teps. In
London Haydn had now every opportunity, even every incentive, to strive,
regardless of consequences, after his own ideal; and what the fruits
were we shall see.

Terms were arranged; Haydn was to compose six symphonies and to
"conduct" (at the pianoforte) six concerts. For this he was to receive
a certain sum, and the proceeds of a benefit concert. A farewell was
said to Prince Anton and many friends, and what proved to be a long,
long farewell to Mozart, and on December 15, 1790, he and Salomon set
out. They travelled to Munich first, then on through Bonn and Brussels
to Calais; they crossed the Channel in safety, and arrived in London on
the first day of the year 1791. There he first of all stayed with Bland
(who had supplied the razor and bagged the quartet four years before) at
45, High Holborn. Then he went to live with Salomon at 18, Great
Pulteney Street. Later on, he went to live in the country, at Lisson
Grove, which is now not even a suburb, and he also paid visits to
various country seats.

He was now nearly sixty; his mental powers were at their fullest vigour,
his physical health was excellent, and he was on a holiday. Because it
is about Haydn, the story of this and his subsequent visit to England
makes delightful reading. If in his long solitude he had drawn all he
could out of himself, now he was to receive impressions and impulses
from the active and social world that had great results. He was lionized
and petted, and enabled easily to make plenty of money; and he remained
the simple, shrewd, unspoiled, industrious Haydn he had been all along.
He met all the distinguished people of the time, and was taken to see
and hear everything. Of course, Dr. Burney was much about. The whole
visit has been written about a hundred times. I must touch quickly on
the significant incidents. On March 11 the first of Salomon's concerts
was given in the Hanover Rooms, and the audience was large, fashionable
and enthusiastic. The band, with Salomon, first violin, leading, was
constituted thus: sixteen violins, four violas, eight 'cellos, four
basses, flutes, oboes, bassoons, trumpets, and drums--forty-one all
told. It was this orchestra Haydn wrote his twelve best symphonies for.
He himself directed at the pianoforte, and contemporaries were not
wanting to say that at times the effect was somewhat disagreeable. The
first "Salomon set" of symphonies were those in C, D, G (_The Surprise_
or _Paukenschlag_), the B