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P R Joseph Haydn died in 1809 as the most celebrated composer of his generation, O but by the 1840s his image had degenerated into the bewigged “Papa Haydn,” K a shallow placeholder in music history who merely invented the forms used S by Beethoven. In a remarkable reversal, Haydn regained within the opening C decades of the twentieth century his former elite stature. Reviving Haydn: New H 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 R with Haydn by many of the music world’s leading fi gures—composers E (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 I throughout Europe and the United States. Though each fi gure valued V 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 N 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 G shape critical reception on a broad scale. H BRYAN PROKSCH is assistant professor of music history at Lamar A University. Y D Cover image: Henri Matisse’s Portrait de famille (The Music Lesson) (1917). © 2014 Succession H. Matisse / Artists Rights Society (ARS), New York. N 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 PPrrookksscchh..iinndddd ii 88//1199//22001155 55::5588::2222 PPMM Eastman Studies in Music Ralph P. Locke, Senior Editor Eastman School of Music Additional Titles of Interest The Art of Musical Phrasing in the Eighteenth Century: Punctuating the Classical “Period” Stephanie D. Vial Building the Operatic Museum: Eighteenth-Century Opera in Fin-de-Siècle Paris William Gibbons The Career of an Eighteenth-Century Kapellmeister: The Life and Music of Antonio Rosetti Sterling E. Murray Good Music for a Free People: The Germania Musical Society in Nineteenth-Century America Nancy Newman Historical Musicology: Sources, Methods, Interpretations Edited by Stephen A. Crist and Roberta Montemorra Marvin Marianna Martines: A Woman Composer in the Vienna of Mozart and Haydn Irving Godt Edited by John A. Rice The Music of Carl Philipp Emanuel Bach David Schulenberg Pentatonicism from the Eighteenth Century to Debussy Jeremy Day-O’Connell Ralph Kirkpatrick: Letters of the American Harpsichordist and Scholar Edited by Meredith Kirkpatrick Schubert in the European Imagination, Volumes 1 and 2 Scott Messing A complete list of titles in the Eastman Studies in Music series may be found on our website, www.urpress.com. PPrrookksscchh..iinndddd iiii 88//1199//22001155 55::5588::3366 PPMM Reviving Haydn New Appreciations in the Twentieth Century Bryan Proksch PPrrookksscchh..iinndddd iiiiii 88//1199//22001155 55::5588::3366 PPMM 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. PPrrookksscchh..iinndddd iivv 88//1199//22001155 55::5588::3366 PPMM 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 PPrrookksscchh..iinndddd vv 88//1199//22001155 55::5588::3366 PPMM PPrrookksscchh..iinndddd vvii 88//1199//22001155 55::5588::3366 PPMM 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. PPrrookksscchh..iinndddd vviiii 88//1199//22001155 55::5588::3366 PPMM 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! PPrrookksscchh..iinndddd vviiiiii 88//1199//22001155 55::5588::3366 PPMM 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 composers 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 PPrrookksscchh..iinndddd 11 88//1199//22001155 55::5588::3366 PPMM