Royalty Again

In this same month--November--he visited the Marionettes at the Fantoccini Theatre in Saville Row, prompted, no doubt, by old a.s.sociations with Esterhaz. On the 24th he went to Oatlands to visit the Duke of York, who had just married the Princess of Prussia. "I remained two days," he says, "and enjoyed many marks of graciousness and honour... On the third day the Duke had me taken twelve miles towards town with his own horses. The Prince of Wales asked for my portrait.

For two days we made music for four hours each evening, i.e., from ten o'clock till two hours after midnight. Then we had supper, and at three o'clock went to bed." After this he proceeded to Cambridge to see the university, thence to Sir. Patrick Blake's at Langham. Of the Cambridge visit he writes: "Each university has behind it a very roomy and beautiful garden, besides stone bridges, in order to afford pa.s.sage over the stream which winds past. The King's Chapel is famous for its carving. It is all of stone, but so delicate that nothing more beautiful could have been made of wood. It has already stood for 400 years, and everybody judges its age at about ten years, because of the firmness and peculiar whiteness of the stone. The students bear themselves like those at Oxford, but it is said they have better instructors. There are in all 800 students."

From Langham he went to the house of a Mr Shaw, to find in his hostess the "most beautiful woman I ever saw." Haydn, it may be remarked in pa.s.sing, was always meeting the "most beautiful woman." At one time she was a Mrs Hodges, another of his London admirers. When quite an old man he still preserved a ribbon which Mrs Shaw had worn during his visit, and on which his name was embroidered in gold.

Pleyel in Opposition

But other matters now engaged his attention. The directors of the Professional Concerts, desiring to take advantage of his popularity, endeavoured to make him cancel his engagements with Salomon and Gallini.

In this they failed. "I will not," said Haydn, "break my word to Gallini and Salomon, nor shall any desire for dirty gain induce me to do them an injury. They have run so great a risk and gone to so much expense on my account that it is only fair they should be the gainers by it."

Thus defeated in their object, the Professionals decided to bring over Haydn's own pupil, Ignaz Pleyel, to beat the German on his own ground.

It was not easy to upset Haydn's equanimity in an affair of this kind; his gentle nature, coupled with past experiences, enabled him to take it all very calmly. "From my youth upwards," he wrote, "I have been exposed to envy, so it does not surprise me when any attempt is made wholly to crush my poor talents, but the Almighty above is my support.... There is no doubt that I find many who are envious of me in London also, and I know them almost all. Most of them are Italians. But they can do me no harm, for my credit with this nation has been established far too many years." As a rule, he was forbearing enough with his rivals. At first he wrote of Pleyel: "He behaves himself with great modesty." Later on he remarked that "Pleyel's presumption is everywhere criticized."

Nevertheless, "I go to all his concerts, for I love him." It is very pleasant to read all this. But how far Haydn's feelings towards Pleyel were influenced by patriotic considerations it is impossible to say.

The defeated Professionals had a certain advantage by being first in the field in 1792. But Haydn was only a few days behind them with his opening concert, and the success of the entire series was in no way affected by the ridiculous rivalry. Symphonies, divertimenti for concerted instruments, string quartets, a clavier trio, airs, a cantata, and other works were all produced at these concerts, and with almost invariable applause. Nor were Haydn's services entirely confined to the Salomon concerts. He conducted for various artists, including Barthelemon, the violinist; Haesler, the pianist; and Madam Mara, of whom he tells that she was hissed at Oxford for not rising during the "Hallelujah" Chorus.

Close of the Season

The last concert was given on June 6 "by desire," when Haydn's compositions were received with "an extasy of admiration." Thus Salomon's season ended, as the Morning Chronicle put it, with the greatest eclat. Haydn's subsequent movements need not detain us long.

He made excursions to Windsor Castle and to Ascot "to see the races," of which he has given an account in his note-book.

Herschel and Haydn

From Ascot he went to Slough, where he was introduced to Herschel. In this case there was something like real community of tastes, for the astronomer was musical, having once played the oboe, and later on acted as organist, first at Halifax Parish Church, and then at the Octagon Chapel Bath. The big telescope with which he discovered the planet Ura.n.u.s in 1781 was an object of great interest to Haydn, who was evidently amazed at the idea of a man sitting out of doors "in the most intense cold for five or six hours at a time."

