A New Work
After such an unexpected success as that of "The Creation," it was only in the nature of things that Haydn's friends should persuade him to undertake the composition of a second work of the kind. Van Swieten was insistent, and the outcome of his importunity was "The Seasons." This work is generally classed as an oratorio, but it ought more properly to be called a cantata, being essentially secular as regards its text, though the form and style are practically the same as those of "The Creation." The libretto was again due to Swieten, who, of course, adapted the text from James Thomson's well-known poem.
"The Seasons"
It would certainly have been a pity to lose such a fresh, melodious little work as "The Seasons"; but it is only too apparent that while there was no appreciable failure of Haydn's creative force, his physical strength was not equal to the strain involved by a composition of such length. In 1806, when Dies found him rather weaker than usual, he dolorously remarked: "You see it is all over with me. Eight years ago it was different, but 'The Seasons' brought on this weakness. I ought never to have undertaken that work. It gave me the finishing stroke." He appears to have started on the work with great reluctance and with considerable distrust of his own powers, but once fairly committed to the undertaking he entered into it with something of his old animation, disputing so manfully with his librettist over certain points in the text that a serious rupture between the two was at one time imminent. The subject was probably not very congenial to Haydn, who, as the years advanced, was more and more inclined towards devotional themes. That at least seems to be the inference to be drawn from the remark which he made to the Emperor Francis on being asked which of his two oratorios he himself preferred. "'The Creation,'" answered Haydn. "In 'The Creation' angels speak and their talk is of God; in 'The Seasons' no one higher speaks than Farmer Simon."
"The Seasons" criticized
But whether he liked the theme or not, in the end he produced a work as fresh and genial and melodious as if it had been the work of his prime. If anyone sees in it an evidence of weakness, he is seeing only what he had expected to see. As Mr Rockstro remarks, not a trace of the "failing power" of which the grand old man complained is to be found in any part of it. It is a model of descriptive, contemplative work, and must please by its thoughtful beauty and illustrative power. True to Nature in its minutest details, it yet never insults her by trivial attempts at outward imitation where artistic suggestion of the hidden truth was, possible. The "delicious softness" of the opening chorus, and the perfection of rustic happiness portrayed in the song which describes the joy of the "impatient husbandman" are alone sufficient to prove that, whatever he may have thought about it himself, Haydn's genius was not appreciably waning.
The first performance of "The Seasons" took place at the Schwartzenburg Palace on the 24th of April 1801. It was repeated twice within a week; and on the 29th of May the composer conducted a grand public performance at the Redoutensaal. The work proved almost as successful as "The Creation." Haydn was enraptured with it, but he was never really himself again. As he said, it gave him the finishing stroke.
CHAPTER VIII. LAST YEARS
Failing Strength—Last Works—A Scottish Admirer—Song Accompaniments—Correspondence with George Thomson—Mrs Jordan—A Hitch—A "Previous" Letter of Condolence—Eventide—Last Public Appearance—The End—Funeral Honours—Desecration of Remains.