, 
because no publisher should have reason to believe, or to suspect, 
that I have thrown away this large work, or have been obliged to 
give it away for a pittance, or that I shall receive some of the profits 
only in the course of time; for people might thus believe that our 
agreement concerning the 5 thousand Gulden, which I myself read 
to Herr Hofmeister from Leipzig, is not authentic. Therefore I wish 
you would omit this article altogether, and inform Herr Hartcl 
about it while there is still time, for I don't want to lay myself open 
to criticism from all other publishers, and moreover Herr Baron von 
Sweiten would never approve of it; I wish I could ask his advice 
about the matter. Herr Hartel should not put the subscription price 
too high if he wants to protect himself against anyone pirating the 
work. Because of its 4 sections, the Seasons arc a good deal longer 
than the Creation; the choruses have just as many vocal parts. 
Meanwhile I am, Sir, most respectfully, 

Your most obedient servant, 
Eisenstadt, 2ist July 1801. Jos. Haydn. 

J In Mandyczewski's copy, the only available source, "den 28 tn dieses", 
which I presume should read "den i8 ln ". In Noh), Addenda, p. LV1, 
"den 2Oten". 



[To CHARLES OCKL, ST. JOHANN NEAR PLAN, BOHEMIA. German] 

[Only the signature and title autograph] 
Nobly born and most respected Sir ! 

I have duly received your two letters of the 2pth May and 5th 
July with which you favoured me, and have noted their contents 
with pleasure. I was quite delighted to hear that my Oratorio was 



i8oi] of Joseph Haydn 187 

received by all the music-lovers in your district with the approbation 
which it has been fortunate enough to enjoy in almost the whole of 
Europe; but it was with considerable astonishment that I read of the 
curious happenings consequent on the performance, which happen- 
ings, considering the age in which we live, reflect but little credit on 
the intelligence and emotions of those responsible. 1 

The story of the creation has always been regarded as most sub- 
lime, and as one which inspires the utmost awe in mankind. To 
accompany this great occurence with suitable music could certainly 
produce no other effect than to heighten these sacred emotions in 
the heart of the listener, and to put him in a frame of mind where he 
is most susceptible to the kindness and omnipotence of the Creator. 
And this exaltation of the most sacred emotions is supposed to 
constitute desecration of a church ? 

Have no fears about the outcome of this affair, for I am con- 
vinced that an intelligent consistory will learn a good deal from 
this apostle of peace and unity: it is not unlikely that the listeners 
went away from my Oratorio with their hearts far more uplifted 
than after hearing his sermons. No church has ever been desecrated 
by my Creation-, on the contrary: the adoration and worship of the 
Creator, which it inspires, can be more ardently and intimately felt 
by playing it in such a sacred edifice. 

If, however, this affair which sounds completely ridiculous to 
every intelligent person is not settled by the consistory, I am willing 
to place it before their Imperial and Royal Majesties, for Their 
Majesties have never heard this Oratorio without being deeply 
moved, and are quite convinced of the value of this sacred work. I 
am, Sir, most respectfully, 

Your devoted servant, 
[seal] Joseph Haydn [m.p] ria., 

Doctor of Music. 
Eiscnstadt, 24th July 1801. 
[Address:] A Monsieur 

MONSIEUR CHARLES OCKL 
Rector in Plan 



PR. PILSEN PLAN 

NACHST MlESS 

Receipt to be col- 
lected 



1 88 The Collected Correspondence [1801 

x The village of St. Johann near Plan intended to perform the Creation. 
Ockl, the local schoolmaster (Rector) and one of Haydn's admirers, applied 
pro forma to the consistory at Prague, and meanwhile all the necessary plans 
were made to perform the work in the parish church. Unexpectedly the 
consistory refused permission. The citizens then decided to perform the 
work in the open air, and erected a temporary platform which, however, 
proved hopelessly impractical. They therefore resolved to play the work in 
the church after all, and "kidnapped" the "rector", of whom they were 
fond, thinking that by removing him to another place he would not be 
present and would therefore have no responsibility. The priest misunder- 
stood Haydn's name, and thought it was "Heiden," which in German 
means "heathens" ; he rampaged from the pulpit, accusing St. Johann of 
playing oratorios by heathens in die parish church. Ockl, fearing for his 
position, then wrote to Haydn. See Allgemeine Musikalische Zeitung 1874, 
No. 3, pp. 4i/ 



[To HAYDN FROM A. BUYN (BUIJN>), "FELIX MERITIS" SOCIETY, AMSTERDAM, 

Dutch 1 ] 

To Heer Joseph Haydn. 
Highly respected Sir, 

1 have duly received your letter, so very flattering to me, and see from it that you 
were gracious enough to accept the offer of the Society, and that you agree to 
become a member of it. 

I thus fulfil a most pleasant duty in sending you the enclosed diploma and the 
membership rules of said Society, and wish you a happy future as a member. 
It is with the utmost gratitude that I shall expect the 4 Seasons. 2 
1 shall ask the Almighty to protect you, and subscribe myself, highly respected 
Sir, most respectfully, 

Your most humble and obedient servant, 
A. Buyn [Bujn?] 
op den dam tot Amsterdam. 
Amsterdam, 25th July 1801. 

X A German translation of the year 1 8 1 1 is included m the Esterhazy Archives 

see Sources. 

2 Haydn obviously promised to send them his new Oratorio as a token of his 

respect. 



[To TIIE FRENCH MUSICIANS, PARIS. French 
[Answer to the letter of 20th July] 

Vienna, 2 loth August 1801. 
Gentlemen, 

It is the privilege of especially great artists to confer renown, and 
who can have greater claims to such a noble prerogative than you? 
You, who combine the most thorough and profound theory with 



iSoi] of Joseph Haydn 189 

the most skilful and perfect execution, who cast a veil over the com- 
poser's deficiencies, and who often discover therein beauties which 
the composer himself did not suspect. By thus embellishing the 
Creation you have earned the right to share in the approbation with 
which this composition was received. The public, too, echoes the 
just tribute which I must pay to you here: their appreciation of your 
talents is so great that your approbation ensures their own; and thus 
your approbation in some measure indicates to those on whom it is 
conferred the anticipated fame of posterity. I have often doubted 
whether my name would survive me; but your kindness inspires me 
with confidence, and the token of esteem with which you have 
honoured me justifies my hope that perhaps I SHALL NOT WHOLLY 
DIE. Yes, gentlemen, you have crowned my grey hairs, and strewed 
flowers on the brink of my grave. My heart cannot express all that 
it feels, and I cannot write to you my profound gratitude and devo- 
tion. You will know how to appreciate them, however: you, 
gentlemen, who cultivate the arts from enthusiasm and not for gain, 
and who regard the gifts of fortune as naught, but fame as every- 
thing. 

I am, &c. 

Joseph Haydn. 

1 Only the German version has survived : see Sources. 
2 Haydn was actually in Eisenstadt: see Pohl III, i85/ 



[To GEORG AUGUST GRIESINGER, VIENNA. German] 
Well born, 
Most highly respected Sir ! 

The short space of time I have in which to complete my new 
Mass 1 does not permit me to write more than a few lines, to tell you 
that at last I now have the honour of sending you the complete score 
of the Seasons. I advise you to send it on to Herr Hartel [sic] as soon 
as possible; but please give our porter a receipt for it. Meanwhile I 
am, Sir, most respectfully, 

Your most obedient servant, 

Jos: Haydn. 

Eisenstadt, 2ist August 1801 

[No address; on reverse side the following note in another hand: 
"i8oi/ the 2ist August" and to the right, "Eisenstadt / Haydn".] 

lr The Schopfungstnesse: see supra, p. 183. 



i po The Collected Correspondence [1801 

[To AN AUSTRIAN OR GERMAN ARISTOCRAT, POSSIBLY GOTTFRIED 
VAN SWIETEN. German] 

Eisenstadt, 26th August 1801. 
Excellency ! 

[Contents:] 

The letter accompanied the shipment "by the diligence" of the score of the 
Seasom. 

[Summary from "Katalog 1958", item 37, 
Bayreuther Musikantiquanat.] 



[To THADDAUS WEIGL,* VIENNA. German] 
Dearest Friend ! 

I consider myself fortunate to be able to do you a small favour by 
writing you a certificate, the more so since, without any flattery, you 
really do deserve this important position more than anybody else, 
because of your many and varied merits, and your understanding of 
the subject. I congratulate you, and very much wish I could write 
more, but I'm a poor old fellow because of my new Mass, 2 which 
I'm just finishing, and which is to be performed the day after to- 
morrow. Meanwhile I hope to sec you soon in Vienna, and remain, 
my dearest Friend, with every esteem, 

Your most willing servant, 
Joseph Haydn [m.p] ria. 
Eisenstadt, nth September 1801. 

[No address; Weigl notes: "Father Haydn, from Eisenstadt/ nth 

Sept.Soi/rcceived I4th Sept. 801".] 

1 Son of JOSEPH WEIGL (see supra, p. S) Thaddaus or, as he called himself 

in later years, Thadde was born about 1774 and died in 1844. In 1801, he 

applied for, and received, permission to open a music-dealer's business 

(Ktinsthandlerbefngtns) y and Haydn's letter and certificate were obviously 

written to help Weigl secure the necessary permit from the Vienna City 

authorities. 

2 The Schopfungsmesse: see supra, p. 183. 



[CERTIFICATE FOR THADDAUS WEIGL. German] 
[From an old copy] 

Certificate 

I, the undersigned, declare publicly and to all those whom it may 
concern that the music engraved under the supervision of Herr 
Thadaus [sic] Weigl distinguishes itself, over and above everyone 



i8oi\ of Joseph Haydn 191 

else's, to his great advantage; which one would easily expect from 
such a man as Herr Thadaus Weigl, inasmuch as he himself is a 
composer, and possesses all the knowledge necessary to conduct such 
a business successfully. This is also to the obvious advantage of the 
state, since then it would no longer be necessary for our native com- 
posers to have their works sent abroad to be engraved. 

At his request, and for his benefit, I have enumerated all these 
circumstances, which are entirely truthful, and set my hand and seal 
to this certificate. 
Eisenstand [sic], nth September 1801. Joseph Haydn. 



[To HAYDN FROM PRINCE NICOLAUS II ESTERIIAZY. German] 
To Herr Kapellmeister Haydn: 

I urge you to bear in mind that the members of the band 1 must appear at all 
times with their uniforms clean and neat, and with powdered wigs. Disobedience 
will result in the offender being dismissed from the band. 
Eisenstadt, 26th September 1801. [Exp. Esterhazy] 

1 A translation can hardly convey the arrogant German of "Chormusik 
Individucn"; Estcrhazy also used this expression in the letter of I4th August 
1802. 



[To GEORG AUGUST GRIESINGER, VIENNA. German] 
Well born, 
Most highly respected Sir ! 

I, too, regret that I did not have the honour of seeing you, Sir, 
in Vienna last time, but I hope to wait on you there very soon. 
Meanwhile I am sending you, Sir, the proof-impression you 
wanted of the medal, 1 and trust that Herr Hartel will be satisfied 
with it. As far as the arrangement of the Seasons for quartet or 
quintet is concerned, I think that Herr Wramzky, 2 [Kapelletneister] at 
Prince Lobkowitz, should receive the preference, not only because 
of his fine arrangement of the Creation, but also because I am sure 
that he will not make use of it to further his own ends. In the near 
future you, Sir, will receive from Herr Baron von Swieten one or 
two sections of the Seasons with the English and French texts added. 
Meanwhile I have the honour to be, Sir, most respectfully, 

Your most obedient servant, 

Joseph Haydn. 
Eisenstadt, ist October 1801. 



192 The Collected Correspondence [1801 

l Thc gold medal sent by the Parisian artists: see letter of 2Oth July 1801. 
2 ANTON WRANI(T)ZKY, Paul's brother (sec supra, p. 150). Artaria had issued 
Wranizky's arrangement of the Creation for string quintet (2 V., 2 Ve., 
Vc.) in March (pi. no. 850). 



[To GEORGE THOMSON, 1 EDINBURGH. Italian] 

Eisenstadt, yth October 1801. 
Most esteemed Friend ! 

I send you herewith the violin accompaniment to the songs you 
requested, marked with the Numbers I, 2, 3, 4, 5, 6, 7, 8, and trust 
that I have hit upon your taste. I have also altered the ritornello of No. 
15, and added codas to Nos. 2, 9, 24 and 25, as you wished. I shall 
make every effort to satisfy you in the other songs, but you must be 
patient for a little while longer, and remember that I am now very 
old. 

Send me the words of the 6 canzonettas, and I shall let you know 
in a short while how long it will take me to compose them ; but I am 
not capable of composing the Sonatine for pianoforte and harp, for I 
am now too weak to do so. 

1 am eternally grateful to you for the handkerchiefs and for the 
beautiful snuff-box, which I treasure more than if it were made of 
gold. Please be good enough to mention to me someone in the 
Embassy who can take the place of Mr. Straton in respect of our 
negotiations. 

Meanwhile, esteemed Friend, I am, most respectfully, 

Your indebted servant, 
Joseph Haydn. 

Concerning Haydn's dealing with Thomson, see Introduction. 



[To THE "FELIX MERITIS" SOCIETY, AMSTERDAM. German] 

[Answer to the letter of 4th May] 
Learned Gentlemen ! 

I regard the generous approbation with which the efforts of my 
small talents have been hitherto received almost everywhere as a 
most beautiful reward, but also the only one I could have promised 
myself up to now. But wlien a company of men, who are brought 



iSoi] of Joseph Haydn 193 

together by no tide other than that of true merit, decides to elect me 
to its distinguished circle, then I cast my eye over 70 full years of 
uninterrupted devotion to an art which now, in my old age, proves 
to be such a rich source of honour and delight. Yes, honourable 
Gentlemen, you fill my soul with the sweetest emotions, you revive 
an aged man and give him new strength; for you give me the 
flattering reassurance that, even if posterity does not cherish my 
works, my name, shining in the reflected brilliance of your own, 
will not wholly disappear in the stream of oblivion. As a result of 
this dignified public monument which you so nobly offer at the 
shrine of this art, posterity must ever be in your debt: for by your 
noble actions you awake sleeping talents. You show them the path, 
and also the reward which awaits them at the goal. Receive, there- 
fore, the heartfelt assurance that my soul is filled with the deepest 
gratitude for the flattering marks of honour you have shown me. 
When my course is run, I shall pass on in complete peace of mind, 
filled with the happy thought that my place will never be empty, 
when true merits unite to guard and protect the art. 
I have the honour to be, with every esteem, 

Learned Gentlemen, 

Your willing and obedient servant, 

Joseph Haydn. 
Eisenstadt, i8th October 1801. 



[To BARON GOTTFRIED VAN SWIETEN, VIENNA. German] 
Excellence! 

The great number of all sorts of works which had to be copied for 
the Princely band was responsible for the long delay. 

I took the liberty of sending the whole score 1 to Your Excellency, 
because some of the things which I had added afterwards were not 
included, as Your Excellency will see by comparing the sign [left 
blank]. 

For rather a long time I have had no news either from Herr 
Hartel [sic] or from his business representative Herr von Griesinger, 
and I am very surprised at his announcement, for he promised to 
send the proofs to me, little by little, as they appeared. I would there- 
fore beg Your Excellency to ask Herr von Griesinger to come to you, 
explain to him all the necessary points, so that Your Excellency will 



194 The Collected Correspondence [1801 

be satisfied. Next week I shall have the pleasure of waiting on you. 
Meanwhile I remain, with profound respect, 

Your Excellency's 

most humble and obedient servant, 

Joseph Haydn. 

Eisenstadt, 2ist October 1801. 

[No address; in another hand the following notes (German): "To 
the Baron van Swieten, Principal Imperial & Royal Librarian, and 
the author of the libretti of Haydn's Creation and Seasons". \ 

1 This letter refers to the Seasons, the score of which Haydn had just sent to 
van Swieten. 



[To GEORGE THOMSON, EDINBURGH. Italian] 

Vienna, 2yth October 1801. 
Most esteemed Friend, 

I now send you the arias you asked for, beginning with Number 
14 and ending with No. 22. 1 sincerly hope that you will be satisfied 
with them. I could have made the ritomelli still longer, but the 
proportions of the songs do not allow it. I shall make every effort to 
complete all the others, and hope to send them in a little while. I 
would only ask you to designate another person to take Mr. Straton's 
place. Meanwhile I am, dear Friend, 

Your most sincere friend and servant, 

[signature forgotten], 

[No address; Thomson's clerk notes: "Haydn / Vienne 2/ h Oct. / 
1801. / With Symph" & Accp ts to 9 Scottish Airs".] 



[To GEORG AUGUST GRIESINGER, VIENNA. German] 

Vienna, 4th November 1801. 
No copy available 



[To GEORGE THOMSON, EDINBURGH. Italian] 
Most esteemed Friend, 

I now send you the rest of the songs, and I am quite convinced 
that they could not better be done: for I have taken great pains to 



i8oi] of Joseph Haydn 195 

satisfy you, and to show the world how far a man can progress in 
his art, especially in this genre of composition [modulazione], if he is 
willing to exert himself; and I wish that every student of composi- 
tion would try his hand at this type of music. In time, the fruits of 
their efforts would surely be well rewarded. 

I flatter myself that with this work I shall go on living in Scotland 
many years after my death. I would only ask you to send me a copy, 
when it is printed. In the hope of receiving your kind favour very 
soon, I am, 

Dearest Friend, 
Your sincere and most humble servant, 

Giuseppe Haydn. 
Vienna, 5th December 1801. 
[Address:] George Thomson. Esq r 

Trustees Office. [Postal stamps indicating 

Edinburgh date of arrival in England, 

North Britain. and then in Scotland: "For- 

[With Haydn s seal "JH"] eign Office Dc[c.] 28, 1801" 

and"De[c.]3i, 1801" 

[Thomson or Thomson's clerk notes: "Haydn / Vienna 5 Dec i8oi/ 
With more Scotish [sic] /Airs harmonized etc./ by him and men-/ 
tioning HIS HOPE THAT HIS NAME WILL BY MEANS OF THESE AIRS LIVE 
IN SCOTLAND LONG AFTER HIS DEATH."] 



[To BREITKOPF & HARTEL, LEIPZIG. German] 

[Only the signature autograph] 

I declare herewith that the firm of Breitkopf und Hartel in Leip- 
zig is the only rightful publisher of my composition entitled 
Seasons for the whole of Germany. 

Joseph Haydn. 
Vienna, 6th December 1801. 



[LUIGI TOMASINI TO PRINCE NlCOLAUS II ESTERHAzY, PASSED ON TO HAYDN 
FOR RECOMMENDATION, WITH HAYDN*S ANSWER. German] 

[Eisenstadt (?), c. 5th December 1801] 
Your Highness ! 

The undersigned would certainly find it difficult to make this request, were not 
the greatly increased living costs felt by everyone such as to affect him and his 

J.H.-P 



196 The Collected Correspondence [1801 

family, and were he not in any case deprived of all extra benefits, also his usual 
winter trip which he has not been able to make for some years, and which used to 
be such a pleasant contribution to his well-being. 

But convinced of his Prince's great generosity, judged merely by the many acts 
of kindness shown during these past years, and by the noble principle he has 
maintained in not letting anyone suffer: convinced by all these noble-minded 
acts, he dares in all humility to request Your Highness in his graciousness to grant 
him a small increase in salary, which graciousness he will repay with gratitude and 
diligence to his duties. 

Your Serene Highness* 

most humble and most obedient 

Louigi Tomasim. 
[On the file's cover:] 

To be sent to Kapellmeister Haydn for his opinion and report. Vienna, 7th 
December 1 801. 

Exp. Esterhazy. 

[Haydn's answer:] 

Inasmuch as His Serene Highness, our Prince, blessed by God, has 
in his graciousness assisted almost all the personnel serving His 
Highness during these highly expensive times, I would ask that the 
old Luigi Tomasini be supported in some small measure. 
Vienna, yth December 1801. 

Jos. Haydn [m.p] ria. 



[To AUGUST EBERHARD MuLLER, 1 LEIPZIG. German] 
Well born, 
Most highly respected Sir ! 

Again I admire your talent and the enormous energy which you 
have hitherto expended on such a difficult task. The arrangement is 
easy, and readily comprehensible throughout, especially the final 
fugue. But I must ask you to include the changes I have sent you, if 
at all possible. Apart from them, however, I rely entirely on your 
knowledge and your profound insight even for improvements, 
should you perhaps still find a few small errors. I am too old and too 
feeble to be able to examine such a big work in detail, and the 
critics should therefore exercise a little forbearance. NOTHING IN THIS 

WORLD IS PFRFECT. SED HOC INTER NOS. 

N.B.: Since, because of the quick tempo, the storm in the 2nd 
part cannot possibly be played as it now stands, my suggestion would 
be to do it in the following way, so that the singers will find the 
right pitch more easily: viz. you will see my suggestion on the 
enclosed sheet. I am so weak today that I cannot write more than 



i8oi] 



of Joseph Haydn 



197 



this, but I hope soon to hear something from you, and also to see the 
results. I am, most respectfully, 

Your wholly indebted servant, 

Joseph Haydn [m.p] ria. 
Vienna, nth December 1801. 
[Address :] Monsieur 

Monsieur Miiller Maitre 
dc la Musique tres Celebre. 

[The enclosed sheet, or rather the corrected proofs, have not sur- 
vived in their entirety, but they included the following remarks: 
"No. 76, in the last line, the first bars should read as follows: 





I 



although they are not in the score. NB ! This whole passage, with its 
imitation of the frogs, was not my idea : I was forced to write this 
Frenchified trash. This wretched idea disappears rather soon when 
the whole orchestra is playing, but it simply cannot be included in 
the pianoforte reduction."] 

1 AucusT EBERHARD MULLER (1767-1817), composer and Kapellmeister at 
Leipzig, did the pianoforte reduction of the Seasons. The present letter is 
Haydn's comment on Mullcr's arrangement. Miiller foolishly showed the 
passage in the enclosed sheet, quoted above, to the editor of the Zeitung 
fur die elegante Welt, who promptly included it in support of his criticism of 
Swicten's wretched libretto. Swieten was enraged, and Gnesinger reported 
that His Excellency "intends to rub into Haydn's skin, with salt and pepper, 
the assertion that he [Haydn] was forced into composing the croaking frogs." 
See Hase, pp. 33/. The passage in question occurs in No. 18 (Gcsanitausgabe, 
Brcitkopf & H artel, Ser. XVI, Band 6/7, p. 197 at the bottom). 



[To HAYDN FROM THE INSTITUT NATIONAL DES SCIENCES ET DES ARTS, PARIS. French] 
Institut National dcs Sciences et des Arts [letter-head] 

a Pans, le 5 Nivose an 10 de la Rtpublique 

[Paris, 26th December 1801] 

The President and the Secretaries of the Institut National des Sciences et des Arts, 
To Monsieur Haydn, celebrated composer of music in Vienna. 
Monsieur, 
L'institut National des Sciences et des Arts, in its plenary session held today, has 



ip8 The Collected Correspondence [1802 

voted to elect you a non-resident member of the section "Literature and Fine 
Arts". 

We are persuaded that you will receive the notice of your nomination with 
pleasure, and we therefore hasten to inform you of it. 

Please accept our sincere hommage, Monsieur, and be assured of our profound 
respect, 

La Porte du Theil, Secretaire 

Villar, Secretaire Vincent 

President. 
[For Haydn's answer, see letter of I4th April 1802] 



[To GEORGE THOMSON, EDINBURGH. Italian] 
Most esteemed Friend ! 

I trust that you will have now received the remaining songs which 
I sent in two separate letters some time ago. I send you herewith the 
favorite song, THE BLUE BELL OF ScoxiLAND 1 [sic], and would like 
to have this little song printed all by itself and dedicated in my name 
to the celebrated Mistriss Jordan, as a tiny, tiny token of my esteem 
for her; for although I have not the honour of her acquaintance, I 
have the most profound respect for her great virtue and reputation. 
I did not want to compose a more brilliant acompaniment, for that 
might have overpowered the expressive and beautiful voice of so 
delightful an artist. 

I am very grateful to you for the handkerchiefs, which are most 
beautiful. Send me the words 2 as soon as possible, one after the other, 
so that I can give you a speedy reply whether I shall be able to satisfy 
you. Meanwhile I am, dear Friend, 

Your most devoted servant, 

Giuseppe Haydn. 

I received the last package containing the rest of the songs. 
[The following line is crossed out:] To tell you the truth, I am proud 
of this work. 
Vienna, 2nd January 1802. 

[Postal stamps indicating 

[Address:] Georg Thomson Esqu r date of arrival in England: 
Trustees office, "Foreign Office Fe[b.] i, 

Edinburgh. 1802", "Feb. i, 1802", etc.] 

North Britain. 
[With Haydn's seal "JH"] 
[Thomson's clerk notes: U 2 d Jan of i8o2/ Haydn/ with Symph 8 . 



i8o2\ of Joseph Haydn 199 

Accomp"./ & Variations to the/ Blue bell / And desiring Eng: 
Verses to be sent to him as proposed ".] 

1 Recte: "The Blue Bells of Scotland". 

2 The words to songs which Thomson wanted Haydn to compose. 



[To GEORGE THOMSON, EDINBURGH. Italian] 

[Vienna, Middle of January I802] 1 
Most esteemed Friend, 

Again I send you ten ariettas, and will deliver the rest in a little 
while. 1 also trust that you will fulfil your promises, and am, 

Your humble servant 
Giuseppe Haydn [m.p] ria. 

I AM PROUD OF THIS WORK. 

[Address:] George Thomson Esq r [Postal stamps indicating 

Trustees Office date of arrival in England, 

Edinburgh "Foreign Office, Fe[b] 8, 

North Britain. and then in Scotland : 

[With Haydn's seal "JH"] 1802", "Fe[b] n", etc.] 

[Thomson, or Thomson's clerk notes: "Jan ./. 1802 rcc d . n Feb y . / 

Haydn/ W. Symph 8 & Accom 3 . to 10 Airs & ment*./ THAT HE is 

PROUD OF THIS WORK ! HE SAYS, MI VANTO DI QUESTO/LAVORO."] 

x The date of the letter can be judged from the postal stamps noting its 
arrival in England. 



[To GEORG AUGUST GRIESINGER, VIENNA. German] 

[Undated: Vienna, c. 20th January 

I802 1 ] 

Most esteemed Herr von Griesinger ! 

Yesterday evening I received a letter from Herr von Wassler con- 
cerning the transport of the plates and copies of the Creation to Herr 
Hartel [sic] in Leipzig. I am very sorry to have to report that at 
present I cannot serve Herr Hartel, because of a political reason 
which I could not forsee, and that the whole affair will have to be 
postponed. Meanwhile I am sending you the Mass, 2 which I would 
like you to return to me in due course. Yesterday I also received a 
letter from Music Director Herr von Miiller, who would also like 



2OO The Collected Correspondence [1802 

to have one of my masses. If Herr Hartel can give it to him, I should 
be glad; if not, I am sorry but I cannot help him. Meanwhile I am, 

Your most indebted servant, 
Giuseppe Haydn. 

1 On 23rd January Gnesingcr writes to Breitkopf & Hartel: "... Hn. 
[Haydn] received a four-page letter with a I page postcnpt from Miillcr, but 
read only the end, wherein he asks for a Mass. Muller wants to have a Mass 
by Haydn as a relic to be kept in the Thomasschule [Leipzig], and this Mass 
would also be performed on the great feast-days. The old Hiller is always 
revived when he hears something by Haydn &c. &c. Haydn excused him- 
self to Herr Miillcr by saying that business prevented him from not answer- 
ing now (that means, in Haydn's case, ad graecas latendasl) . . ." (Brand, 
p. 415). About Muller, sec supra, p. 197 Johonn Adam Hiller (1728-1804) 
was the founder of the German Singspiel and Miiller's predecessor as 
Thomaskatitor in Leipzig. The above letter deals with the transfer of the 
Creation to Breitkopf & Hartel Haydn procrastinated for months and 
months, apparently on the advice of van Swieten, who thought it would 
be degrading for Haydn to give up selling the work himself. Breitkopf 
& Hartel did not get the plates until the Summer of J 803 See Hase, pp. 



. 

Probably the Missa Sti. Bcrnardi de Offida ("Hcihgmcssc", 1796), the first 
of a series of Haydn masses which Breitkopf & Hatrel issued in full score. 
The "Heihgmesse" was published in May, 1802. 



[To GEORGE THOMSON, EDINBURGH. Italian} 
Most esteemed Sir ! 

Today, the 29th of January 1802, 1 received your letter of the 28th 
of December 1801, containing another 15 canzonetti, which like 
the others I will make every effort to correct in the near future. I 
trust, however, that you will have received thirty-two canzonetti by 
now, which I have sent at various times. There now remain eight; 
these arc finished, and I shall put them in the mail today; you ought 
to have them in 4 weeks. 

You would do me a great favour if you would be kind enough 
to arrange payment for them at once, a total of FORTY GUINEAS, which 
is FOUR-HUNDRED FLORINS in Viennese currency. With this hope, I 
remain, Sir, with every esteem, 

Your most humble and devoted composer 

and servant, 
Giuseppe Haydn. 
Vienna, 29th January 1802. 



1802} of Joseph Haydn 201 

[Address, in Johann Elssler's hand:] 

N. 3 

George Thomson Esq r [Postal stamps indicating 

date of arrival in England, 
and then in Scotland: "Fo- 
reign Office Fe[b] 16 1802" 
and "Fe[b] 19, 1802", etc.] 
EDINBURGH 

North Britain. 
Joseph Haydn 
Gumpendorf N 10 73 kleine steingasse 

[seal] 

[Thomson, or Thomson's clerk notes: "29 January 1802 /Haydn/ Of 
his having received / the 15 Scottish Airs/ last sent & that he/ will 
soon add Symph:/ & Accompts to them / and desiring a remit-/ 
tance for those unpaid/'] 



[To F. S. SiLVERSTOLPE, 1 VIENNA. German} 
Well born, 
Most respected Herr von Silverstolp ! 

I take the liberty of enclosing 10 fl. for the kind Mademoiselle, and 
would ask you, my dear Herr von Silverstolp, to send it to her as a 
small token of my gratitude for the Quartets 2 she dedicated to me. 
At the same time, however, I regret to have to tell her that I can not 
fulfil her wish as far as selling the other copies to amateurs is con- 
cerned; for two very wealthy cavaliers (whose name I am ashamed 
to mention, and to whom I sent the first violin part so that they 
could look it over) said that they would not buy these Quartets until 
they had played through them. 

Since they have refused me, and because it is a delicate matter with 
these gentlemen, I am afraid I shall have to forego helping the kind 
Mademoiselle. 1 remain, Sir, most respectfully, 

Your most obedient servant, 

Joseph Haydn [m.p] ria. 
[Vienna] From my home, 
6th February 1802. 

*See supra, p. 152. 

2 JoHAN WIKMANSON (1753-1800)* Tre Qttartetter for Tra Vwlmer, Alt och 
Violoncelle Tillagnade Joseph Haydn . . . Op. i, Stockholm, issued posthu- 
mously by his daughter Christina Sec Morner, Johaii Wikmanson und die 



2O2 The Collected Correspondence [1802 

Britder Silverstolpe, Stockholm, 1952, pp. 188$!, 385^ Title page reproduced 
on p. 189, Christina's dedication to Haydn on pp. i8^/! 



[To HAYDN FROM AUGUST VON KOTZEBUE, X WOMAR. German] 

Weimar, 8th February 1802. 
[Contents:] 

Kotzebue wants to increase the value of his patriotic play, Die Hussiten in 
Naumburg, by having each chorus set to music by a different composer 
(Weber, Reichardt, Danzi, Schuster, Vogler &c. 2 ), and asks Haydn if he 
would write the final chorus of the first act. 

[HAYDN TO KOTZEBUF, WEIMAR. German] 

[March or April 1802] 
[Contents:] 

Haydn is now in his seventies, and is generally ill. He does not dare to 
enter into a competition with such great masters, for he might easily be 
defeated by them. 

[Gnesinger, p. 76] 

x The famous German dramatist (1761-1819) and opponent of Goethe. 
2 The young CARL MARIA VON WEBER, J. N. REICHARDT (1752-1814), FRANZ 
DANZI (1763-1826), JOSEPH SCHUSTER (1748-1812), GIORG JOSEPH (ABBE) 
VOGLER (1749-1814). 



[To HAYDN FROM PRINCE NICOLAUS II ESTERHAZY German] 
Herr Kapellmeister Haydn ! 

Since Kathanna Krmes 1 of Eisenstadt, who has requested me to assist her while 
she is studying singing, has according to the report of the tenor Haydn, 2 who 
was designated to examine her in this capacity a most beautiful alto voice, and 
could become a right excellent alto smgcr, 1 expect from you a written report as 
to what fee one might give her, and with whom she might pursue her singing 
lessons. 
Vienna, 4th March 1 802. 

Exp. Esterhazy. 

I KATHARINA (or CATHARINA) KRINES* name does not appear on any of the 
musicians' lists known to me. 
2 JOHANN, tenor in the Esterhazy choir. 



[To PRINCE NICOLAUS II ESTERH^ZY'S ADMINISTRATION. German] 
Whereas His Serene Highness has ordered my brother to examine 
the musical talent of Catherina Krines, and he has found it very 
good, my humble opinion and request would be to give her, in 



iSo2\ of Joseph Haydn 203 

view of her alto voice of such rare beauty, and also my brother, for 
his efforts up to now in teaching her, the sum of 4 fl. per month. 

Joseph Haydn. 
[Vienna], loth March 1802. 

[In the hand of a clerk: "vid. No. 592. 1802", referring to a parallel 
file.] P. S. 1 shall undertake as soon as possible to find another clarinet 
player to take the place of Werlam. 1 

] His name appears variously as Georg Warlan or Varlcn. 



[PRINCE NICOLAUS II ESTERHAZY'S ANSWER TO THE ABOVE PETITION. German] 
To the Director's Office Since Katharina Krincs, who is the suppliant of the 
enclosed petition, has already been examined as to the possibilities of her musical 
talent, and has been found capable of developing into an alto voice, the tenor 
Haydn will give her lessons, and see to it that she becomes a real alto singer as 
soon as possible, for which he is to be given four Gulden per month, which sum 
shall be issued to him by my Director's Office. 
Vienna, I3th March 1802 

Exp Esterhazy. 



[To PRINCE NICOLAUS II ESTERHAZY. German] 

[Vienna, March 1802] 

Inasmuch as the alto singer Joscpha Hammer 1 has made such 
musical progress in a year that she is able to sing almost everything 
correctly a prhna vista, and since apart from this she has an alto voice 
of such rare beauty, in my humble opinion Your Highness should 
graciously grant her request. 

Joseph Haydn [m.p] ria, 
Kapellmeister. 

^OSEPHA HAMMER, from Pressburg, had made her debut in Haydn's Missa 
in tcmpore belli, at a performance mEisenstadt given in honour of the Arch- 
duke Karl on 29th September 1797. Sec Brand, pp. 264^ 



[To HAYDN PROM PRINCE NICOLAUS II ESTFRHAZY: ANSWER TO ABOVE PETITION. 

German] 

As a special act of grace, and taking into consideration all the other circum- 
stances, the suppliant Joseph a Hammer is granted apart from her yearly salary 
an additional sum of one-hundred Gulden, which is to be paid to her by my chief 
cashier. 
Vienna, 24th MarJi 1802. Nicolaus Fiirst Esterhazy m p. 



2O4 The Collected Correspondence [1802 

[To L'INSTITUT NATIONAL, PARIS. French] 

[Only the signature autograph] 
[Answer to letter of 26th December 1801] 
Vienna, I4th April 1802. 

Joseph Haydn to the Citizen Vincent, President, and to the Citizens 
La Porte du Theil, and Villat, Secretaries of the Institut National des 
Sciences et des Arts, Paris. 
Citizens, 

The signal honour which the Institut National des Sciences et des Arts 
has shown me, by electing me a NON-RESIDENT MEMBER of the 
section "Literature and Fine Arts", is a reward so great that the value 
of my works even considering the approbation which the public 
has seen fit to bestow on them can never, in my opinion, be such 
as to deserve it. 

I am keenly aware how flattering it is to have been admitted to a 
group which is so universally revered, and which has been so justly 
celebrated for so long a time. My future efforts will have no other 
goal than to justify this honour, and thus I wish to proffer to the 
Society, who has taken me into its illustrious ranks, the emotions of 
respect and gratitude with which my heart is filled. 

I beg you, Citizens, to convey my respects to our colleagues, and 
to accept yourselves the assurance of my most profound esteem and 
most sincere regard. 

Joseph Haydn [m.p] ria. 



[To HAYDN FROM PRINCE NICOLAUS II EsTERnAzv, VIENNA. German] 
Dear Kapellmeister Haydn: 

You are to intimate to the young Lougi Tomasim 1 that inasmuch as his 
sojourn here is not only completely useless, but apart from that affords him the 
possibility of pursuing a frivolous existence he is to proceed at once to Eisenstadt, 
where he is to take up his duties, unless he wishes, by his obstinacy and prolonged 
absence, to provide the reason for his no longer being regarded as a member of my 
music personnel; for no special prerogative attaches to his person, and he is under 
obligation to fulfil his duties in the same way as the other members of the music 
personnel. Exp. F[urst] Esterhazy m.p. 

Vienna, 3Oth April 1802. 

1 AiOYSius (Luici) TOMASINI, son of the leader Luigi, was born on iyth 
February 1775. He and his brother Anton were engaged m 1796, when the 
Esterhizy band was reconstituted, Luigi Jr. as violinist, Anton as violinist 
and viola player. See Pohl II, 382 (correcting the information found in I, 
26s/.). Luigi Jr. managed to stay in the band this tune, but eventually he 
married a singer without the Prince's permission and was summarily dis- 
missed. 



1802] of Joseph Haydn 205 

[To GOTTFRIED CHRISTOPH HARTEL, LEIPZIG. German] 

Vienna, 8th May 1802. 
Kindest Friend ! 

Since I must accompany my Prince to Hungary at the end of this 
month, I should very much appreciate it if I could have the promised 
two-thousand-five-hundred Gulden 1 from Herr Kunze beforehand. 
Hoping to receive an answer in the affirmative I am, with my 
kindest regards to Herr von Griesinger, most respectfully, 

Your most obedient servant, 
Jos : Haydn. 

Payment for the Seasons (the first 2000 Gulden had been paid upon sig- 
nature of contract, mjuly 1801). 



[To HAYDN FROM PRINCE NICOLAUS II ESTERHAZY. German] 

[' Eisenstadt, c. 7th June 1802] 
To Herr Kapellmeister HAYDN. 

You will be able to see from the enclosed sheet, on which the first bars of each 
piece are noted, which of your own Masses the Grand Duke of Tuscany already 
owns. I expect a further report from you, indicating which additional scores of 
your own compositions you had thought of giving to His Royal Highness, so that 
I can inform His Royal Highness thereof. 

Exp. F[iirst] Esterhazy [m.p.]. 



[To PRINCE NICOLAUS II ESTERH^ZY, PRESSBURG. German] 
Most Serene [Prince], 

From the list of music which the Grand Duke of Tuscany sent, I 
see that His Highness lacks only two of my masses : i.e. one of the 
earlier works and the last one, 1 which I wrote a year ago. But since 
Your Highness decreed that no one should have a copy of this Mass, 
I dared not to send it to him without previously informing Your 
Highness. Therefore I await your command whether I should have 
both these works copied and sent to Pressburg, where unfortunately 
they will be performed in my absence and thus (because they will 
lack finesse) lose much of their effect and this will be greatly to the 
detriment of my industry, and will be most unpleasant for me. 
Meanwhile I am labouring WEARILY on the new Mass, 2 though I am 
ANXIOUS whether I shall receive any applause because of it. 

Your most humble servant, 
Vienna, I4th June 1802. Joseph Haydn. 

x The Schopfungsmcsse (1801). 
The Harmoniemesse. 



206 The Collected Correspondence [1802 

[To HAYDN FROM PRINCE NICOLAUS II EsTERnAzv, PRESSBURG. German] 
To Hen Kapellmeister HAYDN: 

I do not deny that it would be very difficult especially in the case of new 
works to perform music without the personal direction of the composer; but on 
the other hand, you need have no fears, particularly about the finesse, because in 
view of the worldwide fame of your celebrated works, you may be assured that 
these Masses will not lose their value in the eyes of the connoisseurs. Apart from 
this, I leave it to your own discretion what sort of answer should be given to a 
Grand Duke's request of this kind. But since there really seems to be no way to 
refuse his wishes, there is nothing to do but to have both Masses copied and sent 
to me at Pressburg. 

By the by, since I have had no news from your brother, I would ask you to let 
me know if and when he will be coming from Salzburg. 1 
Prcssburg, 2ist June 1802. Exp. F[iirst] Esterhazy, m.p. 

1 Michael had been offered the post of Assistant Kapellmeister. Estcrhdzy had 
written to him on 1 8th January 1802 (Esterhdzy Archives, Acta Musicalia 
1914). "Since I do not doubt that you have already made most of the pre- 
parations incident to your coming and settling here without further delay, 
I shall await your arrival with pleasure; and as a sign of your attention, I 
expect to receive from you, by August at the latest, a Missa Solemnis and a 
Vesper dc beata" On 6th February Michael wrote that he will ask permission 
to leave Salzburg in June or July, to enter the Prince's service in August. 
In fact he was too attached to Salzburg to leave it. 

[To ANTON SiOLL, 1 BADEN. German] 

Vienna, sothjuly 1802. 
Dearest Friend ! 

Yesterday evening I had the pleasure of seeing my Prince in my 
humble cottage; he asked me to go to Eisenstadt next week, in order 
to rehearse under my direction various pieces of new music, inter 
alia two Vespers and a Mass by Albrcchtsberger 2 and a Vesper by 
Fuchs. 3 Therefore I regret that I cannot go to Baden at present, and 
moreover, I am expecting the installation of an Assistant Capelle- 
mister in the place of my brother. I do not yet know who this will 
be. I thank you very much all the same for your kind offer to put me 
up at your house, and with a hearty kiss to your wife, I am, dearest 
Friend, 

Your sincere servant, Jos: Haydn 

P. S. Herr von Albrechtsberger received a princely reward for his 
composition, and I was very pleased about this. 
[Address:] Herr v. Stoll 
Regens Chori 
in 
Baden. 



i8o2\ of Joseph Haydn 207 

x Sec supra, p. 157. 

2 See supra, p. 82. 

3 JOHANN NEPOMUK FUCHS, who was to be the Assistant Kapellemeister. See 

next letter. 



[To HAYDN FROM PRINCE NICOLAUS II ESTERHAZY. German} 
To Kapellmeister HAYDN: 

Since, in view of his previous service to me, I have decided to appoint Clavier- 
meister Fuchs as Assistant Kapellmeister of my orchestra and church music, I wish 
to bring this fact to your attention, and at the same time ask you to introduce the 
newly appointed Assistant Kapellmeister to the assembled band and music per- 
sonnel; except for Lougi Tomasini Senior 1 , they are all ordered to defer to him 
with the proper subordination. 

Just as the said Assistant Kapellmeister is now entrusted with the direction of the 
orchestra and church music in your absence, so the leader Lougi Tomasini is to 
assume the direction of the chamber music. Together with you, both of them, 
according to these circumstances, arc to ensure that all the individual members of 
the band 2 show the proper obedience; whereby I insist that there will be no case 
of insubordination, and that the various duties be performed in an exemplary 
manlier: this includes personal appearance, care of uniforms, and other tokens of 
good behaviour. 

In this connection, the personnel is instructed to obey the following order: the 
whole band male and female singers, without exception is to hold a weekly 
rehearsal; their superiors will decide on which day it is to be held. They are likewise 
responsible for the music, and should draw up a catalogue under your supervision: 
the Assistant Kapellmeister the church music, 3 and the leader Lougi Tomasini the 
chamber music, with the stipulation that no one under the most severe penalty 
is to be allowed to copy or print either scores or other pieces which are part of our 
musical collection; a special room will be designated for this purpose. 

For the rest, I have observed, not without displeasure, obvious proof of negli- 
gence of duty among certain members of the band: in future, a monetary punish- 
ment will be levied on any member of the band who absents himself from the 
[church] service; namely, one Gulden per person concerned, which is to be col- 
lected from anyone not having a proper excuse for being absent. The supervisors 
will be responsible for collecting such monetary punishments, and they will report 
to me about it from time to time. 

Exp. F[urst] Esterhazy, m.p. 
Eisenstadt, I4th August 1802 

1 The leader and violinist LUIGI [rccte] TOMASINI, who had been engaged in 

1762. 

2 "Musik Individucn": see comment to the letter of 26th September 1801. 

3 This part of the catalogue, beautifully written on small octavo paper and 

bound in red, is preserved in the Sindor Wolf Collection, Eisenstadt. 

[To BREITKOPF & HARTEL, LEIPZIG. German} 

Eisenstadt, 22nd August 1802 
[No copy available.] 



208 The Collected Correspondence [1802 

[To ANTONIO PoiZEm, 1 VIENNA. German, "Du" form] 

Eisenstadt, 28th August 1802 
Dear Polzelli, 

Please be good enough to send me the fugal Quartets by Callus 2 
which he dedicated to me, and which you know. They are lying on 
my pianoforte in the bedroom, or opposite, in the other room, on 
the cabinet. Also my calendar for this year, which my Johann 3 and I 
both forgot to take along with us; but take care that no piece of 
paper or memorandum drops out. Just tell my cook, to whom I send 
my regards: you must pack it very carefully and seal it up, and then 
give it to the driver Hard. Lessel 4 wrote me yesterday that you are 
well and go to see him often: I'm glad to hear it, and please give him 
my regards. I hope that your Mama, too, is well; all the best to her. 
Today I also heard that everyone in my house is well. Please mail 
the enclosed letter on this coming Wednesday, for which I am your 
debtor and 

Your sincere teacher, 

Joseph Haydn. 

Please also send me the German libretto of 
the Seasons, if you can find it. 
[No address] 

1 Luigia Polzelli's youngest son, born at Esterhiza in 1783. It was rumoured 
that Haydn was Antonio's father, but if this is true, neither Luigia nor 
Haydn ever admitted it. Sec Introduction. 

JOHANN CALLUS (MEDERITSCH) (1752-1835), composer and member of the 
Vienna Court Theatre Orchestra. The works dedicated to Haydn were 
"Trois Quatuors ou Fantaisies pour deux Violons, Alto et Violoncello", 
Op. 6 (Artana, pi. no. 1570), published in August 1802. 
3 Johann Elssler. 

4 FflANz LESSEL (1780-1838), born in Poland, came to Vienna in 1797 to study 
medicine; the next year he became Haydn's pupil and devoted his life to 
music. He remained in Vienna till 1810 and then returned to Poland. Artana 
published two flute Ducts and a flute Quartet by him. 



[To JEAN PHILLIP KRUGER ON BEHALF OF THE MEMBERS OF THE 
Musikverein IN BERGEN, ON THE ISLAND OF RUGEN, NORTH GERMANY. 

German] 

[Only the signature autograph] 
Gentlemen, 

It was indeed a most pleasant surprise to receive such a flattering 
letter from a part of the world where I could never have imagined 



i8o2\ of Joseph Haydn 209 

that the products of my poor talents were known. But when I see 
that not only is my name familiar to you, but my compositions are 
performed by you with approval and satisfaction, the warmest 
wishes of my heart are fulfilled : to be considered a not wholly un- 
worthy priest of this sacred art by every nation where my works are 
known. You reassure me on this point as regards your fatherland, but 
even more, you happily persuade me and this cannot fail to be a 
real source of consolation to me in my declining years that I am 
often the enviable means by which you, and so many other families 
sensible of heartfelt emotion, derive, in their homely circle, their 
pleasure their enjoyment. How reassuring this thought is to me ! 
Often, when struggling against the obstacles of every sort which 
oppose my labours ; often, when the powers of mind and body weak- 
ened, and it was difficult for me to continue in the course I had 
entered on; a secret voice whispered to me: "There are so few 
happy and contented peoples here below; grief and sorrow are 
always their lot; perhaps your labours will once be a source from 
which the care-worn, or the man burdened with affairs, can derive 
a few moments' rest and refreshment. " This was indeed a powerful 
motive to press onwards, and this is why I now look back with 
cheerful satisfaction on the labours expended on this art, to which I 
have devoted so many long years of uninterrupted effort and 
exertion. And now I thank you in the fullness of my heart for your 
kindly thoughts of me, and beg you to forgive me for delaying my 
answer so long: enfeebled health, the inseparable companion of the 
grey-haired septuagenarian, 1 and pressing business, deprived me till 
now of this pleasure. Perhaps nature may yet grant me the joy of 
composing a little memorial for you, from which you may gather 
the feelings of a gradually dying veteran, who would fain even after 
his death survive in the charming circle of which you draw so won- 
derful a picture. I have the honour to be, with profound respect, 

Your wholly obedient servant, 

Joseph Haydn [m.p] ria. 
Vienna, 22nd September 1802. 
[Address:] de Vienne 

[in another hand:] Portstrasse 21 

b Dammas 
A Monsieur 

Monsieur Jean Phillip Kriiger 
Doctor Medicinae und konigl. Assessor 



210 The Collected Correspondence [1802 

des Collegii Sanitatis in Stockholm, 
a 

Bergen 
auf der 
Insel Riigen 

IN SCHWEDISCH POMMERN 
1 On the left-hand margin, someone has written "geb[oren] 1732". 



[To FRAU NAUMANN, 1 DRESDEN. German] 
[Only the signature and postscript autograph] 
Well born, 
Most esteemed Frau von Naumann ! 

Above all, I must beg your forgiveness a thousand times for the 
fact that my answer to your kind and esteemed letter arrives much 
later than duty and politeness would normally allow. My enfeebled 
state, and likewise pressing duties for my Prince, deprived me of 
this pleasure; perhaps I am now branded in your eyes as a heartless 
friend. Certainly, my esteemed lady, I feel to the depths of my heart 
the loss which you and the sweetest of all the arts have suffered in 
your husband's death, and irreplaceable is the position in which this 
noble priest served this beautiful godhead, to general applause. The 
whole of Europe had but one voice, and that was the praise and 
approbation which your late husband's undeniable merits inspired 
in everyone. It would be presumptuous of me to imagine that my 
voice could possibly add anything to the deceased's fame; it would 
be an echo of the opinion which every connoisseur and expert has 
already expressed about the immortal works of Naumann. This 
opinion founded his deserved reputation, and ensures that your late 
husband will continue to live forever. The general voice of opinion 
is the voice of God, and is more important than that of an individual, 
especially when the latter is in agreement with the general voice of 
opinion. The biographer has enough material to erect a worthy 
monument to the deceased without requiring my opinion; this 
monument will be based on the truth and the agreement of all the 
experts. I have the honour to be, with every esteem, 

Your wholly obedient servant, 

Joseph Haydn [m.p] ria. 
Vienna, 22nd September 1802. 



1 802] of Joseph Haydn 211 

P. S. Her Majesty the Empress has demanded to see that most magni- 
ficent Opera, Ad und Galatea? I will tell you more about this in my 
next letter. 

1 The widow of JOHANN GOTTLIEB NAUMANN, who had died at Dresden in 
October, 1801. She had asked Haydn to contribute an essay to Naumann's 
biography in the form of a musical judgement of his works. 
2 The full title of the Opera is: Ad e Galatea, ossia, i cyclopi amanti. 



[To HAYDN FROM CONCERT DES AMATEURS, PARIS. French] 

Pans, yth October 1802. 
Monsieur, 

The six months which have elapsed since our concerts of the past winter have 
not been able to make us forget the success which we gained by performing your 
sublime compositions, nor the promise you were kind enough to give us, that you 
would go to the trouble of writing a symphony for us, to the execution of which 
we would devote the care proportionate to our gratitude. It would be difficult 
indeed for us to pass over in silence a favour which would bring us such honour. 
The whole of Pans will soon know that you have flattered us with this hope: a 
hope which permits us to extend invitations to all those who wish to participate, 
and to those who ardently wish to attend. Consider, Monsieur, how many people 
you would delight if you were to respond to this universal enthusiasm by offering 
to the public, as the overture of our next concert series, a new chefd'oeuvre which 
would reassure them, and no less ourselves, as to the state of your health. We 
await a favourable answer with keen expectation. 

Please forgive, Monsieur, this msistance, which would perhaps appear indiscreet 
if it were not the result of our love for that which counts the most in the art which 
is our profession, and the expression of our veneration for your genius. 
We have the honour to be, with the highest esteem, 

Monsieur, 

The members of the committee of 
the Concert des Amateurs. 
de Bondy Frederic Rousseau 

Brollet [?] Brevas 

Plantade Frederic Duvernoy 



[To JACOB HYRTL (HiERTL), 1 EISENSTADT. German} 
Dearest Hiertl, Vienna, 28th November 1802. 

Yesterday I sent you a new military March 2 by my copyist 
Elsler, 3 but forgot to write you that in case the following passage 

should prove too difficult, you can 



212 The Collected Correspondence [1802 

xts ^.^ ^.^ i t t i 

play it as follows ^ v tLT C/ t!J I or f y t/tf^' * ^ eave lt 

M 

to your judgement, and recommend a good rehearsal; but you 
mustn't change anything in the clarinet part. 
Meanwhile I remain your obedient servant, 

Jos: Haydn. 
[Address:] [Haydn's seal "JH"] 

Monsieur 

Monsieur HIERTL Musicien de 
S: Alt: Monseig. le Prince Esterhazy 
a 
Eisenstadt. 

