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"In these compositions, where it is evident from the rhythm, the tone, and the general character, that the author intends to inspire melancholy, this obstinate joy, being unable to show itself openly, is transformed into energy and strength. Observe, this sombre gravity is not pain; it is joy constrained to disguise itself which might be called the concentrated joy of a savage; but never sadness, dejection, or melancholy. Haydn has never been really melancholy more than two or three times; in a verse of his Stabat Mater, and in two of the adagios of the Seven Words.

“This is the reason why he has never excelled in dramatic music. Without melancholy, there can be no impassioned music."

All the traits of Haydn's course, his voluntary servitude to Porpora, his gratitude shown at so dear a rate to his Mæcenas, the wig-maker, his easy accommodation to the whims of the Esterhazies, and his wise views of the advantage derived to his talent from being forced to compose nightly a fresh piece for the baryton of Prince Nicholas, the economy of his time, and content with limited means, each and all show the man moderate because so rich, modest because so clear-sighted, robust, ample, nobly earnest, rather than fiery and aspiring. It is a great character, one that does not rouse us to ardent admiration, but always commands, never disappoints. Bombet compares him in his works to Ariosto, and the whole structure of his character reminds us of the "Ariosto of the North," Walter Scott. Both are examples of that steady and harmonious action of the faculties all through life, so generally supposed inconsistent with gifts like theirs; both exhibit a soil fertile from the bounties of its native forests, and unaided by volcanic action.

The following passage is (to say nothing of its humor) very significant on the topic so often in controversy, as to whether the descriptive powers of music are of the objective or subjective character.

Of an opera, composed by Haydn to Curtz's order, at the age of nineteen

"Haydn often says, that he had more trouble in finding out a mode of representing the waves in a tempest in this opera, than he afterwards had in writing fugues with a double subject. Curtz, who had spirit and taste, was difficult to please; but there was also another obstacle. Neither of the two authors had ever seen either sea or storm. How can a man describe what he knows nothing about? If this happy art could be discovered, many of our great politicians would talk better about virtue. Curtz, all agitation, paced up and down the room, where the composer was seated at the piano forte. Imagine,' said he, ' a mountain rising, and then a valley sinking; and then another mountain, and then another valley; the mountains and the valleys follow one after another, with rapidity, and at every moment, alps and abysses succeed each other.'

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"This fine description was of no avail. In vain did harlequin add the thunder and lightning. Come describe for me all these horrors,' he repeated incessantly, but particularly represent distinctly these mountains and valleys.'

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"Haydn drew his fingers rapidly over the key board, ran through the semitones, tried abundance of sevenths, passed from the lowest notes of the bass to the highest of the treble. Curtz was still dissatisfied. At last, the young man, out of all patience, extended his hands to the two ends of the harpsichord, and, bringing them rapidly together, exclaimed • The devil take the tempest.' 'That's it, that's it,' cried the harlequin, springing upon his neck and nearly stifling him. Haydn added, that when he crossed the Straits of Dover, in bad weather, many years afterwards, he laughed during the whole of the passage in thinking of the storm in The Devil on two Sticks.

"But how,' said I to him, is it possible, by sounds, to describe a tempest, and that distinctly too? As this great man is indulgence itself, I added, that, by imitating the peculiar tones of a man in terror or despair, an author of genius may communicate to an auditor the sensations which the sight of a storm would cause; but,' said I,' music can no more represent a tempest, than say Mr. Hadyn lives near the barrier of Schonbrunn.' 'You may be right,' replied he, but recollect, nevertheless, that words and especially scenery guide the imagination of the spectator.""

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Let it be an encouragement to the timidity of youthful genius to see that an eaglet like Haydn has ever groped and flown so sidewise from the aim.

In later days, though he had the usual incapacity of spontaneous genius, as to giving a reason for the faith that was in him, he had also its perfect self-reliance. He, too, would have said, when told that the free expression of a thought was contrary to rule, that he would make it a rule then, and had no reason to give why he put a phrase or note here, and thus, except " It was It had the best effect so." The following anecdote exhibits in a spirited manner the contrast between the free genius and the pedant critic.

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"Before Hadyn had lost his interest in conversation, he related with pleasure many anecdotes respecting his residence in London. A nobleman passionately fond of music, according to his own account, came to him one morning, and asked him to give him some lessons in counterpoint, at a guinea a lesson. Haydn, seeing that he had some knowledge of music, accepted his proposal. 'When shall we begin? Immediately, if you please,' replied the nobleman; and he took out of his pocket a quartett of Haydn's. For the first lesson,' continued ḥe, let us examine this quartett, and tell me the reason of certain modulations, and of the general management of the composition, which I cannot altogether approve, since it is contrary to the rules.'

