josip haiden - a croatian composer

Projekt “Hrvatska glazba i glazbenici” 2Biblioteka “Elita”Clic

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IzdavačNaklada E. Čić

Siget 16 B10020 Zagreb

PrijevodVlatko Bilić

LekturaIvanka Bilić

Grafička oprema i prijelom knjigeEmil Čić

TisakITG

Dalmatinska 12, 10000 Zagreb

http://www.inet.hr/~ecichttp://www.emilcic.hrvati-amac.com

[email protected]

CIP - Katalogizacija u publikacijiNacionalna i sveučilišna knjižnica - Zagreb

UDK 78.071 Haydn, J.

HADOW, William Henry Hrvatski skladatelj : bilješke premastudiji o Josephu Haydnu / William H.<Henry> Hadow ; <prijevod Vlatko Bilić>. -Zagreb : Naklada E. Čić, 2005.

Izv. stv. nasl.: A Croatian Composer;notes toward the study of Joseph Haydn.

ISBN 953-98968-3-5

I. Haydn, Joseph -- Život i djelo

450715044

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Abc

Pravokutnik

WILLIAM H. HADOW

Prvo dvojezično izdanjePrvi put objavljeno 1897., Oxford

Pretiskano 1972., New York

HRVATSKI SKLADATELJ

BILJEŠKE PREMA STUDIJI O

JOSIPU HAIDENU

Tiskanje knjige poduprlaUdruga Hrvatska-Irska

Naklada E. ČićZagreb 2005

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Sadržaj

Predgovor W. H. Hadowa............10Hrvatski skladatelj.......................12Notni primjeri...............................26Pogovor-komentari:Emil Čić......................................141

ContentsPreface by W. H. Hadow..............77A Croatian Composer...................79The numerous illustrations...........94Comment:Emil Čić......................................151

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Josip Haiden, naslikao Hardy 1791.

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JOSEPH HAYDN

Iz bakropisa W. Daniella prema G. Danceu, R. A.

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ZAHVALA:Ovom prilikom zahvaljujem gospodi Darku Žubriniću, koji je

upozorio na ovaj slučaj i prevoditelju Vlatku A. Biliću; bez g. Bilića i njegove pokojne supruge ovaj projekt bi još morao pričekati na svoje objavljivanje. G. Žubrinić (prije) i g. Bilić (kasnije) motivirali su, svaki na svoj način, moje proučavanje čitave građe i potakli me na tiskanje ove knjige, te tako dio zasluge pripada i njima.

Emil Čić

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W. R. MORFILLU

Malen uzvrat za veliku pomoć i ohrabrenje

Napomena: svi notni primjeri su faksimili preslikani iz izvornika.

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PREDGOVOR GRADIVO za ovaj ogled gotovo je potpuno prikupljeno iz dvaju radova dr. Franje Kuhača: jedan je od njih zbirka južnoslavenskih narodnih popjevaka, a drugi je brošura o Josephu Haydnu. Dakako, toliko sam dužan zahvalnost prema njima, da ogled ne bi bio napisan da je bilo moguće predstaviti ih čitatelju izravnije. Sve što je bilo dodano, to je stanovita preuredba podataka, stanovita količina komentara i izlaganja te ponešto dodatnih činjenica koje su ušle u domet moga zahvata. Mogu ustvrditi da sam tijekom moga nedavnoga pohoda Hrvatskoj vidio dr. Kuhača koji mi je vrlo ljubazno dao puno dopuštenje za uporabu njegovih rezultata, te je dar još i povećao veoma uporabljivom obaviješću. Nije na meni da određujem koliko će predmet biti zanimljiv engleskomu čitatelju. Mi smo pomalo zaboravili Haydna: ne pridajemo veliku važnost pojmovnomu zamišljanju problema. Ali odvažujem se misliti da praktično izdanje nije nevažno, i da je u svakome slučaju pitanje povijesne istine ono koje traži stanovito poštovanje i pozornost. Jedva da je potrebno reći da sam osobno uvjeren u svrhu oko koje sam nastojao iz svih sila: ako su činjenice bile pogrješno protumačene, trud barem može izazvati raspravu. Bez dvojbe, trebat će se ogledati s onim kritičarima koji bi kudili od početka zbog znatiželjna zavirivanja iza zastora. Od takvih protivnika molim ljubazno da me se, iz dvaju razloga, razlikuje. Na prvome mjestu to nije pitanje sporedna detalja, nego istraživanje metoda velikoga umjetnika i karaktera njegova djela. Pozabaviti se isključivo jednim jedinim vidikom ne znači zato zanemariti ili

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podcijeniti druge. A pretpostaviti da je Haydnu umanjena vrijednost priznanjem njegova duga njegovu vremenu i zemlji mislim da je nešto što pokazuje nerazumijevanje uvjeta pod kojima nastaje sva prava, «kreativna» umjetnost. Na drugome mjestu, ako prihvatimo povijesno izvješće kao istinito, činimo nešto da bismo spasili glazbenu naciju od nezaslužena zanemarivanja. Narod koji je majstoru dao ne samo rođenje nego i nadahnuće, smije jamačno zahtijevati od nas nešto bolje od zaborava u koji smo dopustili da padne njegovo ime. Želim odati sve dužno priznanje gospodinu L. Finkensteinu za njegov prijevod brošure dr. Kuhača.

OXFORD, 12. listopada 1897.

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HRVATSKI SKLADATELJ

STUDIJ proučavanja ljudske naravi sadrži nekoliko problema težih ili važnijih od onih koji se bave razlikama nacionalnoga karaktera. U mnogim zemljama izvorno podrijetlo, ne uvijek čisto, pretvaralo se i mijenjalo iz stotinu razloga: osvajanjima, doseljavanjem, miješanim brakovima sa susjedima, svim okolnostima i uvjetima povijesnoga razvoja; a posljedak je obično tkivo od mnogo različitih niti, kad smo sretni ako možemo objasniti prevladavajuću boju ili uzorak. Katkad, kao u našemu Indijskome carstvu, niti su položene razmjerno slobodno i zbunjuju nas više svojim brojem i raznolikošću nego sadašnjom zbijenošću teksture. Katkad pak, kao u Kraljevini Ugarskoj, uzajamna isprepletenost je tako složena da gotovo izmiče raščlambi na početku. A kad se tomu pridoda utjecaj podneblja, uprave, religije, svega što je uključeno u prošlim zapisima i tradicijskoj uporabi, vidjet će se da je pitanje uzročnosti ono koje može temeljito opteretiti do krajnjih granica vještinu i strpljenje etnologa. Ali ako je razloge teško slijediti, istina nije više otvorena za razumljivu dvojbu. Psihologija nam govori da se to očituje pri rođenju, a povijest da se stvorilo korito za čitav tok i tijek događaja. Ni jedna kriza nije tako teška, ni jedna zgoda tako trivijalna da ne bi u stanovitu stupnju pokazale svoju nazočnost i djelotvornost u životu čovjeka. Nacije i mir ne slijede istu politiku; nacije u sukobu ne bojuju istim oružjem; opreka zakona i običaja je tako živa, da je navela neke nestrpljive filozofe da sav moral drže relativnim. A ono što je istinitou životu kao cjelini jednako je istinito u njegovoj specijalizaciji u umjetnosti i književnosti. Stoga je više nego jedinstven izražaj nacionalnoga ugleda, intiman kao i njegov jezik, životan kao dah

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koji udiše, i svaki umjetnik koji je izazvao pozornost široke javnosti učinio je to obraćajući joj se kao govornik svoga naroda. Ima, bez dvojbe, u ovome slučaju i drugih čimbenika, osobne idiosinkrazije koja odvaja čovjeka od njegovih drugova, a onda i općih načela, malobrojnijih nego što se obično pretpostavlja, što leži u osnovi svega osjećaja za ritam i svega cijenjenja stila. Ali reći ovo znači samo reći da je umjetnik umjetnik i da pripada čovječanstvu nama zajedničkomu. U svemu, u zamisli poeme pa do strukture rečenice, nacionalni element nosi svoj dio s dva druga; on daje boju osobnomu temperamentu, pruža stajalište s kojega se dosežu načela stila i gdje god je njegov utjecaj slab ili neznatan, osjetit će se da djelo umjetnika trpi na skladnosti. Jedva da je potrebno dodati da pravo, ako je u pitanju rasa, drži jednako dobrom rasu i čistu i miješanu. Ako je ranija, kretat će se uzduž jedne crte; ako je kasnija, označit će stjecište mnogih; ali u oba slučaja njezino je djelovanje sigurna provjera izvornosti osjećaja i izražaja. Prigodice, moguće je da publika bude obmanuta nekom varkom imitacije – španjolskim komedijama Clare Gazul ili perzijskim pjesmama Mirze Schaffyja; ali takvi primjeri obmane ne povrjeđuju pravo više nego irske krivotvorine ili slike Carianija. Neki su ljudi rođeni s talentom mimikrije: ni jedan se nije nikad svojim sredstvima domogao veličine. Smije se odmah dopustiti da je to pravilo nacionalnoga utjecaja u sadašnje vrijeme manje čvrsto uspostavljeno u glazbi nego u pjesništvu ili slikarstvu. U dvjema potonjim umjetnostima imamo neke očite vanjske oznake kao pripomoć u istraživanju – široke i istaknute kontraste jezika, velike razlike scene i predmeta – s kojima glazba kao takva ima malo ili ništa zajedničkoga. Njezin predmet je obično maglovit i neodređen, njezin rječnik izgrađen iz nekoliko ljestvica i, na kraju, rekli smo da je njezin genij ograničen na zajedničke emocije čovječanstva i na zajedničku baštinu čiste forme. Ali potpuno je pogrješno izvoditi da je glazba neovisna o

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nacionalnosti. Skladatelj nosi biljeg svoga podrijetla isto tako sigurno kao i pjesnik ili slikar, i nema glazbe s istinskom krvlju u njezinim žilama i istinskom strašću u njezinu srcu koja ne vuče nadahnuće iz daha majke Zemlje. Dva glavna razloga usporila su prihvaćanje ove istine. Prvo, vjerovanje da je nacionalna melodija u potpunosti stvar zanata i manirizma, da je sastavljena od posebnih sklopova fraza i figura– kao da biste načinili ružino stablo privezujući ruže na škotsku jelu, ili pretvorili «Rule, Britannia» u mađarski napjev završavajući ga mađarskom kadencom. Taj stav, može se reći, jednostavno ne razumije narav zakona koji kritizira. Bez dvojbe, stanoviti opseg ekspresije pripada svakomu tipu pučke popijevke. Bez dvojbe, ti slučajevi s figurom i frazom pojavljuju se na površini i uvijek sukorisni kao indicije, ali to predstavlja svu razliku, bilo da nastaju prirodno na svome mjestu, bilo da tamo leže kao beživotni privjesci. Čak i strani idiomi, koje veliki skladatelj može prigodice uporabiti, samo su cijep položen u panj; mladica se odmah preinačuje pod utjecajem staroga stabla i mijenja svoj karakter da bi se prilagodila promjeni stanja. I bez obzira na te rijetke mladice fraza istinskoga majstora uvijek će biti smatrana sukladnom duhu koji joj udahnjuje život, ne stoga što bi ona tvorila duh, nego jer izbija kao svojstvo biti. Druga pogrješka izvire iz naših nesuvislih i netočnih metoda klasifikacije.Da je Mozart bio talijanski skladatelj, sada se, izgleda, uzima kao potvrđena šala; ali puno je ozbiljnije ako iskazujemo svoju zahvalnost za sjajno djelo koje je Njemačka učinila upisujući na svoj račun sve što su postigli njezini susjedi. Schumann svojata Chopina kao zemljaka. A mi smo daleko od toga da prosvjedujemo što im dodajemo Liszta, za koga je «veliki njemački majstor» bio dugo novinski sinonim, a čak se skanjujemo oko Smetane i Dvořáka. Istina je da je klasifikacija često krajnje teška – zapisi su nesavršeni,

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imena zavode u bludnju, povijesti su iskrivljene zbog pomanjkanja etnološkoga znanja; ali pripuštanje ignorancije nije baš jaka osnova za dogmatično poricanje. Kritičari koji pobijaju zakon jer ne mogu vidjeti njegovu primjenjivost na činjenice, dobro bi učinili da na početku utvrde kao sigurno da su činjenice bile ispravno uočene. Predmet ovoga ogleda je jedan od primjera takva pogrješna atribuiranja koji najviše odskače. Od vremena Carpanija pa do onoga dr. Nohla Haydnovi biografi jednodušno su ga opisivali kaoNijemca, rođena – kao što svatko zna – u Donjoj Austriji, koji je govorio njemački kao materinski jezik, Teutonca podrijetlom, značajem i okolinom. A što ga više proučavamo, to biva manje moguće držati njegovu glazbu djelom Teutonca. Ona je nedvojbeno pod utjecajem njegova odgoja i prilika, ranoga proučavanja Emanuela Bacha, i kasnijega međusobnoga općenja s Mozartom, ali ako prodremo u srž duha samoga čovjeka, otkrit ćemo da njegova prirođena obilježja nisu više njemačka nego su talijanska ili francuska. Haydnova čuvstvenost je takve vrste da joj nema slične među njemačkim skladateljima – pokretan, nervozan, osjetljiv, možda pomalo površan, ali čist i proziran kao gorski potok. Njegov humor je kvaliteta u kojoj on ostaje gotovo osamljen; razlikuje se potpuno od Mozartove domišljatosti ili Beethovenova sumorna podrugivanja; on je starinski slikovit, zaigran žuboreći po cijeloj površini stranice, a isto je tako daleko od satire i epigrama. Nadalje, ima manje širine i dostojanstva nego što bi pripadalo njemačkoj naravi, ali ima daleko više mnogostranosti. Bio je najsmjeliji među pionirima, najveći hazarder među eksperimentatorima i, što je još zamjetljivije, njegovi eksperimenti su prije prirodni rezultat nemirne i žive mašte nego napora promišljene i svjesne reforme. S izvanjske strane kontrast je također vidljiv. Oblici njegovih melodičnih fraza nisu oni njemačkih pučkih popjevaka; njegovi ritmovi daleko su brojniji i raznolikiji; njegovi metri su često čudni i neobični. Širom

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zapadne Europe uzimalo se gotovo jednoobrazno četverotaktni redak crtovlja kao jedinicu mjere, što je povlačilo za sobom odgovarajuću strofu od osam, šesnaest ili tridesetdva takta. U stotini njemačkih ili engleskih pučkih popjevaka bit će čudno ako se nađe jedna jedina iznimka; u stotini Haydnovih kvarteta bit će čudno ako iznimke ne budu i česte i primjerne. Riječju, njegov opseg strofe je daleko širi nego što je poznato u današnjoj Njemačkoj i mnogi od njegovih najkarakterističnijih napjeva pripadaju drugomu jeziku i drugoj shemi versifikacije. Uvid, ovdje ukratko sažet, može samo uputiti na dva zaključka: ili da je zakon nacionalnosti neprimjenjiv na Haydna, ili da je pripisivanje Haydna njemačkoj rasi etnološka pogrješka. Prva alternativa prilično je neprikladna; druga je za mnogo godina proigrala svoje pravo postojanja našom nesposobnošću da otrpimo onus probandi. Ali 1878. počeo je dr. Kuhač objavljivati svoju veliku zbirku južnoslavenskih napjeva,1 a 1880. ih je dopunio posebnom brošurom o Haydnovoj povezanosti s njima.2 Glavne točke teze bile su tri: prva, da hrvatske pučke popijevke posjeduju sva obilježja koja su bila zapažena kao razlikovna u Haydnovim melodijama; druga, da je mnoga od njih zaista uporabio; i treća, da činjenice oko njegova rođenja i rodbinstva pružaju snažan presumptivni dokaz da je on bio Hrvat po rasi.3 Ako ta prijeporna točka može biti utemeljena, ona osnažuje važan zakon dragocjenom i neočekivanom potporom i stoga preostaje, da bismo mogli iznijeti kritički stav u ovome slučaju, započeti poradi jasnoće s povijesnim i biografskim svjedočenjem i tako dati istaknuto mjesto posebnu karakteru samih skladbi. Prvo, dakle, moramo razmotriti je li karakter hrvatskoga naroda takav da bi polaganje prava na pripadnost njemu bilo razborito i razumljivo. Bila bi to jadna logika – objasniti naš zakon potjecanjem velikoga umjetnika iz neumjetničkoga naroda. A pitanje još više pritišće kad se sjetimo da je čitava Haydnova obitelj bila

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glazbeno nadarena, da je on svoje prve lekcije naučio od svoga oca i majke, da je njegov brat Michael dugo uživao ugled tek nešto manji od njegova. Ali da bi se potvrdno odgovorilo, treba se usprotiviti ukorijenjenu nazoru. Od gospođe Western u «Tomu Jonesu» do Barta Rizza u «Vittoriji» svatko se podrugivao Hrvatima. Došli smo dotle da ih držimo u najboljemu slučaju divljacima, a u najlošijemu plaćenim ubojicama. Asocijacije koje povezujemo s njihovim imenom su one o ratu i pljački, o mahnitu srljanju u juriš i zloporabi pobjede, o životima danima u zamjenu za dobitak ili upropaštenima u razuzdanosti. Njihova umjetnost je predmet o kojemu nismo nikad ni sanjali da ga istražujemo, a mogli bismo pomišljati na učenje njihova jezika čim ga priznamo sposobnim za književnost. Da bismo raspršili ove praznovjerice potrebno je samo proučavati zemlju. Ima nekoliko gradova privlačnijih nego Zagreb, nekoliko pokrajina ugodnijih nego duga, plodna dolina Save u kojoj on leži. U zabačenijim kotarima ima još mnogo neznanja i mnogo siromaštva, ali civilizacija se širi i izmamljuje – ne stvara – znakove napretka. Najsnažnija pokretačka sila narodnoga života je vjernost rodu i Crkvi. Noviji događaji pokazali su nam da provale nemira mogu začas biti izazvane radi vjerskih i domoljubnih načela, ali žar kojim će se za njih boriti nije neplemenit i nerijetko je povezan s nadahnućem koje će iznjedriti pjesme u njihovu čast. A širom cijele zemlje prevladava ljubav za glazbu.4 Muževi pjevaju uz svoje plugove, djevojke pjevaju puneći vjedra vodom na česmi; pred svakom seoskom krčmom možete čuti brenčanje tambure i promatrati plesače kako uz nju pocupkuju na livadi. Dopustimo da glazba nije uvijek prvorazredna, da su napjevi često primitivni a glasovi grubi i sirovi, ali ipak je tu zamah koji treba samo upute i usmjerenje. Svakako, sadašnje stanje naroda ne diskvalificira ga kao roditelja velikoga skladatelja. Netko će prigovoriti da je to samo sadašnji dojam koji nam ništa ne govori o onim danima kad je, kako se čini, čitav raison d’être

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populacije bio da isporučuje bojovnike za vojsku Marije Terezije. Za odgovor na ovo moraju dvije stvari biti jasne: prvo, država Hrvatska (Uža Hrvatska, u izv.: Croatia proper) tijekom dvaju prošlih stoljeća; drugo, položaj koji su u istome razdoblju imali drugi pripadnici hrvatskoga naroda.5 Argument «e nihilo nihil» teško da bi trebalo ovdje navoditi, premda će se kasnije vidjeti da Hrvatima ništa nije bilo dano osim prilike. Tijekom osamnaestoga stoljeća politika austrijske Vlade bila je tlačiti, koliko je više moguće, slavenske narode pod njezinom upravom. Češka, koja je izgubila svoju nezavisnost u Tridesetogodišnjemu u ratu, bila je u intelektualnome smislu «pustinja», kakvom ju je htio učiniti car Ferdinand. A iste drastične mjere, iako iz ponešto drukčijih razloga, bile su primijenjene na podaničke narode koji su živjeli uz južnu granicu. Posebno je Hrvatska služila kao predstraža protiv turskih provala: «potkupljeni» - kako kaže dr. Kuhač – «s nekoliko ispraznih političkih ustupaka», ali držani u stvarnosti pod čvrstom stegom države-vojarne. «Nije nam bilo dopušteno» - nastavlja on – «priskrbiti svomu narodu prednosti kraljevskoga grada, nismo imali središte intelektualnoga života i napretka i držalo se dostatnom povlasticom ako je naziv glavnoga grada bio dodijeljen ovomu ili onomu našemu gradu.»6 Naravno, hrvatsko plemstvo provodilo je što je moguće manje vremena u svojoj zemlji. Bilo je mnogo zabavnije biti u Požunu ili Beču, gdje je bilo plesova, kazališta, svečanosti, i gdje se moglo vidjeti život. I tako se dogodilo da je čak i prilika za pokroviteljstvo bila uskraćena, a ljudi su zapali u stanje apatije, njihovi su darovi bili zaboravljeni, njihov glas je zamro u tišini. Ali oko 1835. počeo je pjesnik Ljudevit Gaj, kao što je činio Tyl u Češkoj, buditi intelektualni život svojih zemljaka iz njegove zamrle životnosti. Uredio je njihovo pismo. Izradio njihovu gramatiku. Skupljao je pučke popijevke iz svakoga sela i zaselka i obogaćivao ih vlastitim

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pjesmama. Sijao je zmajeve zube* uzduž i poprijeko zemljom a nicao je, kao magijom, prirod umjetnika. Dakako, nisu bili od velike europske važnosti. Lisinski i Franz von Suppé najpoznatiji su od njihovih glazbenika – ali čitava je lekcija morala biti naučena iznova, a ti su ljudi bili prvi učenici.7 A kad su revolucije iz 1848. dale svježe poticaje narodnomu životu, otvorilo se drugo poglavlje hrvatskoga preporoda i, pod pokroviteljstvom biskupa Strossmayera, stupio je u egzistenciju novi umjetnički naraštaj.8 I ovdje su glazbenici zapravo kasnili za pjesnicima i ljudima od knjige; nije bilo konzervatorija, nije bilo zadovoljavajuće metode školovanja, i mladi talent bio je općenito presiromašan da iskoristi prilike koje su pružale strane zemlje. Ali ako je već kakvoća rada bila nedostatna i trivijalna, bar bi se nešto moglo reći o njegovu izvanrednu opsegu i lakoći. I treba dodati da su predvodnici sadašnjega naraštaja – Zajc, Vilhar, Faller, i sam dr. Kuhač – svi naveliko rabili narodne napjeve kao gradivo. Dok je sudbina Hrvatske bila na najnižoj točki, događaj koji se zbio ranije proizveo je važne posljedice. Južni Slaveni bili su uvijek migracijsko pučanstvo. Već 1595. zauzeli su tirolski Pusterthal, gdje su ostavili svoj biljeg, ne samo u karakteru stanovnika, nego i u velikome broju mjesnih naziva;9 kasnije, pod pritiskom turskih provala, naselili su Crnu Goru, a u petnaestome ili šesnaestome stoljeću, glavnina istočnih Hrvata – Bosnen, ili Wasser Kroaten, kako su ih zvali Nijemci – naselili su se u područje središnje Austrije koje se proteže od jezera Balaton na sjeverozapad prema Dunavu. Novi dom bio je izrazito prikladan za razvitak rase. Bio je bogat i plodan, s vinorodnim brežuljcima i prostranim ravnicama aluvijalne nizine, prilično šumovit i bogat vodom, a protezao se do Bratislave, drugoga grada Carstva, i sadržavao je barem jedan drugi grad spomena vrijedna značenja; bio je unutar dometa velikih intelektualnih i umjetničkih pokreta. Nije čudo da je ta regija uskoro došla na glas kao žarište hrvatskoga života i da je obilje, koje je život ________* Vidi napomenu na str. 69

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tražio, privuklo radi zabave u pripadajuću utrku talent koji je tražio sredstva za život.