^ACOB HYRTL oboist in the Princely Fcldhartnonie (hunting wind-band). 
2 The March was entitled "Hunganscher Nationalmarsch" and is scored for 
wind band. The autograph is in the Esterhdzy Archives, Budapest. 
3 Johann Elssler (recte). 



[To IGNAZ PLEYEL, PARIS. German, "Du" form] 

Vienna, 6th December 1802. 
Dearest Pleyel, 

The bearer of this letter is one of my pupils in composition, by the 
name of Haensel, 1 a charming young man of the best character, and 
also a good violin player. He has asked me to introduce him to you, 
so that if necessary you can lend him a helping hand. You will see 
how talented he is by examining his three new Quartets. 2 He is in 
the service of the Polish Princess Lubomirsky, and for that reason I 
suggest that you treat him kindly. Incidentally, I am much obliged 
to you for the exceptionally beautiful edition of the Quartets 3 which 
you sent by Herr Pichl: 4 because of their beautiful engraving, the 
paper and the fact that they are so correct as well as their general 
appearance, you will be remembered for them forever. It's only a 
pity that two sheets of the quartet version of the Seven Words in the 
small format, which I bought from Pichl for 52 fl., are wanting. I 
therefore asked Herr Pichl to write and ask you to replace the missing 
sheets. Recently I received still another proof of your industry from 
Herr Himmel 5 in Berlin: 3 Quartets and one Sinfonia in E flat in 
pocket size. 8 One can't imagine anything more beautiful and elegant; 
Heaven reward you for your pains ! You thus increase my musical 



1803} of Joseph Haydn 213 

talent, and yours ! I only wish I could brush away 10 years of my old 
age, so that I could still send you some new compositions of mine 
perhaps it will happen yet ! Meanwhile farewell, and love your old 
Haydn, who was always your friend, and always will be. Amen. 

Joseph Haydn. 

My compliments to your kind wife. 

My Prince will arrive in Paris towards the end of this month: go and 
see him. Please go and retrieve the letter, addressed to me, which 
has been sitting in the post-office for a long time, and send it to me 
here. 

[Address: this letter, on exhibition in the Maison Pleyel, Paris, is framed 
so securely that we could not, without destroying the frame, remove the 
letter to see the exact address. It is probably similar to that of 4th May 1801.] 

I PETER HAENSEL (1770-1831), whose chamber music, published by Artana 

and others, achieved considerable fame in his lifetime. 

2 Probably Artana's Op. 8 (pi. no. 865), in F minor, C and G, published 

with the composer's portrait in 1801. 

3 Pleyers collected edition of Haydn's Quartets in parts. 

4 WENZEL PICHL (1741-1805), a prolific composer whose works were 

frequently confused with Haydn's. See Landon, Appendix II, Nos. 1,61,72, 

85, 106 five spurious Haydn Symphonies written by Pichl. 

5 FniEDRiCH HEINRICH HIMMEL (1765-1814), composer and court conductor 

at Berlin. He had conducted a performance of the Creation there on 5th 

January 1801. 

6 Pleycl issued two Haydn Symphonies in miniature score: Nos. 99 and 103. 

Probably Haydn saw the latter, which was the first of Pleyel's series. It is 

hard to say which of the Quartets Haydn received. 



[To HAYDN FROM CONCERT DES AMATEURS, PARIS. Fretich] 
Concert des Amateurs 

We, the administrators of the Concert des Amateurs, declare that His Highness 
Monseigneur le Prince d'Esterhazy had the kindness to deliver to us a letter and a 
sealed package containing a Mass, an Offertorium, and a Te Deum 1 composed by 
the celebrated Joseph Haydn; and that these three works will be deposited in our 
archives as a souvenir, attesting to the token of esteem which the learned composer 
has been kind enough to proffer our Society. 

Pans ce Vingt un Nivose an 11 [n January 1803], de Sorie, Plantade, Brevas. 
Frederic Duvernoy. de Bondy. Fr. Rousseau. 

x Haydn received a medal from the Concert des Amateurs. The music was 
probably the autograph of the Schopfungsmesse (1801) and the autographs 
or parts of the Offertorio in stylo a capella "Non nobis Domine" and the great 
Te Deum in C of about 1799. Sec Brand, p. 4I3/ (I do not believe that the 
Schopfungsmesse can have been sent to the Conservatoire, which would 
certainly have kept it in their archives until the present day. But if he sent it 



214 The Collected Correspondence [1803 

to the Concert des Amateurs, it is quite likely that the autograph came into 
private possession after the Concert was disbanded. Breitkopf & Hartel 
bought it at a Pans auction in the middle of the nineteenth century.) 



[DRAFT OF A LETTER TO HAYDN'S BROTHER, JOHANN MICHAEL, IN 
SALZBURG. German. "Du'form.] 

Vienna, 22nd January I8O3. 1 

Thank you so much for all the kind wishes which you sent me in 
your recent letter. I, too, wish it would be within my power to fulfil 
your wish about my wretched health, which has plagued me for so 
long. For the last $ z months I have been subject to a continual ner- 
vous weakness which renders me quite incapable of doing anything. 
You can easily imagine how terribly this miserable change of health 
has depressed me, but I am not entirely desperate and hope to God 
that when the weather changes, my precious health will be restored 
to at least half of what it once was. 

Your decision, of which you wrote me, concerning His Royal 
Highness the Archduke and my Prince, is well thought out and 
bold, but it must cause not only me but the whole world regret. 3 
Neither side can reproach you for having done anything wrong. 
Both are great, but the Archduke's love and understanding for 
music are greater than those of my Prince: your heart and your 
brain must make the decision here, to which of the two you give the 
preference. Meanwhile 1 wish you happiness, whichever choice you 
make, and I hope to hear your final decision as soon as possible. Till 
then, and as always, I am [end of draft], 

x The date, "Vienna. 22.January 1803", suggests that Haydn started to write 

an Italian or an English letter, and then used the space to draft the above 

letter to Michael. 

2 Haydn originally wrote "7". 

2 Both Esterhazy and the Grand Duke of Tuscany offered Michael Haydn 

lucrative and honourable positions. See also supra, p. 206. After endless 

procrastination, Michael decided to remain in his beloved Salzburg. 



[To JUSTIN HEINRICH KNECHT, 1 BRESLAU. German] 

Vienna, 3rd March 1803. 

.... You, Sir, did me the honour of sending me the Blumenlese, 
for which I am much indebted to you. I find in this journal, which is 
so important for music, nothing which is unworthy of the art, and I 
should very much like to be numbered among the competitors; but 



1803} of Joseph Haydn 215 

my age of 72 years [sic], and a rheumatic nervous fever which I have 
had for quite some time, deny me the necessary strength to do so. I 
am barely able to do even those services which my Prince requires 
for his establishment. 

I do not yet disqualify myself from earning the laurel wreath 
which all the composers (especially, however, Knecht) deserve. God 
grant that my body be strengthened, and that nature will not 
extinguish in me those qualities with which she was hitherto so 
generous!. . . . 

AUSTIN HEINRICH KNECHT (1752-1817) was an organist and composer. He 
edited a musical periodical entitled Die Schlesiiehe Blumenlese, which in- 
cluded songs &c. by leading composers of the day. Knecht had tried 
repeatedly to induce Haydn to write a piece for the Blumenlese, but without 



[To GEORG AUGUST GRIESINGER, VIENNA. German] 
Most esteemed Herr von Griesinger ! 

For various well-considered reasons, I have declined to send my 
songs 1 to the Russian Empress, 2 so that Herr H artel, by publishing 
the works soon, can make his profit more quickly ; please therefore 
inform him of this at your earliest convenience. 

To you, kindest Herr von Griesinger, I must express my gratitude 
a thousand fold for all the pains you have gone to on my account, 
and am, most respectfully, 

Your most obedient, 

Joseph Haydn. 
[Vienna], 1 3th March 1803. 

a The three- and four-part songs with pianoforte accompaniment which 

Breitkopf & Hartcl were about to publish. 

2 MARiA FEODOROWNA* see supra, p. 38 and also letter of I5th February 

1805. 



[To SIGISMUND NEUKOMM, 1 VIENNA. German] 
Dearest Friend, [Vienna, 3rd April i8o3 2 ] 

Your servant Jos. Haydn urgently requests you to do the enclosed 
two Songs as soon as possible, and to tell my servant on which day he 
may come and get them I hope perhaps the day after tomorrow. 
[Address:] To my dear Neukom [sic]. 

1 SiciSMUND NEUKOMM (1778-1858), one of Haydn's favourite pupils, was 
in his day a successful composer. We shall hear of him again from Russia: 



216 The Collected Correspondence [1803 

see ifi/w, 3/17 April 1807. This present letter, tiny though it is, provides the 
key to the vast number of Scottish Songs which Haydn wrote for Thomson: 
When Silverstolpe became charge* d'affaires in St. Petersburg (see infra, p. 
242), he met Neukomm and became friendly with him. Neukomm told 
him that he had written accompaniments for seventy Scottish Songs; 
Silverstolpe adds, "this perhaps explains why they have been so often 
criticized." I would go further: it is entirely possible that many of the 
Scottish Songs which Thomson published under Haydn's name are in fact 
compositions of various pupils. At any rate, that which one suspected 
musically is now supported by strong musicological evidence. Caveat 
emptor ! (See Morncr, op. cit., p. 404.) 
2 The date in Neukomm's hand. 



[To HAYDN FROM VIENNA CITY MAGISTRACY. German] 
Well born, 
Most highly respected Sir ! 

In view of the many demonstrations of philanthropy by which you, Sir, have 
contributed to alleviate the pitiable condition of old and impoverished citizens of 
St. Marx, male and female, the Economic Committee of the Citizens' Hospital, 
established by the highest command [the Emperor], has felt obliged to inform us 
here of your high-minded actions, and has suggested to us that this act of chanty 
should not go unnoticed. 

You, most esteemed Doctor of Music, undertook to conduct personally those 
Cantatas [sic], the justly admired masterpieces of your genius, and you conducted 
them many times without payment; as a result of this, many hearts were inspired 
to generosity, and the poor citizens of St. Marx received substantial sums. The 
Magistracy of this Imperial and Royal capital city, Vienna, has long waited for an 
opportunity to show in some manner its esteem for a man whose talents have 
made him immortal, and whom every educated nation has already showered with 
honours, and who brilliantly combines the advantages of the artist with the virtues 
of the citizen; it therefore takes advantage of the present occasion. 

In order to offer at least a modest tribute to you for this enduring act of merit, 
the Magistracy has unanimously voted to confer on you the present twelve-fold 
golden citizens' medal, as a small token of the gratitude felt by the poor male and 
female citizens of St. Marx whose spirits you have thus revived, and in whose 
name we venture to address you. 1 

May it shine on your breast fully as long as these thankful hearts continue to 
pour forth their gratitude for your noble gesture ! May you give us the opportu- 
nity whereby we may show you the esteem in which we hold you ! In which hope 
we remain, Sir, 

Your willing 

Joseph Georg Horl, Councillor to the Imperial and 
Royal Lower Austrian Government, and Lord Mayor. 
StephanEdler von Wohlleben, Imperial and Royal 

Councillor and Chancellor of the Exchequer. 
Joh. Bapt. Franz, President of the Economic 

Committee of the Citizens' Hospital 
Vienna, loth May 1803. 



i S 03] of Joseph Haydn 217 

1 The so-called "Salvator Medal" (from its title "Salvator mundi"). The 
"Cantatas" to which reference is made are, of course, the three oratorios, 
Seven Words, Creation and Seasons, performances of which Haydn had 
conducted for charity for several years past. Haydn was very much 
touched by the medal, and was more proud of it than of any of the other 
honours he had received. He said to Gnesinger: "I thought to myself: 
voxpopuli, vox Dei." (Gnesingcr, p. 80). 



[To THE VIENNA CITY MAGISTRACY. German 1 ] 

[Vienna, c. I5th May 1803.] 
Most Worthy Magistracy', 
Nobly born, most highly honoured Gentlemen, 

When I endeavoured to help in the support of old and impover- 
ished citizens, by placing at their disposal my knowledge of the art 
of music, I esteemed myself very fortunate in having thus fulfilled 
one of my most agreeable duties, and could not flatter myself that 
the worthy Magistracy of the Imperial and Royal capital city would 
deign to bestow on me so distinguished a mark of their consideration, 
in return for my modest exertions. 

It is not the noble gift alone, most highly respected gentlemen, 
much as 1 shall prize it as a mark of your favour during all the 
remaining days that Providence has seen fit to allot to me; but even 
more your kind letter, which so clearly bears the imprint of your 
noble convictions. My heart, deeply moved, is uncertain whether it 
should wonder more at your magnanimous conduct towards myself, 
or at the benevolent care you bestow on your citizens. 

I wish here to express my profound gratitude for both; and 
allow me, esteemed gentlemen, to conclude by the fervent wish that, 
for the sake of this Imperial city, Providence may long preserve so 
humane a Magistracy. 

I remain, most highly esteemed gentlemen, with profound respect, 

Your obedient servant, 

Joseph Haydn [m.p] ria. 

1 This letter was drafted by one of Haydn's friends, the Abbt Felix Franz 
Hofstatter, (librarian, 1741-1814) (Pohl III, 217). 



[To JOHANN NEPOMUK Fucns, 1 EISENSTADT. German, "Du" form] 

Vienna, i8th May 1803. 
Dearest Fuchs ! 

Herr Diezl 2 has applied to me for permission to remain in Vienna 



2 1 8 The Collected Correspondence [ 1 803 

for a few more days, in order to finish some important business; he 
will certainly return to Eisenstadt before Whitsun. So please give him 
your kind blessing. Otherwise, I am told that you are exceptionally 
diligent, for which I heartily embrace your beautiful wife, and 
remain, 

Your old, but unfortunately useless friend, 

Joseph Haydn. 
1 See supra, p. 207. 
2 Johann Die(t)zl- see infra, p. 224. 



[To JOSEPH EissLERjR., 1 EISENSTADT. German, "Du" form} 

Vienna, 5th June 1803. 
Dearest Elsler [sic] ! 

Please be good enough to send up to me, at the very first oppor- 
tunity, the old Symphony (entitled die Zerstreute)* for Her Majesty 
the Empress expressed a desire to hear the old pancake. Thus I ask 
Herr Messner 3 to lend it to me for a few days : I won't damage it in 
any way. Otherwise, I should be happy to hear that everyone else is 
in good health; my compliments to all of them, especially my 
brother, Luigi, Fex, and his better half, 4 &c. 

Jos. Haydn m.p. 
[Address:] 

Haydn asks that this letter be expedited as soon as possible. 
An Herrn Elsler, Oboist bey Sr. Durchl. Furst Esterhazy, 

in 
Eisenstadt. 

^Joseph was Johann's brother, and oboist in the Feldharmonie. 

2 Symphony No. 60 (incidental music to Dcr \rcctc] Zcrstreute). The original 

copy, and the one Haydn made in 1803 (copied by Johann Elsslcr) arc both 

preserved in the Esterhazy Archives. A page of the 1803 copy is reproduced 

in Landon, p. 33 (facing). 

3 In charge of the music archives. 

4 Haydn's brother Johann (tenor); Luigi Tomasim; "Fcx" (An Austrian 

expression which, in modern slang, might be translated as "nut") and "his 

better half" are Luigi's two sons, Luigi Jr. and Anton. 



[To GEORGE THOMSON, EDINBURGH. Italian] 

Vienna, 30thjune 1803. 
Dearest Friend ! 

I send you herewith the remaining ariettas, and hope that you and 



1 803} of Joseph Haydn 219 

all other lovers of music will be satisfied by this music. I only regret 
that in this world I am obliged to serve any gallant gentleman who 
pays me ; and moreover, Mr. Why te gives me two guineas for every 
single arietta, 1 that is to say, twice as much. My dearest Friend, I 
hope to be able to serve you on another occasion. Meanwhile I am, 
with the greatest esteem, 

Your most sincere friend and servant, 
Giuseppe Haydn [m.p] ria. 

[Thomson's clerk notes: "30 June iSos/Haydn/ Vienna/ with a 
number/ of Airs harmo-/nized by him/ for me/ And that M r White 
pays him 2 guineas/ for each air he has/ harmonized".] 

*Haydn had sold a number of Scottish song arrangements to the Edinburgh 
publisher William Whyte, and Thomson was, not unnaturally, rather hurt 
and annoyed. Haydn's receipt to Whytc is reproduced in facsimile (see 
Illustration X ) 



[To GEORGE THOMSON, EDINBURGH. Italian} 
Most esteemed Sir ! 

1 send you herewith forty new Scottish ariettas, and the rest will 
be finished shortly. I am most grateful to you for the payment of 
120 gold ducats which I received not long ago 1 from Messrs. Fries & 
Co., and I embrace you, dear Friend, for the handkerchiefs, which 
arc very beautiful, especially those intended for my poor wife. She 
lies buried these past three years, and so 1 have given them to a 
married lady who is most accomplished in the field of music. 1 hope 
you will agree with what I did. I am, with every respect, your most 
sincere friend, Giuseppe Haydn. 
Vienna, ist July 1803. 

[Thomson's clerk notes: "Haydn / Vienna i July 1803 / W l 40 Airs 
harmon-/izcd p e by him /thanks for the money/ paid him & for 
In-/dia handkerchiefs."] 

1 The receipt (only signature is autograph) is dated 8th June: British Museum, 
Add. 35263, fol. 168. 

[To GEORGE THOMSON, EDINBURGH. French] 

[Only the signature autograph] 
Mon tres cherc Amis! 

1 have received the money you sent me through the bankers Frise 
[Fries] : don't be angry at me for having to wait so long for the 25 



220 Tht Collected Correspondence [1803 

songs, but they have been ready to be sent to you for 5 months. The 
Secretary of the Embassy, Sir Seward [Charles Stuart] has not 
known, or rather he hasn't told me, when he was to leave; till now I 
have not found an opportunity to send these and 14 more songs to 
you. I shall choose a safe way by which to send you the other n 
which I have yet to compose. I am much indebted to you for your 
gifts: I am having the handkerchiefs hemstiched. 

The copy you sent me 1 is unparalleled, not only for its engraving 
but also for the beauty of the paper. I beg you to send me the ist and 
2nd volumes together with the 4th, for I admire this distinguished 
collection and the musicians who have worked on it. I shall be glad 
to pay for all of them, and am, with profound esteem, your most 
devoted servant, 

Joseph Haydn [m.p] ria 
Vienna, 6th July 1803. 

[Thomson notes: " Haydn, Vienna 6 July 1803 acknowledging to 
have rec d pay 1 from Frise [sic] & Co. of the price of the Ritornelles 
& Accomp ts soon to be sent me (120 ducats, or 59.1 3. 5) acking 
also to have rec d . the presents I sent him and expressing his admira- 
tion of the manner in which the 3 d volume is printed & requesting 
the other volumes. . . ."] 

lr The Third Volume of Scottish Songs (see Thomson's notes). 



[To HAYDN FROM PRINCE NICOLAUS II EsiERHAzv. German] 
To Kapellmeister Haydn ! 

The distribution of uniforms, concerning which the wind band players and the 
tenor have petitioned in the enclosed Suppli<p4en, cannot be systematized into any 
category, and moreover was not included in the duly appointed salaries of these 
above-mentioned members of the band 1 either in form of a uniform each year, 
or much less m form of a cash substitute; proof of this is seen in the fact that when 
one or the other of these members of the band leaves, some other member must 
take over his uniform; and when the wind band was formed, there was no uniform 
at all. Thus it is quite obvious that the suppliants are neither entitled to any com- 
pensation, nor is it intended that in their new contracts they should receive 400 Fl. 
instead of 300 Fl. annually. 

To which end you will instruct the members of the band who petitioned, 
explaining fully all the circumstances enumerated above pertaining to the petition 
submitted. 2 
Eisenstadt, I3th October 1803. Exp. Esterhazy 

1 "Musik Individuen". 

2 It is interesting to compare this rather grim document with a similar 
petition submitted to Nicolaus I: see letter written at the beginning of 
October 1789. 



1803} of Joseph Haydn 221 

[To MADAME MoREAu. 1 French] 
[Only signature autograph] 

Vienna, ist November 1803 
Madame, 

Prince Esterhazy did me the honour of informing me that you 
wish to have a Sonata of my composition. Nothing more than the 
ardent desire to please you would be necessary to incite me to begin 
this work; my age and my sicknesses have prevented me from 
accomplishing anything during the past two years, and I tremble 
that you may not perceive this fact: but indulgence is always the 
handmaiden of charm and talent, and I am sure that I may count on 
yours. My doctors lead me to hope for a mitigation of my ills; and 
I wish for nothing more, Madame, than to repair the weakness of my 
composition a new work which I offer to you in reverence. I hope 
that it will be worthy of you and M. le general Moreau; I beg him 
not to judge me too sternly, and to remember that it was only 
Timothcus who had the privilege of singing in front of Alexander! 
I have the honour to be, Madame, most respectfully, 

Your most humble and most obedient servant, 
Joseph Haydn [m.p] ria. 

1 The beautiful and talented Creole wife of Jean Victor Moreau, the famous 
French general who refused to marry Caroline Bonaparte and thus earned 
Napoleon's undying hatred. Madame Morcau has been described as 
"Femme dc grande distinction, parlant plusieurs langues, bonne musicienne, 
peintre de talent, elle excr^ait une vivre seduction sur tous ccux qui 1'appro- 
chaient"(J. Dontcnvillc, Le gtntral Moreau [1765-1813]. Pans, 1899, p. 142). 
Prince Esterhizy seems to have thought it politic to have Haydn write her a 
new Sonata. Haydn, of course, did not dream of composing a new Sonata 
for her or anyone else, and gave her a copy of the pianoforte Trio No. 3 1 
in E flat minor (1795), without the 'cello part. See Hoboken, p. 716, Pohl 
III, 213.0, etc. 

[To PRINCE NICOLAUS II ESTERHAZY. German] 

[Text by Johann Elssler, the numbers filled in by Haydn and 

the signature also autograph] 

[Beginning of November 1803]* 

In my humble but well considered opinion, all four suppliants 
deserve to have their requests granted, Barbara Philhofin [recte: 
Pilhofer 2 ], discant, with an additional yearly allowance of 50 Fl., 
the other three with 25 each. 

Haydn [m.p.] ria. 
Kapellmeister 



222 The Collected Correspondence 

^sterhdzy's answer is dated i8th November 1803 and names the other three 
suppliants : Johann Bader, bass ; and Magdalena and Josepha Schoringcr. 
Haydn's financial suggestions were accepted. (Esterhdzy Archives, Acta 
Musicalia Fasc. XXVII, 1988). 

BARBARA PILHOFER had been engaged as soprano in 1782; she was 
affectionately known as "Babette" see also Haydn's will. 



[To GEORGE THOMSON, EDINBURGH. Italian] 

Vienna, 1 8th December 1803. 
My most esteemed Friend ! 

At last I can send you the thirteen songs you asked for, and hope 
that they will give equal pleasure to you and your dear dearest 

daughter, whose hands your good old Haydn kisses. Some of 

these songs, contrary to my intention, turned out to be rather 
difficult, but when they have been more frequently played, they 

will be seen to have the same value as the others. Many thanks 

for the 50 ducats which I received from Messrs. Fries et Comp. 

Concerning that which you wrote me in your last letter "in 
about a fortnight I shall write you about a composition of an entirely 
different sort" I have not as yet heard anything further. 

Since 1 have done so many Scottish songs for you, I am willing, if 
you so wish, to do another twenty-five more, and if your beautiful 
daughter wants some little English songs by me, with pianoforte 
accompaniment, I shall send them at once. It is enough if she will 
send me a little catalogue of those which she has already received 
from London. For the rest, I am as always, with the greatest esteem, 
Your most sincere friend and servant, 

Giuseppe Haydn [m.p] ria. 

P.S. : Milord Minto will have seen my portrait en buste, 1 and not the 
medallion made by the famous Grassi in Vienna in a certain process 
rather like terra cotta porcelain; 2 the latter is very like me, and if the 
war docs not prevent it, I shall try to send you one. 
[Thomson notes: "18 Dec 1803 / Haydn/ with 13 Airs,/ chiefly 
Welsh,/ & Receipt for the/piece declaring these/to be my property 
&/ He agrees to do/more if wanted, &/ offers some Airs of his / 
comp n to my dau r ."] 
[Separate receipt:] 

[English] 

I acknowledge to have received of M r Georg Thomson Esq: of the 
City of Edinburgh in Scotland by the hands of Mess" Fries et Comp : 



1803] of Joseph Haydn 223 

per order of Mess crs Tho 8 Coutts et Comp: of London Fifty ducats 
for composing Ritornelles et Accompaniments for the Piano Forte 
etc: to twelve Welsh et Scottish Airs, and I declare these, in addition 
to the 158 which J before composed for the Said G: Thomson to be 
his sole property. 
Given under my hand at Vienna, the i8 th of December 1803. 

D r Haydn [m.p] ria. 

[Address in Elssler's hand, with postal stamp of foreign office indicat- 
ing date of arrival: "JA[N] n 1804".] 

1 Probably the lead bust, also by Grassi (reproduced in Landon). 

2 The splendid terra cotta bust, the original of which is reproduced in the 

Musical Quarterly Vol. XV1I1/2 (April 1932), facing p. 191. 



[To HAYDN FROM GEORGE THOMSON, EDINBURGH. English : FROM THOMSON'S 

COPY-BOOKJ 

T O. Edinburgh 20 Dec 1803. 
To D r . Haydn 

Vienna 

(translated into Italian & 
sent to M Coutts Trotter to 
be transmitted through 
Fries & C.) 

My dear Sir 

[Copyist's hand:] Altho' I do not wish to harass you with more business than 
may be agreeable to you, I must beg leave to send you [number added later ] 
24 more Airs, WHICH WILL MOST CERTAINLY BE THE LAST. Your Ritornelles & 
Accompaniments delight me so much, that I realy [sic] cannot bear the idea of 
seeking an inferior Composer to finish a work already so nearly finished by you. 
I do flatter myself therefore that you will not give me the pain & mortification of 
a refusal. I ask it as a most particular favour, & I am willing to pay you [number 
added later :] 4 ducats for each Air, & as the Airs are in general very short, they 
will not ocupy [sic] much of your time Let me beg you then that you will be so 
good as to do them in your usual charming manner, as soon as you can, & if you 
please to send me the one half without waiting till the other hah is finished, I shall 
be very glad to receive them. Mess". Fries & Co: will pay the price of whatever 
number you deliver to them on my account. I am expecting every day to receive 
the Airs which I sent you on the 6 th September last for the payment of which a 
draft of 50 ducats was inclosed. I hope these airs are on the road to me. 

Allow me to mention, that if you find any of the Airs fit for an accomp* 
similar to that in your I st Canzonet in C, published by Corn & Dussek, 1 1 am 
particularly fond of that kind of easy motion in accomp 1 . 

I remain with Affectionate regard & the higest [sic] respect Dear Sir Yours 
faithfully 

P.S. remember to send me your portrait [:] the one which Lord Minto saw in 
Vienna which he told me is very like you. 2 



224 The Collected Correspondence [1803 

1 "The Mermaid's Song" (Anne Hunter), the first of the "VI Original 
Canzonettas" (see supra, p. 145), Gesamtausgabe Ser. XX/i, No. 25. 
2 See also previous letter: Thomson had obviously asked Haydn about the 
portrait in an earlier letter. 

[Undated letter from the Esterhazy files of the year 1803] 

[To PRINCE NICOLAUS II ESTERHAZY. German] 
My humble opinion would be to grant Madame Siess 1 an addi- 
tional allowance of 50 Fl. per year, because of her especial diligence 
and good conduct; and that you graciously heed the request of Jean 
Dorzel, 1 who is the only good double-bass player in Vienna and the 
whole of the Kingdom of Hungary. 

Jos: Haydn [m.p] ria. 

[On the cover of the file is the following pencilled note: "Quoad 
RUMFELD none, Haidn should propose DUZEL'S additional allow- 
ance." 1 ] 

*MADAME SIESS was apparently a singer: nothing further is known of her. 
Jean Dorzel (or Diizel) is apparently JOHANN DIETZL. Pohl and others have 
confused the four Dietzls, who were: (i) JOSEPH, schoolmaster and tenor, 
who died in 1777. See letter of 22nd Dec. 1768. (2) JOSEPH WOLFGANG, son 
of the above, who was a horn player. He was engaged in the Esterhdzy 
band in 1776, and died at Eisenstadt in 1795. (3) JOHANN, the double bass 
player, who died at Eisenstadt in 1806 at the age of 52, and who was also a 
son of the first. (4) JOSEPH, violinist, probably a son of Joseph Wolfgang. 
He died in 1801. (Pohl 1, 261, corrected by Andre Csatkai, 'Die Beziehungen 
Gregor Josef Werners, Joseph Haydns und der fursthchen Musiker zur 
Eisenstadter Pfarrkirche', Burgenlandische Heimatblattcr I/I [1932], p. 16.) 
The "Rumfeld" mentioned on the cover of the file is the soprano Anna 
Rhumfeld, who had been engaged in October 1797 (Pohl III, 133). 



[DRAFT OF A LETTER TO KARL FRIEDRICH ZELTER, 1 BERLIN. German] 

[Vienna, 25th February 1804] 
Most esteemed Friend ! 

My extreme weakness does not permit me to write you more 
than a few words, but they are words from my heart. You are one 
of the few people who are thankful you have shown this by the 
beautiful biography of your teacher Fasch. 2 You are a man with a 
profound knowledge of the science of music: this is evident from 
your faithful analysis of my Chaos, which you could have composed 
fully as well as Haydn did. I thank you for your interest, but posterity 
will thank you even more for your attempts again to resuscitate the 
half-forgotten art of singing by means of your concerts. 8 May God 



1804] of Joseph Haydn 225 

preserve you for many years to come! Meanwhile I am, most 
respectfully, 

Your indebted servant, 

P. S. I am most grateful to you for the portraits you sent me, but 
there is a little mistake: 1733 should read 1732. It is [originally: 
"quite"] very like me. N.B. I was born in 1732, that means I am a 
year older. 4 

One thing more: 1 wish that my dear Zelter would go to the 
trouble of taking Gellert's Abend Lied, "Herr, der Du mir das Leben 
&c.", 5 from my score, and arrange it for his whole choir, alternating 
4 soloists with the semi-chorus and full chorus. N.B. It is absolutely 
necessary, however, that the pianoforte accompaniment be included, 
JUST as it stands. 
Address: 6 A Monsieur 

Monsieur Zelter Maitre de la Musique 
tres Celebre 
a 
Berlin. 

1 This letter to Zelter (1758-1832), conductor of the famous Berlin Singa- 
kademie and friend of Goethe, is included in a series of drafts (see Sources). 
The page begins as follows: "Wienn, den 25 to February 804 / Hochzu- 
Verehrende Frau ! / Es gab eine Zeit" ("Most esteemed Lady. There was a 
tune . . . "). The draft of the present letter begins just underneath. 
Obviously the date belongs to the letter written to the lady, but Zelter's 
letter was also drafted the very same day, as Zelter's answer shows. 
2 K. F. C. FASCH (1736-1800), composer, harpsichord player and Zelter's 
predecessor as director of the Singakademie in Berlin. 
3 The Singakademie. 

4 The portrait (the writer of these notes owns a copy) is at best quite (not 
"very"!) like Haydn, and is obviously based on the famous Hardy en- 
graving (London 1792). It is marked "A Chaponmer del. Laurens sculp 
1803" and, as Haydn points out, gives 1733 as the year of his birth. 
5 From Haydn's Mehrstimmige Lteder which Breitkopf & H artel published. 
See also supra, p. 167. 

8 This draft of Zelter's address is preserved at the top of another set of drafts 
(Sdndor Wolf Museum, Eisenstadt): see Sources. 



[To HAYDN FROM KARL FRIEDRICH ZELTER, BERLIN. German] 

Berlin, i6th March 1804 

I have not words, revered Master, to express the joy I felt on receiving your 
friendly letter of 25th February, which I shall bequeath as a relic, as a noble letter, 
to my eleven children. I know that I must ascribe such praise rather to your own 
kindness and goodness than to my merits; but praise from you is so precious that 
I shall in all seriousness strive earnestly to deserve it. 



226 The Collected Correspondence [1804 

As I see, you are aware that I wrote the criticism of your masterpiece, and that 
long before this I fervently admired you; but to have written the work as you 
have done, great master, that I could not have done, and will never be able to. 
Your spirit has penetrated the sanctuary of heavenly wisdom: you have brought 
down fire from heaven, to warm and to illuminate our earthly hearts, and to lead 
them to a sense of the Infinite. The best which we others can do is simply this : to 
give thanks and praise to God, who sent you to us so that we may discern the 
miracles which He has revealed in this art through you. 

What I wanted to have from you, my dear Friend, for my Singakadetnie 
(which now consists of two hundred voices, of which 160 may be regarded as 
energetic and useful) is one of your sacred compositions, and this I have wanted for 
a very long time; but it took 15 years before the funds of our institution were 
sufficient to afford the expense of such a masterpiece. I feel only too well how 
small is the fee we can offer you for a work of yours, which indeed no gold in the 
world can repay; and as a matter of fact I relied more on your love of art and the 
glory of God, than on our paltry money. I beg you then, if your physical strength 
permits, to undertake this work, so that your great name may resound in our 
circle to the glory of God and the honour of art; our circle has only one purpose, 
to preserve and revive CHURCH and SACRED Music, HITHERTO so SHAMEFULLY 
NEGLECTED. 

In order to have at least something of yours, I took the liberty of arranging the 
two Gellert songs, "Hcrr, der Du mir das Lcben" and "Du bist's, dem Ruhm und 
Ehrc gebiiliret" for our choir. Thus your wish was fulfilled more than seven 
months ago; you will be able to judge from the accompanying whether I have 
done them properly, and I sinccrly beg you to let me know any improvements 
you may suggest. 

I do wish I could give you the pleasure of hearing your choruses sung here, 
and find edification in the peace, piety, purity and reverence with which they sing 
your beautiful chorus, "Du bist's dem &c.". The best and finest youths of Berlin 
assemble here with their fathers and mothers, like a heaven filled with angels, 
praising in joy and honour the glory of Almighty God, and practising the works 
of the greatest master the world has yet seen Oh ! come to us ! Come ! You will 
be received like a god among mortals; we will sing a gloria in your praise, so that 
your venerable grey hair will be transformed into a crown of laurel, for our 
teacher Fasch has taught us how to honour great men. 

Farewell, dear and beloved master ! May God long, long preserve you ! You 
have not written a single work m which one notices your advanced age. Your 
Seasons is a work of youthful energy and venerable mastery. I commend you 
to God ! 

Your 

Zelter. 



[DRAFT OF A LETTER TO PRINCE NICOLAUS II ESTERHAZY. German] 

[Spring I804] 1 

The suppliant Joseph Richter, 2 tenor in the Princely choir, is a 
quiet and reserved man but also one of the most diligent in fulfiling 



1804] of Joseph Haydn 227 

his duties. Apart from this, he knows all the church ceremonies that 
occur throughout the year, understands and speaks Latin, and took 
the trouble to teach the proper pronunciation, especially in Graduals 
and Offertories, to all the other singers, male and female. He also 
understands the Gregorian chant and its declamation, and is emin- 
ently fitted to teach all 4 choir boys. Therefore I am so bold as to 
suggest that my gracious Prince help him by supporting his petition 
for a small bonus. 

Written on the same sheet as the letter to Zelter, but apparently a little 

later. 

2 Jacob Joseph Richter, who was probably the solo tenor in many of Haydn's 

late masses. See Brand, pp. 46o/. 



[To PRINCE NICOLAUS II ESTERHAZY. German} 

[Spring I804] 1 

Inasmuch as in these expensive 2 times His Serene Highness has 
favoured almost all the individuals in His Highness* service in various 
ways; and since the suppliant Johann Fuchs 3 distinguished himself in 
various new compositions on the occasion of Your Serene Highness' 
happy return last year, my duty demands that I earnestly recommend 
him to Your Serene Highness. 

Joseph Haydn, 
Kapellmeister. 

1 Fimshed letter in the 1804 files of the Estcrhdzy Archives: the draft, 

however, is written on the sheet containing the draft of Zelter's address 

(25th February). 

2 In the draft, "traungen" (= "sad"). 

3 Johann Nepomuk Fuchs, the Assistant Kapellmeister. For a description of 

the "various new compositions", see the contemporary report quoted in 

Pohl III, 220. 



[To HAYDN FROM VIENNA CITY MAGISTRACY. German] 
Know all men by these presents that we, Lord Mayor and Councillor of the 
Impenal and Royal capital city of Vienna, inform the citizens as follows: The 
nobly born Herr Joseph Haydn, Doctor of Music, Kapellmeister to His Serene 
Highness Prince Esterhazy, member of the French National Institute of Science 
and the Arts, of the Royal Swedish Academy, and of the Musical Academy here, 
upon request of the Economic Committee of the Citizens' Hospital, assisted the 
impoverished citizens, male and female, of St. Marx by holding public perform- 
ances of Cantatas [sic], 1 the proceeds of which were given to them; not only did he 
show great generosity in agreeing three different times to undertake to conduct the 
J.H.-R 



228 The Collected Correspondence [1804 

performance of his own justly celebrated musical compositions; for as a result of 
his presence, the number of persons attending the concerts was increased, and the 
proceeds for chanty were thus greater; but he also showed himself at all times 
ready to give of his services freely and without remuneration, although these 
performances were a great strain to him. 

By this remarkable and noble act of generosity, the citizens at the hospital, 
crippled by age, poverty and broken health, enjoyed for a considerable length of 
time comfort and relief from then- fate. Through his exceptional talent, too, he 
has done much to raise the aesthetic taste of a large part of the community here. He 
has already received from abroad well-deserved marks of esteem and gratitude, in 
the form of honourable distinctions. In view of all these services, we have wished 
to show our gratitude in some form, also to posterity, and thus we, Lord Mayor 
and Councillor, have unanimously and with one mind voted that said Herr 
Joseph Haydn, Doctor of Music &c., should herewith receive, at the instigation of 
the Economic Committee of the Citizens' Hospital here, the honorary freedom of 
this Imperial and Royal capital city; he is thus invested with the rights of a citizen 
of the city of Vienna, and his name shall be incorporated in the citizens' land- 
registry office. 

In witness and in affirmation whereof we have prepared this diploma, given 
under our hands and privy seals this First Day of April, 1804 

Joseph Georg Horl 
Imperial & Royal Court Councillor and Lord Mayor. 

Stephan Edler von Wohllebcn, 
Imperial & Royal, and Magisterial Councillor; and 

Chancellor of the Exchequer. 
1 5c.: Oratorios. 

[Haydn's answer to this document has not been preserved. That given erro- 
neously in Pohl III, 225, is the answer to the letter conferring the Salvator 
Medal: see supra, p. 217]. 



[To GEORGE THOMSON, EDINBURGH. Italian] 

[Vienna] 6th April 1804. 
Most esteemed Sir, 

I have the honour of sending you twelve songs, and also the other 
two which I received a little while ago, with the one hope that they 
shall give the same pleasure as the others; in a little while you shall 
also receive the remainder. 

Meanwhile I commend myself to your friendship, and kiss the 
hands of your dear and gracious daughter for her charming letter. 
I am, with every esteem and veneration, 

Your most sincere and most humble servant 

Giuseppe Haydn [m.p] ria. 
I shall make every effort to procure 
that little portrait of myself. 



1804] of Joseph Haydn 229 

[Thomson notes: "Haydn/ Vienna 6 Ap 1 . i8o4/ With 14 Welsh airs/ 
more harmonized / by him."] 
[Address no longer extant] 



[To GEORGE THOMSON, EDINBURGH. Italian] 

Vienna, loth May 1804. 
Most esteemed Sir ! 

At last I send you all the remaining Scottish Songs, the composi- 
tion of which has cost me great effort, for I have been very ill for 
some time now; but nevertheless I hope that all of them will give at 
least some pleasure, though it's difficult for a man of seventy-three to 
be able to satisfy the world. Well, be that as it may, I have done my 
very best not to disappoint my dear friend. In a little while I shall 
send my portrait in two different forms, both simple, to your dear 
and beautiful daughter, whose hands I kiss. God preserve every one 
of you, I love and esteem you all, though I have not had the honour 
of your acquaintance. Farewell. I am, and will always be, 

dearest Friend, 
Your most humble, most sincere friend and servant, 

Giuseppe Haydn [m.p] ria. 

[Thomson notes: "Haydn/ Vienna 10 May i8o4/ With n other 
Welsh / airs harmonized / by him ".] 



[DRAFT OF A LETTER TO THE BANKERS HAMMERSLEY & Co., LONDON. 

German] 

[Vienna, May I8O4 1 ] 
Monsieur! 

Yesterday I received a letter, dated I2th April 1804, from my 
friend Salomon in London, with the pleasant news that you have 
received on my behalf seventy-two pounds Sterling, eleven shillings 
and sixpence from Doctor Burney. Thus 1 would ask you to have 
this money transferred to me at your earliest convenience through a 
safe banker; I should prefer it to go through the bankers Fries & 
Compag. If you should be a lover of music, I shall be happy to send 
you something brand new, either by a courier or with the mail- 
coach. Meanwhile I am 

1 Haydn would have received the letter of I2th April about four weeks later, 
if not a little sooner. The draft of the letter to Burney shows us to whom the 
present letter was addressed. 



230 The Collected Correspondence [1804 

[To CHARLES BuRNEY, 1 CHELSEA. German] 

[Vienna, May 1804] 

Contents. 2 A thousand thanks, my dearest Friend, for having taken 
the trouble to collect on my behalf seventy-two pounds Sterling n 
sh. and sixpence, and for having given this sum to the bankers 
Hammersley, through whom I shall receive it quite safely. God 
preserve you and your good family many years I had just written 
them a word of greeting myself. I am and will ever remain your 
admirer and sincere friend 

D r . H 

1 See previous letter. 

2 Haydn must have translated the letter into Italian, the language 
in which he corresponded with Dr. Burney. 

[To HAYDN FROM Hofrat jAnos KARNER, German] 
To Herr Kapellmeister Haydn: 

Well born, most esteemed Herr Doctor of Music and Kapellmeister I 
I had sincerely entertained the hope that you, as director of, and presiding 
official over your people, would, in profound gratitude and thankfulness over the 
success of the musicians' petitions, personally proffer your note of thanks, as is 
meet and proper in such cases. But since, however, such a tone has been wanting in 
your previous correspondence with me, you will please have the goodness to 
instruct the subordinate personnel accordingly; I myself shall not fail in the future 
to bring to your attention such official lapses of conduct among the members of 
the band, and I shall send you from here the necessary copies of such correspon- 
dence for your information. 

In this connection, I have had prepared a new list of the salaries and number 
of persons in the choir and band [Kammermusik], because there have been various 
increases in salary and changes during recent times; I have enclosed this document 
for your information and use. Taking it as a basis, you are kindly requested to 
submit a report to His Highness not only concerning the petition returned 
again of Anton Tomasim, but also concerning the two petitions, herewith en- 
closed, of the leader Louigi Tomasim and the trumpeter Sebastian Binder, which 
His Highness ordered me to forward to you. Meanwhile I have the honour, Sir, 
of remaining, with every respect and veneration, 

Your most obedient servant, 

Exp. Karner. 
1804 [date on the file], [probably May. 2 ] 

I KARNER seems to have been Prince Esterhdzy's Economic Administrator, a 
position similar to that of Rahier (see the letters of 1765 et seq.). 
2 See next letter. 

[To PRINCE NICOLAUS II ESTERHAZY. German] 

[Vienna, May I8O4] 1 
My humble recommendation for the leader Luigi Tomasini will 



1804] of Joseph Haydn 231 

certainly not meet with my magnanimous Prince's disapproval, if, 
in view of his merits in so many and varied fields, I personally ask 
Your Serene Highness to support his request in some manner. 

My recommendation for his son Anton Tomasini, however, who 
only five months ago received an additional yearly allowance of 
40 Fl. and lodging money, depends entirely on Your Highness* 
generosity. 

I suggest that in your graciousness you grant to the trumpeter 
Sebastian Binder, and to the trumpeter Michael Altmann, the 
modest extra allowances [Deputat] they ask for. 

Joseph Haydn [m.p] ria, 
Kapellmeister. 

1 The draft of this letter, in the Sindor Wolf Museum at Eisenstadt, is on the 
same page as that to the bankers Hammersley & Co. (see supra), and thus 
Karner's letter to Haydn, and Haydn's answer, may be dated with some 
certainty in the month of May 1804. 



[To THE FATHER OF ONE OF HAYDN'S PUPILS. German] 

[Vienna, (?) Spring or Summer I804 1 ] 
Sir, 

I am very sorry that in this short time I have not been able to give 
more than 30 lessons to your son, whom people here have robbed of 
the hope that he might ever learn how to compose. He is a good boy, 
I love him, and he has enough talent to prove to those gentlemen 
that they are wrong, and to show the world quite the contrary. His 
conduct, as far as I have observed it, is exemplary, but 1, too, wish 
that he would better study, first, thorough bass; zndly, the art of 
singing; and lastly the pianoforte; for I assure you, dearest Friend, 
that by application and effort he can become a distinguished man 
yet. 2 

1 There is no date on this draft, which is written on a smallish octavo sheet. 
The handwriting is similar to that of the drafts of May 1804, and I think it 
possible that someone (JohannElssler?) happened to save all of them at once 
from the waste-paper basket. The dating of "Spring or Summer 1804" is 
therefore entirely conjectural, but the handwriting is certainly that of this 
late period. 

2 At the top of the letter "mit Fleiss und Miihe" (by application and effort). 
In the bottom left-hand corner the words "Emanucl Bach", underlined and 
then crossed out (possibly an indication that the young man should study 



232 The Collected Correspondence [1804 

Bach's Versuch tiber die wahre Art das Clavier zu spielen). In the bottom right- 
hand corner the word "Wienn" (Vienna), preceded by a wobbly letter 
"W". 



[To PRINCE NICOLAUS II ESTERHAZY (?) a . German] 

[Only the signature autograph] 
Your Serene & Princely Highness ! 

I must recommend the bearer of this letter, Herr Thieriot from 
Leipzig, to Your Serene Highness as a most talented man, and one 
who could perform with success at the greatest courts. His especially 
beautiful execution, the full tone of his violin playing, his beautiful 
cantabile and his great technical prowess have delighted as much as 
they satisfied me. 

He was in Paris for a time, where he studied, and at present he 
wishes a satisfactory position. Since his personal character is particu- 
larly exemplary, 1 have taken the liberty of recommending this 
young man to Your Serene Highness* grace and favour. 
In boundless admiration and indebted esteem, 

Your Serene Highness' 
humble 

Joseph Haydn [m.p] ria. 
Vienna, 2ist June 1804. 

J There is no address, and it is just possible that the letter is addressed to 
another prince. PAUL EMIL THIPRIOT (Leipzig, 1780 Wiesbaden, 1831) was 
not engaged in the Esterha"zy orchestra. 



[To PRINCE NICOLAUS II ESTERJL(ZY. German] 
[Letter in Johann Elssler's hand, only signature autograph] 
Inasmuch as the Colonel's wife, Frau Spiellmann, 1 has had the 

kindness to recommend to His Serene Highness that the suppliant 

Anton Tomasini 2 receive an additional allowance, I, too, dare to add 

my humble petition for him. 

Vienna, 6th July 1804. Joseph Haydn [m.p] ria. 

Remarks on the outside of the file: "2nd Aug. 1804 and "Since, by decree of 
i6thjuly 1804, the suppliant is to receive immediately an annual supplementary 
fee of 150 fl. for [teaching] 3 boy chorister apprentices, this petition is at present 
placed ad acta"] 

1 "Frau Obristin" ("Obnst" = obs. for "Oberst", or "Colonel"); appar- 
ently the Colonel was in one of the Prince's regiments. 
2 Luigi's son: see supra, p. 204. 



1 804] of Joseph Haydn 23 3 

[To HAYDN FROM WILLIAM GARDINER, LEICESTER. English] 
To Joseph Haydn, Esq., Vienna. 

Sir, For the many hours of delight which your musical compositions have 
afforded me, I am emboldened (although a stranger) to beg your acceptance of the 
enclosed small present, wrought in my factory at Leicester. It is no more than six 
pairs of cotton stockings, in which is worked that immortal air 'God preserve the 
Emperor Francis', with a few other quotations from your great and original pro- 
ductions. Let not the sense I have of your genius be measured by the insignificance 
of the gift; but please to consider it as a mark of the great esteem I bear to him who 
has imparted so much pleasure and delight to the musical world. 

I am, dear Sir, with profound respect, your most humble servant, 

William Gardner. 
Leicester, Aug. 10, 1804. 

I WILLIAM GARDINER, who printed this letter in his Music and Friends, adds: 
"The war was raging at this time, and as Mr. Salomon had no reply, we 
concluded that it never arrived at its place of destination. . . ". In a foot- 
note Gardiner says: "The subjects quoted and wrought on the stockings 
were the following : 'My mother bids me bind my hair* [English canzon- 
etta] ; the bass solo of 'The Leviathan' [from the Creation] ; die andante of 
the surprise sinfoma [No. 94] ; his sonata 'Consumatum est' [from the Seven 
Words]; and 'God preserve the Emperor'." Gardiner owned the Salomon- 
Monzani & Cimador edition of the London Symphonies (Hoboken Coll.), 
and also annotated the English edition of Stendhal's piracy of Carpam's 
Haydn biography; the English edition was published in London in 1817 
"... With notes by the author of the Sacred Melodies" (i.e., Gardiner). 



[To A LADY. German] 

Vienna, I4th September 1804. 

[Contents'] The letter accompanied a present for a lady, and ends "Leben Sic cwig 
wohl". 



[To JOHANN NEPOMUK HuMMEL, 1 EISENSTADT. German] 

Vienna, 28th September 1804. 
Dearest Hummel, 

I terribly regret that I cannot have the pleasure of conducting my 
little work for the last time, but on the other hand I am convinced 
that everyone (WITHOUT EXCEPTION) will do everything in their 
power to support their old Papa, especially since the worthy Hum- 
mel will be their guide. 

Your most sincere 

Joseph Haydn [m.p] ria. 
P. S. My compliments to everyone. 



234 The Collected Correspondence [1804 

[Address, in Elssler's hand:] A Monsieur 

Monsieur Jean Nep: Hummel 
Maitre de la Musique tres Celebre. 
au Service de S: Alt: Monseigneur 
le Prince d'Esterhazi 
a 

ElSENSTADT. 

Jos. Haydn. 

[Haydn's seal "JH"] 

1 Hummel, now Kapellmeister, was about to conduct a performance of the 
Creation in Eisenstadt, on 30 September (libretto "Gedruckt von J. L. 
Stotz, hochfurstl. Buchdrucker"). Concerning Hummel, see also p. 124. 

[To HAYDN FROM J. N. HUMMEL, EISENSTADT. German] 

Eisenstadt, 8th October 1804. 
Most beloved Papa ! 

Since, like an obedient son, I count on the kindly indulgence of the great 
musical father, I have dared to dedicate the enclosed little piece 1 to you. I was not 
moved to do so by any desire to shine; but rather the strong feeling of gratitude, 
of respect and of sincere love which I bear for you these were the moving 
factors. If you continue to honour me with your kindly trust and benevolence, 
then I shall feel entirely happy as 

Your devoted son, 
Joh. Nep. Hummel, m.p. 

1 Sonata pour le Pianoforte, Op. 13, in E flat (Tobias Haslinger, Vienna): 
Hummers first published piano Sonata. 

[To GEORGE THOMSON, EDINBURGH. Italian] 

Vienna, iyth October 1804. 
Most esteemed Sir, 

In your last letter of July, you paid me many compliments about 
my Creation of the World. I esteem myself most fortunate that God 
gave me these little talents wherewith I can give satisfaction to the 
amateurs of music, the more so, because as a result of that Divine 
grace I can benefit my neighbour and the poor: now I should like 
to know whether they have given my Creation in London for the 
benefit of the poor, or for the benefit of the Professional Concerts, 
and how much money they made. With those two pieces of music, 
i.e. the Creation and the Four Seasons, I have made, here in Vienna 
over a period of three years, forty-thousand florins for our poor 
widows of musicians. I would be most grateful if you could let me 
have an answer on this point sometime. 



1804] of Joseph Haydn 235 

I now send you these thirteen songs with the same hope that they 
will give pleasure; I should like before I die to finish twenty-five, or 
at any rate a dozen of these songs, but only for you, dear friend, for I 
can no longer take on anything larger than this my old age makes 
me steadily weaker. 

In the hope of receiving a short reply, I am, with every esteem, 

Your humble servant, 

Joseph Haydn. 
I kiss the hand of your dear daughter. 



[To GEORGE THOMSON, EDINBURGH. Italian] 

Vienna, 3Oth October 1804. 
Most esteemed Sir, 

I now send you the piece you wanted, which I received three days 
ago. On this occasion I must thank you cordially for the payment, 
viz. fifty gold ducats, 1 which I received from Messrs. Fries. I want to 
see whether I am capable of satisfying your dear daughter, and should 
like her to choose two or three of the last Scottish canzonets, accord- 
ing to her taste, and then to send me a few bars of the vocal parts, so 
that I can make variations or rondos from them. For the rest, I am, 
and will always be, Sir, 

Your most devoted servant, Giu. Haydn. 