"Haydn, a little surprised, said, that he was ready to answer his questions. The nobleman began, and, from the very first bar, found something to remark upon every note. Haydn, with whom invention was a habit, and who was the opposite of a pedant, found himself a good deal embarrassed, and replied continually, 'I did so because it has a good effect; I have placed this passage here, because I think it suitable.' The Englishman, in whose opinion these replies were nothing to the purpose, still returned to his proofs, and demonstrated very clearly, that his quartett was good for nothing. But, my Lord, arrange this quartett in your own way; hear it played, and you will then see which of the two is best.' How can yours, which is contrary to the rules be the best?' 'Because it is the most agreeable.' My Lord still returned to the subject. Haydn replied as well as he was able; but, at last, out of patience, 'I see, my Lord,' said he, that it is you who are so good as to give lessons to me, and I am obliged to confess, that I do not merit the honour of having such a master.' The advocate of the rules went away, and cannot to this day

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understand how an author, who adheres to them, should fail of producing a Matrimonio Segreto."

I must in this connexion, introduce a passage from the life of Handel. "The highest effort of genius here (in music) consists in direct violations of rule. The very first answer of the fugue in the overture to Mucius Scævola affords an instance of this kind. Geminiani, the strictest observer of rule, was so charmed with this direct transgression of it, that, on hearing its effect, he cried out, Quel semitono (meaning the f sharp) vale un mondo. That semitone is worth a world."

I should exceedingly like to quote the passage on Haydn's quartetts, and the comparison between the effect produced by one of his and one of Beethoven's. But room always fails us in this little magazine. I cannot, however, omit a passage, which gave me singular pleasure, referring to Haydn's opinion of the importance of the air. For the air is the thought of the piece, and ought never to be disparaged from a sense of the full flow of concord.

"Who would think it? This great man, under whose authority our miserable pedants of musicians, without genius, would fain shelter themselves, repeated incessantly; ‘Let your air be good, and your composition, whatever it be, will be so likewise, and will assuredly please.'

"It is the soul of music,' continued he; it is the life, the spirit, the essence of a composition. Without this, Tartini may find out the most singular and learned chords, but nothing is heard but a labored sound; which, though it may not offend the ear, leaves the head empty and the heart cold.""

The following passage illustrates happily the principle. "Art is called Art, because it is not Nature."

"In music the best physical imitation is, perhaps, that which only just indicates its object; which shows it to us through a veil, and abstains from scrupulously representing nature exactly as she is. This kind of imitation is the perfection of the descriptive department. friend, that all the arts are founded to a certain degree on what is not

You are aware, my

true; an obscure doctrine, notwithstanding its apparent clearness, but from which the most important principles are derived. It is thus that from a dark grotto springs the river, which is to water vast provinces. You have more pleasure in seeing a beautiful picture of the garden of the Tuilleries, than in beholding the same garden, faithfully reflected from one of the mirrors of the chateau; yet the scene displayed in the mirror has far more variety of colouring than the painting, were it the work of Claude Lorraine; the figures have motion; everything is more true to nature; still you cannot help preferring the picture. A skilful artist never departs from that degree of falsity which is allowed in the art he professes. He is well aware, that it is not by imitating nature to such a degree as to produce deception, that the arts give pleasure; he makes a distinction between those accurate daubs, called eye-traps, and the St. Cecilia of Raphael. Imitation should produce the effect which the object imitated would have upon us, did it strike us in those fortunate moments of sensibility and enjoyment, which awaken the passions."

The fault of this passage consists in the inaccurate use of the words true and false. Bombet feels distinctly that truth to the ideal is and must be above truth to the actual; it is only because he feels this, that he enjoys the music of Haydn at all; and yet from habits of conformity and complaisance he well nigh mars his thought by use of the phraseology of unthinking men, who apprehend no truth beyond that of facts apparent to the senses.

Let us pass to the life of Handel. We can but glance at these great souls, each rich enough in radiating power to be the centre of a world; and can only hope to indicate, not declare, their different orbits and relations. Haydn and Mozart both looked to Handel with a religious veneration. Haydn was only unfolded to his greatest efforts after hearing, in his latest years, Handel's great compositions in England.

"One day at Prince Schwartzenberg's, when Handel's Messiah was performed, upon expressing my admiration of one of the sublime choruses of that work, Haydn said to me thoughtfully, This man is the father of us all.

"I am convinced, that, if he had not studied Handel, he would never

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