Broj izvornih useljenika je nepoznat, ali do osamnaestoga stoljeća oni su nesporno činili veći dio populacije. U 1780. godini Bratislava je brojila manje od 28 000 stanovnika, od kojih su oko polovica u službenome popisu pučanstva bili ubilježeni kao Hrvati ili Slavonci (Slavonians); manji su pak gradovi i sela u susjedstvu, uglavnom zaposjednuti novopridošlima, i još su, unatoč njemačkome i mađarskome utjecaju pretežno oponašali slavenske tradicije. Jedna zanimljiva i više zbunjujuća posljedica jest da je gotovo svako mjesto u regiji imalo dva imena: jedno njemačko, korišteno za službene svrhe i drugo, slavensko, za uporabu pučanstva. A kad dodamo da je istočno od Leithe slavensko ime istisnuto od mađarskoga, vidjet će se da se bezazleni putnik može i sada i ubuduće naći u stanovitoj neprilici da utvrdi svoju rutu.

Zabavan primjer dogodio se u mome vlastitom iskustvu tijekom ljeta 1897. Želeći poduzeti hodočašće u Eisenstadt, gdje je Haydn bio kapelmajstor, i u Željezno, gdje je Schubert poučavao u glazbi groficu Esterházy, uzeo sam u Beču voznu kartu za prvo od tih mjesta samo da bih, kad me moj stražar obavijestio o mome odredištu, otkrio da su Eisenstadt i Željezno jedno te isto mjesto, a da je ime na željezničkoj stanici bilo Kis Martom.10

Nešto je više od puke koincidencije da je između svih austrijskih okruga ovo područje hrvatskih naseobina bilo najplodnije velikim glazbenicima. Veit Bach, djed Johanna Sebastiana, rođen je u Bratislavi, a tako i Chopinov veliki junak Johann Nepomuk Hummel. Haydnovi su potekli iz susjednoga sela, kojega su pravo ime – Trstnik – Nijemci očajno preveli u Rohrau. Joseph Weigl bio je rođenjem iz Eisenstadta, a tako i Ivan Fuchs, koji je naslijedio Hummela kao kapelmajstor kneza Esterházyja. Liszt je rođen u Rustniku kraj Oedenburga, Joachim u Kitseeu, Ludwig Strauss u Bratislavi, Carl

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Goldmark u Keszthelyju. A uokolo te konstelacije okuplja se čitava maglica manjih zvijezda;11 nepoznatih imena, možda, za engleske čitatelje, ali u njihovoj vlastitoj zemlji prihvaćenih i priznatih. Dakako, ne pretendira se da su svi ti umjetnici hrvatske krvi. Neki nesporno nisu; ali postoji barem a priori vjerojatnost da je koji od njih pripadao rasi koja je bila brojčano prevladavajuća, posebno kad je ta rasa bila slavenska i stoga muzikalna, a glede te općenite tvrdnje moglo bi se možebit reći neku riječ prije nego što nastavimo potanju raščlambu u Haydnovu slučaju.

Sada, nevezano s njegovim slučajem, trebalo bi zapaziti da ni jedno od imena navedenih dolje nije po svome obilježju izrazito slavensko. Za tu činjenicu dostatan je jednostavan razlog. Dugo vremena se u svijetu glazbe širila praksa, koju su u Europi uveli humanisti i teolozi, da se uzima nom de guerre koje bi trebalo ili predstavljati glas ili prijevod značenja prezimena. Erasmus, Melanchton, Stephanus su poznati primjeri u svijetu književnosti, a slijedeći ove uzvišene uzore Grobstimm je postao Baryphonus, Schneider Sartorius, Glareau Loritius i slično. Glazbenici su, izgleda, većim dijelom izbjegavali latinski i uzimali umjesto njega bilo koji jezik koji im je odgovarao ili bio na raspolaganju. Tako su dva Čeha sebe nazivala Dussek i Gyrowetz; Beethovenov otac pojavljivao se prigodice kao Beethoff; a popis bi se mogao proširiti čak i takvim groteskama kao Gionesi i Coperario. To sredstvo bilo je potrebno posebno Hrvatima koji su težili za karijerom. Znamo kojim je marom jadni Abel, živahan od njemačkih samoglasnika, nastojao prilagoditi se zahtjevima britanske publike.12 Potreba za prilagodbom još je veća kad je jezik takav da se bilo koji stranac teško može nadati da će ga moći izgovarati. To je ono zbog čega su sve hrvatske riječi bile osuđene da otpadnu i da budu zamijenjene nekim oporim njemačkim ili talijanskim istoznačnicama; a preobrazba je bila tako potpuna da moramo dvaput pogledati da bismo prepoznali

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Beethovenovu prvu violinu u Župančiću, ili našli u Trtiću skladatelja »Đavoljega ćurlika».13 Na sličan način su i riječi Bach i Hummel vrlo vjerojatno mogle biti prijevodi hrvatskih imena, imena za koje se zna da su postojala u Bratislavi i koja su imala isto značenje; dok je Lisztova obitelj, isto tako prisvajana od dr. Kuhača,14 mogla biti slavenska podrijetlom, ipak je u vrijeme velikoga pijanista mađarski element prevladavao već oko jedno stoljeće. U svakome slučaju ne može biti razložne dvojbe o slavenskome podrijetlu Tartinija, Dragonettija, Giornovića, Zigarellija i mnogih drugih između Haydnovih suvremenika. Moglo je biti u njima neke mješavine rasa, ali roditeljsko deblo je bilo hrvatsko.

Ne možemo, onda, tvrditi da ima ikakve apriorne nevjerojatnosti u pripisivanju Haydna Hrvatima. Oni su muzikalan narod, činili su vodeću populaciju u okrugu gdje je rođen i pošteno postavljaju zahtjev za prisvojenje drugih velikih glazbenika njegova vremena. Slijedi da bismo trebali raspraviti biografske podatke i vidjeti što učiniti sa zapisima o Haydnovoj obitelji.

Ovdje bi trebalo usmjeriti pozornost na tri momenta. Prvo, da se prezime Hajden ili Hajdin (s njegovim izvedenicama Hajdenić, Hajdinović itd.) vrlo često susreće po cijeloj Hrvatskoj, i u vrijeme kad je pisanje bilo približno fonetsko moglo se lako pojaviti u austrijskim dokumentima kao Haiden, što su oblici kojima je njihov izgovor bio točno predstavljen. Sada, između inačica koje je poprimilo prezime skladateljeve obitelji,15 ove dvije su najčešće i najmjerodavnije. Njegov pradjed – prvi član kuće koga se može pratiti – pojavljuje se u heinburškoj matičnoj knjizi kao Caspar Haiden; njegov djed, jednom zbog očite pogrješke zvan Thomas Hayrn, obično je drugdje Hayden; suvremeni spomenici u Rohrauu daju prezime Mathias Haiden kao prezime njegova oca, a Josephus Hayden kao njegovo vlastito. On sam je, izgleda, rabio dvosložan oblik do siječnja 1762., kad se potpisao za plaću u Eisenstadtu «Giuseppe Hayden»; u veljači

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iste godine on mijenja potpis u «Joseph Haydn» koji je kasnije po navici usvojio. Čak i tada većina dokumenata koji se odnose na njega dostatno su konzervativni da zadržavaju raniji pravopis, a spomenik u parku grofa Harracha, koji nosi ime Josephus Hayden, bio je podignut još 1794. Dakako, jedva da može biti dvojbe da je prezime Haiden i Hayden skraćeno da bi se prilagodilo bečkoj konvenciji, kao što je iz istoga razloga Händel svoje običavao skratiti na Händl.16 Drugo, ime, u jednoj ili drugoj od njegovih inačica, široko je rasprostranjeno po cijelome kotaru od Wiener Neustadta do Oedenburga. Dr. Pohl ga je pronašao u nekih deset ili dvanaest sela, od kojih mnoga dr. Kuhač svojata kao hrvatska, a u pokrajinskim gradovima kao što su Hainburg ili Eisenstadt to je, naravno, još češće. Čitatelja ne treba podsjećati da je to točno ona regija zaposjednuta od šesnaestoga stoljeća od slavonskih doseljenika. Treće, kuća cijele Haydnove obitelji smještena je u središtu rečenoga okruga. Caspar je rođen na mjestu s pogledom na hainburške zidine, Thomas je živio i umro kao purger toga grada, Mathias se nakon kratka razdoblja putovanja naselio u Rohrauu, kojih deset milja dalje, a najpustolovniji od njegove braće nije odlutao dalje od Frankenmarkta, ili Ugarskoga Altenburga. Prilično dobro pristaje uz kućeljubivu narav to da bi Joseph Haydn bio proveo više od sedamdeset godina svoga života unutar promjera od trideset milja od svoga mjesta rođenja.

Na očevoj strani, dakle, čini se da bi Haydn pripadao slavenskoj rasi među kojom je živio i djelovao.17 Nadalje, njegova majka bila je rodom iz Rohraua, u njezino vrijeme izrazito hrvatskoga sela,18 a njezino djevojačko prezime Koller – na njemačkome «vox nihili» - dr. Kuhač je naoko uvjerljivo držao fonetičkom inačicom hrvatskoga Kolar.19 Sve što znamo o njegovu izgledu i karakteru ide u prilog pretpostavke slavonskoga podrijetla. Mršavo, ružno a ljubazno lice s visokim ličnim kostima, dug nos i širok istaknut dio ispod usana, oštre sive oči umekšane žmirkanjem humora, uzak, mišićav lik,

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snažne, nervozne ruke; svi ovakvi i njima slični mogu se danas vidjeti u bilo kojemu selu gdje je slavenska krv još čista; i premda, naravno, oni ne pružaju nikakav argument sami po sebi, dodaju mrvu potvrdna svjedočenja, što je vrijedno zabilježiti. Prema istome uzorku mogao bi voditi trag duboke ljubavi prema sportu koja je ostavila njegovo ime kao poslovicu u Eisenstadtu;20 i, također, nešto od društvenosti, koja ga je navela da kaže da su njegove najbolje večeri bile one provedene s njegovim drugovima u «Anđela». Njegovo pripovijedanje, kao i njegova glazba, bilo je puno one jasne šale koja izaziva smijeh iznenadnim dodirom neočekivanoga; takve su stotine hrvatskih pjesama i aforizama.21 Humor je katkad primitivan, kao kad vam Hrvat hoće reći: «To je istina kao što su dva više dva sedam»; katkad on doseže razinu dostojnu poštovanja, kao podrugivanje u bosanske braće, «kojoj je bilo naređeno da se u korizmi od nečega suzdrže, pa stoga nisu dolijevali vodu u vino». Ali dobar, loš ili indiferentan, on označuje tip seljačkoga karaktera; a imajući na umu da je Haydn bio genij, ne smijemo zaboraviti da je bio seljak. A to vrijedi i za njegov religiozni osjećaj. Nije bez znakovitosti da se možemo okrenuti od jedne njegove partiture s njegovim «In nomine Domini» na početku i s njegovim «Laus Deo» na kraju, da bismo u našim novinama pročitali da se neko hrvatsko selo diglo na ustanak na puku glasinu o crkvenoj promjeni. Njegova se narav, možda, razvijala smirenije nego ona njegovih neškolovanih zemljaka, ali nije izgubila ništa od njihove vjernosti.

Razlozi koji su doveli do upućivanja na detalj mogu lako biti pogrješno shvaćeni. Nije se, dakako, tvrdilo da ikoja rasa ima monopol na ta obilježja ili da ju to etički razlikuje od njezinih susjeda osim po vrlo važnoj činjenici omjera u kojemu su one pomiješane. Ali kad se pokaže da što više proučavamo Haydna i što više proučavamo slavenski karakter, to tješnjom postaje podudarnost među njima, gdje svaka značajka jednoga nalazi svoju paralelu u prevladavajućim

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svojstvima drugoga, tada možemo sigurno zaključiti da je početnoj vjerojatnosti dodana stanovita težina ovom prosudbom domaćih svjedočanstava. A vjerojatnost će ojačati u izvjesnost ako shvatimo da je Haydnova glazba prožeta hrvatskom melodijom, da su sličnosti onkraj upitnosti, onkraj pripisivanja koincidencije, onkraj bilo kakva objašnjenja osim onoga o prirodnome razvoju. Neki od njegovih napjeva pučke su popijevke u njihovu najjednostavnijemu obliku, neki su pučke popijevke preinačene i poboljšane, golema većina su izvorne, ali pokazuju ista opća obilježja. On bi bio potpuno izvan prakse velikih skladatelja da je pisao, prema uobičajenoj sklonosti, u idiomu koji nije bio njegov vlastiti. Njegovo poznanstvo s ovim pučkim napjevima mora da je počelo u njegovim najranijim godinama. Njegov je otac, kao što znamo, bio dobar glazbenik, koji je običavao večerom sjediti uz vrata svoje seljačke kuće u Rohrau i pjevati djeci dok bi ona skupljala hrabrost i pridruživala mu se. A kad je Frankh odvozio dječaka u njegovo prvo iskustvo školovanja, bilo je to tek u Hainburg, raniji zavičaj obitelji, gdje se lako moglo naslušati tih narodnih popjevaka koje su remetile tišinu trgovišta, ili su odzvanjale pod velikim svodom Wiener Thora. Tada je, nema dvojbe, došla promjena: sjajna pojava Georga Reuttera, aureole carskoga pokroviteljstva, deset godina u zboru pri Svetome Stjepanu, oštra borba za opstanak kad je dječački glas puknuo, i on se našao na ulicama Beča da se probija kroz život. Svakako je prirodno da bi njegova prva skladba mogla pokazati malo izravna traga nacionalnoga utjecaja. Bio je u svome studentskom razdoblju; kao i svi studenti, bio je pod vlašću autoriteta svojih uzora i neko vrijeme njegova je glavna ambicija bila svladati formu Emanuela Bacha i oponašati kontrapunkt Gradus ad Parnassum. Ali od dana kad je progovorio svojim vlastitim glasom slavenske su se osobine nepogrješivo pojavile. Tu je onaj isti opći uzorak melodije, ista repeticija, fraza, ista čudnovatost ritma i metra, ista istančanost i

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čuvstvenost osjećaja; i to ne jednom ili dvaput u skladbi, nego tijekom cijele njezine dužine. Uobičajena uporaba pučkih popjevaka datira od Simfonije u D-duru, 1762., do Salomonovih simfonija iz 1795.; one su pronašle svoj put u sve: u himne, kvartete, divertimente; ne, dakako, zato što bi Haydn imao bilo kakve potrebe da ih uzme, nego jer ih je previše volio da bi ih ispustio. Treba imati na umu da je trideset godina, od 1761. do 1790., radio kao kapelmajstor kneza Esterházyja u samome središtu hrvatske kolonije. Mora biti da je slušao te popijevke svakoga dana, mora biti da je podesio svoj život prema njihovu ritmu i kadenci; one su bile melodije njegova vlastitog naroda, odjeci njegova vlastitog razmišljanja. Nikoga ne iznenađuje da je Burns skupio seljačke popijevke iz Ayrshirea i pretvorio ih u zlato u vatri genija; nije ništa čudnije ako je Haydn obogatio blago Eisenstadta kovinom iz svojih rodnih rudnika a, kao što se Heine zgodno izrazio, hram gradi arhitekt, a ne kamenorezac koji mu dobavlja građu.

Među brojnim ilustracijama, prikupljenima od dr. Kuhača, ove zaslužuju posebnu pozornost.(1) Kasacija u G-duru (1765.)22 počinje kako slijedi:(Notni primjer br. 1 )

melodija je zamjetljiva po prekidanju četveroosminskoga ritma naizmjeničnim taktovima sa šest osmina. Jedva se može dvojiti da je Haydn, kad je ovo pisao, imao na pameti slavensku napitnicu «Nikaj na svetu» - (Notni primjer br. 2)

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od koje se inačice mogu još čuti u Hrvatskoj i u koruškome Zillerthalu. Tragovi sličnih primjera neznatne adaptacije mogu se naći u proljetnoj popijevci «Proljeće» - (Notni primjer br. 3)

koja se pojavljuje na početku Kvarteta D-dur (Prim. 17, br. 6) kao –(Notni primjer br. 4)

i u plesnoj popijevci «Hajde malo dere» -(Notni primjer br. 5)

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28

koju je Haydn ovako izmijenio:(Notni primjer br. 6)

(2) Zanimljiv i karakterističan finale Simfonije D-dur (Salomon,br.7) zasnovan je na sljedećoj temi:(Notni primjer br. 7)

To je jednostavna i poboljšana inačica popularne narodne popijevke «Oj, Jelena», koja pripada okrugu Kolnov, kraj Oedenburga, a dr.

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29

Kuhač ju je posebno zabilježio kao često pjevanu u Eisenstadtu. Njezin napjev, bitno slavenski u ritmu i kadenci, teče ovako: (Notni primjer br. 8)

Inačice ove melodije nađene su u užoj Hrvatskoj, Srbiji i Kranjskoj.23 Vjerojatno je da su drugi stavci ove simfonije jednako pod utjecajem pučkih popjevaka; u svakome slučaju ne može biti nikakve dvojbe kao u Simfoniji Es-dur, «Mit dem Paukenwirbel».Uvodnu temu Allegra:(Notni primjer br. 9 )

zabilježio je dr. Kuhač kao hrvatsku.24 Andante je zasnovan na dvjema temama, prvoj molskoj –

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(Notni primjer br. 10)

a drugoj durskoj –(Notni primjer br. 11)

od kojih su obje uzete, i prilično dotjerane, iz dviju pučkih popjevaka

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31

iz oedenburškoga okruga, 25

(a) «Na travniku» - (Notni primjer br. 12)

i (b) «Jur postaje» (Notni primjer br. 13)

dok je glavni napjev Finala – (Notni primjer br. 14)

onaj popijevke «Divojčica potok gazi» -(Notni primjer br. 15)

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koja je uobičajena među Hrvatima, posebno onima Haydnova okruga. Nadalje, Trio Simfonije A-dur (br. 11 u Haydnovu katalogu) sadrži slavensku melodiju –(Notni primjer br. 16)

a prvi stavak njezine slijednice (D-dur, br.12) daje naslutiti drugu –(Notni primjer br. 17)

(3) Ima nekoliko slučajeva u kojima je, bez izravne prilagodbe, Haydn pokazao istu sklonost razmišljanju ili frazi kao i u slavenske pučke popijevke. Njegova omiljena «krivulja» može se ilustrirati uvodom u Simfoniju B-dur (Salomon, br. 9) -(Notni primjer br. 18)

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33

kao i Dalmatinskom predigrom Franza von Suppéa i napjevima (iz Zadra i Borištova) na kojima se zasniva, tj. pjesmom «Na placi sem stal» -(Notni primjer br. 19)

Drugi slučaj, još ljepši, završava uvodni napjev u Adagiu Kvarteta G-dur (Prim. 77, br.1) –(Notni primjer br. 20)

a pojavljuje se i u hrvatskoj popijevci «Čuješ, Doro, dobro moje» -(Notni primjer br. 21)

dok uporaba nepripravljene dominantne none, građene iz dominantne septime premještanjem melodije za tercu više, nije bila tako obična u Haydnovo vrijeme, tako da si možemo dopustiti da zanemarimo sličnost –(Notni primjer br. 22)

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34

koju dr. Kuhač navodi u Kvartetu B-dur 26 s – (Notni primjer br. 23)

iz popularne pučke popijevke iz Kranjske.(4) Ovi kasniji primjeri ne podrazumijevaju reminiscencije, nego najviše opće suosjećanje naravi. Znatno više ih je, ipak, uključeno u obradu slavenskih plesnih melodija. Više je nego suvišno reći da je ono što je Lisztu bio čardaš, Haydnu bilo kolo; s tom razlikom da je stariji i veći glazbenik puno profinjenije rabio svoju građu. Kolo jeslavenska mjera koju sam vidio u plesu djece u Zagrebu i muškaraca u Sarajevu, vedru i s bodrenjem u pokretu, njegova je melodija u dvočetvrtinskoj mjeri genijalno varirana ukrasima od figura osminkâi šesnaestinkâ. Evo, na primjer, uzorak dobro poznat u Bosni i Dalmaciji: (Notni primjer br. 24)

i uporabljen s poboljšanom kadencom u Finalu Kvarteta C-dur (Prim.

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35

33, br. 3): (Notni primjer br. 25)

Evo opet slične plesne melodije iz Srbije koja uvodi u Simfoniju D-dur (Haydnov katalog, br. 4):(Notni primjer br. 26)

a ovdje je druga u Finalu Kvarteta G-dur (Prim. 77, br. 1):(Notni primjer br. 27)

u kojemu je tako čudesan učinak proizveden izmjenjivanjem hladna unisona i žarkih harmonija. Mnoge od Haydnovih karakterističnih melodija slijede jedan ili drugi od ovih tipova, npr. ovaj iz Finala Kvarteta F-dur (Prim. 74, br. 2): (Notni primjer br. 28)

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36

ili ovaj iz Simfonije «Medvjed»:(Notni primjer br. 29)

ili ovaj iz Finala Kvarteta D-dur (Prim. 76, br. 5) – (Notni primjer br. 30)

dok se metričke osebujnosti istočnih ili srbijanskih Slavena mogu ilustrirati sljedećim, iz Simfonije F-dur (br. 1 u bečkome izdanju): (Notni primjer br. 31)

kao što se mogu ilustrirati, bez obzira na mjeru kola, stotinama njegovih menueta i finala. Nadalje, rani Koncert za klavir u D-duruzavršava čudno nazvanim «Rondom à l’Hongrie», kojega je glavna tema kako slijedi:

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Ova melodija, koja ne sadrži nikakvih mađarskih obilježja niti figure,ljestvice niti strofe sažeta je od one «Širi kolo», kako se uobičajeno pleše u Bosni i Dalmaciji. Potpuna melodija teče ovako:(Notni primjer br. 33)

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38

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39

tipičan seljački ples koji je u Haydnovim rukama dobio ne samo na sažetosti, nego i na više umjetničkoj pratnji.