Today I feel very weak, but I hope that God will give me more 
strength. I kiss the hands of your dear daughter. 
When the fourth volume is finished, I beg you to send me a copy ; I 
shall very happily bear the expenses. Addio. 
[Address, in Elssler's hand:] 

M r George Thomson Esq r 
Trustees Office 

Edinburgh, 

IN SCOTTLAND. 

WIEN [Postal stamps, indicating date of arrival in 

England: "Foreign Office No[v] 19 1804" 

JOSEPH HAYDN and "AO N[ov] 19 804"] 

Gumpendorf Kleine- 

Steingasse N 73. [Haydn's seal "JH"] [Thomson notes: "30 th 
Oct 1804; D r Haydn/ With a single Air,/ w< 
an easier Accomp*/ thanks for the last/ 50 
ducats paid to/him for 13 add 1 Airs."] 



236 The Collected Correspondence [1804 

1 Haydn sent a receipt, written in English (only the signature, place and date 
are autograph), and signed "Vienna the nth of June ... 1804 Doctor 
Haydn". British Museum, Add. 35263, fol. 238. 



[TO AN UNKNOWN GENTLEMAN] 

Vienna, 5th November 1804. 

[No copy of the letter available: last known whereabouts, New 
York City, 1915: see Sources] 



[To HAYDN FROM MARIA FEODOROWNA,* EMPRESS DOWAGER OF RUSSIA, ST. 

PETERSBURG. German} 
Hen Kapellmeister HAYDN : 

The letter and composition which your pupil Neukomm brought me gave me 
much pleasure, and I remembered with joy that I had met you personally in 
Vienna. This, and the flattering description of me you gave to the bearer, moved 
me to have him play it for me at once; and I did not fail to recognize his teacher 
in him. I do thank you so much for the beautiful songs that you sent me, and I 
hope with my whole heart that you will continue to enjoy good health, and that, 
for many years to come, you will earn the admiration of all music lovers through 
your exceptional talent and your masterpieces an admiration which you so 
richly deserve. I hope that the musical public will be able to enjoy one of your 
beautiful works soon again, and I beg you to regard the enclosed remembrance as 
a token of my sincere good wishes, with which I am, as always, 

Your ever well-disposed 2 

Maria. 

St. Petersburg, 
1 5th February 1805. 

x See also supra, p. 215. The present letter was accompanied by a beautiful 
ring. For Neukomm, see supra, p. 215. Haydn had sent the Empress 
Dowager his edition (Breitkopf & Hartel) of the part songs, to which 
reference has been made above (see p. 167). 
2 "Wohl affektiomerte". 



[To HAYDN FROM L'INSTITUT NATIONAL, PARIS. French] 
Institut National 
Classe des Beaux arts. [Letter-head] 
Paris, le i. Messidor an 13 de la Rtpublique francaise [20th June 1805] 

The permanent Secretary of the section [letter-head] to Mr. Haydn, composer, 
associated member of the Institut National. 
Monsieur^ 

L'institut national de France elected you associated member; from the moment 
of its formation, it has considered this a tribute which it was pleased to have 
rendered to your deserved celebrity. The changes which have since taken place 



i8o$] of Joseph Haydn 237 

within the Institute are such as to increase substantially your ties with it; a musical 
section has been created, and it consists of dignified gentlemen who are the 
appreciators of your genius. 

As a non-resident member, you have, in the capacity of a consultant, a voice 
in the Institute, the right to attend its assemblies, to wear its uniform in 
short, you are part of it. In this capacity, then, I send you the medal which con- 
stitutes your right to the title, and the book containing our by-laws and likewise 
the names of our members. You will find yours in the article dealing with the 
section on the fine-arts. 

I would wish, Monsieur, that you would show sufficient interest in the fine-arts 
section of the Institut de France for it to benefit from your wise observations on the 
art which is your profession, and with which you have gained such glory in 
Europe. I can assure you that it would receive this mark of your confidence with 
profound esteem. As for my own person, I regard as one of the most precious 
advantages of the duties with which I am honoured, that of corresponding with 
you, and of being able frequently to assure you of my profound respect. 
I have the honour to greet you, 

Joachim Le Breton. 

Perpetual Secretary of the fine-arts section 
of the Institut national dc France, member of 
the Classe d'histoire, the Litterature Ancien- 
ne, and Legion d'honneur. 



[To HAYDN FROM CONSERVATOIRE DE MUSIQUB, PARIS. French} 

[Letter-head:] Paris, le [ink: "7. messidor"} an [ink: "if\ 

de la Rtpublique franchise 

26th June 1805.* 

Le Conservatoire de France to HAYDN : 

The members of the Conservatoire de France, filled with the most profound 
sentiments of esteem and veneration for the immortal talent of Haydn, have the 
most fervent desire to inscribe the name of this celebrated artist in the annals of 
this institution. 

The expression of this wish, earned to the celebrated Haydn by Che'rubim, 1 

could not but be received kindly ; the members of the Conservatoire, thus filled with 

confidence, have charged their colleague to deliver to this great man, whom they 

consider to be one of their fathers in the art of music, the plans of the monument 

wluch the Conservatoire hopes to see erected in its midst, and of which the model 

has been chosen to celebrate the happy date of the foundation of this establishment. 

Should this legitimate tribute of admiration to one of the greatest geniuses 

who have illuminated the republic of the arts be accepted by Haydn, it would 

represent to the Conservatoire de France a trophy which it would honour forever. 

In the name of the members of the 

Conservatoire de France 
Me*hul Gossec Cherubini Sarrette. 2 



CHBRUBINI (1760-1842), the famous composer, who had long been 
an ardent admirer of Haydn's, came to Vienna to conduct various works, 
including his new opera, Faniska. He brought Haydn this diploma, and a 



238 The Collected Correspondence [1805 

medal which the Conservatory had struck in his honour. Haydn gave him 
the autograph of the "Drum Roll" Symphony (No. 103). 
2 The leading French composers STIENNE NICOLAS MHUL (1763-1817), 
FRANCOIS JOSEPH GOSSEC (1734-1829), and BERNHARD SARRETTE (1765- 
1858), founder and director of the Paris Conservatoire. 



[EXTRACT OF HAYDN'S ANSWER TO THE PARIS Conservatoire. French] 

[Vienna, Summer of 1805] 

.... I beg you, Messieurs, to accept my thanks, and to convey 
them to the members of the Conservatoire, in whose name you had 
the kindness to write. 

Please be sure to add that, as long as Haydn lives, he will carry in 
his heart the memory of the interest and consideration which they 
have shown him. . . . 



[To ARTARIA & Co., VIENNA. Italian] 
Most esteemed Signor Artaria, 

I hope that for these twelve pieces of music 1 the old Haydn shall 
have merited a small reward. Your sincere friend and servant, 

D r Haydn [m.p] ria. 
[Vienna] iyth August 1805* 
[Address in Elssler's hand:] 

[Haydn's seal "JH"] A 

Monsieur 
Monsieur d Artaria 
& Comp: 

l lt is hard to imagine what these "twelve pieces of music" were: the most 
likely explanation is that they were autographs, for Artaria later owned 
many Haydn autographs of pieces which the firm had never published. 
2 The date added by another (Elssler's?) hand. 

[To ? ] 

6th November 1805 

"Fragment": no copy available. Last known whereabouts: Max 
Friedlander, Berlin, 1892 (see Sources). 

[To BONIFAZIO Asion, 1 MILAN. Italian] 
My dear Colleague, 

I should like Carlo Mozart to have the honour of being numbered 



i8o6\ of Joseph Haydn 239 

among your pupils. I should congratulate him on having such a 
teacher as you, whose works and talents I very much admire. 

Permit me to recommend this young man to you, as the son of 
my late friend, and as the heir to a name precious to all connoisseurs 
and friends of the art. I am sure that Carlo Mozart will prove himself 
worthy of all the goodness and trouble with which you will favour 
him, in order to make of him a person who will be a credit to his 
teacher and to his father. I pray you to forgive me if I, burdened as I 
am with the infirmities of old age, limit myself here to expressing 
the honour of subscribing myself, with every esteem and considera- 
tion, 

Signore, 

Your most humble and obedient ser- 

vant, 

Giuseppe Haydn [m.p] ria. 
Vienna, 23rd April 1806. 



(1769-1832), a well-known composer, was professor of counter- 
point at the Milan Conservator io. Karl Mozart, Wolfgang's second son (born 
in 1784), went to study with Asioli and took this letter of recommendation 
with him. See also Walter Hummel, W. A. Mozarto Sohne, Kassel 1956, 
p. 37- 



[To PRINCE NICOLAUS II EsTERnAzv. German] 
[Letter in Johann Elssler's hand, only signature and title auto- 
graph] 
Your Highness, 

My experience of Your Highness has been not only that of the 
kindest of princes, but you have also earned respect as a most ener- 
getic patron of all that is beautiful and useful; and thus I humbly 
support the suppliant Hcrr Rupp's 1 request that, in your graciousness, 
his son be allowed to join the boys' choir. I can recommend this the 
more easily since the father has served many years, with every mark 
of distinction, as a horn player in Your Highness' band. Therefore I 
have considered it my duty to add my most humble plea to his, in 
the confident hope of your granting a request from which he would 
derive such advantages. 

Your Highness* 

most humble 
Joseph Haydn [m.p] ria, 
Vienna, 3rd May 1806. Kapell Meister. 



240 The Collected Correspondence [1806 

[On the outside of the file is the following pencilled note: "i to Hummel for 
his information. 2 to Haydn, that at present no vacancy, however the matter will 
be noted". See next letter.] 

*J. Martin Rupp had been engaged as a horn player in 1777. 



[To HAYDN FROM PRINCE NICOLAUS II EsTERnAzv. German] 
To Kapellmeister von Haydn : 

As pleasant as it would be, in view of your written application, to appoint the 
son of J. Martin Rupp, court chamber-musician and horn player, to the boys' 
choir, yet I must inform you that this cannot be, for there is no vacancy there at 
present; but I shall take note of the matter and, when the time comes, give it 
favourable consideration. 

This is to inform you how matters stand. I am, with all esteem, 

Your most willing, 

Exp:Esterhdzy. 
Vienna, 5th May 1806. 



[To THE VIENNA CITY MAGISTRACY. German; ARCHIVE COPY] 

Vienna, 25th November 1806. 
Worthy Magistracy ! 

The undersigned has the honour to make the following statement 
regarding my late brother Michael Haydn 1 of Salzburg: he raises no 
objection to the widow being deemed without further ado the 
principal recipient of the testator's estate; and also that he and his 
brother had but 2 sisters, both of whom are deceased, and who left 
the following children: from the deceased sister, Anna Rafler 
Anna Maria Moser, seamstress at Esterhasz in Hungary; Elisabeth 
Boheim, seamstress at Rohrau in Lower Austria; Theresia Hamer, 
schoolmistress at Garrhaus in Hungary; Mathias Frohlich, farrier in 
Fischament; and Anna Loder, cobbler-mistress in Vienna. Further: 
from the deceased sister Franziska, there is only one daughter, by the 
name of Anna Wimmer, restaurant-keeper at Nikola in Hungary. 

Joseph Haydn, 

Kapellmeister to Prince Esterhdzy 
and Dr. of Music. 

*Died on loth August 1806. 

[To HAYDN FROM PRINCE NICOLAUS II ESTERHAZY. German] 
Dear Kapellmeister Haydn ! 

My dear wife, the Princess Maria, told me of your wish to receive from me 
six-hundred Gulden annually, in addition to your regular emoluments; she added 



1806} of Joseph Haydn 241 

that the realization of this would be a great source of comfort and consolation to 
you. It is with great pleasure that I hasten to use this opportunity to show my 
esteem and friendship for you, and inform you herewith of my guarantee that you 
shall receive the sum of three-hundred Gulden semi-annually from my Court 
Treasury Office, whom I shall inform of this under separate cover. 1 

I hope that you continue to enjoy good health, and am your most willing 

Fiirst Esterhazy. 
Vienna, 26th November 1806. 

lr flie order to the Treasury Office is preserved in Budapest (Esterhazy 
Archives, Acta Musicalia XXX,2226), and reads as follows: "Since I have 
decided to grant an additional yearly salary of six hundred Gulden to my 
worthy Kapellmeister and Doctor of Art [sic] Joseph Haydn, my Court 
Treasury Office is herewith notified to tender this sum in semi-annual 
instalments as of the 27th of the previous month, November. 
Eisenstadt, ist December 1806. Exp. Esterhazy." 



[To PRINCE NICOLAUS II ESTERHAZY. German] 

[Beginning of December 1806] 
Most Serene Prince 
and Gracious Lord ! 

I cannot find the words to express how touched and pleased I was 
to receive from Your Highness the most gracious note [Hand billet] 
addressed to me, for it went to my heart; and I am equally unable to 
describe my most heartfelt thanks for this most gracious of acts, 
extended to an old and enfeebled servant. Your Highness has thereby 
given me once again the proof that Your Highness is accustomed to 
reward an artist generously even when, because of his advanced age 
and weakness, he is no longer able to fulfil his duties. 

May the Almighty grant me just enough strength, before my end, 
to enable me to express in music the emotions which this undeserved 
act of special grace has awakened in me. 

I remain ever your most devoted, submissive and most obedient 
servant, 

Joseph Haydn, 
Kapellmeister to Prince Esterhazy. 



[To F. S. SiLVERSTOLPE, 1 ST. PETERSBURG. French] 
[Only the signature autograph] 

Vienna, 30 December 1806. 
Monsieur, 

You will forgive an old man of nearly 75 if he makes use of a hand 



242 The Collected Correspondence [1806 

other than his own to thank you, Monsieur, for your kind remem- 
brance of me, and for the good tea which you were good enough to 
send me. I never forget my friends, and I remembered you, Mon- 
sieur, as soon as I had opened your letter. Since the time when we 
first met, my life has become more monotonous: I struggle against 
the infirmities of old age, and I dare not occupy myself with my art 
any longer, for fear of injuring my health. Thus there is nothing that 
gives me more pleasure than to retrace past times, and to hear, from 
time to time, that there are people in this world still interested in me. 
Please be good enough, Monsieur, to give my kind regards to our 
good Neukomm; 2 1 most sincerely wish him all the success which his 
talent and his character deserve. The caravan-borne tea which you 
were good enough to send me is the kind I prefer to all others. You 
have guessed my taste exactly, and I promise you that I shall never 
drink a cup without gratefully recalling the source from which I 
received it. 

I remain, Monsieur, &c., 
Joseph Haydn. 

1 Silverstolpe (see supra, p. 152) had meanwhile become charged' affaires at the 
Swedish Embassy in St. Petersburg. He noted the expenses for "2 canisters 
of caravan-borne tea, a present for Haydn in Vienna, 10 roubles" (see 
Morner, op. cit., p. 406, n. 3). Haydn included his famous visiting card, 
with the incipit "Hin ist alle meine Kraft, alt und schwach bin ich," in the 
above letter. 
2 See supra, p. 215. 



[To HAYDN FROM JOHANN GEORG AiBRECHTSBERGER, 1 VIENNA. Latin, 
"Tu'form] 

[Sometune during the year 1806] 

Pieridum Prater ! qui dudum noster Apollo dicens : hunc Canoncm fecit, dedicat- 
que Tibi vetus et smcerus Amicus Georg Albrechtsberger. 

1806. 
[Ad] Josepho Haydn 

Canone perpetuo a 4 Voci in hypodiapente, et hypodiapson L'istesso Canone 
in hypodiatesseron ed hypodiapson. 

p p B ? ; * " i f Pr i r r i " i - i - f r i 

So - la ti um mi sc - ns so cc - 

sg^N^ ~~ 



f 

os fia-bu - ts se do (b - -rum, do - fo - * rum. 
x See supra, p. 82. 



1 8o 7] of Joseph Haydn 243 

[To HAYDN FROM SIGISMUND NsuicoMM, 1 ST. PETERSBURG. German] 

St. Petersburg, _3 April 1807. 

I? 
My dear Papa! 

Yesterday I gave a concert here, the affiche of which I include. Your excellent 
choruses from Tobia were received with the great enthusiasm which I have always 
noticed, with deep satisfaction, is accorded to your unrivaled masterpieces when- 
ever they are performed here. As No. 2 I chose the chorus, "Ah gran Dio ! sol tu 
sei &c.", as No. 4 "Odi le nostn voci &c." and as No. 6, "Svamsce in un momen- 
to" where, even at the end of the first part, they began to applaud with the utmost 
vigour. I conducted, and the excellent Court Chorus, combined with a selected 
band of large size, played with such affection that you certainly would have been 
completely satisfied with the performance, should we have had the good fortune 
to have had you with us. 

I spared no costs to have my concert well cast, and thus I had expenses of more 
than noo roubles, but despite that, 1 made over 1200 roubles clear profit after 
deducting all expenses; and what increased my joy no end was that everyone went 
away from the hall satisfied. 

I am writing you all this because I cannot show you my gratitude in any other 
way than to assure you that every stroke of good luck which will ever happen to 
me is only YOUR doing. You are my father and the creator of my luck. 

How I envy Vienna for having the good fortune to have you within its walls ! 
How often, dear Papa, I long to see you, even for an hour! Shouldn't this bliss 
soon be mine? 

Let me know from time to time how you are, and no one will be happier than 

Your grateful pupil, 
Neukomm. 

1 See supra, p. 215. 



[HAYDN TO NEUKOMM, ST. PETERSBURG. German] 

[?June] 1807. 

[Contents:] Haydn congratulates Neukomm and encourages him in his work 
on the oratorio, Tobia [Neukomm was reorchestrating it, to bring it in 
line with "modern times"]. He relies on his pupil. 

[Charavay's Catalogue of the Kafka Collection, Paris 1881 

No. 32.] 



[To HAYDN FROM SOCIB*T ACADRMIQUE DES ENFANS D'APPOLLON, PARIS. 

French] 

Paris, soth December 1807. 
Monsieur! 

The French honour the immortal productions of your genius, because there 
are several things which you have composed for them. A grand concert in Paris 
does not seem to be complete unless one hears one or two of your symphonies. 
J.H.-S 



244 The Collected Correspondence [1807 

Moreover, one may say, in all truth, that artists consider it a sacred duty to pay the 
utmost attention to their [the symphonies'] performance, fully assured of the taste 
and sensibility of the listeners, who always share their just enthusiasm. 

Our Society has, among its members, your most zealous admirers. It enjoys a 
certain esteem. But it believes that this esteem would be better deserved, and the 
cult of Appollo more appropriately served, if it could be enriched by your com- 
panionship, and if it could inscribe your name in the list of its members. 

Condescend, Monsieur, to accept this tribute ! It would fain have the glory and 
the good fortune of your assent. 

Please also accept with indulgence the attached copy of our statutes and by- 
laws, followed by a description of the Society, and likewise a gold medal, struck in 
the fashion of a voucher for attendance, which every member receives as a token 
of his right to attend each one of the sessions. 

We have the honour to be, Monsieur, with every esteem, &c. 

[For Haydn's answer, see yth April, 1808] 



[To ANTONIO POLZELLI ON BEHALF OF THE ESTERH^ZY BAND, 

EISENSTADT. German, "Du" form] 

[Only the signature autograph] 

Vienna, 2Oth March 1808. 
My dear Son ! 

Your truly heart- warming remarks and those of all the members 
of the Princely Esterhazy band, on the occasion of my name-day, 
moved me to tears. I thank you and all the others from the bottom of 
my heart, and ask you to tell all the members in my name that I 
regard them all as my dear children, and beg them to have patience 
and forbearance with their old, weak father; tell them that I am 
attached to them with a truly fatherly love, and that there is nothing 
I wish more than to have just sufficient strength so that I could enjoy 
once more the harmony of being at the side of these worthy men, 
who made the fulfilment of my duties so pleasant. Tell them that my 
heart will never forget them, and that it is the greatest honour for me, 
through the grace of my ILLUSTRIOUS PRINCE, to be placed at the head, 
not only of great artists, but of NOBLE AND THANKFUL HUMAN BEINGS. 

Joseph Haydn [m.p.] ria. 

[TO THE SOGlihi ACAD^MIQUE DBS ENFANS D'APPOLLON, PARIS. 

French] 
[Only the signature autograph] 

Vienna, yth April 1808. 
Messieurs, 

The wish of the Societt academique des enfans d'Appollon to inscribe 



i8oS] of Joseph Haydn 245 

my name on the list of its members is highly flattering to me, and I 
am most sensible of this honour. I assure them, through you, that 
they could not have thus honoured anyone more capable of appre- 
ciating their esteem, or of feeling the value of the honour conferred 
on me. I pray you, Messieurs, to allow my emotions to echo yours, 
and at the same time be the interpreters of my gratitude for the 
marks of distinction which you sent me the copy of the statutes 
and by-laws, accompanied by a gold medal. 

You, Messieurs, have strewn flowers on the path of life that yet 
remains for me to traverse. I am profoundly touched, and I feel 
keenly that though old age indeed numbs the faculties, it does not 
diminish my sensibility; for it is that which causes me to regret that 
my advanced age does not permit me to entertain the hope of ever 
being in your midst, of sharing in your labours, of cooperating in the 
cultivation of an art which constitutes the charm of society, or of 
participating in the celebrity which, because of its cherished and 
precious qualifications, the academy enjoys. 

My infirmities force me to do without this comfort, and my regret 
is as lively as my gratitude is profound; pray receive this assurance, 
which is accompanied by the expression of my most sincere esteem. 
I have the honour to be, Messieurs, with profound respect, 

Your most humble and most obedient servant, 
Joseph Haydn [m.p.] ria. 



[To HAYDN FROM LUIGI CHERUBINI, PARIS. Italian] 

Dearest and most esteemed Father. Forgive me for bothering you with my 
letter, but I have a favour to ask of you. 

A merchant and music publisher in Paris has asked me to do a new edition of 
all your divine Quartets. Since the only way he can do this publication is by taking 
those [Quartets] found in various old editions, which are very incorrect, he has 
marked for me all the doubtful things which he thinks are incorrect in a little 
music copy-book, which please find enclosed. Now celebrated, and dear Father 
Haydn, please have the kindness to cast your eye over these fragments, in order to 
see if they are correct and conform to the originals, and if they are not, to correct 
the mistakes where you find it necessary to do so. 

I do ask you to forgive me for taking this liberty, and for putting you to this 
trouble, and I beg you to consider the matter as soon as you can. 

Now that I have got over the more disagreeable part of this letter, dear Father, 
I can add that I am unchanged, and still sick as a result of nervous attacks; and this 
has prevented me from working, and from trying to emulate you, OH! DEAR 

MASTER OF US ALL. 

Here in Pans we heard with indescribable delight of the honours which were 



246 The Collected Correspondence [1808 

offered to you by the University of Vienna, on the day when they performed your 
immortal Creation* I wept for joy at this news, and so much wanted to be there, 
in order to offer up my portion of incense, too. 

Farewell, dearest Father, my wife embraces you tenderly. I do the same, and 
am, with respect and admiration, 

Your affectionate son, 
L. Cherubini. 
Paris, 26th April 1808. 
[Address:] Au tres ce'le'bre [sic] 

Joseph Haydn. 

Die Kleine Steingasse 
A VIENNE. 

x The famous performance of the Creation which was given on 2yth March 
1808, and at which Haydn appeared in public for the last time. 



[TO HAYDN FROM PHILHARMONIC SOCIETY OF ST. PETERSBURG. German] 

Well born Sir, 

Most esteemed Herr Kapellmeister, 

The directors of the Philharmonic Society here hasten to fulfil a commission 
which they consider one of the most pleasant and most honourable of their lives. 
They are to deliver to the immortal composer of the most sublime music a token 
of the boundless admiration which inspires them, and every lover of music, upon 
the mention of the name Haydn; but this token is also one of gratitude, seldom 
better deserved and never proffered with more sincerely and emotion. 

The Philharmonic Society owes its existence to the philanthropic zeal of a few 
admirers of music; they were fortunate enough to see even their most audacious 
hopes fulfilled more quickly and more beautifully than they could have dared 
hope. Thus an association came into being which has already been able to ensure 
an old age free of care to a by no means inconsiderable number of widows ; and 
which, magnanimously supported by a philanthropically minded Imperial House 
and by a generous public, entertains the most optimistic hopes for the future. 

And this wonderful success we owe to a masterpiece which is everywhere 
extolled; we owe it to YOUR Creation I Please therefore, most honoured man, 
accept the enclosed medal of this Society as a token of our sincere and boundless 
gratitude. Receive it with the kindness which is characteristic of you, and of all 
great men, and bestow your good will and sympathy on an organization which 
you may regard as your own work; its beneficial effects will also call forth blessings 
on you in the serene evening of your life, devoted as it was to the joy of man- 
kind. We sign, Sir, in the most heartfelt admiration, 

Your most devoted servants, 

Georg Johann Berwald. Epmatz. H. Czervenka. Dan. Gottlob Bachmann. 
Johann Gottfried Hartman. 
St. Petersburg, 2Qth May 



x This letter was delivered by the Russian Ambassador in Vienna: see letter 
of 25th July 1808. 



i8o8\ of Joseph Haydn 247 

[To HAYDN FROM SIGISMUND NEUKOMM, ST. PETERSBURG. German] 

St. Petersburg, ^ June 1808. 

16 
My dear Papa! 

This is the last letter which I shall be writing to you from here; I leave the day 
after tomorrow, and hope to arrive in Vienna in September. I am making a very 
large detour, and will travel through a large part of Germany in a northerly 
-westerly- easterly direction. My trip to Germany will be of interest to me only 
because I shall be so delighted to see you again. 

The Philharmonic Society in St. Petersburg has struck a medal in your honour, 
and sent it to you through the Russian Ambassador in Vienna. The directors of the 
Society wanted me to take it, but I refused, because I won't arrive in Vienna for 
three months, and because it is more dignified for you if it is presented by the 
Ambassador. The directors also asked me to tell you that the year I8O2 1 is the year 
in which the Society was founded, and since your masterpiece, The Creation, 
which is admired by all, was the corner-stone of their building, the Society thought 
that this particular year, of such importance to them, could be thus best preserved 
for posterity. The medal wighs 42$ ducats. 

Your diploma as honorary member of the Society has not yet been prepared. 2 
Soon I shall be fortunate enough to see you again. Meanwhile farewell, my dear 
Papa, preserve your affection for me, which is the only thing which renders my 
lot an enviable one, and makes me one of the happiest inhabitants on this earth. 

Always, 

Your thankful son, 

Neukomm. 

1 Engraved on the medal (it is reproduced in Griesinger, Appendix). 
2 Neukomm was not aware of the letter which the Society had already written. 



[To HAYDN FROM PRINCE KURAKIN, RUSSIAN AMBASSADOR AT VIENNA. 
German] 

Vienna, 25th July 1808. 

The Philharmonic Society of St. Petersburg wishes to deliver the enclosed 
medal to the immortal Haydn, Doctor of Music, and Father of Harmony. It was 
with the greatest pleasure that I undertook to fulfil this task, which provided me 
with a happy opportunity to indicate my profound admiration and my boundless 
respect for the composer of the Creation, the Seasons, and so many other great 
works. 

A. Furst Kurakin. 



[To THE PHILHARMONIC SOCIETY, ST. PETERSBURG. German} 

[Only the signature autograph] 
Well born Gentlemen ! 
Most esteemed Directors of the Philharmonic Society ! 

It will be difficult for me to find words to express the profound 



248 The Collected Correspondence [1808 

gratitude which your esteemed letter of 2pth May, and the medal 
sent with it, caused me to feel. Be assured that I am proud to know 
that my works have been received with approbation also by the 
inhabitants of your great and famous Imperial City, and that I attach 
appropriate value to the testimonial with which your Society has 
honoured me : a Society of connoisseurs and amateurs of the art to 
which I have devoted my life. You have thus rejuvenated my waning 
powers; and the realization that I have assisted even if remotely 
in your efforts to comfort the unhappy and to dry the tears of the 
widows and orphans, has provided me with many a happy hour in 
my old age. 

May an institution formed for such a worthy purpose continue in 
ever increasing prosperity ! May it succeed in developing talent, in 
furthering the cultivation of musical art, and in encouraging men of 
good will to further acts of charity ! 

With these sincere wishes, which I would ask you to communi- 
cate to all the members of the Philharmonic Society, 1 remain, 
worthy Gentlemen and Patrons, 

Your grateful admirer, 

Jos. Haydn. 
Vienna, 28th July 1808. 



[To PRINCE NICOLAUS II ESTERH^ZY. German} 

[Only the signature autograph] 
Most Serene Highness, 
Gracious Prince and Lord ! 

I humbly place myself at Your Serene Highness' feet for the 
gracious approval of my request, whereby with the utmost kindness 
you take over my yearly expenditures for the doctor and apothecary. 
By this new act of generosity, Your Serene Highness has freed me 
from a most pressing anxiety, and thus enabled me to await the end 
of my earthly existance in peace and serenity. May Heaven grant my 
zealous wish that Your Serene Highness live in everlasting well- 
being and Your Gracious Highness* illustrious family in ever increas- 
ing prosperity ! I remain ever your most devoted and 

Your Serene Highness' 

humble servant, 
Joseph Haydn [m.p.] ria. 
Vienna, 22nd December 1808. 



THE LONDON NOTEBOOKS 



THE FIRST LONDON NOTEBOOK (1791-1792) 



[German] 
HAYDN'S POCKET BOOK OF THE YEAR 1791 IN LONDON 



Knitting needle[s], scissors and a little knife for Frau von Keess. 
For Biswanger, spectacles for someone between 50 and 60 years 
of age. 

For Hamburger, nail-scissors and a larger pair. 

A woman's watch chain. 

For Frau von Gennzinger, various things. 

FRAU VON KEES, the wife of Franz Bemharcl: see supra, p. 94. Hamburger 
was Haydn's landlord in Vienna: see supra, p. 120. Frau von Genzingcr: see 
Introduction. 



[English] 

Head of June, white Cornelian. 6 guinees 

that other white red Cornelian 3 guinees 
6 Schirts _____ g 
12 deto - - - - -12 

watch from gold - - - - 30 
the chen _____ i 



[German] 

On 5th Nov.[i79i] I was guest at a lunch given in honour of the 
Lord Mayor. The new Lord Mayor and his wife ate at the first table 
No. i, then the Lord Chanceler and both the Scherifs, Due de Lids 
[Leeds], Minuster Pitt and the other judges of the first rank. At No. 2 
I ate with M r Silvester, the greatest lawyer and first Alderman of 
London. In this room (which is called the geld Hall [Guild Hall]), 
there were 16 tables besides others in adjoining rooms; in all nearly 
1 200 persons dined, all with the greatest pomp. The food was very 

251 



252 The First London Notebook [i 791-92 

nice and well-cooked; many kinds of wine in abundance. The 
company sat down at 6 o'clock and arose at 8. The Lord Mayor was 
escorted according to rank before and also after dinner, and there 
were many ceremonies, a sword was carried in front of him, and a 
kind of golden crown, to the sound of trumpets, accompanied by a 
wind band. After dinner the distinguished company of [table] No. i 
retired to a separate room which had been chosen beforehand, to 
drink coffee and tea; we other guests, however, were taken to 
another adjoining room. At 9 o'clock No. i rose and went to a small 
room, at which point the ball began: in this room there is, a parte, 
an elevated place for the high Nobless where the Lord Mayor is 
seated on a throne together with his wife. Then the dancing begins 
according to rank, but only i couple, just as at Court on the King's 
Birthday, 6th January [recte: 4th June], In this small room there are 
4 tiers of raised benches on each side, where the fair sex mostly has 
the upper hand. Nothing but minuets are danced in this room; I 
couldn't stand it longer than a quarter of an hour; first, because the 
heat caused by so many people in such a small room was so great; 
and secondly, because of the wretched dance band, the entire orches- 
tra consisting only of two violins and a violoncello. The minuets 
were more Polish than in our or the Italian manner. From there I 
went to another room, which was more like a subterranean cavern, 
and where the dance was English; the music was a little better, 
because there was a drum in the band which drowned the misery of 
the violins. I went on to the great hall, where we had eaten, and there 
the band was larger and more bearable. The dance was English, but 
only on the raised platform where the Lord Mayor and the first 4 
numbers had dined; the other tables, however, were all occupied 
again by men who, as usual, drank enormously the whole night. The 
most curious thing, though, is that a part of the company went on 
dancing without hearing a single note of the music, for first at one 
table, then at another, some were yelling songs and some swilling 
it down and drinking toasts amid terrific roars of "Hurrey, H[urrey], 
H[urrey]" and waving of glasses. The hall and all the other rooms 
are illuminated with lamps which give out an unpleasant odour. It is 
remarkable that the Lord Major requires no knife at table, for a 
carver, who stands in front of him in the middle of the table, cuts up 
everything for him in advance. 

Behind the Lord Mayor there is another man who, as is the 
custom, shouts out all the toasts as loudly as he can; after each shout 
come fanfares of trumpets and kettledrums. No toast was more 




a a 

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tXVIII Page from Haydn's Second London Notebook (1791-1792), showing a German 
ntry followed by Haydn's copies of letters sent to him by Rebecca Schroeter (Ostcrrcichische 



179 1 ~9 2 ] of Joseph Haydn 253 

applauded than that of M r Pitt. But otherwise there is no order. This 
dinner cost ^1600; half must be paid by the Lord Mayor, the other 
half by the two Sherifs. The Lord Mayor is newly elected every 
year. He wears, over his costume, a large black satin mantle, long 
and wide, in the shape of a domino cloak, richly ornamented in gold 
lace bands, especially round the arms. Round his neck we wears a 
large gold chain like that of our Toison Order; his wife has the same, 
she is Mylady and remains so. A new one is elected every year. The 
whole ceremony is worth seeing, especially the procession up the 
Terns [Thames] from Guildhall to Westmynster. 



M tns Schroeter. N 6 James-Street Buchinghamgate [Buckingham 
Gate]. 



The national debt of England is estimated to be over two hundred 
millions. Recently it was calculated that if they had to make up a 
convoy to pay this sum in silver, the waggons, end on end, would 
reach from London to Yorck, that is, 200 miles, presuming that each 
waggon could not carry more than .6000. 



M r Hunter is the greatest and most famous surgeon in London. 
Leicester Square. 

DR. JOHN HUNTER and his wife, Anne, became Haydn's friends. She wrote 
the words to some of his English songs. Shortly before Haydn left England 
in 1792, Dr. Hunter invited him to his house, and when he appeared, several 
strapping young men attempted to force Haydn into a chair, so that the 
famous surgeon could remove a polypus from his nose. Haydn kicked and 
struggled so violently that Dr. Hunter finally gave up the attempt, but 
(saidHaydn later) "it seemed to me that he was sorry for me, for having 
refused him the great honour of experimenting with his talents on my 
person." (Dies, p. 124.) 



N.B.: M r Silvester, valet de chambre of the Duchess of York. 



In France the girls are virtuous and the wives are whores; in Hol- 
land the girls are whores and the wives are virtuous: in England they 
stay proper all their lives. 



254 The First London Notebook [i 791-92 

que Yamitit Soit aussi Solide. Sell Rak [?] 

\Englislfi\ 
N.B. Lady Blake from Langham 

[German] 

On 3rd June 1792, 1 dined with Mon r and M[a] d Mara, M r Kely 
and M dftm Storace at her brother's Storace. Sapienti pauca. 

"MARA", as she was called, was the brilliant dramatic soprano who en- 
chanted London with her rich and powerful voice, which extended from 
low g to e"'. Born Gcrtrud Elisabeth Schmeling in 1749, her career sur- 
passed the wildest fiction. In 1773 she married the 'cellist Mara, whom she 
divorced in 1799: the marriage was a farce even in the early 1790'$ (see 
infra, p. 288. "Kely" = MICHAEL KELLY, the Irish tenor who, together with 
NANCY STORAGE, had sung m the first production of Mozart's Figaro. STEPHEN 
STORAGE was a well-known composer of English ballad operas. 



On 30th [recte: 3ist] May 1792, the grand Widows' Concert, 
which was given for the last time a year ago in Westminster Abbey 
with 885 persons, took place in St. Margaret's Church, because of 
the great expense involved. There were 800 persons at the rehearsal 
and 2000 at the actual performance. The King gave 100 guineas each 
time. 

Benefit Concert for the Royal Society of Musicians; the programme was 
devoted to Handel's music. 



Hastings' [Warren Hastings] trial which took place last week on 
25th May 1792 was the ninety-second meeting in Westminster Hall. 
Hasting [sic] has 3 advocates all to himself. Each of them gets 10 
guinees on the day of the meeting. This trial began 4 years ago. It is 
said that Hasting [sic] has a fortune of a million pounds Sterling. 



On 1 5th June [1792] I went from Windsor to [blank = Slough] 
to Doctor Hershel [Herschel], where 1 saw the great telescope. It is 
40 feet long and 5 feet in diameter. The machinery is very big, but 
so ingenious that a single man can put it in motion with the greatest 
ease. There are also 2 smaller [telescopes], of which one is 22 feet 
long and magnifies 6000 times. The King had 2 made for himself, 
each of which measures 12 feet. He paid him 1000 guineas for them. 
In his younger days D r Hershel was in the Prussian service as an 



1791-92] of Joseph Haydn 255 

oboe player. During the seven-years' war he deserted with his 
brother and went to England, where he supported himself as a 
musician for many years: he became an organist at Bath, but 
gradually turned more to astronomy. After having provided himself 
with the necessary instruments, he left Bath, rented a room near 
Windsor, and studied day and night. His landlady was a widow, fell 
in love with him, married him, and gave him a dowry of 100,000. 
Besides this he has a yearly pension for life of 500 from the King, 
and his wife, at the age of 45, presented him with a son this year, 
1792. Ten years ago he had his sister come, and she is of the greatest 
assistance to him in his observations. Sometimes he sits for 5 or 6 
hours under the open sky in the bitterest cold weather. 



Today, I4th January 1792, the life of Madam Bilingthon [Billing- 
ton] was published in print. Her life is exposed in the most shameless 
detail. The publisher is said to have gotten hold of her own letters, 
and to have offered to return them to her for 10 guineas; otherwise 
he intended to print them publicly. But she didn't want to spend the 
10 guineas, and demanded her letters through the courts; she was 
refused, whereupon she appealed, but in vain; for even though her 
opponent offered her 500, he nevertheless issued this treasure of 
hers today, and you couldn't get a single copy after 3 o'clock in the 
afternoon. 

It is said that her character is the worst sort, but that she is a great 
genius, and all the women hate her because she is so beautiful. N.B. 
She is said, however, to have written the most scandalous letters, 
containing accounts of her amours, to her mother. She is said to be 
an illegitimate child, and it's even believed that her own supposed 
father is involved in this affair. 

Such stories are common in London. The husband provides 
opportunities for his wife so that he can profit from it, whereby he 
relieves his "brother-in-law" of 1000 Sterling and more. 

ELISABETH BILLINGTON, nit WEICHSEL (c. 1768-1818), was the most famous 
English soprano of her age. Haydn gave her his Terzetto for 2 sopranos, 
tenor, obbhgato cor anglais, bassoon and French horn, with orchestra, 
"Pieta di me, benigni Dei" (see Landon, p. 861). 



On I4th June [1792] I went to Windsor and from there 8 miles to 
Ascot Heath to see the races. These horse races are run on a large 



256 The First London Notebook [i 791-92 

field, especially prepared for them, and on this field is a large circular 
track 2 English miles long and 6 fathoms wide. It is all very smooth 
and even, and the whole field has a gentle upward slope. At the 
summit the circle stops curving and becomes a straight line about 
2000 paces long; along this straight line, stalls of various sizes, or 
rather an ampitheatre, have been erected, some of which hold 2 to 3 
hundred persons. The others are smaller. In the middle there is one 
for the Prince of Wales and high personages. The places in these 
stalls cost from i to 42 shillings per person. Opposite the Prince of 
Wales' stall is erected a high platform with a bell over it, on which 
platform stand several persons who have been specially chosen and 
sworn, and they give the first signal with the bell for the performers 
to line up in front of the platform. When they are ready, the bell is 
rung a second time, and at the first stroke they ride off at once. 
Whoever is the first to traverse the circle of 2 miles and return to the 
platform from which they started, receives the prize. In the first 
Heeth [heat] there were 3 riders, and they had to go round the circle 
twice without stopping. They did this double course in 5 minutes. 
No stranger will believe this unless they have seen it themselves. The 
2nd time there were seven riders; when they were in the middle of 
the circle, all 7 were in the same line, but as soon as they came 
nearer some fell behind, but never more than about [originally"2o"] 
10 paces; and just when you think that one of them is rather near the 
goal, and people make large bets on him at this moment, another 
rushes past him at very close quarters and with unbelievable force 
reaches the winning place. The riders are very lightly clad in silk, 
and each one has a different colour, so that you can recognize him 
more easily; no boots, a little cap on his head, they are all as lean as a 
greyhound and lean as their horses. Each one is weighed in, and a 
certain weight is allowed him, in proportion to the strength of the 
horse, and if the rider is too light he must put on heavier clothes, or 
they hang some lead on him. The horses are of the finest possible 
breed, light, with very thin feet, the hair of their neck tied into 
braids, the hoofs very delicate. As soon as they hear the sound of the 
bell, they dash off at once with the greatest force. Every leap of the 
horses is 22 feet long. These horses are very expensive. The Prince 
of Wales paid ^8000 for one some years ago, and sold it again for 
p6ooo; but he won ^50,000 with it the first time. Among other 
things a single large stall is erected, wherein the Englishmen place 
their bets. The King has his own stall at one side. I saw 5 heats on the 
first day, and despite a heavy rain there were 2000 vehicles, all full 



i79*-9 2 ] of Joseph Haydn 257 

of people, and 3 times as many common people on foot. Besides 
this, there are all sorts of other things puppet-plays, hawkers 
[Ciarlatony], horror plays [Grusl Possen] which go on during the 
races; many tents with refreshments, all kinds of wine and beer, and 
many lo-players (in English it is written Eo), a game which is for- 
bidden in London. This horse racing went on 5 days in succession. I 
was there on the 2nd day; the beginning was at 2 o'clock and it 
went on till 5, the 3rd day till half-past 6, though there were but 3 
Heaths, because it happened twice that 3 riders came in first together, 
and thus they had to race four times to decide the winner. 



If anybody steals ^2 he is hanged; but if I trust anybody with 
.2000, and he carries it off to the devil, he is acquitted. Murder and 
forgery cannot be pardoned; last year a clergyman was hanged for 
the latter, even though the King himself did all he could for him. 



The City of London consumes 8 times one hundred thousand 
cartloads of coal each year; each cart holds 13 sacks, each sack holds 
2 dry measures [= 3.44 litre]: most of the coal comes from New- 
castle. Often 200 loaded ships arrive at once. A cartload costs f^\ . 
[The following sentence was added later, in another ink:] In the 
year 1795, the coal-measure [Malten] or dry-measure .7. Within 
the last 30 years, 38,000 houses were built. 

If a woman murders her husband, she is burned alive, whereas the 
husband, on the contrary, is hanged. 

The punishment of a murderer is increased, when sentence is 
passed on him, by the fact that his body is dissected after his death. 



On I4th January 1792, the Pantheon Theatre burned down 2 
hours after midnight. 



On 2ist [recte: 22nd] May [1792], Giardini's concert took place 
in Renalag [Ranelagh Gardens]. He played like a pig. 



FELICE GIARDINI (1716-1796), a famous violinist and composer, had once 
been the darling of London musical Society. He had left London in 1784 



258 The First London Notebook [i 791-92 

and gone to Naples, where he had lived at the house of Sir William 
Hamilton. He returned to England some five years later, but never attained 
his former position. The concert Haydn attended was a benefit performance 
of Giardini s oratorio Ruth; Giardini, then 76 years of age, was a pathetic 
figure, whose violin playing was, of course, but a ghost of its former self. 
Haydn had wanted to meet Giardini, and "a Lord" (could it have been 
Lord Abingdon?) took Haydn with him one day to meet the old man. A 
servant let them into the antechamber, and while they were waiting they 
heard the loud voice of Giardini, through an open door, saying: "I don't 
want to meet the German dog." The Lord was horrified, but Haydn, 
reporting the story to Dies, found it only amusing; whenever Giardim's 
name was mentioned, after this occurrence, Haydn always "had to laugh" 
(Dies, pp. I05/) 



On I2th June [1792] Mara gave her benefit concert in the great 
Haymarket Theatre; they gave Dido, the music by Sard. N.B. : Only 
the terzet, a few recitatives and a little aria were by Sard, the rest was 
by 6 different other composers. The i ma D0[]d sang an old aria by 
Sacchini, Son Regina etc. 

GiusEppt SARTI (1729-1802) and ANTONIO MARIA GASPARO SACCHINI (1734- 
1786) were leading operatic composers of their day. Haydn had performed 
operas by both in the Court Theatre at Esterhdza. 



Once, when an Archbishop of London asked Parliament to silence 
a learned public preacher of the Moravian religion, the Vice Presi- 
dent answered that it could be easily done; just make him a Bishop, 
and he will remain silent the rest of his life. 



Every canal-lock costs .10,000. 

In Oxford Street I saw St. Peter engraved in copper; he was clad 
as a secular priest [Weltbriester] with outstretched arms. The glory of 
heaven shines on his right side, and on his left you see the devil, 
whispering in his ear, and with a wind-mill on his head. 



On ist June 1792 Mara gave her benefit concert. They played two 
of my Symphonies, and I accompanied her, all by myself at the 



1791-92] of Joseph Haydn 259 

pianoforte, in a very difficult English Aria by Purcell. The audience 
was very small. 



Salomon was the leader, and Haydn "presided" at the harpsichord (piano- 
forte). PurcelTs Song was "From rosy bower". See Landon, p. 501. 



In the month of January 1792, a roasting chicken cost 7 shillings, 
a turkey 9 shillings, a dozen larks i crown. N.B. : a duck, if it is 
plucked, costs 5 shillings. 



On 3rd June, that being the eve of the King's birthday, all the 
bells in London are rung from 8 o'clock in the evening to 9 o'clock, 
and so also in honour of the Queen. 



On 8th Feb. 1792, the first Ancient Concert took place. 
[Space left for the programme, not filled in] 

On 1 3th Feb. The Professional Concerts began. 

[Space left for the programme, not filled in] 

On the 1 7th [Feb.] Salomon's Concert. 

[Space left for the programme, not filled in] 

For the programmes of the Professional and Salomon's concerts, see Landon, 
pp. 472/ 



ANECTOD : Just as the director of a grand concert was about to be- 
gin the first number, the kettledrummer called loudly to him and 
said he should wait a moment, since his 2 kettledrums were not yet 
tuned. The leader could and would not wait any longer, and said he 
should transpose in the meantime. 

The little story of an errand boy who ate cow dung [fessa] 
[not filled in]. 

J.H.-T 



260 The First London Notebook [i 791-92 

When M r Fox was seeking votes to elect him to Parliament, a 
citizen said he would give him a rope instead of a vote. Fox answered 
that he could not rob him of a family heirloom. 



Duchess of Devonchire [sic], his protector. Anecdote about the 
foot under her petticoat. 



N.B. from Wwmland: 

Quoties cum stercore certo 
vico nel vincor semper ego maculor. 



Ex nihilo nihil fit. 



Domine, praxis est multiplex, qui n'intellegit est simplex. 



Stella a Stella differt claritate, non eadem lux omnibus. Herr ! Es 
ist nicht alles licht was lichtet [Lord ! All is not light that lightens.]. 



Interesse toto mundo 
Sin fronte colitur, 
Sine satis, sine fundo, 
Interque quaeritur. 



Mel in ore, verba lactis. 
Fel in corde, fraus in factis. 
[Plautus, Truculentus 178] 



Supernumerarius, das Fiinfte Rad in Wagen [the fifth wheel of a 
waggon]. 



Mens, ratio, et consilium in senibus est. 



1 791-92] of Joseph Haydn 261 

Si nisi non esset, perfectus quilibet esset. 

Raro sunt visi, qui caruere nisi. 



8 days before Pentecost I heard 4,000 charity children in St. 
Paul's Church sing the song noted below. One performer indicated 
the tempo. No music ever moved me so deeply in my whole life as 
this devotional and innocent 



Adagio IT 

N.B. : All the children are newly clad, and enter in procession. 
The organist first played the melody very nicely and simply, and 
then they all began to sing at once. 



The chant was by JOHN JONES (1728-1796), organist at St. Paul's. The piece 
is actually written in D major (interested readers can find it in Pohl, H. in 
L., p. 214), which suggests that the organ at St. Paul's was pitched a note 
higher. Haydn's notation of bars 6 and 7 also differs from the printed 



In the year 1791, 22 thousand persons died in London. 
Lokhart [Lockhart], blind organist. 



lo vi mando questo foglio 
Dalle lagrime rigato, 
Sotto scritto dal cordoglio 
Dai pensieri siggillato 
Testimento del mio amore 
[lo] vi mando questo core. 



On 1 3th February 1792, the first Professional Concert took place. 
[Space left for the programme, not filled in] 



262 The First London Notebook [i 791-92 

On i yth [February] Salomon's Concert. 

[Space left for the programme, not filled in] 



On 2Oth May 1792, there was a thunderstorm in the evening. An 
unusual thing in London. 



An apprentice generally works the whole year round from 6 
o'clock in the morning to 6 o'clock in the evening, and during this 
time he has not more than an hour and a half free time at his disposal. 
He gets a guinea a week, from which he must also feed himself. Many 
are paid by the piece, but every quarter of an hour of absence is 
docked. 

Only the blacksmith's apprentices have to work an hour a day 
longer. 



Today, 4th June 1792, 1 was in Vauxhall where the King's birth- 
day is celebrated. Over 30,000 lamps were burning, but because of 
the severe cold there were very few people present. The grounds 
and its variety are perhaps unique in the world. There are 155 little 
dining booths in various places, most charmingly situated, each 
comfortably seating 6 persons. There are very large alleys of trees, 
which form a wonderful roof above, and are magnificently illumi- 
nated. Tea, coffee and milk with almonds [Mandlmilch] all cost 
nothing. The entrance fee is half a crown per person. The music is 
fairly good. A stone statue of Handel has been erected. On the 2nd 
inst. there was a masked ball, and on this evening they took in 
3000 guineas. 

Handel's statue, by Louis Francois Roubiliac, had been made in 1738. It 
is now in Novcllo's publishing house. See O. E. Deutsch, Handel, A 
Documentary Biography, London 1955, p. 456. 



Singers, male and female, in London Composers 

Mara Bacchierotti. Kelly Baumgarten 

Storace Davide dementi 

Billington Albertarelli Dussok Dusseck 

Cassentini Dorelli Girowetz 



1 79*-9 2 ] of Joseph Haydn 

Lops NB Lazarini, in the Choris 
Pantheon 
Negri Mazzanti Chelsea Burney D r 
College 
Celestini MoreUi Hiilmandel 
Choris Calcagni Graff 
Benda CROUTSCH DiettenhofFer 
M n Barthelemon Harrison Storace 
and her daughter 
Simoni Arnold 
Schinotti 
Miss Pool Barthelemon 


263 


Maffei, bella, ma poco musica 
[pretty, but not very musical] 


Schield* 

Carter* 
Cramer 
Tomich 


Capelletti 
Miss Barck 
Davis, detta Inglesina, la 
quale Recitava a Napoli 
quando 1'aveva 13*' anni[;] 
ella e adesso vecchietta ma 
lia una buona Scola [called the 
English girl, who at the age 
of 13 sang at Naples; she is 
rather old now, but has a 
good technique] 
M trls Bland 
MAD: SECONDA passabile 
Poet Badini 


Fnke N ro : 24 
BLANFORD STREET 
MANCHESTER SQUARE 


Callcot Scholar 


la Trobe dedicated 
J2 his piano Sonatas to 

2 nie 



Mazingi at the 
pianoforte in the Pan- 
theon 
Friderici 



Burney 

Upper Titchfield 

Street 



Singers: MARA (sec p. 254); STORAGE (see p. 254); BILLINGTON (see p. 255). 



