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In 1775 came his first oratorio, "Il Ritorno di Tobia." This is
an exceedingly interesting work. It was first performed under
Haydn's direction by the Tonkunstler Societat, with solo singers
from Esterbaz, at Vienna, on April 2, 1775. In 1784 Haydn added
two choruses, one a "Storm Chorus," which is sometimes confused
with the "Storm Chorus" (in the same key, but in triple time)
composed during his sojourn in London. It is from "Il Ritorno di
Tobia" that the so-called motet, "Insanae et Vanae Curae," is
adapted, and the "Storm Chorus" immediately follows a fine
soprano air in F minor and major, sung by Anna in the original
work, a portion of which forms the beautiful second subject (in
F) of the "Insanae." The original words of this chorus--"Svanisce
in un momento"--are to the effect that the soul threatens to
yield to the fury of its enemies, yet trust in God keeps one
steadfast. The music admirably reflects these contrasting
sentiments, first in the tumultuous D minor section, and then in
the tranquillity of the F major portion which follows, no less
than in the trustful quietude of the D major conclusion. Latin
words were adapted to three of the original choruses, but nothing
seems to be known as to the origin of the "Insanae" adaptation. A
full score of the motet, published by Breitkopf & Hartel in 1809,
was reviewed in the Allgemeine Musikalische Zeitung of August 15,
1810, as if it were an entirely original work. The source of the
Latin words also remains a mystery. They were presumably put
together to fit Haydn's music, but by whom we have no means of
ascertaining.
It is interesting to know that Haydn brought the score of his "Il
Ritorno di Tobia" with him to England on the occasion of his
first visit in 1791, probably with a view to its performance
here. Messrs Novello's private library contains an oblong volume
in the handwriting of Vincent Novello, in which he has copied
some numbers from "Tobia," including the air of Anna already
mentioned, but not the "Insanae" chorus. The inside cover of the
book bears the following note in Novello's hand, written, not
later than 1820, under the contents of the volume:
"The whole of the above are unpublished manuscripts, and were
copied from an extremely rare volume, containing the full
orchestral score of the entire oratorio, kindly lent to me for
the purpose by my friend, Mr Shield, who had obtained it from
Haydn himself during the visit of the latter to England in
the year 1791.--VINCENT NOVELLO, 240 Oxford St."
Some of our musical societies in search of novelties might do
worse than revive this almost completely forgotten oratorio.
The airs are exceedingly melodious, and the choruses bold and
tuneful, with well-developed fugue subjects. The "Insanae"
already referred to is frequently performed.
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