The Inventur und Schätzung der Joseph Haydnischen Kunstsachen—the catalogue of the auction of Haydn’s personal collection following his death in 1809—is preserved in the Musiksammlung of the Österreichische Nationalbibliothek.
One of the items listed therein was a living parrot. During the composer’s later years, the parrot enjoyed warm days in its cage in Haydn’s Vienna courtyard, mocking the sparrows on the neighbors’ roofs. It could whistle a full octave, sing the opening of the national anthem, and call out “Come, Papa Haydn, to the beautiful Paperi!”
This according to “Haydn als Sammler” by Otto Erich Deutsch, an article included in Zum Haydn-Jahr 1959 (Österreichische Musikzeitschrift XIV/5–6 [May–June 1959] pp. 188–194; RILM Abstracts of Music Literature, 1959-648).
Today is Haydn’s 290th birthday! Below, perhaps a descendant.
A lively musical culture existed in the second half of the 14th century at the court of Brabant during the reign of Wenceslas I, Duke of Luxembourg (above, right). This abundant musical activity makes it likely that a member of the court chapel, Nicolas de Picquigny, was Pykini, the composer of the much-admired four-voice virelaiPlasanche or tost.
The text of Plasanche or tost mentions that the audience will listen with pleasure to the parrot (le papegay). Although parrots are often mentioned in such texts to evoke springtime, and some scholars have guessed that here it is a punning reference to a Pope, archival sources show that Wenceslas had chosen the parrot as his symbol, having had its image embroidered on numerous furnishings with the coats of arms of Brabant and Luxembourg.
The bird was a very appropriate mascot for this duke and poet, who welcomed poets from so many different linguistic regions to his court and was himself fluent in multiple languages. The virelai’s listeners would have had no doubt about the identity of this particular parrot.
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