The sun. [volume] (New York [N.Y.]) 1833-1916, 1909-05-16
THE WORK OF JOSEPH HAYDN
ONE. HUNDREDTH ANNIVER-
SARY OF HIS DEATH.

wv.
7 .tior or instrumental Mudc-Hls Re-
E fnement or tho symphonic Form.
II u a hundred years since Joseph
Haydn died. Celebrations Of this Incl
dent in the history Of music are set down
for various places, and the departure
Of o remarkably chaste and simple spirit
will DO appropriately remembered. Not
tho least significant fact connected with
this matter is the close juItaposition
Of the life Of this pioneer OF modern Or
phestral music with that Of its greatest
expanders. Haydn died in 1909. Wagner
wal born In 1918; Lisst was born in 1911;
Berlios In 1908. Beethoven. who lived
from ITO till 1891, WIS the massive con-
Meeting link between this father of modern
orchestral music and its most splendid
opponents
This, however, may for the moment be
set aside, because there is a more impor-
tant topic claiming immediate discussion.
Orchestral music as 1t was cultivated
by the first composers was but branch
OF an art resting upon certain fundamental
principles. These principles were the
laws Of rational musical structure. laws
which nave ceased to operate and
which ine1orably govern the compost
ton Of Chopin ballade as we'll as OF a
Strauss symphonic poem.
Therefore because We " to Haydn
the most systematio demonstration of
some OF these laws and the publication
TO the world Of their imperative authority
we must celebrate him az n Of the path
finders in the tonal art. Mozart was born
and died within the limits Of Haydn's
life, and he gladly confessed his debt to
his contemporary. Haydn, IN the other
hand. became the pupil Of Mozart in some
matters and with equal readiness honored
the younger master
At tho time when Haydn began to
compose tho art Of writing instrumental
music was In its childhood. His i'm
mediate predecessors in composition for
the clayier, the embryonic piano, were
/ occupied chiefly in freeing the music Of
that instrument from the domination Of
sthH~ scclesisatic style and carving out for
II q path Of Its own. The olsvichord was
at first no more than a convenience for
n~rganista. Owing to its small size and
variability It was suitable for use In the
home. The organists accordingly used 1t
for their home study. They played on 1t
Yurgan music and when they began to
compose especially for it they wrote in
Tho organ style.
When instrumental music took It's way
northward and found it's best domicile
In Germany tho German ~organists were
the first cultivators Of the clavichord.
They too wrote in.the organ style and the
fuRue was the foundation Of their artistic
method. Hence the splendid develop
rnent Of the clavichord in the hands Of
Bach could lead to nothing loftier than
the forty-eight preludes and fugues.
Meanwhile in the south the ecclestiastic
style was gradually superseded by a new
method. The Intervening Of several
voices, all singing different parts Of the
same melody. yielded supremacy to a
now manne Of composition, Of like species
to that heard In the opera. a species in
which o colo voice sang q melody and was
supported byan accompaniment Of chords.
This melodic or harmonic style-it is
called by either name-began in most
feeble u~tteranoes, for it lacked q system
Of construction. It's exemplihcations,
called sonatas merely because they were
sounded instead OF .cantata,' or sung,
had neither frmnesa Of design nor e1pres-
sive stsni0canos.
Those who have studied the artistic
eide Of music know that its hrst requisite
b inte,igihls form. They have further
learned that In music form 10 achieved
by the REPETITION Of certain fundamental
phrases which give to q melody. however
brisf or however extended, it's identity.
r. >~lyNtA ~ ~1 aDlA oil
ths voioes are continually repeating some
part Of the subject melody, but in the
harmonic style. in which q single voice
stnsp the melody. it l. necessary to have
q different system Of repetition.
, The earliest writer's were occupied
ID discovering this system. Finally they
worked out . primitive plan which called
Tor the proposition Of a thematic sub
5ect and its development by the employ
rnSnt Of musical devices such a. vari-
ation, harmonic alteration, instrumental
passage work or some similar
After showing that the theme was fruit
lul Il was restated in its original form
Ind tho composition came TO an end.
The placing In succession Of two nov
tnsuts more or less related In character
W. P1ooao@Ay = cSVf ~
the development OF the new kind Of music
employed In olaviohord playing. Natur-
ally In the playing. OF this music a new
teohnioal character was developed, and
The method Of playing the olavier. a we'll
- tho kind Of passage work adopted
70 1t, wa gradually defined.
Haydn cannot be said to have contrib
intsd much to tho development Of the
sonata for olavisr. for he was indebted
for many Of bis ideas to Carl Philip En-
manuel Bach. q clavier composer and
player Of real importance. Nevertheless
Haydn perceived with artistic certainty
ons Of tho vital relations between the first
md second subjects Of his first movement
forms. His genius for tasteful and ele-
can't writing led him to feel deeply tho
importance Of close relationship. Of rather
kinship, between these two subjects
and 1t In the development Of this dnship
that he carried into the first movement
form q fne olearness Of construction and
fnency Of development. Mozart. on the
Other hand. had a dramatist's feeling for
the value Of contrast between the two
principal subjects, andhis productions for
oas=isT. coming from tho same period as
Haydn's, supplemented them in their
indication OF the lines along which progress
was to be made.
q 1t cannot properly DO asserted that
U--A- .>~krtk,tAl a~,rtht~o AN AhA IL