Spangler, deeply touched by the boy's forlorn case, offered to let him occupy a corner of his garret until he could find work, and Josef gratefully accepted. The boy hoped he could quickly find something to do; but many weary months were spent in looking for employment and in seeking to secure pupils, before there was the slightest sign of success. Thinly clad as he was and with the vigorous appetite of seventeen, which was scarcely ever appeased, he struggled on, hopeful that spring would bring some sort of good cheer.
But spring came, yet no employment was in sight. His sole earnings had been the coppers thrown to him as he stood singing in the snow covered streets, during the long cold winter. Now it was spring, and hope rose within him. He had been taught to have simple faith in God, and felt sure that in some way his needs would be met.
At last the tide turned slightly. A few pupils attracted by the small fee he charged, took lessons on the clavier; he got a few engagements to play violin at balls and parties, while some budding composers got him to revise their manuscripts for a small fee. All these cheering signs of better times made Josef hopeful and grateful. One day a special piece of good fortune came his way. A man who loved music, at whose house he had sometimes played, sent him a hundred and fifty florins, to be repaid without interest whenever convenient.
This sum seemed to Haydn a real fortune. He was able to leave the Spanglers and take up a garret of his own. There was no stove in it and winter was coming on; it was only partly light, even at midday, but the youth was happy. For he had acquired a little worm-eaten spinet, and he had added to his treasures the first six sonatas of Emmanuel Bach.
On the third floor of the house which contained the garret, lived a celebrated Italian poet, Metastasio. Haydn and the poet struck up an acquaintance, which resulted in the musician's introduction to the poet's favorite pupil, Marianne Martinez. Also through Metastasio, Haydn met Nicolo Porpora, an eminent teacher of singing and composition. About this time another avenue opened to him. It was a fashion in Vienna to pick up a few florins by serenading prominent persons. A manager of one of the principal theaters in Vienna, Felix Kurz, had recently married a beautiful woman, whose loveliness was much talked of. It occurred to Haydn to take a couple of companions along and serenade the lady, playing some of his own music. Soon after they had begun to play the house door opened and Kurz himself stood there in dressing gown and slippers. "Whose music was that you were playing?" he asked. "My own," was the answer. "Indeed; then just step inside." The three entered, wondering. They were presented to Madame, then were given refreshments. "Come and see me to-morrow," said Kurz when the boys left; "I think I have some work for you."
Haydn called next day and learned the manager had written a libretto of a comic opera which he called "The Devil on two Sticks," and was looking for some one to compose the music. In one place there was to be a tempest at sea, and Haydn was asked how he would represent that. As he had never seen the sea, he was at a loss how to express it. The manager said he himself had never seen the ocean, but to his mind it was like this, and he began to toss his arms wildly about. Haydn tried every way he could think of to represent the ocean, but Kurz was not satisfied. At last he flung his hands down with a crash on each end of the keyboard and brought them together in the middle. "That's it, that's it," cried the manager and embraced the youth excitedly. All went well with the rest of the opera. It was finished and produced, but did not make much stir, a fact which was not displeasing to the composer, as he was not proud of his first attempt.
His acquaintance with Porpora promised better things. The singing master had noticed his skill in playing the harpsichord, and offered to engage him as accompanist. Haydn gladly accepted at once, hoping to pick up much musical knowledge in this way. Old Porpora was very harsh and domineering at first, treating him more like a valet than a musician. But at last he was won over by Haydn's gentleness and patience, until he was willing to answer all his questions and to correct his compositions. Best of all he brought Haydn to the attention of the nobleman in whose house he was teaching, so that when the nobleman and his family went to the baths of Mannersdorf for several months, Haydn was asked to go along as accompanist to Porpora.
The distinguished musicians he met at Mannersdorf were all very kind to him and showed much interest in his compositions, many of which were performed during this visit. The nobleman, impressed with Haydn's desire to succeed, allotted him a pension of a sum equal to fifteen dollars a month. The young musician's first act on receiving this was to buy himself a neat suit of black.
Good fortune followed him on his return to Vienna. More pupils came, until he was able to raise his prices and move into better lodgings. A wealthy patron of music, the Countess of Thun, sent for him to come and see her. She had heard one of his clavier sonatas played, found it charming and wished to see the composer. Her manner was so sympathetic, that Haydn was led to tell her the story of his struggles. Tears came into her eyes as she listened. She promised her support as friend and pupil, and Haydn left her with a happy, grateful heart.
His compositions were heard in the best musical circles in Vienna, and the future was bright with promise. A wealthy music patron persuaded him to write a string quartet, the first of many to follow. Through this man he received, in 1759, an appointment of music director to a rich Bohemian, Count Morzin, who had a small orchestra at his country seat. In the same year the first Symphony was composed.