two choruses, one a "Storm Chorus," which is sometimes confused
with the "Storm Chorus" (in the same key, but in triple time)
composed during his sojourn in London. It is from "Il Ritorno di
Tobia" that the so-called motet, "Insanae et Vanae Curae," is
adapted, and the "Storm Chorus" immediately follows a fine
soprano air in F minor and major, sung by Anna in the original
work, a portion of which forms the beautiful second subject (in
F) of the "Insanae." The original words of this chorus--"Svanisce
in un momento"--are to the effect that the soul threatens to
yield to the fury of its enemies, yet trust in God keeps one
steadfast. The music admirably reflects these contrasting
sentiments, first in the tumultuous D minor section, and then in
the tranquillity of the F major portion which follows, no less
than in the trustful quietude of the D major conclusion. Latin
words were adapted to three of the original choruses, but nothing
seems to be known as to the origin of the "Insanae" adaptation. A
full score of the motet, published by Breitkopf & Hartel in 1809,
was reviewed in the Allgemeine Musikalische Zeitung of August 15,
1810, as if it were an entirely original work. The source of the
Latin words also remains a mystery. They were presumably put
together to fit Haydn's music, but by whom we have no means of
ascertaining.

It is interesting to know that Haydn brought the score of his "Il
Ritorno di Tobia" with him to England on the occasion of his
first visit in 1791, probably with a view to its performance
here. Messrs Novello's private library contains an oblong volume
in the handwriting of Vincent Novello, in which he has copied
some numbers from "Tobia," including the air of Anna already
mentioned, but not the "Insanae" chorus. The inside cover of the