Table Of ContentP
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Joseph Haydn died in 1809 as the most celebrated composer of his generation,
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but by the 1840s his image had degenerated into the bewigged “Papa Haydn,”
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a shallow placeholder in music history who merely invented the forms used
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by Beethoven. In a remarkable reversal, Haydn regained within the opening
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decades of the twentieth century his former elite stature. Reviving Haydn: New
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Appreciations in the Twentieth Century examines this decline and subsequent
resurgence of Haydn’s reputation.
Showing that no single person or event marked the turning point for
Haydn’s status, Bryan Proksch instead argues that a broad reengagement
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with Haydn by many of the music world’s leading fi gures—composers
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(Vincent d’Indy and Arnold Schoenberg), conductors (Arturo Toscanini),
performers (Wanda Landowska), critics (Lawrence Gilman), and scholars V
(Heinrich Schenker and Donald Tovey)—reshaped opinion of the composer
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throughout Europe and the United States. Though each fi gure valued
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Haydn’s music for specifi c reasons and used it to advance particular goals,
they all advocated for a rehearing and rereading of the composer’s works. I
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Proksch’s analysis of these new appreciations of Haydn not only contributes
to the study of Haydn’s music but also displays in new light the forces that
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shape critical reception on a broad scale.
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BRYAN PROKSCH is assistant professor of music history at Lamar
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University.
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Cover image: Henri Matisse’s Portrait de famille (The Music Lesson) (1917).
© 2014 Succession H. Matisse / Artists Rights Society (ARS), New York.
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The Barnes Foundation.
R E V I V I N G H AY D N
New Appreciations in the Twentieth Century
668 Mt. Hope Avenue, Rochester, NY 14620-2731, USA
P.O. Box 9, Woodbridge, Suffolk IP12 3DF, UK
www.urpress.com BRYAN PROKSCH
Reviving Haydn
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Eastman Studies in Music
Ralph P. Locke, Senior Editor
Eastman School of Music
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Historical Musicology: Sources, Methods, Interpretations
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Ralph Kirkpatrick: Letters of the American Harpsichordist and Scholar
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A complete list of titles in the Eastman Studies in Music series
may be found on our website, www.urpress.com.
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Reviving Haydn
New Appreciations in the
Twentieth Century
Bryan Proksch
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The University of Rochester Press gratefully acknowledges the AMS 75 PAYS
Endowment of the American Musicological Society, funded in part by the
National Endowment for the Humanities and the Andrew W. Mellon Foundation,
for generous support of this publication .
Copyright © 2015 by Bryan Proksch
All rights reserved. Except as permitted under current legislation, no
part of this work may be photocopied, stored in a retrieval system,
published, performed in public, adapted, broadcast, transmitted,
recorded, or reproduced in any form or by any means, without the
prior permission of the copyright owner.
First published 2015
University of Rochester Press
668 Mt. Hope Avenue, Rochester, NY 14620, USA
www.urpress.com
and Boydell & Brewer Limited
PO Box 9, Woodbridge, Suffolk IP12 3DF, UK
www.boydellandbrewer.com
ISBN-13: 978-1-58046-512-0
ISSN: 1071-9989
Library of Congress Cataloging-in-Publication Data
Proksch, Bryan, author.
Reviving Haydn : new appreciations in the twentieth century / Bryan Proksch.
pages cm — (Eastman studies in music, ISSN 1071-9989 ; v. 124)
ISBN 978-1-58046-512-0 (hardcover : alkaline paper) 1. Haydn, Joseph, 1732–
1809—Criticism and interpretation—History—20th century. 2. Musical canon—
History—20th century. I. Title. II. Series: Eastman studies in music ; v. 124.
ML410.H4P89 2015
780.92— dc23 2015016152
A catalogue record for this title is available from the British Library.
This publication is printed on acid-free paper.
Printed in the United States of America.
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Contents
Acknowledgments vii
Introduction: A Revival in Context 1
1 Haydn’s Fall 7
2 A Reputation at an Ebb 38
3 Recomposing H-A-Y-D-N in Fin de Siècle France 70
4 Eccentric Haydn as Teacher 90
5 Haydn and the Neglect of German Genius 115
6 Schoenberg’s Lineage to Haydn 139
7 Haydn in American Musical Culture 159
8 Croatian Tunes, Slavic Paradigms, and the Anglophone Haydn 175
9 The Genesis of Tovey’s Haydn 190
Conclusion: Haydn in the “Bad Old Days” 213
Appendix: A Note on Methodology and the Russians 223
Notes 229
Bibliography 263
Index 283
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Acknowledgments
The research behind the present study has been at the front of my mind for
nearly a decade now. During this time innumerable teachers, friends, col-
leagues, and family members have given me far more encouragement and
assistance than I ever imagined. This study would never have happened had
Severine Neff not enticed me to do a “little” project on Arnold Schoenberg’s
analyses of Haydn’s music, which evidently was not so little a project as
she thought. She has been not only a mentor to me, but also a very dear
friend. It was Tim Carter who, while reading my dissertation in 2005, found
Vincent d’Indy’s analyses of Haydn unusual and kept prodding me to inves-
tigate them in more detail. Evan Bonds, Denise Von Glahn, Michael Broyles,
Zoë Lang, R. Joe Gennaro, William Gibbons, the members of the Southern
Chapter of the American Musicological Society, numerous anonymous peer
readers, and many others have variously offered me access to unpublished
research, invaluable advice, suggestions, and encouragement. My brother
Nicholas Proksch and Heide Chapman have been very helpful in increasing
the accuracy of my German translations and in reading Schenker’s handwrit-
ing. Shelia MacKay willingly read through most of my text for grammatical
errors, for which I am grateful.
