Editing Joseph Haydn (section)

=== London journeys ===
[[File:Haydnportrait.jpg|thumb|upright|Portrait by [[Ludwig Guttenbrunn]], painted {{circa|1791–92}}, depicts Haydn c.&nbsp;1770]]
In 1790, Prince Nikolaus died and was succeeded as prince by his son [[Anton Esterházy|Anton]]. Following a trend of the time,{{sfn|Jones|2009a}} Anton sought to economize by dismissing most of the court musicians. Haydn retained a nominal appointment with Anton, at a reduced salary of 400 florins, as well as a 1000-florin pension from Nikolaus.{{sfn|Geiringer|1982|p=96}} Since Anton had little need of Haydn's services, he was willing to let him travel, and the composer accepted a lucrative offer from [[Johann Peter Salomon]], a German violinist and [[impresario]], to visit England and conduct new symphonies with a large orchestra.

The choice was a sensible one because Haydn was already a very popular composer there. Since the death of [[Johann Christian Bach]] in 1782, Haydn's music had dominated the concert scene in London; "hardly a concert did not feature a work by him".<ref name="Jones2009b_325">{{harvnb|Jones|2009b|p=325}}.</ref> Haydn's work was widely distributed by publishers in London, including Forster (who had their own contract with Haydn) and Longman & [[Robert Broderip|Broderip]] (who served as an agent in England for Haydn's Vienna publisher [[Artaria]]).{{r|Jones2009b_325}} Efforts to bring Haydn to London had been made since 1782, though Haydn's loyalty to Prince Nikolaus had prevented him from accepting.{{r|Jones2009b_325}}

After fond farewells from Mozart and other friends,<ref>For narratives of Haydn's last days in Mozart's company, see [[Haydn and Mozart]]</ref> Haydn departed from Vienna with Salomon on 15 December 1790, arriving in [[Calais]] in time to cross the English Channel on New Year's Day of 1791. It was the first time that the 58-year-old composer had seen the sea. Arriving in London, Haydn stayed with Salomon in Great Pulteney Street (London, near [[Piccadilly Circus]])<ref name="Jones2009b_137">{{harvnb|Jones|2009b|p=137}}</ref> working in a borrowed studio at the [[Broadwood and Sons|Broadwood]] piano firm nearby.{{r|Jones2009b_137}}

It was the start of a very auspicious period for Haydn: both the 1791–1792 journey, along with a repeat visit in 1794–1795, were greatly successful. Audiences flocked to Haydn's concerts; he augmented his fame and made large profits, thus becoming financially secure.{{efn|According to {{harvnb|Jones|2009b|pp=[https://archive.org/details/haydn0000unse_b4c7/page/144/mode/2up 144–146]}}, the London visits yielded a net profit of 15,000 florins. Haydn continued to prosper after the visits and at his death left an estate valued at 55,713 florins. These were substantial sums; for comparison, the house he bought in Gumpendorf in 1793 (and then remodelled) cost only 1370 florins.}} [[Charles Burney]] reviewed the first concert thus: "Haydn himself presided at the piano-forte; and the sight of that renowned composer so electrified the audience, as to excite an attention and a pleasure superior to any that had ever been caused by instrumental music in England."{{efn|From Burney's memoirs; quoted from {{Harvtxt|Landon|Jones|1988|p=234}}}} Haydn made many new friends and, for a time, was involved in a romantic relationship with [[Rebecca Schroeter]].
[[File:Hanover-Square-Rooms.png|thumb|left|[[Hanover Square Rooms]], principal venue of Haydn's performances in London]]