Visits were also paid to Vauxhall Gardens, where "the music is fairly good" and "coffee and milk cost nothing." "The place and its diversions," adds Haydn, "have no equal in the world."

At St Paul's

But the most interesting event of this time to Haydn was the meeting of the Charity Children in St Paul's Cathedral, when something like 4000 juveniles took part. "I was more touched," he says in his diary, "by this innocent and reverent music than by any I ever heard in my life!"

And then he notes the following chant by John Jones: [Jones was organist of St Paul's Cathedral at this time. His chant, which was really in the key of D, has since been supplanted. Haydn made an error in bar 12.]

[Figure: a musical score excerpt]

Curiously enough Berlioz was impressed exactly in the same way when he heard the Charity Children in 1851. He was in London as a juror at the Great Exhibition; and along with his friend, the late G. A. Osborne, he donned a surplice and sang ba.s.s in the select choir. He was so moved by the children's singing that he hid his face behind his music and wept.

"It was," he says, "the realization of one part of my dreams, and a proof that the powerful effect of musical ma.s.ses is still absolutely unknown." [See Berlioz's Life and Letters, English edition, Vol. I., p.

281.]

London Acquaintances

Haydn made many interesting acquaintances during this London visit.

Besides those already mentioned, there was Bartolozzi, the famous engraver, to whose wife he dedicated three clavier trios and a sonata in E flat (Op. 78), which, so far unprinted in Germany, is given by Sterndale Bennett in his Cla.s.sical Practice. There was also John Hunter, described by Haydn as "the greatest and most celebrated chyrurgus in London," who vainly tried to persuade him to have a polypus removed from his nose. It was Mrs Hunter who wrote the words for most of his English canzonets, including the charming "My mother bids me bind my hair." And then there was Mrs Billington, the famous singer, whom Michael Kelly describes as "an angel of beauty and the Saint Cecilia of song." There is no more familiar anecdote than that which connects Haydn with Sir Joshua Reynolds's portrait of this notorious character. Carpani is responsible for the tale. He says that Haydn one day found Mrs Billington sitting to Reynolds, who was painting her as St Cecilia listening to the angels. "It is like," said Haydn, "but there is a strange mistake." "What is that?" asked Reynolds. "You have painted her listening to the angels. You ought to have represented the angels listening to her." It is a very pretty story, but it cannot possibly be true. Reynolds's portrait of Mrs Billington was painted in 1789, two years before Haydn's arrival, and was actually shown in the Academy Exhibition of 1790, the last to which Sir Joshua contributed. [The portrait, a whole length, was sold in 1798 for 325 pounds, 10s., and again at Christie's, in 1845, for 505 guineas--to an American, as usual.] Of course Haydn may have made the witty remark here attributed to him, but it cannot have been at the time of the painting of the portrait. That he was an enthusiastic admirer of Mrs Billington there can be no doubt.

Another Romance

There was another intimacy of more import, about which it is necessary to speak at some length. When Dies published his biography of Haydn in 1810 he referred to a batch of love-letters written to the composer during this visit to London. The existence of the letters was known to Pohl, who devotes a part of his Haydn in London to them, and prints certain extracts; but the letters themselves do not appear to have been printed either in the original English or in a German translation until Mr Henry E. Krehbiel, the well-known American musical critic, gave them to the world through the columns of the New York Tribune. Mr Krehbiel was enabled to do this by coming into possession of a transcript of Haydn's London note-book, with which we will deal presently. Haydn, as he informs us, had copied all the letters out in full, "a proceeding which tells its own story touching his feelings towards the missives and their fair author." He preserved them most carefully among the souvenirs of his visit, and when Dies asked him about them, he replied: "They are letters from an English widow in London who loved me. Though sixty years old, she was still lovely and amiable, and I should in all likelihood have married her if I had been single." Who was the lady thus celebrated? In Haydn's note-book the following entry occurs: "Mistress Schroeter, No. 6 James Street, Buckingham Gate." The inquiry is here answered: Mistress Schroeter was the lady.

