we begin to enjoy orchestral effect for its own sake: the dashing
vivacity of the strings, the mellowness of the wood-wind, the
sonority and grandeur of the brass. Instrumental works had formerly
been composed in black and white, but now we have the interplay of
orchestral colors. No less paramount was Haydn's influence in the
handling of the four solo instruments known as the String Quartet. In
his Quartets the voices are so highly individualized that it seems as
if four intelligent and witty persons were holding a musical
conversation. Such melodic and rhythmic freedom were hitherto unknown
and his style became the point of departure for modern practice.[111]
Both Mozart and Beethoven, those great masters of the String-Quartet,
acknowledged their debt of gratitude to Haydn. His success in
establishing the formation of the orchestra and the string-quartet was
chiefly due to the inestimable advantage he enjoyed of being, for so
many years, chapel-master to those celebrated patrons of music the
Princes Paul and Nicholas Esterhazy, at whose country-seat of Esterhaz
he had at his disposal, for free experimentation, a fine body of
players.[112] Here Haydn worked from 1762 until 1790; and, to quote
his own words, "could, as conductor of an orchestra, make experiments,
observe what produced an effect and be as bold as I pleased. I was cut
off from the world, there was no one to confuse or torment me and I
was forced to become original."[113]

[Footnote 110: For the early and significant achievements in
orchestral effect of the Mannheim Orchestra under its famous leader
Stamitz, see _The Art of Music_, Vol. 8, Chapter II.]

[Footnote 111: For interesting comments on the String Quartets see
Hadden's _Life of Haydn_, pp. 174-175.]

[Footnote 112: _The Oxford History of Music_, Vol. V, Chapter I, and
_The Present State of Music in Germany_ by Burney present a vivid
picture of the times and of the results of 18th century patronage.]

[Footnote 113: For an entertaining account of the two London visits,
which took place during the latter part of his career, see the essay
_Haydn in London_ by Krehbiel in his _Music and Manners_.]

As to the formal side of Haydn's work, he is responsible for several
distinct improvements. The different divisions of the movement are
more clearly defined--sometimes perhaps, as we look back, a bit
rigidly--but no more so than was necessary for a public just beginning
to follow easily the main outl