264 The First London Notebook [i 791-92 

ANNA CASENTTNI, who married Luigi Borghi (violinist and manager of the 
Italian Opera in London). LOPS (see p. 1 14). CRISTINA NEGRI, Luigia Polzelli's 
sister (see p. 1 16). CELESTINI : ? Choris = the soprano SOPHIA CORRI (later Mrs. 
Dussek). BENDA:? MRS. BARTHLEMON, wife of the violinist and composer 
F. H. Barthe'lemon (1741-1808). Haydn became an intimate friend of the 
family. Their daughter was CECILIA MARIA (later Mrs. Henslow[e]). 
SCHINOTTI: ? MAFFEI, a soprano in Gallini's opera company. THERESA POGGI 
CAPPELLETTI, soprano in Gallini's opera company, who also sang in the 
Haydn-Salomon concerts. CECILIA DAVIES (c. 1750-1836), a relative of 
Benjamin Franklin, had toured the Continent with her parents and sister 
(MARIANNE, the celebrated player of the glass harmonica) from 1768 to 
1773 (O. E. Deutsch, 'Neues von der Glasharmonika', Oesterreichische 
Musikzeitschrifi IX [1954], Heft 12, pp. 380^). Seconda is probably MRS. 
SECOND from Bath, who sang in at least one concert in which Haydn 
participated (New Musical Fund Concert, 20th April 1795: see Landon, 
p. 544); she later sang in the first performance of Haydn's Creation in 
London (Pohl, H. in L., p. 3 16). BADINI (see p. 1 14). Bacchierotti = GAETANO 
PACCHIEROTTI, the castrate who scored such a success with Haydn's Cantata 
Arianna (Pohl, H. in L., p. 119; Landon, p. 443). KELLY (see p. 254). Davidde 
(DAVID: see p. 114). FRANCESCO ALBERTARELLI, who had been Mozart's 
Don Giovanni in the Vienna performance of 1788, was a member of Gal- 
lini's opera company and sang in the Haydn-Salomon concerts. DORELLI 
was a male singer in Gallini's company. LAZZARINI was a tenor who, apart 
from singing at the Pantheon, also sang in the Professional Concerts of 1792. 
FERDINANDO MAZZANTI. GIOVANNI MORELLI, member of the Italian 
Opera, had an exceptional bass voice; he sang in a Haydn Duet ('Quel 
tuo visetto amabile') at the composer's benefit concert of 1795. Croutsch = 
ANNE MARY CROUCH, whose recitative was said to equal that of Mara's. 
SAMUEL HARRISON, tenor. SIMONI was a tenor whom Salomon engaged 
in 1792; he had previously sung at the Theatre de Monsieur in Paris (Landon, 
p. 492). CAROLINE POOL sang at the Haydn-Salomon concerts, and Haydn 
wrote an ana for her. Miss Barck = the MISTRESS PARK mentioned in one 
of Haydn's letters (see p. 144). MISTRESS BLAND was born Maria Romani 
and married George Bland. Composers: CARL FRIEDRICH BAUMGARTEN 
(c. 1740-1824). CLEMENTI (see p. 42). DUSSEK (see p. 131). ADALBERT 
GYROWETZ (1763-1850), who was engaged by the Haydn-Salomon con- 
certs in 1791 and 1792. Choris == DOMENICO CORRI, the father of the Miss 
Corri mentioned under the singers. CHARLES BURNEY (see also supra, p. 145). 
NICHOLAS JOSEPH HULLMANDEL (Strasbourg, 1771 London, 1823). 
FRIEDRICH HARTMANN GRAFF (1727-1795), Kapellmeister at Augsburg, had 
received the honorary degree of D.Mus. from Oxford in 1789. DIETTEN- 
HOFER (see p. 119). STEPHEN STORAGE (see p. 254). SAMUEL ARNOLD (1740- 
1802), organist at Westminster Abbey; see also infra, pp. 28o/. F. H. 
BARTH&.EMON: see supra, under singers. WILLIAM SHIELD (1748-1829): see 
also infra, p. 274 THOMAS CARTER (c. 1735-1804).}. B. CRAMER (1771-1858), 
son of Wilhelm, the leader of the Professional Concerts. FRANCESCO 
TOMICH, who later arranged many of Haydn's Symphonies for piano. 
PHILIPP JOSEPH FRIKE (or FRICK, as it was anglicized) (Wurzburg, 1740 
London, 1798). JOHN W. CALLCOTT (1766-1821), one of Haydn's pupils in 



1791-92} 



of Joseph Haydn 



265 



composition. REV. CHRISTIAN I. LATROBE (1758-1836), whose Three Sonatas 
for the piano forte Op. Ill (J. Bland) were dedicated to Haydn. JOSEPH 
MAZZINGHI (1765-1839). Burney's name is repeated here, probably because 
of the address in town. 



Pianists 

Clcmenti 

Duschek 

Girowetz 

Diettenhofer 

Burney 

M li Burney 

Hiillmandel 

Graff, also 

flautist 
Miss Barthe- 

lemon 
Cramer 
Miss Janson 
Humel from 

Vienna 
M rt Jansen 
Lenz, still very 

young 



Violinists 
Salomon 
Giornovich 
Cramer 
CLEMENT petit 
Barthelemon 
Schield 

Hindmarsh, Eng. 
Scheener, Germ. 
Raimondi, Ital. 
II Serra, from the 
II Marquis DURAZZO 
Borghi 
Gionovichi 
Felix Janievicz 
Jarowez 
Giardini 



Violoncellists 

Grosdill 

Menel 

Mara 

Sperati 

Schramb 



Doctors 

Burney 

Hess in Oxford 

Arnold 



Dupuis a great 
organist 



Oboists 

Fischer 

Harrington 

Lolli and his son came 

from Stockholm. 



Clcmenti, Dussek, Gyrowetz, Diettenhofer and Burney: see previous note 
on composers. Miss Burney was his daughter, Esther (Hetty). Hiillmandel, 
see previous note on composers.}. G. GRAEFF (not to be confused with F. H. 
Graff, listed under composers) was a flautist who played in the Haydn- 
Salomon concerts of 1791-1792. Miss Barthelemon andj. B. Cramer: see 
previous note on composers. J. N. Hummel: see supra, p. 124. THERESE 
JANSEN was the pianist for whom Haydn wrote his last three pianoforte 
Sonatas (Nos. 50-52, London 1794). On i6th May 1795, she married 
GABTANO BARTOLOZZI, at which ceremony Haydn was a witness (W. 
Oliver Strunk, 'Notes on a Haydn Autograph', Musical Quarterly XX 
[1934] No. 2, pp. 192$!). LENZ:? Violinists: JOHANN PETER SALOMON, 
Haydn's impresario. GIOVANNI MANE GIORNOVICHJ (JARNOWIK) (1745- 
1804). Wilhelm Cramer: see previous note on composers. FRANZ CLEMENT 
1780-1842), for whom Beethoven wrote his violin Concerto in D. HIND- 
MARSH was violinist and viola player in Haydn's concerts; his wife was a 
singer. SCHEENER: appeared for the first time in London (spelt "Schenner") 
in 1781. IGNAZIO RAIMONDI (1733-1813) was also a composer: Haydn heard 
his 'Battle Symphony' in London (London, p. 471). SERRA:? LUIGI BORGHI 
was also a composer. FELDC JANIEWIECZ (1762-1 848), famous violinist and 



266 The First London Notebook [i 791-92 

composer. JAROWEZ:? Giardini: see supra, p. 257. Violoncellists: JOHN 
CKOSDILL [recte] (1751-1825). MENEL first appeared as a 'cellist in London in 
1789, SPERATI two years earlier. JOHANN MARA was the husband of the 
famous soprano (see supra, p. 254). Schramb: CHRISTOPHER SHRAM, who 
first played in London in 1792. Doctors: Charles Burney (see supra, passim). 
Hess: Dr. PHILIP HAYES (1738-1797), Professor of Music at Oxford Univer- 
sity. THOMAS SAUNDERS DUPUIS (1733-1796), organist at the Royal Chapel. 
Sir George Smart, at the age of 90 (1866) told Pofl that he had once observed 
Haydn, listening with all his attention to Dupuis, as he played in the St. 
James Chapel ; and when Dupuis left, Haydn fell on his neck and kissed him. 
"One man kissing another!" said Smart, who had never seen such a thing 
and was much shocked by it. (Pohl, H. in L., p. 2O3n.). Oboists: J. C. 
FISCHER (1733-1800), also a composer. HARRINGTON played at many of 
Haydn's concerts. ANTONIO LOLLI (c. 1730(1740?]-! 802), well known both 
as a composer and as a violinist. 



Krumpholz, 1'Arpa. M r Blumb imitated a parrot and accom- 
panied himself admirably on the pianoforte. 

M rt de la Valle, a pupil of Krumpholz: plays rather less well than 
Madam Krumpholz. Also plays the piano. Her sister-in-law plays the 
violin very nicely. 

MADAME KRUMPHOLTZ (nte Meyer from Metz) married J. B. Krumpholtz, 
who had been in the Esterhizy band from 1773-1776 and had studied 
composition with Haydn. His wife left him in 1788, and he committed sui- 
cide in Pans two years later. MADAME DELA VALLE (Delaval) played at the 
first Haydn-Salomon Concert of 1792. 



M r . Anris, Bishop and a minor composer. 

Nicolai, valet de chambre of the King and a composer. 



Hartman, flautist, had to leave England because of poverty, lost 
his wife by death, and ended up as a ne'er do well. 



On 3ist Dec. [1791] I was with Pleyel in the Pantheon Theatre. 
They gave La Pastorella Mobile by Guglielmi. Mad. Cassentini 
played the leading role and Laza[rini] die primo huomo\ the thin 
Calvesi had I'ultima parte. The opera did not please. Neither did the 
ballet, even though the great HUlisburg danced. 



1 791-92] of Joseph Haydn 267 

Ignaz Pleyel, whom the rival Professional Concerts had engaged (see p. 
127). For Anna Cascntim and the tenor Lazzanm, see previous list of singers. 
Calvesi was possibly the tenor who had sung for many years at the Vienna 
Court Opera: in Haydn's absence he had sung once at Esterhaza (Weigl's 
Venere e Adonis t 3rd August 1791 : see Pohl II, 242), MADAME HILLIGSBERG 
[recte] v/asprima ballerina. 



Ambassador, Count Stadion. 
Prince de Castelcicala of Naples. 
Marquis del Campo of Spain. 
My friend, you think I love you ! In truth, you are not mistaken. 



In solitude, too, there are divinely beautiful duties, and to perform 
them in quiet is more than wealth. 



Begehre nicht ein gliick zu gross 
Und nicht ein weib zu schon, 
Der Himmel mochte dir di[e]s Loos 
Im zorne zugestehn. 



(Do not desire too great happiness or too beautiful a wife: Heaven might, 
in anger, grant your wish !) 



Wer mit Vernunft betracht' den wechsel aller Sachen, 

Den kan kein gliick nicht froh, kein ungliick traurig machen. 



(He who wisely observes how all things change cannot be made happy 
by good fortune or unhappy by bad.) 



INTRA IN GAUDIUM. 
HABEO, ET NON HABEOR. 
RESURGAM. 
IN COELO QUIES. 

Chi ben commincia, ha la med delTopera, ne si commincia ben, 
se in dal cielo ! 



268 The First London Notebook [i 791-92 

Gott im Herzen, ein gut weibchen in arm, 
Jenes macht seelig, dieses gewiss warm. 

Mit eben einer warme der achten freundschaft empfilt sich zu 
bestandigen angedenken [2. Version: "so viel zum angedenken 

Ihres"]. 

Kenne gott, die welt, und dich, liebster Freund, und denk an 
mich. 

i ss 



j 



Ktn-ne frott, die Welt und di, deb-ster frf und den* an 

f'N r f i r f f if" tf E i r f r i 



rmcfi, und denfc an micfi, ken-nc Gott, die Welf urfc didi.fM-stv 

God in one's heart, a good wife on one's arm, 
The one brings salvation, the second is warm. 

With just such a warmth of genuine friendship, I commend myself to your 
thoughts always [second version: "I commend myself this much to your 
thoughts, Your"]. [The text of the canon, which Haydn liked to present 
to his friends, might be translated: "Know God, the world, and thyself, 
dearest friend, and think of me."] 



During the last 31 years, 38,000 houses were built in London. 



M r . Ott, and Guttenbrun. 

Painters. A.M. Ott painted Haydn's portrait, which was then engraved by 
Bartolozzi; it appeared in 1791. J. A. GUTTENBRUNN'S portrait belonged to Frau 
Haydn, and is now in possession of the von Karajan family in Graz; it was engraved 
by L. SCHIAVONETTI in 1792. Haydn thought it better than most of the others done 
in London, but was not satisfied with any except the profile by George Dance 
(Pohl in, 140, i$lf.). 



CAPELLETTI 

On 5th Nov. the boys celebrate the day on which the Guys set 
the town on fire. 

This is Haydn's rather devious description of Guy Fawkes* Day. For 
Capelletti, see pp. 1 14 and 264. 



1791-92] of Joseph Haydn 269 

On pth Nov. [1791] I ate at the Lord Mayor's. 
Kozwarra. 

FRANZ KOTZWARA, a native of Prague, was engaged by Gallini as viola 
player in 1790 (he had been in Ireland previously). On 2nd September 
1791, he visited a house of ill fame in Vine Street, St. Martin's, and paid a 
whore a guinea to hang him. His death caused considerable excitement in the 
Press (see St. James's Chronicle; Pohl H. in L., p. 136). 



THE SECOND LONDON NOTEBOOK (1791-1792) 



[German] 

At the beginning of May 1792, Lord Barrymore gave a ball that 
cost 5,000 guineas. He paid 1,000 guineas for 1,000 peaches. 2000 
baskets of gusberes [gooseberries], 5 shillings a basket. 



The Prince of Wales' punch: i bottle champagne, i bottle Bur- 
gundy, i bottle rum, 10 lemons, 2 oranges, i Ibs. of sugar. 



On 23rd June 1792, the Duchess of York gave a dinner for 180 
persons under a large tent in her garden. I saw the same. 



La riposta del S: Marchesi sopra una lettere del S: Gallini. 
NelTanno 1791. "Ho ricevuto le sua gentilissima lettera, buona 
Notte. 

Marchesi." 

(Sig. Marchesi 's answer to a letter from Sig. Gallini, in the year 1791: 
"I received your very kind letter. Good night. Marchesi.") For Gallini, see 
p. 67; LUIGI MARCHESI (1755-1829) was a famous castrato. 



When a Quaker goes to Court, he pays the door-keeper to take 
off his hat for him, for a Quaker takes his hat off to no one. In order 
to pay the King's tax, an official goes to his house during the period 
when the tax is being collected, and in his presence robs him of as 
much goods as represent the tax in value. When the disguised thief 
leaves the door with his goods, the Quaker calls him back and asks 
him how much money he wants for the stolen things. The official 
demands just the amount of the tax, and in this way the Quaker pays 
the tax to the King. 

270 



1791-9 2 ] of Joseph Haydn 271 

Anno 1791 the last great concert, with 885 persons, was held in 
Westminster [Abbey]. Anno 1792 it was transferred to St. Margaret's 
Chapel, with 200 performers. People criticized this. 

See also First Notebook, p. 254. 



On 4th August [1791], I went to visit Herr Brassy, the banker 
who lives in the country, 12 miles from London. Stayed there 5 
weeks. I was very well entertained. N.B.: Herr Brassy once cursed, 
because he had had too easy a rime in this world. 

NATHANIEL BRASSEY and his family lived at Roxford, about a mile from the 
village of Hertmgfordbury in Hertfordshire; Haydn taught music to the 
daughter in London (see penultimate entry of this notebook). Brassey tried 
to shoot himself. See Dies, pp. 121$, Landon, pp. 464/ and Marion Scott, 
'Haydn stayed here* (Music & Letters XXXII, 1951, pp. 38-44). Brassey 
died in 1798 and lies buried in the local parish churchyard. 



In order to preserve cream or milk for a long time, one takes a 
bottle full of milk and puts it in an earthenware pot or copper vessel 
containing water enough to cover more than half of the bottle, and 
then places it over a fire and lets it simmer half-an-hour. Then one 
takes the bottle out and seals it securely, so that no air can escape, 
and in this way the milk will keep for many months. N.B. : The 
bottle must be securely corked before it is placed in the water. 

This was told me by a sea captain. 

The sea captain who keeps appearing in the stories of Haydn's English visits 
may have been the "CAPTAIN BLOUNT" who subscribed to the Creation, 
and whose name Haydn entered in his little subscribers' book. 



On 26th March [1792], at M r Barthelemon's Concert, an English 
clergyman was present who fell into the most profound melancholy 
on hearing the Andante: 

[Symphony No. 75 in D, 2 nd movt.] 

because he had dreamt the previous night that this piece was a pre- 
monition of his death. He left the company at once and took to his 
bed. 



272 The Second London Notebook [1791-92 

Today, the 25th of April, I heard from Herr Barthelemon that this 
protestant clergyman had died. 

For Barthelemon, see supra, p. 264. The concert was actually Miss Corn's 
benefit concert. Barthelemon's Benefit Concert took place on 28th May 
1792. Pohl, H. in L., p. 193 ; Landon, pp. 490/1 

On 24th Nov. [1791], I was invited by the Prince of Wales to visit 
his brother, the Due du York, at eatland [Oatlands]. I stayed there 2 
days and enjoyed many marks of graciousness and honour, not only 
from the Prince of Wales but also from the Duchess, daughter of the 
King of Prussia. The little castle, 18 miles from London, lies on a 
slope and commands the most glorious view. Among its many 
beauties is a most remarkable grotto which cost .25,000 Sterling, 
and which was 1 1 years in the building. It is very large and contains 
many diversions, inter alia actual water which flows in from various 
sides, a beautiful English garden, various entrances and exits, besides 
a most charming bath. The Duke bought this country estate for 
some .47,000 Sterling. On the 3rd day, the Duke had me taken 12 
miles towards London with his horse and carriage. 

The Prince of Wales wants my portrait. For 2 days we played 
music for 4 hours in the evening, that is, from 10 o'clock till 2 
o'clock in die morning, then we had supper and went to bed at 
3 o'clock. 

Cf. Letter to Genzinger of zoth December 1791. 

On the 30th [November 1791], I spent 3 days in the country, 100 
miles from London, at the house of Sir Patric Blak [Patrick Blake, 
who lived at Langham] ; en route I passed through the little town of 
Cambridge. Saw the universities there, which are very conveniently 
situated, one after another, in a row, but each one separate from the 
other; each university has back of it a very roomy and beautiful 
garden, besides beautiful stone bridges, in order to be able to cross 
the circumjacent stream. The King's Chapel is famous because of 
its stuccoed ceilung. It is all made of stone, but so delicate that no- 
thing more beautiful could have been made of wood. It is already 
400 years old, and everyone thinks that it is not more than 10 years 
old, because of the firmness and peculiar whiteness of the stone. The 
students there bear themselves like those at Oxford, but it is said that 
they have better teachers. There are in all 800 students. 



1791-9 2 ] of Joseph Haydn 273 

M r Fox's trousers. Story of a sedan-chair-bearer. He lost ^4,000 
but got them back by this clever [?] idea. [Story not continued.] 



When 2 persons of opposite sexes receive permission to marry 
from the secular courts, the clergyman is forced to marry them as 
soon as they are in the church, even if they have loved without their 
parent's permission; if he doesn't, the bridegroom and bride have 
the right, as soon as the clergyman leaves the church, to tear his robes 
from his body. And then the clergyman is degraded and forever 
disqualified. 



The obligation for 1000 fl. deposited with Prince Esterhazi is dated 
lothjuly 1791. 

Covent-garden is the National Theatre. I was there on loth Dec. 
[1791] and saw an opera called The Woodman. It was the very day on 
which the life story of Madam Bilmgton, both from the good as 
well as from the bad sides, was announced; such impertinent enter- 
prises are generally undertaken for [selfish] interests. She sang rather 
timidly this evening, but very well all the same. The first tenor 
[space for name left blank] has a good voice and quite a good style, 
but he uses the falsetto to excess. He sang a trill on high C and ran 
up to G. The 2nd tenor tries to imitate him, but could not make the 
change from the falsetto to the natural voice, and apart from that he 
is most unmusical. He creates a new tempo for himself, now 3/4, 
then 2/4, makes cuts whenever it occurs to him. But the cahest [cast] 
is entirely used to him. The leader is Herr Baumgartner, a German 
who, however, has almost forgotten his mother-tongue. The 
Theatre is very dark and dirty, and is almost as large as the Vienna 
Court Theatre. The common people in the galleries of all the 
theatres are very impertinent; they set the fashion with all their un- 
restrained impetuosity, and whether something is repeated or not is 
determined by their yells. The parterre and all the boxes sometimes 
have to applaud a great deal to have something good repeated. That 
was just what happened this evening, with the Duet in the 3rd Act, 
which was very beautiful; and the pro's and contra's went on for 
nearly a quarter of an hour, till finally the parterre and the boxes 
won, and they repeated the Duet. Both the performers stood on the 



274 The Second London Notebook [i 791-92 

stage quite terrified, first retiring, then again coming forward. THE 

ORCHESTRA IS SLEEPY. 

The Woodman was by Haydn's friend William Shield (see supra, p. 264). 
The first tenor was Charles Incledon, and the second tenor was an Irishman 
named Johnstone (hence there is an Irishman in almost all of Shield's operas). 
Dr. Roger Fiske, who kindly supplied the above information, adds that 
"Haydn was not alone in finding Johnstone unmusical, but he had a way 
with him when it came to singing little Irish songs, and he was popular as a 
man." Dr. Fiske also discovered that there is in fact no duet in the original 
version of the third Act. What Haydn heard was "Together let us range the 
fields" from Boyce's Serenata "Solomon", which Mrs. Billington and 
Incledon had introduced into The Woodman soon after its first performance 
the previous February. 



Mozard [sic] died on 5th Dec. 1791. 



On 23rd Dec. [1791] Pleyel arrived in London. On the 24th I 
dined with him. 



The Duke of Cumberland had to pay ^25,000 in an adultury 
case. 

Violin part. A work, vocal part and violin part. 

This cryptic notice probably refers to a projected composition. 



Heymarket [sic] Theatre 

It holds 4,000 persons; the pit, or parterre, alone holds 1,200; 10 
persons can sit comfortably in each box. The Amphy Theater is 
entirely round, has four tiers, and to light it there is a beautiful large 
chandelier with 70 lights: it hangs suspended from the attic, pierces 
the ceiling, and is situated in the middle of the Amphy Theater; 
it illuminates the whole house, but there are also a parte small lustres 
in the first and 2nd tiers, which are fastened outside the boxes half 
an ell away. 



I had to pay i J guineas for having the bells rung at Oxforth [sic] 
in connection with my doctor's degree, and a guinea for the robe. 
The trip cost 6 guineas. 



1791-92] of Joseph Haydn 275 

The City of London keeps 4,000 carts for cleaning the streets, 
and 2,000 of these work every day. 



On i yth March 1792, 1 was bled in London. 

In the month of August [1791] I lunched at noon on an East India 
merchantman with 6 cannon. I was given a magnificent meal. 

In this same month I went with M r [William] Fraser up the Terns 
[Thames] from Westminster Bridge to Richmond, where we ate on 
an island. There were 24 persons in our party, besides a Feld Music 
[wind band]. 

In England, a large man-of-war is reckoned according to the 
number of its cannon. Each cannon is estimated at 1,000 Ibs. 

Madam Mara was hissed at Oxford because she did not rise from 
her seat during the Hallelujah Chorus. 

On I4th Sept. [1791] I dined for the first time at M r Shaw's. He 
received me downstairs at the door, and then led me to his wife, who 
was surrounded by her 2 daughters and other ladies. As I was bowing 
round the circle, all at once 1 became aware of the fact that not only 
the lady of the house but also her daughters and the other women 
each wore on their headdress a parte over the front a most charming 
curved pearl-coloured band of 3 fingers' breadth, with the name 
Haydn embroidered therein in gold; and M r Shaw wore this name 
on his coat, worked into the very ends of both his collars in the finest 
steel beads. The coat was made of the finest cloth, and with elegant 
steel buttons. The Mis trM is the most beautiful woman I ever saw. 
N.B. : Her husband wanted a souvenir from me, and I gave him a 
tobacco-box which I had just bought brand new for a guinea; he 
gave me his instead. Several days later I visited him, and saw that he 
had had a silver case put over my box, on the cover of which was 
very elegantly engraved Apollo's harp and the following words: 
Ex dono celeberrimi Josephi Haydn. N.B. The Mis 1 " 8 gave me a stick- 
pin as a souvenir. 

J.H.-U 



276 The Second London Notebook [i 791-92 

In the ist concert, only the Adagio of the new Symphony was 
repeated. 

In the 2nd Concert, the Chorus and the above Symphony were 
given again, and the first Alle[gro] and the Adagio repeated. 

In the 3rd concert, the new Symphony in B flat was given, and 
the first and last Allegros encort [sic]. 



In Griesinger's quotation of this extract (p. 44), the first sentence reads 
"... Symphony in D" f information which Gnesinger obviously re- 
ceived orally. The concerts referred to are the Haydn-Salomon 1792 series: 
the first was on iyth February, and the new Symphony was No. 93 ; the 
Chorus is The Storm, first performed at the second concert, 24th February. 
The third concert was on 2nd March, and the new Symphony was No. 98. 
See Landon, pp. 473$ 



Lord Clermont [Claremont] once gave a large Soupe*, and when 
the King's health was drunk, he ordered the wind band to play the 
well-known song, "God save the King" in the street during a wild 
snowstorm. This occurred on ipth Feby 1792, so madly do they 
drink in England. 



The castle chapel at Windsor is a very old but splendid building; 
the high altar cost 50,000 fl. It shows the ascension of Christ in stained 
glass. This year, 1792, in the side altar to the right, a smaller one, 
showing Christ appearing to the Shepherds, was completed. This 
small one is valued more highly than the large one. The view from 
the terrace is divine. 



Hardy. Otto. Guttenbrun. Hoppener. Dassie, embossed in wax. 
[The following sentence was added later:] N.B.: The first 4 gentle- 
men painted my portrait, Dessie [sic] in wax. 

The portraits of Otto and Guttenbrunn have been mentioned above (see 
p. 268). THOMAS HAXDY'S portrait (1792) is now in the Royal College of 
Music, London. John Bland apparently commissioned it, for the en- 
graving, also made by Hardy, is described: "Painted & Engraved by T. 
Hardy . . . From an Original Picture in the Possession [sic\ of J. Bland. 
London. Publish'd as the Act directs February 13.1792, by J. Bland, N45 
Holborn." The HOPPNER portrait has been mentioned in connection with 
a letter to Genzinger (see p. 124). The wax medallion by DESOIB [recte] seems 
not to have survived. 



1791-9 2 ] of Joseph Haydn 277 

[English] 
THE THEATRE OF VARIETE'S AMUSANTES, IN SAVILLE-ROW. 

[German] 

On 23rd Nov. [1791] 1 was invited to go there. It is a marionette 
theatre. The figures were well directed, the singers were bad, but the 
orchestra was quite good. 



Before she left for Italy, Mara sang 4 times at the Heymarcket 
[sic] Theatre in the English opera Artaxerses by D r Arnd [Arne], 
Again she won roars of applause, and she was paid ,100 for each 
appearance. 

THOMAS ARNE (1710-1778) wrote his Artaxerxes, based on Metastasio's 
famous libretto, in 1762. 



The larger traveller's lead pencil costs J a guinea. 
The smaller one 5 shillings 6 penz. 
Pen 66 

[English] 
schilling penni 
Stel Buttons 2 2 o 

a steel girdl i 4 o 

a steel chain i n 6 

2 Secissars 3 Sh: Each 6 

3 at 6 Sh: Each 18 o 
i at 7 6 
i at 9 o 
7 Penn Knifes i i o 



[German] 

On I4th Nov. 1791, 2 Symphonies sent to Herr von Keess per 
postam, for which I paid i guinea nj shillings, and 3 shillings for 2 
letters, and i guinea for the copying. 

Symphonies Nos. 95 and 96. The two letters were to Herr von Kees and 
Frau von Genzmger. See also supra, p. 121 . 



Noyan, a drink. Squeezed from nutmeg, rum and sugar. Comes 
from Martinique in the West Indies, which belongs to France. 



278 The Second London Notebook [i 791-92 

Oranges from Portugal arrive in the middle of November, but 
they are quite pale and not so good as they are later. 



On 5th Dec. [1791] the fog was so thick that you could have 
spread it on bread. In order to write I had to light the lights at 
1 1 o'clock. 



On 1 8th May 1792, the last Salomon Concert was given at 
Hanover Square. 



English Fanaticism. Miss Dora Jordan, a mistress of the Due de 
Clarens [Clarence] and the leading actress at Drury Lane, wrote to 
the impresario one evening, an hour before the beginning of a 
comedy in which she was to play, that she had been taken ill sud- 
denly and therefore couldn't act. When the curtain was raised in 
order to inform the public thereof, and to say that the management 
was inclined to give another piece [Spectacul\, the whole public 
began to shout that the comedy which had been announced must be 
given at once, with another actress taking Jordan's role and reading 
with the part in her hand. At the beginning, the management took 
exception to this plan, but the public became stubborn and its 
wishes had to be satisfied. Miss Jordan made herself contemptible in 
the public's eyes because she drove barefacedly in Hey [Hyde] Park 
with the Due. But she begged for pardon in all the newspapers, and 
people quite forgave her. 



r r r 



dacap 



A gang of rowdy fellows sang this song with all their might. They 
yelled so loudly that you could hear them 1000 paces away from the 
street, in every nook and cranny. 



M r Bressy [Brassey] N r 71 Lombard Street. 
COESTHS: 



i79*-9 2 ] of Joseph Haydn 279 

REBECCA SCHROETER'S LETTERS TO HAYDN 
ARRANGED IN CHRONOLOGICAL SEQUENCE. 

Abbreviations: "F." = Faithful; "M.D." = My Dear; "D." = Dear; "D"" = 
Dearest; "M.D ft " = My Dearest; "H" and "Hn" = Haydn; "D.H." = Dear 
Haydn; etc. 



[English] 

M" Schroeter presents her compliments to M r Haydn, and in- 
forms him, she is just returned to town, and will be very happy to 
see him whenever it is convenient to him to give her a lesson. 

James St: Buckingham gate Wednesday 

June the 29 th 79!. 



Wednesday Feb: 8 th 793. 

M :D : Inclos'd I have sent you the words of the Song you desired. 
I wish much to know, HOW YOU DO to day, I am very sorry to lose 
the pleasure of seeing you this morning, but I hope you will have 
rime to come to morrow. I beg my D : you will take great care of 
your health, and do not fatigue yourself with to[o] much application 
to bussiness. My thoughts and best wishes are always with you, and 
I ever am with the utmost Sincerity M:D your F: et[c]. 



March 7 th 92. 

My D : I was extremely sorry to part with you so suddenly last 
Night, our conversation was particularly interesting and I had [a] 
thousand affectionate things to say to you, my heart WAS and is full 
of TENDERNESS for you, but no language can express HALF the LOVE 
and AFFECTION I feel for you, you are DEARER to me EVERY DAY of my 
life. I am very sorry I was so dull and stupid yesterday, indeed my 
DEAREST it was nothing but my being indisposed with a cold occa- 
sion'd my Stupidity. I thank you a thousand times for your concern 
for me, I am truly sensible of your goodness, and I assure you my D. 
if any thing had happened to trouble me, I wou'd have open'd my 
heart, & told you with the most perfect confidence. Oh, how 
earnes[t]ly [I] wish to see you, I hope you will come to me to 
morrow. I shall be happy to see you both in the Morning and the 
Evening. God Bless you my love, my thoughts and best wishes ever 



280 The Second London Notebook {1791-92 

accompany you, and I always am with the most sincere and invari- 
able Regard my D : 

your truly affectio[nate] 
My Dearest I cannot be happy 
till 1 see you if you know, 
do, tell me, when you will come 



My D : I am extremely sorry I can not have the pleasure of seeing 
you to morrow, as I am going to Bleakheath [Blackheath], if you 
are not engaged this Evening I shou'd be very happy if you will do 
me the favor to com[e] to me and I hope to have the happiness to 
see you on Saturday to dinner. My thoughts and tenderest affections 
are always with you and I ever am most truly my D. 

Your F: and etc. 

April 4 th 92. 

My D : with this, you will receive the Soap, I beg you a thousand 
Pardons for not Sending it sooner, I know you will have the good- 
ness to excuse me. I hope to hear you are quite well, and have slept 
well I shall be happy to see you, my D : as soon as possible. I shall 
be much obliged to you if you will do me the favor to send me 
twelve Tikets for your concert, may all SUCCESS attend you MY EVER 
D: H: that Night, and always, is the sincere and hearty wish of your 

Invariable and 

James S : truly affectionate 

Aprill 8 th 792. 

James St: Thursday April 12 th 

M:D: I am so TRULY ANXIOUS about YOU. I must write, to beg to 
know HOW YOU DO ? I was very sorry I HAD not the pleasure of seeing 
you this Evening, my thoughts have been CONSTANTLY with you, and 
indeed MY D:L: no words can express half the tenderness and 
AFFECTION i FEEL FOR YOU I thought you seemed out of Spirits this 
morning, I wish I cou'd always remove every trouble from your 
mind, be assured my D : I partake with the most perfect Sympathy 
in ALL YOUR SENSATIONS, and my regard for you is STRONGER EVERY 
DAY, my best Wishes always attend you and I ever am my D: H: 
most Sincerely your Faithful 

et[c] 



1791-9 2 ] of Joseph Haydn 281 

M: D: I was extremely sorry to hear this morning that you was 
indisposed, I am told you was five hours at your Study's yesterday, 
indeed MY D : L : I am afraid it will hurt you, why should you who 
have already produced so many WONDERFUL and CHARMING composi- 
tions, still fatigue yourself with such close application. I almost 
tremble for your health, let me prevail on you my MUCH-LOVED H: 
not to keep to your Study's so long at ONE TIME, my D : LOVE if you 
cou'd know how very precious your welfare is to me, I flatter myself 
you wou'd endeavor to preserve it, for my Sake, as well as YOUR OWN 
pray inform me how you do and how you have slept, I hope to see 
you to Morrow at the concert, and on Saturday. I shall be happy to 
see you here to dinner, in the mean time my D: my sincerest good 
wishes constantly attend you, and I ever am with the tenderest 
regard your most 
J: S: Aprill the 19 th 92. 

Aprill 24 th 792 

MyD. 

I can not leave London without sending you a line to assure you 
my thoughts[,] my BEST WISHES and tenderest affections will inseper- 
ably attend you till we meet again. 

The Bearer will also deliver you the March, I am verry sorry, I 
cou'd not write it sooner, nor better, but I hope my D: you will 
excuse it, and if it is not passable, I will send you the DEAR original 
directly: If my H: wou'd employ me oftener to write Music I hope 
I shou'd improve, and 1 know I shou'd delight in the occupation, 
now MY D:L: let me intrcat you to take the greatest care of your 
HEALTH I hope to see you on Friday at the concert and on Saturday to 
dinner till when and ever I most sincerely am, and shall be your 
[etc.] 

The March is probably the "March for the Prince of Wales" (Hoboken 
VIII: 3). 

M :D : I am very anxious to know HOW YOU DO, and hope to hear 
you have been in good health ever since 1 saw you as the time for 
your charming concert advances I feel myself more and more 
interested for your Success, and heartely WISH every thing may turn 
out to your Satisfaction, do me the favor to send me six Tickets 
more, on Saturday my D:L I hope to see you to dinner, in the 
mean while, my thoughts, my best wishes, and tenderest affections, 



282 The Second London Notebook [i 791-92 

constantly attend you, and I ever am my D: H: most sincerely and 

aff. [etc.] 

J: S: May the 2 d 792. 

The concert referred to is Haydn's benefit concert of 3rd May. 

The March is probably the March for the Prince of Wales (1792; Hobokcn 

VIII: 3). 

James S 4 Tuesday May ye 8 th 

My D l 1 am extremely sorry I have not the pleasure Seeing you to 
Day, but hope to see you to Morrow at one o'clock and if you can 
take your DINNER WITH me to Morrow, I shall be very glad I hope 
to see you also on Thursday to dinner, but I suppose you will be 
obliged to go to the concert that Evening, and you know the other 
concert is on Friday, and you go to the country on Saturday, this 
my D l LOVE makes me more solicitous for you to stay with me TO 
MORROW, if you are not engaged, as I wish to have as much of your 
company AS POSSIBLE. God Bless you my D st H, I always am with the 
tenderest Regard 

your sincere and 
affectionate [etc.] 

The concert on Thursday (May loth) was probably a semi-private affair; 
that of Friday (May nth) was the eleventh Salomon Concert at Hanover 
Square, in the second part of which Haydn's Symphony No. 97 was 
probably played for the second time (Landon, pp. 49 5/). 

May 17 th 

M: D: Permit me to return you a thousand thanks for this Even- 
ing's entertainment where YOUR SWEET compositions and your 
EXCELLENT performance combine, it can not fail of being a most 
CHARMING CONCERT, but independent of THAT, the pleasure of SEEING 
YOU must ever give me infinite Satisfaction Pray inform me HOW 
YOU DO? and if you have SLEPT WELL? I hope to see you to morrow 
my D: and on Saturday to dinner, till when and always I remain 
most sincerely my D: L: most Faith[ful] etc. 

Haydn seems to have given a musical party at Mrs. Schroeter's, or at one 
of their mutual friend's. 



M:D : If you will do me the favor to take your dinner with me to 
Morrow, I shall be very happy to see you, and I PARTICULARLY wish 



1791-92] of Joseph Haydn 283 

for the pleasure of YOUR company MY D r LOVE BEFORE our other 
friends come. I hope to hear you have SLEPT WELL to Night, and 
that you are in GOOD HEALTH, my BEST WISHES and tenderest Regards 
are your constant attendants and I EVER am with the FIRMEST Attach- 
ment my D 8t H n 

most Sincerely and Affectionately 

yours R S : 
James S. Tuesday Ev: May 22 d 



My D r I beg to know HOW YOU DO ? hope to hear you[r] Head-ach 
is ENTIRELY GONE, and that you have SLEPT WELL. I shall be very happy 
to see you on Sunday any time convenient to you after one o'clock 
1 hope to see you my D r L on tuesday as usual to Dinner, [crossed out : 
"and all (?night ? p.m.) with me"] and I shall be much obliged to 
you if you will inform me what Day will be agreable to you to meet 
M r M tns and Miss STONE at my house to Dinner, I shou'd be glad 
if it was either Thursday or Friday, whichever Day YOU PLEASE to 
fix, 1 will send to M r Stone to let them know. I long to see you my 
D* H, let me have that pleasure as soon as you can, till when and Ever 
I remain with the FIRMEST attachment My D r L: 

most faithfully and affectionately 

yours [etc.] 
Friday June ye I st 792. 



My D : I can not close my Eyes to sleep till I have return'd you ten 
thousand thanks for the inexpressible delight I have received from 
YOUR EVER ENCHANTING compositions and your INCOMPARABLY 
CHARMING PERFORMANCE of them, be assured my D H: that among 
ALL your numerous admirers NO ONE has listened with more PROFUND 
attention, and no one can have such high veneration for your MOST 
BRILLIANT TALENTS as I HAVE, indeed my D: L: no tongue CAN 
EXPRESS the gratitude I FEEL for the infinite pleasure your Music has 
given me, accept then my repeeted thanks for it, and let me also 
assure you, with heart-felt affection, that I shall ever consider the 
happiness of your acquaintance as one of the CHIEF Blessings of my 
life, and it is the SINGER wish of my heart to preservef,] to cultivate 
and to merit it more and more. I hope to hear you are quite well. 
Shall be happy to see you to dinner and if you CAN come at three 
o'clock it would give me great pleasure, as I should be particularly 



284 The Second London Notebook [1791-92 

glad to see you my D: before the rest of our friends come god 
Bless you my D: I ever am with the firmest and most perfect 
attachment 

your et[c]. 
Wednesday night June 6 th 92. 

"Mr. Salomon's last concert of the Season", held on 6th June, was the 
concert to which Mrs. Schroeter refers (Landon, p. 502). 



My D st Inclosed I send you the verses you was so kind as to lend 
me, and am very much obliged to you for permitting me to take a 
copy of them, pray inform me HOW YOU DO, and let me know MY 
D* L: when you will DINE with me. I shall be HAPPY to SEE YOU to 
dinner either to MORROW or TUESDAY whichever is most convenient 
to you, I am TRULY ANXIOUS and IMPATIENT to SEE you, and I wish to 
have as much of YOUR COMPANY as possible: indeed MY D 8t H: I FEEL 
for YOU the FONDEST and TENDEREST AFFECTION the HUMAN HEART is 
capable of, and I ever am with the FIRMEST attachment my D 1 Love 
most Sincerely, Faithfully 

and most affectionately yours [etc.] 
Sunday Evening 
June 10 792. 

My Dearest 

I hope to hear you are in good HEALTH, and have had an AGREABLE 
Journey, that you have been much AMUSED with the Race, and that 
EVERY THING has tuni'd out to YOUR SATISFACTION pray MY D u LOVE 
inform me how YOU do? EVERY circumstance concerning you MY 

BELOVED H dn IS INTERESTING tO me. I shall be VERY HAPPY tO SEE YOU 

to DINNER TO MORROW and I EVER am with the sincerest and TENDER- 
EST Regard my D 8t H^ 

most faithfully & affectionately 

yours R: S: 
James S. Thursday Even: June y e 14 th 792 

Haydn had attended the racing at Ascot (see supra, p. 255). 

M :D : I was EXTREMELY SORRY, I had not the pleasure of SEEING YOU 
TO DAY, indeed my D r Love it was a very great disappointment to 
me, as every moment of your company is MORE and MORE PRECIOUS 



1791-92] of Joseph Haydn 285 

to me now your DEPARTURE is so near I hope to hear you are 

QUITE WELL and I shall be very happy to see you my D* H n any time 
to morrow after one o'clock if you can come but it not, I shall hope 
for the pleasure of seeing YOU on MONDAY you will receive this 
letter to morrow morning [.] I wou'd not send it to Day, for fear you 
shou'd not be at home, and I WISH to have your answer. God Bless 
you my D l Love, once more I repeat, let me SEE YOU as SOON as 
POSSIBLE[.] I EVER am with the most INVIOLABLE ATTACHMENT my D* 
and most BELOVED H. 

most faithfully and most affectionately 
Yours 

Saturday, R Sch 

June y 16 th 792. 



My D : I hope to hear you are in good HEALTH, and that you SLEPT 
WELL last Night. I shall be VERY HAPPY to see you on Monday morn- 
ing permit me to remind you about M r Erasers, and you will be so 
good as to let me know on Monday how it is settled God Bless 
you my D : Love, my thoughts and best wishes are your constant 
attendants, and I ever am with the tenderest Regard my D : H: 

most et[c], 
June the 26 th 92. 

Mr. Frasers is probably identical with the "Mr. Fraser" mentioned above 
(see p. 275). 



[Undated letters] 
My Dearest, 

I am quite impatient to know how you do this Morning, and if 
you slept well last Night I am much obliged to you for all your 
kindness yesterday and heartely thank you for it. I earnestly LONG to 
see you my D 1 L : and I hope to have that pleasure THIS MORNING, my 
THOUGHTS and best REGARDS are incessantly with you and I ever am 
myD"H: 

most faithfully, and most 
affectionately yours [etc.] 



M : D : I was extremely sorry I had not the pleasure of YOUR com- 
pany THIS MORNING as I most ANXIOUSLY wish'd to see you my 



286 The Second London Notebook [i 791-92 

THOUGHTS are continually with you, my beloved H: and my AFFEC- 
TION for you INCREASES DAILY, no words can express half the TENDER 
REGARD I feel for you I hope my D' L : I shall have the happiness of 
seeing you to-morrow to dinner, in the mean time my best wishes 
always attend you, and I EVER am with the FIRMEST ATTACHMENT MY 
D.H. mostet[c]. 



I am just return'd from from [sic] the Concert, where I was very 
much charmed with your DELIGHTFUL and enchanting COMPOSITIONS, 
and your spirited and interesting performance of them, accept 
t[h]en thousand thanks for the great pleasure, I ALWAYS receive from 
your INCOMPARABLE Music. My D : I intreat you to inform me, how 
you do, and if you get [sic] any SLEEP to Night. I am EXTREMELY 
ANXIOUS about your health. I hope to hear a good account of it. God 
Bless you MY H. come to me to morrow I shall be happy to see you 
both morning and Evening. I always am with the tenderest Regard 
my D : your 

F:andaff. 
Friday Night 12 o'clock. 



M: D. I am heartily sorry I was so unfortunate not to see you, 
when you calTd on me this morning, can you my D : be so good as 
to dine with me TO DAY. I beg you will if possible you can not 
imagine how miserable I am that I did not see you do come to 
Day I intreat you I always am M: D: with the tenderest Regard 
mostetfc]. 
Monday 2 o'clock. 



THE THIRD LONDON NOTEBOOK (i?94-i795) 



[English] 

M rii Bindon N 19 great Pulteney 

with two Daughters Str. 

to Bath 



To Hon blc M ris Brown N 3 

Burlington Street. Bath. [Cf. p. 296.] 



D r Harlinghton queen Square 

Composer at Bath [Cf. p. 301.] 



[In another hand:] 

M rt Carr N 2 Crescent 

Miss Gubbins le meme Bath 



[German] 

On nth June [1794] the whole city was illuminated because of 
the capture of 7 French warships; a great many windows were 
broken. On the I2th and isth the whole city was illuminated again. 
The common people behaved very violently on this occasion. In 
every street they shot off not only small but also large guns, and this 
went on the whole night. [See p. 292n.]. 



The soth of May 1795 was such a bright day that you could read 
anything at 9 o'clock in die evening. 

287 



288 The Third London Notebook [1 794-95 

[English] 

When first I saw dice graceful move 
Ah me ! What meant my throbbing breast 
Say soft confusion, art thou love? 
If love thou art then farewell rest. 

W. Barclay Squire tried to identify these English songs when Engl issued 
this notebook in 1909. Squire discovered that this song was one often per- 
formed in public gardens (it is known as early as 1750, in Signora Galli's 
setting), and which had been translated or was it the original? as "Se 
son Contana" in Hasse's "Twelve Duets". See Engl, p. 53. 

[German] 

M r Orde gouveneur at Fernhall on the Isle of Wight, whose 
country house commands the most magnificent view over the ocean. 

Lisle of Whight [sic] is 64 miles in circumference. 
Esse quam vedere [sc. videre] 

On 24th March 1795, Mara, having returned from Bath, gave her 
Benefic-Music [benefit concert] in Hannovers Room [Hanover 
Square Rooms]. There were not more than 60 persons in the audi- 
ence. It is said that she never sang better than at that time. Janiowick 
conducted. M r dementi sat at the pianoforte, and conducted his 
new grand Symphony, without success. After the concert was over, 
Madam Mara gave a Soupe in the adjoining room. After 12 o'clock 
M r Mara, very confident, walked in the door, came forward, and 
asked for a glass of wine. Since Madam Mara saw quite clearly that 
her husband was raging, and feared the consequences, she turned to 
her lawyer, who was at the table, and he said to M r Mara: You 
know our laws; you will have the goodness to leave this room at 
once, otherwise you will have to pay 200 tomorrow. The poor 
man left the company. Madam Mara, his wife, went the other day 
to Bath with her Cicisbeo, but I rather think her obstinacy makes her 
despicable to the whole nation. N.B. : M. Florio. 

About the unhappily married Maras, see p. 254. G. FLORIO was a flautist 
who first appeared in London in 1782. The son of Pietro Grassi Florio, 
former member of the Dresden band who left Dresden in 1756 to go to 
Paris and then London, Flono jun. was Madame Mara's cicisbeo. She took 
him to Germany in 1803 and performed several of his compositions. See 
Engl, p. 42 and Pohl, H. in L., p. 372. 



1 794-95] of Joseph Haydn 289 

On 30th March 1795 I was invited by D r Arnold and his associates 
to a grand concert in Free Maisons [sic] Hall: one of my big sym- 
phonies was to have been given under my direction, but since they 
wouldn't have any rehearsal, I refused to cooperate and did not 
appear. 

For the details of the concert, see Landon, pp. 54q/! For Arnold, see also pp. 
264,290,305. 

The Mail Coach does no in 12 hours, that is, one-hundred-ten 
English miles. 

Anno 1794 there was beautiful weather in the month of April 
as there can be in Germany in about the month of July. May, 
on the contrary, was very cold. Half of June and the whole month of 
July were very hot, and without any rain; people prayed for rain. 
In this great heat-wave, a great many people died in the Thames, 
because they went swimming in it. Some are capable of swimming 
2 hours at a time, but when the tide catches them they're lost. 
Yesterday two fellows were bathing, and suddenly began to fight. 
They went on shore to box, and one of them received such a strong 
blow in the stomach that he gave up the ghost forthwith. 

Every ship-of-the-line, or man-of-war, has 3 masts, likewise a 
Frigate. 

Most of them have 3 decks. 

A Brig has 2 masts. 

A Cutter has only I mast. 

Every ship-of-the-line must have at least 64 cannon. 

A Cutter has but 14, at the most 16 cannon. 

A fire-ship has 2 masts. In the middle of its sails it has 2 large and 
long cross-beams with round, pointed double irons: 




ILLUSTRATION FROM THE ORIGINAL NOTEBOOK 



290 The Third London Notebook [* 794-95 

When they come near an enemy ship, this iron grapples the 
rigging or even the sails, whereupon one sets the ship on fire, so that 
the other ship which is grappled to it has to burn, too. The crew 
saves itself in the little lifeboats which they take with them. 



[English] 
[The following written in pencil by another hand:] 

M r Hamilton 

Rodney Place Clifton Hill 

near Bristol 



Oh! fairest form of Natur, say 
What lured thee from these vales away? 
Was it new conquests to Explore? 
The World my love, was thine before ! 



In the year 1794 

D r Haydn, D r Arnold, M r John Stafford Smith, and M r Atter- 
bury declared their readiness to cooperate with D r Cooke, D r Hayes, 
D r Dupuis, D r Parsons, M r Calcott, the Rev r Osborne Wight, 
M r Webber, M r Shield, and M r Stevens in their Exertions towards 
perfecting a work for the Improvement of Parochial Psalmody. 

as a Small Token of esteem for 

his abilities and of gratitude 

for his Services this Piece of 

Plate is presented to Doctor Haydn 
[in another hand:] by W. D. Tattersall. 

The work described here was the Rev. William D. TattersalTs Improved 
Psalmody. Vol. I [all published] The Psalms of David from a Poetical Version by 
James Merrick . . . with new music collected from the most eminent Composers, 
printed by T. Skillern, London, 1794. For Arnold, Callcott, Shield: see 
Second Notebook, "Composers" (p. 264); for Hayes, Dupuis, see p. 266. 
JOHN STAFFORD SMITH (c. 1750-1836), organist and composer. Dr. BENJA- 
MIN COOKE (I734-I793). composer and organist at Westminster Abbey. 
DR. (later SIR) WILLIAM PARSONS (1746-1817), pupil of Sacchini, was 
Master of the King's Band. SAMUEL WEBBE (1740-1816), organist and com- 
poser. RICHARD J. S. STEVENS, well known tor his songs, glees, etc. 



* 794-95] of Joseph Haydn 291 

[The following notes are in pencil] 

[German] 

The Hospital was built in the year 1762. 

At this time there were 1500 patients, among them 300 sailors 
from the last naval battle. [Cf. also infra.] 
Reid 

Reed, port of war opposite Portsmouth. 
RYDE 

Ryde (Haydn finally got it right) is on the Isle of Wight. 



A Cockswan [sic] is a kind of subaltern who, when his Capitain 
[sic] goes to sea, stands at attention next to him. A capitain generally 
has his special crew, all identically dressed, which he takes with him 
to his port. At 12 o'clock I was in the neighbourhood of the fleet 
when the 12 o'clock bells were rung. In July [there follow two or 
three illegible words] I ate lunch [on a ship?]. 
[End of pencilled section] 

Mister March is a dentist, Carossieur [recte: Carrossieur = coach- 
maker] and dealer in wines all at the same time: a man 84 years old. 
Keeps a very young mistress. Has a p-year-old daughter who plays 
the pianoforte quite respectably. I often ate at his house. N.B. : as a 
dentist, he makes 2000 every year. Each waggon costs at least 
^500. As a dealer in wines, I don't imagine his profits will be all 
that large. He drags himself around on two crutches, or 2 wooden 
feet. 



Ebb-tide and flood-tide every 7 hours. In Spring the tide recedes 
14 feet, during the rest of the season only 7 feet. 



It is said that Juli[u]s Caesar, having had to flee, landed quite by 
accident on this island, and is supposed to have said: this is the port 
of the Gods. Godsport. There are 1500 patients in this hospital, 
among them 300 sailors who were with Lord Howe in the last naval 
battle. 

Part of these notes already appeared in the pencilled section (see top of page). 
Godsport, the harbour town opposite Portsmouth. Richard Lord Howe 
(1726-1799), who had commanded the British fleet in North America 

J.H.-X 



292 The Third London Notebook [i 794-95 

during the Revolutionary War. In 1793, he had commanded the fleet in the 
British Channel, and on i June 1794, he won a great victory over the 
French at Quessant. (The first major entry of this notebook describes the 
excitement when he towed into Portsmouth six [not seven] captured French 
warships.) 

On 9th July [i794(?)], I left at 5 o'clock in the morning for Ports- 
mouth, 72 miles from London, and arrived there at 8 o'clock in the 
evening. Some small earthworks were thrown up 14 miles before 
Portsmouth; nearby there is a small camp of 800 men; one mile 
further, in the direction of the city, some 3,500 Frenchmen are 
quartered in barracks. I inspected the fortifications there, which are 
in good repair, especially the fortress opposite, in Godsport, which 
the gubernium [ = the governors] had had constructed recently. I 
went aboard the French ship-of-the-line called le just', it has 80 
cannon ; the English, or rather Lord Howe, captured it. The 1 8 can- 
non in the harbour-fortress are 36-poundcrs. The ship is terribly 
shot to pieces. The great mast, which is 10 feet 5 inches in circum- 
ference, was cut off at the very bottom and lay stretched on the 
ground. A single cannon-ball, which passed through the captain's 
room, killed 14 sailors. 



I met Lauterburg, the famous painter. 

