Page:Encyclopædia Britannica, Ninth Edition, v. 11.djvu/573

Rh the second. At an early age the evinced so decided a talent for  that one Johann Mathias Frankh, a distant relation of the family, proposed to undertake his al and general, and for that purpose invited him to , a neighbouring  where Frankh kept a. To accordingly young Haydn went in, and there he received  in the elementary knowledge of , including a practical acquaintance with most , at the hands of the al schoolmaster. Having developed an agreeable, young Haydn was by the intercession of the  of  promoted to a post amongst the  boys of St Stephen’s , , where he remained from –, doing duty in the  , and at the same time enlarging his al knowledge and experience. His  was, however, all but exclusively practical, and it is said that he received only two theoretical lessons from Reuter the -master. As a, therefore, Haydn was in every sense self-. Of his zeal in acquiring information he was in the habit of talking with pride in later, and several works of were the first fruit of his early studies. In or  his beautiful boyish  changed, and he lost his position accordingly. Being now thrown on his own resources, he had to undergo various forms of al drudgery, such as giving lessons (at the moderate stipend of two per ) and even playing in the  at s and the like. His condition was somewhat improved by his acquaintance with, the celebrated tic , in fact the of the , who introduced him to Señor Martinez, a  living in , whose daughter Haydn instructed for several. It was through also that Haydn came into contact with  the, best known as the -master of the great. For a considerable time Haydn remained in constant intercourse with him, acting as his accompanist, and occasionally it is said as his. In return he obtained a perfect acquaintance with ’s method, besides his knowledge of the, both invaluable to a  in. The of, son of the great , at the  became his model for. ’s excellent work Gradus ad Parnassum was his guide in his studies of. A in, and a  Der neue krumme Teufel, both  in or about , were Haydn’s first important attempts at. The former is still in existence, but of the latter the by  only remains. It was produced early in, and seems to have met with considerable success. Haydn’s acquaintance with also dates from this period. An important event in Haydn’s life was his acquaintance with Baron Fürnberg, an accomplished amateur, for whose private s he wrote his first, a form of in which he earned some of his greatest and most permanent triumphs. It is in the of, and was followed in rapid succession by seventeen other works of the same class,  during the   and. To his new protector Haydn also owed his still more important acquaintance with Count Ferdinand Morzin. Count Morzin in appointed him  of his small but excellent. The opportunities of hearing his own performed by competent ians Haydn did not neglect, and his first  in  belongs to the year 1759. Soon afterwards Count Morzin was compelled to dissolve his, but Haydn’s position was by this time sufficiently established, and very soon afterwards he found as second -master to , one of the richest n , whose love of  was as great as his wealth. The  have been amongst the foremost s of  in  from the  of Haydn to those of  and. died in, and left his and fortune to his brother , d the Magnificent. He immediately enlarged his, and also increased the of its members, including that of Haydn (from 400 to 600 ), and on the death of his colleague Werner, a scholarly but dry ian, appointed him first. This position, or at least its and s, Haydn retained till his death, and his attachment to the   remained unchanged by his subsequent fame and fortunes. The events just referred to determined Haydn’s for the next twenty-eight. During this period he was in the active service of his protector, residing at, the splendid seat of the , described as a second , or in ,  the  of , and  for his  and  a number of works, including , , , , and numerous  , including several s, none of which, however, had any permanent success. Thus the La vera Constanza,  for the   of  in, was withdrawn by the  owing to intrigues against him, it is said; and we are not told that it met with a much better fate on its revival. Another tic, L'isola disabitata , procured for the the membership of the Accademia Filarmonica at , and a  -box from the. But with its companions it has not escaped oblivion. The truth is that Haydn was without the true tic spirit, and of this he was himself well aware. According to his own his s were fitted only for the small  at ; in a large, and before a miscellaneous audience, they lost their effect. The of most of the s are preserved in the s of, another seat of the. Of his life during this period little need be said. It was eventless and to a certain extent monotonous, but free from care and exclusively devoted to. His own, quoted by Herr Pohl, sum up all that it is necessary to relate. “ was always satisfied with my ; I not only had the encouragement of constant approval, but as of an  I could make experiments, observe what produced an effect and what weakened it, and was thus in a position to improve, alter, make additions or omissions, and be as bold as I pleased. I was cut off from the ; there was no one to confuse or torment me, and I was forced to become original.” The only person that could have wished to “confuse or torment” the harmless was fortunately kept at distance by the strict order of ’s, that none of his ians was to be accompanied by his. Haydn at an early age became attached to the daughter of a, Keller by name, and after her death was persuaded to her sister, three years older than himself. The was an unhappy one, and the pair separated soon after their union, Haydn’s inflammable  subsequently causing him more or less serious trouble on more than one occasion. In the meantime the ’s fame had begun to spread from an early period of his. As early as a  speaks of him as the “favourite of ,” and foreign  were not slow in acknowledging his merits. Thus one of his, The Seven Words of our Saviour on the Cross, a series of l interludes for the  on , was  by special invitation for the  of. In his  were performed with immense success at the Concert Spirituel, and a single    the  of no less than 129 of his, including 82. The appreciation of Haydn’s in  led to important results in his latter. Several pressing invitations to visit had been declined by the  on account 