pity to lose such a fresh, melodious
little work as "The Seasons"; but it is only too apparent that while
there was no appreciable failure of Haydn's creative force, his physical
strength was not equal to the strain involved by a composition of
such length. In 1806, when Dies found him rather weaker than usual, he
dolorously remarked: "You see it is all over with me. Eight years ago it
was different, but 'The Seasons' brought on this weakness. I ought
never to have undertaken that work. It gave me the finishing stroke."
He appears to have started on the work with great reluctance and with
considerable distrust of his own powers, but once fairly committed to
the undertaking he entered into it with something of his old animation,
disputing so manfully with his librettist over certain points in the
text that a serious rupture between the two was at one time imminent.
The subject was probably not very congenial to Haydn, who, as the years
advanced, was more and more inclined towards devotional themes. That
at least seems to be the inference to be drawn from the remark which he
made to the Emperor Francis on being asked which of his two oratorios he
himself preferred. "'The Creation,'" answered Haydn. "In 'The Creation'
angels speak and their talk is of God; in 'The Seasons' no one higher
speaks than Farmer Simon."

"The Seasons" criticized

But whether he liked the theme or not, in the end he produced a work as
fresh and genial and melodious as if it had been the work of his prime.
If anyone sees in it an evidence of weakness, he is seeing only what he
had expected to see. As Mr Rockstro remarks, not a trace of the "failing
power" of which the grand old man complained is to be found in any part
of it. It is a model of descriptive, contemplative work, and must please
by its thoughtful beauty and illustrative power. True to Nature in
its minutest details, it yet never insults her by trivial attempts at
outward imitation where artistic suggestion of the hidden truth was,
possible. The "delicious softness" of the opening chorus, and the
perfection of rustic happiness portrayed in the song which describes the
joy of the "impatient husbandman" are alone sufficient to prove that,
whatever he may have thought about it himself, Haydn's genius was not
appreciably waning.

The first performance of "The Seasons" took place at the Schwartzenburg
Palace on the 24th of April 1801. It was repeated twice within a week;
and on the 29th o