orchestral director, he had the opportunity of trying
and experimenting and of realizing what would be effective and what
would not. The motive mainly operative in his work, necessarily, was
that of pleasing and amusing. Nobler intentions were not wanting, but
the pleasing element had to be considered in most that he did. Thus
he developed a style of his own, original, becoming, with a certain
taste and symmetry, and with a melodious element which never loses its
charm. Withal he became very clever in his treatment of themes. It was
a saying of his that the "idea" did not matter at all; "treatment is
everything." From this standpoint it is impossible to deny Haydn the
credit of having accomplished his ideal.

He commenced his musical career as a violinist and a singer. His
orchestral symphonies were for violins (for strings), with occasional
seasoning from the brass and wood wind. The constant study of the
violin led to modifications in his style, and evolved first, the
string quartette in the form which has always remained standard. The
symphonies are only larger string quartettes, for, in the order of the
themes, the general manner of treating them and the principles of
contrast or relief which actuated them, the quartettes are sonatas, as
also are the symphonies. Haydn gave the sonata form its present shape.
The insertion of a second theme in the first movement, and the
principle of contrasting this second theme with the first in such a
way that the second theme is generally lyric in style, or at least
tending in that direction, was Haydn's. He also developed the middle
part of the sonata into what is known as the "elaboration,"
"_Durchfuehrungssatz_". The cantabile slow movement, modeled somewhat
after the Italian cantilena, was his. Mozart and Beethoven did wonders
with it later, but the suggestion was Haydn's. The endless
productivity, the constant succession of new pieces demanded, led to a
somewhat systematic proceeding in their production, and so the form
and the method of the sonata became stereotyped. All the instrumental
movements of this time, whenever there was any serious intention,
assumed the form of sonatas; _i.e._, of the instrumental sonatas--the
symphony and the quartette.

At length Haydn's master died, and he accepted an invitation from
Salamon, the publisher, to London, where he produced several new
symphonies, conducted many concerts and returned to Vienna richer by
about $6,000 than when he