In the meantime, although Beethoven was dissatisfied with his progress under Haydn, there was no open breach between the two. It is true that the young musician sought another teacher—one Schenck, a well-known Viennese composer—but this was done without Haydn's knowledge, out of consideration, we may assume, for his feelings. That master and pupil were still on the best of terms may be gathered from their having been at Eisenstadt together during the summer of 1793. In the January of the following year Haydn set out on his second visit to England, and Beethoven transferred himself to Albrechtsberger.
The Haydn Museum
Haydn's life in Vienna during the eighteen months which intervened between the two London visits was almost totally devoid of incident. His wife, it will be remembered, had written to him in England, asking for money to buy a certain house which she fancied for a "widow's home." Haydn was astute enough not to send the money, but on his return to Vienna, finding the house in every way to his liking, he bought it himself. Frau Haydn died seven years later, "and now," said the composer, speaking in 1806, "I am living in it as a widower." The house is situated in the suburb of Vienna known as Gumpendorf. It is No. 19 of the Haydngasse and bears a marble memorial tablet, affixed to it in 1840. The pious care of the composer's admirers has preserved it almost exactly as it was in Haydn's day, and has turned it into a kind of museum containing portraits and mementoes of the master, the original manuscript of "The Creation," and other interesting relics.
Starts for London
Haydn started on his journey to England on January 19, 1794, Salomon having brought him, under a promise to return with six new symphonies which he was to conduct in person. This time he travelled down the Rhine, and he had not been many days on the way when news reached him of the death of Prince Anton Esterhazy, who had very reluctantly given him leave of absence. On the occasion of the first London visit Salomon had been his travelling companion; now, feeling doubtless the encumbrance of increasing years, Haydn took his servant and copyist, Johann Elssler, along with him.
Honest Elssler
It may be noted in passing that he entertained a very warm regard for Elssler, whose father had been music copyist to Prince Esterhazy. He was born at Eisenstadt in 1769, and, according to Pohl, lived the whole of his life with Haydn, first as copyist, and then as general servant and factotum. It was Elssler who tended the composer in his last years, a service recompensed by the handsome bequest of 6000 florins, which he lived to enjoy until 1843. No man, it has been said, is a hero to his valet, but "Haydn was to Elssler a constant subject of veneration, which he carried so far that when he thought himself unobserved he would stop with the censer before his master's portrait as if it were the altar." This "true and honest servant" copied a large amount of Haydn's music, partly in score, partly in separate parts, much of which is now treasured as the autograph of Haydn, though the handwritings of the two are essentially different. It is a pity that none of the earlier writers on Haydn thought of applying to Elssler for particulars of the private life of the composer. He could have given information on many obscure points, and could have amplified the details of this second London visit, about which we know much less than we know about the former visit.
The Salomon Concerts
Salomon's first concert had been arranged for the 3rd of February, but Haydn did not arrive until the 4th, and the series accordingly began upon the 10th. Twelve concerts were given in all, and with the most brilliant success. The six new symphonies commissioned by Salomon were performed, and the previous set were also repeated, along with some new quartets. Of the many contemporary notices of the period, perhaps the most interesting is that which appears in the Journal of Luxury and Fashion, published at Weimar in July 1794. It is in the form of a London letter, written on March 25, under the heading of "On the Present State and Fashion of Music in England." After speaking of Salomon's efforts on behalf of classical music and of the praise due to him for his performance of the quartets of "our old favourite, Haydn," the writer continues: "But what would you now say to his new symphonies composed expressly for these concerts, and directed by himself at the piano? It is truly wonderful what sublime and august thoughts this master weaves into his works. Passages often occur which render it impossible to listen to them without becoming excited. We are altogether carried away by admiration, and forced to applaud with hand and mouth. This is especially the case with Frenchmen, of whom we have so many here that all public places are filled with them. You know that they have great sensibility, and cannot restrain their transports, so that in the midst of the finest passages in soft adagios they clap their hands in loud applause and thus mar the effect. In every symphony of Haydn the adagio or andante is sure to be repeated each time, after the most vehement encores. The worthy Haydn, whose personal acquaintance I highly value, conducts himself on these occasions in the most modest manner. He is indeed a good-hearted, candid, honest man, esteemed and beloved by all."
Several notable incidents occurred at the Salomon Concerts. It has been remarked, as "an event of some interest in musical history," that Haydn and Wilhelm Cramer appeared together at one concert, Cramer as leader of the orchestra, Haydn conducting from the pianoforte. But Cramer was not a genius of the first rank—his compositions are of the slightest importance—and there was nothing singular about his appearing along with Haydn. He had been leader at the Handel Festivals at Westminster Abbey in 1784 and 1787, and was just the man to be engaged for an enterprise like that of Salomon's.