An interesting anecdote is told by Dies of his first experience with the Salomon Orchestra. The symphony began with three single notes, which the orchestra played much too loudly; Haydn called for less tone a second and a third time, and still was dissatisfied. He was growing impatient. At this point he overheard a German player whisper to a neighbour in his own language: "If the first three notes don't please him, how shall we get through all the rest?" Thereupon, calling for the loan of a violin, he illustrated his meaning to such purpose that the band answered to his requirements in the first attempt. Haydn was naturally at a great disadvantage with an English orchestra by reason of his ignorance of the language. It may be true, as he said, that the language of music "is understood all over the world," but one cannot talk to an orchestra in crotchets and semi-breves.

The Hanover Square Rooms

At length the date of the first concert arrived, and a brilliant audience rewarded the enterprise, completely filling the Hanover Square Rooms, at that time the principal concert hall in London. It had been opened in 1775 by J. C. Bach, the eleventh son of the great Sebastian, when the advertisements announced that "the ladies' tickets are red and the gentlemen's black." It was there that, two years after the date of which we are writing, "Master Hummel, from Vienna," gave his first benefit; Liszt appeared in 1840, when the now familiar term "recital" was first used; Rubinstein made his English debut in 1842; and in the same year Mendelssohn conducted his Scotch Symphony for the first time in England. In 1844 the "wonderful little Joachim," then a youth of thirteen in a short jacket, made the first of his many subsequent visits to London, and played in the old "Rooms."

Hoops and Swords

So much for the associations of the concert hall in which Haydn directed some of his finest symphonies. And what about the audiences of Haydn's time? It was the day of the Sedan chair, when women waddled in hoops, like that of the lady mentioned in the Spectator, who appeared "as if she stood in a large drum." Even the royal princesses were, in Pope's phrase, "armed in ribs of steel" so wide that the Court attendants had to assist their ungainly figures through the doorways. Swords were still being worn as a regulation part of full dress, and special weapons were always provided at a grand concert for the use of the instrumental solo performers, who, when about to appear on the platform, were girt for the occasion by an attendant, known as the "sword-bearer." [See Musical Haunts in London, F. G. Edwards, quoting Dr W. H. Cummings.]

Haydn's first concert, we have said, was an immense success. Burney records that his appearance in the orchestra "seemed to have an electrical effect on all present, and he never remembered a performance where greater enthusiasm was displayed." A wave of musical excitement appears to have been passing through London, for on this very evening both Covent Garden and Drury Lane Theatres were packed with audiences drawn together by the oratorio performances there. Haydn was vastly pleased at having the slow movement of his symphony encored--an unusual occurrence in those days--and he spoke of it afterwards as worthy of mention in his biography. Fresh from the dinner-table, the audience generally fell asleep during the slow movements! When the novelty of the Salomon concerts had worn off, many of the listeners lapsed into their usual somnolence. Most men in Haydn's position would have resented such inattention by an outburst of temper. Haydn took it good-humouredly, and resolved to have his little joke.

The "Surprise" Symphony

He wrote the well-known "Surprise" Symphony. The slow movement of this work opens and proceeds in the most subdued manner, and at the moment when the audience may be imagined to have comfortably settled for their nap a sudden explosive fortissimo chord is introduced. "There all the women will scream," said Haydn, with twinkling eyes. A contemporary critic read quite a different "programme" into it. "The 'Surprise,'" he wrote, "might not be inaptly likened to the situation of a beautiful shepherdess who, lulled to slumber by the murmur of a distant waterfall, starts alarmed by the unexpected firing of a fowling-piece." One can fancy the composer's amusement at this highly-imaginative interpretation of his harmless bit of waggery.

Gallic Excitement

The same success which attended Haydn's first concert marked the rest of the series. The Prince of Wales's presence at the second concert no doubt gave a certain "lead" to the musical public. We read in one of the Gallic newspapers: "It is truly wonderful what sublime and august thoughts this master weaves into his works. Passages often occur which it is impossible to listen to without becoming excited--we are carried away by admiration, and are forced to applaud with hand and mouth. The Frenchmen here cannot restrain their transports in soft adagios; they will clap their hands in loud applause and thus mar the effect."

In the midst of all this enthusiasm the factionists were keeping up their controversy about the opening of Gallini's Theatre. Gallini had already engaged the services of Haydn, together with an orchestra led by Salomon, but nothing could be done without the Lord Chamberlain's license for the performance of operas. To prevent the issue of that license was the avowed object of the Pantheon management and their friends. The fight was rendered all the more lively when the Court divided itself between the opposing interests. "The rival theatre," wrote Horace Walpole, "is said to be magnificent and lofty, but it is doubtful whether it will be suffered to come to light; in short the contest will grow political; 'Dieu et mon Droit' (the King) supporting the Pantheon, and 'Ich dien' (the Prince of Wales) countenancing the Haymarket. It is unlucky that the amplest receptacle is to hold the minority."

Cantatas, Catches and Choruses

That was how it turned out. The Lord Chamberlain finally refused his license for operatic performances, and Gallini had to be content with a license for "entertainments of music and dancing." He opened his house on the 20th of March, and continued during the season to give mixed entertainments twice a week. Various works of Haydn's were performed at these entertainments, including a cantata composed for David, an Italian catch for seven voices, and the chorus known as "The Storm," a setting of Peter Pindar's "Hark, the wild uproar of the waves." An opera, "Orfeo ed Euridice," to which we have already referred, was almost completed, but its production had necessarily to be abandoned, a circumstance which must have occasioned him considerable regret in view of the store he set upon his dramatic work.

Benefit and Other Concerts

On the 16th of May he had a benefit concert, when the receipts exceeded by 150 pounds the 200 pounds which had been guaranteed. A second benefit was given on May 30, when "La Passione Instrumentale" (the "Seven Words" written for Cadiz) was performed. This work was given again on June 10, at the benefit concert of the "little" Clement, a boy violinist who grew into the famous artist for whom Beethoven wrote his Violin Concerto. On this occasion Haydn conducted for Clement, and it is interesting to observe that Clement took the first violin at the last concert Haydn ever attended, in March 1808.