operas, concerts, the scene must have always been lively enough--there
can have been nothing of stagnation. When the Prince went on visits he
also travelled in state, and took his band and singers with him. When at
home, we read, the artists spent their spare time at the café; but I
cannot think that Haydn ever had much leisure.

It was not until 1769 that Prince, conductor, band, singers and all
visited Vienna. Nothing remarkable occurred. To celebrate the great and
joyful event Haydn wrote one opera, _La Spezziata_, which was given at
the house of von Sommerau--then they went back to Esterház, and saw no
more of Vienna for eight years. Of this eight years there is nothing to
set down save a list of compositions. How the man, such a man--for in
his quiet methodical way he loved pleasure--stood it at all, I don't
know, but stand it he did. However, in 1776-1777 there was a little
diversion. Haydn composed an opera, _La Vera Constanza,_ for the Court
theatre in Vienna, and intrigues for some rival composer--his name does
not matter--began. A rival won the first round in the contest; his opera
was produced. In disgust Haydn had his score taken away, and it was soon
sung at Esterház. I suppose Haydn would have considered it a sin to
waste good material. Moreover, it was given at a suburban theatre of
Vienna, and it proved so far successful that Artaria, the publisher,
thought it worth while to engrave half a dozen songs and a duet from it.
The opera which beat his at the Court theatre is utterly forgotten; we
know of the other because of the composer's name. Some years later, in
1784, he had another touch of the ways of men in the busy world, sent,
perhaps, to reconcile him to his habitual seclusion. As far back as 1771
he had written his first oratorio--which I am not ashamed to say I have
never looked at--_Il Ritorno di Tobia_. It was performed, apparently
with éclat, by the Vienna Tonkünstler Societät, of which body Haydn
wished to become a member. He put down his name, and paid his