due to him for his performance of the quartets of "our old
favourite, Haydn," the writer continues: "But what would you now
say to his new symphonies composed expressly for these concerts,
and directed by himself at the piano? It is truly wonderful what
sublime and august thoughts this master weaves into his works.
Passages often occur which render it impossible to listen to them
without becoming excited. We are altogether carried away by
admiration, and forced to applaud with hand and mouth. This is
especially the case with Frenchmen, of whom we have so many here
that all public places are filled with them. You know that they
have great sensibility, and cannot restrain their transports, so
that in the midst of the finest passages in soft adagios they
clap their hands in loud applause and thus mar the effect. In
every symphony of Haydn the adagio or andante is sure to be
repeated each time, after the most vehement encores. The worthy
Haydn, whose personal acquaintance I highly value, conducts
himself on these occasions in the most modest manner. He is
indeed a good-hearted, candid, honest man, esteemed and beloved
by all."

Several notable incidents occurred at the Salomon Concerts. It
has been remarked, as "an event of some interest in musical
history," that Haydn and Wilhelm Cramer appeared together at one
concert, Cramer as leader of the orchestra, Haydn conducting from
the pianoforte. But Cramer was not a genius of the first rank--
his compositions are of the slightest importance--and there was
nothing singular about his appearing along with Haydn. He had
been leader at the Handel Festivals at Westminster Abbey in 1784
and 1787, and was just the man to be engaged for an enterprise
like that of Salomon's.