probably considered himself lucky, and he was lucky--he was always
lucky. He got invaluable experience with Porpora, and was presented to
many personages in the gay world. He met Gluck, who a little later was
quite inaccessible to the most pushful of young men; also Dittersdorf
and Wagenseil, who, whatever we may think of them, were very high and
unapproachable musicians in their time. He worked with unflagging
diligence, and the natural instinct of his genius drove him to the works
of Emanuel Bach, which he now possessed. He also bought theoretical
books, prizing chiefly the Gradus of old Fux. So he mastered the
groundwork of his art. Gluck advised him to go to Italy, but it is hard
to imagine what he could have learnt there. He did not fail to profit by
an introduction to one Karl (etc.) von Fürnberg, one of the old stamp of
wealthy patrons of musicians. They loved to "discover" rising talent,
did these ancient, obsolete types of amateurs of art. They were as proud
of a brilliant protégé as a modern literary critic is when he
"discovers" a new minor poet. Von Fürnberg did his best for Haydn. He
enabled him to write the first eighteen quartets; he helped him to get
better terms for teaching--five florins a month instead of two. Through
von Fürnberg or some one else he got to know the Countess Thun, who
loved to play the friend to struggling genius. Finally, he was presented
to Count Morzin, who, in 1759, appointed him as his composer and
bandmaster. The band was small and the pay was small, but it placed
Haydn in an assured position. He had a band to practise on, and he soon
wrote his first symphony. Count Morzin's home was at Lukavec. Here
incessant concerts, vocal and instrumental, were given. Trios, quartets,
symphonies, concertos, divertimentos--all kinds of compositions, and
plenty of them, were required of Haydn, who must have had his hands
everlastingly full.

He now evidently thought the days of his apprenticeship over, and