circumstances just detailed, but the work was not allowed to
remain in its original form, though it was printed in that form
by Artaria and by Forster. Haydn divided it into two parts, and
added choruses and solos, in which form it was given for the
first time at Eisenstadt in October, 1797, and published in 1801.
The "Seven Words" was a special favourite of the composer
himself, who indeed is declared by some to have preferred it
to all his other compositions.

The "Toy" Symphony

The remaining years of the period covered by this chapter being
almost totally devoid of incident, we may pause to notice briefly
two of the better-known symphonies of the time--the "Toy"
Symphony and the more famous "Farewell." The former is a mere jeu
d'esprit, in which, with an orchestral basis of two violins and a
bass, the solo instruments are all of a burlesque character.
Mozart attempted something of a kindred nature in his "Musical
joke," where instruments come in at wrong places, execute
inappropriate phrases, and play abominably out of tune. This kind
of thing does not require serious notice, especially in the case
of Haydn, to whom humour in music was a very different matter
from the handling of rattles and penny trumpets and toy drums.

The "Farewell" Symphony

The "Farewell" Symphony has often been described, though the
circumstances of its origin are generally mis-stated. It has been
asserted, for example, that Haydn intended it as an appeal to the
prince against the dismissal of the Capelle. But this, as Pohl