and folk-songs; he brought in the fresh air from the wilds, and the now
dusty contrapuntalism was blown out never again to return. We can see
above the difference between the full-bottomed wig theme and the newer
kind; to show, on the other hand, how near Haydn stood to Beethoven let
me give bits of themes from each composer.

[Illustration: some bars of music]

With the disappearance of the contrapuntal theme coincides the end of
purely contrapuntal "working" or development. The new kind I shall
describe later in its proper place. For the present all that need be
said is that here again key relationship was of the first importance, as
we shall see. Meantime, in this peroration I have sought to outline what
Haydn did. For, let there be no mistake, it was Haydn and no other who
brought about the change. If he was not the first to write in something
very like modern sonata or symphony form, he was the first to see its
full possibilities. Had he written no symphonies, but only quartets, his
achievement would have been none the less remarkable, and none the less
valuable to Mozart and Beethoven, for in many respects the quartet and
the symphony of the eighteenth century were the same thing, and Mozart
declared that it was from Haydn he learnt to write quartets.

This, then, is what Haydn did, and I shall now describe shortly what we
must call his career while he was working it out.




CHAPTER II