(5) Osim plesne mjere Haydn je usvojio i druge instrumentalne forme, npr. koračnice, gajdaške melodije i slično. Evo jedne, s čudnim ritmom, iz Pianoforte Scherzando u F-duru:(Notni primjer br. 34)

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40

a evo, iz Finala Simfonije B-dur (Salomon, br. 9), koračnice koja se uobičajeno svira u Turopolju na seoskim svadbama:(Notni primjer br. 35)

Još jednu hrvatsku koračnicu, koja započinje: (Notni primjer br. 36)

identificirao je dr. Kuhač u neobjavljenoj Simfoniji A-dur; a tu je idaljnji primjer iz Allegra Kvarteta B-dur (Prim. 71, br. 1) – (Notni primjer br. 37)

(6) Dva najosobitija primjera tek dolaze. Prema dobro poznatoj zgodi,

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41

jednom je knez Esterházy raspravljao sa svojim kapelmajstorom pitanje ne bi li crkvena glazba mogla biti «istodobno religiozna i popularna». Teško je pomisliti da su Haydnove mise bile ikad smatrane previše strogima; u svakome slučaju, knez se osjećao nezadovoljno i htio je promjenu. Nedavno se vratio sa svoga godišnjega hodočašća u Maria Zell. Tamo je čuo glazbu koja mu se svidjela i čini se da je natuknuo da u eisenstadtskoj kapeli ima previše kontrapunkta a premalo melodije. Haydn je saslušao, poslao u Maria Zell po obavijesti, čekao svoj čas i, kad se sljedeće godine približio dan hodočašća, napisao je «Misu» ili Službu Božju na njemačke riječi,27 otpravio ju u slavnu crkvu, potajno ju je uvježbao i, konačno, našao izliku da umakne na blagdan. Knez se vratio nezadovoljniji nego ikad. «Slušao sam» - rekao je – «službu Božju s crkvenom glazbom skladanom i sviranom u stilu kakvu ti nećeš nikad dorasti». «Vaša Visosti» - odgovorio je Haydn – «skladba je bila moja, a ja sam bio i orguljaš». Iz te «Mise», od koje izgleda da dosad nije otkriven ni jedan drugi trag, dr. Kuhač navodi sedam melodija ovlaštenjem dominikanca Aloisa Russwurma, osobnoga Haydnova prijatelja, koji je zgodu izvorno zapisao. Prva, «Hier liegt vor Deiner Majestät», uvodna je tema prvoga broja – (Notni primjer br. 38)

a potječe od hrvatskoga napjeva - (Notni primjer br. 39)

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Druga, «Gott soll gepriesen» - (Notni primjer br. 40)

je popijevka «Ti, jabuka», kako se pjeva u Velikome Borištovu – (Notni primjer br. 41)

Treća, «Allmächtiger, vor Dir im Staube», - (Notni primjer br. 42)

počinje neobično slično slavenskoj napitnici «Draga moja gospodo».28 (Notni primjer br. 43)

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Četvrta, «O, Vater, sieh vor Deinem Throne» - (Notni primjer br. 44)

može mirne duše biti smatrana inačicom dalmatinske popijevke «Jedna Ciganka» - (Notni primjer br. 45)

Peta, «Betrachtet Ihn in Schmerzen» - (Notni primjer br. 46)

gotovo je identična u oba dijela sa sljedećom hrvatskom melodijom: (Notni primjer br. 47)

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Šesta – «Nun ist das Lamm geschlachtet» - (Notni primjer br. 48)

potječe dijelom od dvaju odvojenih napjeva u hrvatskoj i slavenskoj inačici društvene zborske popijevke «Viv’ la compagnia» - (Notni primjer br. 49 - br. 50)

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a dijelom od hrvatske sakralne popijevke «Stani gori, Gospodar» - (Notni primjer br. 51)

Sedma – «Dich, wahres Oesterlamm» - koja je zaključna faza hvalospjeva na Slavu – (Notni primjer br. 52)

posuđuje svoju egzaktnu sekvencu i svoj neobičan zastajkujući ritam od hrvatske «Miši prave svatove» - (Notni primjer br. 53)

Jasno, u Haydnovu rječniku «popularni» znači slavenski. Može se prigovoriti da taj primjer ne dokazuje ništa. Uzmimo da je Haydn živio u stanovitome okrugu i da je od njega

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zatraženo da jednom piše u popularnome stilu; što je prirodnije nego da se mogao prilagoditi okolini i uporabiti idiome koje je našao u općemu optjecaju? Čovjek spremno upadne u dijalekt kad se obraća seoskomu slušateljstvu, i ne postaje seljakom ako začini svoj govor s nekoliko poslovica i metafora. Taj protuodgovor mogao bi imati veći učinak kad bi «Misa» bila osamljena pojava: on donekle gubi na težini kad se sjetimo da glazba samo pretvara u crkvenu uporabu sklonosti koje su već bile opažene u simfoniji i kvartetu. Ipak, naš bi slučaj nedvojbeno bio teži kad bismo našli Haydna kako se obraća, istim jezikom, cijelomu Austrijskomu carstvu i rabeći rodni slavenski u nekim velikim političkim ili ceremonijalnim prilikama. Tu je, svakako, kušnja koju smijemo razborito smatrati krucijalnom i koja bi, ako je uspješno primijenjena, mogla na neki način ići prema rješenju pitanja. Na nesreću hrvatske melodije nisu, u pravilu, najprikladnije za takve namjene. One su vedre, osjećajne, peckave, ali rijetko se uzdižu do neke visoke razine dostojanstva ili ozbiljnosti. One pripadaju naravi obilježenoj prije osjećajem i maštom, nego ustrajnom širinom misli i stoga, dok obogaćuju svoje vlastito umjetničko polje velikom ljepotom, postoje stanovite granice koje one rijetko prelaze i s kojih se, ako ih ikad i prijeđu, ubrzo vraćaju. Jednu posebnu granicu opazit će svaki student. Često se događa da hrvatska ili srpska započne s dotjeranom frazom, a onda zapadne u antiklimaks – ili gubljenjem iz vida svoga tonaliteta ili kolebanjem u svome ritmu ili završavajući slabom ili banalnom kadencom. U gotovo svim naprijed navedenim primjerima uvod u melodiju je ono što je Haydn posudio; njezin završetak on je skoro uvijek poboljšao ili ponovno napisao.29 A razlog koji ga je natjerao na tu praksu može se ilustrirati sljedećim inačicama, u kojima je svima očit isti dodir nadahnuća i ista mlitavost razvijanja.(a) Popijevka «Stal se jesem», kako se pjeva u Mariji Bistrici 30 -

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(b) Ista popijevka kakva se nalazi u kotaru Sv. Ivan Zelina:(Notni primjer br. 55)

(c) Ista se javlja i u Međimurju: (Notni primjer br. 56)

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U ovim verzijama zadnja četiri takta čini se kao da su slobodno pridodana ostatku melodije; u svakome slučaju one se nalaze odvojeno od prve fraze u hrvatskim božićnim popijevkama i napitnicama. Nadalje, između ostalih okruga bilo je stanovitih preuređenja teksta s odgovarajućim izmjenama u glazbi. Ili se ne bi ponavljala uvodna linija, koja vodi do izbacivanja trećega takta i posljedične preinake kadence; primjer:(d) Inačica iz Kolnova (pokraj Oedenburga) - (Notni primjer br. 57)

ili bi bio opet umetnut iza drugoga, da bi se tako u strofi preinačilizavršetci u muškome i ženskome rodu; primjer:(e) Inačica iz Čembe - (Notni primjer br. 58)

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Ostalo je lako proreći. Kad je 1797. Haydnu povjereno da složi nacionalnu himnu, mora da je imao ovu melodiju pred očima i da je odlučio uporabiti ju kao podnožje monumenti aere perennius koji je podignula njegova odanost. 31 A ovdje bi se moglo kazati koju riječ i o načinu na koji je, čini se, velika melodija bila napisana. Nije bilo trenutačna nadahnuća, niti iznenadne improvizacije koja bi mogla zaživjeti u punu rascvatu; kao većina Beethovenove glazbe načinjena je pažljivo, uz promišljeno odvagivanje alternativa. Uz malo neobično dobre sreće, mi smo barem jednom pripušteni u majstorovu radionicu i dopušteno nam je uzeti lekciju iz melodije promatrajući njegovu praksu. Sada je druga tema pučke melodije prekratka da bi bila podesna za drugu liniju poeme; dakle, Haydn je započeo s proširenjem kadence, i umjesto – (Notni primjer br. 59)

napisao je – (Notni primjer br. 60)

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poprativši to znakom repeticije, prema uobičajenoj metodi primarne forme. Dvije druge promjene objašnjavaju same sebe. Mjera je dobila na dostojanstvu širom oznakom vremena, a naglasak je pomaknut s arze na tezu preuređenjem taktova. Inače, u prvoj polovici strofe pučka je melodija ostala nepromijenjena. Ali za drugu polovicu to je očito bilo nedostatno. Obje moguće inačice suviše su trivijalne a jedna prekratka da bi pružile potreban klimaks. Kao prirodna posljedica Haydn je odbacio obje i nastavio nadomještati ih dvama izvornim nizovima tonova koji u autografskoj skici 32 teku ovako: (Notni primjer br. 61)

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i niže u trećoj dodanoj melodiji -(Notni primjer br. 62)

slijedi:

Ipak, bio je nezadovoljan rezultatom, a lako je naslutiti razlog. U ranijemu od ovih dvaju nizova ima pasaž koji nosi toničku harmoniju – izvan mjesta na tome stupnju napjeva – a njegova kadenca, povrh toga, nezgodno se rimuje s onom polustrofe. Kasniji od dvaju nizova silazi s njihove naglašene točke elegantnim širokim tempom, ali, tri takta od završetka, lomi se njegova melodijska krivulja na dva zasebna dijela i tako gubi kontinuitet linije. Oba su, dakle, bila ispravljena, jedan na istoj stranici od koje najdonji redak nosi, u površno nabačenu rukopisu, poboljšani oblik – (Notni primjer br. 64)

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52

a drugi, s nekoliko neznatnih promjena, u kasnijemu razdoblju rada. I tako, iz tako različite kovine, kao što je Cellini izlio svoga «Perzeja», tako je i Haydn iskovao melodiju kojom je dao glas patriotizmu nacije. Nadati se da ovi primjeri neće ohrabriti nekoga čitatelja da progoni Haydna s drekom da je plagijator. Ni jedna optužba ne bi mogla biti neutemeljenija ili nerazumnija. Nije haračio po ničijemu zabranu, nije opljačkao ni jednoga brata umjetnika, jednostavno je oplemenio te seljačke napjeve idejom i izražajem s kojima je bio u vrlo tijesnu suglasju. Sav opseg njegova nedugovanja je najviše prigodna melodija, a često i samo pojedinačna fraza; obrada, skladanje, vještina, pripadaju toliko istinski njemu kao Faust Goetheu ili Cymbeline Shakespeareu. Majstor, koji je napisao stodvadeset prvorazrednih simfonija i osamdesettri prvorazredna kvarteta, smije jamačno polagati pravo da uzme svoje blago gdje ga nađe; i ako smo dostatno neotesani da to poreknemo, smijemo mu barem dopustiti povlasticu da govori svojim rodnim jezikom. Haydnu su pučki napjevi bili malo više nego riječi njegova govora kojemu je bio vičan, jedva prikriveni kad je Crkva zagovarala svoje kontrapunktsko dostojanstvo, a opet se ukazivalo u punome značenju kad se on vratio nesputanu orkestru i slobodi četiriju čarobnih struna. Važnije je zapaziti kako je tijesno u skladu njegov poseban melodijski dar s onim njegovih ljudi. Mnogi od naprijed navedenih napjeva nalaze se među onima koje bi kritika izdvojila kao posebno karakteristične: ima doslovno na stotine njegovih invencija kojima su , u većemu ili manjemu stupnju, iskazane iste kvalitete. Nema dvojbe, on nije bio samo dijete svoga naroda, on je imao svoju vlastitu osobnost, svoju vlastitu imaginativnu snagu, svoju vlastitu poruku da je isporuči ušima svijeta. Ali kroz sve to provlači se nacionalni element kao određujuća nit. Izreka «les grands artistes n’ont pas de patrie» obilato je odbacivana od samoga njezina autora; ona uvjerljivo ne nalazi uporišta u životu hrvatskoga seljaka koji je melodije svoga naroda učinio besmrtnima.

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Novi pogled na pitanje dobio je istaknuto mjesto u novijoj povijesti. Politički kurs koji u naše dane slijedi austrijska Vlada je nastojanje da se vrati relativna važnost hrvatske kolonije i majke zemlje iz koje potječe. S jedne strane, središnje provincije bile su uporno germanizirane, slavenski jezik počeo je izumirati, slavenska krv križati se miješanjem, i premda je promjena još u tijeku, nema znakova da je djelotvorna. Uzduž zapadne obale Leithe njemački je sada prevladavajući govor, uzduž istočne obale raspravlja se s mađarskim o prevazi, a slavenski između njih, unatoč svojoj žilavosti, bit će jednoga dana izguran ili apsorbiran. Danas jedva koji stanovnik govori o Požunu; ime je ili Pozsony ili Pressburg. Liesing je gotovo zaboravio da je nekad bio Lesnik, a Oedenburg,33 premda još postoji kao tvrđava, postaje sve više izoliran kako godine prolaze. Ali, s druge strane, široki se raspon mogućnosti otvara u užoj Hrvatskoj. Pokretačka sila narodnoga života, potaknuta, kao što smo već vidjeli, od Ljudevita Gaja, mudro je stimulirana i ohrabrivana po carskome pokroviteljstvu; a Zagreb, koji je stoljeće ranije bio mali provincijski gradić, sada poprima status i dostojanstvo glavnoga grada. Sveučilište, utemeljeno 1874., odmah je učinilo puno za studij umjetnosti i književnosti; staro stočno sajmište postalo je otmjen trg s opernom kućom u središtu. Pusta ledina prema jugu pretvorena je u javne vrtove i okružena galerijama i muzejima. Prirodno je da sadašnji narod može slijediti te promjene s velikim zanosom; i može gledati naprijed nestrpljivo i s pouzdanjem u dane nadolazeće veličine. Čak ni strancu ne manjka dokaza. Ton može biti ponešto šovinistički, čestitanje samima sebi ponešto nekritično, zapis o sadašnjemu dostignuću pomalo manjkav u razlikovanju; ali kako je pokret sada još nov, sredstva su nova, čitavo polje rada treba biti izboreno korak po korak. Bilo bi uzaludno očekivati drugoga Haydna ovaj čas; crta je bila slomljena i mora pribrati novu snagu prije nego mogne naprijed. Dostatno je zasad da je tu snaga, zamah, hrabrost,

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da je tu djelatna i neumorna sposobnost, da je tu nepokolebljiva odlučnost da se pobijedi. Tko zna u kojemu se novačkome telećaku može kriti palica vojskovođe? Kako bilo da bilo, u čitavoj glazbi ovoga stoljeća nama neobičnijega fenomena nego što je stalan napredak slavenske rase. Već 1818. engleski je kritičar bio dostatno dalekovidan da pretkaže advent Rusije,34 pa premda njegovi čitatelji nisu nikad doživjeli nagovještaj ispunjenja, premda se u njegovu naraštaju nije pojavilo veće ime od Glinkina, već je ovo naše vrijeme bespogovorno verificiralo njegoveriječi. Moguća je stanovita razlika u mišljenju glede Rubinsteina, ali ne može biti nikakve glede Borodina i Čajkovskog, a tradiciju koju su oni uspostavili znalački je slijedila čitava škola mladih skladatelja. Prema sredini stoljeća došao je Chopin, čija je glavna ambicija bila, kako je sam rekao, «biti Uhlandom svoje zemlje», i čije je glavno djelo bilo utiskivanje biljega klasike njegovim nacionalnim tonovima poloneze i mazurke. Nekih trideset godina ranije Smetanina briljantna komedija položila je temelj na kojemu je Dvořák gradio i spasio od zlouporabe i zaborava pučke popijevke Češke. Nije nezanimljivo da vidimo drugu slavensku rasu kako opet izlazi na poprište. U jednome smislu ona je vođa svih njih, a u drugome to je najkasniji pristup njihovim položajima i njihovim sudbinama da bi pokušali opet steći izgubljenu poziciju, i trebalo bi da ih pratimo ne samo s ohrabrenjem, nego s bliskom i intimnom simpatijom. Jer, de nobis fabula narratur. Zapadna Europa, dakle, poznaje zemlju koja je nekoć bila predvodnica u glazbenoj umjetnosti, koja je pronosila naprijed svoje povjereno blago, koja je štetovala na svome glasu da bi bila ušutkivana, koja je dopuštala svojim glazbenicima da žudeći za popularnošću prihvaćaju strana imena i strane načine, koja se danas napreže, u boljim prilikama nego što ih bilo koja slavenska nacija može imati, da otkrije staro tlo i prizove zaboravljenu poruku. Ako preziremo uspoređivanje, možemo se učiti poniznosti čitajući

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prosudbu kojoj nas već dugo podvrgavaju naši susjedi. «Engleska glazba» – kaže noviji njemački povjesničar – «može se reći da završava s Purcellom»; «Engleska umjetnost» - kažu naši francuski kritičari – «već je dugo degenerirala u imitaciju»; i premda naši današnji vođe otmjeno odbijaju optužbe, još je uvijek u nas previše one kozmopolitske naravi koja je jedan od naših najpodmuklijih neprijatelja. Bez dvojbe, vremena se popravljaju. U Leedsu, u Birminghamu, u Bristolu, pa čak i u Londonu, Englez može postići slušanje, premda će, osim ako napiše kraljevske balade, teško naći izdavača. Ali njegovo slušateljstvo još nije ugođeno u pravi sklad s njegovim djelom. Mi još uvijek sudimo prema tuđim idealima, još smo uvijek previše ravnodušni prema svome vlastitome prirodnom jeziku i svome vlastitome prirodnom dosegu misli. I dok se ne otresemo te ravnodušnosti i ne naučimo proširiti svoje domoljublje na svoju umjetnost, nećemo nikad povratiti svoje mjesto kao velika glazbena nacija. Nema potrebe da iskazujemo manje srdačnu dobrodošlicu našim inozemnim posjetiteljima, ili manje srdačno priznanje za goleme usluge koje su učinili. «Was macht dieser Fremde hier?» nije domoljublje nego neuljudnost, znak slabosti koja se boji susresti se sa svijetom slobodno pod jednakim uvjetima. Istodobno nemamo prava niti zapuštati niti podcjenjivati svoje vlastito. Velika umjetnička škola ne gradi se u jednome trenutku ili u jednome naraštaju; rad je dug, naporan, težak; lako ga je obeshrabriti, lako ga je usporiti, potrebni su mu sva skrb i mar kojima se raspolaže. A jedan je put, i to samo jedan, kojim to možemo dovesti do uspješna ishoda. Sijecimo stabla iz naših vlastitih šuma, lomimo naš kamen iz stanca kamena naše vlastite nacije, a onda pustimo da naši majstori graditelji postupaju s gradivom kako njihov genij odredi. Znak koji najviše daje nadu je buđenje zanimanja za naše nacionalne melodije. Umjetnicima koji su ih skupili, umjetnicima

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koji ih čine poznatima, dugujemo našu srdačnu zahvalnost. Ali nije dostatno da ih imamo, moramo se njima služiti; a nije dostatno ni njima se služiti, moramo naučiti kako shvatiti njihov duh. Haydn je imao daleko slabašnije gradivo nego što je naše, a ipak ga je mogao uporabiti u svrhu koja će se pamtiti kad sve naše egzotične romance budu zaboravljene. I sada kad nam više nego jedan engleski majstor pokazuje put, nemamo izgovora, nemamo isprike zadržavati i dalje svoju podaničku odanost. Sada je tomu već nekoliko godina otkako je nekoliko engleskih pisaca počelo zagovarati povratak nacionalizmu. Otada je puno, bez dvojbe, učinjeno, ali puno još ostaje učiniti, a nama slušateljima povjeren je velik dio reforma. Slušali smo tuđe jezike dok nam naš vlastiti zvuči kao čudan i stran. Toliko smo dugo sjedili na Trimalhionovoj gozbi da nam nije više ostalo apetita za našu domaću hranu. Krajnosti strasti, krajnosti potištenosti, neumjereno utjecanje osjetilima, sve je to tuđe našoj nacionalnoj naravi, i mi rastemo prezasićeni njima dok se naš okus kvari i naš tek slabi. Isto je i u svijetu knjige. «Nitko ne čita Scotta» - kaže jedan kritičar; «Nitko ne želi Shakespearea» - kaže drugi. «Dajte nam D’Annunzija i Sudermanna i ‘Nemoralnu filozofiju’ Friedricha Nietzschea».Srećom, engleska etika i engleska književnost mogu se ogledati same za sobom; one imaju i kontinuitet i tradiciju koji će ih sačuvati od pada predaleko ukrivo. Ali naša glazbena umjetnost obnavlja se iz gomile ruševina u kojoj je ležala dva zadnja stoljeća, a posao je svih koji skrbe za umjetnost i zemlju da pomognu. U najmanju ruku možemo pokušati otkriti što engleska glazba ima reći i ocijeniti naše skladatelje prema njihovoj sposobnosti da to kažu. Taj stav osnažuju svi dokazi glazbene povijesti. Ista ruka, koja je Njemačku učinila narodom, obogatila ju je «Marseillaisom reformacije» i tako utemeljila dugotrajnu dinastiju njezinih velikih skladatelja. Umjetnost u Francuskoj bila je na svome najnižemu

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stupnju kad je glavna zaokupljenost Pariza bila rasprave o svojatanju Bavarca Glucka od jednih, a Talijana Piccinija od drugih. Sama Italija propadala je gubeći svoj nacionalni karakter, a slavenski su narodi uznapredovali kad su ponovno potražili svoje. A ono što je istinsko u naroda, jednako je tako istinsko u njihovih vođa. «Najveći genij» - kaže ispravno Emerson – «najzaduženiji je čovjek»; čovjek, znači, koji se može prometnuti u najplemenitijega visokog plemića i trajno rabiti tradicije svoga doba i zemlje. Tako je bilo i s Haydnom. Ne može biti ništa pogrješnije nego gledati u njemu obična dvorskog glazbenika koji piše sa spremnim i lakim talentom pièces d’occasion koje se tražilo za kazalište ili primaći salon. Njegov život u Eisenstadtu dao mu je priliku kakvu ni jedan skladatelj nije uživao nikad prije, ali je pokroviteljstvo bilo previše prosvijećeno, a karakter previše strog da bi bio zadovoljan djelom koje je bilo manirističko ili izvještačeno. Pod glasovitom «livrejom u plavome i srebrnome» bije srce seljačkoga pjesnika, puno prijaznosti, duhovitosti, iskrena drugarstva i ljubavi za djecu i životinje. Njegov genij, uvježbavan godinama neumornim radom, dao nam je potpuno majstorstvo nad naslijeđenim bogatstvom njegove umjetnosti, njegova imaginacija proširila ih je svježim otkrićima i izumima. Ali sve su njegove obljubljene teme bez iznimke bile pastoralne: popijevke pastira i žetelaca, popijevke udvaranja domovini, popijevke svečanosti berbe i vesela blagdana. Nije čudo da je mogao govoriti jezikom svoga naroda ili prisjetiti se izreka koje su bile poznate u njegovu djetinjstvu. Pa ipak, to čime se služi nije dijalekt, nego govor čitave nacije; živa snaga koja se rasprostire široko i doseže udaljene granice. On nije velik jer je izabrao ovaj ili onaj predmet razgovora, ovu ili onu formu izražavanja. Velik je stoga što nije bilo izbora u poslu. Nije mogao pisati o određenome načinu življenja u njemačkome idiomu; bio je Slaven po rasi i Slaven po naravi, a njegova glazba je previše

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autentična da bi se predstavila u stranome ruhu. Upravo s toga gledišta trebamo ga razumjeti; ne nepouzdanim svrstavanjem njega među ljude s kojima ima malo zajedničkoga, nego gledajući ga kao pravo utjelovljenje njegova vlastitoga nacionalnog duha. Grčka poslovica proklinje dvojezična čovjeka: u svijetu umjetnosti prokletstvo je još na snazi, i barem u nekoj mjeri trebalo bi ono pasti na ingeniozne kritičare koji domoljublje drže uskogrudnim i opravdavaju svoj epitet brisanjem granica.

