“e 
. 
_  .for a brace of falcoris that would fly at cranes. 
- early 
HAY 
op Blackfriars Road, in Surrey, has been either 
d or altered to a common in. Weare aware, 
rever, that this may have arisen injudicious at- 
at this , according to one or other 
of the systems that we have mentioned in this article, 
instead of applying the Mraw Tone System, which 
alone, or one eanenltagty near to it, (in the perfection 
of its major third), seems applicable to this noble in- 
strument. (¢) 
HAWKING, ot Farcowry, is the art of catching 
wild fowls by means of hawks, or other birds of prey, 
tamed, and eer tutored for that purpose. 
The art of falconry appears to have been known 
both to the Greeks and ms. It was in high re- 
pute in sa Pattee A are of ne bie 3 the 12th 
eentuty, but after the invention of fire arms, it gra- 
dually declined. % 
Mr Pennant has not been able to find any accounts 
of the art of falconry in England before the year 760, 
in the reign of King Ethelbert, who sent to Germany 
The 
art was much practised till the Usurpation, when it fell 
into disuse. 
The birds which ate generally trained to this art, are 
the jet-falcon, the pere ine, and the goshawk. By 
starving them, and keeping them awake, and never 
leaving them alone, they are rendered quite tame ; and, 
by a regular system of severe instruction, they become 
86 familiarized to the faleoher, that they obey all his 
commands, They ate taught to settle on his fist, to 
Spring at game, and to bring back the prey to the fal- 
coner. For an account and other iculars of the 
history of falconry, see Beckmann’s History of Inven- 
tions; vol. i.; and Shaw’s General Zoology, vol. vii. 
rti. See also OnnITHOLOGY. 
HAYMAKING. See Acricuttune, vol. i. chap.. 
ik. sect. ii. 
HAYDN, Josepn, themost celebrated composer of mu- 
' sie among the moderns, was the son of a wheel-wright, 
and born in 1732 at Rohrau in Austria, 86 miles from 
Vienna towards the Hungarian frontier. His father, 
fn ignorant of the principles of music, which are 
much more generally disseminated among the lower 
ranks of Germany than in Britain, played a little on the 
arp, which was accompanied by the voices of himself 
his wife. ‘Joseph having been conducted, at a very 
, by a relation to Haimbourg, was instructed 
in the cletaertiaty parts of education ; and a chapel-mas- 
ter of Vienna, having accidentally heard his voice, took 
him, when only eight years old, to replace one of the 
boys in his choir. Here he remained apparently ex- 
posed to severe discipline ; and as his voice was con- 
stantly improving, the chapel-master became anxious 
to preserve it. He explained the means of doing so to 
Haydn, now a youth of about fifteen, who thought 
oF nothing but music ; and ty | ox is 
réady assent, the day ahd hour were fixed. But the 
&ecidental arrival of his father in Vienna, prevented 
their purpose from being effected. His voice soon broke, 
and Reuter, the chapel-master, ashamed of the re- 
_ proaches which he had incurred, and exasperated at 
the disappointment, found a pretence for discharging 
him from the choir on a winter’s night, which, from ab- 
Solute poverty, he was obliged to pass in the street. 
Next morning being observed by Spangler, a poor but 
friendly musician, he obtained a lodging from him in 
a hay-loft, adjacent to a single apartment which his 
own family occupied, and also a share of their frugal 
subsistence, 
Here Haydn followed the bent of his early propen. 
668 
HAY 
sities, in practising on a wretched spinette; but it is 
said, that after some time had elapsed, a lady of rank, 
who had seen one of his itions, desired to know 
the author. Haydn's extreme poverty hardly enabled 
hiri to obtain sufficient clothing to appear before her; 
and she had some difficulty in believing that he was the 
individual for whom she soaght. € was compelled 
to account for his necessities, by relating, in as delicate 
terms as possible, his adventure with Reuter; and, in 
testimony of her esteem, she presented him with the 
works of Matheson, Bach, and other celebrated compo- 
sers. According to some writers, his patroness was a 
niece of Metastasio the dramatic author, the real own- 
er of the hay-loft ; and they add, that he continued to 
instrnct her in music and singing during three years. 
Haydn now earned a scanty subsistence by the ex. 
ercise of his talents. He was organist to an ecclesias- 
tical establishment, with a salary of £12 yearly. He 
had occasional employment elsewhere in the same ca- 
pacity, and he sung, and played on the violin. At about 
the age of 18, he composed a quartett for Baron Furn- 
berg, and afterwards some trios, which were surrepti- 
on printed. Inthe year 1759, his patroness ob. 
tained for him the appointment of music master to 
Count Marzin, with an annual salary of £25 ; and here 
he com the first of those symphonies which have 
gained him so much celebrity. There appears to be 
some ambiguity respecting the chronology of Haydn's 
compositions. His Opera Prima consists of six quar- 
tetts, wherein all the rudiments of his fine genius are 
sufficiently developed; but it is reported, that the first 
time his name appears is to trios and harpsichord sona- 
tas, in a German catalogue of 1763. 
In the year 1760, Haydn was appointed sub-chapel 
master to a German potentate, the prince of Esterhazy, 
who was himself a skilful musician ; and on the death 
of Werner, who was the principal, and from whose 
disposition and abilities he dletived much advantage, he 
was promoted to fill his place. In this new situation, 
he had an ample opportunity, and sufficient encourage- 
ment, to pursue his talent for composition in its utmost 
latitude. Works of various descriptions flowed from 
his pen in rapid succession ; and the particular taste of 
his patron led to the composition of those which no 
preceding musician had een He witrone or 
all the limits which had fe others ; and, in adopt- 
ing a new and peculiar, me unaffected style, he 
taught the public the variety of which music is suscep- 
tible. Yet this was not accomplished without exciting 
the jealousy of his cotemporaries. It has been affirm- 
ed, that he silenced his adversaries by publishing com- 
seg wherein their own style was introduced, to 
tray its inferiority, In order to gratify the prince, 
he composed music with uncommon distributions of 
the parts or the performers; such as the Echo, which 
consists of a double trio for two violins and a violon- 
cello, each set of performers being in a different cham~ 
ber, but within their mutual view. Profiting by 
this singularity of taste, he composed another piece, 
called the Adieu, on occasion either of a quarrel in the 
orchestra, which induced all the band to give in their 
resignation, or, what is less probable, because the prince 
treated some of Haydn's warmest exertions with mark- 
ed neglect. This was a y ony ingeniously devised, 
so that one instrument should regularly close after an- 
other; and as the music gradually terminated, each 
rformer saw written before him, “ Put out your can- 
le, and go about your business.” All obeyed in suc- 
cession, and a solitary instrament finished the whole. 
Haydn’s time was principally occupied in musical 
4 
Haydn. 
——~— 
