appear to have cared very little. They wanted to be healthily pleased and entertained, not stirred with deep emotion; and the purposes of composers in those days were consequently not exalted to any high pitch, but were limited to a simple and unpretentious supply, in accordance with demand and opportunity. Haydn was influenced by these considerations till the last. There is always more fun and gaiety in his music than pensiveness or serious reflection. But in developing the technical part of expression, in proportioning the means to the end, and in organising the forces of the orchestra, what he did was of the utmost importance. It is, however, impossible to apportion the value of the work of the two masters. Haydn did a great deal of important and substantial work before Mozart came into prominence in the same field. But after the first great mark had been made by the Paris Symphony, Mozart seemed to rush to his culmination; and in the last four of his works reached a style which appears richer, more sympathetic, and more complete than anything Haydn could attain to. Then, again, when he had passed away, Haydn produced his greatest works. Each composer had his distinctive characteristics, and each is delightful in his own way; but Haydn would probably not have reached his highest development without the influence of his more richly gifted contemporary; and Mozart for his part was undoubtedly very much under the influence of Haydn at an important part of his career. The best that can be said by way of distinguishing their respective shares in the result is that Mozart's last symphonies introduced an intrinsically musical element which had before been wanting, and showed a supreme perfection of actual art in their structure; while Haydn in the long series of his works cultivated and refined his own powers to such an extent that when his last symphonies had made their appearance, the status of the symphony was raised beyond the possibility of a return to the old level. In fact he gave this branch of art a stability and breadth which served as the basis upon which the art of succeeding generations appears to rest; and the simplicity and clearness of his style