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(Zemljovid područja migracija hrvatskoga naroda u Srednjoj Europi)Clic

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DODATCI

DODATAK AHrvatski glazbenici, 1835. – 1848.

(1) Skladatelji: Lisinski Čačković Livadić Štoos Wiesner Mašek Rusan Barun Prandau Pintarić F. von Suppé Jaić(2) Pjevači: Grofica Rubido Stazić Štriga Ledenig(3) Virtuozi i dr. Ivan Padovec L. A. Zellner

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N . B. : Treba se držati sljedećih pravila izgovora: r (kao poluvokal) nosi vrlo kratak vokalni zvuk ispred konsonanta. Brlog = Berlog, izgovoren toliko blizu jednosložnoj riječi koliko je više moguće. c = tz Zajc se izgovara Zaitz. č = ch meko (kao ch u Church). ć = ty gdje je y konsonant (kao na primjer u riječi «you»). Zvuk je na sredini između «t» u «righteous» i «tch» u «wretched». š = sch ili sh. Pušovec (vidi Dodatak C) se izgovara Pushovetz. ž = francuski j, kao u «jour». lj i nj su kao gli i gn u figlio, campagna. Ostala se slova, pojednostavljeno govoreći, izgovaraju kao u njemačkome, osim z koji je jednak «s» u «sehr» ; i s, koji je jednak «ss» u «Strasse».

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DODATAK B

Hrvatski glazbenici, 1848. – 1880.(1) Skladatelji: Rihar* G. Eisenhuth Vilhar* A. Mihalović Fleišman* Kociančić* Köck Leban* Epstein Valenta* Zajc Slava Atanasijević Strmic Faller Just Kuhač(2) Pjevači: Ilma Murska Grbić Matilda Marlov Kašman Matilda Mallinger Nolli Ema Vizjak Maria Kotas Irma Terputec Maria Prikril Mazoleni Maca Matačić

Sofia Kramberger * Slovenci

(3) Virtuozi: Šteiner Petrić Hummel Ivan Mihalović Ludmilla Veizer F. Krežma Josif Eisenhut Anka Krežma Ciol Kolander (4) Dirigenti, profesori i dr.: Kukuljević Antun Švarc* B. Ipavec Martin Jenko G. Ipavec Adolf Schwartz Ida Wimberger * Moguće Nijemac; vidi «Schwartz» niže.

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DODATAK C

Hrvatska imena u Pusterthalu i okolici Germanizirani oblik: Hrvatski oblik: Aegrathal Ograda Arvig (?) Oranik Berlogaz Brlog Bschwoitz Pušovec Dolnitz Dolina Frutscherthal Vručidol Garnitza Krnica Glanz Klanjec Glinz (Linz) Glinica

Gollisel Goloselo Gruschgize Kruškica

Kollnig Kolnik Kräll Kralj Libisel Ljubisel Lasser Lesar Lessing Lešnik Motschenboden Močva Pedoll Podolje Petsch Peč (Pešti) Plötsch Ploča Polliz Polica Pusterthal Pustodol Rudenek Rudnik Stoanitzbrunn Studenac Stollizen Stolica Tragen Draga Tristach Trstje

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Villgraten Velegrad Zabemig Zavrhnik Zelzach Selca Zuchepoll Suhopolje

BILJEŠKA: Glede sličnih primjera u drugim dijelovima Austrije vidi: Kämmel, «Die Anfänge deutschen Lebens in Oesterreich».

DODATAK DTragovi hrvatske populacije u kraju oko Bratislave

Sljedeći gradovi i sela imali su hrvatsku populaciju, ili prevladavajuću ili barem znatnu: Maiersdorf Wildungsmauer Zverndorf Kaglor Pangort Pišelsdorf Marchegg Mannersdorf Bratisey Au (Cindrov) Senfeld Hof (Cimov) Hlohovac Landeck Siebenbrunn Kroatisch Wagram Horisey (Ogran hrvatski) Štrandorf Frama Poturno Fuchspichl

(Fukšpil) Limisdorf Ort Andlersdorf (Razvitnjak) Bratštatin Guštatin Donji Siebenbrunn Petronel Kroatisch Haslern Rohrau (Trstnik) (Hazlor hrvatski)Osim ovih i čitav kraj oko Eisenstadta, Oedenburga i Neusiedlerskoga jezera.

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DODATAK E

Glazbenici rođeni u Bratislavi i njezinoj okolici* Hans Neusiedler, lutnjist, rođen 1563. kraj Neusiedlerskoga jezera.* Veit Bach, djed J. S. Bacha, rođen oko 1580. u Bratislavi. * Andreas Rauch, orguljaš i skladatelj, rođen oko 1590. u Pottendorfu. * Samuel Bockshorn (Capricornus), dirigent, rođen 1629. u Bratislavi. * J. S. Kusser (Couser), skladatelj, rođen 1657. u Bratislavi. * Joseph Haydn, rođen 1732. u Rohrauu. * Michael Haydn, rođen 1737. u Rohrauu. * Johann Evangelist Haydn, rođen 1743. u Rohrauu. * Matthias Kamiensky (Kamenar), skladatelj, rođen 1734. u Oedenburgu. Theodor Lotz, graditelj glazbala, rođen oko 1740. u Bratislavi. * Anton Zimmermann, skladatelj, rođen 1741. u Bratislavi. * N. Hadrava, lutnjist, rođen 1750. kraj Bratislave. * Druschetzky (Družecki), skladatelj, rođen oko 1760. u Bratislavi. (?) Jacob Hyrtl, oboist u Esterházyjevu orkestru, rođen oko 1760. u Eisenstadtu. Joseph Weigel (Weigl), skladatelj, rođen 1766. u Eisenstadtu. * Ivan Bihari, violinist i skladatelj, rođen 1769. u Velikome Abonyju. * Stephan Koch, graditelj glazbala, rođen 1772. u Vesprimu. * Ivan Fuss, skladatelj, rođen 1777. u Tolnauu. * Johann Nepomuk Hummel, rođen 1778. u Bratislavi. * Joseph Blahak, skladatelj, rođen 1779. u Raggersdorfu. * Ivan Fuchs, kapelmajstor u kneza Esterházyja, rođen 1780. u Eisenstadtu. Peter Lichtenthal, skladatelj, rođen 1780. u Bratislavi. Grof Thadeus Amadé, pijanist, rođen 1783. u Bratislavi. * Adolf Müller, skladatelj, rođen 1802. u Tolnauu. * Joseph Wurda, pjevač, rođen 1807. u Gjuru (Raab). * Friedrich Fischer, pjevač, rođen 1809. u Bratislavi.

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+ Franz Liszt, rođen 1811. u Raidingu (Rudnik). Michael Hauser, violinist, rođen 1822. u Bratislavi. * Ferdinand Kletzer, violončelist, rođen 1830. u Oedenburgu. (?) Joseph Joachim, rođen 1831. u Kitseeu. Carl Goldmark, rođen 1832. Keszthelyju. Ludwig Strauss, rođen 1843. u Bratislavi. Leopold Auer, violinist, rođen 1845. u Vesprimu. Charlotte Debner, violinistica, rođena 1846. u Kitseeu.

* Vjerojatno Hrvati+ Slučaj Liszta donekle je izdvojen od ostalih. Najraniji oblik njegova prezimena pojavljuje se kao Listhius, kojega dr. Kuhač svojata s prihvatljivošću kao Slavena («naše gore list»). Ali već 1747. pojavljuje se mađarizirani oblik s osobom Canona Johanna Liszta; malo je dvojbeno da je u vrijeme rođenja velikoga pijanista obitelj postala posve mađarska. Naravno, ima mnogo mađarskih obitelji u kojima su mađarska i slavenska crta sjedinjene, a u Lisztovoj glazbi mađarski je element neupitno prevladavajući.

DODATAK F

Prezimena hrvatskih glazbenika prevedena ili iskvarena (a) Prevedena (ekvivalent značenja pretpostavljen)

Tekuće prezime Hrvatsko prezime Neusiedler Novosel Bockshorn Rožić

Bach Potočić ili Potočnjak Rauch Dimić ili Dimović Zimmermann Tesar ili Tesarević

Koch Kuhač, Kuhačević ili Kuharević Fuss Nogić ili Nogavac Hummel Bumbarević ili Čmeljak* Fuchs Lisa, Lisica ili Lisinski Müller Mlinar ili Mlinarić Fischer Ribar ili Ribarić * Prema dvama značenjima riječi Hummel.

(b) Iskvarena (prilagodba zvuka razmjerno sigurna) Bulgarelli Bugarin Bona Bunić Brusa Brusić

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Draghi Dragi (Dragić?, p. p.) Dragonetti Draganić Ferrich Ferić Gerlo Grlo (Grlić?, prim. prev.) Giornovich Jarnović Jelich ili Jael Jelić Kresnik Gresnik Henkel Kengelović Calinde Kalin Kannabich Kanabić Cola Kola (Kolić?, prim. prev.) Muzin Mužina Mazoleni Mazolić Mazzuranna Mašuranić

(Mažuranić?, p. p.) Nachich ili Nanchini Nakić Pollini Polić Desplanes Polinar Pisaroni Pisar Zappa Sapa Scalichius Skalić Smetenich Smetenić Tamparizza Tamparica Thern Trn Tartini Trtić

Tuscan Tuskan (Tuškan?, p. p.) Visochi Visoki Zingarelli Ciganin Zagitz Zaic Zuchetto Zuketić Schuppanzigh Župančić

DODATAK G

Inačice prezimena «Haydn» unutar granica skladateljeve obitelji(a) Haiden:

Upis vjenčanja Caspara Haidena u matičnoj knjizi, Hainburg, 1657.

Upis smrti Josepha Haidena u matičnoj knjizi, Hainburg, 1715.

Upis skladateljeva krštenja u matičnoj knjizi, Rohrau, 1. travnja 1732.

(kao očevo ime upisano Mathias Haiden). Upis majčine smrti u matičnoj knjizi, Rohrau, 25. veljače 1754.

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(b) Hayden: Upis smrti Thomasa Haydena u matičnoj knjizi, Hainburg, 4. rujna 1701., i ponovne udaje njegove

udovice, Hainburg, 8. siječnja 1702. Upis skladateljeva vjenčanja u matičnoj knjizi

(Sv. Stjepan, Beč, 26. studenoga 1760.). Skladateljev potpis (na priznanici za plaću), Eisenstadt,

siječanj 1762. Upis smrti Mathiasa Haydena u matičnoj knjizi, Rohrau,

14. rujna 1763., i sadašnji njegov spomenik u dvorištu crkve u Rohrauu.

Česte koncertne zabilješke skladatelja i njegova brata Michaela, od potonjega u Salzburgu.

Tijekom mnogo godina uobičajen potpis Michaela Haydena.

Skladateljev spomenik u parku grofa Harracha u Rohrauu.

(c) Haidin: Prezime skladateljeve majke tako napisano na spomeniku u dvorištu crkve u Rohrauu.(d) Heyden: Skladateljevo prezime tako pisano u dokumentu

«Convention und Verhaltungs-Norma» na temelju kojega je obdržavao službu u Eisenstadtu.

(e) Heiden: Upis krštenja Thomasa Heidena u matičnoj knjizi, Hainburg, 1655.

(f) Hayd’n: Prigodice, premda rijetko, na koncertnim programima.(g) Haydtn:(h) Haydn: Upis krštenja Mathiasa Haydna u matičnoj knjizi,

Hainburg, 31. siječnja 1699. Skladateljev uobičajeni potpis nakon veljače 1762. Upis smrti njegove supruge u matičnoj knjizi, Baden, 20. ožujka 1800. Bečka Povelja slobode, 1. travnja 1804. Mnoge zabilješke i koncertni programi. Spomenik skladatelju u eremitskoj crkvi u Eisenstadtu.(i) Haidn: Upis krštenja Barbare Haidn u matičnoj knjizi, Hainburg, 2. siječnja 1658. Česte zabilješke i koncertni programi. Beethovenovo pismo, 1822. (k) Hayrn: Upis vjenčanja Thomasa Hayrna u matičnoj knjizi,

Hainburg, 23. studenoga 1687. – ime i prezime njegova oca zapisano je također kao Caspar Hayrn; vidi pod slovom (a), (b) i (c).

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(l) Hein: Upis vjenčanja Mathiasa Heina u matičnoj knjizi, Rohrau, 24. studenoga 1728.

(m) Haden:(n) Hädn: Prigodne inačice u matičnim knjigama i dokumentima u

Hainburgu, (o) Hayn: Rohrauu i drugdje, zabilježio dr. Pohl.(p) Hain: (q) Heim:

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∗ Napomena (str. 19) radi objašnjenja metafore “sijanje zmajevih zubi”:: “Kadmo” iz Opće enciklopedije JLZ. sv.3, Zagreb, 1967.

Kadmo, po grčkome mitu sin feničkoga kralja Agenora. Tražeći sestru Europu, koju je ugrabio Zeus, stigao je u Beotiju, gdje je po nalogu proročišta osnovao Tebu. Pošto je ovdje ubio zmaja, podigao je na tom mjestu tvrđavu Kadmeju. Zmajevi zubi bili su sjeme iz kojega su niknuli naoružani ljudi (grč. spartoí = posijani); petorica od njih legendarni su praoci tebanskih plemićkih rodova. Kadmo postaje kasnije vladar u Tebi; po tradiciji on je Grke naučio obrađivati metale i uveo kod njih pismo. (U starosti živio je sa svojom ženom Harmonijom kod ilirskih Enhelajaca. Među poznatije umjetničke realizacije na temu o Kadmu ide opera J. B. Lullyja (Cadmus et Hermione) i slika Cornelisza van Haarlem (Zmaj proždire Kadmovu pratnju).

Bilješke:1 Južnoslovjenske Narodne Popievke; Zagreb, 1878.-1881.

2 Josip Haydn i Hrvatske Narodne Popievke; pretiskano iz: Vienac, Zagreb, 1880.

3 Već 1862. Lumir je postavio zahtjev za pripadnost Haydna Češkoj. To je bio korak u pravome smjeru ukoliko je predstavljao Haydna kao Slavena. Ali podatci pretežu u korist južnijega podrijetla.

4 Dr. Kuhač (Josip Haydn, str. 5) izjavljuje da jedan od troje u populaciji “ili pjeva, ili svira, ili sklada”. A postoji i znakovita hrvatska poslovica u smislu da se « vrijeme poznaje po svojoj glazbi ».

5 Poradi jasnoće bit će dobro kazati da Banska Hrvatska označuje područje duž Save kojemu je Zagreb glavni grad; i da ista rasa zauzima čitavo ozemlje od Drave do Skadarskoga jezera i od rumunjske granice do Jadrana. Ima nešto talijanske populacije na krajnjemu Zapadu, na primjer u Zadru; ali većina ove regije je isključivo slavenska, a srpsko-hrvatski jezik prevladava uz stanovite modifikacijena njezinoj cjelini. Ima također znatne hrvatske populacije u Istri, Kranjskoj, Donjoj Austriji i susjednim dijelovima Madžarske.

6 Josip Haydn, str. 3.

7 Vidi Dodatak A.

8 Vidi Dodatak B.

9 Vidi Dodatak C i usporedi “Slavisches aus dem Östlichen Pusterthal in Tirol” dr. Mitterrutzera, navedeno od dr. Kuhača, Josip Haydn, str. 12.

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10 Za druge primjere slavenskoga zaposjedanja i nazivlja vidi Dodatak D.

11 Vidi Dodatak E.

12 On je sebe nazivao redom: Abel, Ebel, Ibel i Eibel. Ali njegovi pokrovitelji uvijek su pomicali stanicu naprijed i čak kompletirali krug izgovarajući diftong kako se on izgovara u riječi «eight».

13 Glede popisa takvih prilagodbi vidi Dodatak F.

14 Josip Haydn, str. 16. Vidi bilješku uz Dodatak E.

15 Dr. Pohl daje četrnaest inačica, pa čak ni njegov popis nije iscrpan. Barem šest ih je u dokumentima koji se odnose na samoga skladatelja. Vidi Dodatak G.

16 Vidi najavu «Aleksandrove svečanosti» (Beč, 1812.), sačuvanu u Gesellschaftsbibliothek. Carpani to ime piše Hendl.

17 Pošteno je navesti da neki etimolozi izvode ime Haiden iz okruga «Auf der Haid» pokraj Haidenburga. Ali to je vrlo nesigurno. Okrug je uzak prostor pun tresetišta i ne može pretendirati da mu ime prevlada po cijelome kraju, a da se i ne govori o čestoj zastupljenosti u užoj Hrvatskoj.

18 Njegov drugi naziv, «Trstnik», dosta je znakovit. I u današnje vrijeme ima prilično mnogo Hrvata, posebno među siromašnijim stanovnicima.

19 Na sličan način Pilar je germanizirano u Piller, Solar u Soller, Kresar u Kresser i tako dalje. Vidi popis takvih promjena u Kuhačevu Josipu Haydnu, str. 17 i 18.

20 «To je lovac i ribar kao Haydn.»

21 Vidi primjere koje navodi dr. Kuhač, Josip Haydn, str.27-29.

23 Dr. Kuhač daje 1754. kao datum ovoga djela. Ako je tako, to je najraniji poznati primjer. Gornji datum, za koji je vjerojatnije da je ispravan, dao je dr. Pohl.

24 Vidi Kuhač, «Južnoslavenske pučke popijevke», sv. III., str. 98-100.

25 Vidi Kuhač, «Južnoslavenske pučke popijevke»,sv. III., str.92.

25 Vidi Kuhač, «Južnoslavenske pučke popijevke», vol. III., str.82.

26 Dr. Kuhač ga zove Šesti kvartet ( «u Allegru Šestoga četverogudja»), ali on nije šesti u pariškome i londonskome izdanju, ili u dresdenskome, ili u onome Petersovu.

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27 Ova zgoda pripovijeda se katkad o Mariazellskoj misi u C-duru (Novello, br. 15). Ali, prvo, Mariazellska misa bila je napisana po naručbi za Antona Liebea von Kreutzner; drugo, ona je složena na uobičajeni latinski tekst; i treće, ne sadrži ništa od popularnih melodija o kojima je bila riječ.

28 Trotaktna fraza je zajednička značajka ranih slavenskih melodija, posebno kad je spojena s drugom frazom od četiri takta u nepravilnu ravnovjesju.

29 Vidi napose popijevku «Na tratniku» (str. 46) i melodiju prvoga kola (str.50).

30 Glazbena strofa u ovoj popijevci ide na dvije polustrofe teksta. Prva je: - Stal se jesem rano jutro, malo pred zorjum.

31 Nema potrebe ovdje raspravljati pitanje Telemannova ronda. Ako je njegova sličnost Haydnovoj melodiji išta više nego slučajna, vjerojatno upućuje na isti izvor. Vidi Josip Haydn, str. 81.

32 Sačuvana u Muzeju Gesellschaftsbibliothek u Beču. To je mali dugoljasti list, sličan onima na kojima je Haydn pisao svoje «Kanone», a sadrži, prvo, potpunu skicu melodije – (Notni primjer br. 61) a ispod nje treći popravljeni niz tonova – (Notni primjer br. 62) Poboljšane inačice četvrtoga niza tonova nema ovdje, ali, prilično zanimljivo, Pohl bilježi njegovu anticipaciju u Mariazellskoj misi. Vidi: Pohl, Haydn, sv. II., str.333.

33 Njegovo hrvatsko ime Šopron još je u tekućoj uporabi, a on ima još dovoljno slavenskih stanovnika da se služe svojim jezikom u mnogim svojim službenim dokumentima.

34 Odlomak je vrijedan da bude naveden čitav iz više nego jednoga razloga. «Ne možemo ni pomisliti da je umjetnost na zalasku kad živi tako velik genij kao Beethoven. Taj autor, iako manje savršen u drugim pogledima nego Haydn, premašuje ga snagom imaginacije; a prema novijim primjerima njegove neobuzdane mašte za očekivati je da će proširiti umjetnost u smjeru koji nisu imali pred očima čak ni Haydn ni Mozart. Ako smo skloni izvoditi dalje naše spekulacije na tome mjestu, možemo uputiti na više nego izvanredne izume koji se danas čine u Rusiji na području instrumentalne glazbe. Tijekom dvadeset godina vjerojatno će u toj zemlji biti proizvedeni takvi učinci koji će dovesti do vrlo važnih rezultata u znanosti o zvucima». – W. Gardiner, u prijevodu «Stendhalovih pisama Haydnu», drugo izdanje (London, 1818.), stranica 3.

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A CROATIAN COMPOSER

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A CROATIAN COMPOSERNOTES TOWARD THE STUDY

of

JOSEPH HAYDN

by

WILLIAM H. HADOWFirst Published 1897 – Oxford

Reprinted 1972 – New York

The first bilingual edition 2005 in Zagreb

The Croatia-Ireland Society

The Publisher - E Čić

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TO

W. R. MORFILLA small return for much assistance and encouragement

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PREFACE

THE materials for this essay have been almost entirely gathered from two works by Dr. František S. Kuhač, the one his collection of South-Slavonic Folksongs, the other a pamphlet upon Joseph Haydn. Indeed, so greatly am I indebted to them that the essay would not have been written had it been possible to present them to the reader more directly. All that has been added is a certain re-arrangement of the data, a certain amount of commentary and exposition, and a few supplementary facts which happen to have come within my reach. I should state that during a recent visit to Croatia, I saw Dr. Kuhač, who most kindly gave me full permission to make use of his results, and augmented the gift with much valuable information.

It is not for me to determine how far the subject will be of interest to English readers. We have somewhat forgotten Haydn : we do not always attach great importance to abstract problems. But I venture to think that the practical issue is not insignificant, and that in any case the question of historical truth is one, which demands some consideration and regard. There is little need to say that I am myself convinced of the point which I have endeavoured to make: if the facts have been misinterpreted, at least the endeavour may invite discussion.

No doubt it will have to take its chance with those critics who would censure it at the outset for prying too curiously behind the veil. From such antagonists I beg, for two reasons, courteously to

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differ. In the first place, this is not a question of irrelevant detail, but an inquiry into the methods of a great artist, and into the character of his work. Grant that it deals with a single aspect alone, it does not therefore disregard or undervalue the others. And to suppose that Haydn is depreciated by the acknowledgment of his debt to his age and country is, I think, somewhat to misunderstand the conditions under which all true “ creative “ art is produced. In the second place, if we accept the historical statement as true, we do something to rescue a musical nation from undeserved neglect. The race which has given to a master not only birth but inspiration may surely claim from us something better than the oblivion into which we have allowed its name to fall.

