n had been guaranteed 500 ducats
for it, but gained very much more. In the end, in the way I have
previously mentioned, it became the property of the Tonkuenstler Societaet
of Vienna. In England it was for over half a century the "Messiah's" one
great rival. Lately it has dropped out of the repertories of London and
provincial choral societies. Fashions in sacred music, like fashions in
popular preachers, have a trick of changing.

No sooner was _The Creation_ fairly launched on a fairly long career
than van Swieten wanted another oratorio. Somehow--or perhaps
naturally--he associated oratorio with England, and as he could not get
the music from us, he did as badly as he could--he came here for the
poetry. The words of nearly all the oratorios are ridiculous. Those of
_The Creation_ are no worse than the words of many by Handel. Van
Swieten, however, did his honest best to provide Haydn with a downright
silly book for his last work, and it must be admitted that by going to
James Thomson's _Seasons_ he succeeded. Like _The Creation,_ it rapidly
became popular in Germany, Austria, and England. It went out sooner than
_The Creation_, and went out, I suspect, also like _The Creation_, never
to return. It was given in April, 1802, at the Schwartzenburg Palace.

During the period after his return from England--or, more exactly, from
1796 till 1802--Haydn wrote most of his bigger church works. They may be
sufficiently discussed here in a few lines; for, though they are still
much sung in churches where the Pope's edicts are regarded merely as
things to be laughed at, musically they are by no means of the same
importance as his symphonies. Like all the Viennese school of church
composers, Haydn thought nothing of the canons, and, indeed--also like
the others--he seemed generally to think very little of the meaning of
the words. He was serious and sincere enough, no doubt, but the man was
a peasant, and in many respects his mind was a peasant's. He had quite a
plausible excuse or reason to give for the note of jollity which
prevails in his Masses. When he thought of God, he said, his heart was
filled with joy, and that joy found a voice in his music. He spoke in
perfect good faith, but with a little more brains he would have had
other feelings than joy in his heart at the more solemn moments of the
Mass. However, he had not, so he missed giving us music to compare with
the finest parts of his symphonies and quartets. What he did