The research and publication of this book would not have been possible
without the resources and assistance of a number of institutions. Russ Schultz,
the dean of Lamar University’s College of Fine Arts and Communication, gen-
erously provided a publication subvention for this book. I am grateful to him
not only for this tangible support, but also for the gamble he and the Lamar
faculty took when they hired me in 2013. I hope that this book is the fi rst of
many dividends reaped from that investment. The Avenir Foundation and the
Arnold Schoenberg Center were very generous in providing me with fi nancial
support for two research trips to Vienna in 2006 and 2008. Both while I was
there and afterward, Eike Fess proved himself to be an ingenious archivist.
Additional travel support was provided by the Haydn Foundation, the Haydn
Festspiele Eisenstadt, and the Österreichische Akademie der Wissenschaften,
who hosted me in 2011. The Centre for Research Collections at the University
of Edinburgh was very accommodating in allowing me to examine box after
box of Donald Tovey’s documents, while the National Library of Scotland
was helpful in fi lling in the gaps in the university’s holdings on short notice.
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viii contents
Richard Witts, Fiona Donaldson, and Andrew Woolley all shared their knowl-
edge of Tovey with me before and during my trip to Edinburgh, which aided
my archival work there considerably.
The editorial staff of the University of Rochester Press, including Ralph
Locke, Sonia Kane, and Carrie Crompton, must be acknowledged for their
work to make this book a physical reality.
The text of this book would be incomplete without the permission granted
by various institutions and presses to reproduce previously published mate-
rial. Portions of chapter 3 were published in “Recomposing H-A-Y-D-N: The
French Revival of Haydn in 1909,” in Eisenstädter Haydn-Berichte 8 (Tutzing:
Hans Schneider, 2013), 369–98, and are reproduced by permission from Hans
Schneider, the Haydn Foundation, and the Österreichische Akademie der
Wissenschaften. Portions of chapter 4 were published in “Vincent d’Indy as
Harbinger of the Haydn Revival,” Journal of Musicological Research 28 (2009):
162–88, and are reproduced by permission from Taylor & Francis Ltd. Portions
of chapter 6 were published in “Schoenberg’s Analyses and Reception of
Haydn’s Music,” in Mozart und Schönberg: Wiener Klassik und Wiener Schule,
Schriften des Wissenschaftszentrums Arnold Schönberg, vol. 7, edited by Hartmut
Krones and Christian Meyer (Vienna: Böhlau Verlag, 2012), 243–60, and are
reproduced by permission from the Schoenberg Center, the Österreichische
Akademie der Wissenschaften, and Böhlau Verlag. Lawrence Schoenberg
and Belmont Music Publishers kindly allowed me to reproduce the numerous
Schoenberg-related documents in chapter 6.
Finally I would like to thank my wife Kari and my son Maxwell, both of
whom have been forced to put up with me being locked away in my offi ce
researching this book when I would otherwise have been at home.
I offer to all of you my sincere and deepest thanks!
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Introduction
A Revival in Context
Music historians tend to focus on what might be called “big events” when dis-
cussing the revivals of composers. While such an approach can make for a
concise and appealing narrative, it can lead to the mistaken impression that
forgotten composers were rediscovered overnight. Every music history text-
book makes sure to mention how Felix Mendelssohn’s performance of J. S.
Bach’s St. Matthew Passion in 1829 led to a phoenixlike revival of Bach’s works,
catapulting them from a forgotten corner in the world of keyboard pedagogy
to a central position in the Western canon. The same might be said of Claudio
Monteverdi, whose Orfeo gathered dust for nearly three centuries before
Vincent d’Indy’s 1904 revival repositioned the opera as the fi rst masterwork of
the Baroque era and its composer as epoch-making.
A byproduct of the big-event revival narrative, no matter how much one
might understand it to be inaccurate, has been a tacit assumption that com-
posers whose music was not apparently rediscovered in one seminal moment
were rediscovered through the work of musicologists. These more scholarly
revivals appear in various guises, including lost works rediscovered (or made
available) or a fresh historical perspective that leads to viewing the music as
more signifi cant. The early music revival, for instance, relied heavily upon
scholar-performers’ ability to fi nd, analyze, edit, and publish forgotten works
while simultaneously researching their contexts and performance practices as
accurately as possible. The increasing abundance of research on the so-called
Kleinmeistern of the late eighteenth and early nineteenth centuries stands as
a more recent scholarly-based revival, albeit one still confi ned to a relatively
small circle when compared to the early music revival.
The problem with both the big event and scholarly revivals is that they
both drastically oversimplify the process of music reception. When one peers
beneath the surface, these large-scale changes in critical reception quickly
become messy and ungainly to the point where one might miss the proverbial
forest for the trees. A good case in point is Palestrina, whose revival predated
the early music revival, did not involve a single big event, and which involved
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