dustry
and sobriety. This part of his career lasted from 1748, when he left
the choir of the cathedral, to 1752, when he became accompanist to the
Italian master, Porpora, who was then living in Vienna in the house of
an Italian lady, whose daughter's education he was superintending.
With Porpora he learned the art of singing, and the proper manner of
accompanying the voice. He also got many hints in regard to the
correct manner of composing. He had already produced a number of works
in various styles. In 1759 he was appointed conductor of the music at
the palace of Count Morzin, where he had a small number of musicians
under his direction, only sixteen in all. Here he began his life work.
Two years later he was invited to assume the assistant directorship of
the private orchestra and choir of Prince Esterhazy, who lived in
magnificent style, and for many years had maintained a private musical
chapel. Very soon the old prince died, and his son reigned in his
place. The new master was the one named "The Magnificent," and greatly
enlarged the musical appointment of his predecessor. He built a great
palace at Esterhaz, where there was a theater, in which opera was
given, and a smaller one where there was a marionette company, the
machinery of which had been brought to great perfection. There were
frequent concerts. The prince was a great amateur of the peculiar viol
called the barytone, and it was one of Haydn's duties to provide new
compositions for this instrument. Here for thirty years he continued
in service, with few interruptions, and always on the very best of
terms with his prince, and with the men under him. The players called
Haydn "Papa."

[Illustration: Fig. 53.]

Owing to its situation, remote from town, and to the prince's
constantly increasing aversion to living in Vienna, Haydn scarcely
left the vicinity for years together. Here, wholly from within his own
resources, he evolved a succession of works in every style, and for
almost every possible combination of instruments, from operas for the
large theater, to marionette music for the small place, orchestral
compositions, among which the 175 symphonies form a not inconsiderable
portion; there are also concertos for many kinds of instruments, and
songs, masses, _divertissements_ and the like. In short, there is
scarcely any form of music which Haydn did not have to make at some
time or other in his long service in the Esterhazy establishment.
Being his own