was for the future destined to lead. For, not only was the taste of Vienna then, as now, proverbially variable and flippant—not only was concert-giving an uncertain speculation, and teaching an inconstant source of income—but in a man, who, like Mozart, had, from time to time, strong impulses to write for the theatre, it frequently happened that the order and regularity of his engagements were made to yield to the object which engrossed him; and that the profits of his time were sacrificed on the one hand, without any proportionate advantage on the other."
Let it be observed that Mozart's payment for teaching among the Austrian nobility, was, at the rate of five shillings a lesson!
Mozart was distinguished for virtues which belong only to great or good men when labouring in the field of emulation—an absence of all envy and jealousy, of which he was himself too much the object, and a just and generous estimate of excellence in others. As observed by Mr Holmes, good music, not his own, was his best relaxation from his toils; and his predecessors and contemporaries were alike sure of that sincere admiration which sprang from an unselfish love of the art. His regard and respect for Haydn, who was greatly his inferior in genius and power, is a pleasing illustration of what we have said.
"At this time, Joseph Haydn was established as kapell-meister in the service of Prince Nicholas Esterhazy, and enjoyed a very extensive reputation, which, indeed, the native energy of his genius, and the fortunate circumstances of his mature life, enabled him to earn with ease in a variety of compositions. He was frequently at Vienna, in the suite of his prince; and it was natural that Mozart, who had long lived on terms of mutual esteem with Michael Haydn, at Salzburg, should be predisposed to a regard for his brother;—but the simplicity, benevolence, and sincerity of Joseph Haydn's character, when united with the charming qualities of his genius, offered more than the materials for an ordinary friendship. The attachment of these two men remains accordingly one of the most honourable monuments of the virtuous love of art that musical history can produce. Haydn was at this period about fifty years of age. His constant habit of writing five hours a-day, had accumulated in a series of years a large collection of quartets, pianoforte music, church music, and symphonies, most of which were greatly admired for the spirit and elegance of their style, and the clearness and originality of their design. Mozart at once saw and acknowledged the excellence of Haydn; and in his future intercourse with that master, took the part which the difference of their age, if not of their genius, rendered graceful—by deferring to his judgment with all the meekness of a learner. To Haydn he submitted many of his compositions before publication; delighting often to call him his master and model in quartet writing, which he now began to cultivate in earnest; and omitting no circumstance which could gratify the veteran musician in possessing such an admirer. Haydn on his part repaid all this devotion with becoming generosity. However conscious that, in the universality of musical power, his own genius must be placed at a disadvantage in comparison with that of his friend, he harboured no envious or unworthy sentiment; and death alone interrupted the kind relation in which each stood to the other.
"At the musical parties which Mozart gave from time to time, when he had new compositions to try, and leisure to indulge his disposition for sociality, Haydn was a frequent guest, and no one more profoundly enjoyed the extraordinary beauty and perfection of Mozart's pianoforte playing. Years after, when those fingers, and the soul which animated them, were sought for in vain, a few touching words from Haydn spoke more feelingly to the imagination, in the description of that beauty, than the most laboured and minute criticism could have done. 'Mozart's playing,' said he, 'I can never forget.'"
Haydn's high estimate of his friend's superiority to himself, was always expressed with equal generosity. In a company of critics, who discovered that there were faults in Mozart's operas, Haydn, when appealed to, replied—"All I know is, that Mozart is the greatest composer now existing." When applied to in 1787, to write a comic opera, Haydn thought a new subject, or libretto, would be necessary, and adds—
"Even then it would be a bold attempt, as scarcely any one can stand by
the side of the great Mozart. For were it possible that I could impress every friend of music, particularly among the great, with that deep musical intelligence of the inimitable works of Mozart—that emotion of the soul with which they affect me, and in which I both comprehend and feel them, the nations would contend together for the possession of such a gem. Prague ought to retain him, and reward him well too; else the history of great genius is melancholy, and offers posterity but slight encouragement to exertion, which is the reason, alas! that many hopeful and aspiring spirits are repressed. I feel indignant that this unique Mozart is not yet engaged at some royal or imperial court. Forgive me if I stray from the subject—but I love the man too much."
Again, when engaged, along with Mozart, for Salomon's concerts in England—a plan which, so far as Mozart was concerned, was unhappily not carried out—Haydn's only stipulation was, that his compositions should precede those of his friend; and avowed, with unparalleled frankness, his feeling that he would otherwise have less chance of being heard with success.
The celebrity of Mozart, and the applause which attended some of his new compositions, procured him the notice, and ultimately the patronage, of the Emperor Joseph—though somewhat unsteadily conferred, and divided with unworthy Italian rivals. The change, however, was tardy, and, when it came, did not much improve his external circumstances. The appointments he held made but a miserable sinecure, with a still more miserable salary; but the deficiency was supplied by soft words and familiar looks, which, with Mozart's kindly disposition, served to attach him to his imperial master, better than would have been done by a larger allowance ungraciously given.