Haydn, so far as we can make out, never essayed the baryton again, but he wrote a surprising amount of music for it, considering its complicated mechanism and the weakness of its tone. In the catalogue of his works there are no fewer than 175 compositions for the instrument—namely, six duets for two barytons, twelve sonatas for baryton and violoncello, twelve divertimenti for two barytons and bass, and 125 divertimenti for baryton, viola and violoncello; seventeen so-called "cassations"; and three concertos for baryton, with accompaniment of two violins and bass. There is no need to say anything about these compositions, inasmuch as they have gone to oblivion with the instrument which called them into being. At the best they can never have been of much artistic importance.
A Reproval
A new epoch began at Eisenstadt with the rule of Prince Nicolaus. He was a man of unbounded energy himself, and he expected everybody in his service to be energetic too. There is nothing to suggest that Haydn neglected any of his routine duties, which certainly gave him abundant opportunity to "break the legs of time," but once, at least—in 1765—his employer taxed him with lack of diligence in composition, as well as for failing to maintain the necessary discipline among the musicians under his charge. It is likely enough that Haydn was not a rigid disciplinarian; but it must have been a mere whim on the part of Prince Nicolaus to reprove him on the score of laziness in composing. In any case, it seems to have been only a solitary reproof. There is no evidence of its having been repeated, and we may assume that even now it was not regarded as a very serious matter, from the fact that three weeks after the prince was requesting his steward to pay Haydn 12 ducats for three new pieces, with which he was "very much pleased."
Operettas
Life at Eisenstadt moved on in "calm peace and quiet," but now and again it was stirred into special activity, when Haydn had to put forth his efforts in various new directions. Such an occasion came very early in his service of Prince Nicolaus, when that pompous person made triumphant entry into Eisenstadt. The festivities were on a regal scale and continued for a whole month. A company of foreign players had been engaged to perform on a stage erected in the large conservatory, and Haydn was required to provide them with operettas. He wrote several works of the kind, one of which, "La Marchesa Nepola," survives in the autograph score. Later on, for the marriage of Count Anton, the eldest son of Prince Nicolaus, in 1763, he provided a setting of the story which Handel had already used for his "Acis and Galatea." This work, which was performed by the Eisenstadt Capelle, with the orchestra clad in a new uniform of crimson and gold, bore the name of "Acide e Galatea." Portions of the score still exist—a section of the overture, four arias, and a finale quartet. The overture is described as being "in his own style, fresh and cheerful, foreshadowing his symphonies. The songs are in the Italian manner, very inferior in originality and expression to Handel's music; the quartet is crude in form and uninteresting in substance." [See Miss Townsend's Haydn, p. 44.]
It would seem rather ungracious, as it would certainly be redundant to discuss these "occasional" works in detail. For one thing, the material necessary to enable us to form a correct estimate of Haydn's powers as a dramatic composer is wanting. The original autograph of "Armida," first performed in 1783, is, indeed, preserved. "Orfeo ed Euridice," written for the King's Theatre in the Haymarket in 1791, but never staged, was printed at Leipzig in 1806, and a fair idea of the general style of the work may be obtained from the beautiful air, "Il pensier sta negli oggetti," included in a collection entitled "Gemme d'Antichita." But beyond these and the fragments previously mentioned, there is little left to represent Haydn as a composer of opera, the scores of most of the works written expressly for Prince Esterhazy having been destroyed when the prince's private theatre was burned down in 1779. What Haydn would have done for opera if he had devoted his serious attention to it at any of the larger theatres it is, of course, impossible to say. Judging from what has survived of his work in this department, he was notable for refinement rather than for dramatic power. We must, however, remember the conditions under which he worked. He confessed himself that his operas were fitted only for the small stage at Esterhaz and "could never produce the proper effect elsewhere." If he had written with a large stage in view, it may reasonably be assumed that he would have written somewhat differently.
Occasional Works
In 1764 Prince Nicolaus made a journey to Frankfort for the coronation of the Archduke Joseph as King of the Romans. After the festivities connected with that imposing function were over he extended his journey to Paris, where he created some sensation by his extravagant displays of wealth and circumstance. During the Prince's absence Haydn busied himself on a couple of compositions intended to celebrate his home-coming. One was a Te Deum, the other a cantata. The latter work is the more worthy of remark, not because of its music, but because of the fulsomely obsequious manner in which it celebrates the graces and virtues of Nicolaus the Magnificent. The cantata is made up of choruses and duets, a recitative and two arias. Parts of it were afterwards employed in church services. The Te Deum is in C major, and is for four voices with orchestra. It is interesting as an early work, especially if we compare it with the greater Te Deum in the same key composed in the year 1800.
First Symphonies
At this point a summary may perhaps be made of the compositions written by Haydn during these five years a Eisenstadt. The list, as given by Pohl, comprises, in addition to the works already named, about thirty symphonies six string trios, a few divertimenti in five parts, a piece for four violins and two 'celli, entitled "Echo," twelve minuets for orchestra, concertos, trios, sonatas and variations for clavier, and, in vocal music, a "Salve Regina" for soprano and alto, two violins and organ. It would serve no useful purpose to deal with these works in detail. The symphonies are, of course, the most important feature in the list, but of these we shall speak generally when treating of Haydn as the father of instrumental music. The first Symphony in C Major, usually called "Le Midi," is of special interest.