different conditions. In criticism there is no
worse error, or one more often made, than that of blaming Haydn
because he was not Beethoven; or, in our times, Tchaikowsky because
his music does not resemble that of Brahms. Blase pedants often call
Haydn's music "tame"; we might as well apply that adjective to the
antics of a sportive kitten. As for the "amiable prattle" of his style
we do not speak in a derogatory way of the fresh, innocent voices of
children, though we need not listen to them continually. Haydn, in
short, is Haydn,[115] and the vitality and sincerity of his works
will always keep them immortal. In these feverish days we may dwell
upon the simplicity of "Papa Haydn," as he was affectionately called;
who would kneel down before beginning work, and who inscribed his
scores "In nomine Domini." His modest estimate of his own powers
cannot fail to touch our hearts. "I know," he said, "that God has
bestowed a talent upon me, and I thank him for it. I think I have done
my duty, and been of use in my generation by my works; let others do
the same."

[Footnote 115: Haydn's life is of great interest in showing the traits
which are reflected in his music. Everyone should read the biography
in Grove's Dictionary, Vol. II, p. 348, and the excellent life by M.
Brenet in _Les Maitres de la Musique_.]

We shall now make a few comments on the illustrations in the
Supplement (see Exs. No. 41 and 42): the Finale of the _Sonata for
Pianoforte in E-flat major_ and the first movement of the so-called
_Surprise Symphony in G major_. Haydn, of all composers, needs little
verbal elucidation; his music speaks for itself and everyone must be
sensitive to its vitality and charm. We regret that it is not
practical to give examples from the Quartets which, in many
respects--especially in the Minuets with their inexhaustible
invention[116] and their bubbling spirits--represent Haydn at his
best. But the real effect of his Quartets is so bound up with
idiomatic treatment of the strings that in any transcription for
pianoforte the music suffers grievously. It is through the score,
however, that everyone should become familiar, with the contents of
the Quartets in C major, op. 76, and D major, op. 64; the Finale of
the latter being one of the supreme examples in all chamber
literature[117] of rhythmic vitality.

[Footnote 116: Haydn himself used to speak of his melodic invention as
"a stream which bursts forth from an overflowing r