contemporary
critic read quite a different "programme" into it. "The 'Surprise,'"
he wrote, "might not be inaptly likened to the situation of a beautiful
shepherdess who, lulled to slumber by the murmur of a distant waterfall,
starts alarmed by the unexpected firing of a fowling-piece." One can
fancy the composer's amusement at this highly-imaginative interpretation
of his harmless bit of waggery.

Gallic Excitement

The same success which attended Haydn's first concert marked the rest
of the series. The Prince of Wales's presence at the second concert no
doubt gave a certain "lead" to the musical public. We read in one of
the Gallic newspapers: "It is truly wonderful what sublime and august
thoughts this master weaves into his works. Passages often occur which
it is impossible to listen to without becoming excited--we are carried
away by admiration, and are forced to applaud with hand and mouth. The
Frenchmen here cannot restrain their transports in soft adagios; they
will clap their hands in loud applause and thus mar the effect."

In the midst of all this enthusiasm the factionists were keeping up
their controversy about the opening of Gallini's Theatre. Gallini had
already engaged the services of Haydn, together with an orchestra led
by Salomon, but nothing could be done without the Lord Chamberlain's
license for the performance of operas. To prevent the issue of that
license was the avowed object of the Pantheon management and their
friends. The fight was rendered all the more lively when the Court
divided itself between the opposing interests. "The rival theatre,"
wrote Horace Walpole, "is said to be magnificent and lofty, but it is
doubtful whether it will be suffered to come to light; in short the
contest will grow political; 'Dieu et mon Droit' (the King) supporting
the Pantheon, and 'Ich dien' (the Prince of Wales) countenancing the
Haymarket. It is unlucky that the amplest receptacle is to hold the
minority."

Cantatas, Catches and Choruses

That was how it turned out. The Lord Chamberlain finally refused his
license for operatic performances, and Gallini had to be content with a
license for "entertainments of music and dancing." He opened his house
on the 20th of March, and continued during the season to give mixed
entertainments twice a week. Various works of Haydn's were performed at
these entertainments, including a cantata composed for David, an Italian
catch for seven voices, and the chorus known