friends. In one letter requesting an advance he writes: "I am unwilling
to be in debt to tradesmen, and, thank God! I am free from this burden;
but as great people keep me so long waiting for payments, I have got
rather into difficulty. This letter, however, will be your security...I
will pay off the interest with my notes." There is no real ground
for charging Haydn with avarice, as some writers have done. "Even
philosophers," as he remarked himself, "occasionally stand in need of
money"; and, as Beethoven said to George Thomson, when haggling
about prices, there is no reason why the "true artist" should not be
"honourably paid."

A London Publisher

It was about this time too that Haydn opened a correspondence with
William Forster of London, who had added to his business of violin-maker
that of a music-seller and publisher. Forster entered into an agreement
with him for the English copyright of his compositions, and between
1781 and 1787 he published eighty-two symphonies, twenty-four quartets,
twenty-four solos, duets and trios, and the "Seven Last Words," of which
we have yet to speak. Nothing of the Forster correspondence seems to
have survived.

Royal Dedicatees

Among the events of 1781-1782 should be noted the entertainments given
in connection with two visits which the Emperor Joseph II received from
the Grand Duke Paul and his wife. The Grand Duchess was musical, and had
just been present at the famous combat between Clementi and Mozart, a
suggestion of the Emperor. She had some of Haydn's quartets played at
her house and liked them so well that she gave him a diamond snuff-box
and took lessons from him. It was to her that he afterwards--in
1802--dedicated his part-songs for three and four voices, while the
Grand Duke was honoured by the dedication of the six so-called "Russian"
quartets. It had been arranged that the Duke and Duchess should
accompany the Emperor to Eisenstadt, but the arrangement fell through,
and an opera which Haydn had written for the occasion was only produced
at Esterhaz in the autumn of 1782. This was his "Orlando Paladino,"
better known in its German form as "Ritter Roland." Another work of this
year (1782) was the "Mariazell" Mass in C major (Novello, No. 15), which
derives its name from the shrine of the Virgin in Styria, the scene
of an incident already related. The mass was written to the order of a
certain Herr Liebe de Kreutzner, and the composer is said to have taken
speci