Engl (p. 23) read this as: "I met Famore, the painter, in Canterbury", but 
"Famore" is actually "Famose", and "Canterbury" is quite clearly "Lauter- 
burg", i.e., PHILIPP JAKOB LOUTHERBOURG, the younger (1740-1812), who 
had lived in England since 1771 . 



The Dockyard, or the place where ships are built, is of an enor- 
mous size, and has a great many splendid buildings. But I couldn't 
go there, because I was a foreigner. Hard by is a new and most 
splendid ship-of-the-line with no cannon, called the Prince of Wales. 
The King and his family stayed 3 days in the Dockyard at the 
gouverneur's house. 

On isth July [i?95(?)] I saw the Bank [of England]. There are, 
first, a goveneur, a Deputy or Vice gouverneur, 24 Directores, and a 
whole lot of other officials in the department. M r Dea guided me, 
and showed me all the treasures. There is a very great fortune in gold 



1 794-95] of Joseph Haydn 293 

ingots, most of which are worth 700 Sterling. There are over one- 
and-one-half millions in bank notes, some of which are /iooo notes. 
An enormous amount of Spanish taler. Most of the gold is under- 
ground in the vaults. In order to see the main cashier's office, 3 of the 
directors have to be present, each one of which has his own key. The 
vaults are exceedingly massive. There are also hidden vaults, which 
must be very useful in case of a rebellion. To write down all the bills 
they need 2000 large folio books every year, and on this account 
there is a very large library which is, however, apart from that very 
insignificant. 

On 28th March 1795, 1 saw the Opera Aci & Galathea by Bianchi. 
The music is very rich in parts for the wind instruments, and I rather 
think one would hear the principal melody better if it were not so 
richly scored. The Opera is too long, especially since Band has to 
keep everything going all by herself; for Brida is a good youngster 
with a beautiful voice but very little musical feeling; and Rovedino, 
and the good old Braghetri, and the wretched Seconda Donna they 
all deserved, and received, not the least applause. The orchestra is 
larger this year, but just as mechanical and badly placed as it was 
before, and indiscreet in its accompaniments; in short, it was the 3rd 
time that this Opera was performed, and everyone was dissatisfied. 
It happened that, when the 2nd Ballet began, the whole public sud- 
denly became dissatisfied and yelled "off- off - off", because they 
wanted to see the new Ballet which Madam Hillisberg had given at 
her Benefice 2 days earlier. Everyone was embarrassed there was 
an interval lasting half an hour until at last a dancer came forward 
and said, very submissively: "Ladies and Gentlemen: since the per- 
former Mr. Taylor cannot be found, the whole Ballet Company 
promises to perform the desired ballet next week, for which, how- 
ever, the Impresario must pay Madam Hillisberg ^300." That 
satisfied them, and they then yelled, "go on - go on"; and thus the 
old Ballet was then performed. 

FRANCESCO BiANCHi(i752-i8io) had been engaged to compose for the King's 
Theatre; he died in London. Banti = BRIGIDA BANTI-GIORGI (1759-1806), 
dramatic soprano with a big range who had been engaged at the King's 
Theatre; Haydn wrote his Scena di Berenice for her (see Fourth Notebook, 
p. 306). BRIDA (tenor), CARLO ROVEDINO (d. 1 822 ; bass) and BRAGHETTI were 
members of the King's Theatre. HILLIGSBERG [recte] was the well-known 
prima ballerina (see also supra, p. 267). WILLIAM TAYLOR was not a "per- 
former" but the director of King's Theatre. 



294 The Third London Notebook [i 794~95 

A beer-brewer rented a house in Brighton opposite the Pavilion, 
for which he paid 27 guineas a week. N.B. : The Prince of Wales' 
mistress boarded there. 



Madame Fizherbert [Fitzherbert] was divorced from the Prince 
of Wales in the month of July 1794. She received [an alimony of] 
^6,000 annually. 



[Pencilled note:] On the way back [from Portsmouth] a good 
dinner at Farnham. 



On the way to Portsmuth [sic] I saw the old Royal Castle at 
Hampton Court, which is very large and has a garden like that at 
Estoras, with three principal allees; there are various splendid 
statues in bronze, and very fine marble vases; especially beautiful the 
painting over the main staircase and the ceiling by the artist Verrio. 
This castle is mostly inhabited by aristocratic widows of the military. 

On the preceding page Haydn wrote the notes for the above paragraph in 
pencil, and subsequently erased them (the words "Court", "Mahler" 
[painter], "Werno . . . auf der Hauptstiege" [Werno . . . over the main 
staircase] arc legible). The King's Staircase in Hampton Court was designed 
by Chnstopher Wren, and Antonio Vcrno painted the walls and ceiling m 
one huge composition. Sacheverell Sitwell, British Architects and Craftsmen, 
London 1945, P- 59- 



SPECTAS, ET TU SPECTABERE is the inscription over the curtain in 
the Little Haymarket Theatre. I was there on 29 th July 1794: they 
gave a National opera, N.B. a piece in Scottish costumes. The men 
were dressed in flesh-coloured breeches, with white and red ribbons 
twisted round their stockings, a short, brightly-coloured, striped 
masons' apron [i.e. kilt], brown coat and waistcoat, over the coat a 
large, broad ensign's sash in the same style as the apron, and black 
cap shaped like a shoe and trimmed with ribbons. The women all in 
white muslin, brightly coloured ribbons in their hair, very broad 
bands in the same style round their bodies, also for their hats. They 
perform the same abominable trash as at Sadlers Wells. A fellow 
yelled an aria so horribly and with such exaggerated grimaces that 



1 794^95] of Joseph Haydn 295 

I began to sweat all over. N.B. He had to repeat the aria. O che 
bestie ! 

Haydn saw The Mountaineers and Auld Robin Gray (a pastorale), both with 
music by Samuel Arnold. The date Haydn gives is wrong (it should be 28th 
July). Pohl, H. in L., p. 270. 



Lord Littledon, a very rich and pious man, had the misfortune to 
be the father of only one very dissolute son, whom he tried to im- 
prove by every possible means. Eventually he found a most 
charming wife for his son, but the latter lived with her only 3 
months and then sent her back to his father. This behaviour caused 
the father's death a short while afterwards. But just before he died, 
the father wrote the son that the latter could sweeten his dying days 
if he [the son] would divorce his good wife before the father died; 
the son agreed to do this at once in forma, whereupon the old man 
died peacefully. Scarcely a fortnight went by, however, before the 
son had a dream, in which his father appeared to him, saying that the 
son would be a child of death within the very week; and so it hap- 
pened. The young widow is still alive : but very sad. 



On 2nd August 1794, 1 left at 5 o'clock in the morning for Bath, 
with M r Ashe and M r Cimador, and arrived there at 8 o'clock in the 
evening. It's 107 miles from London. The Mail Coach does this dis- 
tance in 12 hours. I lived at the house of Herr Rauzzini, a Musicus 
who is very famous, and who in his time was one of the greatest 
singers. He has lived there 19 years, supports himself by the Sub- 
scription Concerts which are given in the Winter, and by giving 
lessons. He is a very nice and hospitable man. His summer house, 
where I stayed, is situated on a rise in the middle of a most beautiful 
neighbourhood, from which you can see the whole city. Bath is one 
of the most beautiful cities in Europe. All the houses are built of 
stone; this stone comes from quarries in the surrounding mountains; 
it is very soft, so soft, in fact, that it's no trouble to cut it up into any 
desired shape; it is very white, and the older it is, once it has been 
taken from the quarry, the harder it gets. The whole city lies on a 
slope, and that is why there are very few carriages; instead of them, 
there are a lot of sedan-chairs, who will take you quite a way for 
6 pence. But too bad that there are so few straight roads; there are a 
lot of beautiful squares, on which stand the most magnificent houses, 



296 The Third London Notebook [i 794-95 

but which cannot be reached by any vehicle: they are now building 
a brand new and broad street. 

Probably the flautist ANDREW ASHE, who had made his first London appear- 
ance at die second Haydn-Salomon concert of the 1792 season (Landon, 
p. 476). CIMADOR was apparently the young violinist and composer who 
later became a partner in the music publishers Monzani & Cimador. 
VENANZIO RAUZZINI (1747-1810), the brilliant castrato for whom Mozart 
had written the Motet "Exsultate, jubilate". 

N.B. Today, on the 3rd, I looked at the city, and found, half-way 
up the hill, a building shaped like a half-moon, and more magni- 
ficent than any I had seen in London. The curve extends for 100 
fathoms, and there is a Corinthian column at each fathom. The 
building has 3 floors. Round about it, the pavement in front of the 
houses is 10 feet broad for the pedestrians, and the street as wide a 
proportions, it is surrounded by an iron fence, and a terrace slopes 
down 50 fathoms in successive stages, through a beautiful expanse 
of green; on both sides there are little paths, by which one can 
descend very comfortably. 

Every Monday and Friday evening all the bells are rung, but 
apart from this, you don't hear many bells being rung. The city is 
not thickly populated, and in Summer one sees very few people; for 
the people taking the baths don't come till the beginning of October, 
and stay through half of February. But then a great many people 
come, so that in the year 1791, 25,000 persons were there. All the 
inhabitants live off this influx, without which the city would be very 
poor: there are very few merchants and almost no trade, and every- 
thing is very dear. The baths are by nature very warm; one bathes in 
the water, and one also drinks it generally the latter. And one pays 
very little: to bathe it costs 3 shillings at all times. I made the acquain- 
tance there of Miss Brown, a charming person of the best conduit; a 
good pianoforte player, her mother a most beautiful woman. The 
city is now building a most splendid room for guests taking the cure. 

Miss BROWN, apparently the daughter of Abraham Brown (Browne), who 
had often appeared with Handel. (Engl, pp. 48/1 Deutsch, Handel P- 581.) 
The "most splendid room" was to be the Pump Room, completed m 1796. 

On the 6th I went from Bath n miles to Pristol [sic], to visit M r 
Hamilton. The city is very large and half of it, too, is built on a rise. 
The River [blank: = Avon] flows through the middle of the city, 



1 794~9 5\ f J se ph Haydn 297 

and many hundred merchant ships lie at anchor in the river. There is 
a great deal of trade, because the open sea can be reached a few hours. 
The city is also very heavily populated, but otherwise rather dirty; 
very small streets; a lot of building going on, especially on the hill, 
which commands the most magnificent views. The churches there 
are a great many are all in the old Gothic style, as they are at 
Bath, too. In Bath, I saw a vehicle in the form of two sofas for 4 
persons; N.B.: 2 persons on each side with their backs diagonally 
opposite to each other. The drinking and bathing water is especially 
beneficial for lameness and rheumatism; in Pristol for hectic and 
consumption. The drinking water at Pristol is very sweet and 
pleasing. The guests go to Pristol in the Summer, and to Bath in the 
Winter. The trip there and back cost me 75 Viennese Gulden. 



I left Cowes at 4 o'clock in the afternoon for Southampton 
where I spent the night. It is a little town on a peninsula. 

From there to Winschester [sic], where there is a beautiful Gothic 
Cathedral Church, the altar-piece BY WEST. 

These notes again refer to Haydn's trip to (or rather from) the Isle of Wight. 
BENJAMIN WEST (1738-1820), the American artist who went to Rome and 
then to London, where he became Reynolds' successor as President of the 
Royal Academy of Art. 



On 23rd July 1794, fire broke out in a master shipwright's dock 
above London Bridge; the fire spread to a ship with a cargo of nitre, 
which was docked nearby, and driven by a very strong wind, the 
fire reached such proportions that it consumed over [at first: "500"] 
1200 houses. It lasted from 4 o'clock in the morning to the morning 
of the next day. The damage is immeasurable, since one single dealer 
in sugar by the name of M 1 Whiting lost 40,000. They are raising 
a general subscription for the unfortunates. The City Council has 
had 120 tents erected there as shelters for the poor inhabitants. It is 
not yet known how many people lost their lives. 

By the end of July they have now raised a collection of 10,000 
Sterling for the unhappy people. 



The Entrepreneur of the Haymarket Theatre, of which the Duke 
of Pedfort [Bedford] is the principal figure, pays that miserable cur 



298 The Third London Notebook [i 794-95 

Taylor 21,000 Sterling every year for the expenses of the opera 
house; which sum is never sufficient, so that a group of various Lords, 
bankers, merchants &c. (but in all more than 200 of them) helps out. 
Moreover the house brings in not less than [at first: "two hundred"] 
500. The present contract was established in 1791 and lasts for 17 
years. Each backer gets 15 percent annually, but he loses the capital 
entirely after the 17 years are up. 



For Taylor, see also p. 293. 



1794 



Milord Chatam [sic], President [sic] of the War Office and brother 
of Minister Pitt, was so drunk for 3 days that he couldn't even sign 
his name, and thus occasioned that Lord Howe couldn't leave Lon- 
don, and together with the whole fleet couldn't sail away. 



Haydn has confused the two brothers, sons of WILLIAM PITT, SR. (died in 
1778) : (i) SIR JOHN, 2ND EARL OF CHATHAM, was first Lord of the Admiralty 
in 1794, though changing to Privy Seal in December of that year; (2) 
WILLIAM JR. was Prime and War Minister in 1794. Haydn thus gives the 
name of John but the office of William. Mr. O. W. Neighbour, who kindly 
supplied this information, adds that "presumably Howe might have felt the 
effects of cither's drinking." 



In the month of Sept. 1794, there was an attempt to assassinate the 
King. The principal murderers were very young, one was a clock- 
maker, the other a chemist. They constructed a kind of blow-pipe 
from which a little poisoned arrow was to kill the King in the 
Theatre. The understanding was to start a brawl right under the 
King's box, during the course of which each of the gang was to raise 
his stick in the air and threaten to beat the other, whilst the principal 
rogue was to shoot his arrow at the King. They have discovered 
another two participants, one of them a bookseller. The clock- 
maker's name is La Maitre, presumably a Frenchman; the chemist, 
Higgins. The bookseller is named Johfn] Smith, the 4th man, 
Upton. The clock-maker invented the murder weapon. 



1 794-95] of Joseph Haydn 299 

[German :] The trip into [ !] Jersey, or divorce a la mode. [English :] 
Trip to JERSEY, or divorce a la mode. [German:] Jersey is the 
name of the Prince of Wales' new mistress. THAT'S WHAT THEY SAY: 
relata reffero [sic], 

Salomon und David waren grosse Sunder, 
Hatten schone weiber, machten viele kinder. 
Da Sie nicht mehr konnten und kamen in das alter, 
macht der Eine Lieder, und der andere Psalter. 

(Salomon and David were great sinners / had beautiful wives and made 
many children./ When they couldn't do it any more and grew old,/ the one 
wrote songs and the other wrote psalms.) The play on names (Salomon = 
Haydn's impresario ; David = the famous tenor, DAVIDDE, who was always 
referred to as David in England) is obvious. The poem is written down with 
many corrections and improvements, which suggests that Haydn was 
probably the author (or translator?). 

N.B. Lord Avington set it to music, but miserably; I did it a bit 
better. 

THE EARL OF ABINGDON, a great musical enthusiast, had been in correspon- 
dence with Haydn before he came to England. Haydn wrote various things 
for Lord Abingdon, inter aha a Trio for 2 flutes and 'cello (Hobokcn IV 12) 
and part of an oratorio (Mare Clausum). Together, they issued "Twelve 
Sentimental Catches and Glees" ; the melodies were by Abingdon and the 
accompaniments by Haydn. 

On 8th April 1795, the Prince of Wales married the Princess of 
Brunswick. On the loth I was at the Covent Garden Theatre to 
see the big Spectacul [sic] WINDSOR CASTLE, THE MUSIC BY SALO- 
MON QUITE PASSABLE. The decorations costumes scenery, and 
the enormous amount of people on the stage are exaggerated. All die 
Gods of Heaven and Hell, and everything that lives on the earth are 
in the piece. 

The Overture was "composed expressly for the occasion by Dr. Haydn" 
(Overture to an English Opera) : see Landon, pp. 541/1 

Lord Macartney was sent as Ambassador to China. 

Pekin [sic] is the capital Gehol the Emperor's residence, 150 
miles from Pekin. The wall of Pekin is 2,000 miles long. The city is 
not paved. The longest street is 6 miles long and 130 feet broad. The 
wall is 26 feet high and some 15 feet broad, at the base 20 feet. 



3 oo The Third London Notebook [ 1 794-95 

Every 150 paces along this wall there is a tower 15 feet high and 45 
feet long; there are 45,000 of them in all. The present Emperor is 83 
years old. Everyone prostrates himself at his feet. 

The King of England wanted to open commercial intercourse 
with China, but he received a negative answer. The Emperor sent 
George some verses which he himself had written in his [the King's] 
honour. 



The Castle at Newport has a well 300 feet deep which is driven 
by a mule. Newport is a nice little town; the people look just like 
the Germans and mostly have black hair 

Again a reference to the Isle of Wight, of which Newport is the capital. 



Bartholomew Fair is generally held at the cattle-market, in the 
City; it goes on for 3 days. There are Berchtesgaden wares [toys] 
to be had there, and all sorts of plays are given, little comedies, 
juggling, tight-rope-walking, hawkers [Carlatonerey], dentists; 
and all sorts of riff-raff are there. 



The cattle-market was then held at Smithfleld. 

A very good English toast, or drink-your-health: the first 2 words 
of the 3rd Psalm, "Lord ! How" etc: [are they increased that trouble 
me !], that is, Lord Howe, the great English soldier. 

On 9th Sept. 1794, I travelled with a bridal pair. The man was 
named Lindley, organist, 25 years old; his wife 18, with very good 
features but both of them stone-blind. The old proverb, "Love is 
blind", does not apply here. He was poor, but she brought him a 
dowry of ^20,000 Sterling. Now he doesn't play the organ any 
more. 



Lord Avington [Abingdon] had an organ built in the church on 
his estate. When the Archbishop of the diocese heard about it, he 
wrote a letter reproving him for having done this without his know- 
ledge, inasmuch as one cannot do such a thing without previously 
informing the authorities. He got an answer: "The Lord gave it, and 



1 794-95] of Joseph Haydn 301 

the Lord can take it away again." This is most ambiguous, but very 
good. 

Band, Rovedino, Morichelli, Morelli, Brida, Braghetti, Bianchi, 
Martini, Ferlendis, Dragonetti, Harrington; Taylor, impresario. 
GLUCK'S Alceste, BIANCHI'S Semiramide. S:[ig.] Neri,pofero castrato. 

Mosdy members of the Italian Opera at the King's Theatre. Bianchi (see 
p. 293) and MARTIN (Vincente Martin y Solar, 1754-1806) were the com- 
posers engaged. Banti (see p. 293), Rovedino (see p. 293), Morichelli (see p. 
68), Morelli (see p. 264), Brida (see p. 293) and Braghetti (see p. 293) were 
singers. GIUSEPPE FERLENDIS, formerly at die Salzburg Court, was an oboe 
and English horn player (see also infra), D. DRAGONETTI was a famous 
double-bass player. Dr. HENRY HARINGTON (on the first page of this Note- 
book Haydn spells him Harlinghton) was a composer who lived at Bath; 
Haydn wrote a song for him, "What Art expresses". For Taylor, see also 
pp. 293 and 298. Neri was a second-rate castrato. 

L* Isola del piacere BY MARTINI 

The Overture from L'Arbore di Diana, a lot of old stuff from 
Cosa rara\ and he had a very unsuccessful benefit concert. 

Ferlendis, oboe player, is mediocre. 

[English] 

O spare that dreadful thought, 
If I shou'd leave thee! 
May I all pleasure leave 
Lass when I leave thee. 

Field a young boy, which plays the pianoforte Extremely well. 
JOHN FIELD (1782-1837), who later created the Nocturne. 

LOVE 

When I know that your heart is another's 
That our wishes can never agree 
That a flame in your Bosom still burns 
That never was kindled by me, 
One should think, that your Friendship's soft Balm, 
Unasisted [sic] by love['s] ardent Sigh 
Might ev'ry disquietude calm 
And wipe off the tear from my eye. 



3 O2 The Third London Notebook [ 1 794-95 

[Latin] 
"Excitat, mulcet, ut Magus" 

Hor:[atius]. 



[German] 

On 24th March 1795, Mara gave her Benefice Music [benefit 
concert] in Hanover Square. Yaniewish [sic] conducted; Clementi 
sat at the pianoforte. She had to bear the expense. [Cf. p. 288.] 

[English] 
SONG 

i. 

Guardian Angels now protect me[,] 
Send, Ah send the youth I love, 
Deign O Cupid to direct me[,] 
Lead me to the myrtle grove. 

2. 

Bear my Sighs of floating Air, 
Say I love him to dispairf,] 
Tell him it is for him I grieve [,] 
For him alone, I wish to live. 

[An old song, perhaps by Thomas Carter] 



ON MELODY 

Oh ! pour thy Spirit o'er my lays, 
Coelesrial MELODY inspire ! 
Sweet as the Royal Psalmists lyre 
That I with THEE my his praise. 



THE SIGH OF A DISCARDED LOVER 
Go gentle Zephyr, go and bear, 
The tenderest Sigh to Kitty's Ear, 
In wispers [sic] soft ah tell my pain, 
Tell how I love but dar'nt complain. 



* 794-95] of Joseph Haydn 303 

THE LADIES LOOKING GLASS. 

Trust not too much to that Enchanting Face [,] 
Beaty's [sic] a charm, but soon that charm will pass. 

Haydn's setting of this song has survived only in his autograph (National- 
bibliothek, Vienna) : the melody, which is perhaps an English folk song, also 
appears in one of the Divertimenti for two flutes and violoncello. 

SONG 

Ah stay ! Ah turn ! ah whither would you fly ? 
Too charming, too relentless Maid[ !] 
I follow not to conquer, but to Die, 
You of the fearful are afraid. 



[German] 

Madam Mara gave a 2nd concert under the auspices of the 
flautist Ashe. The house was quite full; I sat at the pianoforte. 

The concert was held on 8th June 1795 at the King's Theatre; it was possibly 
the last public concert in England in which Haydn participated. For details 
of the programme, see Landon, p. 550. 

[English] 

[Pencilled note:] Turk was a Faithful Dog 
and not a Man. 
Alfred Str. 

The text of a canon which Haydn wrote for the dead dog of V. Rauzzun 
in Bath, and probably an address there. 

[Latin and German] 

CURAS CITHARA TULLiT. On a house in Pristol [sic] 

MORS JANUA VITAE 



Suaviter in modo. ) mi_ i i_ i_ L -LI 

c . . n }- The rascal beat the boy terribly, 

fordter in Re. / 7 7 

[Claudio Aquaviva (1543-1615)] 



VlRTUTE PARTA. 

[French] 
tiens ta Foy. 



THE FOURTH LONDON NOTEBOOK (1794-1795) 



[Extracts from the biographies of Dies and Griesinger, 
here arranged in chronological order] 

[German] 

On 26th Aug. 1794, I went to Waverly [sic] Abbey, forty miles 
from London, to visit Baron Sir Charles Rich, quite a good 'cello 
player. Here there are the remains of a monastery which has already 
been standing for 600 years. I must confess that whenever I looked 
at this beautiful wilderness, my heart was oppressed at the thought 
that all this once belonged to my religion. 

[Griesinger, pp. ioo/.] 

Waverley Abbey is in Surrey, three miles away from Farnham, where on 
a previous journey Haydn had had "a good dinner" (see sup ra, p. 294). 
LADY RICH later subscribed to the Creation. 



On 1 4th Nov. 1794 I went with Lord Avingdon [Abingdon] to 
Preston, 26 miles from London, to visit the Baron of Aston; he and 
his wife love music. [Griesinger, pp. 5O/.] 

SIR WILLOUGHBY ASTON, Bart., lived at Preston, near Hitchin in Hertford- 
shire. Haydn wrote one of his Trios for 2 flutes and 'cello (C major, Hobo- 
ken IV: i) for Sir Willoughby. Since one of the other "Divertimenti" (as 
Haydn called them) for this combination was written for Lord Abingdon, 
it may be that both were written at the same time for this week-end party. 
See also supra, p. 299. 



On 1 5th Dec. 1794, 1 visited Mr. Baze, who conducts the Ancient- 
Concert from the organ and plays quite well; his wife has a very 
pleasant, flexible voice, her pitch is very true and her pronunciation 
clear; she has Bachierotti's [Pachierotri] way of singing, but her 
shake is a little too rapid. [Griesinger, p. 48.] 

Jo AH BATES (c. 1740-1799), a great admirer of Handel's music, also con- 
ducted the mammoth performances at Westminster Abbey. His wife, nit 
Harrop, died in 1811. (Pohl, H. in L. f pp. 277/1) 

304 



J7P4-P5] of Joseph Haydn 305 

On 2ist Jan. 1795, I dined with Dr. Parsons. There arose an 
argument which of the Doctors, Parsons, Dupuis, or Arnold, should 
conduct the orchestra for the Handel Antiphon at the Prince of 
Wales' marriage. Dr. Parsons is Master of the King's Band, the other 
two are Court Organists. In England, however, the organist is the 
head in all the churches, and the singers are subordinate to him. 
Each of the three wanted to be the principal conductor. When I was 
forced to express my opinion, I said: The youngest organist should 
play the organ; the other should conduct the singers who are sub- 
ordinate to him; and Dr. Parsons should conduct the Instrumental 
Performers; and since the singers always have the preference over 
the instrumental players, one of them should place his chorus on the 
right, the other on the left. They didn't want that, however, and so I 
shook the dust off my feet and went home. [Griesinger, p. 49.] 

For Dr. Parsons, see p. 290; Dr. Dupuis see pp. 266, 290; Dr. Arnold, pp. 
264, 290. The marriage took place on 8th April. The music included Handel's 
"Sing unto God" (Wedding Anthem, which had been written for George 
Ill's father, then [1736] Prince of Wales), and the arrangement of the per- 
formers turned out to be that suggested by Haydn : Dr. Parsons directed the 
King's Band (leader: Wilhelm Cramer) and was principal conductor; 
Arnold and Dupuis conducted the choir, and Dupuis also played the organ. 
(Pohl, H. in L., p. 299.) 



On ist February 1795, I was invited by the Prince of Wales to 
attend a musical soiree at the Duke of York's, which the King, the 
Queen, her whole family, the Duke of Orange &c. attended. 
Nothing else except my own compositions was played; I sat at the 
pianoforte; finally I had to sing, too. The King, who hitherto could 
or would only hear Handel's music, was attentive; he chatted with 
me, and introduced me to the Queen, who said many compli- 
mentary things to me. I sang my German song, "Ich bin der verlieb- 
teste". On 3rd Feb., I was invited to the Prince of Wales'; on I5th, 
lyth and ipth Apr. 1795, I was there again, and on the 2ist at the 
Queen's in Buckingham Palace. [Griesinger, p. 50.] 

Haydn enlarged upon these notes to Griesinger (pp. sjff.) see Landon, 
pp. 532/1 for translation and contemporary newspaper report. 



On 8th Apr. 1795, the marriage took place between the Prince of 
Wales and the Princess of Brunswick. On the loth, I was invited to a 
musical soiree at the Prince of Wales' in Carlton House. An old 



306 The Fourth London Notebook [i 7P4-P5 

Symphony was played, which I accompanied on the pianoforte; 
then a Quartet; and afterwards I had to sing some German and 
English songs. The Princess sang with me, too; she played a Con- 
certo on the pianoforte quite nicely. [Griesinger, pp. * 

For a contemporary newspaper report, see Landon, p. 541. 



On 4th May 1795, I gave my benefit concert in the Haymarket 
Theatre. The room was full of a select company, a) First part of the 
Military Symphony; Aria (Rovedino); Concerto (Ferlandy) for the 
first time; Duet (Morichelli and Morelli) by me; a new Symphony 
in D, the twelfth and last of the English; b) Second part of the 
Military Symphony; Aria (Morichelli); Concerto (Viotti); Scena 
nuova by me, Mad. Banti [English :] (She song very scanty). [German :] 
The whole company was thoroughly pleased and so was 1. 1 made 
four thousand Gulden on this evening. Such a thing is only possible 
in England. [Griesinger, p. 53.] 

The Military Symphony is No. 100, in G. The Concerto was played by 
Giuseppe Ferlendis, probably on the cor anglais (it was the concerto which 
was played "for the first time", not the duet). The Duet was "Quel tuo 
visetto amabile" from Haydn's Orlando Paladino (1782); Haydn had re- 
written the work with new words ("Quel cor umano c tenero"), in which 
form it was played in Da Ponte's II burbero di buon cuore (Act II, Scene 3) 
on 1 7th May 1794, also with Morelli and Monchelh. For some reason, 
however, Haydn chose to perform it at his benefit concert with the original 
text, as the only extant copy of the hand-bill (in possession of Albi Rosen- 
thai, Esq., Oxford) clearly shows. The new Symphony in D was No. 104, 
Haydn's last work in the form. The "Scena nuova" was the Scena di Berenice, 
Haydn's greatest work of this kind. For Rovedino, see p. 293 ; Ferlendis, 
p. 301; Signora Morichelli, p. 68; Signer Morelli, p. 264; G. B. VIOTTI 
(1753-1824) was the famous violinist and composer who had just taken 
London by storm; for Signora Banti, see p. 293. 



[Undated entries] 

Dr. Arnold composed an opera for the Drury Lane Theatre; since 
the backers were afraid that it would not be successful, Dr. Arnold 
agreed to give it three times at his own expense. He spent over seven- 
hundred pounds on it; the backers, however, payed a lot of people 
each time to hiss the opera. Finally Arnold let the backers have the 
opera and the costumes for two-hundred pounds, and they there- 
upon performed it, with some alterations better costumes and 



308 The Fourth London Notebook [i 794-95 

scenery and earned twenty-thousand pounds with it in the course 
of one year; the publisher alone earned some five-thousand pounds, 
and the poor composer lost five-hundred. O, what swindlers ! 

[Griesinger, pp. 47/.] 

Haydn has the essence of the story right, but the wrong theatre. Samuel 
Arnold (see also p. 264) wrote The Banditti for Covent Garden in 1781. The 
opera faded; Covent Garden staged it the next year as The Castle of Anda- 
lusia, and it then stayed in the repertoire for a good half century with no 
benefit to the composer. I am indebted to Dr. Roger Fiske for this informa- 
tion. 



If a singing-, pianoforte-, or dancing-master asks half a guinea per 
lesson, he demands that an entrance fee of six guineas be payed at the 
first lesson. This is done because during the winter many Scots and 
Irishmen take pride in having their children study with the best 
teachers, only to find that at the end they cannot pay the fee. The 
entrance fee is dispensed with if the teacher charges a guinea, but the 
guinea must then be paid at every lesson. [Griesinger, pp. 48/.] 



[The following extracts from Dies are quoted in the third person] 

On the very day that Haydn left Bath, a French emigrant sent him 
a laurel wreath. This wreath was accompanied by four poems which 
express nothing other than good will but are simply too poor to 
deserve quotation. [Dies, p. 155.] 

Haydn's sojourn at Bath is described in the Third Notebook (see p. 295). 
One of the poems was printed in The Bath Herald and Register, and reprinted 
in Pohl III, 82/ 



In the company of several friends, Haydn went to see the wild 
animals in the Tower [of London], Through carelessness the keeper 
had left the trap-door to the tiger's cage open. Madame Donelli was 
fortunate enough to discover this in time, though the keeper rushed 
to the scene just at the very moment when the tiger had already 
reached the trap-door. [Dies, p. 155.] 

Donelli may be a misprint for DORELLI, in which case MADAME DORELLI 
was probably the wife of the singer in Gallini's company (see also supra, 
p. 264). 



1 794-95] of Joseph Haydn 309 

[Catalogue of all the works Haydn wrote in and for England 
between 2nd January 1791 and 1795] 

[English] 

Orfeo, opera seria. 1 no sheets 

6 Symphonies. 2 124 

Concertant Symphonic. 8 30 

The Storm. Chor. 4 20 

3 Symphonies. 5 72 

Aria for Davide. 6 12 

Maccone for Gallini. 7 6 

6 Quartettes. 8 48 

3 Sonates for Broderip. 9 18 

3 Sonates for Preston. 10 18 

3 Sonates for Miss Janson. 11 10 

i Sonate in F minore. 12 3 

1 Sonate in g. 13 5 
The Dream. 14 3 
Dr. Harringtons Compliment. 15 2 
6 English songs. 16 8 
100 Scotch songs. 17 50 
50 Scotch songs (for Nepire). 18 25 

2 Flute divert. 19 10 

3 Symphonies. 20 72 

4 Song for Thattersal 21 6 
2 Marches. 22 2 
i Aria for Miss Poole. 23 5 
i God save the King. 24 2 

1 Aria con Orchestra. 25 3 
Invocation of Neptun. 26 3 
10 Commandments (Canons). 27 6 
March Prince of Wales. 28 2 

2 Divertimenti a piu voci. 29 12 
24 Minuets and german dances. 80 12 
12 Ballads for Lord Avingdon. 81 12 
Different songs. 82 29 
Canons. 83 2 
i Song with the whole orchest. 84 2 
Of Lord Avingdon. 86 2 
4 Contrydances [sic]** 2 
6 Songs. 87 2 



3 10 The Fourth London Notebook [i 794-95 

Overtura Coventgarden [sic]* B 6 

Aria per la Band. 89 n 

4 Scotch songs. 40 2 

2 Songs. 41 i 

2 Contrydances. 42 i 

3 Senates for Broderip. 43 [see note] 



Summa 768 sheets. 

The catalogue is reproduced in Dies in the original English, but without 
the number of sheets, and with various cryptographic abbreviations ("for 
P "). Gnesinger prints the list in German, but with the number of sheets 
("Blatter") and with the names written out. Differences between the two 
sources are noted below. For purposes of comparison, Carpani's biography 
(in the English translation of the Stendhal piracy) occasionally proved 
useful (Carpani's Italian biography, Le Hay dine . . . Milan 1812 = 
Stendhal, Vie de Haydn [published under pseudonym, L. A. C. Bombet], 
Pans 1814; English translation, The Life of Haydn, London 1817, pp. 328/). 
The number of sheets which Haydn lists is often inaccurate. Sometimes 
Haydn seems to mean four pages for a sheet : the Scena di Berenice (= Ana 
per la Banti, 39) has in fact n double sheets, or 44 pages. At other times, 
however, this four to one relationship does not apply. The Sinfonia Con- 
certante (2) is listed as having 30 sheets. The autograph has 40 sheets (80 
pages). 

1 Orfeo, or as its actual title reads, L'anima dcljilosofo, was composed in 

the first six months of 1791. 

2 Symphonies Nos. 93-98 (1791-1792). 

3 Sinfonia Concertante in B flat (1792). 

4 The autograph is entitled Madrigal (1792). 

5 Presumably Symphonies Nos. 99-101 (1793-1794). 

6 The ana is lost. 

7 The Maccone is either lost or unidentified. 

8 The so-called Op. 71 & 74 (a silly method of identification, inasmuch 

as all six were written at one time and as an entity), Vienna 1793. 

9 Haydn wrote three sets of pianoforte Trios (they were published as 

"Sonatas") for Longman and Broderip: Nos. 18-20 (published in 
i?94) Nos. 24-26 (published in 1795) and Nos. 27-29 (published in 
1797). 

10 Pianoforte Trios Nos. 21-23 (published in 1795). In Dies "P ". 

11 In Gnesinger "zwey Sonaten" (two Sonatas). Probably pianoforte 

Sonatas Nos. 50-52, but possibly the pianoforte Trios Nos. 27-29, 
which are dedicated to her. Stendhal also lists "3", not 2 works. 

12 The so-called Andante con varizioni, the autograph of which is entitled 

Sonata (1793). For pianoforte solo. 

13 The pianoforte Trio in G, Hoboken XV: 32, published by Preston 

in 1794. For years this work has been considered a violin Sonata, but 



1794-95] of Joseph Haydn 311 

the authentic Preston edition shows clearly that Haydn wrote it as 
a Trio. 

14 This piece, called "Jacob's Dream", was for violin and pianoforte; it 

seems to be lost. 

15 Haydn wrote this piece in Bath for Dr. Henry Harington, who had 

composed the poem, "What Art expresses", in Haydn's honour. 
The work is written in a rather curious form: voice and pianoforte, 
then a mixed chorus, and finally variations for pianoforte solo. See 
Haydn Gesamtausgabe (B. & H.), Ser. XX, Band i, p. xv, n. Clementi 
found this procedure very amusing, and wrote: "The first doctor 
[Harington] having bestowed much praise on the second doctor 
[Haydn], the said second doctor, out of doctonal gratitude, returns 
the first doctor thanks for all favour received, and praises in his turn 
the said first doctor most handsomely." See Geinnger, Haydn, 
London 1947, p. 133. See dso supra, p. 301. 

1C Probably the first set of VI Original Canzonettas (sec supra, p. 145), 
published in June 1794. 

17 The Scotch songs for Napier, the first set of which included 100 

settings. They appeared m the autumn of 1791. 

18 The bracketed part appears only in Gnesinger "(fur Nepire)". The 

50 songs constituted a second volume (see 17). Cecil Hopkinson and 
C. B. Oldman, 'Haydn's Settings of Scottish Songs m the Collec- 
tions of Napier and Whyte' (Edinburgh Bibliographical Society Tran- 
sactions, Vol. Ill, Part 2, pp. 8sjf ). 

19 Two Divertimcnti for 2 flutes and 'cello: Haydn wrote three such 

works in 1794: Hoboken IV: 1-4 (of which No. 4, containing one 
movement, obviously belongs to another work). 

20 Presumably Symphonies Nos. 102-104 (1794-1795). 

21 In Dies "4 Song for S-", in Stendhal "4 Songs for F.", in Gnesinger 

"Vier Gesange fiir ThallersaT. I presume Gncsinger misread Haydn's 
handwriting, and have therefore simply altered the "11" to "tt". 
See supra, p. 290, for a description of the hymns which Haydn 
arranged. 

22 The Marches for Sir Henry Harpur. See Carl Haas, 'Haydn's English 

Military Marches' (The Score, No. 2, Jan. 1950, pp. soff.). 

23 In Dies "... for Mss. P ". The Ana is lost. 

24 Haydn's setting is lost. 

25 The Ana cannot be identified, and is presumably lost. 

28 Ana and chorus from an unfinished Oratono, Mare clausum, which 
Haydn started to write for Lord Abingdon in 1794. Autograph m 
the B.M. 

27 These Canons were written for the Saxon minister in London, Count 

Briihl. The autograph m the Gesellschaft der Musikfreunde is m my 
opinion a copy Haydn made for himself. 

28 This March, Haydn's best, survives in two versions, one for wind 

band (the Prince of Wales' version) and one for orchestra (the version 
Haydn made for the Royal Society of Musicians). 

29 Haydn here appears to count two arrangements of Notturni which 

he wrote for the King of Naples in 1790; in fact Haydn rewrote 



312 The Fourth London Notebook [i 794-95 

about six such Divertimenti, and played them in the Salomon con- 
certs of 1791 and 1792. 

30 As I have said elsewhere (Landon, p. 563), these 24 Minuets and 

Deutsche Tanze are probably identical with the Redoutensaal dances 
of 1792: see also supra, p. 139. 

31 Dies "... for Lord A ". The pieces have been mentioned above 

(see p. 299). 

32 The "Different songs" cannot be identified. 

33 It is almost impossible to say which canons Haydn refers to: possibly 

the canon he wrote for his Doctor's degree at Oxford ("Thy voice, 
O Harmony, is divine"), and the German Canon which he entered 
in one of the London Notebooks (see p. 268). 

34 The "Song" cannot be identified. 

36 Dies "... Lord A." Probably songs, or one of the Divertimenti 
for 2 flutes and 'cello (see also 19 and p. 299). 

36 The "Contrydances" are apparently lost. 

37 Probably the second set of VI Original Canzonettas, published in the 

Autumn of 1795. 

38 The Overture to Salomon's Windsor Castle (first edition, edited by 

the writer of these notes, published by the Universal Edition, Vienna). 
Haydn's Entwurf-Katalog lists the work as "Musik zu eincr Enghschen 
opera, 1994" (i.e. 1794), but Windsor Castle was first performed in the 
Spring of 1795. See also supra, p. 299. 

39 The Scena di Berenice, 1795. 

40 The "4 Scotch songs" cannot be identified. 

41 The "2 Songs" are possibly "O Tuneful Voice" and "The Spirit's 

Song", English Songs which are not part of the twelve Canzonettas. 

42 The two Dances are lost. 

43 This entry is missing in Griesinger, but it appears in Dies and also in 

Stendhal ("3 Sonatas for Brodench") : see note 9. 



APPENDIXES 



THE SOURCES 



ABBREVIATIONS AND REFERENCES 

SOURCES: The use of -> simply indicates that the autograph passed 
from one known place, collector or bookseller to another; it does 
not necessarily indicate that the recipient acquired it directly from 
the owner previously listed. Antiquarian booksellers often acquire 
and sell such letters without listing the autographs in any catalogue. 
In addition to the abbreviations used throughout the book, the 
following appear below: 



LIBRARIES AND MANUSCRIPTS 

Artana Archives = Archives of the firm of Artana & Co., Vienna. When Pohl 
was alive, the firm owned most of the letters Haydn had written to them; later 
they gradually sold many of the letters. After the First World War the owners 
then began to repurchase them from antiquarian booksellers, and the firm 
managed to re-collect a sizable amount. Unfortunately, the entire collection 
was sold in 1953 and is now in a private library. 

Budapest = Those Haydn letters owned by the National Museum, Budapest, 
which are not part of the Esterhdzy Archives. 

B.M. = British Museum, London. 

Esterhdzy Archives = Now in the National Museum, Budapest. 

Prince Esterhdzy's Coll. = A kind of semi-private collection of Haydmana which 
the various Princes Esterhazy kept separate from the "Acta Musicalia". The 
material in this pnvatc collection was for the most part left to Prince Nicolaus II 
in Haydn's will. It was kept at Eisenstadt until the First World War, and is 
now in the National Museum, Budapest. 

Harburg Castle = The Archives of Prince Oettingen-Wallerstein, Harburg 
Castle (Bavaria). 

IMBA = Internationales Musiker-Brief-Archiv, Berlin. 

Pohl MS. = A collection of Haydn letters copied by C. F. Pohl during the pre- 
paration of his Haydn biography; Geselfschaft der Musikfreunde, Vienna, 
9076 
108. 

VNat = National Library, Vienna (Osterreichische Nationalbibliothek, Wien). 

315 



3 id 



Appendixes 
ANTIQUARIAN BOOKSELLERS 1 



Artaria & Co., Vienna (after cessation of music publishing business, Artaria con- 
tinued to sell engravings, maps. &c.: occasionally it sponsored auctions, m 
some of which Haydn letters appeared). 

M. Lengfeld, Cologne. 
Leo Liepmannssohn, Berlin. 
List und Franke, Leipzig. 



Mary Benjamin, New York City 
(director of firm of Walter 
Benjamin). 
M. Bermann, Vienna. 
Richard Bertling, Dresden. 
C. G. Borner, Leipzig. 
Martin Breslauer, London. 

tienne Charavay, Paris. 
Gabriel Charavay, Pans. 
Noel Charavay, Paris. 
Albert Cohn, Berlin. 
Fnednch Cohen, Bonn. 

Heinrich Eisemann, London. 

R. Geering, Basel. 

Gilhofer und Ranschburg, Vienna. 

Lucien Goldschmidt, New York City. 

Paul Gottschalk, Berlin. 

Franz Graffer, Vienna. 

Otto Haas, London. 

V. A. Heck, Vienna. 

K. E. Henrici, Berlin. 

Hermann, London. 

Heinrich Hinterberger, Vienna. 



Thomas Maddigan, New York City. 
Maggs Brothers, London. 

Gustav Nebehay, Vienna. 
J. Pearson, London. 
Gerd Rosen, Berlin. 

David Salomon, Berlin. 

Walter Schatzki, New York City. 

Hans Schneider, Tutzing uber Munich. 

O. A. Schultz, Leipzig. 

Ignaz Schwarz, Vienna. 

Sotheby, Wilkinson & Hodge, 

London. 

Sotheby & Co., London. 
J. A. Stargardt, Berlin (later Marburg 

on the Lahn). 

T. Tausky, Paris. 
R. Zeune, Berlin. 



1 For the period up to 1909, 1 have relied mainly on Ignaz Schwarz, 'Ver- 
zeichms der bisher im Handel vorgekommenen Haydn-Briefe. Ein Ver- 
such.* (in Gilhofer und Ranschburg Cat. No. 92, Vienna 1909). 

GERMAN ABBREVIATIONS USED IN CONNECTION 
WITH ANTIQUARIAN BOOKSELLERS' CATALOGUES, &c. 

Auk. = Auktion (Auk.-Kat. = Auktions-Katalog); 

Auction (Auction-Cat.); 

Facs. = facsimile; 

Jg. = Jahrgang (i.e. Vol. no. or rather "year"); 

Kat. = Katalog (Catalogue); 

Lager-Kat. = Lager-Katalog (Cat. of material in stock); 

Nachlass (Legacy; From the legacy of . . . &c.); 

Samml. = Sammlung (Collection); 

Verst. = Versteigerung (Auction); 

Verst.-Kat. = Vcrsteigerungs-Katalog 



Appendixes 317 

LITERATURE (UNDER "PRINTED SOURCES") 

An attempt has been made to list the first publication, so far as it 
is known. Certain letters have been reprinted many times, and no 
attempt has been made to list every publication, especially since 
most of them derive from one principal source, e.g. Karajan or 
Nohl. The list given below is intended primarily to give readers a 
chance to consult the best printed text of a given letter in its original 
language; thus, the Genzinger letters are all printed very accurately in 
Karajan, and therefore a reference to Nohl, wherein the texts are 
modernized, was considered superfluous. The following additional 
abbreviations have been employed: 

A. Csatkai = 'Aus dem Haydnzimmer der Wolfsammlung' (Burgenlandische 

Heimatblatter, Jg. i, Heft i, pp. 31$). 
A. Diemand = 'Joseph Haydn und der Wallersteiner Hof ' (Zeitschrift des historischen 

Vereinsfur Schwaben und Neuburg, Band 45 (1920-1922), pp. iff.). 
K. Geinnger = Joseph Haydn, Potsdam 1932. 
Geiringer MQ = 'Haydn and the Folksong of the British Isles' (Musical Quarterly 

XXXV/2 [April 1949], pp 1780:). 
Morner = C.-G. Stellan Morner, Johan Wikmanson und die Briider Silverstolpe, 

Stockholm 1952. 
Sandberger = A. Sandberger, Gesammelte Aufsdtze zur Musikgeschichte, Munich 

1921. 
Sandys-Forster = W. Sandys and S. A. Forster, The History of the Violin, London 

1864. 
Schmid = E. F. Schmid, Joseph Haydn t Ein Buch von Vorfahren und Heimat des 

Meisters, Kassel 1934. 
Valk6 = Arisztid Valk6, 'Haydn Magyarorszdgi Miikode'se a Leve'ltdri Aktik 

Tukre'ben' (Koddly Zoltdn 75. szulettsnapjdra [Zenetudomanyi Tanulmanyok 

VI], Budapest 195?, pp- 



Appendixes 
THE SOURCES 



Letter 


Autograph 


Printed Source(s) 


Source used 


9 Sept. 1765 


Esterhdzy Archives 
Acta Musicalia I, 49 


Valk6, pp. 543/. 


Autograph 


Rahier to 
Esterhdzy (13 
Sept. 1765) 


Esterhdzy Archives 
Acta Musicalia 


none 


Marton copy in 
VNat. 


Prince Esterhdzy 
to Haydn [Oct. 
or Nov. 1765] 


Esterhdzy Archives, 
Acta Musicalia I, 346 


Pohl I, 247 (incom- 
plete) 


Autograph 


5 Dec. 1766 


Esterhdzy Archives 
Acta Musicalia I, 53 


Valk6, p. 647 


Autograph 


20 March 1768 


Esterhdzy Archives 
Acta Musicalia I, 56r 


Valk6, p. 651 


Autograph 


Applausus letter 

(1768) 


Gesellschaft der Musik- 
freunde, Vienna 


R. Haas, Aujffuhr- 
ungspraxis, Potsdam 
1931, pp. 238/240 
(lacking one sentence) ; 
other printed sources 
(Pohl, Geiringer, etc.) 
are incomplete. 


Autograph 


22 Dec. 1768 to 
Prince Esterhdzy 


Esterhdzy Archives 
Acta Musicalia I, 57 


Valko,p.652(in- 
compl.) 


Autograph 


22 Dec. 1768 to 
Scheffstoss 
("cover"-letter 
for above) 


Esterhdzy Archives 
Acta Musicalia I, 47 


Valk6, p. 652 


Autograph 


Autumn 1770 


Esterhdzy Archives 
Acta Musicalia I, 50 


Valk6, p. 653 


Autograph 


21 Dec. 1771 


Esterhdzy Archives 
Acta Musicalia 


none 


Marton copy in 
VNat. 


9 Jan. 1772 


Esterhdzy Archives 
Acta Musicalia I, 51 


Valk6, p. 653 


Autograph 


1773 (undated) 
application and 
receipt for 400 fl. 


Esterhdzy Archives 
Acta Musicalia 625 & 
626 


none 


Autographs 


[c. 1 8 March 1 774] 


Esterhdzy Archives 
Acta Musicalia 


none 


Marton copy in 

VNat. 



[March] 1776 



Formerly Esterhdzy 
Archives (at present not 
yet located) 



Pohl II, 23 (extracts) Pohl 



Appendixes 



Letter 

6 July 1776 



i June 177? 
4 Feb. 1779 



31 Jan. 1780 
8 Feb. 1780 
25 Feb. 1780 

20 March 1780 
29 March 1780 
7 Nov. 1780 
27 May 1781 



Autograph 

(i) autograph, Esterhdzy 
Archives; (2) old copy, 
Budapest (cat. Ep. Mus. 
287; (3) fair copy (not 
aut.), probably the copy 
sent for publication: 
Stargardt Cat. (Meyer- 
Cohn) No. 3o68->Hans 
Schneider->Hoboken 
Coll., Ascona 



Esterhdzy Archives 
Acta Musicalia, 
1036 

Formerly Tonkiinstler- 
Societat, now dis- 
appeared 



Mayeda Foundation, 
Tokyo. (Leo Liepmanns- 
sohn, 8 May 1929) 

? (Formerly Artaria 
Archives) 

Friedrich Cohen, Cat. 
Posonyi No. 470-* 
National Museum, 
Budapest, Ep. Mus. 

286/1 

Heinrich Hinterberger 
(i953)-> ? 
?(Formerly Artaria 
Archives) 

Esterhdzy Archives 
Acta Musicalia I, 52 

? (Formerly Artaria 
Archives) 



Printed Source(s) 

F. Weigl, Wiener Zeit- 
schriftfur Kunst, Liter*- 
turundModei%$6jlV t 
p. 1241 (inaccurate) 
[Pohl, etc. follow this 
source] ; Erich Prieger, 
Programme notes to 
Rose Quartet's Con- 
cert at Bonn, 1 5th 
February 19 1 2 (based 
on source 3) : facsimile 
ofthisinWilhKahl, 
Selbstbiographicn dcut- 
scherMusikerdes XVIII. 
Jahrhunderts, Cologne 
1948, pp. 83/86 



E. Hanshck, Signale, 
23. Jg. No. 47(1865); 
Pohl, Tonkitnstler, pp. 
2i/.; Pohl II, 84/86; 



319 

Source used 

Autograph (i) 
and fair copy (3) 



Copy kindly 
made for me by 
Dnes Bartha, 

Hanshck & PohJ. 



LIII) 



none 


Autograph 


Nohl, p. 82; 
Artaria-Botstiber, 
p. 8 (based on Nohl). 

Nohl, pp. 82/ (in- 
compl.); Artaria- 
Botstiber (based on 
Nohl) 


Nohl 
Autograph 


none 


Autograph 


Artaria-Botstiber, p. 

10 


Artaria- 
Botstiber 


Valk6, pp.655/ 

Nohl, pp. 83/85; 
Artaria-Botstiber, pp. 
11/13 


Autograph (facs. 
Valk6) 

Nohl 



320 

Letter 

23 June 1781 

20 July 1781 



Appendixes 



Autograph 

Heinrich Hinterberger 



18 Oct. 1781 



3 Dec. 1781 
[Lavater] 



Artaria Archives->Leo 
Liepmannssohn Cat. 4 
Nov. 1907 No. 88-* 
Coll. Heyer, Cologne-* 
Coll. Arthur Hill, Lon- 
don-*Sotheby (Hill 
Coll. Cat., lot 290) 17 
June 1947 [with wrong 
date: 1789 instead of 
1781]-* Otto Haas 
(90)-* Rudolph Kal- 
lir, New York City 

Artaria Archives-* 
Kastner Museum, 
Hanover 

Zurich Univ.-Biblio- 
thek, Cat. Lav.-Br. Bd. 
1 1, No. 264, MSS. 511 



Printed Source(s) 

Nohl, pp. 86/.; 
Artaria-Botstiber, pp. 
I5/. (from aut.) 

Nohl, pp. 87/ (in- 
compl.); Artaria-Bot- 
stiber, Addenda (from 
aut., then at Coll. 
Heyer) 



Source used 

Artaria- 
Botstiber. 



