smaller things, for instance, between five
hundred and six hundred vocal pieces. His operas, of course,
are mere trifles compared with our more modern ones.

His friendship for Mozart is well known. As for his relations
with Beethoven, it is probable that their disagreement was
merely the effect of pride, and perhaps a certain amount
of laziness on one side and youthful bumptiousness on the
other. Haydn was returning to Vienna _via_ Bonn, from England,
where he had been welcomed by the wildest enthusiasm, when
Beethoven called on him to ask for his opinion as to his talent
as a composer. It resulted in Beethoven's going to Vienna.
After taking a few lessons of Haydn he went to another teacher
and made all manner of contemptuous remarks about Haydn,
declaring he had not learned anything from him.

After two highly successful visits to England, in 1792 and 1794,
Haydn returned to Vienna and wrote his two celebrated cantatas,
"The Creation" and "The Seasons." His last appearance in public
was when he attended a performance of "The Creation" in 1808,
at the age of seventy-six. He was received with a fanfare of
trumpets and cheers from the audience. After the first part he
was obliged to leave, and as he was being carried out by his
friends, he turned at the door and lifted his hands towards the
orchestra, as if in benediction; Beethoven kissed his hand,
and everyone paid him homage. He died during the bombardment
of Vienna by the French, May 31, 1809.

Haydn's later symphonies have been very cleverly compared
with those of Beethoven by the statement that the latter wrote
tragedies and great dramas, whereas Haydn wrote comedies and
charming farces. As a matter of fact, Haydn is the bridge
between the idealized dance and independent music. Although
Beethoven still retained the form of the dance, he wrote great
poems, whereas the music of Haydn always preserves a tinge of
the actual dance. With Haydn, music was still an art consisting
of the weaving together of pretty sounds, and although _design_,
that is to say, the development of the emotional character
of a musical thought, was by no means unknown to him, that
development was never permitted to transcend the limits of a
certain graceful euphony which was a marked characteristic
of his style. His use of orchestral instruments represents
a marked advance on that of C.P.E. Bach, and certainly very
materially helped Mozart.

Of Mozart we probably all know something. B