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But other matters now engaged his attention. The directors of the
Professional Concerts, desiring to take advantage of his popularity,
endeavoured to make him cancel his engagements with Salomon and
Gallini. In this they failed. "I will not," said Haydn, "break my
word to Gallini and Salomon, nor shall any desire for dirty gain
induce me to do them an injury. They have run so great a risk and
gone to so much expense on my account that it is only fair they
should be the gainers by it." Thus defeated in their object, the
Professionals decided to bring over Haydn's own pupil, Ignaz Pleyel,
to beat the German on his own ground. It was not easy to upset
Haydn's equanimity in an affair of this kind; his gentle nature,
coupled with past experiences, enabled him to take it all very
calmly. "From my youth upwards," he wrote, "I have been exposed to
envy, so it does not surprise me when any attempt is made wholly
to crush my poor talents, but the Almighty above is my support....
There is no doubt that I find many who are envious of me in London
also, and I know them almost all. Most of them are Italians. But
they can do me no harm, for my credit with this nation has been
established far too many years." As a rule, he was forbearing enough
with his rivals. At first he wrote of Pleyel: "He behaves himself
with great modesty." Later on he remarked that "Pleyel's presumption
is everywhere criticized." Nevertheless, "I go to all his concerts,
for I love him." It is very pleasant to read all this. But how far
Haydn's feelings towards Pleyel were influenced by patriotic
considerations it is impossible to say.
The defeated Professionals had a certain advantage by being first
in the field in 1792. But Haydn was only a few days behind them
with his opening concert, and the success of the entire series
was in no way affected by the ridiculous rivalry. Symphonies,
divertimenti for concerted instruments, string quartets, a
clavier trio, airs, a cantata, and other works were all produced
at these concerts, and with almost invariable applause. Nor were
Haydn's services entirely confined to the Salomon concerts. He
conducted for various artists, including Barthelemon, the
violinist; Haesler, the pianist; and Madam Mara, of whom he
tells that she was hissed at Oxford for not rising during the
"Hallelujah" Chorus.
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