composer in his last years, a service recompensed by the handsome
bequest of 6000 florins, which he lived to enjoy until 1843. No
man, it has been said, is a hero to his valet, but "Haydn was to
Elssler a constant subject of veneration, which he carried so far
that when he thought himself unobserved he would stop with the
censer before his master's portrait as if it were the altar." This
"true and honest servant" copied a large amount of Haydn's music,
partly in score, partly in separate parts, much of which is now
treasured as the autograph of Haydn, though the handwritings of
the two are essentially different. It is a pity that none of the
earlier writers on Haydn thought of applying to Elssler for
particulars of the private life of the composer. He could have
given information on many obscure points, and could have amplified
the details of this second London visit, about which we know much
less than we know about the former visit.

The Salomon Concerts

Salomon's first concert had been arranged for the 3rd of
February, but Haydn did not arrive until the 4th, and the series
accordingly began upon the 10th. Twelve concerts were given in
all, and with the most brilliant success. The six new symphonies
commissioned by Salomon were performed, and the previous set were
also repeated, along with some new quartets. Of the many
contemporary notices of the period, perhaps the most interesting
is that which appears in the Journal of Luxury and Fashion,
published at Weimar in July 1794. It is in the form of a London
letter, written on March 25, under the heading of "On the Present
State and Fashion of Music in England." After speaking of
Salomon's efforts on behalf of classical music and of the praise