Plagiarism or Coincidence?
It might perhaps be added that Dr Kuhac, the highest authority on Croatian folk-song, asserted in an article contributed to the Croatian Review (1893) that the Austrian National Hymn was based on a Croatian popular air. In reviewing Kuhac's collection of Croatian melodies, a work in four volumes, containing 1600 examples, Dr Reimann signifies his agreement with Kuhac, and adds that Haydn employed Croatian themes not only in "God preserve the Emperor," but in many passages of his other works. These statements must not be taken too seriously. Handel purloined wholesale from brother composers and said nothing about it. The artistic morality of Haydn's age was different, and, knowing his character as we do, we may be perfectly sure that if he had of set purpose introduced into any of his compositions music which was not his own he would, in some way or other, have acknowledged the debt. This hunting for plagiarisms which are not plagiarisms at all but mere coincidences—coincidences which are and must be inevitable—is fast becoming a nuisance, and it is the duty of every serious writer to discredit the practice. The composer of "The Creation" had no need to borrow his melodies from any source.
CHAPTER VII. "THE CREATION" AND "THE SEASONS"
Haydn's Crowning Achievement—"The Creation" suggested—The "Unintelligible Jargon" of the Libretto—The Stimulating Effect of London—Haydn's Self-Criticism—First Performance of "The Creation"—London Performances—French Enthusiasm—The Oratorio criticized—"The Seasons."
Haydn's Crowning Achievement
Haydn rounded his life with "The Creation" and "The Seasons." They were the summit of his achievement, as little to be expected from him, considering his years, as "Falstaff" was to be expected from the octogenarian Verdi. Some geniuses flower late. It was only now, by his London symphonies and his "Creation," that Haydn's genius blossomed so luxuriantly as to place him with almost amazing suddenness among the very first of composers. There is hardly anything more certain than this, that if he had not come to London he would not have stood where he stands to-day. The best of his symphonies were written for London; and it was London, in effect, that set him to work in what was for him practically a new direction, leading to the production of an oratorio which at once took its place by the side of Handel's master-pieces, and rose to a popularity second only to that of "The Messiah" itself.
"The Creation" suggested
The connection thus established between the names of Handel and Haydn is interesting, for there can be little question that Haydn was led to think of writing a large choral work chiefly as the result of frequently hearing Handel's oratorios during his visits to the metropolis. The credit of suggesting "The Creation" to Haydn is indeed assigned to Salomon, but it is more than probable that the matter had already been occupying his thoughts. It has been explicitly stated [See note by C.H. Purday in Leisure Hour for 1880, p. 528.] that, being greatly impressed with the effect produced by "The Messiah," Haydn intimated to his friend Barthelemon his desire to compose a work of the same kind. He asked Barthelemon what subject he would advise for such a purpose, and Barthelemon, pointing to a copy of the Bible, replied: "There! take that, and begin at the beginning." This story is told on apparently good authority. But it hardly fits in with the statements of biographers. According to the biographers, Salomon handed the composer a libretto originally selected for Handel from Genesis and Paradise Lost by Mr Lidley or Liddell. That this was the libretto used by Haydn is certain, and we may therefore accept it as a fact that Haydn's most notable achievement in choral music was due in great measure to the man who had brought him to London, and had drawn from him the finest of his instrumental works.
"The Creation" Libretto