I wish to offer all due acknowledgment to Mr. L. Finkenstein for his translation of Dr. Kuhač’s pamphlet.

OXFORD, October 12. 1897.

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A CROATIAN COMPOSER

THE study of Human Nature contains few problems more difficult or more important than those, which deal with distinctions of national character. In most countries the original race, itself not always pure, has been affected and modified by a hundred causes; by conquest, by immigration, by intermarriage with neighbours, by all the circumstances and conditions of historical development; and the result is commonly a web of many diverse threads, in which we are fortunate if we can explain the prevailing colour and the prevailing pattern. Sometimes, as in our Indian Empire, the threads lie comparatively free, and puzzle us more by their number and variety than by actual closeness of texture. Sometimes, as in the Kingdom of Hungary, the interplay is so thorough and so complex as almost to baffle analysis at the outset. And when to this is added the influence of climate, of government, of religion, of all that is implied in past record and traditional usage, it will be seen that the question of causality is one which may well tax to their utmost limit the skill and patience of the ethnologist.

But if the reasons are hard to trace, the fact is no longer open to intelligible doubt. Physiology tells us that it manifests itself at birth ; history, that it has formed a channel for the whole course and current of events. There is no crisis so great, there is no occurrence so trivial, as not to exhibit in some degree its presence and efficacyin the life of man. Nations at peace do not follow the same policy; nations in conflict do not fight with the same weapons; thecontrast of laws and customs is so vivid that it has led some impatient philosophers to consider all morality relative. And what is true of

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the life as a whole is equally true of its specialisation in art and literature. For these are preeminently the expression of the national voice, as intimate as its language, as vital as the breath that it draws, and every artist who has compelled the attention of the world at large has done so by addressing it as the spokesman of his own people.

No doubt there are other factors in the case, the personal idiosyncrasy that separates a man from his fellows, and again the general principles, fewer perhaps than is commonly supposed, that underlie all sense of rhythm and all appreciation of style. But to say this is only to say that the artist is himself, and that he belongs to our common humanity. In everything, from the conception of a poem to the structure of a sentence, the national element bears its part with the other two; it colours the personal temperament, it gives a standpoint from which principles of style are approached, and wherever its influence is faint or inconsiderable the work of the artistwill be found to suffer in proportion. It is hardly necessary to add that the law holds equally good whether the race in question be pure or mixed. If the former, it will move along a single line: if the latter, it will mark the converging point of many; but in either case its operation is a sure test of genuineness both in feeling and expression. Occasionally, it may be, a careless public has been deceived by some trick of imitation - by the Spanish comedies of Clara Gazul or the Persian Lyrics of Mirza Schaffy; but such instances of deception no more traverse the law than the Ireland forgeries or the pictures of Cariani. Some men are born with a talent of mimicry: none have ever by its means attained to greatness. It may at once be admitted that this rule of national influence is at present lessfirmly established in music than in poetry or painting. In the two latter arts we have certain obvious externals to aid investigation — broad and salient contrasts of language, wide differences of scene and subject—with which music as such has little or nothing to

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do. Her subject is usually vague and indeterminate, her vocabulary is made up of a few scales, and for the rest we are told that her genius is limited to the common emotions of mankind and the common inheritance of pure form. But it is wholly false to infer that music is independent of nationality. The composer bears the mark of his race not less surely than the poet or the painter, and there is no music with true blood in its veins and true passion in its heart that has not drawn inspiration from the breast of the mother country. Two main causes have retarded the acceptance of this truth.

First, the belief that national melody is entirely an affair of artifices and mannerisms, that it is constituted by special turns ofphrase and figure—as though you could make a rose tree by tying roses to a Scotch fir, or turn “Rule Britannia” into a Hungarian tune by ending it with a Hungarian cadence. This, it may be said, simply misunderstands the nature of the law, which it criticises.

No doubt a certain range of expression belongs to each type of folksong. No doubt these accidents of figure and phrase appear upon the surface, and are often useful as indications, but it makes all the difference whether they grow naturally in their place or lie there as mere lifeless appendages. Even the foreign idioms, which a great composer may occasionally employ, are only a graft let into the parent stock; the new growth is at once modified by the influence of the old, and alters its character to match its change of condition. And apart from these rare grafts the phrase of a true master will always be found conformable to the spirit that animates it, not because it constitutes the spirit, but because it emanates as property from essence. The second error springs from our loose and inaccurate methods of classification. That Mozart was an Italian composer seems now to be taken as an accredited jest; but it is more serious when we show our gratitude for the splendid work that Germany has done by scoring to her account all that has been accomplished by her neighbours.

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Schumann claims Chopin as a fellow-countryman; we are so far from protesting that we add Liszt, for whom “ the great German master “ was long a newspaper synonym, and even hesitate about Smetana and Dvorak. It is true that classification is often extremely difficult-records are imperfect, names are misleading, histories are marred by want of ethnological knowledge; but the admission of ignorance is not a very strong basis for dogmatic denial. Critics, who traverse a law, because they cannot see its applicability to the facts, would do well to make sure at the outset that the facts have been correctly observed.

The subject of the present essay is one of the most remarkable instances of such misattribution. From the time of Carpani to that of Dr. Nohl, Haydn’s biographers have been unanimous in describing him as a German, born, as everybody knows, in Lower Austria, speaking German as his native language, Teutonic in race, in character, in surroundings. Yet the more we study him the more impossible it becomes to regard his music as the work of a Teuton. It is undoubtedly affected by his education and circumstances, by the early study of Emanuel Bach, and the subsequent intercourse with Mozart, but when we penetrate to the essential spirit of the man himself we find that its inherent characteristics are no more German than they are Italian or French. Haydn’s sentiment is of a kind without analogue among German Composers—mobile, nervous, sensitive, a little shallow it may be, but as pure and transparent as a mountain stream. His humour is a quality in which he stands almost alone; it differs totally from the wit of Mozart, or the grim jesting of Beethoven; it is quaint and playful, rippling over the whole surface of the page, and equally removed from satire and epigram. Again, he has less breadth and stateliness than belong to the German temper, but he has far more versatility. He was the most daring of pioneers, the most hazardous of experimentalists, and, what is more noticeable, his experiments are rather the natural outcome of a restless and vivid

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imagination than the efforts of a deliberate and conscious reform. From the external side, too, the same contrast is apparent. The shapes of his melodic phrases are not those of the German folksong; his rhythms are far more numerous and varied; his metres arc often strange and unfamiliar. Throughout Western Europe the four-bar line has almost uniformly been taken as the unit of measurement, carrying with it the corresponding stanza of eight or sixteen or thirty-two. In a hundred German or English folksongs it will be strange if a single exception can be found: in a hundred melodies from Haydn’s quartets it will be strange if the exceptions are not as frequent as the instances. In a word, his range of stanza is far wider than that known to the Germany of his day, and many of his most characteristic tunes belong to another language and another scheme of versification.

The evidence here briefly epitomised can only point to one oftwo conclusions: either that the law of nationality is inapplicable to Haydn, or that his assignment to the German race is an ethnological error. The former alternative is unsatisfactory enough; the latter was for many years put out of court by our inability to sustain the onus probandi. But in 1878 Dr. Kuhač began to publish his great collection of South - Slavonic melodies,and in 1880 he supplemented it by a special pamphlet on Haydn’s relation to them. The main points of the thesis arc-three in number: first, that the Croatian folk-tunes possess all the characteristics which have been noted as distinctive in the melodies of Haydn ; second, that many of them are actually employed by him; and third, that the facts of his birth and parentage afford strong presumptive proof that he was a Croatian by race. If this contention can be established it strengthens an important law with valuable and unexpected support, and it remains therefore that we should bring forward a critical statement of the case, beginning, for clearness’ sake, with the historical and biographical testimony, and so bringing

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into prominence the special character of the compositions themselves.First, then, we must consider whether the character of the

Croatian people is such as to render its claim to Haydn reasonable and intelligible. It would be poor logic to illustrate our law by deriving a great artist from an inartistic nation. And the question becomes more pressing when we remember that Haydn’s whole family was musical, that he learned his first lessons from his father and mother, that his brother Michael long enjoyed a repute little inferior to his own. But to answer it in the affirmative is to run counter to an established belief. From Mrs. Western in “Tom Jones” to Barto Rizzo in “ Vittoria “ everybody has had a fling at the Croats. We have come to regard them at best as savages., and at worst as mercenary assassins. The associations that we connect with their name arc those of war and pillage, of fierce onslaught and misused victory, of lives bartered forgain or spilled in mere wantonness. Their art is a matter into which we have never dreamed of inquiring, and we should as soon think of learning their language as of accrediting them with a literature. To dispel this superstition it is only needful that we should study the country. Few towns are more charming than Agram, few regions more delightful than the long fertile valley of the Save in which it lies. In the remoter districts there is still much ignorance and much poverty, but civilisation is spreading from the centre, and eliciting, not creating, the signs of progress. The strongest impulse of the national life is loyalty to race and Church. Recent events have shown us that outbreaks may readily be provoked in religious and patriotic causes, but the temper that will fight for them is not ignoble, and is not infrequently con-joined with the inspiration that will make songs in their honour. And throughout the country the love of music prevails.

The men sing at their plough, the girls sing as they fill their water-pots at the fountain; by every village inn you may hear the jingle of the tambura, and watch the dancers footing it on the green. Grant that

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the music is not always of a high order, that the tunes are often primitive and the voices rude and uncouth, still the impetus is there, and it only needs guidance and direction. Certainly the present condition of the race does not disqualify it to be the parent of a great composer.

It will be objected that this is only a present impression, and that it tells us nothing of those days when, apparently, the whole raison d’être of the population was to furnish fightingmen for the army of Maria Theresa. In answer to this, two points must be made clear: first, the state of Croatia proper during the past two centuries; second, the position occupied at the same period by other members of the Croatian race.

The argument “e nihilo nihil” need hardly be stated here, though it will be seen later that nothing has been added to the Croats except opportunity. Throughout the eighteenth century the policy of the Austrian Government was to repress as far as possible the Slavonic peoples that lay under its rule. Bohemia, which had lost its independence at the Thirty Years’ War, was intellectually the “desert” which the Emperor Ferdinand had wished to make it ; and the same drastic measures, though for somewhat different reasons, were applied to the subject races that fringed the southern border. Croatia in particular was used merely as an outpost against Turkish invasion: “purchased,” as Dr. Kuhač says, “with a few empty political concessions,” but kept in reality under the close discipline of a barrack-state. “We were not allowed,” he continues, “to provide for our people the advantages of a real city, we had no centre of intellectual life and progress, and it was considered a sufficient privilege if the name of capital was bestowed upon one or other of our towns.” Naturally, the Croatian nobles spent as little time as possible in their own country. It was much more amusing to stay at Pressburg or Vienna, where there were balls and theatres and

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pageants, and a man could see life. And so it happened that even the chance of patronage was denied, and the people sank to a state of apathy, their gifts forgotten, their voice starved into silence. But about 1835, the poet Ljudevit Gaj began, as Tyl was doing in Bohemia, to restore from its suspended animation the intellectual life of his countrymen. He settled their alphabet. He made their grammar. He collected the folksongs from every village and hamlet, and enriched them with lyrics of his own. He sowed dragon’s teeth over the length and breadth of the country, and there sprang up as if by magic a crop of artists. Of course they were not of any great European importance. Lisinski and Franz von Suppe are the most famous among their musicians—but the whole lesson had to be learned anew, and these men were the first pupils.

And when the revolutions of 1848 gave fresh impulse to national life, a second chapter opened in the Croatian renascence, and, under the patronage of Bishop Strossmayer, there rose into being a new artistic generation, Here, again, the musicians rather lag behind the poets and the men of letters; there was no conservatorium, there was no satisfactory method of training, and the young talent was generally too poor to embrace the opportunities which foreign lands afforded. But, if as yet the quality of the work is slight and trivial, something at least should be said about its extraordinary volume and facility. And it shou ld be added tha t the l eaders of the present generation—Zajc, Vilhar, Faller, Dr. Kuhač himself—are all making large use of the national melodies as material.

Meantime, while the fortunes of Croatia were at their lowest, an event of earlier occurrence was producing important consequences. The Southern Slavs had always been a migratory people. As early as 595 they occupied the Tyrolean Pusterthal, where they have left their mark, hot only in the character of the inhabitants but in a large number of local names; later, under stress of Turkish invasion,

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they colonised Montenegro; and in the fifteenth or sixteenth century a body of Eastern Croats— Bosnen or Wasser-Kroaten, as the Germans called them—settled in the district of Central Austria which extends from Lake Balaton north-west to the Danube. The new home was eminently suited to the development of the race. It was rich and fertile, with vine clad hills and broad stretches of alluvial plain, it was well wooded and well watered, it extended to Pressburg, the second city in the empire, and contained at least one other town of considerable note ; it was within easy reach of the great intellectual and artistic movements. There is little wonder that this region soon came to be regarded as the focus of Croatian life, and that the wealth which sought it for entertainment attracted in due course the talent which sought it for livelihood.

The number of the original immigrants is unknown, but by the eighteenth century they unquestionably formed the larger part of the population. In 1780 Pressburg contained rather less than 28,000 inhabitants, of whom about half are noted in the official census as Croats or Slavonians; while the smaller towns and villages in the neighbourhood were mainly occupied by the new-comers, and are still, despite German and Magyar influence, largelyaffected by Slavonic traditions. One curious and rather bewildering consequence is that almost every place in the region has possessed two names, one the German, used for official purposes; the other, Slavonic, for the benefit of the population. And when we addthat east of the Leitha the Slavonic name is being ousted by the Hungarian, it will be seen that the unsophisticated traveller may now and again be at some difficulty to ascertain his route. An amusing instance fell under my own experience during the summer of 1897. Wishing to make pilgrimages to Eisenstadt, where Haydn was Kapellmeister, and to Željezno, where Schubert taught music to Countess Esterházy, I took a ticket at Vienna

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for the first of these places, only to find, when my watch informed me of my destination, that Eisenstadt and Željezno were the same place, and that the name upon the railway-station was Kis Martom.

It is something more than a coincidence that among all districts of Austria this area of Croatian settlement has been the most fruitful in great musicians. Veit Bach, the grandfather of John Sebastian, was born at Pressburg; so was Chopin’s great hero, Johann Nepomuk Hummel.The Haydns came from a neighbouring village, the proper name of which — Trstnik — was despairingly translated by the Germans into Rohrau. Joseph Weigl was a native of Eisenstadt, so was Ivan Fuchs, who succeeded Hummel as Prince Esterházy’s Kapellmeister. Liszt was born at Rustnik, near Oedenburg, Joachim at Kitsee, Ludwig Strauss at Pressburg, Carl Goldmark at Keszthely. And round this constellation there gathers a whole nebula of lesser stars names unfamiliar, it may be, to English readers, but in their own country accepted and recognised. Of course it is not claimed that all these artists are of Croatian blood. Some unquestionably are not; but there is at least an a priori likelihood that some of them belonged to the race which was numerically dominant, especially as that race was Slavonic and therefore musical, and on this general point a word may perhaps be said before we proceed to particularise in the case of Haydn. Now, apart from his, it should be noted that none of the names given above are distinctively Slavonic in character. For this fact a simple reason suffices. There had long been spreading through the world of music a practice, originated in Europe by scholars and divines, of taking a nom de guerre which should either represent the sound or translate the meaning of the family name. Erasmus, Melanchthon, Stephanus are familiar instances in the world of letters, and following these august models Grobstimm became Baryphonus; Schneider, Sartorius; Glareau, Loritius; and the like.

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Musicians for the most part seem to have avoided Latin and taken in its place whatever language lay ready to hand for display or convenience. Thus two famous Bohemians called themselves Dussek and Gyrowetz; Beethoven’s father occasionally appeared as Bethoff; and the list may be extended even to such grotesques as Gionesi and Coperano. This device was especially necessary to the Croatian who was aiming at a career. We know with what diligence poor Abel, fresh from the German vowel sounds, endeavoured to adapt his name to the requirements of a British public. The need of adaptation is still greater when the language is one which hardly any foreigner can hope to pronounce. Thus it was that the Croatian words tended to drop out altogether, and to be replaced by some rough German or Italian equivalent; and so complete was the transformation that we have to look twice before recognising Beethoven’s first violin in Župančić, or finding in Trtić the composer of the “Trillo del diavolo.” In l ike manner the words “Bach” and “Hummel” may very- possibly have been translations of Croatian names, names which are known to have existed in Pressburg and which bear the same meaning; while the family of Liszt, also claimed by Dr. Kuhač, may have been Slavonic in origin, though by the time of the great pianist the Magyar element had predominated for about a century. At any rate there can be no reasonable doubt as to the Slavonic origin of Tartini, Dragonetti, Giornovichi, Zingarelli, and many other of Haydn’s contemporaries. There may have been in them some intermixture of race, but the parent stock was Croatian. We cannot, then, assert that there is any antecedent improbability in assigning Haydn to the Croats. They are a musical people, they Formed the chief population of the district where he was born, they have a fair claim to other great musicians of his time. It follows that we should discuss the biographical evidence,

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and see what is to be made out of the record of Haydn’s family.And here attention should be called to three points. First, that the name Hajden or Hajdin (with its derivative Hajdenić, Hajdinović, &c.) is of common occurrence throughout Croatia, and, in days when spelling was roughly phonetic, may easily have appeared in Austrian officialdocuments as Haiden or Hayden, forms by which its pronunciation is exactly represented. Now among all the variants assumed by the name of the composer’s family, these two are the most frequent and the most authoritative. His great-grandfather—the first member of the house who can be traced—appears in the Hainburg register as Caspar Haiden; his grandfather, once by obvious error called Thomas Hayrn, is usually Hayden elsewhere, the contemporary monuments at Rohrau give Mathias Haiden as the name of his father and Josephus Hayden as his own. He himself seems to have used the dissyllabic form up to January, 1762, when he signs for salary at Eisenstadt “Giuseppe Hayden”; in the February of the same year he changes to the signature “Joseph Haydn” which he afterwards habitually adopted. Even then the majority of documents relating to him are conservative enough to retain the earlier orthography, and the monument in Count Harrach’s park, which bears the name Josephus Hayden, was erected as late as 1794. Indeed, there can be little doubt that Haiden or Hayden was the family name, shortened to suit the Viennese convention, as for the same reason Händel used to be shortened to Händl. Secondly, the name, in one or other of its variants, is widely spread over the whole district from Wiener-Neustadt to Oedenburg. Dr. Pohl found it in some ten or a dozen villages, many of which are claimed by Dr. Kuhač as Croatian, and in the country towns like Hainburg or Eisenstadt it is of course more frequent still. There is no need to remind the reader that this is precisely the region occupied, since the sixteenth century, by the Slavonic immigrants. Thirdly, the home of the entire Haydn family is situated at the centre of the district in question.

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Caspar was born within sight of the Hainburg walls, Thomas lived and died as a burgher of that town, Mathias, after a brief period of travel, settled at Rohrau some ten miles away, and the most adventurous of his brothers wandered no further a field than Frankenmarktor UngarischAltenburg. It fits well enough with this home-keepingtemper that Joseph Haydn should have spent more than three score and ten years of his life inside a thirty mile radius from his native place. On the father’s side, then, Haydn would seem to belong to the Slavonic race among whom he lived and worked. Again, his mother was a native of Rohrau, in her day a distinctively Croatian village, and her maiden name of Koller—a vox nihili in German—is plausibly regarded by Dr. Kuhač as a phonetic variant of the Croatian Kolar “wheelwright”. Everything that we know about his look and character favour the supposition of Slavonic descent. The lean ugly kindly face with high cheek-bones, long nose, and broad prominent under lip, the keen grey eyes softened by a twinkle of humour, the thin wiry figure, the strong nervous hands; all these and their analogues may be seen today in any village where Slavonic blood is still pure; and though of course they afford no argument in themselves, they add a touch of corroborative evidence which is worth noting. To the same cause may be traced that intense love of sport which has left his name as a proverb at Eisenstadt ; and something, too, of the conviviality which made him say that his best evenings were those spent with his comrades at the “Engel.” His talk, like his music, was full of that obvious fun which raises a laugh by a sudden touch of the unexpected; so are hundreds of Croatian ballads and aphorisms. The humour is sometimes primitive, as when a Croat will tell you, “It is as true as that two and two make seven”; sometimes it reaches a more respectable level, as the gibe at the Bosnian Brethren, “who were ordered to abstain from something in Lent, and therefore took no water in their wine.” But good, bad, or indifferent, it marks a distinctive type of peasant character; and in

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remembering that Haydn was a genius we need not forget that he was a peasant. The same holds good, too, of his religious feeling. It is not without significance that we may turn from one of his scores, with its “In Nomine Domini” at the beginning, and its “Laus Deo” at the end, to read in our newspaper that another Croatian village has risen in revolt upon the bare report of an ecclesiastical change. His temper, it may be, had grown more equable than that of his uneducated countrymen; it had not lost anything of their loyalty. The reasons which have led to this indication of detail may easily be misunderstood. It is not, of course, contended that any race has the monopoly of these characteristics, or that it differs ethically from its neighbours except by the very important fact of the proportion in which they are blended. But when it appears that the more we study Haydn, and the more we study the Slavonic character, the closer becomes the accord between them, when every feature of the one finds its parallel in the prevailing qualities of the other, then we may surely infer that to the antecedent probability some weight is added by this estimate of internal evidence. And probability will strengthen to certitude if we realise that Haydn’s music is saturated with Croatian melody, that the resemblances are beyond question, beyond attribution of coincidence, beyond any explanation but that of natural growth. Some of his tunes are folksongs in their simplest form, some are folksongs altered and improved, the vast majority are original, but display the same general characteristics. He would stand wholly outside the practice of the great composers if he wrote, by habitual preference, in an idiom that was not his own.

His acquaintance with these folk-tunes must have begun from his earliest years. His father, we know, was a good musician who used, of an evening, to sit by the cottage-door at Rohrau, singing to the children until they plucked up their courage and joined in. And when Frankh carried off the boy for his first experience of schooling,

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it was only to Hainburg, the earlier home of the family, where he may well have heard the same ballads breaking the quiet of the marketplace, or echoing under the great arch of the Wiener Thor.

Then, no doubt, came a change; the splendid apparition of George Reutter, the halo of Imperial patronage, the ten years in the choir at St. Stephen’s, the sharp struggle for existence when the boy’s voice broke, and he was turned into the streets of Vienna to shift for himself. It is in every way natural that his first composition should show little direct trace of national influence. He was in his studentperiod; like all students he was dominated by the authority of his models, and for a time his chief ambition was to master the form of Emanuel Bach, and emulate the counterpoint of the Gradus ad Parnassum. But from the days when he began to speak in his own voice the Slavonic qualities unmistakably appear. There is the same general shape of melody, the same repetition of phrases, the same oddity of rhythm and metre, the same fineness and sensitiveness of feeling; and that not once or twice in a composition, but throughout its entire length. The common employment of folk songs dates from the Symphony in D major 1762 , to the Salomon Symphonies of 1795; they find their way into everything—hymns, quartets, divertimenti; not, of course, because Haydn had any need to take them, but because he loved them too well to leave them out. It will be remembered that for thirty years, from 1761 to 1790, he worked as Prince Esterházy’s Kapellmeister in the very centre of the Croatian colony. He must have heard these songs every day, he must have set his life to their lilt and cadence ; they were the melodies of his own people, the echoes of his own thought. No one is surprised that Burns should have gathered the Ayrshire peasant songs and transmuted them into gold by the lire of his genius ; it is not more wonderful that Haydn should have enriched the treasures of Eisenstadt with metal from his native mines, and as Heine pertinently puts it, the Temple is built by the Architect, not by the stone-cutters who supply him with his materials.

