About two months ago, I accidentally wandered into an antique shop in Fairfax, California. Inside there was a seemingly random arrangement of kipple which the shopkeeper clearly understood. It was as if I had discovered a surreptitious vault in an Indiana Jones movie filled with gleaming mounds of treasure, a glut of pearls and gold, a feast for the eyes*. I hesitated, unsure of where to start, slightly concerned that something would fall on me.
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Over the past several months, I have been blogging about rare Haydn materials held in the Department of Special Collections, Memorial Library of Music, including one autograph manuscript, one important letter, and nine first or early score editions. Each item was digitized for deep storage in the Stanford Digital Repository, and high-quality, downloadable images have been made available to the world via links in SearchWorks. Thanks go to Astrid Smith, Rare Book and Special Collections Digitization Specialist, and the Digital Production Group for their excellent efforts on behalf of this project in support of Haydn, Patronage, and the Enlightenment.
Orfeo e Euridice [Orphée et Euridice] : dramma per musica / composto da Giusep. e Haydn ; traduit en vers français ; arrangé pour le piano-forte par Gerardin Lacour.
Paris : Mme. Masson, [1805]
Stanford University Libraries, Memorial Library of Music, MLM 495
Link to downloadable images of this work
Original title on the autograph score: Orfeo ed Euridice; title in Haydn’s catalogue: L'anima del filosofo ossia
Composed in 1791 and headed for the boards in the new Haymarket Theatre, Orfeo was cancelled due to recurring arts-patron rivalry between George III and his son, the Prince of Wales. The King and the Prince supported rival opera houses and seasons. The Prince was a patron of the Haymarket, and George III took it upon himself to refuse to grant a performing license to the Haymarket’s manager, Sir John Gallini, effectively mothballing the production of Orfeo at the new theatre.
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Deux Duos avec accompagnement de piano forte:
Saper vorrei se m’ami, HXXVa:1
Guarda qui, che lo vedrai, HXXVa:2
À Bonn : Chez N. Simrock., [1803 or 1804]
Stanford University Libraries, Memorial Library of Music, MLM 490
Link to downloadable images of this work
This pair of pastoral duets for soprano, tenor, and piano were composed in 1796, a highly productive year for Haydn. Other major works Haydn composed that year include the Trumpet Concerto, the Missa Sancti Bernardi de Offida (‘Heiligmesse’), and the Missa in tempore belli (‘Paukenmesse’). The librettist was Carlo Francesco Badini, whom Haydn met while in London. Badini worked for the Italian opera house, and also supplied the libretto to Haydn's last opera, L'anima del filosofo, ossia Orfeo ed Euridice.
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Dernière sonate pour le piano forte, avec accompaniment de violon
À Paris : publiée par Naderman ; À Londres : par Clementi & Co., [1821]
Stanford University Libraries, Memorial Library of Music, MLM 498
Link to downloadable images of this work
In advance of a visit to Paris in 1803, Prince Esterházy asked Haydn to compose a new piano sonata as a gift for Louise-Alexandrine-Eugénie Moreau, the French-Creole wife of the famous general Jean Victor Moreau, and hostess of an influential Paris salon. Haydn, pleading illness, sent instead a copy of the sonata for piano with violin and 'cello accompaniment (HXV:31) minus the somewhat superfluous ‘cello part. In an accompanying letter to Madame Moreau, Haydn apologizes for not composing something new, due to his failing health, and promises to fulfill his duties once he regains his strength.
