Printed by W. CLOWES, Northumberland-court, Strand, London.

Music (gen. Lib.)

Huier
5-17-33
28056

TABLE OF CONTENTS.

TRANSLATOR'S Preface.

Author's Preface.

LETTER I.

DESCRIPTION of Haydn's residence ;-of his appearance in
his old age;-of Vienna, and the Prater;-character of the
society of Vienna ;-of the women ;-political discussion pro-
hibited by the government ;-general state of manners favour-

able to music.

LETTER II.

SOURCES of the author's information;-vocal music chiefly

studied before Haydn;-Lulli first introduces Overtures;-An-

cient Instruments in the Cena di San Giorgio by Paul Vero-

nese ;-Troubadours ;-Viadana ;-Orchestra of the Odeon ;-

Rameau;-bad taste in music and painting;-remark of Mon-

tesquieu on the connoisseurs; French authors of the present

day aim at singularity;-their music tiresome;-different cha-

racter of the Italian ;-Scarlatti's overtures, imitated by Corelli,

Porpora, and others ;-improved by San Martini, Jomelli, and

others ;-Quartetts of Corelli, and Gassmann ;-Pleyel ;→

Beethoven;-and Mozart.

LETTER III.

༤

BIRTH of Haydn;-his father a cartwright, and sexton of
the village; their family concerts ;-Haydn's first instructor,
Frank;-learns to play on the tambourine;-sings at the parish

church;-visit of Reüter;-Haydn learns to shake ;-anecdote
of the cherries;-goes with Reüter to Vienna ;-his early ap-
plication and fondness for music;-advantages of the musical
composer;-amateurs ;-advice to sentimental ladies;-Italian
sensibility to music ;-Pacchiaroti ;—anecdote.

LETTER IV.

CONCERTOS Censured ;-Haydn's first mass;-his extreme
poverty;-Courses of Literature;-Haydn teaches himself
counterpoint; Porpora ;-Haydn seeks to ingratiate himself
with him;-learns from Porpora the Italian style of singing;-
gradual developement of his genius.

LETTER V.

HAYDN expelled from St. Stephen's ;-is received by Keller,
the peruke-maker-engages to his daughter;—his first pro-
ductions; nocturnal serenades ;-adventure with Curtz;-
tempest in the Diable Boiteux ;-composes six trios ;—clamour
raised against them;-lodges in the same house with Metas-
tasio ;-enters the service of Count Mortzin ;-introduction to
Prince Esterhazy;-is engaged by him ;-composes for the
baryton ;-marries Ann Keller ;-Mademoiselle Boselli.

LETTER VI.

1

REGULAR distribution of Haydn's time;-character of his
works; his quartetts-compared to a conversation;-his sym-
phonies-andantes-allegros-minuets;-remark of Mozart on
modern comic operas;-reason why the French do not excel

in music.

1

LETTER VII.

ANECDOTE of the young Italian at the Borromean isles ;-
comparison of the French, and Italian character ;-French
conversation;-café de Foi ;-saloon of Madame du Deffant ;-
French colonists;-difference between the Frenchman and the
Italian.

LETTER VIII.

SITUATION of the author;-instrumental music more cul-
tivated than vocal;-a taste for the fine arts may be acquired;
anecdote ;-Haydn's opinion of the importance of melody:—
hymn sung by the charity-children at St. Paul's;-Madame
Barilli;-Lazzaroni;-good singing difficult to be defined ;—use
of discords;-first discovered by Monteverde, and Scarlatti ;-
Mozart too free in his modulations ;-discords in music like
chiaro-scuro in painting:-Haydn collects the national airs of
different countries;—strolling Neapolitan musicians ;—Lionardo
da Vinci;-Haydn's mode of composition ;-his attention to his
dress;―neatness with which he wrote;-takes some little history
as the subject of his symphonies ;-Haydn compared to Titian;
scene of Orestes, in Gluck's Iphigenia;-San Martini ;-
Haydn's secret of composition ;-Sarti.

LETTER IX.

ANECDOTE of Jomelli;-the Abbé Speranza ;-Zingarelli;-
Haydn's style;-advantages of instrumental music over vocal;—
Gluck's Orpheus and Eurydice ;-ballet of Prometheus ;—
Paesiello and Sarti ;-judicious distribution of the parts in a sym-
phony, like harmony of colouring in painting;-Correggio-
Caravaggio Carracci-Mozart the La Fontaine of music.