Famous composers and their works, Vol. 2

by Unknown

The house still exists and is very little changed. The windows to the right, the fence and the grass plot have disappeared. There is now a bench under the windows at the left, and a rudely executed tablet inserted in the wall.

Beethoven, on his deathbed, showed this picture to Hummel, saying with great emotion: "See, dear Hummel, this is a present I received to-day and it gives me a childish pleasure."

Presently Haydn's doom was sealed. One day, in a spirit of mischief, he cut off the pigtail of a fellow student and was sentenced by Reuter to be whipped on the hand with a cane. Haydn pleaded, wept, and remonstrated, but in vain; and at last he declared that he would sooner leave the cathedral than suffer so humiliating and cruel an outrage. Reuter cynically retorted that he had no objection to the alternative, "but you shall be caned just the same, and then you can pack off, bag and baggage as soon as you see fit"; and so Haydn was punished and then sent forth into the streets of Vienna without a penny and with attire so worn and dirty that he was ashamed to be seen. The world was now before him and his outlook was dreary and discouraging enough. He was friendless, without prospects and did not know which way to turn to make either. He could return to Rohrau, where he was sure of a warm and tender welcome from his parents, but he would not burden their scanty means with his support, and besides, he had resolved to succeed by the talent that, from the first, he "knew was in him." His life at the school had inured him to privation and hunger, and if he could only earn enough to keep soul and body together he would be content. His departure from his late home took place on a stormy November evening, and he walked the streets all night hopelessly. Sunrise found him still wandering and ready to faint with hunger and fatigue. Utter despair had seized on him when he chanced to meet with one Spangler, a chorister at St. Michael's, whose acquaintance he had made some time before. The singer found it hard to win enough bread for himself and his wife and child, but he took pity on the unfortunate boy and offered him the shelter of the miserable attic in which he lived with his family. Haydn gratefully accepted the kindness, and dwelt with his benefactor through the winter, suffering, with him, cold and hunger. During this sad time, the boy's courage faltered for the first time and his natural buoyancy of spirits was dulled. He thought of finding some less precarious means of earning enough to eat and drink and to clothe himself than music presented, and for a moment he turned his back on the art he loved so well; but it was only for a moment. His instinct reasserted itself and once more he turned resolutely toward music, and never again did he falter in his determination to devote himself heart and soul to it.

In his search for employment he was, now and then, fortunate enough to be engaged to play the violin at dances and merrymakings. Then he obtained a few scholars who paid him the by no means munificent sum of two florins per month. In the meantime he studied incessantly, especially the six clavier sonatas of Emanuel Bach. With a rickety harpsichord for his companion, he forgot his misery and the squalor of the garret in which he lived. About this time he met a good angel, a Vienna tradesman, by name, Buchholz, who becoming interested in him, and sympathizing with the miserable poverty in which he struggled so cheerfully, loaned him one hundred and fifty florins, taking no acknowledgment therefor and making no conditions for repayment. It may be mentioned here that Haydn promptly returned the money when fortune smiled on him, and that he did not forget the kindness is evidenced by his first will, in which he left "Jungfrau Anna Buchholz one hundred florins, in remembrance that in my youth and extreme need, her grandfather made me a loan of one hundred and fifty florins without interest which I faithfully repaid fifty years ago." This money was a godsend, for it enabled him to procure a room of his own. The new apartment was not a great improvement on that which he had quitted. It was in the old "Michaelerhaus"; and was also a garret boarded off from a larger room. There was scarcely any light and the space was hardly more than would suffice for a fair-sized closet. The roof was in a neglected state, and when the weather was inclement the rain or snow would come through and fall on the lodger's bed. However, Haydn was happy and could study and practice without interruption.

Curiously enough, his selection of this room had a great influence on his future, for in the same house lived Métastasio in a style befitting his position. The poet was superintending the education of his host's two daughters. He soon began to take notice of the young man whom he frequently met on the stairs, and charmed with his character, sought his acquaintance. Recognizing his talents and wishing to serve him, he taught him Italian, and after a time, entrusted to him the musical education of one of the young girls, but now referred to. He added still further to these services by introducing him to Porpora, then the greatest of singing-teachers, and one of the most eminent masters of composition. Before these friendships with Métastasio and Porpora began, however, Haydn lived alone for a year and a half, supporting himself by teaching for whatever payment he could obtain; playing the violin whenever he could earn even the smallest pittance, and obtaining such other engagements as would help him to buy food, and to pay for his room.

Haydn gave his young pupil daily lessons on the clavier, and for his services he obtained free board for some three years. This pupil took singing lessons from Porpora, and it was Haydn's good fortune to be called to go with her to the master's house to play her accompaniments. In order to win the good will of the surly and cynical old master, Haydn performed various menial offices for him, even brushed his clothes and cleaned his shoes. The result was that the young man received some valuable instruction in composition, from time to time, together with much cursing and more insults. Porpora had among his pupils the mistress of the Venetian Ambassador, to whom he took Haydn in the office of accompanist. The Italian, not over generous with his own money, induced the Ambassador to give Haydn a pension, and the consequences were that the struggling composer was made richer by fifty francs a month, and was enabled to add to the books he loved so well and studied so constantly.

Haydn was now about twenty years of age, had suffered great privations and had not been able to rise much above the position of a lackey; but he never relaxed in his devotion to his art. He submitted to degradations, kicks and curses because it was not in his power to resent them. The wonder of it all is that his misfortunes and his humiliations did not sour his temper irremediably, and that he should have remained buoyant and amiable to the end of his long life. His existence in his attic was gloomy and poverty-stricken, but in his old age he told Carpani that he was never happier than he was in that bare and lowly room with his worm-eaten clavier and his books.

JOSEPH HAYDN.

From the original pastel portrait by Anton Graff.
The original is half life-size.