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Among the numerous illustrations collected by Dr. Kuhač, the following deserve special attention.

(1) The Cassation in G major (1765) begins as follows: —

a melody noticeable for the breaking of the four-quaver rhythm by alternate bars of six. It can hardly be doubted that when Haydn wrote this he had in his mind the old Slavonic drinking song, “Nikaj na svetu”—

variants of which may still be heard in Croatia, and in the Carinthian Zillerthal. Similar instances of slight adaptation may be traced from the spring song, “Proljeće”—

The numerous illustrations collected by Dr. Kuhač

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95

which is thus altered by Haydn—

and from the dance-song “ Hajde malo dere”—

which appears at the beginning of the D major Quartet (Op. 17, No. 6) as—Clic

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(2) The curious and characteristic finale of the D major Symphony (Salomon, No. 7) is founded on the following theme:—

This is simply an amended version of the popular ballad, “Oj Jelena,” which belongs to the district of Kolnov, near Oedenburg, and is specially noted by Dr. Kuhač as being commonly sung in Eisenstadt.

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Its tune, essentially Slavonic in rhythm and cadence, runs thus:

Variants of this melody are found in Croatia proper, Servia, and Carniola.* It is probable that the other movements of this symphony are equally influencedbyfolksongs; in any case, no doubt can exist as to the Symphony in Es, “Mit dem Paukenwirbel.” The opening theme of the Allegro—

is noted by Dr. Kuhač as Croatian.** The Andante is founded on two themes, the first minor—

__________* See, Kuhač, “South Slavonic Popular Songs”, vol. III p 98-100

** See, Kuhač, “South Slavonic Popular Songs”, vol. III p 92

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the second major—

both of which are taken, and considerably improved, from two folksongs of the Oedenburg district, (a) “ Na Travniku “—

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and (b) “Jur Postaje “—

while the principal tune of the Finale—

is that of the song “Divojčica potok gazi “—

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100

which is common among the Croats, especially those of Haydn’s district.* Again, the Trio of the A major Symphony (No. 11 in Haydn’s Catalogue) contains a Slavonic melody—

and the first movement of its successor (D major, No. 12) suggests another—

(3) There are several cases in which, without direct adaptation, Haydn has shown the same tendency of thought or phrase as the Slavonic folksongs. A favourite “curve “ of his may be illustrated by the opening of the Bb Symphony (Salomon, No. 9)—

as well as by the Dalmatian Overture of Franz von Suppe and the tunes (from Zara and Borištov) on which it was founded— e.g., the ballad “Na placi sem stal”—

_______*See, Kuhač, “South Slavonic Popular Songs”, vol. III pp 82

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Another, even more beautiful, ends the opening strain in the Adagio of the G major Quartet (Op. 77, No. 1)—

and appears also in the Croatian “Čuješ doro dobro moje “—

while the use of the unprepared dominant ninth, constructed out of a dominant seventh by shifting the melody a third higher, was not so common in Haydn’s day that we can afford to neglect the resemblance of

—quoted by Dr. Kuhač from a Quartet in Bb,* to—

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102

from a popular folksong of Carniola.(4) These latter examples do not imply reminiscences, but at most a general sympathy of temper. A good deal more, however, is involved in the treatment of Slavonic dance tunes. It is hardly too much to say that what the Csardas was to Liszt the Kolo was to Haydn; with this difference—that the earlier and greater musician has throughout made a finer use of his materials. The Kolo is a Slavonic measure, which I have seen the children dance at Agram and the men at Sarajevo, bright and cheery of movement, its tune in two-four time ingeniously varied by patterns of quaver and semiquaver figures. Here, for instance, is an example well known in Bosnia and Dalmatia :—

and used with an amended cadence in the Finale of the C major Quartet (Op. 33, No. 3):

Here, again, is a similar dance-tune from Servia, which opens the Symphony in D major (Haydn’s Catalogue, No. 4):—

__________* Dr. Kuhač calls it the Sixth Quartet (“u Allegru šestoga četveroguđa”), but it is not the sixth in the Paris and London edition, or in the Dresden, or in that of Peters.

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and here another in the Finale of the G major Quartet (Op. 77, No. 1):—

in which so wonderful an effect is produced by the alternation of cold unison and glowing harmonics.

Many of Haydn’s characteristic melodies follow one or other of these types: e.g., this from the Finale of the F major Quartet (Op. 74, No. 2)—

or this from the “Bear “ Symphony:—

or this from the Finale of the Quartet in D (Op. 76, No. 5):—

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104

while the metrical peculiarities of the Eastern or Servian Slav may be illustrated by the following, from the Symphony in F major (No. 1 in the Viennese edition):—

as they may, apart from the Kolo measure, in a hundred of his minuets and finales. Again, the early Pianoforte Concerto in D major ends with an oddly named “Rondo a l’Hongrie”, the principal subject of which is as follows: —

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This melody, which contains no Magyar characteristics, either of figure, scale, or stanza, is compressed from that of the Širi Kolo, as commonly danced in Bosnia and Dalmatia. The complete tune runs : ---

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106

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107

a typical rustic dance, which in Haydn’s hands has gained not only by compression, but by a more artistic accompaniment.

(5) In addition to the dance measure, Haydn has adopted other instrumental forms, e.g., marches, bagpipe melodies, and the like. Here is one, with a strange rhythm, from the Pianoforte Scherzando in F major ;—

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108

and here, from the Finale of the Bb Symphony (Salomon, No. 9), is the march which is commonly played in Turopol at rustic weddings :—

Another Croatian march beginning—

has been identified by Dr. Kuhač from an unpublished Symphony in A major, and there is a further example from the Allegro of the Bb Quartet (Op. 71, No. 1)—

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109

(6) The two most remarkable instances are yet to come. According to a well-known story, Prince Esterházy once discussed with his Kapellmeister the question whether Church music could not be made “at the same time religious and popular.” It is hard to realise that Haydn’s Masses were ever regarded as too severe; in any case, the Prince felt dissatisfied, and wanted a change. He had recently returned from his annual pilgrimage to Maria Zell. He had heard there music which pleased him, and he seems to have suggested that in the Eisenstadt chapel there was too much counterpoint and too little melody. Haydn listened, sent to Maria Zell for information, bided his time, and, when next year the day of the pilgrimage was approaching, wrote a “Mass” or Service to German words*, despatched it to the famous church, had it secretly practised, and finally found an excuse for slipping off on a holiday. The Prince came back more dissatisfied than ever. “I have heard,” he said, “a service of Church music composed and played in a style which you will never equal.” “ Your Highness,” answered Haydn, “the composition was mine, and I was the organist.”

From this “Mass,” of which at present no other trace seems to be discoverable Dr. Kuhač quotes seven melodies on the authority of the Dominican Alois Russwurm who was a personal friend of Haydn, and by whom the story was originally recorded.

The first, “Hier liegt vor Deiner Majestät,” is the opening theme of the first number—

________*This story is sometimes told of the Mariazeller Mass in C major (Novello, No. 15). But first, the Mariazeller Mass was written by commission for Anton Liebe vonKreutzner; second, it is set to the usual Latin text; third, it does not contain any of the popular melodies in question.

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110

and comes from the Croatian tune—

The second, “Gott soll gepriesen werden”—

is the song “ Ti jabuka,” as sung in Velik-Borištov—

The third, “ Allmächtiger, vor Dir im Staube,”—

begins remarkably like the Slavonian drinking song, „Draga moja gospodo.“ *

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111

The fourth, “O Vater, sieh vor Deinem Throne “ —

may fairly be regarded as a variant of the Dalmatian song, “Jedna Ciganka”—

The fifth, “Betrachtet ihn in Schmerzen” —

is almost identical in both parts with the following Croatian melody :—

_______* The three-bar phrase is a common feature of early Slavonic melodies, especially when conjoined with a second phrase of four bars in irregular balance.

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The sixth — “Nun ist das Lamm geschlachtet”—

is derived partly from two separate strains in the Croatian and Slavonian versions of a convivial chorus—” Viv’la compagnia”—

partly from a Croatian sacred song—” Stani gori gospodar.”

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The seventh —”Dich wahres Oester-lamm”—which is the concluding phrase of the canticle for the Celebration.—

borrows its exact sequence and its curious halting rhythm from the Croatian “Miši prave svatove “—

Clearly, in Haydn’s vocabulary “popular “ meant Slavonic.It may be objected that this example proves nothing. Grant

that Haydn was living in a certain district, and that he was asked for once to write in a popular style; what more natural than that he should adapt himself to his surroundings, and use the idioms that he found in common currency? A man readily drops into dialect when he is addressing a rural audience, and does not become a countryman by seasoning his discourse with a few country proverbs and metaphors. This rejoinder would be of more effect if the “Mass” were an isolated

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phenomenon: it somewhat loses weight when we remember that the music only turns to Church use the tendencies that have already been noted in symphony and quartet. Still, our case would undoubtedly be stronger if we could find Haydn appealing, in the same tongue, to the Austrian Empire at large, and using the native Slavonic for some great political or ceremonial occasion. Here, at any rate, is a test which we may reasonably regard as crucial, and which, if successfully applied, should go some way towards settling the question.

Unfortunately, the Croatian melodies are not, as a rule, well suited for such a purpose. They are bright, sensitive, piquant, but they seldom rise to any high level of dignity or earnestness. They belong to a temper which is marked rather by feeling and imagination than by any sustained breadth of thought, and hence, while they enrich their own field of art with great beauty, there are certain frontiers which they rarely cross, and from which, if once crossed, they soon return. One limitation in particular will have been observed by every student. It frequently happens that a Croatian or Servian tune will begin with a fine phrase, and then fall to an anti-climax—either losing sight of its tonality, or wavering in its rhythm, or ending with a weak or commonplace cadence. In almost all the examples quoted above, it is the opening of the tune which Haydn has borrowed; its conclusion he has nearly always improved or rewritten.* And the reasons that impelled him to this practice may be illustrated by the following variants, in all of which are apparent the same touch of inspiration, and the same weakness of development.

_______* See in particular the song “Na travniku” (p. 46), and the first Kolo tune (p. 50). The musical stanza, in this song, goest to a half stanza of the words. The first is --- In the early stood I Close upon the down.

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(a) The song “Stal se jesem,” as sung in Marija Bistrica—

(b) The same song as it appears in the district of S. Ivan Zelina-

(c) The same as it appears at Medjimurje (Murinsel)—

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In these versions the last four bars appear to have been loosely attached to the rest of tune; at any rate, they are often found, apart from the first phrase, in Croatian carols and drinking songs. Again, among other districts there has been some rearrangement of the words, with corresponding changes in the music. Either the opening line is not repeated, which leads to the excision of the third bar, and a consequent alteration of cadence ; e.g.—

(d) Variant from Kolnov (near Oedenburg)—

or it is inserted again after the second, so as to give the stanza an alternation of masculine and feminine endings ; e.g.—

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(e) Variant from Čembe—

The rest is easily divined. When in 1797 Haydn was commissioned to set the National Anthem, he must have had this tune before his eye, and have determined to use it as the pedestal of the monumentum ære perennius which his loyalty erected.* And here a word may be said as to the manner in which the great tune appears to have been written. It was no momentary inspiration, no sudden impromptu that should come into existence at full growth; like most of Beethoven’s music, it was made carefully, and by deliberate weighing of alternatives. By a piece of singular good fortune, we are for once admitted to the master’s workshop, and allowed to take our lesson in melody by the observation of his practice.

Now the second strain of the folk-tune is too short to fit the secondline of the poem; accordingly, Haydn began by extending its cadence, and instead of—

_____* There is no need to discuss here the question of Telemann’s Rondo. If its resem-blance to Haydn’s tune be anything more than fortuitous, it is probably referable to the same source. See Josip Haydn p. 81

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wrote—

following it with repeat-marks, after the common method of primary form. Two other changes explain themselves. The measure is dignified by the broader time-signature, and the accent shifted from arsis to thesis by the rearrangement of the bars. Otherwise, in the first half of the stanza the folk-tune remains unaltered.But for the second half it was manifestly insufficient. Both the possiblevariants are too trivial, and one too brief, to afford the requisite climax. As a natural consequence, Haydn discarded both, and proceeded to supply their place with two original strains, which in the Autograph sketch* run as

* Preserved in the Museum of the Gesellschaft Library at Vienna. It is a small oblong sheet, similar to those on which Haydn wrote his “Canons” and contains, first, the complete sketch of the melody -

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and below it the third strain amended—

The improved version of the fourth strain is not there, but, curiously enough, Pohl notes an anticipation of it in the Mariazeller Mass. See Pohl’s Haydn, vol. ii. p. 333.

follows :—

Still, he was dissatisfied with the result, and it is easy to suggest the reason. In the former of these two strains there is a passage which carries tonic harmony—out of place at this stage of the tune—and its cadence, moreover, rhymes awkwardly with that of the half-stanza. The latter of the two comes down from its point of stress with a fine sweeping movement, but, three bars from the end, breaks its melodic curve into two distinct pieces, and so loses continuity of line. Both were accordingly corrected, one on the same page, the bottom stave of which bears, in hasty manuscript, the amended form―

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the other, with a few more minute alterations, at a later period of the work. And thus, of such diverse metal as Cellini cast his “Perseus,” did Haydn beat out the melody by which he has given voice to a nation’s patriotism.

It is to be hoped that these examples will not encourage any reader to pursue Haydn with the cry of plagiarist. No accusation could be more unfounded or more un-reasonable. He poached upon no man’s preserve, he robbed no brother-artist, he simply ennobled those peasant-tunes with the thought and expression of which he was most nearly in accord. The whole extent of his indebtedness is at most an occasional melody, and is often but a single phrase; the treatment, the setting, the workmanship belong as truly to him as Faust to Goethe, or Cymbeline to Shakespeare. The master, who has written a hundred and twenty first-rate symphonies, and eighty-three first-rate quartets, may surely claim the right to takehis wealth where he finds it; and if we are churlish enough to deny this, at least we may allow him the privilege of speaking in his native tongue. To Haydn, the folk-tunes were little more than the words of his accustomed speech, hardly obscured when the Church asserted her contrapuntal dignity, and reappearing in full significance when hereturned to the untrammelled orchestra and the freedom of the four magic strings. It is more important to note how closely his special melodic gift is in sympathy with that of his people. Many of the tunes quoted above are among those, which a critic would select as especially characteristic: there are literally hundreds of his invention by which, in a more or less degree, the same qualities are exhibited. No doubt he was not only the child of his nation, he had his own personality, his own imaginative force, his own message to deliver in the ears of the world. But through all these the national element runs as a determining thread. That “les grands artistes n’ont pas de patrie” is a sentence abundantly refuted by its very author; it assuredly finds no support in the life of the Croatian

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peasant who has made immortal the melodies of his race.

A new aspect of the question has been brought into prominence by recent history. The course of policy pursued in our own day by the Austrian Government is tending to reverse the relative importance of the Croatian colony and of the mother-country from which it sprang. On the one hand, the central provinces are being steadily Germanised, the Slavonic language is beginning to die out, the Slavonic blood to be crossed by intermixture, and though yet the change is only in process, there is no lack of indication that it is operative. Along the western bank of the Leitha, German is now the prevailing speech, along the eastern bank it is disputing the palm with Hungarian, and between them the Slav, for all his tenacity, will some day be dislodged or absorbed.

Hardly any inhabitant speaks of Požun now; the name is either Pozsony or Pressburg; Liesing has almost forgotten that it was once Lesnik, and though Oedenburg* still remains as a fortress, it is becoming more and more isolated as the years advance. But, on the other hand, a wider range of opportunity is being opened in Croatia proper. The impulse towards national life, started as we have already seen by Ljudevit Gaj, is being wisely fostered and encouraged by Imperial patronage; and Agram, which a century ago was a little country town, is now assuming the state and dignity of a capital. The University, founded in 1874, has already done much for the study of art and letters; the old market-place has become a fine square, with an opera-house in the centre; the waste ground to the south has been laid out in public gardens, and enclosed with galleries and museums. It is natural that the present race should follow these changes with keen enthusiasm; and should look forward eagerly and confidently to the days of coming greatness. Nor even to a stranger are the evidences lacking. The tone may be somewhat Chauvinist, the self-gratulation somewhat indiscriminate, the record of present achievement a little wanting in distinction; but as yet the movement is new, the resources are new, the whole field has to be contested step by step.___* Its Croatian name, “Šopron”, is still in current use, and it contains enough Sla-vonic inhabitants to employ language in many of its official notices.

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It would be idle to expect another Haydn at present; the line has been broken, and must rally before it can advance. Enough for the moment that there are force and impetus and courage, that there is active and restless ability, that there is an unswerving determination to win the day. Who knows in what recruit’s knapsack the bâton of the field-marshal may be lying hidden ?

For in all the music of this century there is no phenomenon more remarkable than the steady progress of the Slavonic race. As early as 1818 an English critic was far-sighted enough to predict the advent of Russia,* and though his readers never lived to see the presage fulfilled, though in his generation there appeared no greatername than that of Glinka, yet our own day has verified his words beyondthe possibility of cavil. There may be some difference of opinion about Rubinstein, there can be none about Borodin or Tschaikowsky, and the traditions which they set are being ably followed by a whole school of younger composers. Toward the middle of the century came Chopin, whose chief ambition, as he himself said, was “to be the Uhland of his country,” and whose chief work was to stamp with the impress of a classic his national strains of polonaise and mazurka. Some thirty years ago Smetana’s brilliant comedy laid the foundation on which Dvořák has built, and rescued from disuse and oblivion the folk-songs of Bohemia. It is not without interest that we see another Slavonic nation re-entering the field. In one sense it was the leaderof them all, in another it is the latest accession to their ranks, and its fortunes, as it tries to regain a lost position, should be watched by us not only with encouragement, but with close and intimate sympathy.

_________

* The passage is worth quoting entire for more than one reason. “Nor can we imagine the art is on the decline while so great a genius as Beethoven lives. This author, though less perfect in other respects than Haydn, exceeds him in power of imagination ; and from recent specimens of his unbounded fancy it is to be expected that he will extend the art in a way never contemplated even by Haydn or Mozart If we were inclined to push our speculations further upon this point we might refer to the very extraordinary discoveries that are now making in Russia in the department of instrumental music. In the course of twenty years it is probable that such effects will be produced in that country as will lead to the most important results in the science of sounds.” —W. Gardiner, in the translation of Stendhal’s “ Letters on Haydn,” 2nd edition (London, 1818), Page 3

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For, de nobis fabula narratur. Western Europe also knows of a land which was once a leader in musical art, which forewent its trust, which suffered its voice to be silenced, which allowed its musicians to bid for popularity by adopting foreign names and foreign methods, which is now striving, with better opportunities than any Slavonic nation can possess, to recover the old ground, and recall the forgotten message.

If we disdain the comparison we may learn humility by reading the estimate in which we have long been held by our neighbours. “ English music,” says a recent German historian, “may be sa id to end wi th Purce l l” ; “English art,” say our French critics, “has long degenerated into imitation”; and though our present leaders are nobly refut-ing the charge, there is still with us too much of that cosmopolitan temper which is among the most insidious of our enemies. No doubt times are improving. In Leeds, in Birmingham, in Bristol, even in London, the Englishman may get a hearing, though unless he write Royalty ballads he will hardly find a publisher. Buthis audience is not yet attuned into proper sympathy with his work. We still judge too much by reference to alien ideals, we are still too indifferent to our own natural language, and our own natural cast of thought. And, until we shake off this indifference and learn to extend our patriotism to our art, we shall never resume our place as a great musical nation.

There is no need that we should offer a less cordial welcome to our foreign visitors, or a less cordial recognition of the immense service that they have done. “Was macht dieser Fremde hier?” is not patriotism, but discourtesy, a mark of the weakness which fears to meet the world frankly upon equal terms. At the same time we have no right either to neglect or to depreciate our own. A great artistic school is not built in a single moment or in a single generation; the work is long, heavy, difficult; it is easily discouraged, it is easily retarded, it needs all the care and diligence that it can command. And there is one way, and one only, in which we can bring it to a success-ful issue. Let us cut our timber from our own forests, let us quarry our stone from the bed-rock of our own nation, and then let our master-builders deal with the matter as their genius shall determine.

A most hopeful sign is the revival of interest in our national

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melodies. To the artists who have collected them, to the artists who are making them familiar, our cordial gratitude is due. But it is not enough to have them, we must use them; and it is not enough to use them, we must learn how to catch their spirit. Haydn had a far slighter material than ours, yet he could use it to a purpose which will be remembered when all our exotic romances are forgotten. And now that more than one English master is showing us the way, we have no excuse, we have no pretext for withholding our allegiance any longer.

It is now some years since a few English writers began to advocate the return to nationalism. Since then, much, no doubt, has been done, but much still remains to do, and to us hearers a great part of the reform is entrusted. We have listened to foreign tongues until our own sounds odd and unfamiliar. We have sat so long at Trimalchio’s banquet that we have no appe-tite left for our native fare. Extremes of passion, extremes of languor, inordinate appeals to sense, all these are alien from our national temper, and we are growing sur-feited with them until our taste is spoiled and our palate vitiated. It is just the same in the world of letters. “No one reads Scott,” says one critic; “No one wants Shakespeare,” says another; “give us d’Annunzio and Sudermann and the Im-moral Philosophy of Friedrich Nietzsche.” Fortunately English ethics and English literature may be left to look after them-selves; they have both a continuity of tradition which will prevent them from falling very far askew. But our art of music is being restored from the heaps of ruin into which it was laid two centuries ago, and it is the business of all who care for art or country to lend a hand. At least we might try to discover what English music has to say, and estimate our com-posers according to their capacity for saying it. This position is strengthened by all evidence of musical history. The same hand which made Germany a people enriched her with the “Marseillaise of the Reformation,” and so founded the long dynasty of her great composers. Art in France was at its lowest, when the chief occupation of Paris was to dispute between the claims of the Bavarian Gluck and the Italian Piccini. Italy herself declined as she lost her national character, the Slavonic

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peoples have advanced as they have reasserted theirs. And what is true of nations is equally true of their leaders. “The greatest genius,” says Emerson, “is the most indebted man “; the man, that is, who can turn to the most noble and enduring use the traditions of his age and country. So it was with Haydn. Nothing can be more false than to regard him as merely a Court musician, writing with ready and facile talent the pièces d’occasion that were needed for the theatre or the reception-room.