Artaria- 
Botstibcr 



3 Dec. 1781 Harburg Castle 
[Prince Oettingen- 
WaUerstein] 

4 Jan. 1782 Heinnch Hinterberger 

(i953)-> * 



Nohl, Addenda (Lffl- Autograph 
LIV) ; Artaria-Bot- (1MB A) 
stiber, p. 18 

Isler, Neue Ziiricher Sandberger 
Zeitung, 31 Mar. 1932 
No. 503; Sandberger, 
Peters-Jahrbuch 1933, 
pp. 28/ 

Sandberger, p. 224 Autograph 



Nohl, p. 88 (in- Artaria- 

compl.); Artaria- Botstiber 

Botstiber (from aut.), 
pp. I 9 /. 

Nohl, p. 89 (without Autograph 
address &c.)\ 
Artaria-Bostiber, pp. 

20/ 



20 Jan. 1782 Artaria Archives-* Leo 

Liepmannssohn Cat. 
713 (1901), No. 132-* 
Otto Haas-* Coll. 
Richard Franko Gold- 
man, Amawalk, New 
York. 

15 Feb. 1782 Artaria Archives-* K. H. Nohl, p. 89; Artaria- Autograph 

Henrici Auk.-Kat. 152 Botstiber, pp. 2if. 
(10/11 May 1929) No. 
485-* Sotheby i Aug. 
1939, lot 705-* Her- 
mann (11.10)-* Otto 
Haas->CoU. LE. Kite, 
Hove (Sussex) 



Appendixes 



Letter 

18 Feb. 1782 

1 6 Aug. 1782 

[c. 25 Aug. 1782] 



29 Sept. 1782 
20 Oct. 1782 
27 Jan. 1783 

20 March 1783 



8 April 1783 

1 8 June 1783 
15 July 1783 

3 Feb. 1784 

4 Feb. 1784 



Autograph 
Harburg Castle 
Berlin Staatsbibliothek 
(now Library of Con- 
gress, Washington) 
Friedrich Cohen, Cat. 
Posonyi No. 47i-> 
National Museum, 
Budapest, Ep. Mus. 286/2 
Heinnch Hinterberger 
(1953) ->* 

Heinnch Hmterbcrger 
(i953)- ? 

K. E. Henrici Auk.- 
Kat. CXXVI (15 Dec. 
ip27)-> Heinridi Hin- 
terberger (i953)-> ? 
Artaria Archives-*- 
Theodor Fetter, Vienna 
-> Albert Cohn Cat. 
194, No. 196-^ Coll. 
Robert Ammann, Aarau 
(Switzerland). 

Friedrich Cohen, Cat. 

Posonyi No. 472-*- 

National Museum, 

Budapest, Ep. Mus. 286/ 

3 

Hemrich Hinterberger 



Coll. Sir Ian Malcolm 
->-Sotheby28Jan. 1949, 
lot 159-* Martin Bres- 
lauer (58); Breslauer 
Cat. 71 (1950) No. 39-> 
T. Tausky-> ? 

Finanzrat SchafTer, 
Scharding->- Heinrich 
Eisemann (for Coll. Dr. 
Manning, London) 



Printed Source(s) 
Sandberger, p. 225 
Artaria-Botstiber, pp. 



Nohl, p. 90 (in 

compl.) ; Artana- 

Botstiber, pp. 22/] 

(from Nohl) 

Nohl, p. 91 ; Artana- 

Botstiber, pp. 24/i 

(from aut.) 

Nohl, p. 91 ; Artana- 

Botstiber, p. 25 

(from aut.) 

none 



Artana-Botstiber, pp. 
2 6f. 



Nohl, p. 92 (in- 
compl.); Artaria- 
Botstiber, pp. 27/. 
(from Nohl) 

Nohl, p. 92 (in- 
compl.); Artaria- 
Botstiber, pp. 28/ 
(from aut.). 
none (summaries &c. 
m above cats.) 



Artaria-Botstiber, 
P- 30 



Dies, p. 70 



321 

Source used 
Sandberger 
Autograph 



Pohl MS. & 
collation with 
aut. (Denes 
Bartha) 
Artana- 
Botstiber 

Artaria- 
Botstiber 

Autograph 



Autograph (facs., 
without address, 
in R. Ammann, 
Die Handschrift 
der Kunstler, 
Bern 1953 plate 
86); Pohl MS. 

Pohl MS. & 
collation with 
aut. (Denes 
Bartha) 

Autograph 



Part of auto- 
graph (facs. p. I 
in Sotheby Cat.) 



Autograph 



Dies 



322 

Letter 

I March 1784 



5 April 1784 

8 April 1784 
1 8 May 1784 

25 Oct. 1784 

20 Nov. 1784 
29 Dec. 1784 



Appendixes 



2 Feb. 1785 
i Sept. 1785 



26 Nov. 1785 



Autograph 

Haydn Museum, 
Vienna (stolen in 1945) ; 
wrongly listed in cat. as 
i May 

Leo Liepmannssohn 
Cat. 18 Nov. 1895, No. 



Roger Barrett, Chicago 

Formerly Artaria 
Archives-* Heinrich 
Hinterberger (i953)~> ? 



Coll. H. Gouin, Royau- 
mont (France). 

Haus-, Hof- und Staat- 
sarchiv, Vienna (riles of 
Freemasons' Lodge 

D). 



? (Formerly Alexander 
Count von Apponyi) 

? (i) An old copy, pri- 
vate coll. in Basel, pos- 
sibly used for engraving 
of (2) printed foreword 
of Mozart's Quartets 
Op. X, Artaria (pi. no. 
59) 

Paul Gottschalk Cat. 2, 
(1909), No. 63->K.E. 
Hennci Auk.-Kat. I 
(1910), No. 45i-> Aut.- 
Samrnl. Auk. C. G. 
Borner, 3-6 May 1911, 
No.98i->K.E. Hen- 
rici Lager-Kat. 23 
(1927?), No. 268-> 
Heinrich Hinterberger 
(1953)-* * 



Printed Source(s) Source used 

Nohl, p. 93 (in- Pohl MS. 

compl.); Artaria- 
Botstiber, pp. 20/ 
(from Nohl) 

Nohl, p. 94 (very in- Pohl MS. 
compl.) ; Artaria- 
Botstiber, p. 31 
(from Nohl) 



none 

Artaria-Botstiber, 
PP- 3 if- 

C. A. Mangold in 
Neue Zeitschriftjur 
Musik, DC (28 Aug. 
1838), p. 72; Nohl, 
P. 94 

Artana-Botstiber, 
pp 32/ (incompl.). 

O. E. Deutsch, 
"Abendausgabe" of 
Neuefreie Presse, 
Vienna, 14 March 
1933, p. 6; Brand, 
pp. 209/. 
Pohl II, 208 (extracts) 

Inter alia Pohl II, 212; 
Kochel 3rd ed. 
(Einstein), pp. 506/1, 
&c., &c. 



none 



Autograph 

Autograph (com- 
plete facs. in 
Artaria-Bots.) 

Mangold 



Autograph 

Autograph 
(IMBA) 



Pohl 

Photograph of 
old copy (i), 
shown to me by 
O. E. Deutsch, 
and Artaria (facs. 
in Haas, Mozart, 
p. 113, &c.). 

Autograph 



Appendixes 



Letter 

10 Dec. 1785 



5 May 1786 
1786 (undated) 
ii Feb. 1787 
14 Feb. 1787 



27 Feb. 1787 



7 March 1787 



8 April 1787 
21 April 1787 



Autograph 

Frau Ida Konrat, Vienna 
->K.E.HenriciAuk.- 
Kat. CXX (27/28 May 
1927), No. 557-> 
Westley Manning Coll. 
-> Sotheby 12 Oct. 
1954, lot 204->H.J. 
Laufer (ji25)->- Mrs. 
Marguerite Manley, 
Scarsdale, N.Y. 

? (Formerly Alexander 
Count von Apponyi) 

B.M. Eg. 2380, f.i2 

Artaria Archives-*- 
O. A. Schultz Cat. 19 

Cat. Donebauer 1894, p. 
54-> Stargardt Cat. 
Donebauer 

(6 Apr.i9o8) No. 376-> 
C. G. Boerner Cat. 
XVI (1910), No. 151 
(withfacs.)-^V. A. 
Heck, Cat. 42 (April 
1928), No. 54 (with ist 
p. in facs.)-> Burgen- 
landische Landesregie- 
rung (from a grant by 
Sdndor Wolf): now 
Sdndor Wolf Museum, 
Eisenstadt 

Leo Liepmannssohn 
Cat. 21 Nov. 1887, No. 
126-^ S. L. Courtauld, 
Imbeza Valley, S. Rho- 
desia 

Friedrich Cohen, Cat. 
Posonyi No. 473-* 
National Museum, Bu- 
dapest, Ep. Mus. 286/4. 

B.M. Eg. 23 8o,$ 1-2 



Printed Source(s) 

Nohl,po.94/.(very 
incompl); Artaria- 
Botstiber, pp. 34/ 
(from Nohl) 



(1934), P- 558 
Sandys-Forster, pp. 
302^. 

Artaria-Botstiber, pp. 
36/(fromPohlMS.) 

Artaria-Botstiber, p. 
37 



Nohl, pp. 95/. (in- 
compl.), Artaria- 
Botstiber, pp. 38/ 
(fromPohlMS.) 

Nohl, p. 96 (incom- 
pl.); Artaria-Botsti- 
ber, p. 39 (from 
Nohl) 

Pohl,H.inL.,p. 355 

Wiener Zeitung, 6 June 
1787, P. 1355; Dies, 
p.7i;$eeHoboken,p. 



323 

Source used 
Autograph 



Pohl MS. and 
Signalf 

Autograph 

Pohl MS. and 
Artaria-Botstiber 

Autograph 



Autograph 



Pohl MS. and 
collation with 
aut. (D&es 
Bartha) 

Autograph 
Wiener Zeitung 



J.H.-Z 



Appendixes 



Letter 

26 April 1787 



2 May 1787 
[Artaria] 



2 May 1787 
[Eybler] 
19 May 1787 



10 June 1787 

21 June 1787 

23 June 1787 

28 June 1787 
12 July 1787 

19 July 1787 
28 July 1787 



Autograph 

Artaria Archives-*- 
Hemnch Hinterberger 
(i953)-> ? 

Fnednch Cohen, Cat. 
Posonyi No. 474-> 
National Museum, 
Budapest, Ep. Mus. 
286/5 

New York Public 
Library 

Maggs Bros. Cats. 353 
(1917) No. 353 [sic] 
withfacs., 411 (1921) 
No. 1867 withfacs., 
449 (1924) No. 217 
with facs.-> K. E. Hcn- 
nciAuk-Kat.XCVII 
(Nov. 1924), No. 52-> 
V. A. HecWHeinnch 
Hinterberger (1953)-* ? 
Coll. Arthur Hill-> 
Sotheby Cat. 16-17 
June 1947, lot 235 
(with facs.)-> Maggs 
Bros.(72)->? 
Artaria Archives-*- 
Heinnch Hinterberger 
(i953)-> ? 

Artaria Archives-*- 
Heinrich Hinterberger 
(i953)-> * 
B.M. Eg. 2380, ff. 3-4 

Artaria Archives-^- 
Heinnch Hinterberger 



Sotheby Wilkinson 
& Hodge, 2 March 
1905, lot 56o->J. C. 



Sotheby 6 Feb. 1920 
lot 2o6-> Lacroix 
Geheimes Staatsarchiv 
Berlin (Rep. noB59-b) 



Printed Source(s) 

Nohl, p. 97; Artaria- 
Botstiber (from aut.), 
p. 48. 

Nohl, pp. 98/. (in- 
compl.); Artaria- 
Botstiber, pp. 49/. 
(from Nohl) 



none (facs. in K. 
Geigy-Hagenbach, 
Handschrifien beruhm- 
ter Personlichkeiten, 
Basel 1925, p. 247.) 



none 



Nohl, pp. oo/. (in- 
compl.); Artana- 
Botstiber, pp. 4q/i 
(from aut ) 
Artana-Botstiber, 
pp. 4i/. (from aut.) 

Sandys-Forster, pp. 

3 02/. 

Artana-Botstiber, p. 
42 (from aut.) 

none except Sotheby 
1905 



Source used 

Artaria- 
Botstiber 

Pohl MS. 
and collation 
with aut. (De*nes 
Bartha) 

Autograph 
Autograph 



Autograph (facs. 
in Sotheby Cat.) 



Artana- 
Botstiber 



Artana- 
Botstiber 

Autograph 

Artana- 
Botstibcr 

Sotheby 1905 
(an almost com- 
plete translation) 



Sandberger, Zeit- Autograph 
schriftfur Musik 105 (IMBA) 
Heft 12 (Dec. 1938.) 



Letter 

2 Aug. 1787 

8 Aug. 1787 
16 Sept. 1787 



20 Sept. 1787 
7 Oct. 1787 

22 Nov. 1787 



27 Nov. 1787 
Dec. 1787 



3 Feb. 1788 
16 Feb. 1788 



28 Feb. 1788 
22 May 1788 

10 Aug. 1788 



Appendixes 

Autograph Printed Source(s) 

Artana Archives-*- Artaria-Botstiber, 

Heinrich Hinterberger pp. 5qf. (from aut.) 
(i953)-> * 

B.M. Eg. 2380, ff. 5-6 Sandys-Forster, pp. 



Emilia Succi, Bologna 
(Mostra Internazionale 

1888, No. 507)-* Leo 
Liepmannssohn 6 May 

1889, No. 505->Coll. 
Floersheim-Koch, 
Muzzano-Lugano 
(Switzerland) 

B.M. Eg. 2380, ff. 7-8 

Artaria Archives-*- 
Hemnch Hinterberger 



none 



325 

Source used 
Artaria-Botstiber 

Autograph 
Autograph 



Artana Archives-*- 
CG.BornerCat. 
XXVI No. 345-* 
Artaria Archives (re- 
bought !)-> Heinnch 
Hinterberger (iQ53)-> ? 
Artaria Archives-* 
Hemrich Hinterberger 
(1953)-* * 



Harburg Castle 
Max Fnedlander (1909) 
-> Leo Liepmannssohn 
Verst.-Kat. 63 (9 Dec. 
1932) No. 72-> ? 

B.M.Eg. 2380, fF. 9-10 



Haydn Museum, 
Vienna (stolen in 1945) 



Nohl, p. 100 ; 
Artaria-Botstiber, pp. 
43/. (from aut.) 



Sandys-Forster, pp. Autograph 



Artaria- 
Botstiber 

Autograph 



Artaria- 
Botstiber 

Niemetschek 
(the only com- 
plete text). 



Diemand. 
Autograph (facs. 
in Schmidt, 
Joseph Haydn, 
Berlin 1898, p. 
60). 

Autograph 
Nohl, Artaria- 
Botstiber. 
Pohl MS. 



Nohl, pp. ioo/ ; Art- 
ana-Botstiber, pp. 
44/. (from aut.) 
Niemetschek, 
Mozart, Prague 1797, 
pp. 5 1/; Allgememe 
Musikalische Zeitung 
I (19 Dec. 1798), pp. 
i82/; &c. t &c. 
Diemand, pp. 3 if. 
Nohl, p. 102 (incom- 
pl.) ; Artaria-Botsti- 
ber, pp. 4<S/! (from 
Nohl) 

Pohl,H.inL.,p. 357. 
Nohl, p. 103 ; Artaria- 
Botstiber, p. 47 
Nohl, p. 103 (in- 
compl.); Artaria- 
Botstiber, pp. 
5i/. (from Nohl). 



Appendixes 



Letter 

17 Aug. 1788 

29 Aug. 1788 
22 Sept. 1788 



Autograph 

Coll. Kafka (c. 1870)-* 
B.M. Add. 29804, f. i 
Gabriel Charavay Cat. 
14 Feb. 1887, No. 159 
S. Tauber, Vienna 
(i 870)-* Leo Liepmanns- 
sohn2ojan. 1902, No. 
28-* Therese Liebig, 
Vienna-* Verst.- 
Nachlass Liebig, 
Artaria, 22 March 1934, 
No. 625-^- ? 



Printed Source(s) 

Nohl, p. 104; Artaria- 
Botstiber, p. 52 



Artaria-Botstiber, pp. 
54/ (from Pohl MS.) 



Source used 
Autograph 

no copy available 

Artaria- 
Botstiber (col- 
lated with Pohl 
MS.) 



26 Oct. 1788 


Artaria Archives-*- 


Nohl, pp. I04/. (no 


Artaria- 




Heinrich Hinterberger 


address); Artaria- 


Botstiber 




(1953)-* ? 


Botstiber, pp. 52/1 








(from aut.) 




16 Nov. 1788 


Formerly Artana 


Artaria-Botstiber, p. 


Artaria- 




Archives 


54 (from Pohl MS.) 


Botstiber (col- 








lated with Pohl 








MS.) 


8 March 1789 


Historical Society of 


none 


Autograph 


[Traeg] 


Pennsylvania 






8 March 1789 


Artaria Archives-^ 


Nohl, p. 105 (in- 


Artaria- 


[Artaria] 


Heinrich Hinterberger 


compl.); Artaria- 


Botstiber 




(i953)-> ? 


Botstiber (from aut.) 




22 March 1789 


Hofrat Viktor Keldorfer, 


none (Pohl II, 249: 


Autograph 




Vienna 


extracts) 




29 March 1789 


Artana Archives-*- 


Nohl, pp. 33/. (no 


Nohl, Artaria- 




Ludwig Zatzka, Vienna 


address); Artana- 


Botstiber, Cat. 




(1920)-*- II. Aut. Auk. 


Botstiber, pp. $6f. 


Dorotheum 




Dorotheum (Vienna), 


(from old copy) 


1922 




6-10 June 1922, No. 








155 (with extracts, corr. 








Artaria-Botstiber). An 








old "archive copy" for- 








merly in Artaria 








Archives. 






5 April 1789 


Goethe-Schiller- 


none 


Autograph 


[Breitkopf] 


Archiv, Weimar 




(IMBA) 


5 April 1789 


Maggs Bros. Cats. 425 


Signale^. 92, No. 


Autograph (p. 2 


[Sieber] 


(1922), No. 1285; 473 


41 (1934), p. 558 


only from 




(1926), No. 263 (with 




Maggs Cats.) 




facs. p. 2: thisfacs. in 




and Signale. 




all otter Maggs Cats.); 








504 (1928), No. 1048; 








512 (1928), No. 420; 








538 (1930), No. 254-> ? 







Letter 

6 April 1789 



10 June 1789 
14 June 1789 
5 July 1789 



27 July 1789 



28 Aug. 1789 



of 



Oct. 1789] 



[c. 17 October 

1789] 

29 Oct. 1789 

7 Nov. 1789 

12 Nov. 1789 

15 Nov. 1789 



Appendixes 
Autograph Printed Source(s) 



Artaria Archives-* 
Albert von Franck, 
Graz (i 87o)->Leo Liep- 
mannssohn 3 Mar. 
1886, No. 480-*. Coll. 
Hcyer, Cologne-* V. 
A. Heck 5 Sept. i927-> 
G. Nebehay-> Artaria 
Archives (rebought !)-> 
Heinrich Hinterberger 



VNat, Cod. 14300 

ditto 

Fnedrich Cohen, Cat. 
Posonyi No. 475-> 
National Museum, Bu- 
dapest, Ep. Mus. 286/6 
Pearson Cat. 12, No. 
165 (c. 1900 ?)->Maggs 
Bros. Cat. 320(1914), 
No. 328 (with facs. of 
p. 2). 

Yememz Coll.-> Alfred 
Morrison Coll. (Cata- 
logue of the Collection 
. . . London 1885, II, 
p. 245)-> Arthur Hill 
Coll.-> Sotheby 17 
June 1947, lot 29i-> 
Walter Schatzki( .75) 
-> ? 

Esterhdzy Archives, 
ActaMusicahaXIX, 
1266 

Harburg Castle 

VNat. Cod. 14300 

ditto 

ditto 

Formerly Artaria 

Archives-* Fnedrich 

Cohen, Cat. Posonyi 

No. 476-* National 

Museum, Budapest, Ep. 

Mus. 286/7 



Artaria-Botstiber, pp. 
57/. (no address) 



327 

Source used 

Autograph 
(IMBA) 



Karajan, p. 57 


Autograph 


Karajan, p. 58 


Autograph 


Nohl, pp. io8/. (in- 


Pohl MS. col- 


compl.); Artaria- 


lated with auto- 


Botstiber, pp. s8/ 


graph (D&ies 


(from Nohl) 


Bartha) 


none 


Autograph of p. 




2 and summary 




of rest of con- 




tents in Maggs 




Cat. 


none 


no complete 




copy available 




(extracts from 




Morrison and 




Sotheby Cats.) 



Diemand, p. 33 

Karajan, p. 59 
Karajan, p. 60 
Karajan, p. 61 
Artaria-Botstiber, 
pp. 6o/. (from Pohl 
MS.) 



Autograph (from 
a copy kindly 
provided by Dr. 
Valk6) 
Diemand 

Autograph 
Autograph 
Autograph 
Artaria-Botsti- 
ber collated with 
Pohl MS. and 
aut. (D&es 
Bartha) 



328 



Appendixes 



Letter 


Autograph 


Printed Source(s) 


Source used 


18 Nov. 1789 


VNat. Cod. 14300 


Karajan, p. 62 


Autograph 


29 Nov. 1789 


Marburg Castle 


Sandberger, p. 226; 


Autograph 






Diemand, p. 34. 




ii Jan. 1790 


Artaria Archives-*- 


Nohl, pp. I54/ (as 10 


Artaria- 




Heinricli Hinterberger 


Jan. 1799) Artaria- 


Botstiber 




(i953)-> ? 


Botstiber, p. 61 








(from aut.) 




13 Jan. 1790 


Two copies 1909 in 


Artaria-Botstiber, p. 


Artaria- 


[Receipts] 


Artaria Archives; one 


62 (from auts.) : two 


Botstiber 




or more of these or 


versions 




[See note at 


possibly a third: V. A. 






top of p. 95] 


Heck 2 May 193 8-> 








Schmahl; Therese Lie- 








big-* Verst-Nachlass 








Liebig, Artaria, 22 








Mar. 1934 No. 626 






23 Jan. 1790 


VNat. Cod. 14300 


Karajan, p. 64 


Autograph 


3 Feb. 1790 


ditto 


Karajan, p. 65 


Autograph 


9 Feb. 1790 


ditto 


Karajan, pp 66-68 


Autograph 


14 Mar. 1790 


ditto 


Karajan, pp. 69-71 


Autograph 


13 May 1790 


ditto 


Karajan, pp. 72/. 


Autograph 


30 May 1790 


ditto 


Karajan, pp. 74/. 


Autograph 


6 June 1790 


ditto 


Karajan, p. 76 


Autograph 


7 June 1790 


Dr. Polchau, Hamburg 


La Mara, Musikerbricfe 


La Mara 




(i886)-> ? 


.... Leipzig 1886, 








I, pp. 246/. (from 








aut.) 




8 June 1790 


VNat. XXXIII, 109-1 


none 


Autograph 




(gift of Eybler) 






20 June 1790 


VNat. Cod. 14300 


Karajan, pp. r?f 


Autograph 


27 June 1790 


ditto 


Karajan, pp. 79/. 


Autograph 


4 July 1790 


ditto 


Karajan, pp. 8i/ 


Autograph 


ii July 1790 


ditto 


Karajan, pp. 83/. 


Autograph 


3 1 July 1790 


Esterhzy Archives 


none 


Marton copy in 




Acta Musicaha 




VNat 


[15 Aug. 1790] 


VNat. Cod. 14300 


Karajan, pp. 85/. 


Autograph 


22 Nov. 1790 


2 copies, both formerly 


Pohl II, 249 (one ver- 


Pohl MS. of both 




in Artaria Archives: (i) 


sion); Artana-Botsti- 


versions, collated 




Friednch Cohen, Cat. 


ber, p. 63 (from Pohl) 


with the aut. in 




Posonyi No. 477-* 




Budapest (De'nes 




National Museum 




Bartha). 




Budapest; (2) Mary 








Benjamin (1955)-* ? 






31 Dec. 1790 


VNat. Cod. 14300 


Karajan, p. 87 


Autograph 



Appendixes 


329 


Letter 


Autograph 


Printed Source(s) 


Source used 


8 Jan. 1791 


ditto 


Karajan, pp. 88-91 


Autograph 


[Genzinger] 








8 Jan. 1791 


Esterhdzy Archives 


Valko, p. 658 


Autograph 


[Estcrhizy] 


Acta Musicalia I, 55 






14 Mar. 1791 


Albert Conn, Cat. 


Pohl III, 19 (with 


Pohl HI, with 




Paar No. 1551-* pri- 


wrong date: 4 instead 


corr. supplied by 




vate coll. in New York 


of 14 March; Hobo- 


Dr. van Hoboken 




City (1958). 


ken has checked the 








date of the aut., 








which I have not 








seen) 




c. 25 May 1791 


? 


Jackson's Oxford Jour- 


Jackson's OJ 






nal of 28 May 1791; 


(collation kindly 






Mees, The oldest Mu- 


made by Charles 






sic Room in Europe, 


Humphries) 






London 1911, pp. 








1 34/.; Pohl III, 24/. 




4 Aug. 1791 


Leo Liepmannssohn, 


Pohl III, 29 


Pohl III 




Cat. Bovet (24 Nov. 








1902) No. 492->? 






17 Sept. 1791 


VNat. Cod. 14300 


Karajan, pp. 92-94 


Autograph 


13 Oct. 1791 


ditto 


Karajan, pp. 95-97 


Autograph 


17 Nov. 1791 


ditto 


Karajan, pp. 98/. 


Autograph 


13 Dec. 1791 


Harvard College Lib- 


Pohl III, 34 (inaccu- 


Autograph 




rary 


rate and incomplete) 




20 Dec. 1791 


VNat. Cod. 14300 


Karajan, pp. 100-103 


Autograph 


January 1792 


? 


Nottebohm, Mozar- 


Nottebohm 






tiana, Leipzig 1888, 








p. 10 (incompl.) 




14 Jan. 1792 


Stargardt Cat. Done- 


Pohl III, 34/f (incom- 


Autograph 




bauer (6 Apr. 1908), 


pl.) 






No. 377->Maggs Bros. 








Cats. 512(1928), No. 








419; 538 1930 , No. 








253; 5^5 1931, No. 








811; 568 1931 , No. 







17 Jan. 1792 



1043; 586 (1933), No. 
573; 601(1934), No. 
809; 616 (i935). No. 
944 [the latter with sub- 
stantial reduction in 
pnce]-> Heineman 
Foundation, Green- 
wich, Conn. (U.S.A.) 
VNat. Cod. 14300 



Karajan, pp. 104-106 Autograph 



330 



Appendixes 



Letter 


Autograph 


Printed Source(s) 


Source used 


2 Feb. 1792 


ditto 


Karajan, pp. I07/. 


Autograph 


26 Feb. 1792 


? 


Grove's Dictionary 


Pohl III 






(ist ed., 1879) I, 474 








(Eng.);Pohlin,9n 




2 March 1792 


VNat. Cod. 14300 


Karajan, pp. 109-111 


Autograph 


10 Apr. 1792 


Esterhazy Archives 


Valk6, p. 658 


Autograph (facs. 




Acta Musicalia I, 54 




inValko] 


24 Apr. 1792 


VNat. Cod. 14300 


Karajan, pp. H2/. 


Autograph 


Apr. 1792 


? 


The Morning Herald, 


Morning Herald 






27 Apr. 1792; Pohl, 


(collation by 






H. in L, p. I94n. 


Charles Hum- 








phries) 


22 May 1792 


Sotheby Wilkinson & 


Pohl III, 59 


PohlHI 



13 June 1792 



4 Aug. 1792 
22 Oct. 1792 



13 Nov. 1792 
7 Dec. 1792 

20 June 1793 



14 Aug. 1793 
23 Nov. 1793 

23 Dec. 1793 



Hodge Cat. 2 Mar. 
1905, No. 568-> Maggs 
Bros. Cats. 394 (1920), 
No. 1366; 433 (1922), 
No. 33i7-> ? 
Sotheby Wilkinson & 
Hodge Cat. Huth Coll. 
(12-13 June 1911), No. 
iQ4-> Neumayer (24) 
->HeyerColL, 
Cologne-*- ? 

VNat. Cod. 14300 

V. A. Heck Cat. 46, 
No. 322 (30 Oct. 1928) 
-> Artaria & Co.-> ? 

VNat. Cod. 14300 

Artaria Archives-*- 
Heinnch Hinterberger 
(i953)-> * 

Rudolf Brockhaus, Leip- 
zig (i886)-> K. E. Hen- 
rici, Verst.-Kat. 155 
(July 1929), No. 45-*- 
Otto Haas Cat. 7 (Mar. 
1938) No. 71-*- ? 

Haydn Museum, Vien- 
na (archive copy) 

Haus-, Hof- und Staats- 
archiv, Vienna, Fasz. 
148-177 

ditto 



Pohl III, 59/ 



PohlUI 



Karajan, p. 114 

Pohl ffl, 66/. (in- 
compl.) 

Karajan, p. 115 

Artana-Botstiber, p. 
66 (from aut.) 


Autograph 

Autograph (facs. 
in Musical Quar- 
terly, Apr. 1932) 
Autograph 

Artaria- 
Botstiber 



Pohl ffl, 70/ 



Pohl III 



none 



F. Reinohl, Neues 
Beethoven-Jahrbuch 
VI (i93S). pp. 3#. 
ditto 



Archive copy 
Autograph 

Autograph 



Appendixes 



Letter 

ii Jan. 1794 

22 Oct. 1794 



[undated: to 
Holcroft] 

[undated: to 
Burney] 

13 Aug. 1795 



27 Feb. 1796 



25 Mar. 1796 



15 April 1796 



16 Apr. 1796 



Autograph 

Private coll. Vienna-* 
V. A. Heck Cat. 69, 
No. 45a-> Stanford 
Memorial Library 
Stargardt Cat. 534 
(8 Nov. 1957), No. 
421 (with facs.)-> Coll. 
Hoboken, Ascona 
Mary Benjamin (1957) 
-> Coll. Hoboken, 
Ascona 

Stargardt Cat. 314(24 
Nov. 1930), No. 105 
->? 

Sotheby Wilkinson & 
Hodge Cat. 2 Mar. 
1905, No. 564-> Mor- 
ton (3. i2)->-B.M. 
Add. 38071, f. 5 
Sotheby Wilkinson & 
Hodge Cat. 2 Mar. 
1905, No. 565-*- Ellis 
(6.5)->-Maggs Bros. 
Cats. 394 (1920), No. 
1367; 433 (1922), No. 
3 3 1 8-> Library of Con- 
gress, Washington 
Leo Liepmannssohn 
Cat. 141, No. 597-> 
private coll., Louisville, 
Kentucky 

W. Westley Manning 
-* Sotheby Cat. 11/12 
Oct. 1954, lot 205-* 
(36) Dr. Schillings 
Hugo von Mendcls- 
sohn-Bartholdy, Basel 
Senator Gwinner, 
Frankfurt/M.->O.A. 
Schultz Cat. 15, No. 
i07->- Coll. Floersheim- 
Koch, Muzzano-Lugano 
(Switzerland). Old 
copy in B. &H. 
Archives, destroyed in 
air raid of 4 Dec. 1943 



Printed Source(s) 
Pohl I, 266 



none 



none 



none (extracts in 
Stargardt Cat.) 



none 



Musical Quarterly, 
April 1932 (facs. with 
transl.) 



331 

Source used 
Autograph 

Autograph 
Autograph 



Autograph 
(IMBA) 

Autograph 



Autograph 



none 



none (extract in 
Sotheby Cat.) 



Hase, p. 6 



Autograph 



Autograph (Herr 
von Mendels- 
sohn-Bartholdy 
kindly supplied 
a photograph) 

Autograph 



332 



Appendixes 



Letter 
9 Nov. 1796 


Autograph 
Paris Conservatoire 


Printed Swrce(s) 
Tiersot, Lettres des 
musidens, Turin 1924, 
pp. 7 2/ 


Source used 
Autograph 


[End of 1796] 


? Old (contemporary) 
copy in VNat. Cod. 
15391: date "Imjanuar 
1795" added later, in the 
same handwriting. 


Nohl, pp. 1 5 if. 


Old copy in 
VNat. 


20 Jan. 1797 


Formerly Tonkunstler- 
Societat, now dis- 
appeared 


Pohl, Tonkiinstkr, p. 
41. 


Pohl 


[28 Jan. 1797] 


VNat. XXXHI No. 109 


Nohl, p. 153 


Autograph 




-2 






i June 1798 


Gesellschaft der Musik- 
freunde, Vienna 


none 


Autograph 


[End Apnl 1799] 


Kungl. Bib., Stockholm 


none 


Autograph 


1 8 May 1799 


Gesellschaft der Musik- 


none (facs. in biogr. 


Autograph 



12 June 1799 



15 June 1799 



freunde, Vienna 



K. E. Henrici Auk.-Kat. 
CXII (1926), No. looi 
->V.A.Heck->Stadt- 
bibhothek, Vienna (40. 
044) 



by Schmidt, Geirin- 
ger [Eng. ed. of 
Haydn, London, 1947]) 

Griesinger, pp. I22/ Autograph 
(incomplete and with 
sentence added by G.) 



Allgemeine Musikal- 
ische Zeitung (Intelli- 
genzblatt, XV, 1799); 
Hase, pp. io/ 



AMZ 



25 June 1799 


B.M. Add. 33965, 
205 


5 July 1799 


Berlin Staatsbiblio- 
thek, stolen in 1945 


12 July 1799 


Leo Liepmannssohn 
Cat, 20 Jan. 1908, No. 
28a-> Paris Conserva- 




toire 


18 July 1799 


Esterhdzy Archives, 



none 



Nohl, Addenda, pp. 
LIV-LV; Artaria- 
Botstiber, p. 73 (from 
Pohl MS.) 



none 



ActaMusicaliaXXVI, 
1854 



Autograph 

Autograph (from 
a copy kindly 
provided by Dr. 
vanHoboken) 

Autograph 



Autograph (from 
a copy kindly 
provided by Dr. 
A. Valk6) 



Appendixes 


333 


Letter 


Autograph 


Printed Sources) 


Source used 


[Between middle 


Esterhizy Archives, 


none 


Autograph (from 


of July and Sept- 


ActaMusicaliaXXVI, 




a copy kindly 


ember 1799] 


1855 




provided by Dr. 








A. Valk6) 


20 July 1799 


Gabriel Charavay Cat. 
Kafka (1881), No. 30 


Artaria-Botstiber, p. 
74 (from Pohl MS.) 


Autograph 
(photograph 




-+ Alfred Morrison 




kindly supplied 




(Catalogue of the Collec- 




by Dr. van 




tion . . . London 1885, 




Hoboken) 




D,p.245)->Sotheby 








(i9i7)->- Maggs Bros. 








Cat. 405 (1921), No. 






24 July 1799 


925-*? ^ 


Pohl HI, I50/ 


Pohl III 


10 Aug. 1799 
[Briihl] 


Felix Salzer, New York 
City 


none 


Autograph 


10 Aug. 1799 


Verst. Ignaz Schwarz 


Neue Musikzeitung 


Autograph (no 


[Knoblich] 


10 June 1918, No. 167 


(Stuttgart) 27 May 


address) 




-> O. A. Schultz Cat. 


1909, p. 371; Pohl 






27, No. 276 -> Muse 


HI, 151 






de Mariemont (Bel- 








gium), cat. 1109 A 








3 






15 Aug. 1799 


Artaria Archives-* 


Nohl, pp. 156/1 (in- 


Artaria- 




Heinrich Hinterberger 


compl.) ; Artaria- 


Botstiber 




(i953)->? 


Botstiber, pp. 74/ 








(from aut.) 




19 Aug. 1799 


e 


Harmonicon V (1827), 


Harmonicon 






p. 63; Pohl H. in L, 








pp. 358-360. 




14 Sept. 1799 


Stanford Memorial 


none (F.ng. transl. in 


Autograph 




Library 


Cat. of Stanford 


(IMBA) 






Memorial Library) 




21 Sept. 1799 


Formerly Theodor 


Nott, Addenda, p. LV 


Nohl 




Breusnig, Osnabriick 






23 Sept. 1799 


? (Formerly E. L. 


Gerber, Neues histo- 


Gerber Lexikon 




Gerber) 


risch-biographisches 








Lexikon ... II 








(1812), p. 553 




30 Sept. 1799 


From Briefcopierbuch 


none 


Briefcopierbuch 




of Simrock (now 




(IMBA) 




IMBA) 






I Nov. 1799 


? (Formerly Brcitkopf 


none 


Autograph (facs. 




fcHartel) 




in Hase, facing 








p. 12) 



334 



Appendixes 



Letter 

[24 March 1800] 

ii May 1800 



23 May 1800 
i6june 1800 



i July 1800 
[Gricsinger] 
i July 1800 
[Breitkopf & 
Hartel] 



7 July 1800 



18 July 1800 



2 Aug. 1800 



Autograph 
Archiv fur Nieder- 
osterrcich, Vienna. 
Aut. Samml. Verst. C. 
G. Bonier 3-6 May 
1911, No. 982->Sothe- 
by Cat. 27 June 1932, 
No. 1 27->- Lambert 
(21)-* ? [in Sotheby 
Cat. the letter is listed 
as addressed to Grie- 
singer] 

Archiv des Landes- 
gerichtes, Vienna 
Artaria Archives-* 
Heinrich Hinterberger 
(i953)-> ? 

? (Formerly Coll. Heycr, 
Cologne) 

Archives of B. & H.-> 
Leo Liepmannssohn 
Cats. Verst.-Kat. 52 
(16-17 Nov. 1928), No. 
248; Verst.-Kat. 56 
(15-16 Nov. 1929), No. 
248-*? 

Leo Liepmannssohn 
Cats. 174, No. 841; 
39th Aut.-Verst. (17-18 
Nov. 1911), No. 334-> 
Maggs Bros. Cat. 278 
(1912), No. 208 (with 
facs.)-> Sotheby Cat. 
26 July 1938, lot 6o8-> 
Otto Haas (i7)-> 
Maggs Bros. Cat. 825 
(1954), No. 443-* 
Mary Benjamin-*- Coll. 
Hoboken, Ascona 
Briefcopierbuch, Breit- 
kopf & Hartel, Leipzig 
(destroyed during 
World War II) 



Printed Source(s) 
R. F. Muller, Die 
Musik XXH/2 (1929) 



none 



Pohl n, 92 



none 



Hase, pp. 20/, 24, 42 
(incompl.) 



Pohl ffl, 158 (extracts) 



Source used 
Autograph 

Copy by E. von 
Mandyczewski 
(Gesellschaft der 
Musikfreunde. 
Vienna) 



Autograph 

Summary kindly 

provided by 

Herr Hinter- 

berger 

no copy available 



Hase 



Autograph 
(kindly placed at 
my disposal by 
Dr. van 
Hoboken) 



Sandberger, Peters- 
Jahrbuch 1933, PP- 

28J. 

Extracts in Pohl ffl, 
162 and Musical Quar- 
terly, April 1932, p. 
214 (English) 



Sandberger 



Pohl ffl & MQ 



Appendixes 



Letter 

3 Aug. 1800 



ii Aug. 1800 



22 Aug. 1800 
28 Aug. 1800 



3 Sept. 1800 
[Artaria] 



Autograph 

Artaria Archives-* 
Gabriel Charavay Cat. 
Kafka (1881), No. 31-* 
Noel Charavay Cat. 8 
June 1900, No. 90-* 
Pearson Cat. of Rare & 
Valuable Letters Part I, 
No. 27o(is.i5)-> 
Sotheby Cat. 27-28 
Nov. 1913, No. 172-* 
Maggs Bros. Cats. 320 
(1914), No. 329; 337 
(1915 , No. 757; 360 
1917 , No. 1850; 381 
1919 , No. 1847; 417 
1921 , No. 2788-* 
Henrici Auk.-Kat. 76, 
No. 282->J. A. Star- 
gardtKat. 337(8 Feb. 
1933), No. 93->Leo 
Liepmannssohn Verst.- 
Kat. 64 (23-24 May 
1934), No. 700-> ? 
Fnedrich Cohen, Cat. 
Posonyi No. 478-* 
K. E. Henna Auk.-Kat. 
LXXXVIII, No. 184-* 
V. A. Heck Cat. 4 Sept. 
1925-* Thomas Mad- 
digan-> Heinrich 
Hinterberger Cat. XX 
(Oct. 1937), No. 215 
(with facs.)-> Harvard 
College Library 
? (Formerly Artaria 
Archives) 



Printed Source(s) 



335 

Source used 
Pohl MS. 



Artana-Botstiber, p. 
79 (from Pohl MS.) 



Autograph 



Karolina von Schubert, none 
Graz (1892)-* Studien- 
professor F. Boccali, 
Kempten (Allgau) 
Fnednch Cohen, Cat. 
Posonyi No. 479-> 
Gilhofer & Ranschburg 
Cat. 27 Oct. 1908, No. 
470-> Coll. Geigy- 
Hagenbach, Basel. 



Nohl, p. 157; 
Artana-Botstiber, p. 
80 (from Nohl) 



Nohl, p. 158; Art- 
aria-Botstiber, pp. 
8o/ (from Nohl) 



Pohl MS. 
Autograph 

Autograph 



336 



Appendixes 



Printed Sources) 
Nohl, p. 159 

Artaria-Botstiber, pp. 
82/. (from aut.) 

none 



Source used 
Autograph 

Artaria- 
Botstiber 

Autograph 



Letter Autograph 

3 Sept. 1800 W. La Croix-> VNat. 

[Wram(t)zky] XXXUI No. 109-3 
6 Oct. 1800 Artaria Archives-* 

Heinrich Hinterberger 

(1953)-* ? 
16 Oct. 1800 Historical Society of 

Pennsylvania 

[Letters of Johann Friedrich Wagner (Danzig), i July 1800 and 30 Sept. 1800: formerly 
Artaria Archives-*- Heinrich Hinterberger (i953)-H The summaries kindly provided by 
Herr Hinterberger.] 

[Oct. or Nov. Esterhazy Archives none Autograph 

1800] Acta Musicalia 1876 

10 Dec. 1800 Esterhizy Archives, 
Acta Musicalia XXVI, 



1880 



[Undated: c. 
1800] 

30 Mar. 1801 


R. Geering Cat. 402, 
No. 1212 

Esterhazy Archives 
Acta Musicalia 



none 



none 



28 Apr. 1801 



4 May 1801 
[Pleyd] 

4 May 1801 
[Fdix Mentis 
Society, open 
letter] 



4 May 1801 
[Commissioners' 
of "Felix Mentis" 
Society] 

20 May 1801 



E. Charavay Cat. Fillon, none 
No. 2416-* M. Leng- 
feld Cat. 42, No. 395-> 
Coll. Geigy-Hagenbach, 
Basel. 

? (Formerly Maison 
Pleyel, Pans) 

Prince Esterhdzy's Coll. 
(National Museum, 
Budapest, An. Mus. 
Ha. I, 2; Ger. trans., 
dated 1811, Ha. I, 3) 
(Draft in Gemeente- 
Archief Amsterdam, 
Archief Felix 
Mentis No. 74-78) 

Esterhizy Archives, none 
Varia, Fasc. 2432/3, pp. 
3/. German translation 
of the year 1811 in 
Fasc. 2432/3, pp. 7/ 

1904: Allgemeiner 
Konzertverein, Barmen 



Autograph (from 
a copy kindly 
provided by Dr. 
A.Valk6 

Contents from 
Geering Cat. 

Marton copy in 
VNat. 

Autograph 



Weckerlin, Musiciana, Weckerlin 

Paris 1877, pp. 29i/. 

(French). 

Pohl m, 182 (Ger- Autograph ( & 
man) Draft) 



Allgemeine Musikzei- 
tung XXXI (1904), pp. 



Autograph (from 
a copy kindly 
provided by Dr. 
A. Valk6) 

Autograph (facs. 
in^M) 



Letter 

2 June 1801 



I July 1801 



3 July 1801 

10 July 1801 
20 July 1801 



21 July 1801 



24 July 1801 



25 July 1801 



10 Aug. 1801 



Autograph 

Esterhazy Archives, 

ActaMusicahaXXVI, 

1894 



Leo Liepmannssohn 
Verst.-Kat. 56 (15-16 
Nov. 1929), No. 89-> 
Sandor Wolf Museum, 
Eisenstadt 

? (Formerly Breitkopf 
& Hartel Archives, 
Leipzig) 

ditto 



Appendixes 

Printed Source(s) 



none 



Breitkopf & Hartel-> 
Coll. Tulius Rietz, 
Dresden-* List & 
Franke Cat. 7 Dec. 
1887, No. 55<5->Coll. 
Julius von Herz, Vienna 
(i892)-> C. G, Borner 
Cat, 3-6 May, 1911, No. 
983-* Coll. Heyer, 
Cologne-* ? 

? (Formerly Coll. 
Nadler, Plan [Bohemia]) 



Esterhizy Archives, 
VanaFasc. 243 2/3, pp. 
if. German translation 
of the year 1811 in 
Fasc. 2432/3, p. 7 



Csatkai, p. 33 



Hase, pp. 24$ 



Hase, pp. 26f. 

Allgemeine Musikal- 
ische Zeitung No. 51 
(1801), pp. 842/5 
Griesinger, pp. 72/ ; 
Dies, pp. I75jf. 

Nohl, Addenda, p. 
LVI 



Deutsche Zeitung 
Vienna 1 873 (23 Dec., 
p.3);PohlIII,i87; 
&c. 



Dies, pp. I76/ (Ger- 
man, n.d.) ; A. Reiss- 
mann, _/cwp/j Haydn, 
Berhn 1879, pp. 225/ 
(German, with date) 



337 

Source used 

Autograph (from 
a copy kindly 
provided by Dr. 
A. Valk6) 

Autograph 



Hase 



Hase 

AMZ, Grie- 

singer 



Nohl, collated 
with MS. copy 
by E. von 
Mandyczewski 
in Gesellsch- 
aft der Musik- 
freunde in 
Vienna 



Autograph (facs. 
in Vienna Stadt- 
bibhothek, 
99282) 

Autograph (from 
a copy kindly 
provided by Dr. 
A. Valk6) 



Dies; Reissmann 



338 


Appendixes 


Letter 


Autograph 


Printed Source(s) 


Source used 


21 Aug. 1 80 1 


K. E. Henrici Auk.- 


none 


Copies of the 




Kat. CVII (22-23 Feb. 




autograph kindly 




1926)-* Captain 




made by Paul 




Nydahl, Stockholm 




Badura-Skoda & 








Count C.-G. 








Morner 


26 Aug. 1801 


Bayrenther Musik- 


none 


Summary from 




antiquariat, "Katalog 




Catalogue 




1958 ', item 37 






ii Sept. 1801 


C. G. Borner Auk. 118 


Pohl III, 181 


Autograph 


[Letter] 


(7 June 1913) No. 164-* 




(IMBA) 




K.E.HennciVerst.L 








(1919), No. 7i-> ? 






ii Sept. 1801 
[Certificate] 


? (Old copy in Artaria 
Archives-* Heinrich 


none 


Old copy, kindly 
placed at my dis- 




Hinterberger [1953] 




posal by Herr 




-**) 




Hinterberger 


26 Sept. 1801 


Esterhazy Archives 


none 


Marton copy in 




Acta Musicalia 




VNat. 


i Oct. 1801 


Historical Society of 


Pohl HI, I90/ 


Autograph 




Pennsylvania 






7 Oct. 1801 


K. E. Hennci Lager- 


Merker, Jg. i Heft 19, 


Merker 




Kat. 7, No. 47-> ? 


p. 771 (Botstiber: 








German) 




1 8 Oct. 1801 


? (Dutch Translation in 


Pohl m, i82/. 


Pohl collated 




Gemeente-Archief 


(original German) 


with Dutch copy 




Amsterdam, Archief 




(photograph 




Felix Mentis No. 74- 




kindly provided 




78) 




by Dr. van 








Hoboken) 


21 Oct. 1801 


David Salomon Cat. 


Pohl III, 191 


Autograph 



27 Oct. 1801 

4 Nov. 1801 

5 Dec. 1801 



10, No. 90 (with facs.) 
-> C. F. Peters, New 
York City 

B.M.Add. 3 5263, f. 
130 



B.M. Add. 35263, flf. 
136-137 



Merker, Jg. i Heft 19, Autograph 

p. 771 (Botstiber: 

German) 

Mentioned in Pohl III, no copy avail- 
191 able 

Merker, Jg. i, Heft 19 Autograph 
(Botstiber: German); 
: MQ, p. 185 



Appendixes 



Letter 

6 Dec. 1801 



[c. 5 Dec. 1801] 
7 Dec. 1801 



ii Dec. 1801 



26 Dec. 1801 



2 Jan. 1802 



[Middle of Jan. 
1802] 



Autograph 

Am. formerly in B. & 
H. Archives, Leipzig, 
destroyed in an air-raid 
on 4th Dec. 1943 
Esterhizy Archives, 
Acta Musicalia XDC, 
1308-1309 

R. Zeune Cat. 20, No. 
8i->Coll. Floersheim- 
Koch, Muzzano- 
Lugano (Switzerland) 

PnnceEsterhdzy's Coll. 

(National Museum, 

Budapest, An. Mus. 

Ha. I, 4) 

BM. Add 35263, fF. 

138-139 



K. E. Henrici Lager- 
Kat. 7, No. 48-> 
Sotheby Cat. 17 June 
1930, lot 225-> Masters 
(7)-* Coll. Elizabeth 
Firestone, Akron, Ohio. 
[In Sotheby Cat. the 
letter is (wrongly) 
dated, "27 January".] 



Printed Source(s) 

Allgemeine Musikal- 
ische Zeitung, Intelli- 
genz-Blatt V, Dec. 
1801, p. I 



Dies, pp. i83/. (no 
signatures) ; Pohl ffl, 
193 (wrong date) 

Merker, Jg. I, Heft 19 
(Botstiber : German) ; 
Geiringer MQ, p. 
1 86 Eng. incompl. 
Geiringer MQ, p. 186 
(English) 



339 

Source used 
AMZ 



Autograph (from 
a copy kindly 
provided by Dr. 
A. Valk6) 
Autograph 



Autograph 
(photograph R. 
Forstner, 
Eisenstadt) 
Autograph 



Autograph 
(photograph 
kindly sent to 
me by Dr. 
Geiringer) 



[c. 20 Jan. 1802] 


Deutsche Staatsbiblio- 


none 


Autograph 




thek Berlin 






29 Jan. 1802 


B.M. Add. 35265, fF. 


Merker, Jg. I, Heft 19 


German 




140-141 


(Botstiber: German); 








Geiringer MQ, pp. 








i86/! (extract) 




6 Feb. 1802 


Nas Castle, Sweden 


C. F. Hennerberg, 


Autograph (facs. 






Bericht des III. Kon- 


in Morner, p. 






gress der 7.M.G., 


387). 






Vienna-Leipzig, 1909, 








p. 430. 





8 Feb. 1802 
Haydn's answer 
(March or Apr. 
1802) 

J.H.-AA 



Griesinger, p. 76 
(extracts) 



Griesinger 



340 

Letter 

4 March 1802 



10 March 1802 

1 3 March 1 802 

[March 1802] 
24 March 1802 

14 April 1802 
30 April 1802 

8 May 1802 

[c. 7 June 1802] 
14 June 1802 

21 June 1802 
30 July 1802 

14 Aug. 1802 

22 Aug. 1802 

28 Aug. 1802 



22 Sept. 1802 
[Kriigcr] 



Appendixes 



Autograph 

Esterhdzy Archives, 

ActaMusicahaXXVI, 

1919 

Esterhdzy Archives 
Acta Musicalia 1952 

Esterhdzy Archives, 
Acta Musicalia XX VII, 
1953 

Esterhdzy Archives 
Acta Musicalia 1920 

Esterhdzy Archives 
Acta Musicalia 1315 

Boston Public Library 

Esterhdzy Archives 
Acta Musicalia 1926 

? (Formerly Breitkopf 
& Hartel Archives, 
Leipzig) 

Esterhazy Archives 
Acta Musicalia 1931 

Esterhdzy Archives 
Acta Musicalia 1933 

Esterhdzy Archives 
Acta Musicalia 1934 

L. C. Seydler, Gratz-> 
V. A. Heck Cat. XXVI, 
(1926) No. 45 (with 
facs.)-> A. C. Meyer 
-H 

Esterhdzy Archives 
Acta Musicalia 1937 

? (Formerly Breitkopf 
& Hartel Archives, 
Leipzig) 

Gilhofer & Ranschburg 
Cat. 21 Feb. 1898, No. 
2<$o-> Stadtbibliothek 
Vienna, 99474 

J. A. Stargardt Cat. 23 
Nov. 1908, No. i328-> 
Coll. Hoboken, Ascona 



Printed Source(s) 
none 



none 



none 



Source used 

Autograph (from 
a copy kindly 
provided by Dr. 
A. Valk6) 

Autograph 

Autograph (from 
a copy kindly 
provided by Dr. 
A. Valk6) 

Autograph 
Autograph 



none 
none 


Autograph 
Autograph 


Hase, p. 28 


Autograph (facs. 
in Hase, p. 27). 


none 


Autograph 


Pohl III, 200/ 


Autograph 


Pohl III, 201 (in- 
compl.) 

