Weekend Economists Mark the Vernal Equinox and the Infernal Revenue Service March 20-22, 2015 [View all]

[Demeter]

It's Spring (in most places, even though rotten snow lies in the shadows, or flakes continue to swirl in frigid air), and that means....taxes.

How do the Rich people bear it? After all, with all that income, they must feel as if they are ripping their faces off when they sign that check.

NO, Not Really.

There's this thing for the Obscenely Wealthy known as "Tax Shelter". The Tax Shelter can be "a simple cabin in the far woods" or an "opulent mansion", but if you have to ask, you can't afford one.

So, let's enjoy Spring, and not develop Spring fever over the inequity of it all...

The Seasons (Haydn) SPRING SECTION

The Seasons (German: Die Jahreszeiten) is an oratorio by Joseph Haydn (H. 21/3).

History

Haydn was led to write The Seasons by the great success of his previous oratorio The Creation (1798), which had become very popular and was in the course of being performed all over Europe.
Libretto

The libretto for The Seasons was prepared for Haydn, just as with The Creation, by Baron Gottfried van Swieten, an Austrian nobleman who had also exercised an important influence on the career of Mozart. Van Swieten's libretto was based on extracts from the long English poem "The Seasons" by James Thomson (1700–1748), which had been published in 1730.

Whereas in The Creation Swieten was able to limit himself to rendering an existing (anonymous) libretto into German, for The Seasons he had a much more demanding task. Olleson writes, "Even when Thomson's images were retained, they required abbreviation and adaptation to such an extent that usually no more than faint echoes of them can be discerned, and the libretto often loses all touch with the poem which was its starting point. Increasingly during the course of the oratorio, the words are essentially van Swieten's own or even imported from foreign sources."[1]

Like The Creation, The Seasons was intended as a bilingual work. Since Haydn was very popular in England (particularly following his visits there in 1791–1792 and 1794–1795), he wished the work to be performable in English as well as German. Van Swieten therefore made a translation of his libretto back into English, fitting it to the rhythm of the music. Olleson notes that it is "fairly rare" that the translated version actually matches the Thomson original.[2] Van Swieten's command of English was not perfect, and the English text he created has not always proven satisfying to listeners; for example, one critic writes, "Clinging to [the] retranslation, however, is the heavy-handed imagery of Haydn's sincere, if officious, patron. Gone is the bloom of Thomson's original."[3] Olleson calls the English text "often grotesque", and suggests that English-speaking choruses should perform the work in German: "The Seasons is better served by the decent obscurity of a foreign language than by the English of the first version."[4]
Composition, premiere, and publication

The composition process was arduous for Haydn, in part because his health was gradually failing and partly because Haydn found van Swieten's libretto to be rather taxing. Haydn took two years to complete the work.

Like The Creation, The Seasons had a dual premiere, first for the aristocracy whose members had financed the work (Schwarzenberg palace, Vienna, 24 April 1801), then for the public (Redoutensaal, Vienna, 19 May).[5] The oratorio was considered a clear success, but not a success comparable to that of The Creation. In the years that followed, Haydn continued to lead oratorio performances for charitable causes, but it was usually The Creation that he led, not The Seasons.

The aging Haydn lacked the energy needed to repeat the labor of self-publication that he had undertaken for The Creation and instead assigned the new oratorio to his regular publisher at that time, Breitkopf & Härtel, who published it in 1802.

Musical content

The oratorio is divided into four parts, corresponding to Spring, Summer, Autumn, and Winter, with the usual recitatives, arias, choruses, and ensemble numbers.

Among the more rousing choruses are a hunting song with horn calls, a wine celebration with dancing peasants[7] (foreshadowing the third movement of Beethoven's Pastoral Symphony), a loud thunderstorm (ditto for Beethoven's fourth movement), and an absurdly stirring ode to toil:

The huts that shelter us,
The wool that covers us,
The food that nourishes us,
All is thy grant, thy gift,
O noble toil.

Haydn remarked that while he had been industrious his whole life long, this was the first occasion he had ever been asked to write a chorus in praise of industry.

Some especially lyrical passages are the choral prayer for a bountiful harvest, "Sei nun gnädig, milder Himmel" (Be thou gracious, O kind heaven), the gentle nightfall that follows the storm, and Hanne's cavatina on Winter.

The work is filled with the "tone-painting" that also characterized The Creation: a plowman whistles as he works (in fact, he whistles the well-known theme from Haydn's own Surprise Symphony), a bird shot by a hunter falls from the sky, there is a sunrise (evoking the one in The Creation), and so on...

I think we should commission a Paean to Taxes!



Demeter and Persephone Terracotta Myrina 100 BCE

Photographed at The British Museum in London, United Kingdom.