e art would not have been materially affected if it had
never come into existence.

Songs

As a song-writer Haydn was only moderately successful, perhaps because,
having himself but a slight acquaintance with literature, he left the
selection of the words to others, with, in many cases, unfortunate
results. The form does not seem to have been a favourite with him, for
his first songs were not produced until so late as 1780. Some of the
later compositions have, however, survived; and one or two of the
canzonets, such as "My mother bids me bind my hair" and "She never told
her love," are admirable. The three-part and the four-part songs, as
well as the canons, of which he thought very highly himself, are also
excellent, and still charm after the lapse of so many years.

Operas

On the subject of his operas little need be added to what has already
been said. Strictly speaking, he never had a chance of showing what he
could do with opera on a grand scale. He had to write for a small stage
and a small audience, and in so far he was probably successful. Pohl
thinks that if his project of visiting Italy had been fulfilled and his
faculties been stimulated in this direction by fresh scenes and a larger
horizon, we might have gained "some fine operas." It is doubtful; Haydn
lacked the true dramatic instinct. His placid, easy-going, contented
nature could never have allowed him to rise to great heights of dramatic
force. He was not built on a heroic mould; the meaning of tragedy was
unknown to him.

Orchestration

Regarding his orchestration a small treatise might be written. The terms
which best describe it are, perhaps, refinement and brilliancy. Much
of his success in this department must, of course, be attributed to
his long and intimate association with the Esterhazy band. In 1766,
six years after his appointment, this band numbered seventeen
instruments--six violins and viola, one violoncello, one double bass,
one flute, two oboes, two bassoons and four horns. It was subsequently
enlarged to twenty-two and twenty-four, including trumpets and
kettledrums on special occasions. From 1776 to 1778 there were also
clarinets. This gradual extension of resources may be taken as
roughly symbolizing Haydn's own advances in the matter of orchestral
development. When he wrote his first symphony in 1759 he employed first
and second violins, violas, basses, two oboes and two horns; in his last
symphony, written in 1795, he had at