Nikolaus Esterházy

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Prince Nikolaus Esterházy (1714-1790) was a Hungarian prince, a member of the famous Esterházy family. He is best remembered as the principal employer of the composer Joseph Haydn. His building of palaces, extravagant clothing, and taste for opera and other grand musical productions led to his being given the title "the Magnificent".^[1]

Contents 1 Life 2 Benevolence 3 Nikolaus and Joseph Haydn 4 Notes 5 References 6 See also

[edit] Life

Nikolaus Esterházy was the son of Prince Joseph (József Simon Antal) (1688-1721), and the younger brother of Prince Paul Anton (Pál Antal) (1711-1762). He took the title of Prince on his brother's death.

His name is given in various languages: German (the language of the Austrian Empire of which he was a prince) "Nikolaus Josef", Hungarian (probably his native language) "Miklós Jozsef," and (in English contexts) the English form of his name, "Nicholas".

In early life he served as a soldier, and rose to the rank of Field Marshal.

In the 1770s, the Prince, who disliked Vienna, had a magnificent new palace constructed at Eszterháza (now Fertőd), in rural Hungary on the site of a former hunting lodge. This is the most admired of the various Esterházy homes, is often called the "Hungarian Versailles," and is a major tourist attraction today.

Nikolaus wore a famous jacket studded with diamonds. As a hobby he played the cello, the viola da gamba, and (his favourite instrument), the difficult and now-obscure baryton.

Nikolaus had a very high income; according some sources, he was richer than the Austrian Emperor. However, his expenses were also high, and on his death his son and successor Anton (Antal) (1738-1794) was forced to retrench financially.

[edit] Benevolence

Nikolaus did not spend all of his income on himself; Karl Geiringer, in his biography of Haydn (1982, p. 54), documents a program of social welfare maintained by the Prince for his employees:

Prince Nicolaus often showed himself to be generous and kindhearted and by and large displayed a degree of social-mindedness uncommon at that time. He paid pensions to aged employees, and bestowed small sums on their widows. He supported a modest hospital in Eisenstadt and another in Eszterháza, which were available to the court employees. The medicines dispensed by the monastery of the Brothers of the Order of Mercy were, in most cases, paid for by the Prince. Any employee was entitled to consult one of the three physicians attached to the court, and , if the doctor so advised, an ailing servant was sent at the sovereign's expense to a spa to receive treatment.

[edit] Nikolaus and Joseph Haydn

Nikolaus did not hire Haydn, but rather "inherited" him from his brother, who had hired him as Vice Kapellmeister in 1761. He was responsible for the promotion of Haydn to full Kapellmeister on the death of the old Kapellmeister, Gregor Werner, in 1766.

It is evident that, following a brief initial rough period (Haydn was reprimanded for negligence in 1765), the prince ultimately came to treasure Haydn. For instance, he frequently presented Haydn with gold ducats in praise of individual compositions,^[2] twice rebuilt Haydn's house when it burnt down (1768, 1776),^[3] and reversed a decision (1780) to dismiss the mediocre soprano Luigia Polzelli from the payroll when it became evident that Polzelli had become Haydn's mistress.^[4] Haydn was also allowed (1766) to retain another mediocre singer on the payroll, his younger brother Johann.^[5]

The official reprimand of 1765 included wording insisting that Haydn compose more works for the Prince's favorite instrument, the baryton. Haydn responded immediately, and in the period starting at this time and continuing into the mid 1770's wrote 126 baryton trios, as well as other works for the instrument.^[6] The baryton being quite obscure today, this music is not often played at present.

In his later life Nikolaus played much less and became something of a couch potato, listening to ceaseless performances of operas produced by Haydn and his troupe both for the main theatre and for the marionette theatre at Esterhaza. Haydn wrote several of these operas himself (see List of operas by Joseph Haydn). These are likewise among his least remembered works.

There is no sign that Nikolaus had any real interest in Haydn's string quartets, now considered among his greatest works.

However, this is one area of Haydn's œuvre where Nikolaus can be uncontroversially considered a great patron of musical arts, as he was the primary sponsor of Haydn's series of symphonies. Of the 106 symphonies, those coming after the few written for Count Morzin (Haydn's first employer) and for Paul Anton, and before the Paris symphonies of the late 1780s, were written specifically at Nikolaus's instigation. They were premiered by a small orchestra that Nikolaus provided to Haydn, giving the composer ample rehearsal time, salary levels to attract top personnel, and full artistic control. Few composers can ever have claimed to have possessed such an incubator for their creations, and the symphonies that Haydn wrote for this ensemble can fairly be regarded as Nikolaus's (inadvertent) gift to posterity.

The orchestra maintained by the Prince was much smaller than modern symphony orchestras; in the 1760's it numbered only about 13-15. Later, particularly with the introduction of opera performances, the orchestra was expanded, reaching a peak of about 22-24.^[7]

A letter of Haydn's^[8] tells us that Nikolaus was disconsolate at the death (25 February, 1790) of his wife, Princess Maria Elisabeth. The composer struggled to keep his employer's spirits up with music during the few months that he survived her. Haydn was touchingly loyal to his prince, but probably felt a certain sense of relief when Nikolaus finally died, on 28 September, 1790.

[edit] Notes

1. ^ German "der Prachtliebende", "lover of splendor"
2. ^ Webster and Feder 2001, section 3.1
3. ^ Webster and Feder 2001, section 3.1
4. ^ Larsen, 43-44
5. ^ Webster and Feder 2001, section 3.1
6. ^ Webster and Feder 2001, section 3.2
7. ^ Webster and Feder 2001, section 3.1
8. ^ To Maria Anna von Genzinger, dated March 14, 1790. The letter is printed in Geiringer (1982, 92-93).

[edit] References

• Geiringer, Karl (1982) Haydn: A Creative Life in Music. Berkeley: University of California Press.
• Larsen, Jens Peter (1980) "Joseph Haydn," article in the 1980 edition of the New Grove. Republished 1982 as a separate volume, The New Grove: Haydn, by W. W. Norton. Page numbers refer to the separate volume version.
• Webster, James and Georg Feder (2001) "Joseph Haydn". Article in the New Grove. Published separately as The New Grove Haydn.

[edit] See also

• Symphony No. 45 (Haydn) - the tale of the "Farewell" Symphony