Musically, Haydn's visits to England generated some of his best-known work, including the ''[[Symphony No. 94 (Haydn)|Surprise]]'', ''[[Symphony No. 100 (Haydn)|Military]]'', ''[[Symphony No. 103 (Haydn)|Drumroll]]'' and ''[[Symphony No. 104 (Haydn)|London]]'' symphonies; the ''Rider'' quartet; and the [[Piano Trio No. 39 (Haydn)|"Gypsy Rondo"]] piano trio. The great success of the overall enterprise does not mean that the journeys were free of trouble. Notably, his first project, the commissioned opera ''[[L'anima del filosofo]]'' was duly written during the early stages of the trip, but the opera's impresario [[John Gallini]] was unable to obtain a license to permit opera performances in the theatre he directed, the [[Her Majesty's Theatre|King's Theatre]]. Haydn was well paid for the opera (£300) but much time was wasted.{{efn|The premier performance did not take place until 1951, during the [[Florence May Festival]]. [[Maria Callas]] sang the role of Euridice. The opera and its history are discussed in {{Harvnb|Geiringer|1982|pp=342–343}}.}} Thus only two new symphonies, [[Symphony No. 95 (Haydn)|no. 95]] and [[Symphony No. 96 (Haydn)|no. 96 ''Miracle'']], could be premiered in the 12 concerts of Salomon's spring concert series in 1791. Another problem arose from the jealously competitive efforts of a senior, rival orchestra, the [[Professional Concerts]], who recruited Haydn's old pupil [[Ignaz Pleyel]] as a rival visiting composer; the two composers, refusing to play along with the concocted rivalry, dined together and put each other's symphonies on their concert programs.

The end of Salomon's series in June gave Haydn a rare period of relative leisure. He spent some of the time in the country ([[Hertingfordbury]]),<ref>{{cite web|url=https://www.hertsmusicfest.org.uk/haydn |title=Hertfordshire's Haydn Connection |publisher=Hertfordshire Festival of Music |access-date=31 March 2022}}</ref> but also had time to travel, notably to Oxford, where he was awarded an honorary doctorate by the university. The symphony performed for the occasion, [[Symphony No. 92 (Haydn)|no. 92]] has since come to be known as the ''Oxford Symphony'', although it had been written two years before, in 1789.<ref>''Oxford Symphony'', article by Jane Holland in {{harvnb|Jones|2009b|p=266}}</ref> Four further new symphonies (Nos. [[Symphony No. 93 (Haydn)|93]], [[Symphony No. 94 (Haydn)|94]], [[Symphony No. 97 (Haydn)|97]] and [[Symphony No. 98 (Haydn)|98]]) were performed in early 1792.

[[File:John Hoppner (1758-1810) - Franz Joseph Haydn (1732-1809) - RCIN 406987 - Royal Collection.jpg|thumb|upright|Haydn as portrayed by [[John Hoppner]] in England in 1791]]
While travelling to London in 1790, Haydn met the young [[Ludwig van Beethoven]] in his native city of [[Bonn]]. On Haydn's return, Beethoven came to Vienna and [[Beethoven and his contemporaries#Joseph Haydn|was Haydn's pupil]] up until the second London journey. Haydn took Beethoven with him to [[Eisenstadt]] for the summer, where Haydn had little to do, and taught Beethoven some [[counterpoint]].{{sfn|Geiringer|1982|pp=131–135}} While in Vienna, Haydn purchased a house for himself and his wife in the suburbs and started remodelling it. He also arranged for the performance of some of his London symphonies in local concerts.

By the time he arrived on his second journey to England (1794–1795), Haydn had become a familiar figure on the London concert scene. The 1794 season was dominated by Salomon's ensemble, as the Professional Concerts had abandoned their efforts. The concerts included the premieres of the 99th, 100th, and 101st symphonies. In 1795, Salomon had abandoned his own series, citing difficulty in obtaining "vocal performers of the first rank from abroad", and Haydn joined forces with the Opera Concerts, headed by the violinist [[Giovanni Battista Viotti]]. The location of the concerts was shifted from the [[Hanover Square Rooms]], seating an audience of 500, to a new hall in the [[Her Majesty's Theatre|King's Theatre]], seating 800.<ref>Jones (2009a:170)</ref> At these concerts were premiered Haydn's final three symphonies, [[Symphony No. 102 (Haydn)|102]], [[Symphony No. 103 (Haydn)|103]], and [[Symphony No. 104 (Haydn)|104]]. The final benefit concert for Haydn ("Dr. Haydn's night"), at the end of the 1795 season, was a great success and was perhaps the peak of his English career. Haydn's biographer [[Georg August Griesinger|Griesinger]] wrote that Haydn "considered the days spent in England the happiest of his life. He was everywhere appreciated there; it opened a new world to him".{{sfn|Webster|2002|p=37}}