Wiener Allgemeine 
Musikalische Zeitung 
1847, No. 132; Nohl, 
pp. i67/. 


Autograph 

Autograph (facs 
in Heck Cat. 
without the 
address) 



none 



none (mentioned in 
Hase, p. 28) 



none 



Autograph 

no copy avail- 
able 

Autograph 



Pohl III, 203/. (with- Autograph 
out address) 



Appendixes 



Letter 

22 Sept. 1802 
[Naumann] 



7 Oct. 1802 



28 Nov. 1802 
6 Dec. 1802 

ii Jan. 1803 



22 Jan. 1803 
3 March 1803 



Autograph 

Berlin Staatsbibhothek 
(now Umversitatsbib. 
Marburg/Lahn) 

Count Harrach, Rohrau 
& Vienna (now 
Osterreichisches Staats- 
archiv, Vienna: Har- 
rach-Archiv, Karl 773, 
ff. 1-2) 

Haydn Museum, 
Vienna 

Maison Pleyel, Paris 



Count Harrach, Rohrau 
& Vienna (now Oster- 
reichisches Staatsarchiv, 
Vienna: Harrach- 
Archiv, Karl 773, fF. 
3-4). 

Sdndor Wolf Museum, 
Eiscnstadt 



Printed Source(s) 
Pohl HI, 208 



13 March 1803 A. Cohn Cat. 173, No. 



3 April 1803 



10 May 1803 



J. A. Stargardt Cats. 
24 Mar. 1902, No. 642; 
513 (1954), No. 550 



[c. 15 May 1803] 



Coll. Floersheim-Koch, 

Muzzano-Lugano 

(Switzerland) 



Pohl IH, 204 

Comettant, Un Nid 
d'autographes, Pans 
1885, pp. 9-11 
(French), with facs. 

Mencik, Beitrage 
(Musikbuch aus 6s- 
terreich 1909); Pohl 
III, 216 (wrong date) 



Csatkai, p. 33 

Schlesische Provincial- 
blatter, Breslau 1803; 
Echo, Berliner Musik- 
zeitungjg. 6, No. 
48 ; Pohl III, 210 

Pohl ffl, 2io/. 
none 



Allgemeine Musikal- 
ische Zeitung No. 40 
(1803), pp. 669-6*72; 
Griesinger, pp. 80- 
82; Dies, pp. i88/. 
(without signatures 
&c.) 

Allgemeine Musikal- 
ische Zeitung (ibid.); 
Dies, pp. i8o/;Pohl 
HI, 21 7/ Nom, p. 170 



341 

Source used 
Autograph 

Autograph 



Autograph 
Autograph 

Autograph 



Autograph 
Echo & Pohl III 

Pohl III 

Copy kindly 
provided by Dr. 
van Hoboken 

AMZ, 
Griesinger 



Autograph 



342 


Appendixes 


Letter 


Autograph 


Printed Source(s) 


Source used 


18 May 1803 


? 


Pohl III, 2i8/ 


Pohl III 


5 June 1803 


? (Formerly W. Tau- 


Nohl, Addenda, pp. 


Nohl 




bert, Berlin [1873]) 


LVI-LVII 




30 June 1803 


B.M. Add. 3 5266, f. 170 


Merger, Jg. i, Heft 19 


Autograph 






(Botstiber: German); 








Geinnger MQ, p. 188 








(English) 




i July 1803 


ditto f. 171 


ditto (Merker, p. 775, 


Autograph 






MQ p. 187) 




6 July 1803 


ditto fT. 172-173 


Merker (as above) ; 


Autograph 






MQ only extract 




13 Oct. 1803 


Esterhdzy Archives, 


none 


Autograph (from 




ActaMusicalia XXVII, 




a copy kindly 




1976 




provided by Dr 








A. Valko) 


i Nov. 1803 


Cantor F. Dietrich, 


Sandberger, Peters- 


Facs. of auto- 




Berlin (i 856)-* Prof. 


Jahrbuch 1933, pp. 2$ff. 


graph (Vienna 




H Rauscher (1932)-^ 


(the draft). Facsi- 


Stadtbibhothek 




pnv. coll. in Basel. A 


mile of aut. printed in 


3079) & draft. 



[Beginning of 
Nov. 1803] 

1 8 Dec. 1803 



20 Dec. 1803 



draft (not aut.) in Pans 
Conservatoire. 



Nadermann's edition 
of Haydn's pianoforte 
Trio No. 31 in E flat 
minor (see Hoboken, 
715); text in Echo, 
Berliner Musikzei- 
tung 1856 No. n, p. 
81 



Esterhdzy Archives 
Acta Musicalia XXVII, 
1984 

B.M. Add. 35266, ff. 
196-197 



B.M. Add. 35266, f. 17 
(Thomson's Copy 
Book) 

Undated 1803 letter: 

Re Madame Esterhdzy Archives none 

Siess, &c. Acta Musicaha 1982 

25 Feb. 1804 Draft in VNat. XXXIII, Nohl, p. 171 

No. 109-4 (from anti- 
quarian bookseller 
Bader) 



Autograph 



Mcrker, Jg. i, Heft Autograph 
19, p. 776 (Botstiber: 
German) ; Geiringer 
MQ,p.i8 9 (Eng.) 

Extracts in Geiringer Autograph 
MQ, p. 188. 



Autograph 
Autograph 



Appendixes 


343 


Letter 


Autograph 


Printed Source(s) 


Source used 


1 6 March 1804 


Coll. Kippenberg, 


Dies, pp. 100-102 


Copy of auto- 




Diisseldorf 




graph (IMBA) 


Spring 1 804] 


Draft in VNat. XXXIII, 


none 


Autograph 


Re Richter] 


No. 109-4 






Spring 1804] 


Esterhdzy Archives 


none 


Marton copy m 


Re Fuchs] 


Acta Musicaha 




VNat. 


Draft for above 


Sdndor Wolf Museum, 


Csatkai, pp. 33/ 


Autograph 




Eisenstadt 






I April 1804 


Prince Esterhazy's Coll. 


Pohl III, 224f. 


Autograph 




(National Museum, 








Budapest, An. Mus. 








Ha. I, i) 






6 April 1804 


B.M. Add. 35265, f. 225 


Merker, Jg. i , Heft 19 


Autograph 






(Botstiber: German) 




10 May 1804 


ditto, f. 233 


/Pohl III, 226 (draft) 


Autograph 


[Draft for above 


VNat. XXXIII, No. 


I 


Autograph 




109-4 






[May 1804] 


Draft in Sandor Wolf 


Csatkai, p. 34 


Autograph 


Hammersley] 


Museum, Eisenstadt 






[May (?)] 1804 


Esterhdzy Archives, 


none 


Autograph (from 


(Karner) 


Acta Musicalia XXVII, 




a copy kindly 




2002 




provided by Dr. 








A. Valk6) 


[May 1804] 


ditto 


ditto 


ditto 


[Burney] 








[May 1804] 


Esterhazy Archives 


none 


Autograph 


Tomasim] 


Acta Musicaha 2005 






[Draft for above 


Sdndor Wolf Museum, 


Csatkai, p. 34 


Autograph 




Eisenstadt 






? Spring or 


Draft in Sandor Wolf 


Csatkai, p. 34 


Autograph 


Summer 1804] 


Museum, Eisenstadt 






2 1 June 1804 


Autograph ditto 


ditto, p. 33 


ditto 




(Bought from K.E. 








Hennci Auk.-Kat. 








CXLII, No. 21) 






5 July 1804 


Esterhdzy Archives 


none 


Autograph 




Acta Musicaha 2034 






to Aug. 1804 


? (Gardiner kept copy) 


Gardiner, Music & 


Gardiner 



Friends, 1838, 1 pp. 
362/1 ;O. E. Deutsch, 
Music Review IV/3 
(1943), PP- i6i/ 



344 

Letter 

14 Sept. 1804 



Appendixes 



Autograph 

? (1932: President Kux, 
Vienna. I wrote to Mr. 
Kux, who is now in 
Switzerland, and re- 
ceived the answer that 
he had given the letter 
to a refugee in 1938 and 
could no longer re- 
member the recipient's 
name) 



Printed Sources) 



none 



Source used 

no copy avail- 
able 



28 Sept. 1804 


Margarete Hummel, Pohl III, 230 (no 
Florence address, wrong date) 


Autograph 


8 Oct. 1804 


? (Copy in Aloys Fuchs* Allgemeine Theater- 
notebook, "Miscel- zeitung No. 103 
lania", Gottweig (Vienna, 1841) 
Abbey). 


Fuchs' copy 


17 Oct. 1804 


? (Formerly owned by Merker, Jg. i, Heft 
Miss Emihe Schaup, 19, p. 777 (Botstiber: 
Vienna [1931]) German); Italian 
original in Leo Griin- 
stein, Das Alt-Wiener 
Antlitz, Vienna 1931, 
I, pp. 138/1 (wrongly 
noted as being to 
Bridi) 


Griinstein 


30 Oct. 1804 


B.M. Add. 35263, ff. Merker, Jg. i, Heft 
244-245 19; Geiringer AfQ, 
p. 189 (Eng.) 


Autograph 


5 Nov. 1804 


? (Auction Anderson none 
Galleries, New York 
City, 3 Nov. 1915, No. 512) 


no copy avail- 
able 


15 Feb. 1805 
20 June 1805 


? Pohl III, 236/1 

Prince Esterhdzy's Coll. Dies, pp. i84/. ; Pohl 
(National Museum, Buda- III, 193^. (wrong date) 
pest, An. Mus. Ha. 1, 5) 


Pohl in 

Autograph (facs. 
in Geiringer, p. 
28) 


26 June 1805 


(National Museum, Dies, pp. 1 8 5/. ; Pohl 
Budapest, An. Mus. Ill, 243/1 (incompl) 
Ha. I, 6) 


Autograph ffacs. 
in Bulletin de 
Soc. Inter, de 
Mus. VI, No. i 
[1910], p. 79). 


[Haydn's answer 


? B/Jefw(see26June 
1805): extract. 


Bulletin 



Appendixes 


345 


Letter 


Autograph 


Printed Source(s) 


Source used 


17 Aug. 1805 


? (Formerly Artaria 


Artaria-Botstiber, pp. 


Autograph (facs. 




Archives) 


88/ 


in Artana- 








Botstiber) 


6 Nov. 1805 


? (Formerly Coll. Max 


none 


no copy avail- 




Friedlander, Berlin 




able 




[1892]) 






23 April 1806 


Private possession in 


A. Coli, Vita di Bom- 


Old copy in Bol- 




Italy; an old copy in 
Conservatono * G.B. 


fazioAsioli . . . 
Milan, 1834, p. 50 


ogna (kindly 
copied for me by 




Martini", Bologna, Ms. 


(incompl.) 


L. F. Tagliavini) 




UU/i2:Gaetano Gas- 








peri, Miscellanea Musi- 








cale, Tomo II, p. 791. 






3 May 1806 


Esterhizy Archives 


none 


Autograph 




ActaMusicaha2i53 






5 May 1806 


ditto 


none 


Autograph 


25 Nov. 1806 


Landesregierungsarchiv 


Schmid, p. 259 


Archive copy 




Salzburg, File 430: an 




(Salzburg) 




archive copy, not aut. 






26 Nov. 1806 


? (Probably a draft is in 


Dies, p. 144 


Dies 




the Esterha*zy Archives) 






[Beginning of 


Esterhdzy Archives 


Pohl III 252/ 


Marton copy of 


Dec. 1806] 


Acta Musicalia 




aut. (VNat.) col- 








lated with Pohl 








III 


30 Dec. 1806 


Nas Castle, Sweden 


Nagra antcckningar om 


Copy kindly 






adliga alien Silfver- 


prepared by 






stolpe, Stockholm, 


Count C.-G. 






1884, pp. 200/ 


Morner. 


Undated, 1806 


Prince Esterhizy's Coll. 


Pohl III, 248 


Autograph 


3/17 Apr. 1807 


(National Museum, 


Dies, pp. I50/. 


Dies 




Budapest, An. Mus. 








Ha. 1, 19) 






[June 1807] 


Gabriel Charavay, Cat. 


none 


Extracts (con- 




Kafka (1881), No. 32 




tents) from 




-> ? 




Charavay 


30 Dec. 1807 


? 


Dies, pp. i6jf. 


Dies 


20 March 1808 


Arno Wotke, Berlin 


none (mentioned in 


Autograph 






Pohl H, 96) 


(IMBA) 


7 April 1808 


Gerd Rosen Auk. XI, 


Dies, p. i68/ 


Autograph 



No. 27->Lucien Gold- 
schmidt->Dr. Max 
Thorek, Chicago. 



346 

Letter 

26 April 1808 



29 May 1808 



4/16 June 1808 
25 July 1808 
28 July 1 808 



22 Dec. 1808 



Appendixes 



Autograph 

J. A. Stargardt Cat. 
Donebauer (6-8 Apr. 
!),No. 385-* C. 



Printed Source(s) 

Pohl in 269 (no 
address) 



Source used 
Autograph 



G. Boerner Cat. XVI 
(1910), No. i53-> 
Library of Congress, 
Washington 



Formerly (1884): 
Archives of Philhar- 
monic Society, St. 
Petersburg 
Esterhizy Archives 
ActaMusicaliaXXIV, 
2564 



Griesinger, pp. 83$; Griesinger 

Dies, pp. I7i/ (no 

signatures). 

Dies, pp. I70/ Dies 

Dies, p. 171 Dies 

Pohl ffl, 271 Pohl III 



Pohl III, 



Autograph 



THE LONDON NOTEBOOKS 



I (1791-1792) VNat. Cod. 15391 



ffl (1794-1795) 



ditto 

Salzburg Mozarteum 



IV (1794-1795) lost 



Extracts in Dies, 
Griesinger, Pohl, H. 
in Land Pohl ffl; 
nearly complete Eng. 
translation in Kreh- 
biel, Music & Man- 
ners, New York 1 898 
ditto 

Nearly complete but 
very inaccurate :J.E. 
Engl, Handschriftliches 
Tagebuch aus der Zeit 
seines zweiten 
Aufenthaltes in London, 
Leipzig 1909 

Extracts in Dies and 
Griesinger 



Autograph 



Autograph 
Autograph 



INDEXES 

These indexes do not include material in the Preface, Introduction 

or Source List. 



ALPHABETICAL INDEX TO THE PERSONS ADDRESSED 



Allgemeine Musika- 


15 June 1799 155-6 


22 Sept 1788 78 


lische Zeitung 




26 Oct 1788 79 


(Announcement for 




1 6 Nov 1788 80 


subscriptions to the 




8 Mar 1789 80 


Creation) 




29 Mar 1789 82-3 


Apponyi, Count 


2 Feb 1785 49 


6 Apr 1789 85 


Anton Georg 




5 July 1789 86-7 


Artaria 6c Co. 


31 Jan 1780 24 


15 Nov 1789 91-2 




8 Feb 1780 24-5 


1 1 Jan 1790 94-5 




25 Feb 1780 25-6 


22 Nov 1790 no 




20 Mar 1780 26 


7 Dec 1792 139 




29 Mar 1780 26 


12 July 1799 157-8 




27 May 1781 27-9 


20 July 1799 159-60 




23 June 1781 29-30 


15 Aug 1799 162-3 




20 July 1781 30-2 


ii Aug 1800 173 




18 Oct 1781 32 


22 Aug 1800 173-4 




4 Jan 1782 34-5 


3 Sept 1800 174-6 




20 Jan 1782 35 


6 Oct 1800 176-7 




15 Feb 1782 35-6 


16 Oct 1800 177 




16 Aug 1782 36-7 


17 Aug 1805 238 




c. 25 Aug 


Asioli, Bonifazio 6 Nov 1806 238-9 




1782 37-8 


Austrian Monastery 1768 9-11 




29 Sept 1782 38-9 


(unnamed) 




20 Oct 1782 39 


Baden City Magis- 24 Mar 1800 168 




27 Jan 1783 40 


tracy 




20 Mar 1783 40-1 


Boyer (Parisian music 15 July 1783 42-3 




8 Apr 1783 41 


publisher) 




1 8 June 1783 42 


Brcitkopf, Chnstoph 5 Apr 1789 83-4 




3 Feb 1784 43-4 


Gottlob 1 6 Apr 1796 147-8 




i Mar 1784 44 


9 Nov 1796 148 




5 Apr 1784 45 


12 June 1799 154-5 




8 Apr 1784 45-6 


i Nov 1799 167-8 




1 8 May 1784 46 


Breitkopf & Hartel 6 Dec 1801 195 




20 Nov 1784 47-8 


22 Aug 1802 207 




26 Nov 1785 50-1 


Brtihl, Count Karl 10 Aug 1799 160-1 




10 Dec 1785 51-2 


Fnednch Montz 




u Feb 1787 56 


Paul von 




14 Feb 1787 57 


Burney, Charles I794/I795(?) H5 




27 Feb 1787 57-8 


14 Sept 1799 165-6 




7 Mar 1787 58-9 


May 1804 230 




20 Apr 1787 61 


Claggct, Charles Apr 1792 135 




2 May 1787 62 
19 May 1787 63 


Commissioners of 15 Apr 1796 147 
Parliament 




10 June 1787 63-4 
21 June 1787 64-5 
23 June 1787 65 
12 July 1787 66 


Conservatoire de summer 238 
Musique, Paris 1805 
Droste-HUlshoff, 20 May 1801 182 




2 Aug 1787 68-9 
16 Sept 1787 69 
7 Oct 1787 70-1 
22 Nov 1787 71-2 


Dussek, Johann Joseph 26 Feb 1792 130-1 
Elsslcr, Johann, jun. 5 June 1803 218 
Esterhizy Admmistra- 7 Nov 1780 27 




27 Nov 1787 72-3 


tion 1796/1797 149-50 




16 Feb 1788 75-6 


10 Mar 1802 202-3 




22 May 1788 76-7 


Esterhdzy Cashier's 29 Apr 1773 16-17 




10 Aug 1788 77 


Office 




17 Aug 1788 77-8 


Esterhizy, Prince 8 Jan 1791 113-15 




29 Aug 1788 78 


Anton 10 Apr 1792 133-4 



349 



350 



Indexes 



Estcrhizy, Prince 


9 Sept 1765 3-4 


13 May 1790 loo-i 


Nicolaus I 


[from Rahier, 


30 May 1790 101-2 




Herr von] 13 


6 June 1 790 102-3 




Sept 1765 4-5 


20 June 1790 104-5 




5 Dec 1766 6-7 


27 June 1 790 106 




autumn 1 770 13 


4 July 1790 107 




Mar 1773 15-16 


15 Aug 1790 109-10 




[c. 18 Mar 17-18 


31 Dec 1790 iio-n 




1774] 


8 Jan 1791 111-13 




[Mar 1776] 1 8 


17 Sept 1791 117-19 




beginning 88-89 


13 Oct 1791 119-21 




of Oct 1789 


17 Nov 1791 121 


Esterhizy, Prince 


July/Sept 159 


20 Dec 1791 122-5 


Nicolaus II 


1799 


17 Jan 1792 128-9 




Oct/Nov 178 


2 Feb 1792 129-30 




1800 


2 Mar 1792 131-3 




[from Tom- 195-6 


24 Apr 1792 134-5 




asini Luigi] 


4 Aug 1792 137 




c. Dec 1801 


13 Nov 1792 138 




7 Dec 1801 196 


Gcrber, Ernst Ludwig 23 Sept 1799 166-7 




Mar 1802 203 


Glbggl, Franz Xaver 24 July 1799 160 




14 June 1 802 205 


(Lmz Thurncrmeister) 




beginning of 221-2 


Griesinger, Georg iJulyiSoi 182-3 




Nov 1803 


August 3julyi8oi 183-4 




1803 224 


10 July 1 80 1 184-5 




spring 1804 226-7 


21 July 1 80 1 1 86 




May 1804 232 


21 Aug 1 80 r 189 




3 May 1806 239-40 


i Oct 1801 191-2 




beginning of 


4 Nov 1801 194 




Dec 1806 241 


c. 20 Jan 199-200 




22 Dec 1808 248 


1802 


Eybler, Joseph 


2 May 1787 62-3 


13 Mar 1803 215 




22 Mar 1789 8 1 -2 


Hammerslcy & Co. May 1804 229 




[certificate] 104 


Hartel, Gottfried i July 1800 170-1 




8 June 1790 


Christoph 8 May 1802 205 


Father of one of 


spring/sum- 231-2 


Hartung, August c. i8oo(?) 178 


Haydn's pupils 


mer 1804 


(music-dealer) 


"Felix Mentis" 


1 8 Oct 1801 192-3 


Haydn, Johann 22 Jan 1803 214 


Society, Amsterdam 




Michael 


Forster, William 


[contract] 53-6 


Haydn, Joseph, [from] 




1786 


Albrechtsberger, 1806 242 




8 Apr 1787 59-61 


Johann Georg 




28 June 1787 65-6 


Boheim, Joseph 1 6 June 1800 170 




8 Aug 1787 69 


Michael 




20 Sept 1787 70 


Burney, Charles 19 Aug 1799 164-5 




28 Feb 1788 76 


Buyn (?Buijn), A. 25julyi8oi 188 


Fredenheim, C. F. 


end of Apr 58 


Cherubim, Luigi 26 Apr 1808 245-6 


(President, Royal 


1799 


Concert des Amateurs, 7 Oct 1802 211 


Swedish Academy 




Paris ii Jan 1803 213-14 


of Music) 




Conservatoire de 26 June 1805 237-8 


French Musicians (142) 


10 Aug 1801 188-9 


Musiquc, Paris 


Fuchs, Johann 


1 8 May 1803 217-18 


Esterhazy, Prince 1765 5-6 


Nepomuk 




Nicolaus I 


Gallini, John 


19 July 1787 66-7 


Esterhdzy, Prince 1 8 July 1799 158-9 


Genzinger, Maria 


14 June 1789 85 


Nicolaus II 10 Dec 1800 178 


Anna von 


7 Nov 1789 90-1 


30 Mar 1 80 1 179 




1 8 Nov 1789 92 


2 June 1801 182 




23 Jan 1790 95 


26 Sept 1 80 1 191 




3 Feb 1790 96 


4 Mar 1802 202 




9 Feb 1790 96-8 


13 Mar 1802 203 




14 Mar 1790 98-100 


24 Mar 1802 203 



Indexes 



35i 



Esterhazy, Pnnce Nicolaus II Contd. 

30 Apr 1802 204 
c. 7 June 1 802 205 
21 June 1802 206 
14 Aug 1802 207 
13 Oct 1803 220 
5 May 1806 240 
26 Nov 1806 240-1 

"Felix Mentis" 4 May 1801 180-1 

Society, 25julyi8oi 188 

Amsterdam 
French musicians 20 July 1801 185-6 

(142) 
Fnednch Wdhelm 2 Apr 1787 61 

II, King of Prussia 

Gardiner, William 10 Aug 1804 233 
Genzinger, Maria 10 June 1789 85-6 
Anna von 29 Oct 1789 90 

12 Nov 1789 91 

11 July 1790 107-8 
Hartel, Gottfried 1 8 July 1800 172 

Chnstoph 
Haydn.Johann 22 Jan 1803 214 

Michael 
Heinnch, Prince of 4 Feb 1784 44 

Prussia 
Hummel, Johann 8 Oct 1 804 23 5 

Nepomuk 
Institut National des 26 Dec 1801 197-8 

Sciences et des Arts, 

Pans 
Karner, Herr May ( ? ) 1804 230 

(Esterhazy Eco- 
nomic Adminis- 
trator) 
Kotzebue, August 8 Feb 1802 202 

von 

Kurakm, Prince 25 July 1808 247 
Maria Feodorowna, 15 Feb 1805 236 

Dowager Empress 

of Russia 
Maximilian Franz, 23 Dec 1793 143 

Elector of Cologne 

Mozart, W. A i Sept 1785 50-1 

Neukomni, 4 June 1808 247 

Sigismund 
Philharmonic 29 May 1 808 246 

Society, St. 

Petersburg 
St. George (Privy 1 8 Feb 1782 36 

Councillor, 

Oettingen-Waller- 

stein Court) 

Sahen, Antonio 20 Jan 1797 150 

Schroeter, Rebecca 29 June 1791 279 

8 Feb 1792 279 

7 Mar 1792 279-80 
4 Apr 1792 280 

8 Apr 1792 280 

12 Apr 1792 280 
19 Apr 1792 281 



24 Apr 1792 281 
2 May 1792 281-2 
8 May 1792 282 
17 May 1792 282 
22 May 1792 282-3 
i June 1792 283 
6 June 1792 283-4 
10 June 1792 284 
1 4 June 1792 284 
1 6 June 1792 285 
26 June 1792 285 
[n.d.] 285-6 

Simrock, Nikolaus 30 Sept 1799 167 
Societe academique 30 Dec 1807 243-4 
des enfans d'Appolon, 
Paris 

Thomson, George 20 Dec 1803 223-4 
Tonkunstler-Societat, 20 Jan 1797 150 

Vienna 
Vienna City 10 May 1803 216-17 

Magistracy i Apr 1804 227-8 

Wram(t)zky, Paul 20 Jan 1797 150 
Zelter, Karl 16 Mar 1804 225-6 

Fnednch 
Hayward, Mr c 25 May 116 

(Oxford musician) 1791 
Helbig, Gcorg 3 Aug 1800 173 

J Iicrtl, Jacob (oboist) 28 Nov 1802 21 1-12 
Holcroft, Thomas 1794/1795 144-5 

Huber, Thaddaus 4 Feb 1779 22-4 

(Secretary, 
Tonkunstler-Societat , 
Vienna) 

Hummel, J J. n May 1800 169 

Hummel, Johann 8 Sept 1804 233-4 

Nepomuk 

Hyde & Clementi 28 Apr 1801 179 
Institut National des 14 Apr 1802 204 
Science* et des Arts, 
Pans 

Knecht, Justin Hemrich 3 Mar 1803 214-15 
Knoblich, P. Cornelius 10 Aug 1799 161-2 
(Music Director, 
Gnssau Monastery) 
Kotzebue, August von Mar/ Apr 202 

1802 

Kreusser, Georg Anton 28 July 1787 67-8 
Krliger, Jean Phillip 22 Sept 1802 208-10 
K iirchner, Hcrr i June 1798 151-2 

(Prince Esterhazy's 
valet de chambre) 

Lady (a) 14 Sept 1804 233 

Lavater, Johann Caspar 3 Dec 1781 32-3 
Leonore, Made- 6 July 1776 18-21 

moiselle 

Marteau, Xavier 21 Dec 1771 14 

[contract with 
Zacharuis Pohl] 

Maximilian Franz, 23 Nov 1793 141-3 
Elector of Cologne 



352 



Indexes 



Morcau, Madame I Nov 1803 221 

(wife of General 

Moreau) 
MUlleg, Ferdinand 3 Feb 1788 74-5 

M tiller von und zu 17 Oct 1789 89-90 

(Prince Oettmgen- 29 Nov 1789 93-4 

Wallerstem's Agent) 
M tiller August u Dec 1801 196-7 

Eberhard 
Nadermann (Parisian 25 Oct 1784 47 

music publisher) 
Naumann, Frau 22 Sept 1802 210-11 

(widow of Johann 

Gottlieb Naumann) 
Neukomm, Sigismund 3 Apr 1803 215-16 

3 Apr 1807 243 
June(?)i8o7 243 

Ockl, Charles (school- 24 July 1801 186-8 

master, St. Johann) 
Oettingen-Waller- 3 Dec 1781 33-4 

stem, Prince 

Krafft Ernst 
Papendiek, Christoph 25 June 1799 156-7 

(flautist) 
Parke,John(>) 22 Oct 1794 144 

(oboist) 

Peyer, Ninette 5 May 1786 52-3 

Philharmonic Society, 28 July 1808 247-8 

St. Petersburg 

Pleyel, Ignaz 4Mayi8oi 179-80 

Pohl, Zachanus 6 Dec 1802 212-13 

[contract with 21 Dec 1771 14 

Xavier Marteau] 

Polzelli, Antonio 28 Aug 1802 208 

20 Mar 1808 244 
Polzelh, Luigia 14 Mar 1791 115-16 

4 Aug 1791 117 

13 Dec 1791 1 2 1-2 

14 Jan 1792 125-7 
22 May 1792 135-6 
1 3 June 1 792 136-7 
22 Oct 1792 138 

[from Polzelh, Pietro] 22 Oct 1792 137-8 

20 June 1793 139-40 
[statement to] 23 May 1800 169 

2 Aug 1800 172 

Puchberg, Johann Jan 1792 125 
Michael (Viennese 
banker) 

Roth (Rott), Franz Dec 1787 73-4 
Salomon, Johann 13 Aug 1795 146 

Peter [agreement 
with] 

[agreement with] 27 Feb 1796 146 

18 May 1799 153 

Saurau, Count Franz 28Jan(?) 151 

1797 
Scheffstoss, Anton 20 Mar 1768 8 



("Secretaire", 22 Dec 1768 11-13 

Esterhdzy 9 Jan 1772 15 

Administration) 
Seitz (Esterha'zy I June 1777 21 

Administration 

official) 
Sieber, Jean-Georges 5 Apr 1789 84-5 

27 July 1789 87-8 

28 Aug 1789 88 
Silverstolpe, F. S. 6 Feb 1802 201-2 

30 Dec 1806 241-2 

Soctttt aeadtmique des 7 Apr 1808 244-5 
enfans cTAppollon, 
Pans 
Spech, Johann 28 Aug 1800 174 

[certificate for] 

Stoll, Anton 5 July 1799 157 

7 July 1800 171-2 
30 July 1802 206-7 

Thomson, George 7 Oct 1801 192 
27 Oct 1801 194 

5 Dec 1801 194-5 

2 Jan 1802 198-9 
mid-Jan 1 802 199 

29 Jan 1 802 200-1 

30 June 1803 218-19 
i July 1803 219 

6 July 1803 219-20 
1 8 Dec 1803 222-3 
6 Apr 1804 228-9 
10 May 1804 229 

17 Oct 1804 234-5 
30 Oct 1804 235-6 

Traeg, Johann 8 Mar 1759 80-1 

Unknown gentleman 5 Nov 1804 236 
Van der Null 7 June 1790 103-4 

Friednch Jakob 25 Mar 1796 147 
(wholesale merchant) 
Van Swieten, Baron 26 Aug 1801 190 

21 Oct 1801 193-4 
Veltmann, M. B. 21 Sept 1799 166 

(organist, Osnabriick) 
Vienna City Magis- 14 Aug 1793 141 
tracy c. 15 May 217 

1803 

25 Nov 1806 240 

Weber, Franz Phihpp 29 Dec 1784 48-9 
Weigl, Joseph, jr. n Jan 1794 143-4 
Weigl, Thaddaus n Sept 1801 190 

[certificate for] u Sept 1801 190-1 

Wrani(t)zky, Paul 20 Jan 1797 150 

3 Sept 1800 176 

Zelter, Karl Fnedrich 25 Feb 1804 224-5 
Ztisser, Herr 31 July 1790 108-9 

(Eisenstadt Cashier's 
office) 
Zwettl Monastery 1768 9-1 1 



INDEX OF HAYDN'S WORKS MENTIONED IN THIS BOOK 

NOTE: Symphonies arc identified by the standard numbers in the Breitkopf & 
Hartel Gesamtausgabe, Quartets by the traditional opus numbers, piano Sonatas by 
the chronological list in the Breitkopf & Hartel Gesamtausgabe (Ser. XIV), piano 
Trios by the chronological list in Larsen's Drei Haydn Kataloge (Copenhagen, 1941). 
Other works are listed by their title and, in brackets, the number of Hoboken's 
Haydn-Verzeichnis (Mainz, 1957), in so far as it includes the work in question (the 
first volume of the Verzeichnis contains only the instrumental music). 



Andante con variaziom (Sonata), F minor, 
1793, for pianoforte (VII: 6), 309, 3 ion 

ARIAS (see also Operas), 309, 310, 31 in , 31211 

For Gassm ami's L'amor Artigiano (pro- 

duced Estcrhaza, 1790), 99, 100 
"Da che penso", 10011 

For Miss Poole (lost), 309, 3 1 in. 

CANONS, 309, 3i2n. 

"Thy Voice, O Harmony", 144, i45n , 

309,3i2n. 

"Kenne Gott", 268 

"Gott im Hcrzen" (text), 268 

Die Zehn Gebote (Ten Commandments), 

I45n., i6in ,309,31111 

CANTATAS 

"Ah, come il cuore", 37, 44 

Applausus (1768), 9-u 

Ananna a Naxos, 92n , 97, 98n , 99, 175, 

I76n. 

CHURCH MUSIC (iff also Masses) 

Offertonum "Non nobis, Domine", 21 3n 

Stabat Mater (1767), 8, 20, 28 

Te Deum for the Empress (c 1799), 21311 

CONCERT! 

Pianoforte (harpsichord) and orch in D 

(XVIII- 1 1), 59, 6on 

Two lyre, horns and strings (VHh), 60 

DANCE MUSIC (for orch ) 

Twelve Minuets and Trios (unidentified), 

89,94 

Twelve German Dances and Twelve 

Minuets ("Redoutensaal Dances") (IX: 
ii and 12), 139, 309, 3i2n. 

DIVBRTIMBNTI (see also Trios, Notturm) 

Sei Divertimento Concertanti, Artaria Op. 

XXXI (Hob. X, 1-5, 12), 27, 29n., 3on , 
6on, 

Harpsichord (pianoforte), 2 violins and 

bass, 59, 6on. 

DUETS 

"Saper vorrei" (G) "Guarda qtu" (F), 

1796, 171 

"Quel cor umano e tenero" (using music 

from "Quel tup visetto", Duetto in 
Orlando Paladino), 306 



Fantasia in C for the pianoforte, 1789 (XVII. 

4), 83, 86, 87, 123, 130 

God save the King (Haydn's [lost] setting), 
309, 3 1 in. 

INCIDENTAL MUSIC 

To Der Zerstreute, Pressburg, 1774: see 

Symphony No 60 

Jacob's Dream (for pianoforte and violin: 

lost), 309, 3 1 in 

LIEDER . see Songs 

Maccone for Gallim (lost), 309, 3 ion 

MASSES, 205 

Missa Sti Joannis de Deo, 27n 

Missa in tempore belli (1796), I49n , I57n , 

16211 

Missa Sti Bernardi de Omda (1796), I49n. 

Missa in augustiis (Nelson Mass, 1798), 

I57n, 15811 

Missa ("Schopfungsmesse", 1801), 190, 



Missa ("Harmoniemesse", 1802), 205 

MARCHES 

March for the Prince of Wales (1792) 

(VIII: 3), 281,309, 3 1 in. 

Hunganscher National-Marsch (1802) 
(VIII -4), 22 

Two Marches for Sir Henry Harpur (VIII: 

i and 2), 309, 3iin 
Notturm for King Ferdinand IV of Naples, 



Italian (arranged in chronological order) 
Lo Speziale (1768) 

Overture (!A. 10), 39n. 
Lepescatnce (1769, perf. 1770), 20 
L'mcontro itnprovviso (1775), 4n. 
Overture (!A: 6), 39n. 

La vera costanza (1776), 101 

Overture (!A : 15) 39n. 

// mondo della luna (1777), 55"., I38n. 

Uisola disabitata (1779), 28 

Overture (!A: 13), 39n. 
Lafedeltapremiata (1780), 28 
Orlando Paladino (1782), 36, 37n. 

Overture (I A: 16), 36 

Duet "Quel tuo visetto", 264, 306 



353 



354 



Indexes 



Operas Contd. 

Armida (1783, perf. 1784), 42, 44, 46, 75n., 

Overture (!A: 14), 53, 5511. 

L'anima delfilosofo (Orfeo edEuridice, 1791), 
113, H4n., 115, 138, 17in., 309, 3ion. 

Aria (Orfeo), Act II, "Dov'e quell' alma 
audace", 138 

ORATORIOS (arranged in chronologica order) 
// ritomo di Tobia (1774, perf. 1775), 20, 23, 
74, 75n., 243 

Overture (!A: 2), 39n. 

Die Sieben Worte (The Seven Words) 
(1785), 56, 58, 59, 64, 65, 66, 68, 69, 70, 
71, 7sn., 87, 162, 170, 172, 182, 212, 
2i7n., 233n. 

Mare Clausum (unfinished: London, 1794), 
107, 309, 3 1 in. 

Die Schopfang (The Creation, 1796-1798), 
154-71, 174-92, 199, 20on , 2i3n., 2i7n., 
233n., 234, 246, 247, 264 

Die Jahreszeiten (The Seasons, 1799-1801), 
166-7, 169, 170, 171, 179-80, 182-5, 
186-7, 189, 191, 194, 195, 208, 2i7n., 
226, 234 

OVERTURES, 36-7, 39 (see also Operas) 

Overture to an English Opera (IA:3), 
(London, 1794 or 1795), 299n , 310, 
3i2n. 

PSALMS (music by Haydn), 290 

QUARTETS (STRING), 45, 77, 175, 245 

Op. 33 (1781), 32, 33, 37, 38n., 44 



Op. 50 (1787), 57, 59, 66, 69, 70n., 87 
No. 4, F sharp minor, 63, 64, 65 

No. 5, F, 64, 69 

No. 6, D ("Frog"), 63 

Op. 54 and 55 (1788 ?), 78, 84n. 

Op. 55, No. 2, F minor, 92n. 

Op. 71 and 74 (1793), 309, 3 ion. 

Op. 76(1796-1797), i8n., I58n., 163, 164 
No. 5, D, 158 

No. 6,Eaat, 158, 163 
Scent di Berenice (1795), 306, 310, 3i2n. 
Sinfonia Concertante (London, 1792; I: 105), 
309, 



SONGS 

A. German Lieder 

XII Lieder (dedicated to Francisca Liebe 

von Kreutzner, Artaria, 1781), 27-31, 34 
"Die zu spite Ankunft der Mutter", 29, 

3on. 
"Eine sehr gewohnliche Geschichte", 

J45n. 

XII Lieder (2nd set, Artaria, 1783), 34, 35, 

37, 38, 40, 41, 42, 43, 44, 46, 50 
"Gott erhalte" (1796), 151. 164, 233 



B. English Songs 

VI Original Canzonettas (1794), I45n., 

309, 3 1 in. 

"The Mermaid's Song", 223, 224n. 
"My Mother bids me bind my Hair", 

233n. 

Second Set of Original Canzonettas 
(1795 ?)H5n., 309,3 "n. 

"Trust not too much" (text), 303 

"O Tuneful Voice", 3 10, 3 i2n. 

"The Spirit's Song", 310, 3i2n. 

C. Scottish Songs, 192, 194, 198, 199, 200-1, 

215, 2i6n., 218-20, 222-3, 224n., 
228-9, 235, 309, 310, 3 1 m., 3i2n. 

"The Blue Bell of Scotland", 198 

D. Mehrstimmige Lieder (part songs), 215, 236 

"Herr, der Du mir das Leben", 225 

"What Art expresses", 3Oin., 309, 31 in. 

STABAT MATER: see Church Music 

SONATAS FOR PIANOFORTE 

No. 20, C minor, 24 

Nos. 35-39, and 20 (Artaria's Op. XXX), 

24n. 

Nos. 33, 34,43, 85n. 

Nos 35-39,24,25 

No 39,0,24 

Nos 40-42, 84, 85n. 

Nos 44-46, 84, 85n. 

No. 48,C(<r. 1788?), 8m,84,92 

No. 49, E flat (1780), 51, 102, io3n., 105, 

106, 108, 132, 133n. 

Nos 50-52 (C, D, E flat, London, 1794), 

265n ,309, 3 ion. 
Storm, The: Madngal for Soli, Chorus and 

Orch. (London, 1792), 276n. 
SYMPHONIES, 84, 85n , 87-9, 9on, 211, 243-4, 

26411. 

No. 35,Bflat(i767),27n. 

No. 60, C (Incidental Music to Der 

Zerstreute, 1774), 218 

No. 69, C ("Laudon") 40, 41 n. 

No 70,D(i779), 55 

No. 74, E flat (c. 1780), 55 

No. 75, D (c. 1780), 271 

Nos. 76-78 (1782), 40n., 43, 47n., 55, 94n 

Nos 79-81 (1783/1784), 47n., 48n., 55, 

94n. 

No. 79, F, 92 

Nos. 82-87 ("Pans" Symphonies, 17857 

1786), 59, 6on., 61, 64, 6511., 66, 68n., 
69, 72, 94n. 

Nos. 88-89 ("Tost", 1787), 68n., 78, 82, 

840., 87 

Nos. 90-92 (Comte d'Ogny, 1788/1789), 

74, 85n,, 89, 9on., 93, 94n., loon. 

No. 91, E flat (1788), 113, 117, "8, 119- 

20, 122-3, I24n., 128, I29n., 130, 131, 



Nos. 93-98 (London, 1791/1792), 146, 
309, 3 ion. 



Indexes 



355 



SYMPHONIES contd. 

No. 93, D (1791), ioon., 131, 1330., 146, 

276 

No. 94, G ("Surprise", 1791), 13311 , 146, 



No. 95, C minor (1791), 11311., 116, 117, 

11911 , 121, 122, 12411 , 146 

No. 96, D (1791), 11311., 116, 121, 122, 

12411 , 146 

No. 97, C (1792), 146, 2820. 

No. 98, B flat (1792), 13311., 276 

Nos. 99-104, (Vienna, 1793 -London, 
1795), 1 46, 3 ion. 

No. 99, E flat (1793), I46n , 2i3n 

No. loo, G ("Military", 1794), 306 

No. 103, E flat ("Drum Roll", 1795), 

2i3n ,238n. 

TRIOS 

A. Baryton, Viola, 'Cello, 6, 711 , 8, 13 

Nos. 21-31, 24 (XI: 21-31, 24), 7n. 

B. Two Flutes and 'Cello, London, 1794 

(IV i-4),299n,309,3im. 

C. Pianoforte, Violin, 'Cello, 40, 41, 77, 87 

Nos 3-5 (pub by Forster as Op 40, 

Nos 3 and 4 by Ignaz Plcyel), 54, 56n 

Nos 6-8 (1784-1785, pub by Artana as 

Op 40 in 1785), 50, 5111,53 

No. 7, 1^(1785), 52n. 



Nos. 2, 9, 10 (pub. by Forster as Op 42), 

54, 56n. 

Nos. 11-13 (Artana Op. 57, 1789), 78, 

82, 83n , 85, 86 

No. 13, C minor, 80 

Nos. 14-16, 94n , 95n. 

No. 14, A flat, 123, 124n , 130 

Nos 15-17, 95n , I05n. 

No. 15, G, 95n. 

No 16, D, 95n. 

No. 17, F, 95n , I05n. 

Nos. 18-20, 309, 3 ion. 

Nos. 21-23, 309, 3 ion. 

Nos 24-26,309,31011. 

Nos 27-29, 309, 3 ion 

No. 30, E flat (1795), H8 

No 3 1, E flat minor (1795), 22in. 

in G (London, XV: 32), 5in , 309, 3ion 
D. Two Flutes (or Violins), 'Cello, 1784 

(Forster, Op 38), 53, 55n. 

VARIATIONS (see also Andante con variazioni) 
For pianoforte in C, 1790 (XVII- 5), no 

DOUBTFUL AND SPURIOUS WORKS 

Oboe Concerto in C (VIIc: Ci) spur- 
ious, I42n 

Symphony in G (by Gyrowetz) (I: G3; 
Landon, Appendix II, 109), 85n. 

Symphonies (by Pichl), 21 3n. 



J.H.-BB 



GENERAL INDEX 



Abingdon, Lord, 2580., 299, 300-1, 304, 309, 

31211., 3 1 in. 

Academy of Ancient Music, The, H3n. 
Aci and Galathea, 293 
Addenda (Note), i86n. 
Aland, Heinnch Joseph Walter von (Privy 

Councillor, Kurfurst of Trier), 49n. 
Albertarelli, Francesco, 262, 26411. 
Albrechtsberger, Johann Georg, 82, 104, 
1 5 2n., 206, 242 



Allgemeine Musikalische Zeitung, 74n , 155-6, 

i86n, i88n. 
Altmann, Michael (trumpeter, Esterhazy 

band), 158, 231 

Alt-Wiener Thespiskarren, I02n. 
Amsterdam, 26n., 180-1, 188, 192 
Ancient Concert, London, 259, 304 
Andr (music publisher), 183 
Antiphon (Handel), 305 
Antis, Mr , 266 
Apponyi, Count Anton Georg, 44n , 48n , 

49,53 

Apponyi, Countess, 53 

Aqua viva, Claudio, 303 

Archiv fur Photogramme, Das, y8n. 

Arenas, 28, 29n. 

Arne.Dr Thomas, 277 

Arnold, Dr. Samuel, U3n, 263, 265, 289, 
290, 295n , 305, 306 

Arnstem (banker), 177 

Artana & Co, 24-6, 27-32, 34-42, 43-6, 
47-8, 50-2, 56-9, 61-2, 63-5, 66, 68-9, 
70-3, 75-6, 77-8, 82-3, 84n , 85, 86-7, 
91-2, 94-5, 1 10, 123, 139, 157-8, i59-6o, 
162-3, 166, I7on , 173-7, 179, 180, i85n., 
2o8n ,2i3n,238 

Artana, Carlo, 39 

Artana, F., 29n , 1580 , i66n , I75n. 

Artana, Francesco, 39 

Artana, Herr, 62-3, no, 123, 168, 171 

Artaxerxes (Arne), 277 

Ascot, 255-7, 284 

Ashe, Andrew (flautist), 295, 296n., 303 

Asioh, Bomfazio, 238-9 

Aston, Lady, 304 

Aston, Sir Willoughby, 304 

Atterbury, Mr., 290 

Auenbrugger, Francisca von, 24n , 25, 26 

Auenbrugger, Leopold von, 24n 

Auenbrugger, Marianna von, 24n., 25, 26 

Auld Robin Gray (Arnold), 295n. 

Augsburg, 2640. 

August III, i6in. 

Augusti f Herr von (Lord Mayor, Vienna), 
71 



Bachmann, Dan. Gottlob (Philharmonic 

Society, St. Petersburg), 246 
Baden, 35n., I57n., 168, 171-2, 206; City 

Magistracy, 168 

Bader, Johann (bass, Esterhazy choir), 222n. 
Badim, Carlo Francesco, H4n., I77n., 263, 



Bach, C. P. E., 75, 76n., 23 in., 2320. 



Banditti, The (Arnold), 306-7 

Banti-Giorgi, Bngida, 293, 301, 306, 310, 

3i2n. 

Barrymore, Lord, 270 
Bartha, Professor, 38n. 
Barthclemon, Cecilia Maria, 264n , 265 
Barthelemon, F H., 164, i65n., 263, 264n , 

271-2 

Barthe'lenion, Mrs., 263, 264n. 
Bartolozzi, Francesco, 268n 
Bartolozzi, Gaetano, 72, 265n. 
Bates, Joah, 304 
Bates, Mrs., 304 
Bath, 255, 264n , 287, 288, 295-7, 3Oin , 303, 

308, 3 ion. 

Bath Herald and Register, The,3o8n. 
"Battle Symphony" (Raimondi), 
Baumgarten, Carl Fnednch, 262, 264n 
Baumgartner, Hcrr (Esterhazy House- 

master), 56 
Baumgartner, Herr (leader, Covent Garden 

Theatre), 273 
Bedford, Duke of, 297 
Beethoven, I24n., 141-3, 265n. 
Benda (singer), 263, 264n. 
Berchtesgaden, 300 
Bergen, 208 
Bertoja SeePertoja 

Berlin, 20, 26n , 34, 44, 58, 61, 64, 127, 134, 
i6in , 163, 169, 212, 2i3n, 224, 225n , 
238 

Bertrand, Dr , 17 
Berwald, Georg Johann (Philharmonic 

Society, St Petersburg), 246 
Bianchi, Francesco, 293, 301 
Bdlington, Elisabeth (ne'e Weichsel), 255, 

262, 263n., 273 
Binder (Bindter), Sebastian (trumpeter, 

Esterhazy band), 1 58, 1 59n., 230, 23 1 
Bindon, Mrs , 287 
Bindon, the Misses, 287 
Btographisches Nachrichten von Joseph Haydn, 
253n., 258n., 27in., 304, 308, 3 ion., 3i2n. 
Biographische Notizen uber Joseph Haydn, 
I72n., 202n , 2i7n., 247n., 276n., 304-8, 
3 ion., 3 1 in ,3i2n. 
Biswanger, 251 
Blackheath, 280 
Blake, Lady, 254 
Blake, Sir Patrick, I2in., 272 
Bland, George, 26411. 



356 



Indexes 



357 



Bland, John, 91, p2n., 94, 95n., iO5n., 265n., 

2760. 

Bland, Mrs. (singer), 263, 2640. 
Blount, Captain, 271 
Blilmml,E. K., I03n. 
Boccah, Studienprofessor F., I74n. 
Boccherim, 28, 29n., 37 
Boheim, Elisabeth (Haydn's niece), 240 
Boheim, Joseph Michael (Berlin actor), 170 
Bologna, 121, 135, 136, 137n., 139 
Bombet, L. A. C., 3 ion., 3i2n. 
Bonaparte, Caroline, 221 n. 
Bonaparte, Napoleon, 22 in. 
Bonn, 141, 143, 167 
Bonno, Giuseppe (Court Kapellmeister, 

Vienna), 22, 24n. 
Borghi, Luigi, 26411 , 265 
Botstiber, H., 29n , ijSn., i66n , I75n. 
Boyce, 2?4n. 

Boyer (Parisian music publisher), 42-3, 47n. 
Braghetti (singer), 293, 301 
Brand, Carl Maria, I76n., I78n , 2O3n , 2i3n , 



Brasscy, Miss, 27 in. 

Brassey, Nathaniel (banker), 118, H9n., 271, 

278 

Braunschweig, 178 
Breguet, Jacques ("Fehx Mentis" Society, 

Amsterdam), 181 
Breitkopf &Hartel, I48n., I53n., 155, i67n , 

I7in , 172, 185, 186, 193, 195, I97n., 

200n.,207,2i4n.,2i5n ,225n ,236n.,3iin 
Breitkopf, Christoph Gotdob, 81-2, 83-4, 

92n , 147-8, 154-5, 167-8, 170, I7in 
Breitkopf, Johann Gottlob Immanuel, I48n 
Breslau, 214 
Brcslaucr, Martin, 43 n 
Breton, Joachim le (Institut National dc 

France), 236-7 
Brcunig, Conrad, 35-6, 38 
Brevas (Committee, Concert des Amateurs), 

211,213 

Brida (tenor), 293, 301 
Brighton, 294 
Bristol, 290, 296-7, 303 
British Architects and Craftsmen (Sitwell), 294n. 
Brollet (Committee, Concert des Amateurs), 

211 

Brothers of Mercy, Order of, 8 
Brown, Hon. Mrs., 287 
Brown(e), Abraham, 29611. 
Brown(e), Miss, 296 
Bruck-an-der-Leitha, 19, 2in. 
Brtihl, Count Hans Montz von, 24n., I55n., 

i6in.,3iin. 

BrUhl, Count Hemrich von, i6in. 
Brtihl, Count Karl Friednch Montz Paul 

von, 160-1, 169 
Brunswick, Princess of, 305-6 
Brussels, no, 130, 131 
Buckberg, Michael, 139, i4On. 



Budapest, 9811. 

Buijn (Buyn), A. ("Felix Mentis" Society, 

Amsterdam), i8in., 188 
"Bureau de musique", i85n. 
BurgenlSndische He imatbl after, 22411 
Burney, Dr. Charles, 24n., 145, i6in., 164- 

6, I74n , 177, 229, 230, 263, 264n., 265, 

266n. 
Burney, Esther (Hetty), 265 

Cadiz, 56n., 57 

Caesar, Julius, 291 

Calais, no, in 

Calcagm (singer), 263 

Callcott, John W., 263, 26411., 290 

Calvesi (tenor), 266, 267n. 

Cambridge, 272 

Campo, Marquis del, 267 

Canterbury, 29211. 

Cappellctti, Theresa Poggi, 114, 263, 26411., 

268 
Cappi, Giovanni (partner, Artaria & Co.), 

Carpam, 23 3n , 3 ion 

Carr, Mrs , 287 

Carter, Thomas, 263, 26411., 3O2n. 

Casentim, Anna, 262, 264n , 266, 267n. 

Castelcicala of Naples, Prince, 112, 113,267 

Castle of Andalusia, The (Arnold), 3o8n. 

Celestmi (singer), 263, 264n. 

Charlotte, Queen, 156-7, 305 

Chatham, 2nd Earl of, 298 

Chcrubmi, Luigi, 245-6, 237 

China, Emperor of, 300 

Chorus, Carl (oboist, Esterhazy band), 17, i8n. 

Cimador, 23 3n., 295, 2960. 

Cimarosa, 2911. 

