Haydn dwelt constantly at Vienna, and confined himself to his house and garden after the year 1806. The seventy third anniversary of his birth had been celebrated by a con cert in one of the theatres, conducted by the son of Mozart; and, in 1808, a great musical association of that city resolv ed to close the performances of the season with the Crea Lion. Haydn, though withdrawn from the world, consented to be present. He was received by the Princess Esterhazy, and others of distinguished rank, in the hall of perform ance, and carried, amidst the sound of trumpets and loud acclamations, to a particular part of the gallery which was appropriated for him. He was overwhelmed by this mark of approbation; and upon retiring, which he did very early, signified that he felt it was for ever. This great composer expired on the 31st of May 1808.
Haydn's personal appearance betrayed no indications of genius. His stature was large, and his features coarse. But he was mild and complacent in manners ; modest and unassuming; and universally beloved in private life. He was never tainted by jealousy, and, unlike those who pro claim their own merits by undervaluing the works of others, he was always ready to approve where approbation was due. Handel's chorusses he thought sublime, though his music might be defective in melody. He entertained the highest opinion of Mozart, declaring his death a public ca lamity: and when invited to he present along with him at the coronation of the Emperor Leopold at Prague, he observed, Where Mozart is present, Haydn ought not to appear." Haydn indeed was too reserved. That innate modesty,and his moderate finances perhaps, prevented him from attain ing some distinguished situation in his own country, which his talents merited. The Emperor Joseph is justly re proached with neglecting to place the first musician at the head of his orchestra ; but probably it is there, as it is in many other countries, that men of real genius are super seded by those who have none. He enjoyed a competency in his later years, but his total fortune did not exceed 250/. at the period of his first visit to Britain. He was mai lied many years, but not happily : and he bad long been sepa rated from his wife. Two brothers, Michael and John, sur vived him. The former, who had considerable merit as a composer, died master of the band to the court of Salz bourg ; the latter died in the service of the Prince of Es terhazy.
Haydn's compositions exist in the most astonishing va riety. They are calculated to amount to 842, including those of every description : and the following is said to be an abstract of a catalogue furnished by himself in the year 1805. Symphonies, 118 ; various pieces for the baritons, 163; instrumental pieces of from five to nine parts, 20; marches, 3; trios for two violins and a bass, 21, and 3 liar two flutes and a violoncello; 6 solos for violin with tenor accompaniments; 3 concertos for violin and violoncello: 1 for the double bass; 2 for horns; 2 for the trumpet ; 1 for the flute; 1 for the organ ; and 3 for the harpsichord ; 66 sonatas for the piano forte, and 83 quartetts. Another
unfinished quartett was found at his death, to which some portion that was wanting has been supplied ; and it was performed at a grand concert in commemoration of him at Berlin in October 1809. This assembly was opened by an eloquent eulogium on his merits. He also produced 34 compositions of church-music ; 5 oratorios ; 19 or 20 ope ras ; 13 airs in 3 or 4 parts ; 42 simple songs and duetts ; 40 canons. Besides these, he wrote preludes and basses for 365 Scotch airs ; and composed above 400 minuets, dances, and waltzes. At his death there were found 46 unpublished canons, framed to ornament his apartment ; not being rich enough, he said, to purchase pictures, he had himself made tapestry to cover the walls.
Amidst such an iufiuity of works, the whole of which have probably never been heard by any one individual, it is difficult to determine where the preference is due. But the fertility of imagination is conspicuous throughout, and Haydn's compositions are ever new. Perhaps he has been less successful in the vocal than the instrumental depart ments. None has ever equalled his distribution of music in the orchestra, or called forth the single and combined powers of instruments in an equal degree. Here he has excelled all his predecessors, his cotemporaries, and suc cessors ; and those pieces which he has written for a full band stand unrivalled, whether we attend to the unity of design, the relation of parts, or that sudden burst of gran deur which amazes the auditor. Next to the symphonies, Haydn's quartetts seem to be most admired ; they arc writ ten with apparent simplicity, but almost all of them pre sent considerable embarrassment, unless to skilful perform ers. This composer is one of the few who presents per petual novelty, who never imitates himself, and who adapts intimately and exactly the music to those instruments for which it is designed. None of his music is tedious or languid, unlike some modern compositions, whose authors, ignorant that they are producing nothing more than pre ludes or voluntaries, suppose they have taken up an inex haustible theme. His minuets and trios are perhaps de vised with more ingenuity, and more calculated to please than any that have appeared, and he is particularly success ful in variations on an air, and in modulations. Yet it is vain to affirm that equality pervades his works; and it will not appear surprising if inferiority be sometimes discover ed in such a multitude. We should remark, as a very ex traordinary fact, that the lapse of years had no effect in diminishing the quality of his compositions. The first quartett of the first opera, and his last which he wrote, are excellent, though there be some difference in their style. Hadyn ventured far and was successful ; many have endea voured to follow the same course with doubtful approba tion. Perhaps had Mozart not been prematurely cut ofr, he might have approached to him in excellence ; but as yet Haydn is entitled to be designed the first of modern masters. (c)