below. It is an arpeggio of the chord of B-flat; it leaps up merrily,
and has a characteristic delightful little twist at the end, and in the
leap and in the twist lay possibilities of a kind that he made full use
of only in his maturer style. All composers up till then, if they
ventured to use bits of popular melody at all, gave them the scholastic
turn, either because they liked it, or because the habit was strong.
The fact that Haydn gave it in its naïve form, invented themes which in
their deliberate naïveté suggest folk-song and dance, hints at what his
later music proves conclusively, that he found his inspiration as well
as his raw material in folk-music.

The business of the creative artist is to turn chaos into cosmos. He has
the welter of raw material around him; the shaping instinct crystallizes
it into coherent forms. For that intellect is indispensable, and almost
from the beginning Haydn's intellect was at work slowly building his
folk-music into definite forms easily to be grasped. Gradually the
second subject differentiates itself from the first while maintaining
the flow of the tide of music; and gradually we get the "working-out"
section, in which the unbroken flow is kept up by fragments of the two
subjects being woven into perpetually new melodic outlines, leading up
to the return of the first theme; and the second theme is repeated in
the key of the first, with a few bars of coda to make a wind-up
satisfactory to the ear.

Here let us observe the value of key relationships. The first subject
was given out in the key (say) of C. A momentary pause was made, and the
second subject introduced in the dominant key G, and in this key the
first section of a piece of music in symphony-form ends. That ending
could not satisfy the ear, which demanded something more in the first
key. Until recent times that desire was gratified with a repetition of