Clagget, Charles, 135 

Clair, Mademoiselle, 28, 30 

Claremont, Lord, 276 

Clarence, Duke of, 278 

Clavier-Sonaten (C.P.E. Bach), 76n 

Clement, Franz, 265 

Clementi, 42, 173, 175, I79n., 262, 264n., 

265,288,302, 3iin. 
Cologne, 141-3 

Concert de la Loge Olympique, Paris, 6on., 8sn. 
Concert des Amateurs, Pans, 211, 213-14 
Concert Spirituel, Pans, 28, 29n., 58n , 59 
Cooke, Dr. Benjamin, 290 
Com, Domenico, 263, 264n. 
Corn, Dussek & Co., 13 in., I45n., 223 
Corn, Sophia, 13 in., 263, 2,6411., 272n. 
Coslfan tutte, I25n. 
Cosa rara, 301 
Coutts & Co., 223 
Cowes, 297 
Cramer, C. F , 45, 46 
Cramer, J. B., 263, 26411., 265 
Cramer, Wilhelm (London impresario), 

60-1, 66-7, 26411., 265, i 



358 



Indexes 



Crosdill, John, 265, 26611. 
Crouch, Anne Mary, 263, 26411. 
Csatkai, Andre", 22411. 
Cumberland, Duke of, 274 
Czaslau, 130, 13 in. 

Czervenka, Epmatz. H. (Philharmonic 
Society, St Petersburg), 246 

Da Ponte, ii4n , 3o6n. 

Dance, George, 268n 

Danzi, Franz, 202 

Danzig, 163, 177 

"Das gelehrte Ocsterreich", 2in. 

Daviddc, Giacomo, 114, H5n., 262, 264n., 

299n,309, 31011. 
Davies, Cecilia, 263, 264n. 
Davies, Marianne, 264n 
Davison,J. "W , 13 in. 
de Bondy (Committee, Concert des Amateurs), 

211,213 
de Sonc (Committee, Concert des Amateurs), 

213 

Dea, Mr (Bank of En gland official), 292 
Delavalle (Delaval), Madame, 266 
Denkschnft aus Anlab des Hundertjahrigen 

Bestehens der Tonkunstler-Societat, I5on 
Denkwurdigkeiten aus meinen Leben, 10311 
Desoir (sculptor), 276 
Deutsch, O E , 49n , son , 58n., 153, I76n , 

262n , 264n , 2g6n. 
Devonshire, Duchess of, 260 
Diarw (Vienna), 34 
Dido (Sarti), 258 
Diemand, 74n 
Dies, A. C, 253n., 258n., 27in., 304, 308, 

310, 3i2n. 

Dietnchstein, Count Montz, 15 in 
Diettenhofcr, Joseph, 117, npn, 123, 12411., 

263, 264n , 265 
Dietze, Johann (double-bass player, Esterhazy 

band), 217-1 8, 224 
Dietzl, Joseph (tenor, Esterhazy choir), 5, 

6n., 12, 13n , 224n. 
Dietzl, Joseph, Jnr (viohnist), 224n. 
Dietzl, Joseph Wolfgang (horn player), 22411 
Dittersdorf, Carl Ditters von, 20, 2 in,, 7 in , 

74n 

d'Ogny, Comte, 85n., 9on , 94n. 
Don Giovanni, 26^n. 
Don QuixotCj I son. 
Donath, Gustav, loon. 
Dontenvile, J , 22in. 
d'Ordonez, Carlos, 240. 
Dorelli, Madame (singer, Galhm's com- 
pany), 262, 26411 , 308 
Dover, 11, 164 
Dragonetti, D., 301 

Dresden, 134, i69n., 175, 210, 21 in., 288n. 
Droste-Hulshoff, Annette Elisabeth von, 

l82n. 
Droste-Httlshoff, Max von, 182 



Dupuis, Thomas Saunders (organist), 265, 

26611., 290, 305 

Durazzo, Count Johann Jacob, 40, 41, 265 
Dussekjohannjoseph, 130-1, 262, 26411., 265 
Dussek, Johann Ludwig (Ladislaus), 13 in. 
Dussek, Mrs., 264n 
Duvernoy, Frederic (Committee, Concert 

des Amateurs), 211, 213 
Dworschak, Fritz, 2 in. 

Edinburgh, 192, 194-5, 198-9, 200-1, 2i9n , 
228-9 

Edinburgh Bibliographical Society Transactions, 
3 1 in. 

Eight-part Parthic (Beethoven), 141, i42n 

Eisenstadt, 3-4, 5-6, 8, 9, 12, 13, 14, 17, 75n., 
93, 108, 133, 139, I49n, 158, 159, i62n , 
163, 172, 173, 175-6, 177, 182, 187, i89n , 
190, 193, 195, 203, 204, 206, 207, 217-18, 
224, 225n , 23 in , 234n , 24in , 244 

Elssler, Johann, 7in , I33n., I57n., I73n , 
201, 208, 211, 2i2n, 2i8n , 221, 223, 
23in , 232, 234, 235, 238, 239 

Elssler, Joseph, Jnr , 7in , 218 

Engl, J E , 28 8n , 292n , 296n 

Entwurf-Katalog (Haydn), 6n , nn. 

Erdody, Count Joseph, 18, 158 

Esterhaza, 4, 6n., n, 12, 14, 18, 21, 22, 24, 
25, 26, 27, 29, 30, 34, 35-48, 49, 50, 51, 
56, 57, 58, 59, 61, 62, 63, 65, 68, 69, 70-3, 
74, 76-80, 81-2, 83-5, 86-93, 94, 109-10, 
136, 137, 2o8n., 258, 267n , 294 

Esterhazy Archives, 6n., 7n., I5n , I7n , 9811 , 
i8in, i88n, I58n., I59n., 2o6n., 2i2n , 
2i8n., 222n., 227n., 24in. 

Estcrhazy, Prince Anton, 113-15, 118, 119, 
133-4,136,273 

Esterhazy, Prince Nicolaus I, 3-7, 8, 12-13, 
15-16, 17-18, 19, 22, 23, 27, 28, 29, 33, 
34, 42, 48, 7111 , 75n , 79, 80, 88-9, 98-9, 
1 02, 1 06, 107, 138n., 140, 149, 22On 

Esterhazy, Prince Nicolaus II, 411 ,115, 12411 , 
I38n , 149, 156, 158-9, 161, 174, 176, 178, 
179, 181, 183, l86n , 191, 195-6, I97n , 
202-3, 204, 205-6, 207, 213, 214, 220, 
221-2, 224, 226-7, 230-1, 232-3, 239-41, 
244 

Esterhazy, Prince Paul Anton, 16, 17 

Esterhazy, Princess Maria, I58n., 175, 240-1 

Estcrhazy, Princess Maria Elisabeth, 98, 
loon 

"Exsultate, jubilate" (Mozart), 296n. 

Eybler, Joseph, 62-3, 81-2, 104 

Faniska (Cherubim), 23 7n. 

Farnham, 294, 304 

Fasch,K F. C., 224, 2250. 

"Felix Mentis" Society, Amsterdam, 180-1, 

188, 192-3 
Felso-Lerdya, I74n. 
Ferdinand, Grand Duke of Tuscany, 11411. 



Indexes 



359 



Ferdinand IV, King of Naples and the Twin 

Sicilies, 60, 6in , 74, H4n., 3iin. 
Fernhall,I.OW.,288 
Ferlendis, Giuseppe, 301, 306 
Festgabe der Akademie der IVissenschaften, 

i85n. 

Field, John, 301 
Fischament, 240 
Fischer,}. C , 265, 266n 
Fiske, Dr. Roger, 2?4n., 3o8n. 
Fitzhcrbert, Mrs , 294 
Flono, G (flautist), 288 
Flono, Pietro Grassi (member, Dresden 

band), 28 8n. 

Flute Duets (Lessel), 2o8n. 
Flute Quartet (Lessel), 2o8n. 
Forchtenstem, 27 
Forster, William, 43n , 53-6, 59-61, 65-6, 

69, 70, 72n , 76 
Fox, Charles James, 260, 273 
Francis, Archduke of Austria, H4n 
Francis, Crown Prince of Naples, H4n 
Francis II, Emperor of Austria, U4n , J35n , 

136, 151, 187 
Frankfurt, 134, 136, 162 
Frankh, Johann Mathias (school rector, 

Hamburg), 21 n 
Franklin, Benjamin, 26411 
Franz, Joh Bapt (President, Economic Com- 
mittee, Citizens' Hospital, Vienna), 216 
Franz, Karl (horn player, Estcrhazy band), 

12, nn 

Frauenkirchen, 52, 53 n 
Frazcr, William, 275, 285 
Frcdenheim, C F , 152 
Fnberth, Carl (tenor, Esterhazy opera 

troupe), 3, 4-5, 8, ]62n 
Fnberth, Joseph (Canon, Passau Cathedral), 

]62n 

Fnck (Frike), Phihpp Joseph, 263, 2640. 
Fncdlandcr, Max, 238 
Friednch Wdhelm II, King of Prussia, 4411 , 

58, 59, 61, 62n , 63, 64, 123, 127, 134, 272 
Fnedrich Wilhelm III, King of Prussia, 170 
Fries & Co., 115, 219, 220, 222, 223, 229, 235 
Fries, Count, 117, 119, 120 
Frigcl, Pchr (Secretary, Royal Swedish 

Academy of Music), I53n. 
Frohlich, Anna Maria (Haydn's sister), i5on. 
Frohhch, Anna Kathanna (Haydn's niece), 

I49n,i52 

Frohlich, Mathias (Haydn's nephew), 240 
"From rosy bower" (Purcell), 259n 
Fuchs, Frau, 218 
Fuchs, Johann Nepomuk, 182, 206, 217-18, 

227 

Fugue (Beethoven), 141, 142n , 143 
Ftirnberg, Karl Joseph Weber von, 19, 2in. 
Fux, Capellmcister, 46 

Gall, Franoscus, 89 



Galh, Signora, 28 8n. 

Galhm, John, 66-7, 115, 126, 264n., 

27on,3o8, 309, 3 ion. 
Callus, Johann, 208 
Gardiner, William, 233 
Garrhaus, 240 

Gassmann, Flonan Leopold, 99, loon. 
Gatteaux, N. (sculptor), 185, i86n., I92n. 
Gayl, Herr (music-dealer, Frankfurt), 162-3, 

1 66 

Geiringer, K , 12511 , 276n , 31 in. 
Gtntral Moreau, Le (Dontciivillc), 22in 
Genzingcr, Francois (Franz) von, 86, 91, 

92, 97, 98n , 101, 102, 105, 106, 108, no, 

in, 118, 119, 124, 130, 134 
Genzinger, Maria Anna Sabina von, 85-6, 

90-1, 92, 95-103, 104-8, 109-13, 117-21, 

122-5, 128-30, 134-5, H7, 138, 251, 272n , 

276n , 277 
Genzingcr, Pcperl (Josepha) von, 86, 91, 92, 

97, 98n , 99, 101, 102, 105, 106, 108, no, 

in, 113, 117, 118, 119, 124, 130, 134 
Genzingcr, Peter Leopold von, 86, 91, 92, 

95n , 98, 99, IOT, 102, 105, 106, 107, 108, 

no, 1 13, 117, 118, 119, 124, 129, 130, 134 
George II, 3O5n 
George III, 115, 116, 126, 157, 252, 254, 255, 

256-7, 259, 262, 292, 298, 300, 3O5n. 
Gcrbcr, Ernst Lud wig, I24n , 166-7 
Germmgham, General (British Ambassador, 

Vienna), 55,5611,70 
Germmgham, Lady, 7on 
Gesamtausgabe, 19711 , 22411 
Gesellschaft der Musikfreunde, Vienna, un. 
Giardmi, Felice, 257-8, 265, 26611 
Giornovichj, Giovanni Mane, 265 
Gloggl, Franz Xaver (Thurncrmcislcr, Linz), 

160 

Gluck, 113, 301 
Godsport, Hants, 291, 292 
Goethe, 225 n 

Gosscc, Francois Joseph, 237, 238n. 
Gottweig Monastery, un , loon. 
Gradus ad Parnassum (Fux), 46 
GraeffJ. G (flautist), 265 
Graff, Fncdnch Hartmann, 263, 26411., 



Grassi (sculptor), 222, 223 n 

Graz, 24n , 268n , 

Greincr, Franz von, 27, 29n., 30 

Gnesmger, Georg August, I53n., 154, 170, 
I72n , 182-5, 186, 189, 191-2, 193-4, 197 n , 
199-200, 2O2n , 205, 215, 2i7n., 247n , 
276n., 304-8, 3 ion , 31 in , 3i2n. 

Gnssau Monastery, Landeshut, 161-2 

Grove's Dictionary, 13 in. 

Grundtgeiger, Joseph (Baden magistrate), 
1 68 

Gubbms, Miss, 287 

Gugitz, Gustav, I02n. 

Gughelnn, I27n , 266 



3 <so 



Indexes 



Guttenbrunn, J. A., 268, 276 

Gydrak, Countess Grassalko vies dc, 50, sin. 

Gyor, 179 

Gyrowetz, Adalbert, 262, 2640., 265 

Haas, Carl, 3 1 in 

Haensel, Peter, 212, 21311. 

Hamburg, 19, 21 n. 

Halm (Sieburg postmaster), 167 

Hamburg, I75n. 

Hamburger (Haydn's landlord, Vienna), 251 

Hamburger, Johann Nepomuk (Austrian 

Government official), 120-1 
Hamcr, Theresia (Haydn's niece), 240 
Hamilton, Lady, 175 
Hamilton, Mr. (Bristol), 290, 296 
Hamilton, Sit William, 258n 
Hammer, Franz Xavier ('cellist, Esterhazy 

band), 14, 15, 17, 1811 
Hammer, Josepha, 203 
Hammersley & Co , 229, 230, 23 in 
Hampton Court Palace, 294 
Handel, 254, 262, 275, 296n , 304n., 305 
Handel, A Documentary Biography (Deutsch), 

26211., 2960. 
Handschnftliches Tagebuch aus der Zeit seines 

zeveiten Aufenthaltes m London, 288, 292, 

296 

Hardy (engraver), 225n. 
Hardy, Thomas, 276 
Hanch, J , 6n. 
Haring (Herring), Johann Baptist von, 95n , 

103 

Hanngton, Dr Henry, 287, 301, 309, 31 in 
Harpur, Sir Henry, 31 in. 
Harrach, Count, 19, 21 n 
Harrington (oboist), 265, 266n. 
Harrison, Samuel (tenor), 263, 26411 
Harrop, Miss, 304 
Hart, Mana Anna von Hackher zu. See 

Kayser, Maria Anna von 
Hartel, Gottfried Christoph, 170-1, 172, 

183-4, 185, 189, 191, 199-200, 205, 215 
Hartenstein, Johann Franz Zach von, 25, 26n. 
Hartenstem, Joseph Zach von, 25, 26n 
Hard (driver), 208 
Hartman (flautist), 266 
Hartman, Johann Gottfried (Philharmonic 

Society, St Petersburg), 246 
Hartung, August (music-dealer), 178 
Haschka, Lorcnz Leopold, 1 5 in. 
Hase, H. von, 8in., 84n., I48n., I55n., 17111., 

I72n., I97n. 
Hashngcr, Tobias, 234 
Hasse.J A., 8, 20, 288n. 
Hastings, Warren, 254 
Hauder (Esterhazy Master of Horse), 127 
Haydinc, Le (Carpani), 3 ion. 
Haydn (Gciringer), 31 in.; (Nowak), nn., 

27n. 
Haydn, Franziska, 240 



Haydn in London (Pohl), 6on., H4n., 14411., 
26in., 264n., 266n , 2690., 2y2n., 288n., 



Haydn, Johann, 76, 202, 203, 21 8n. 

Haydn, Frau Maria Anna, 117, 120, 127, 136, 

I38n., 140, I5?n., 168, i?2n., 180, 268n. 
Haydn, Michael, 206, 214, 240 
Haydn-Salomon concerts, London, 114, 

116, 128, I3in., I33n., I35n., I44n., I57n., 

259, 262, 264n., 26sn., 266n., 27611., 282n., 

284, 29611., 3i2n. 
Haydn-Uberlieferun&Dic, jn. t 68n., 78n., 8511. 

I48n. 

Hayes, Dr. Phihp, 265, 266n., 290 
Hay ward, Mr. (Oxford musician), 116 
Hedler, Herr (music-dealer, Frankfurt), 

162-3, 166 

Heinnch, Prince of Prussia, 44, i6in. 
Hclbig, Georg (instrument-maker, Vienna), 

173 

Hcnslow(e), Mrs., 264n. 
Hermenegild, Princess Mana Josepha, 114, 

Ii5n. 

Herschel, Dr., 254-5 
Hertmgfordbury, Herts, H9n., 27in 
Higgins (London chemist: imphcated in 

plot against George III), 298 
HJ1, Arthur, 276n 
Hiller, Johann Adam, 2OOn. 
Hilligsberg, Madame, 266, 267n , 293 
Himmcl, Fnednch Heinnch, 212, 2i3n 
Hmdmarsh, Mr. (violinist), 265 
Hindmarsh, Mrs (singer), 265n. 
Histonsche-biographisches Lcxikon der Ton- 

kunstler, i6jn 
History of the Violin, The (Sandys and Forster), 

7on. 

Hitchm, 304n 

Hobert, Herr (silver-master, Vienna), 62 
Hoffmann, Herr von (director, Artana's 

Bavarian office), 43, 44n 
HofFmeistcr & Co , i8sn 
Hoffmeister, Franz Anton, 184, 18511 , 186 
Hofmann, Leopold, 31, 32n. 
Hofmeister, Jnr., Herr (Genzmger's foreign- 

language tutor), 98, 100 
HofstSttcr, Abbl Fehx Franz (librarian), 2i7n 
Holcroft, Thomas, 144-5 
Hopkinson, Cecil, 31 in. 
Hoppner, John, I24~i25n., 276 
Horl, Joseph Georg (Lord Mayor, Vienna), 

216, 228 

Howe, Richard, Lord, 29in., 292, 298 
Huber, Thaddaus (Secretary, Tonkunstler- 

Societati Vienna), 22-4 
Hullmandel, Nicholas Joseph, 263, 264n., 

265 
Hummel, J. J., 26, 34, 35n., 37, 51, 5211 , 62n , 

64-65^, 82, 1690 , 24On. 
Hummel, Johann Nepomuk, I24n., 233-4, 
265 



Indexes 



361 



Hummel, Walter, 23 pn. 
Hunter, Anne, 22411., 253 
Hunter, Dr. John, 253 
Hussiten in Naumburg, Die (Kotzebuc), 202 
Hyde & Clementi, 179 
Hyrtl (Hierd), Jacob (oboist, Princely 
Feldharmome), 211-12 

Ignaz, Johann, 4511. 

// burbero di buon cuore (Da Ponte), 3o6n. 
Improved Psalmody (Tattersall), 2pon. 
Incledon, Charles, 274n. 
Institut Nationale de France, 236-7 
Institut National des Sciences et des Arts, Paris, 
197-8, 204 

Jackson's Oxford Journal, n6n. 

Jacob! (Jacoby), Konstantin von (Prussian 

Minister at Court, Vienna), 58, 59, 64 
Jahrbuch der Tonkunstfur Wien und Prag, 74x1. 
Janicwiecz, Fehx, 265, 288, 302 
Jansen, Therese, 265, 309, 3 ion 
Jarnowik, Giovanni Mane, 265 
Jarowez( violinist), 265, 2<56n. 
Jerhschek (Gerhschek), Maria Anna de 

(Nanette: Esterhizy housekeeper), 980 , 

102, 103n , 105, 106, 108, 132, 133n. 
J. Haydn in London (Karajan), I2in. 
Johan Wikmanson und die Bruder Silver -stolpe, 

I52n., 201 n., 21 6n , 242n. 
Johnstone (Insh tenor), 274n. 
Jones, John (organist, St. Paul's Cathedral), 

26 in. 

Jordan, Dora, 198, 278 
Joseph II, Emperor, 38, i25n. 
Joseph Haydn (Geirmger), I25n , (Pohl), 6n , 

I3n., i8n., 2in , 24n., 29n., 49, i2in., 

2040., 224n. 
Joseph Haydn und Brettkopf & Hartel, 8 in , 

84n , I48n , I55n., I7in., I72n., I97n 
Joseph Haydn und das Verlagshaus Artana, 2911 , 

I58n., i66n , I75n 
Joseph Haydn Unter Benutzung der von C. F. 

Pohl hmterlassetten Matenalen weitergefuhrt 

von Hugo Botstiber, 11411, ism., I53n., 

l8on., i8in., i89n., 2i7n , 22in., 224n , 

2270., 228n., 268n., 30811. 
Jung, Herr, 116 

Karajan, T. von, I2in. 
Karl, Archduke, 203 n. 
Karner, Herr Hofrat Janos (Esterhazy 

Economic Administrator), 230, 23 in. 
Kaufmann, Herr (Princely Secretary, Estcr- 

hiza), 108, iopn. 
Kaunitz, Pnncc, 11411. 
Kayser, Joseph von, 98, 99, 102, 108, in, 

121,130,135 
Kayser, Maria Anna von, 98, 99, 102, 108, 

ill, 121, 130,135 
Kees, Franz Bernard von, 94n., 99, 113, 



117-18, 120, I2i, 125-6, 128-9, 130, 131. 



Kees, Frau von, 251 

Keller, Frau von (Haydn's sister-in-law), 

171 
Keller, Joseph (Haydn's brother-in-law), 34, 

35n., i72n. 

Kelly, Michael, H3n., 254, 262, 26411. 
Kempton (Allgau), I74n. 

Kiel, 45 

Kmsky-Halm, I42n. 

Kismarton SeeEiscnstadt. 

Klcinrath, Herr von (Inspector, Esterhazy 

Administration), 23 
Klosterneuburg Monastery, I57n. 
Knecht, Justin Heinnch, 214-15 
Knobhch, Rev. P. Cornelius, 161-2 
Konversations-Lextkon, i6in. 
Kotzebue, August von, 202 
Kotzwara, Franz, 269 
Kramer, Herr, 154, 155n. 
Kreibich, Franz, 124, i25n., 130, 134, 135n. 
Kremsmiinster Monastery, nn. 
Kreusser, Georg Anton, 67-8 
Kreutzner, Anton Liebe von, 34, 35n. 
Kreutzner, Francisca Liebe von, 3 5n , 46 
Krines, Katharina, 202-3 
Kr tiger, Jean Philip, 208-10 
Krumpholtz, J. B (member, Esterhdzy 

band), z66n. 

Krumpholtz (nee Meyer), Madame, 266 
Kuhncl, Ambrosms, i85n. 
Kunstler-Lexicon furBohmen, 74n. 
Kurakin, Prince, 246n , 247 
Kurchner, Herr (Prince Esterhazy 's valet de 

chambre), 151-2 
Kurchner, Frau, 152 
Ktirchner, Fraulem, 151 
Kurzbock, Herr von (publisher), 3 1 

La Maitre (clock-maker: implicated in plot 

against George III), 298 
La Porte du Theil (Secretary, Institut National 

des Sciences et des Arts, Paris), 198, 204 
Ladislaus of Pressburg, Count, i8n. 
Lamberg, Count von (Prince Esterhdzy's 

nephew), 64 

L'amorArtigiano(Gissmzn), 99, loon 
Landcshut, 161-2 
Langer, Johannes (Abbot, Grissau Monas- 

tery), 161-2 
Langham, 254, 272 
L'Arbore dt Diana, 301 
Larsen, J. P., 7n., 68n , 78n., 85, 148 
Latrobe, Rev. Christian 1 , 263, 265n 
Laudon (Loudon), Feldmarshall, 410., 42 
Lausch, L , 71 

Lavater, Johann Caspar, 32-3 
Lazzarini (tenor), 263, 264n., 266, 267n. 
Le Gros, Joseph (Director, Concert Spirituel), 

28 



362 



Indexes 



Lcchner, Guterdirector (Esterhazy Adminis- 
tration), 2in. 

Leeds, Duke of, 165, 251 

Leicester, 233 

Leipzig, 32n., 83-4, 92, 127, 134, U7-8, 
I53n, 154, 163, 167-8, 170-1, 172, 183, 
184, i85n , 186, 195, 196, 19711 , 199, 20011 , 
207, 232 

Lendvay (Lendway), Gabriel (horn-player, 
Esterhazy band), 178 

Lenz (pianist), 265 

Leonore, Mademoiselle (later wife of Herr 
Lechncr), 18-21 

Leopold Mozarts Bnefe an seme Tochter t 58n 

Lessel, Franz, 208 

Lidl, Andreas ('cellist, Esterhazy band), 15 

Liechtenstein, Prince Franz Joseph von, ifn 

Liechtenstein, Princess von (wife of General 
Wenzel), 64 

Life of Haydn, The (Bombet = Stendhal), 
3 ion, 3 1211 

Lmdley, Mr (bhnd organist), 300 

Lindlcy, Mrs , 300 

Lmz, 1 60 

L'Isola delpiacere (Martini), 301 

Littleton, Lord, 295 

Livonia, 103 

Lobkowitz, Prince, ison , 191 

Lockhart, Mr (bhnd organist), 261 

Loder, Anna (Haydn's niece), 240 

Lolh, Antonio, 265, 266n. 

London, 4n , 43n , 52n , 53-6, 50-61, 65, 69, 
70, 72n , 76, 92n , 9Sn , no, 111-13, 
114-37, 14411, 145, 146, 153, i6m, 163, 
164-6, i67n , i7in , 174, 176, 177, 179, 
222, 225n , 229, 230, 23311 , 234, 251-312, 
Covent Garden Theatre, 273 , Haymarket 
Theatre, 274, Lord Mayor of (1791), 251-3 

London Catalogue (Haydn), I33n 

Longman & Brodenp, 55n , 72, 76, 12411 , 
309, 3 ion ,3i2n 

Longman, Clementi & Co , i63n 

Lops, Rosa, 113-14, ii5n , 116, 263, 264n 

Loutherbourg, Philipp Jakob, Jnr 292 

Lowenstcrn, Baroness von, 161 

Lubomirsky, Princess, 212 

Luca, Ignaz de, 2 in. 

Ludovika Louise of Naples, Princess, H4n. 

Ludwig, 62 

Luegmayer, Anna Cathanna, 151, 152n 

Luegmayer, Joseph Alois, 149 
Lukavec (Bohemia), 2in. 

Macartney, Lord, 299 
Madnd, 28 

Maffei (soprano), 263, 264n. 
Magazin der Muzik (Cramer), 45n , 46 
Maggs Brothers' Catalogue, 88n 
Magnus, Herr ( Haydn's pupil), 103 
Mainz, 36n. 
Mandyczewski, 186 



Mansfeld, J E , 29n , 6pn. 

Mangold, C. A., 47n. 

Mannheim, 6on 

Mara, Johann, 254n., 265, 266n., 288 

Mara, Gertrud Elisabeth, 254, 258, 259, 262, 

2630., 2640., 266n , 275, 277, 288, 302, 303 
Marburg/Lahn, 95n 
March (London dentist), 291 
Marchesi, Luigi, 270 
Maria Fedorowna, Empress of Russia, 38, 

215,236 

Maria Therese of Naples, Princess, i I4n. 
Mariazell, 3 5n 
Maria Thercsia, Empress, 20 
Mane Clementine, Archduchess, H4n 
Mane Thcrcse, Empress, i Son , 21 1 
Martcau See Hammer 
Martini, 301 
Martinique, 277 
Marton Collection, 711 
Mass (Albrechtsberger), 206 
Maukert, Ignaz ('cellist, Esterhazy band), 178 
Maximilian Franz, Elector of Cologne, 141-3 
May, Johann (horn-player, Esterhazy band), 

12, 1311 

Mayer (Esterhazy porter), 173 
Mayern, Major, 179 
Mazzanti, Ferdmando, 263, 264n. 
Mazzmghi, Joseph, 263, 265n 
Medcntsch Sec Gallus, Johann 
Mchul, Etienne Nicolas, 237, 238n. 
Melk Monastery, 2111 
Mclo, Thercsia, 108, iO9n 
Mcnel ('cellist), 12411 , 265,266n. 
"Mermaid's Song, The" (Anne Hunter), 

22411 

Mernck, James, 29on. 
Messen if on Joseph Haydn, Die, 17611 , I78n , 

2O3n , 21311 , 22711 
Messiah, 276 

Messner, Hcrr (Archivist, Esterhaza), 218 
Metastasio, 277 
Mctz, 266n 
Meyer, i6in 
Mignoti, Regina, 114 
Milan, 238-9; Conservatory 239n 
Milan, Archduke of, 87 
Minto, Lord, 81, 222, 223 
Mollo, Tranquillo (partner, Artana & Co.), 

39n 

Molton, Sig , 140 
Monzani, 23 3 n. 

Morcau, General Jean Victor, 221 
Moreau, Madame, 221 
Morelli, Giovanni, 263, 264n , 301, 306 
Monchelb, Anna, 68, 301, 306 
Mdrner, C.-G. Stellan, I52n., loin., 2i6n., 



Morning Chronicle, n^n 
Morning Herald, I35n. 
Morzin, Count von, 19, 2in. 



Indexes 



363 



Moscr, Anna Maria (Haydn's niece), 240 

Mountaineers, The (Arnold), 295n. 

Mozam & Cimador, 2p6n. 

Mozart, Constanze, 125 

Mozart, Karl, 238-9 

Mozart, Leopold, 58 

Mozart, W A , 29n., 48n , 4950, 5811 , yin , 

73, 78n., 82, 97, 98n., 102, iO4n , 10711 , 

120, 125, 154, 15511 , i57n , i85n , 239n , 

254n , 264n., 274, 2960. 
Mozart (Niemetschek), 74n 
Mozartiana (Nottcbohm), I2sn. 
Miilleg, Ferdinand Miiller von und zu, 74-5, 

85^-90, 93-4, icon 

Miiller, August Eberhard, 196-7, 199-200 
Munich, 114 
Minister, 1 82 

Music and Friends (Gardiner), 233n. 
Music and Letters, 2jin. 
Musical Mem0ne5(Parkc), 
Musical Quarterly, 223 n , 
Musik,Die, I76n 
Musik in Geschichte und Gegenwart, i6on 
"Musikalischer Pot-Pourn" (Brcitkopf), 

8in , 84n , 92n 
Musiker-Bnefe (Nohl), 3811 
Musikverem, Bergen, 208 
Muzicka, 6n 

Nadasdy, Count Leopold, I74n 

Nadermann (Parisian music publisher), 47 

Napier, 309, 31 in. 

Naples, 60, 6m , 140, 258n , 263 

Naucharz, I76n 

Naumann, Frau (Johann Gottlieb's widow), 

169,210-11 

Naumann, Johann Gottlieb, 169, 21111 
Negri, Cnstina, 140 
Negn, Signer, 122, 126, 127 
Negri, Thcrese, 122, 126-7, 136, 263, 264n 
Neidl,J (engraver), 17511 
Neighbour, O. W , 298n 
Nelson, Lord, I75n. 
Nen (castrato), 301 
Neue Freie Presse, 4911 
Neuc Zettschnft fur Musik, 47n 
Neues historisch-biographisches Lexikon de 

Tonkunstler, 480. 
Neukomm, Sigismund, 215-16, 236, 242, 

243,247 
Neustadt, 17 
New Musical Fund Concert, London, 

26411. 

New York, 5on , 236 
Newport, I.O.W., 300 
Nicolai, 266 
Niemetschek, 74n 
Nigst, Frantz (violinist, Esterhdzy band), 12, 

I3n. 
Nikl, Herr von (pianoforte manufacturer), 

107 



Nikola, 240 

Nocturne (Field), 301 

Nohl,L.,38n 

Nottebohm, I25n 

Novello & Co , 262n 

Nowak, Leopold, nn , 27n 

Nozze di Figaro, Le, 97, 98n , 253n. 

Oatlands, 272 

Obcrhmbach, I74n 

Oberon (Wramzky), 1 5on 

Oboe Concerto (Beethoven), 141, 142n. 

Ockl, Charles, i86n , i88n 

Odhng, Thomas, 52n 

Oedcnburg, 56, 101, 151-2, i62n. 

Oesterreichische Musikzettschrift, 264n. 

Octtingen- Wallerstem Archives, 90n 

Octtingen-Wallerstem, Prince KrafFt Ernst, 

33-4, 36, 62n , 74, 89, 9On , 93, 94n , 99 
Ocuvres completes (Haydn), I7in 
Offenbach, Madame N N von, 183, 184 
Offenbach-on-Main, i84n. 
Oldman, C 6,31 in 
Orange, Duke of, 305 
Orde, Mr (Governor, Isle of Wight), 288 
Or/eo (Gluck), 113 
Osnabruck, 166 
Osterreichischc Nationalbibhothek, Vienna, 

78n 

Ott, A M, 268, 276 
Otvos, Paulus, 89 
Oxford, 116, 123, I24n, I45n , 264n , 274, 

265, 26611 , 272, 275, 3o6n , 3i2n ; 

University, 116 

Pacchierotti, Gaetano, 262, 264n , 304 

Paisiello, 29n , 114, 115 

Palffy, Count, 45 n 

Papiendiek, Charlotte, 157 

Papiendiek, Chnstoph, 156-7 

Pans, 28, 29n , 3211 , 42-3, 47, 57, 58n , 62, 
78n , 84-5, 87-8, 9011 , 94n , I27n , 174-, 
I75n , 179-80, 185, 197-8, 204, 211, 212, 
2i3n., 232, 236-7, 243-4, 245-6, 264n. f 
266n., 288n , Conservatoire, 21 3n , 237-8 

Park, Miss (singer), I44n , 263, 264n. 

Parke, John, 55n , I44n 

Parke, William, i44n 

Parsons, Sir William, 165, i66n., 290, 305 

Passau,49n., 162 

Pastorella nobile, La (Gughelmi), 126, I27n., 
266 

Paul, Grand Duke of Russia, 37-8 

Paumgartner, 58n 

Pekm, 299 

Pertoza, Valentino ('cellist, Esterhazy band), 
137, 138n. 

Peters.C. F., i85n 

Peters Jahrbuch, i62n. 

Peyer, Nanette (Kammermadchen to Count 
Apponyi, Pressburg), 44, 52-3 



364 



Indexes 



Pfann, Johann (trumpeter, Esterhdzy band), 

158 
Philharmonic Society, St. Petersburg, 246, 

247-8 

Piacenza, 125-6 
Piano Sonatas, Op. 7 and/or Op. 9 (Cle- 

menti), 42 
Pianoforte Variations (Beethoven), 141, 

I42n. 

Pichl, Wcnzel, I75n., 212, 2i3n. 
Pichler, Caroline, 2pn , io3n. 
Pierre (steward-in- waiting, Esterhaza), 115 
Pilhofer, Barbara (Babette) (soprano, Ester- 

hdzy choir), 221, 222n. 
Ptrro (Pamello), 114, 115 
Pitt, Sir John, 2p8n. 
Pitt, William, Sen., 298n. 
Pitt, Wilham, the Younger, 251, 253, 298 
Plan (Bohemia), 186, i88n 
Plantade (Committee, Concert des Amateurs), 

211,213 
Plautus, 260 
Pleyel, Ignaz, i8n , 56n., 126, 128, 132, 134, 

174-5, i79-8o, 212-13, 266, 267n , 274 
Pleyel, Madame, 1 80, 213 
Pohl, C. F., 6n., i in., I3n., i8n., 2in., 24n., 

29n , 38n., 49, 6on., 80, H4n., I2in , I44n , 

I5on, I5in , I53n., 174, i8on., i8in , 

18911, 204n, 2i7n., 22in , 224n., 227n., 

22811 , 261 n , 2640., 266m, 268n., 26911 , 

2720 , 288n , 295n., 3O4n., 3O5n., 3o8n 
Pohl, Zachanus (oboist, Esterhazy band), 14 
Pointner, Hcrr (porter, Esterhaza), 100, 103 
Polzelli, Aloysms, 122, 137 
Polzelh, Antonio, 115, 117, 207, 244, 264n. 
Polzelli, Luigia, 115-16, 117, 121-2, 125-6, 

I35-7. 139-40, 169, 172, 208, 264n 
Polzelh, Pietro, 122, 125-7, 137-8, 139, 140 
Pool, Caroline, 263, 264n., 309, 31 in. 
Porpora, Nicolo, 19, 21 n 
Portsmouth, 291, 292, 294 
Potsdam, 6 1 

Prague, 73-4, 134, i88n., 26911. 
Present State of Music m Germany, The, 24n. 
Pressburg, 44n , 48n., 49n , 5 in , 52-3, 203, 

206 

Prince of Wales, H.M.S., 292 
Principessa d'Amalfi, La, 143 
Preston (publisher), 409, 3 ion., 31 in. 
Preston (Herts), 304 
Professional Concerts, London, 126, 128, 

132,234,259,261 
Prothocoll uber verschiedene hochfurstl. Com- 

misswneSf Decretationes Intimata und andere 
Buchhaltereys Verordungenen de Anno 1734, 

I5n. f i8n. 
Psalms of David from a Poetical Version by 

James Mcrrick, 77i*(Tattersall),29on. 
Public Advertiser, 1290. 
Puchberg, Johann Michael, 125 
Purcell, 259 



Quartet in C (Haensel), 212, 2i3n. 
Quartet in F minor (Haensel), 212, 213 n. 
Quartet in G (Haensel), 212, 2130. 
Quessant, 29211. 
Quintet (Beethoven), 141, 142n. 

Rafler, Anna (Haydn's sister), 240 

Rahier, Herr von (Wirthschaftsrath, Ester- 
hazy Castle), 3, 4-5, 6n., I7n., i8n., 23on 

Raimondi, Ignazio, 265 

Rauzzmi, Venanzio, 295, 296n., 303 

Recueil de la Socicte 1 Internationale de Mustque, 
loon 

Regcnsburg, 94n., 163 

Reichardt, J N , 202 

Reutter, Georg Karl, Sen , 19, 21 n 

Reynolds, Sir Joshua, 297n. 

Rhumfeld, Anna (soprano, Esterhazy choir), 
224 

Rich, Lady, 3O4n. 

Rich, Sir Charles, 304 

Richmond, 275 

Richter, Jacob Joseph (tenor, Esterhdza 
choir), 226-7 

Rockobauer, Mathias (Viennese instrument- 
maker), 7 

Rohrau, 19, 2 in., I5on., 246 

Rom am, Maria (singer), 264x1. 

Rome, 297n. 

Roscnbaum, Herr (porter to Prince Ester- 
hazy), 38, 39" , 44, 46, 75. 

Rosenthal, Albi, 3o6n. 

Rosetti (composer), 34n. 

Roth (Rott), Franz, 73-4 

Roubihac, Louis Francois, 2620. 

Rousseau, Frederic (Committee, Concert des 
Amateurs, Pans), 211,213 

Rovedino, Carlo (bass), 293, 301, 306 

Roxford (Herts), 27 in 

Royal Society of Musicians, 254n , 31 in. 

Royal Swedish Academy of Music, 152, 181 

Rtigen, 208 

Rupp, J Martin (horn-player, Esterhaza 
band), 239, 240 

Ruth (Giardini), 258n. 

Ryde,I.O.W.,29i 

Sacchini, Antonio Mana Gasparo, 258, 2oon 

St. Flonan Monastery, 160 

St. George (Cashier, Oettingen-Wallerstein 
Court), 34n , 36 

St. James's Chronicle, 26911. 

St. Johann, 186, i88n. 

St. Petersburg, 2i6n., 236, 241, 2420., 243, 
246-8 

Saheri, Antonio, 29n., 68, 69n., 150, I52n. 

Salomon concerts. See Haydn-Salomon. 

Salomon, Johann Peter, ioon., 112, H3n., 
H4n., 116, I24n., 128, 132, I44n., 146, 
153, I57n-, 1670., 229, 23 3n., 259n., 265, 
2760., 278, 282, 284, 29611 , 29911., 3120. 



Indexes 



365 



Salzburg, 580., 206, 214, 240, join. 

Sandbcrger. Adolf, 68n., i6an. 

Sandor Wolf Collection, Eisenstadt, 2oyn 

Sandys, yon. 

Sarrette, Bernard, 237, 23 8n. 

Sarti, Giuseppe, 258 

Saurau, Count Franz, 151 

Schanz, Wenzel (Viennese instrument- 
maker), 79, 80, 105, 106, 107 

Scheener( violinist), 265 

SchefFstoss, Anton ("Secretaire", Esterhazy 
Administration), 8, 11-13, J 5> *<* 

Schiavonetti, L., 268n. 

Schiedermair, L , loon. 

Schinotti (singer), 263, 264n. 

SchJesischeBlumenlese, Die, 214, 21 sn. 

Schmelmg, Gertrud Elisabeth (Mara), 25311 , 
258, 262, 263n , 266n , 275, 277, 288, 302, 
303 

Schmid (Schnudt), Johann Michael, 68n 

Schmidt, Matthias Andreas, l62n. 

Schonfeld, 74n. 

Schonnger, Joscpha (singer, Esterhazy choir), 

222n 

Schonnger, Magdalena (singer, Esterhazy 

choir), 22211 
Schotten Monastery, 9511 
Schritter, Herr (Wurzburg), 173 
Schroctcr, Rebecca, 253, 279-86 
Schubert, 153 
Schubert Die Erinnerungen seiner Freutide, 

I53n 

Schuster, Joseph, 202 
Schwab, Ignaz von (Viennese wholesale 

merchant), 10311 
Score, The, 31 in. 
Scott, Marion, 27in 

Seeks ncuc Sonatmen (C.P E Bach), 76n. 
Second, Mrs (Bath singer), 263, 26411. 
Seiss, Madame (singer), 224 
Seitz (official, Esterhazy Administration), 21 
SVmmwi/df (Bianchi), 301 
Serenata (Boyce), 274n 
Serra (violinist), 265 
Serviten Monastery, 27 
Shakespeare, 72n 
Shaw, Mr., 275 
Shaw, Mrs , 275 

Shield, William, 263, 264^, 273, 274n., 290 
Shram, Christopher, 265, 266n. 
Sicber, Jean-Georges, 84-5, 87-8 
Siebert (Viennese jeweller), 91, 92 
Sieburg, 167 
Sicgl, Franz (flautist, Esterhizy band), 3, 

4n,s 

Siess, Anna Klara, i62n. 
Silverstolpe, F. S., 152, 2i6n , 201-2, 

241-2 
Silvester, Charles (messenger, Lord Gren- 

ville's Office, London), 176, 177 
Silvester, Mr. (London Alderman), 251 



Silvester, Mr. (valet de chambre of Duchess of 

York), 253 

Simoni (tenor), 263, 264n. 
Simrock, Nikolaus, 167 
"Sing unto God" (Handel), 3O5n 
Singakademie, 22511., 226 
Stngspiel, 2Oon. 
Sitwell, Sacheverell, 294n 
"6 Ductti per due Violini" (Breumg), 36n. 
Six Sonatas for Harpsichord (C.P.E Bach), 

76n 

Skillern, T. (London pnnter), 29on 
Slough, 254-5 
Smart, Sir George, 266n. 
Smith, John (bookseller: involved in plot 

against George III), 298 
Smith, John Stafford, 290 
Societe Academique des etifans d'Appollon, 

Paris, 243-5 

Solar, Vmcente Martin y, 301 
"Solomon" (Boyce), 274 
Sonata pour le Pianoforte (Hummel), 234 
Sonnlcithner, Chnstoph von, i6n , i53n 
Sonnleithncr, Joseph von, 153 
Southampton, 297 
Spech, Johann, 174 
Specht, Christian (viola-player, Esterhazy 

band), 17, i8n 
Sperati ('cellist), 265, 266n 
Spiellmann, Colonel, 232 
Spiellmann, Frau, 232 
Squire, Mr , 147 
Squire, W Barclay, 28811 
Stadion, Count, 112, 113, 267 
Stadler, Abbi von, 160 
Stargardt,J. A (Marburg/Lahn), 95n 
Starzcr, Joseph, 22, 2411. 
Stendhal, 233n , 3 ion ,31211 
Stessel (Esterhazy Chief Cashier), 151 
Stevens, Richard J S., 290 
Stockholm, 152 

Stoll, Anton, 35n , 15711 ,171-2, 207-8 
Stone, Miss, 283 
Stone, Mr , 283 
Stone, Mrs , 283 

Storacc, Nancy, H3n, i8on., 254, 262, 263 
Storace, Stephen, 254, 263, 264n. 
Strasbourg, I27n., 128, 264n 
Straton, Mr. (Secretary, British Legation, 

Vienna), 192, 194 
String Quartets (K 387, 421, 488, 428, 464, 

465 . Mozart), son 
Strunk, W. Oliver, 26511 
Stuart, Sir Charles (Secretary, British 

Embassy, Vienna), 220 
Studien zur Musikwissenschaft, ioon., I55n. 
Sturm und Drang hterary movement, 33n. 
Suttor, 5, 6n. 

Svoboda, Herr (servant atEsterhaz), 21 
Symphonies of Joseph Haydn, The, 4On., 85n., 

94n, 11411., 12911., I33n-. 139"., I44H-. 



366 



Indexes 



Symphonies of Joseph Hayden, Thecontd. 
15711., 21311., 2l8n., 255n., 259n., 26411., 
26511., 27111., 27211., 27611., 28211., 28911., 
2960., 29911., 30311., 30511., 31211. 

Symphony in G (Gyrowetz), 850. 

Tafelnwsique, 1311. 

Tattersall, Rev. William D., 290, 309, 

3iin. 
Taubcr, A M. (chief baker-mistress, Ester- 

haza), 108, lopn. 
Taylor, William (director, King's Theatre, 

London), 293, 298, 301 
Thematisch-biblwgraphtsches Werkverzeichms, 

45n., 6on., 6in , 68n , 78n., 95n , 98n., 

lion, I33n., I39n., I48n., i67n., 22in , 

282n. t 299n., 3O4n , 3 ion., 31 in. 
Thienot, PaulEmil, 232 
Thomson, George, 180, 182, 192, 194-5, 

198-9, 200-1, 2i6n., 218-20, 222-4, 228-9, 

234-6 

Thomson, Miss (George's daughter), 222, 235 
Three Sonatas for the piano forte (Latrobe), 



Tindis, Baron, 5on 

"Together let us range the fields" (Boyce), 

274n 

Tomich, Francesco, 263, 264n 
Tomasmi, Aloysius (Luigi) (member, Ester- 

hazy band), 204 
Tomasmi, Anton (member, Esterhazy band), 

204n , 21 8n , 230, 231, 232 
Tomasmi, Luigi (leader Esterhazy band), 

195-6, 230, 2O4n., 207, 21 8n., 230 
Tonkunstler-Soaetat, Vienna, 22-4, 1 50 
Torncella (Viennese publisher), 43n , 47n., 

48n 
Tost, Johann (viohnist, Esterhazy band), 78, 

82, 84, 87, 88, p8n 
Tost, Madame. Seejerhscheck. 
Traeg, Johann (Viennese publisher), 80-1, 

83-4, 154, 15 5n, 1 67 
Trattnern, Johann Thomas (Viennese pub- 

lisher), 57 
Travagha, Pietro (stage designer, Ester- 

hdza), 980. 
Tre Quartetter for Trd Violiner, Alt och Vio- 

loncello Till Agnade Joseph Haydn (Wikman- 

son), 201 n. 
Trier, 49n. 
"Trois Quatuors ou Fantaisies pour deux 

Violons, Alto et Violoncello" (Callus), 

208 

Truculentus (Plautus), 260 
Tuscany, Grand Duke of, 205, 206, 214 
"Twelve Duets" (Hasse), 288n. 
Two Gentlemen of Verona, 72n. 

Unsere Heimat, 2in. 

Upton (involved in plot against George III), 
72n. 



Valk6, Astrid, 7n. 

Van der Null, Friedrich Jakob, 103, 147 

Van Hoboken, A., 43n., 6on., 6in., 68n., 
78n., 95n., 98n., lion., I33n , I39n. f I48n., 
i6yn., 22in., 2330., 2820., 29911., 3O4n., 
3 ion., 3 1 in. 

Van Swieten, Baron Gottfried, 20, 2in., 37, 
I5in., 162, 177, 180, 183, 186, 190, 191, 
193-5, *97 n 2Oon. 

Varlen (Warlen), Georg (clarinet-player, 
Esterhazy band), 203 

Veltmann, M. B., 166 

Venere e Adonis (Weigl), 267n. 

Venice, 4in ,137 

Verona, 72 

Verno, Antonio, 294 

Versuch uber die wahre Art das Clavier zu 
spielen (C.P.E. Bach), 232n. 

Verzeichniss der Praenumeranten uber die 
Schopfung, i6on 

Vesper (Albrechtsberger), 206; (Fuchs), 
206 

Vie de Haydn (Bombet = Stendhal), 3 ion., 
3i2n 

Vienna, 7, 8, nn , 12, I5n , i6n , 17, 19, 20, 
2in , 22-4, 30, 32n., 34, 38n., 42, 43, 45, 
46, 47, 48n , 4911., 50n., 55, 56n.. 57n , 58n., 
62, 64, 70, 71, 7511 , 78n , 79, 80, 8 in., 
82, 84, 86n , 94n , 9511., 96-7, 99, loon , 
iO2n , iO3n , 107-8, H4n , H9n., 124, 
I25n., 126, 127, 134, 136, 138, 139, 140, 
141, 143, 148, 14911, 150, I52n, 154-6, 
157, 160-1, 162, 167, 168, 169, 170, 172, 
175, 176, I78n , 179, 180, 183, 184, I9on., 
192, 194, 196, 197, 198, 199, 200, 201, 
202, 203, 204, 205, 206, 2o8n , 209, 210, 

211, 212, 214, 215, 2I6-I7, 2l8, 219, 22O, 
221, 222, 224, 227-8, 229, 231, 232, 233, 

234, 235, 236n , 237n., 238, 239, 240, 241, 
242n , 243, 244, 246, 247, 248, 265, 2670., 
273, 303n., 3i2n, City Magistracy, 141, 
216-17, 227-8, 240, St. Stephen's Cathe- 
dral, 19, 3211 

Villar (Secretary, Institut National des Sciences 
et des Arts, Pans), 198, 204 

Vincent (President, Institut National des 
Sciences et des Arts, Pans), 75, 198 

Violin Concerto in D (Beethoven), 265n. 

Viotti,G B.,306 

Vogler, Abbt George Joseph, 202 

W. A. Mozarts Sohne, 239n. 

Wagner, Johann Friednch, I77n. 

Wagtendorp ("Felix Meritis" Society, 
Amsterdam), 181 

Wales, Prince of (George IV), 60, 69, 123- 
4, 1250., I44n., 147, 256, 294, 270, 272, 
299, 305, 309, 3 1 m. 

Wallerstein, 36, 62 

Walthcr, Anton (Viennese pianoforte manu- 
facturer), 27-8, 107 



Indexes 



367 



Warlan (Varlen), Georg (clarinet-player, 

Esterhazy band), 203 
Wassler, Herr von, 199 
Waverley Abbey, 304 
Webbe, Samuel, 290 
Weber, Bernhard Anselm, 170 
Weber, Carl Maria von, 202 
Weber, Franz Phihpp von (Hof secretaire, 

Masonic Lodge "Zur wahrcn Eintracht", 

Vienna), 48-9 

Wedding Anthem (Handel), 3O5n 
Wenzel, General Joseph, 64n 
Werner, Grcgonus, 6n 
West, Benjamin, 297 
Weichsel, Elisabeth, 255, 262, 263n. 
Weigl, Ann Maria Josepha (nee SchefTstoss), 

8,15 

Weigl, Joseph, 8, 15, 2411 , 144n., 19011 , 267n 
Weigl, Joseph, Jnr , 143, 148 
Weigl, Thaddaus, 190-1 
Weimar, 160-1, 202 
Wemmann, Alexander, I53n., 18511. 
Weinzcrl, 2in. 
Weisbaden, 232n. 
Weissenwolf, Countess Maria Anna von, 

138, 140 
Weissenwolf, Countess Maria Elisabeth, 

98, loon 

"What Art expresses" (Harmgton), 31 in 
Whiting, Mr (London sugar-dealer), 297 
Whyte, William, 219, 31 in. 
Wiener Zettung, 43n , 6in , if8n 
Wight, Isle of, 288, 291, 297, 300 
Wight, Rev Osborne, 290 
Wikmanson, Christina, 201, 202n 
Wikmanson, Johann, 20 in. 



Willmann, Maximihan ('cellist), 45 

Wimmer, Anna (Haydn's niece), 240 

Winchester, 297 

Windsor, 254, 255, 276 

Windsor Castle (Salomon), 299, 3 12n 

Wmterthur, 33 

Witzey (Witzay), Marianne, 50, 51 

Wohlleben, Stephan Edler von (Chancellor 

of Exchequer, Austria), 216, 228 
Woodman, The (Shield), 273, 274n. 
Wramzky (Wramtzky), Anton, I5on., 191, 



Wranizky (Wramtzky), Paul, 150, 176, 19211. 
Wren, Sir Christopher, 294n. 
Wurmland, 260 

WUrttemberg, Princess of, 38n. 
WUrzburg, 173, 



York, 253 

York, Duchess of, 123, 253, 270, 272 

York, Duke of, 123, 124, 272, 305 

Zech, Martin (trumpeter, Insurrections- 

Batalhori), 182 
Zetchschrift des historischen Vereins fur 

Schwaben und Neubcrg, 74n 
Zeitung fur die elegante Welt, i97n. 
Zelter, Karl Friednch, 224-6, 227n. 
Zittau, I43n 
Zittcrer (painter), I75n 
Zoller, M (official, Esterhizy Admimstra- 

non), 19, 20, 2in 
Zurich, 32-3 
Zusser, Joseph (Receiver-General, Ester- 

hazy Administration), 16, 108-9 
Zwelt Monastery, 9-1 1 




123995 



CZ 

II