g the inevitable trend of
musical thought toward greater power of expression. In Germany
(and indeed everywhere else) the Italian element had full sway
over opera, and non-Italian musicians were forced into writing
for the concert room instead of the stage. Even Beethoven had
many disappointments in connection with his one opera "Fidelio,"
and so strong was the Italian influence, that here in America
we are only just now (1897) recovering from the effects of it.

Franz Joseph Haydn was born near Vienna, in 1732, of humble
parents, his mother a cook in a count's family, and his father
a wheelwright and sexton of the parish church. When a young boy
Haydn had a fine voice, on account of which he was admitted as a
member of the choir at St. Stephen's Cathedral in Vienna. This
entitled him to admission to St. Stephen's School, connected
with the cathedral, in which the city paid for the board and
lodging as well as the instruction of the singers. When the
boys' voices changed or "broke," however, they were turned
adrift. On leaving the cathedral, Haydn suffered the direst
poverty, engaging himself at one time as valet to the Italian
singing teacher, Porpora, in order to secure some lessons.

He gradually managed to make himself known, and was engaged
by Count Morzin, a rich nobleman, to organize an orchestra of
about eighteen, which the count retained in his service with
Haydn as leader. Here he wrote his first symphony (for strings,
two oboes and two horns, in three movements) and a number of
smaller works. When he was twenty-nine, Count Morzin gave up
his establishment and Haydn entered the service of Prince Paul
Esterhazy, in Eisenstadt, Hungary, in the same capacity. Here
he had an orchestra of sixteen, composed of good musicians, whom
he could call up at any hour of the night to play if he wished,
and over whom he had complete control. Although the contract
by which he was engaged names the most degrading conditions,
and places Haydn on a par with all the other servants, the pay,
though small (two hundred dollars yearly), was certain and
regular. From this time Haydn was free from the hardships of
poverty. His salary was soon increased to five hundred dollars,
and he made as much more from his compositions. He wrote over
one hundred and twenty-five symphonies, sixty-eight trios,
seventy-seven quartets, fifty-seven concertos, fifty-seven
sonatas, eight oratorios and cantatas, and nineteen operas,
besides innumerable