he extended his journey to Paris, where he created some sensation
by his extravagant displays of wealth and circumstance. During
the Prince's absence Haydn busied himself on a couple of
compositions intended to celebrate his home-coming. One was a Te
Deum, the other a cantata. The latter work is the more worthy of
remark, not because of its music, but because of the fulsomely
obsequious manner in which it celebrates the graces and virtues
of Nicolaus the Magnificent. The cantata is made up of choruses
and duets, a recitative and two arias. Parts of it were
afterwards employed in church services. The Te Deum is in C
major, and is for four voices with orchestra. It is interesting
as an early work, especially if we compare it with the greater Te
Deum in the same key composed in the year 1800.

First Symphonies

At this point a summary may perhaps be made of the compositions
written by Haydn during these five years a Eisenstadt. The list,
as given by Pohl, comprises, in addition to the works already
named, about thirty symphonies six string trios, a few
divertimenti in five parts, a piece for four violins and two
'celli, entitled "Echo," twelve minuets for orchestra, concertos,
trios, sonatas and variations for clavier, and, in vocal music, a
"Salve Regina" for soprano and alto, two violins and organ. It
would serve no useful purpose to deal with these works in detail.
The symphonies are, of course, the most important feature in the
list, but of these we shall speak generally when treating of
Haydn as the father of instrumental music. The first Symphony in
C Major, usually called "Le Midi," is of special interest.