His ideas about London were mixed and hesitating. He was chiefly impressed by the size of the city, a fact which the Londoner of to-day can only fully appreciate when he remembers that in Haydn's time Regent Street had not been built and Lisson Grove was a country lane. Mendelssohn described the metropolis as "that smoky nest which is fated to be now and ever my favourite residence." But Haydn's regard was less for the place itself than for the people and the music. The fogs brought him an uncommonly severe attack of rheumatism, which he naively describes as "English," and obliged him to wrap up in flannel from head to foot. The street noises proved a great distraction—almost as much as they proved to Wagner in 1839, when the composer of "Lohengrin" had to contend with an organ-grinder at each end of the street! He exclaimed in particular against "the cries of the common people selling their wares." It was very distracting, no doubt, for, as a cynic has said, one cannot compose operas or write books or paint pictures in the midst of a row. Haydn desired above all things quiet for his work, and so by-and-by, as a solace for the evils which afflicted his ear, he removed himself from Great Pulteney Street to Lisson Grove—"in the country amid lovely scenery, where I live as if I were in a monastery."
Haydn at Court
For the present the dining and the entertaining went on. The 12th of January found him at the "Crown and Anchor" in the Strand, where the Anacreonatic Society expressed their respect and admiration in the usual fashion. The 18th of the same month was the Queen's birthday, and Haydn was invited to a Court ball in the evening. This was quite an exceptional distinction, for he had not yet been "presented" at Court. Probably he owed it to the Prince of Wales, afterwards George IV. The Prince was a musical amateur, like his father and his grandfather, whose enthusiasm for Handel it is hardly necessary to recall. He played the 'cello—"not badly for a Prince," to parody Boccherini's answer to his royal master—and liked to take his part in glees and catches. Haydn was charmed by his affability. "He is the handsomest man on God's earth," wrote the composer. "He has an extraordinary love for music, and a great deal of feeling, but very little money." These courtesies to Haydn may perhaps be allowed to balance the apparent incivility shown to Beethoven and Weber, who sent compositions to the same royal amateur that were never so much as acknowledged.
But even the attentions of princes may become irksome and unprofitable. Haydn soon found that his health and his work were suffering from the flood of social engagements which London poured upon him. The dinner hour at this time was six o'clock. He complained that the hour was too late, and made a resolve to dine at home at four. He wanted his mornings for composition, and if visitors must see him they would have to wait till afternoon. Obviously he was beginning to tire of "the trivial round."
Unreasoning Rivalries
The Salomon concerts should have begun in January, but London, as it happened, was suffering from one of those unreasoning rivalries which made a part of Handel's career so miserable, and helped to immortalize the names of Gluck and Piccini. It is hardly worth reviving the details of such ephemeral contests now. In the present case the factionists were to some extent swayed by financial interests; to a still greater extent by professional jealousies. The trouble seems to have arisen originally in connection with Gallini's preparations for the opening of a new Opera House in the Haymarket. Salomon had engaged Cappelletti and David as his principal vocalists; but these, it appeared, were under contract not to sing in public before the opening of the Opera House. One faction did not want to have the Opera House opened at all. They were interested in the old Pantheon, and contended that a second Italian Opera House was altogether unnecessary.
Temporarily eclipsed
Salomon's first concert, already postponed to February 25, had been fixed for the 11th of March, on which date David, by special permission, was to appear "whether the Opera house was open or not." The delay was extremely awkward for both Haydn and Salomon, particularly for Haydn. He had been brought to London with beat of drum, and here he was compelled to hide his light while the directors of the professional concerts shot ahead of him and gained the ear of the public before he could assert his superiority. By this time also the element of professional jealousy had come into free play. Depreciatory paragraphs appeared in the public prints "sneering at the composer as 'a nine days' wonder,' whom closer acquaintance would prove to be inferior to either Cramer or Clementi; and alluding to the 'proverbial avarice' of the Germans as tempting so many artists, who met with scanty recognition from their own countrymen to herald their arrival in England with such a flourish of trumpets as should charm the money out of the pockets of easily-gulled John Bull." These pleasantries were continued on rather different lines, when at length Haydn was in a position to justify the claims made for him.
Band and Baton
Haydn, meanwhile, had been rehearsing the symphony for his opening concert. Two points are perhaps worth noting here: First, the size and strength of the Salomon Orchestra; and second, the fact that Haydn did not, as every conductor does now, direct his forces, baton in hand. The orchestra numbered between thirty-five and forty performers—a very small company compared with our Handel Festival and Richter Orchestras, but in Haydn's time regarded as quite sufficiently strong. There were sixteen violins, four tenors, three 'celli, four double basses, flutes, oboes, bassoons, trumpets and drums.