ture, it is the pride of an author to astonish by an uncommon phrase: the good folks do not perceive the author has said nothing: think that there is something singular in the thing, and applaud; but after having duly applauded two or three of these singularities, they begin to gape; and, in this melancholy mood, end all our

concerts.

Hence arises the opinion which prevails in countries where the music is bad, that it is impossible to listen to any for more than two hours together, without being tired to death. At Naples, at Rome, amongst genuine amateurs, where the music is well chosen, it charms without difficulty for a whole evening. I have only to refer to the agreeable concerts of Madame la D. L; and I am sure of being supported in my assertion by all those who have had the happiness to be admitted to them.

To return to the rather dry history of instrumental music, I would remind you, that the invention of Lulli, though well suited to the object which he had in view, which was to open, with pomp, a theatrical

representation, had so few imitators, that, for a length of time, his symphonies were performed in Italy before the operas of the greatest masters, who were not willing to take the trouble of composing overtures ; and these masters were Vinci, Leo, and the divine Pergolesi. Old Scarlatti was the first who brought out overtures in his way: they had great success, and he was imitated by Corelli, Perez, Porpora, Carcano, Banoncini, &c. All these symphonies, like those of Lulli, were composed of a violin part, a bass, and nothing more. The first who introduced three parts, were Sammartini, Palladini, old Bach Gasparini, Tartini, and Jomelli. It was only occasionally that they attempted not to give movement to all the parts.

Such were the faint gleams which announced to the world the sun of instrumental music. Corelli had composed duets, Gassmann quatuors; but a cursory glance at these stiff, learned, and ice-cold compositions, will be sufficient to satisfy us, that Haydn is the true inventor of symphony: and not only did he invent this kind of

music, but he carried it to such a degree of perfection, that his successors must avail themselves of his labours, or relapse into barbarism.

Experience has already shewn the truth of this bold assertion.

Pleyel has diminished the number of chords, and been sparing of transitions; his works are deficient in strength and dignity.

When Beethoven and Mozart himself have accumulated notes and ideas; when they have sought after variety and singularity of modulation, their learned symphonies, full of research, have produced no effect; but when they have followed the steps of Haydn, they have touched every heart.

LETTER III.

Natura il fece, e poi ruppi la stampa.

Nature made him, and then broke the mould.

ARIOSTO.

Vienna, May 24, 1808.

FRANCIS JOSEPH HAYDN was born on the last day of March, 1732, at Rohrau, a small town, fifteen leagues distant from Vienna. His father was a cartwright; and his mother, before her marriage, had been cook in the family of Count Harrach, the lord of the village.

The father of Haydn united to his trade of a cartwright, the office of parish sexton. He had a fine tenor voice, was fond of his organ, and of music in general. On one of those journies, which the artisans of Germany often undertake, being at Frankforton-the-Mayne, he learned to play a little on the harp and in holidays, after church, he used to take his instrument, and his wife

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sung. The birth of Joseph did not alter the habits of this peaceful family. The little domestic concert returned every week, and the child, standing before his parents, with two pieces of wood in his hands, one of which served him as a violin, and the other as a bow, constantly accompanied his mother's voice. Haydn, loaded with years and with glory, has often, in my presence, recalled the simple airs which she sung; so deep an impression had these first melodies made on this soul, which was all music! A cousin of the cartwright, whose name was Frank, a schoolmaster at -Haimburg, came to Rohrau, one Sunday, and assisted at the trio. He remarked, that the child, then scarcely six years old, beat the time with astonishing exactitude and precision. This Frank was well acquainted with music, and proposed to his relations to take little Joseph to his house, and to teach him. They accepted the offer with joy, hoping to succeed more easily in getting Joseph into holy orders, if he should understand music.

He set out accordingly for Haimbourg.