His life at Eisenstadt gave him opportunity such as no composer had ever before enjoyed, but the patronage was too enlightened and the character too strong to be satisfied withwork that was mannered or artificial. Under the famous “livery of blue and silver “ there beat the heart of a rustic poet, full of kindliness, of drollery, of good-fellowship, of the love of children and animals. His genius, trained by years of assiduous labour, gave him a complete mastery over the inherited resources of his art, his imagination extended them with fresh discoveries and inventions. But throughout the whole his favourite themes are pastoral, songs of the shepherd and the harvester, songs of country courtship, songs of the vintage feast and the jovial holiday. It is little wonder that he should speak in the language of his people, or recall the phrases that had been familiar from his childhood.

Yet it is no patois that he uses, but the speech of a whole nation; a living force that spreads wide and reaches to distant boundaries. Nor is he great because he has chosen this or that topic, this or that form of utterance; it is because he is great that there was no choice in the matter. He could not have written of set habit in the German idiom; he was Slav by race and Slav by temper, and his music is too genuine to present itself in foreign guise. It is from this point of view that we should understand him; not by loosely classifying him among a people with whom he had little in common, but by regarding him as the true embodiment of his own national spirit. The Greek proverb condemns a man of two tongues: through the world of art the condemnation is still in force, and at least some measure of it should fall on the ingenious critics who call patriotism parochial, and justify their epithet by obliterating frontiers.

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(Croats in Central Europe)

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APPENDICES.

Faksimil:

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Pogovor:Znanstveni komentar

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141

Joseph Haydn ili Josip Haiden?!Austro-hrvatski utemeljitelj klasičnog glazbenog stila

Jedno od na izgled, u korist hrvatske glazbene kulture i tradicije davno riješenih pitanja, spletom nesretnih povijesnih okolnosti, kao i uslijed poslovične sluganske hrvatske popustljivosti i podložnosti sugestijama stranih autoriteta (bili oni dobronamjerni ili zlonamjerni) dovelo je do toga da je klasični skladatelj Joseph Haydn (1732.-1809.) definitivno ubrojenu galeriju njemačkih skladatelja. Sve kada bi i bili točni navodi u knjizi Joseph Haydn, ein Buch von Vorfahren und Heimat des Meisters, Kassel 1934., njemačkog povjesničara/muzikologa Ernsta Fritza Schmida da je Haydn po precima isključivo Nijemac (tj. Austrijanac) svakako bi za nas bilo zanimljivo da se taj skladatelj, kao njemački rodoljub, u cijelosti ipak radije koristio folklorom gradišćanskih Hrvata nego li onim mađarskim (jer u Gradišću ni Mađari nisu bili daleko) ili germanskim, jer je živio nedaleko od Beča pa ni Nijemaca nije manjkalo. O tome je, na poticaj prvog hrvatskog muzikologa i etnomuzikologa Franje Ksavera Kuhača (1834.-1911.) problem osobno na licu mjesta istražio i u svojoj knjizi opisao jedan od najistaknutijih engleskih muzikologa svoga vremena Sir William Hanry Hadow (1859.-1937.) koji je godine 1897. u Engleskoj objavio i knjigu pod naslovom A Croatian Composer, Notes Toward a Study of JOSEPH HAYDN što je kao reprint tiskana 1972. u New Yorku, SAD (Ondje Hadow Kuhača s poštovanjem naziva doktorom!, iako on to nije bio). Zanimljivo je da knjiga u Hrvatskoj ne postoji nigdje, niti u jednoj istaknutoj biblioteci, što znači da ju je najvjerojatnije pročitao vrlo skroman broj naših suvremenika-znanstvenika: stavovi su, doduše, istovjetni s onima od Kuhača, ali argumentacija i stilizacija argumenata niti ne mogu biti mnogo drugačiji, jer se Hadow na licu mjesta osobno osvjedočio da predočeni dokazi pripadaju u kategoriju relevantnih i neosporivih podataka: on je Kuhačevu argumentaciju čak i proširio svojim, engleskim iskustvima.

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Akademik Županović o Haydnu

O pitanju “Haiden” izrazio se u članku “Utjecaj narodnog melosa Hrvata, posebice iz Gradišća (Burgenlanda), na stvaralaštvo Josepha Haydna” (Sv. Cecilija 1982/04, str. 77-81) i prof. dr. Lovro Županović. Poznato je da je Haiden skladao austrijsku državnu himnu “Gott erhalte Franz den Keiser” (Bože, čuvaj Cara Franju), koja je jasnije postala njemačkom himnom s tekstom “Deutschland, Deutschland über alles” (“Njemačka, Njemačka iznad svega” što se može shvatiti i kao “Njemačka iznad svih”, pa su je zapadne sile nakon 1945. Austrijancima zabranile izvoditi kao austrijsku himnu!). Kuhač i Hadow, a kasnije i svi ostali složili su se o tome da je u pitanju hrvatska melodija pod nazivom “V jutro rano ja se stanem”, a dr. Županović u svome je spisu o toj je melodiji napisao: “Međutim, ima podosta napjeva koji su prisutni u nekoliko različitih regija djelujući kao svojevrsna spona između njih. Jedan je od takvih, na primjer, napjev “V jutro rano ja se stanem”, prisutan s malim varijantama u Gradišću (Burgenlandu), Međimurju, Hrvatskom zagorju i najbližoj okolici Zagreba.” (ibidem), što je dokaz o neupitnom hrvatskom narodnom podrijetlu, karakteru i vlasništvu te melodije: nisu je Hrvati uzeli od Nijemaca, već su je Nijemci preko Haidena preuzeli od Hrvata! Županović, međutim, u svojoj znanstvenoj iskrenosti i otvorenosti nastoji uvažiti i uzeti u obzir i njemačkog znanstvenika Ernsta Fritza Schmida, pa kaže: “Što se, pak tiče dijela narodnog napjeva “V jutro rano ja se stanem”, za koji je Kuhač tvrdio da je Haydnu poslužio za početak nekadašnje austrijske državne himne “Gott erhalte...”, valja spomenuti i zanimljivo upozorenje Ernsta F. Schmida o njezinu mogućem ishodištu iz (početka) gregorijanske melodije Pater noster (Oče naš). To i nije bezrazložno, ali onda se - zbog u osnovi pentatonske jezgre i gregorijanike (u općenitom smislu) iz narodnih napjeva mnogih europskih naroda - nužno nameće preispitivanje narodne izvornosti ovih posljednjih...” Županović u tekstu potvrđuje da se Haiden služio zakonitostima narodnog glazbenog stvaralaštva svojstvenog Hrvatima i Slavenima, ali jasno je i to da je Schmidova zamjedba o podrijetlu napjeva “V jutro rano ja se stanem” iz gregorijanike upravo marginalna: pa čitavo europsko narodno stvaralaštvo crpilo je svoje uzore iz liturgije i gregorijanike, ali ne može se osporiti da je napjev strukturalno potekao iz duha hrvatskoga naroda i melosa kao niti to da ga je Haiden stručno doradio, što je kod skladanja jedna uobičajena stvar kojom se ne može osporiti podrijetlo inspiracije. Njemačka državna himna nesumnjivo je istovjetna s hrvatskim narodnim napjevom “V jutro rano ja se stanem”! A to je samo jedan od najzornijih primjera koji dokazuju da je Haiden “mislio” tj. osjećao - hrvatski.

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Dr. Nedjeljko Pavešković o Haidenu

U naše vrijeme problemom podrijetla Josipa Haidena (od sada u hrvatskoj verziji) pozabavio se i znanstveni autoritet, povjesnik i pravnik, dr. Nedjeljko (Anđelko, Nedo) Pavešković (r. 1921.), do nedavno ravnatelj pismohrane/arhiva UN u Genevi, Švicarska. U časopisu Hrvatske matice iseljenika “MATICA” 1999/01 pod naslovom “Traganje za hrvatskim korijenima u svjetskim arhivima” gospođa Grozdana Cvitan objavila je interview sa značajnim znanstvenim informacijama o Josipu Haidenu koje se moraju uzeti u obzir, jer iznio ih je profesionalni arhivist koji se problemom bavio na samim izvorima znanstvenih podataka.

U razgovoru Pavešković je izjavio: “Istraživao sam podrijetlo Josipa Haidena. Cvitan: Oprostite, govorite li vi o slavnom skladatelju Josephu Haydnu? Pavešković: O Josipu Haidenu, da. Jer prvi put korijenski zapisano njegovo prezime je Haiden, a Francuzi ga i danas tako pišu. Poticaj za to istraživanje dobio sam od kanadskog povjesnika M. Gibbona, nizozemskog povjesnika umjetnosti H. van Loona, britanskog glazbenog stručnjaka W. H. Hadowa, te našeg Franje Kuhača. Oni tvrde da je Haiden bio hrvatskog podrijetla i to po rodbinstvu i glazbenom nadahnuću. Hadow je radi proučavanja bio u Gradišću, Zagrebu i Sarajevu. Tamo se uvjerio u točnost Kuhačevih nalaza (vidi: William Hanry Hadow (1859.-1937.) 1897., A Croatian Composer..... JOSEPH HAYDN, Oxford, 1897.). Na istraživanje glede Haidena poticali su me i neki istaknuti Hrvati, primjerice pokojni dr. Vladimir Maček, dr. Juraj Krnjević, slikar Kristijan Kreković (poznatiji vani nego doma) i njegova supruga Sina, skladatelji Gotovac i Tijardović.... Gotovac i Tijardović su se tužili da JAZU neće ni čuti o tome, a da Hrvati vrlo malo izvode Haidenova djela u kojima je skladatelj upotrijebio i starohrvatske pučke napjeve. Do 1954. na Zapadu je vladalo uvjerenje da je Haiden Hrvat, iako je u međuvremenu Nijemac E. F. Schmid objavio u vrijeme Hitlera (neki misle po Hitlerovu nalogu) knjigu Joseph Haydn.... (Kaasel, 1934.) u kojoj pokušava pobiti istraživanja Kuhača, Hadowa i drugih. Schmid se uglavnom poziva na (Francuskinju) M. Bibilier koja je početkom ovog stoljeća spomenute znanstvenike optužila za “hrvatski separatizam”. Čini se da gospođu nije smetao austro-ugarski imperijalizam. O Haidenu sam 1984. godine održao predavanje na kanadskom Sveučilištu u Calgaryu, a kasnije je to objavljeno u obradbi gospođe Grlice u Hrvatskoj reviji. Bilo je to iste godine kada sam održao predavanje i o svojim istraživanjima o Poljicama i Moorovoj Utopiji, a što je objavljeno u Mosorskoj vili 1993. godine. (.....) Hrvatska prisutnost u obiteljskim prezimenima, u rodbinstvu, kumstvu i prijateljstvu njegove obitelji, te oko tridesetak hrvatskih pučkih napjeva u njegovim djelima (u više od stotinjak skladbi) tolika je da se preko toga ne može

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prijeći optužbom za “hrvatski separatizam” i slične pozive na šutnju, sve do Schmidova “zatvorite gubicu”. Tim više što su i u Schmidovoj knjizi vrlo vidljive proturječnosti i netočnosti. Njih sam dobro proučio i na njima sam temeljio dio svojih istraživanja da bih ih razotkrio. Međutim, ono što mu nije uspjelo nakon izlaska knjige, uspjelo mu je 1954. kad se Njemačka oporavila gospodarski i politički - Schmidove teze tada su prihvaćene na Zapadu. Mislim da bi Hrvati trebali uložiti napor da se istina o Haidenu ponovno počne izučavati .......”

Novija istraživanja i činjenice

U međuvremenu Pavešković (dr. Anđelko, Nedo) objavio je nova saznanja, nove dokaze o hrvatskom podrijetlu Haidena, tj. u cijelosti je osporio argumentaciju glavnog zagovornika Haidenovog nijemstva - E. F. Schmida. Naime, u Godišnjaku poljičkog dekanata, “Poljica” 2001/26 (god. XXVI, Split) na stranicama 61-107 Pavešković je objavio znanstveni članak pod naslovom «Skladatelj Josip Haiden (Haydn) Hrvat ili Nijemac?». Među ostalim Pavešković je dokazao kontinuitet hrvatske nazočnosti i hrvatskih naziva mjesta u Gradišću, spomenuvši da «…godine 1545. Habzburgovac Ferdinand I. daje Hrvatima “Privilegium” koji uključuje slobodu hrvatskog narodnog jezika te pravo Gradišćanskih Hrvata da biraju svoje župnike. (… A) 1 Skladatelja je krstio Hrvat – župnik Selešković. U matičnoj knjizi krštenih obiteljsko prezime njegova oca je ‘Haiden’, a ne Haydn. Na nadgrobnoj ploči Skladateljeve majke piše ‘Ana Maria Haidin’. (Istakao E.Č.) Sa župnikom Seleškovićem ‘Joškačeva’ majka razgovarala je o budućnosti svoga sinčića. Da li na njemačkom ili hrvatskom? Hrvati u Trstniku-Rohrau su njezina sinčića zvali od milja ‘Joškac’. Dok je ‘Joškac’ bio u Trstniku tamo je proživljavao svoje najbolje dane. Kad je u šestoj godini pošao Franckovima, dakle u njemačku sredinu, pa onda u Beč – počeli su njegovi teški dani. Tamo je postao ‘Supperl’, ali je bio stranac u Beču (Vignal). Njegovoj dječačkoj trstničkoj sredini davali su narodni, govorni i ljudski pečat prijateljevi Skladateljeve obitelji: Gobač, Penić i župnik Selešković. Skladateljev otac bio je seoski glavar (nasljednik Penića). On je također i zborovođa crkvenog zbora i zvonar u službi hrvatskog župnika Seleškovića (…) Nijemac dr. Nohl je uočio da je Haidenovo glazbeno nadahnuće došlo od ‘drugog’ naroda, ‘južnog’. Drugi Nijemac dr. Reissman je izričito potvrdio hrvatsku prisutnost u Haidenovim skladbama, kako su to našli Kuhač, Hadow i Conrad. Slično je potvrdio glede skladbe ‘Gott erhalte…’, glazbopisac Jacob. …» 2 i mnogi drugi koje Pavešković spominje, zajedno s izvorima. U toku života Haidena su Nijemci odbacivali kao stranca. «…Bečka, a naročito sjevernonjemačka glazbena kritika bila mu je vrlo nesklona. Napadali su ga kao stranog novajliju, prevratnika, uljeza koji remeti ustaljeni skladateljski red i izbor

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(motiva) te remeti ustaljena pravila skladanja (metodu).…» 3 Tome je uzrok mogao biti i u pojavi novog klasičnog stila, kojemu je otac Haiden. Novim stilskim pojavama uvijek slijedi oštar otpor. No, bilo je i Nijemaca koji su Haidena podržavali, ali to su iznimke, a «…onda se, nakon postignute Haidenove slave, kod Nijemaca dogodio veliki obrat. Ta njemačka ‘dilema’ ili protuslovlje pretvorila se u sljedeće: od nekadašnjeg ne-Nijemca postao je vele-Nijemac Haydn…» 4 Pavešković je dokazao da glavni protagonist usvajanja Haidena, Schmid, zanemaruje povijesne izvore iz kojih je Haidenovo hrvatstvo očigledno. Ne samo da Schmid nije naveo sve podatke o gradišćanskim Hrvatima, već je promašio i pri tumačenju prezimena Haiden. A «…popisi vrela, naročito u radovima dr. Breua i dr. Mirka Valentića nezamjenjivi su u našem predmetu. Rad dr. Breua pretežno se sastoji od navođenja starih isprava. Osim toga on ima nekoliko ‘karata’ koje pokazuje popis stanovnika svih narodnosti u Gradišću, te njihovo kretanje i raspored po naseljima, počev od XVI. st. U Valentića su naročito važne isprave iz Hrvatskog državnog arhiva u Zagrebu, te iz Nadbiskupskog arhiva u Zagrebu – “Metropolitana” i zapisnici Hrvatskog Sabora od XVI. stoljeća dalje, ukoliko se tiču našeg predmeta. Kada se ta radnja i njezin popis naselja i prezimena usporede sa Schmidovim odgovarajućim popisima, uoči se u tom pogledu Schmidov ogromni nedostatak. Inače, Schmidov rad i kazalo mjesnih naziva i prezimena vrlo su korisni, premda ima nekih proturječnosti. Uočava se i nedostatak izvora glede prezimena Haiden. (…) U vezi s tim nedostatkom potrebno je pogledati u enciklopedije i rječnike (dr. P. Skok) koji govore o izvoru i postanku riječi Haiden. Nadalje, slijedi njezino rasprostranjenje u Europi i Sjevernoj Americi istočno iz Azije…». 5 I samo majčino prezime Kolar vezano je uz hrvatsko vinogradarstvo, a Haidenovi su bili i vinogradari. I konačno, «…Schmid nije objasnio njemačko protuslovlje o Skladatelju, kao ne-Nijemcu u njegovo doba, a poslije vele-Nijemcu (1932., 1934.).» 6 K tome, u objašnjavanju prezimena Haiden «… nedostaje ono bitno: azijski izvor, te povijesni i zemljopisni hod riječi Haiden i helda…» 7 (…) «…Prezime Haiden, Heiden_Haydn, istog značenja kao ‘Paganus’ (Poganin), barbar, pojavljuje se kadkada jedno s drugim skupa i u vezi Skladateljevih predaka, počev od g. 1661.: Haiden-Paganus. Kod toga treba primijetiti da takav razvoj upućuje na zaključak da Haideni, Heideni, Haydn nisu izvorno bili Nijemci, nego ‘Pagani’, dakle: barbari, stranci, tuđinci. Time, u stvari, Schmid pobija sam sebe…» 8 Osim toga, «…Schmid nije dokazao da su Nijemci u godinama 1620.-30. potisnuli Hrvate iz Skladateljeva zavičaja (...) Mnogi podaci o doseljenim Hrvatima (npr. oni od Austrijanca R. Kiszlinga) govore suprotno Schmidovoj tvrdnji o potisnutim Hrvatima…» 9 Haidenovo prezime Nijemci su primili od drugih pa ga Haidenu nisu mogli dati kao svoje, dokazao je Pavešković, pa kada se uzme sve skupa,

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jasno je da se Kuhač u svom radu vodio znanstvenim, a Schmid političkim razlozima. 10 Ovdje postaje jasno da je nemoguće istinom krstiti one koji se istinom pokrstiti ne žele, ali činjenično stanje na dulji rok mora iznijeti povijesnu pobjedu, jer Josip Haiden jest i ostati će Hrvat, kako su to na samome početku znanstvenih istraživanja dokazali Kuhač i Hadow.

Engleski muzikolog o Haidenu

A što je o Haidenu u stvari rekao engleski muzikolog Sir William Hanry Hadow? Kao prvo pokušajmo razmotriti tadašnje političko stanje: 11 u onom vremenu na području Hrvatske zaista djeluje britanska agentura koja nastoji naći načina kako da austrijske političke nepravde počinjene prema Hrvatima iskoristi tako da Hrvate nahuška protiv Austrije i pripremi ih za Jugoslaviju. Šufflay je bio prvi koji je ukazao na prave tvorce KraljevineSHS, a to su bili Englezi Wickham Steed i Seton Watson. Danas raspolažemo s materijalnim dokazima da je S. Watson jedini i pravi otac Jugoslavije, a W. Steed mu je samo bio pomagač. Nije slučajno to što Hadow već u ono vrijeme Hrvate opisuje kao okrutne ratne ubojice: 12 Englezi su se od vremena Bana Jelačića, koji im je 1848. g. pomrsio planove u od njih podupiranoj Madžarskoj revoluciji, brinuli za to da Hrvatima stvore negativni svjetski image. Tako je bilo i nakon oba svjetska rata, a zadnji naš Domovinski rat 1990.-1996. kulminacija je ponavljanja istovrsnih optužbi od strane engleskih institucija (Haaški sud, britanska diplomacija itd). U shematizmu ponovljenih povijesnih predrasuda ima metode!

Ako istraživanja Hadowa postavimo u takav povijesni kontekst, smijemo postaviti i drsko pitanje: nisu li Englezi trajno nastojali obezvrijediti Nijemce ne samo na političkom već i na kulturnom planu? Nisu li im željeli oteti Haidena, da tako umanje važnost germanskog duha, utjecaj njihove promičbe i germanske originalnosti u svijetu? Jer, Haiden je osnivač slavnog klasičnog stila! Svakako, njima je bio cilj umanjiti veličinu Austrije i Njemačke. Ali, mi Hrvati moramo biti pametni pa se upitati: nije li Austrija nastojala umanjiti veličinu i političku snagu Hrvatske da bi je držala pod nadzorom? Nije li svaka velika sila pokušavala nametnuti svoju povijesnu sliku o svojoj i tuđoj kulturnoj vrijednosti i veličini? Sigurno jeste, i mi to iz povijesti znamo, u svezi s Austrijom o tome govori Ante Starčević, a u knjizi Hadowa takva svjedočanstva prenio mu je i Franjo Kuhač. Ako dr. Nedjeljko Pavešković upućuje na kontradikcije i netočnosti njemačkog znanstvenika, tada mi moramo početi reviziju naše glazbene povijesti i poslušati mišljenje Hadowa i Kuhača. A oni se slažu da je Haiden: 1) od 1761. do 1790. radio kod kneza Esterhazyja u samom središtu hrvatske naseobine (u tom se središtu i rodio), te je svaki

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dan bio u prigodi slušati hrvatske pjesme. 2) da je ime Haiden, Hajden ili Hajdin često na području Hrvatske (počev od bosanskih Hrvata, koje su Nijemci zvali Wasser-Kroaten, “Vodeni Hrvati”, jer su u Austriji naseljavali područja između istaknutih rijeka) i svuda gdje su naseljeni Hrvati, sve do Pressburga iliti Bratislave čije je stanovništvo krajem 18 stoljeća oko 50% bilo hrvatsko, 3) da je Haidenova majka rođena u Trsteniku (Rohrau, u istom tom Gradišću) koje je u ono doba bilo izričito hrvatsko selo, a njezino djevojačko ime zapamćeno je i kao Koller, što Kuhača i Hadowa upućuje na vjerojatnu iskrivljenicu iz imenice Kolar, (ovo potvrđuje Pavešković) a ako bi smo prihvatili pretpostavku da se Njemica udala za Hrvata tada ne možemo smetnuti s uma: 4) da je pradjed, kao prvi član porodice do kojeg se u rodoslovlju može doći nosio ime Caspar Haiden, djed mu se zvao Thomas Hayden, a otac se pisao kao Mathias Haiden, 5) da je Josip Haiden (kao i svi njegovi preci) bio seljak, koji se u hrvatskom okolišu suživio sa ostalim življem, te je tako postupno postao utjelovljenjem narodnog duha, 6) i konačno, psihološki je upravo nemoguće da bi netko tko nije Hrvat, a veliki je skladatelj, čitav svoj opus prožeo hrvatskim melosom, (a da čak ne bude ni svjestan kako na svojim brojnim djelima ostavlja trag jednog određenog naroda). 7) Nisu samo melodije hrvatske već i taktna struktura: tada je melodija izgrađena iz četverotaktnih cjelina, a Haiden koristi peterotaktne! Djela velikih majstora nisu samo subjektivni iskaz vlastitih osjećaja, već i socijalni iskaz o društvenoj pripadnosti. Hadow je to izrazio na ovaj način: “Ili zakonitost nacionalnosti nije primjenjiva na Haydna ili je njegovo pripisivanje njemačkoj rasi (naprosto) jedna etnološka greška”. (str. 17 engleskog originala, ovdje s. 16 i 83).