Mistress Schroeter

Haydn, it will be seen, describes her as a widow of sixty. According to Goldsmith, women and music should never be dated; but in the present case, there is a not unnatural curiosity to discover the lady's age. Mr Krehbiel gives good grounds for doubting Haydn's statement that Mistress Schroeter was sixty when he met her. She had been married to Johann Samuel Schroeter, an excellent German musician, who settled in London in 1772. Schroeter died in 1788, three years before the date of Haydn's visit, when he was just thirty-eight. Now Dr Burney, who must have known the family, says that Schroeter "married a young lady of considerable fortune, who was his scholar, and was in easy circ.u.mstances." If, therefore, Mrs Schroeter was sixty years old when Haydn made her acquaintance, she must have been nineteen years her husband's senior, and could not very well be described as a "young" lady at the time of her marriage.

It is, however, unnecessary to dwell upon the matter of age. The interesting point is that Haydn fell under the spell of the charming widow. There is no account of their first meeting; but it was probably of a purely professional nature. Towards the end of June 1791 the lady writes: "Mrs Schroeter presents her compliments to Mr Haydn, and informs 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." A woman of sixty should hardly have been requiring lessons, especially after having been the wife of a professor who succeeded the "English Bach" as music-master to the Queen. But lessons sometimes cover a good deal of love-making, and that was clearly the case with Haydn and Mrs Schroeter.

Love Letters

There is indeed some reason to doubt if the lessons were continued. At any rate, by February 1792, the affair had ripened so far as to allow the lady to address the composer as "my dear," and disclose her tender solicitude for his health. On the 7th of the following month she writes that she was "extremely sorry" to part with him so suddenly the previous 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."

This was pretty warm, considering that Haydn was still in the bonds of wedlock. We cannot tell how far he reciprocated the feeling, his letters, if he wrote any, not having been preserved; but it may be safely inferred that a lady who was to be "happy to see you both in the morning and the evening" did not do all the love-making. On the 4th of April the composer gets a present of soap, and is the "ever dear Haydn"

of the "invariable and truly affectionate" Mistress Schroeter. He had been working too hard about this particular date (he notes that he was "bled in London" on the 17th of March), and on the 12th the "loveress,"

to use Marjorie Fleming's term, is "truly anxious" about her "dear love," for whom her regard is "stronger every day." An extract from the letter of April 19 may be quoted as it stands:

I was extremely sorry to hear this morning that you were indisposed. I am told you were five hours at your studies yesterday. Indeed, my dear love, I am afraid it will hurt you. Why should you, who have already produced so many wonderful and charming compositions, still fatigue yourself with such close application? I almost tremble for your health.

Let me prevail on you, my much-loved Haydn, not to keep to your studies so long at one time. My dear love, if you could know how very precious your welfare is to me, I flatter myself you would endeavour to preserve it for my sake as well as your own.

Come Early

The next letter shows that Haydn had been deriving some profit from Mistress Schroeter's affections by setting her to work as an amanuensis.

She has been copying out a march, and is sorry that she has not done it better. "If my Haydn would employ me oftener to write music, I hope I should improve; and I know I should delight in the occupation."

Invitations to dine at St James's Street are repeatedly being sent, for Mistress Schroeter wishes "to have as much of your company as possible."

When others are expected, Haydn is to come early, so that they may have some time together "before the rest of our friends come." Does the adored Schroeter go to one of her "dearest love's" concerts, she thanks him a thousand times for the entertainment. "Where your sweet compositions and your excellent performance combine," she writes, "it cannot fail of being the most charming concert; but, apart from that, the pleasure of seeing you must ever give me infinite satisfaction." As the time drew near for Haydn's departure, "every moment of your company is more and more precious to me." She begs to a.s.sure him with "heart-felt affection" that she will ever consider the acquaintance with him as one of the chief blessings of her life. Nay, she entertains for her "dearest Haydn" "the fondest and tenderest affection the human heart is capable of." And so on.

An Innocent Amourette

One feels almost brutally rude in breaking in upon the privacy of this little romance. No doubt the flirtation was inexcusable enough on certain grounds. But taking the whole circ.u.mstances into account--above all, the loveless, childless home of the composer--the biographer is disposed to see in the episode merely that human yearning after affection and sympathy which had been denied to Haydn where he had most right to expect them. He admitted that he was apt to be fascinated by pretty and amiable women, and the woman to whom he had given his name was neither pretty nor amiable. An ancient philosopher has said that a man should never marry a plain woman, since his affections would always be in danger of straying when he met a beauty. This incident in Haydn's career would seem to support the philosopher's contention. For the rest, it was probably harmless enough, for there is nothing to show that the severer codes of morality were infringed.

