is work in this department, he was
notable for refinement rather than for dramatic power. We must, however,
remember the conditions under which he worked. He confessed himself that
his operas were fitted only for the small stage at Esterhaz and "could
never produce the proper effect elsewhere." If he had written with a
large stage in view, it may reasonably be assumed that he would have
written somewhat differently.

Occasional Works

In 1764 Prince Nicolaus made a journey to Frankfort for the coronation
of the Archduke Joseph as King of the Romans. After the festivities
connected with that imposing function were over he extended his journey
to Paris, where he created some sensation by his extravagant displays
of wealth and circumstance. During the Prince's absence Haydn
busied himself on a couple of compositions intended to celebrate his
home-coming. One was a Te Deum, the other a cantata. The latter work is
the more worthy of remark, not because of its music, but because of
the fulsomely obsequious manner in which it celebrates the graces and
virtues of Nicolaus the Magnificent. The cantata is made up of choruses
and duets, a recitative and two arias. Parts of it were afterwards
employed in church services. The Te Deum is in C major, and is for four
voices with orchestra. It is interesting as an early work, especially if
we compare it with the greater Te Deum in the same key composed in the
year 1800.

First Symphonies

At this point a summary may perhaps be made of the compositions written
by Haydn during these five years a Eisenstadt. The list, as given by
Pohl, comprises, in addition to the works already named, about thirty
symphonies six string trios, a few divertimenti in five parts, a piece
for four violins and two 'celli, entitled "Echo," twelve minuets for
orchestra, concertos, trios, sonatas and variations for clavier, and,
in vocal music, a "Salve Regina" for soprano and alto, two violins and
organ. It would serve no useful purpose to deal with these works in
detail. The symphonies are, of course, the most important feature in the
list, but of these we shall speak generally when treating of Haydn as
the father of instrumental music. The first Symphony in C Major, usually
called "Le Midi," is of special interest.

[Figure: a musical score excerpt]

The autograph score, dated 1761, and preserved at Eisenstadt, is
superscribed, "In Nomine Domini," and closes with Haydn's customary
"Laus Deo" after the f