technical matters, and I have only used text-book terminology where no
other served to explain what Haydn did in building up the symphony form.
This spade-work of his Esterhazy period was of the greatest importance
to himself, to Mozart and to Beethoven. He is the only composer of the
first rank who did second-rate work of immense and immediate value to
his successors, just as he is the only second-rate writer who ever in
his age rose to be a composer of the first rank. Both as pioneer and
perfecter and as great original composer I have sought roughly to place
him. A few remarks about the man and his habits and characteristics may
be added.

His methodical habits and neatness have already been mentioned. He must
have been a first-rate companion, friend and master. His successive
Princes loved him, his band adored him. He was generous; there is not a
mean action to his discredit. His will was a wonder of good-feeling and
discretion; and when old he was still glad to make money, that he might
leave more to his poor relatives. He seems always to have been in love
with one lady or another, and it was more by luck than anything else
that he got into no serious scrapes. His method of working was as
regular as his other habits. He sat at the piano extemporizing until he
got his themes into some sort of shape, then he sketched them on paper
and went to lunch. Later in the day he worked them out more fully, and
proceeded to make a finished score. His scores are as neat as
Beethoven's are disgracefully untidy. Haydn's way of composing at the
piano--and it was Mozart's way, and Beethoven's, not to mention
Wagner's--has been condemned by many theorists and theoretical writers.
After seeing many of the compositions of these gentry, I wish they
themselves would find and employ any other method than that they adopt
at present. Haydn's cheerfulness has often been commented on, and it
certainly pervades his music. He was also given to joking, but the one