Ova je knjiga krunski dokaz da je linija od Kuhača do Paveškovića, uključujući i moju malenkost, ona znanstvena dimenzija koja se zalaže za ispravak grešaka kao i svih nepravdi prema hrvatskoj kulturi i Hrvatima u cijelosti.

Emil ČIĆkolovoz, 2005.

Prošireni komentar; u prvoj verziji objavljeno pod naslovom Deutschland, Deutschland über alles, -

V jutro rano ja se stanem, Austro-hrvatski skladatelj Josip Haiden, u: „Slobodna Dalmacija „ , prilog Tjedan’ 01. 04. 2001.,

kasnije u knjizi „Hrvatska glazba i glazbenici“, Split 2005

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Bilješke:

1 Pavešković, N.: «Skladatelj Josip Haiden (Haydn) Hrvat ili Nijemac?», Str. 73

2 ibidem, str. 97/98

3 s. 96

4 s. 96

5 s. 101

6 s. 102

7 s. 104

8 ibidem s. 78, 79: «U davnini je postojalo u zapadnoj Aziji starosarmatsko pleme: HAINIDI.», Schweitzer Lexikon, Zürich, 1946, s. 334, 336, 347, 350, 353

9 s. 104

10 s. 106

11 «…Godine 1937. i 1938. nizozemski povjesnik umjetnosti Henryk van Loon (THE ARTS – N. Y. 1937.) I KANADSKI POVJESNIK Murray Gibon (Toronto, 1938.), upozorili su na političku pozadinu tog pitanja…»Pavešković, ibidem str. 100 Dakle, nije neopravdano analizirati političke okolnosti onih vremena. Analiza odgovara na pitanje: «S kojom motivacijom je netko postupio upravo tako, Je li lagao? Zašto?»

12 “...Od gospođe Western u «Tomu Jonesu» do Barta Rizza u «Vittoriji» svatko se podrugivao Hrvatima. Došli smo dotle da ih držimo u najboljemu slučaju divljacima, a u najlošijemu plaćenim ubojicama. Asocijacije koje povezujemo s njihovim imenom su one o ratu i pljački, o mahnitu srljanju u juriš i zloporabi pobjede, o životima danima u zamjenu za dobitak ili upropaštenima u razuzdanosti….”, s. 17 ove knjige. Englezi uvijek rado zaboravljaju da drže rekord u svjetskoj genocidnosti i pokvarenosti: u roku od koji četiri stotine godina preko Istočno-indijske kompanije i drugih pothvata pobili su pola milijarde ljudi i uništili su barem osam svjetskih civilizacija, od uništenih devet (Vidi “Tragedija i nada”, Carroll Quigley)

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Joseph Haydn or Josip Haiden?The Austro-Croatian founder of the Classical style in music

Arising from unfortunate historic circumstances and owing to the proverbial Croatian readiness to yield to any suggestions of foreign authority (whether good or malicious), there is one question that begs to be resolved in favour of Croatian music culture and tradition, which looks like it might be resolved forever contrary to historic truth: should classical composer Joseph Hayden (1732-1809) stay in the gallery of German composers? But even if the quotations in the book written by German historian and musicologist Ernst Fritz Schmid, Joseph Haydn, ein Buch von Vorfahren und Heimat des Meisters, Kassel 1934, were right (and he asserts that Hayden was exclusively German - i.e. Austrian) it would be interesting for Croats and of the greatest importance to know that this composer as a “German patriot” was preferably inspired by Croatian tunes from the Austrian region of Burgenland; for his (best known) works he choose not to use the predominantly melodic material from the Hungarian or German folklore (in spite of the fact that the Germans or Hungarians did not live very far from the Croatian settlement). The issue was examined by one of the most outstanding English musicologists of his time Sir William Henry Hadow (1859-1911) who published a book in 1897 with the title A Croatian Composer, Notes Toward a Study of JOSEPH HAYDN. Hadow got his information from the first Croatian musicologist andethnomusicologist Franjo Ksaver Kuhač (Kuhach, 1834-1911). Hadow’s book was published again in 1972, in New York. It is very interesting that this book is not found at any Croatian library which means that - in spite of its significance - the book could only have been read by a very smallnumber of Croatian scientists. Hadow’s attitudes were the same as those of Kuhach: Hadow considered the facts to be of the greatest relevance and could not be denied. Hadow, in fact, expanded on Kuhach’s evidence.

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Dr. Zhupanovich from the Academy of Science on Haiden

Prof. Zhupanovich (Lovro Županović, 1925-2004, from the Croatian Academy of Science and Arts) wrote on ‘the question of Haiden’ in his article “The Influence of the Croatian Folklore, especially fromthe Area of Gradišće (Burgenland), on the Creativity of Joseph Hayden” (in: Sv. Cecilija 1982/04, str. 77-81). It is very well known that Haiden composed the Austrian state anthem “Gott erhalte Franz den Keiser” (‘God save the Emperor Franz’), which later became the famous German state anthem with the text “Deutschland, Deutschland über alles” (“Germany, Germany above everything” and which could also be understood as “Germany, Germany over All (nations).” So the western allies forbade its performance to the Austrians after WW II). Kuhach and Hadow and a lot of musicologists who came after them were unanimous in their opinion that the melody of the anthem is in fact a Croatian folk melody “V jutro rano ja se stanem” and on the melody Dr. Zhupanovich said: “… Meanwhile, there are melodies present in a few different regions which are common to all and act as a connection between them. For example, the melody “V jutro rano ja se stanem” which is present as a slight variant in Gradisce (Burgenland/Austria), Medjimurje (Croatia), Croatian hills (Zagorje), and in around the city of Zagreb…” proving the evident Croatian national character, origin and ownership. The Croats did not take it from the Germans but the Germans from Croats! Dr. Paveshkovich said even more, as we will see later. Meanwhile, Zhupanovich tried to be honest and open to the other side and to take into consideration the views of German scientist Ernst Fritz Schmid. He said: “…And concerning the part of the melody “V jutro rano ja se stanem” which Kuhach asserted served Haiden as the very beginning of the former anthem ‘Gott Erhalte…’ it is necessary to point out an interesting warning of Ernst F. Schmid about its origin from the (beginning) of the Gregorian chant “Pater noster.” The opinion is not completely groundless but in that case – because of the fundamental pentatonic essence and Gregorian chant in the folk melodies by many European nations (in general) – the re-examination for originality of the aforementioned imposes a logical consequence.…” In his paper, Zhupanovich confirms that Haidenused laws of musical creativity proper to Croats and Slavs but it is clear that Schmid’s observation on the origin of the melody “V jutro rano ja se stanem” from Gregorian chant is actually marginal: because the complete European folk creativity was under the influence of the liturgical patternsof the aforementioned chant. What one can not deny is the fact that the melody’s structure has its origin in the Croatian spirit and melos and that Haiden developed the tune very professionally as any composer develops his collected music material. But the origin of the inspiration should be

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clear. It is beyond question: The very beginning of the German state anthem is equivalent to the Croatian folk tune “V jutro rano ja se stanem”! And it is only one example which shows that Haiden thought and felt – in a Croatian way.

Dr. Nedjeljko Pavešković on Haiden

In our time the question of Josip Haiden’s Croatian origin was dealt with by scientist, historian and jurist Dr. Nedjeljko (Anđelko, Nedo) Pavešković (b. in 1921). As a former director of the Geneva archive, Switzerland, Mr. Paveshkovich has a certain authority in the field of research.In the journal of the Croatian Matrix of Emigrants, “Matica” 1999/01 under the title “Identifying Croatian Roots in the Archives of the World” Mrs. Gordana Cvitan published a very informative interview on Josip Haiden which ought to be taken into consideration as it was published by a professional who conducted research on the essential source of information. In the interview Pavešković (Paveshkovich) said: “…I researched the problem of Josip Haiden…” Mrs. Cvitan: Excuse me, do you speak on the famous composer Joseph Hayden? Paveshkovich: … “Yes, indeed, I speak of Josip Haiden because his family name is sometimes written as Haiden, it is the root of the name and in our time the French also write it like that. My first stimulus arrived from the Canadian historian M. Gibbon, followedby Holland historian of arts H. van Loon and the British professional on the field of music W. H. Hadow as much as from our Croatian Franjo Kuhač (Kuhach). They asserted that Haiden was of the Croatian origin through his family relations as much as in the field of his music inspiration. To conducthis research Hadow went to Gradišće, Zagreb and Sarajevo where he got his insight into the validity of Kuhach’s research there. (see: William Hanry Hadow (1859-1937) 1897, A Croatian Composer..... JOSEPH HAYDN, Oxford, 1897). Concerning Haiden I was also stimulated to conduct research by some outstanding Croats such as the late dr. Vladimir Maček (leading politician around 1930-1945), dr. Juraj Krnjević (politician), painter Kristijan Kreković (who was much better known outside the country) his wife Sina, and composers Jakov Gotovac and Tijardović. (…) Gotovac and Tijardovic very much regretted the fact that the then Yugoslav Academy of Science and Arts did not want to hear about the problem, and also the fact that Croats performed his music, where the old Croatian tunes were used, very infrequently. Until 1954 in the West, the belief that Haiden was a Croat predominated, in spite of the fact that the German author E. F. Schmid in Hitler’s time (some believe on Hitler’s command) had published a book Joseph Haydn.... (Kaasel, 1934.) where he attempted to deny the results of research given by Kuhach, Hadow and the others. Schmid refers

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to the French author Mrs. M. Bibilier who accused the two scientists of “Croatian separatism”. It seems the lady was not embarrassed by Austro-Hungarian imperialism. At the Canadian University of Calgary in 1984 I gave the lesson on Haiden and later it was published in the Croatian journal “Hrvatska Revija” under the redaction of Mrs. Grlica. This happened in the same year I read my papers on the relationship of Poljice to Moor’s Utopia. All was published in ‘Mosorska vila’ in 1993. (…) The Croatian presence in the family names, through relatives, those who stood as godfathers and friends of his family and some thirty folk tunes in his works (more than a hundred compositions), is so big that one can not accept the accusation of “Croatian separatism” or appeals to be quiet, or Schmid’s “shut your mouth!” - all the more because in Schmid’s book the contradictions and lack of precision are so evident. I studied the case very carefully and I have built up my research to reveal the mistakes on the ground of his inaccuracy. Meanwhile, the result which was not reached after the publishing of Schmid’s book succeeded in its aim in 1954. After Germany’s economical and political recovery Schmid’s theses were accepted on the West. In my opinion the Croats should undertake every necessary effort to stimulate new research on what is the real truth on Haiden.

A New Research and the Facts

In the meantime Pavešković (Dr. Anđelko, Nedo) published his findings, new proofs on the Croatian origin of Haiden, completely denyingthe arguments of the main advocate of Haiden’s German origin – E. F. Schmid. Namely, in the annual book of the Poljice deanery, “Poljica” 2001/26 (y. XXVI, Split) on pages 61-107 Pavešković published a scientific articleentitled “The Composer Josip Haiden (Haydn) – a Croat or German?”. Among the facts is a proof on the continuity of the Croatian presence with names of Croatian places in the area known as Burgenland or Gradišće. Pavešković mentioned that “… in year 1545 Ferdinand I from Hapsburg house was giving a “Privilegium” (Privilege) which included a freedom of the Croatian national language and a right of Burgenland Croats to choose their rector/vicar (… and) 1 the Composer was baptized by a Croat – a vicar Selešković. The book of baptisms records the family name of his father is ‘Haiden’ – not Hadydn. On his mother’s gravestone is written ‘Ana Maria Haidin’. (emphasized by EC). “Joshkac’s” mother spoke to vicar Selešković on the future of her son. Was it in German or in Croatian? The Croats from Trstnik-Rohrau called her son by a nick-name ‘Joshkac’. While ‘Joshkac’ spent his best days in Trstnik. Aged six years, he was sent to the family Franck, hence to the German surrounding and later to Vienna where his dark days started. He was a ‘Supperl’ there – but, in fact, he was

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a foreigner in Vienna (Vignal). During his childhood in the area of Trstnik he received his national, conversational and human influence throughfriends of the Composers family: Gobač, Penić and vicar Selešković. The Composer’s father was the rural chief of the community (and the inheritor of Penić). He was also a conductor of the church choir and conductor of the church bells in the service of the vicar Selešković. (…) A German, Dr. Nohl got an insight that Haiden’s music inspiration arrived from the ‘other’ nation, from ‘south’. Another German, Dr. Reissman, confirmed theCroatian presence in Haiden’s works explicitly, in the sense that Kuhach, Hadow and Conrad had found. Similar confirmation is to be found by themusic writer Jacob, concerning the composition ‘Gott Erhalte…’” 2 and by many others mentioned by Paveshkovich (Pavešković), together with their sources. During this period of his lifetime Haiden was considered a foreigner by the Germans. “…The Viennese and especially the North-German music critic did not accept his music. They attacked him as a foreign newcomer, as subversive, an intruder who disturbed the settled composers order and choice and one who deranged the settled rules of composing …” 3 The reason for such a reaction could also be the fact that Haiden was, actually, a father of the new classical style. The appearance of any new style can precipitate a sharp reaction or rejection. But, of course, there were also Germans who supported Haiden: they were the exception. And all at once, “…after Haiden had achieved his glory, the inverse happened to the Germans attitude.The German ‘dilemma’ or contradiction was transformed into the next stage: from being the former non-German he started to be a great-German Haydn…” 4

Pavešković has proved that the main protagonist of Haiden’s adoption, Schmid, neglected the historical sources from which Haiden’s Croatian origin is evident. Dr. Schmid did not just fail to adduce all evidence on the Burgenland Croats, he also failed in his interpretation of the family name Haiden. And “…the index of sources, in works of Dr. Breu and Valentić ( Mirko Valentić, the former director of the Institute for the Croatian History in Zagreb, remark EC) especially, are irreplaceable in our work. The paper of Dr. Breu consists predominantly of quotations from old documents. Besides, there are few ‘maps’ which shows the register of the inhabitants of all nationalities in Burgenland (Gradisce) and their motion and apportionment in different settlements, from the beginning of XVI. C. Of greatest importance to Valentić are the papers from the Croatian state archive in Zagreb and from the Archive of Archbishops diocese of Zagreb, so called “Metropolitana”, as much as the records from the Croatian parliament from the period XVI. C. further, if related to our subject. If we use this record with the records of places and family names and compare it to Schmid’s comparable records it is evident that Schmid’s work suffers

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from an immense lack of precision. However, Schmid’s work and contents of the local names of places is very useful (to some extent), but there are also some contradictions. Concerning the family name Haiden the lack of sources is evident. (…) In connection with the lack of information it is necessary to look at the encyclopedias and dictionaries (see: Dr. P. Skok) which explain to us the root and building up of the word Haiden. From this source we may also get an insight into the spreading of the word in Europe and North America from the East, from Asia…” 5 Also the mothers family name Kolar is actually related to the Croatian vineyards and the Haiden’s family were wine-growers! Finally, “…Schmid did not explain the German contradiction on the Composer as non-German in his life-time, and afterwards as a great-German (1932, 1934)…” 6 And last but not least, in explaining the family name Haiden “…the essential thing is missing: the Asian source and the historic and geographical way of the word Haiden and helda…” 7 (…) “…The family name Haiden, Heiden-Haydn, together with ‘Paganus’, meaning barbarian, sometimes appears each with the other in connection to the Composer’s predecessors, starting in 1661: Haiden-Paganus. In addition we must take notice of the fact that such development contributes to the conclusion that Haiden, Heiden, Haydn were not Germans primarily, but the Paganus, hence: the barbarians, foreigners, strangers. In this way Schmid actually denies himself by – himself…” 8 Moreover, “…Schmid did not prove that the Germans in the period 1620-30 extruded the Croats from the Composer’s homeland (…) A lot of information supplied on the immigrant Croats (for example, those of the Austrian R. Kisyling) stands contrary to Schmid’s assertion on the extruded Croats…” 9 The Germans had received Haiden’s family name from others, so they could not give it as their originally own, proved Pavešković, so we can agree with his conclusion that Kuhach was led by scientific and Schmid by politicalmotivation. 10 Here it is clear that it is impossible to baptize in truth those who do not want to be baptized in truth, but in the long terms the facts will be brought to the light and bring the final historic victory of truth, that JosipHaiden is a Croat and his music will speak for him together with historic facts.

The English musicologist on Haiden

What, actually, did Sir William Hanry Hadow say on Haiden? First we should examine the political background: 11 During the period of his research, the British secret service in Croatia were actively examining ways of channelling Croatian political discontent against the Austrian Empire: Political injustices committed against the Croats throughout the longer period of history could be used to push the Croatians against Austria-Hungary and prepare them for what was later Yugoslavia. The respectable

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Croatian historian Milan von Sufflay (1879-1931) was the first Croat topoint his finger at the real creators of the Kingdom of Slovenians, Croatsand Serbs (later Yugoslavia), at Englishmen Wickham Steed and Seton Watson. Today we have proof 12 that Seton Watson was the real and only father of Yugoslavia and Steed was his helper. It was not by chance that already in his time Hadow had described the Croats as cruel war mongers: 13 from the time of the Croatian governor Jelačić, who broke the Hungarian Revolution in 1848 which was actively supported by the British, the British have promoted a negative image of Croats. We had the same sort of political propaganda against the Croats in the period of WW I and WW II. Following the Croatian Homeland War 1990-1996 the country is currently under pressure from a cumulation of accusations of British institutions (The Court of Hague, British diplomacy etc). There is a repeated pattern in the scheme of their accusations!

If we put Hadow’s research into historical context we may also put an impertinent question: Did the British wanted to diminish the Germans, not just on the political level but at cultural level also? Could they have had a certain interest in reducing German cultural propaganda and strong German individuality? After all, Haiden was the father of the Classic style in the field of music! They could have aimed to diminish the glory ofAustria and Germany. Croats should be clever and ask themselves: isn’t it true that the Old Austria tried to diminish the political power of Croatia and successfully put it under her control? Didn’t every great power try to create its own image of glory on foreign and domestic cultural values and greatness? Yes, from history we know that every power has influenced itsown image creatively, as Croatian ideologist Ante Starcevic spoke about Austria and in the case of Hadow’s book similar testimonies on the English writer were transmitted by Franjo Kuhach. Now the time has come when Croats should use the right moment in favor of scientific truth and open new scientific insight into their ownoriginal cultural dimension. If Dr. Paveshkovich refers the German scientist to re-examination for inaccuracy, then Croats must start with the revision of their music history and listen to opinions of Hadow and Kuhach. And as we have already seen, they came to the conclusions that Haiden: 1) was working for the duke of Esterhazy from 1761 to 1790 in the midst of a Croatian settlement (where he was born), 2) that the family name Haiden, Hajden or Hajdin appears in the area of Croatia frequently (starting with the Bosnian Croats, called Wasser-Kroaten, ‘water-Croats’ by the Germans, because in Austria they were settled around the most splendid rivers) and everywhere the Croats were settled, including Pressburg known as Bratislava where 50% of the inhabitants were Croatian!, 3) that Haiden’s mother was born in Trstenik (or Rohrau in Burgenland) which was at that period of history a

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Croatian village explicitly and her maiden name is remembered as Koller, which for Kuhach and Hadow gives an important indication that it could be some distorted variant of the name Kolar (more by Paveshkovich) and, even if we would accept an assumption that a german girl had married a Croat, we can not omit the facts that; 4) the great-grandfather, the firstmember of the family as far as we can go through his genealogy, was named Caspar Haiden, his grandfather was Thomas Hayden and his father wrote his name as Mathias Haiden 5) that Josip Haiden was (like all his predecessors) a peasant who lived in the Croatian surrounding and caught the spirit of the people and at least was a part or ‘incarnation’ of the Croatian national spirit, 6) and, finally, psychologically and logically is impossible that someonewho is not a Croat would saturate his complete opus with the Croatian melos (even without being conscious that he left in his work an imprint of one particular nation). 7) As we can see, it is not just the tunes which are of Croatian origin but also the bar structure: at that moment of the music history the bar structure was built up from 4/4 measure and Haiden also used 5/4 measure! The works of the great masters are not just a subjective expression of the personal feelings but sometimes also a statement on their social affiliation. Hadow said it this way: “either the law of nationality is inapplicable to Haydn, or his assignment to the German race is an ethnological error.” (p. 83). This book is a crown-proof /conclusive evidence that the line from Kuhach to Paveshkovich, and including my own humble contribution is a scientific dimension which strives and fights to correct old faults, sinsand errors and tries to redress old injustices to Croatian culture and the Croats as a whole.

I must express my gratitude to Mr. Darko Zhubrinich, a great Croatian patriot, who drew my attention to the case to motivate my study of the papers and finally – publish this book.

Emil ČićAugust, 18th 2005

Deutschland, Deutschland über alles, - V jutro rano ja se stanem, Austro-hrvatski skladatelj Josip Haiden,

in: “Slobodna Dalmacija “, prilog Tjedan, 01. 04. 2001,later also in the book „Hrvatska glazba i glazbenici“, Split 2005

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Footnotes

1 Pavešković, N.: «Skladatelj Josip Haiden (Haydn) Hrvat ili Nijemac?», p. 73

2 ibidem, p. 97/98

3 p. 96

4 p. 96

5 p. 101

6 p. 102

7 p. 104

8 p. 78, 79: «Once upon a time there was an old Sarmatian tribe in the Western Asia: HAINIDI.», Schweitzer Lexikon, Zürich, 1946, p. 334, 336, 347, 350, 353

9 p. 104

10 p. 106

11 «…In y. 1937 and 1938 the Holland historian of the arts Henryk van Loon (THE ARTS – N. Y. 1937) and a Canadian historian Murray Gibon (Toronto, 1938), warned that there must be a political background to the question …»Pavešković .ibidem p. 100 Hence, it is not completely unjustified to analyse the political circumstancesof those past times. The analyses gives an important answer to the question: «What was the motivation of the person to handle the subject in this way? Did he/she lie? Why?»

12 Šufflay, Milan: Izabrani politički spisi, Zagreb: Matica Hrvatska 2000«…As reported by the American press the British Steed and Watson (Scotus Viator, Glasgow, 1879 - Skye, 1951) are called the fathers of Yugoslavia…” (20th September, 1928, in: “Hrvatsko Pravo”)See more by: “R. W. SETON - WATSON AND JUGOSLAVS”, Correspondence 1906- 1941, (The Institute for Croatian History and The British Academy, Zagreb 1976.)

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13 “ From Mrs. Western in “Tom Jones” to Barto Rizzo in “ Vittoria “ everybody has had a fling at the Croats. We have come to regard them at best as savages and at worst as mercenary assassins. The associations that we connect with their name are those of war and pillage, of fierce onslaught and misused victory, of lives bartered forgain or spilled in mere wantonness.….” See p. 84 of the book. Englishmen gladly forget a significant fact: that they hold the world record in the field of genocide andvillainy: during the period of some 400 years (after Henry VIII through the East-India Company and other enterprises ) they have killed some half a billon people and destroyed some eight civilisations out of the nine in the history of the world - probably even more. (See at least; ‘Tragedy and hope’, Carroll Quigley)

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josip haiden - a croatian composer

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