The biographers of Haydn have not succeeded in discovering how the Schroeter amourette ended. The letters printed by Mr Krehbiel are all confined to the year 1792, and mention is nowhere made of any of later date. When Haydn returned to London in 1794, he occupied rooms at No. 1 Bury Street, St James', and Pohl suggests that he may have owed the more pleasant quarters to his old admirer, who would naturally be anxious to have him as near her as possible. A short walk of ten minutes through St James' Park and the Mall would bring him to Buckingham Palace, and from that to Mrs Schroeter's was only a stone-throw. Whether the old affectionate relations were resumed it is impossible to say. If there were any letters of the second London visit, it is curious that Haydn should not have preserved them with the rest. There is no ground for supposing that any disagreement came between the pair: the facts point rather the other way. When Haydn finally said farewell to London, he left the scores of his six last symphonies "in the hands of a lady."

Pohl thinks the lady was Mrs Schroeter, and doubtless he is right.

At any rate Haydn's esteem for her, to use no stronger term, is sufficiently emphasized by his having inscribed to her the three trios numbered 1, 2 and 6 in the Breitkopf & Hartel list.

Haydn's Note-Book

Reference has already been made to the diary or note-book kept by Haydn during his visit. The original ma.n.u.script of this curious doc.u.ment came into the hands of his friend, Joseph Weigl, whose father had been 'cellist to Prince Esterhazy. A similar diary was kept during the second visit, but this was lost; and indeed the first note-book narrowly escaped destruction at the hands of a careless domestic. Haydn's autograph was at one time in the possession of Dr Pohl. A copy of it made by A. W. Thayer, the biographer of Beethoven, in 1862, became, as previously stated, the property of Mr Krehbiel, who has printed the entries, with running comment, in his "Music and Manners in the Cla.s.sical Period" (London, 1898). Mr Krehbiel rightly describes some of the entries as mere "vague mnemonic hints," and adds that one entry which descants in epigrammatic fashion on the comparative morals of the women of France, Holland and England is unfit for publication. Looking over the diary, it is instructive to observe how little reference is made to music. One or two of the entries are plainly memoranda of purchases to be made for friends. There is one note about the National Debt of England, another about the trial of Warren Hastings. London, we learn, has 4000 carts for cleaning the streets, and consumes annually 800,000 cartloads of coals. That scandalous book, the Memoirs of Mrs Billington, which had just been published, forms the subject of a long entry. "It is said that her [Mrs Billington's] character is very faulty, but nevertheless she is a great genius, and all the women hate her because she is so beautiful."

Prince of Wale's Punch

A note is made of the const.i.tuents of the Prince of Wales's punch--"One bottle champagne, one bottle Burgundy, one bottle rum, ten lemons, two oranges, pound and a half of sugar." A process for preserving milk "for a long time" is also described. We read that on the 5th of November (1791) "there was a fog so thick that one might have spread it on bread.

In order to write I had to light a candle as early as eleven o'clock."

Here is a curious item--"In the month of June 1792 a chicken, 7s.; an Indian [a kind of bittern found in North America] 9s.; a dozen larks, 1 coron [? crown]. N.B.--If plucked, a duck, 5s."

Haydn liked a good story, and when he heard one made a note of it. The diary contains two such stories. One is headed "Anectod," and runs: "At a grand concert, as the director was about to begin the first number, the kettledrummer called loudly to him, asking him to wait a moment, because his two drums were not in tune. The leader could not and would not wait any longer, and told the drummer to transpose for the present."

The second story is equally good. "An Archbishop of London, having asked Parliament to silence a preacher of the Moravian religion who preached in public, the Vice-President answered that could easily be done: only make him a Bishop, and he would keep silent all his life."

On the whole the note-book cannot be described as of strong biographical interest, but a reading of its contents as translated by Mr Krehbiel will certainly help towards an appreciation of the personal character of the composer.

CHAPTER VI. SECOND LONDON VISIT--1794-1795