Some Observations on Music in London in 1791 and 1891

Extract

It is sometimes interesting and useful for individuals to take a retrospective view of their past doings, and it may be that certain valuable lessons can be gathered from a review of past epochs in the history of the art of music—it is a somewhat commonplace observation which we frequently hear that “things were different a hundred years ago.” I propose then to speak for a few minutes on the condition of music and musicians in the year 1791. Let us fancy ourselves standing in Hanover Square in May, 1791; over there at the corner stands the building, originally built in 1774, by Gallini, John Christian Bach, and Abel the viol-di-gambist. There Bach and Abel had been giving concerts until 1782, but in consequence of the withdrawal of the patronage of Lord Abingdon they had been obliged to discontinue them. Art seems at this period to have existed only when patronized by the rich and noble. Bach and Abel having failed pecuniarily, a few professional musicians banded together to give “professional concerts “; these commenced in 1783, but happily a very superior violinist, Salomon, jealous that his excellence and talent had not been recognised by the professional concert-givers, started an opposition in those same rooms in 1786. These rival venturers were energetic in devising means for attracting the musical public, and W. Cramer, the violinist, who headed the “Professional Musicians'” concerts, wrote to Haydn, then in Esterhatz, offering him any terms he chose to ask to appear at their concerts. Salomon, equally on the alert, and anxious to secure the most notable musician of the day, sent Bland, the music publisher, to make an engagement with him. These blandishments for the time had no effect, and Salomon, determined to conquer, went himself to Esterhatz; but owing to the binding nature of Haydn's engagement with Prince Nicolaus, could not prevail. Leaving Haydn he commenced his return journey to England, but on his arrival at Cologne received the news of the death of the Prince; he immediately returned and found Haydn in Vienna. This was the end of the year 1790. The king of Naples was then a visitor in Vienna, and being a performer on the lyre, he had commissioned Haydn to compose a concerted piece for that instrument. Salomon's persuasive tongue and purse prevailed on Haydn to start with him immediately for London, whereupon Haydn requested an audience of the King of Naples in order to present his composition. The King, pleased to receive the MS., said to Haydn : “the day after to-morrow we will try them.” Haydn expressed his sorrow that it would be impossible, as on that day he would start for England. The King very indignantly reminded Haydn he had promised to go to Naples, and forthwith left the room in anger; but shortly afterwards he recovered his good nature and gave Haydn a letter of introduction to his Ambassador in London, the Prince Castelcicala. He also presented the composer with a valuable tabatière. To enhance the interest of this little story, I have brought with me a manuscript of the Notturno, referred to as written and presented to the King of Naples. The MS. is most valuable, being in the handwriting of the composer.