Beethoven and His ForerunnersMason, Daniel Gregory
History
Beethoven and His Forerunners
Mason, Daniel Gregory
Beethoven, Ludwig van, 1770-1827; Music -- 18th century -- History and criticism; Music -- 19th century -- History and criticism
“The said Joseph Hayden shall be considered and treated as a member of
the household. Therefore his Serene Highness is graciously pleased to
place confidence in his conducting himself as becomes an honourable
official of a princely house. He must be temperate, not showing
himself overbearing towards his musicians, but mild and lenient,
straightforward and composed. It is especially to be observed that when
the orchestra shall be summoned to perform before company, the said
Joseph Hayden shall take care that he and all members of his orchestra
do follow the instructions given, and appear in white stockings, white
linen, powdered, and either with a pig-tail or a tie-wig.
“Seeing that the other musicians are referred for directions to the
said Vice-Kapellmeister, therefore he should take the more care
to conduct himself in an exemplary manner, abstaining from undue
familiarity, and from vulgarity in eating, drinking and conversation,
not dispensing with the respect due to him, but acting uprightly and
influencing his subordinates to preserve such harmony as is becoming in
them, remembering how displeasing the consequences of any discord or
dispute would be to his Serene Highness.
“The said Vice-Kapellmeister shall be under an obligation to compose
such music as his Serene Highness may command, and to retain it for the
absolute use of his Highness, and not to compose anything for any other
person without the knowledge and permission of his Highness.
“The said Vice-Kapellmeister shall take careful charge of all music and
musical instruments, and shall be responsible for any injury that may
occur to them from carelessness or neglect.”
The demands made upon “the said Joseph Hayden” were obviously severe;
but he had in return many advantages. He was secure from want, a great
consideration to one who had starved in garrets and sung in the streets
and the cafés for his supper. He came in contact with many interesting
people, both among the social and the professional guests of Esterhaz.
Above all, he had a good orchestra at his command, and he was not only
privileged, but obliged, to compose for it incessantly. Thus he was
incited to constant study and experiment; so that before many years
had elapsed he had become a thorough master of his medium, with the
requisite technical skill to express any idea that his genius might
suggest. It was largely during these years that he poured out his
endless series of masterpieces of chamber and orchestral music.
Public-domain text, read in full here on John Shaqi.
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