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daily routine of family concerts, services in the palace chapel, and performances in the private theatre he had a first-rate orchestra and good singers. The Prince was cordial, generous and scholarly, and his demand for new music was incessant. Here Haydn wrote most of his orchestral and chamber works, his clavier-pieces, his songs and operettas, his masses and other church music (excepting works mentioned below). His many gifts were called into constant activity under extremely favorable conditions. The drawbacks were the distance from musical centres, the lack of absence-leaves, and the consequent monotony of stimulus to which he was subjected. Yet his development was happy, independent and symmetrical. He was idolized by his musicians and his fame spread far and wide. Occasionally the establishment was taken to Vienna and other cities for performances, but none of these trips went beyond the limits of Hungary and Austria. While the imperial court circle affected to disdain his style, the publication of many of his works by Artaria of Vienna, Forster of London, and many others, brought him recognition from a distance, even from Italy, France and Spain. Numerous musicians sought him out, and in particular his relations with the much younger Mozart were most cordial.

In 1790, Prince Nicholas having died, Haydn accepted an invitation from Salomon the violinist to visit London and give a series of concerts. Though almost 60 years old, this was his first considerable journey. Arriving in England in January, 1791, he was welcomed with universal enthusiasm. At his concerts and otherwise a long list of his works was given, including 6 new symphonies—all with enormous success. He was overwhelmed with attentions, professional and social, was made Mus.D. by Oxford, was received by royalty, and generally lionized. In July, 1792, he returned to Vienna, where he was now exalted, and spent a year and a half, among other things giving lessons to the young Beethoven. Early in 1794 he again journeyed to London, where his reception was as hearty as before, giving many concerts and adding 6 more symphonies to his English series. Late in 1795 he was again in Vienna. His connection with the Esterhazys continued and he served occasionally as composer at Eisenstadt. In 1797 he wrote his Emperor's Hymn, now the national hymn of Austria. In London he had been deeply impressed by hearing much of Handel's oratorio music, and finally undertook The Creation (words from the Bible and from Milton), which was first given at Vienna in 1798 and rapidly taken up elsewhere. This was followed by The Seasons (words by Thomson), which for a time was almost equally successful. The last ten years were uneventful, as his strength failed and his productivity almost ceased. He was much sought after by musicians and tenderly cared for by admirers. The occupation of Vienna by the French in 1805 and 1809 distressed him greatly, and during the second he died of old age. He was buried at Vienna, but in 1820 his remains were transferred to the Esterhazy estate at Eisenstadt, whence they have recently been removed again to Vienna.

Haydn's personality was singularly sunny and lovable. He was simple-hearted, generous, painstaking, indefatigably industrious, almost finically precise, a devout Catholic, honorable and manly. His music he regarded as a divine gift. His own powers had been developed by exacting labor, and he demanded similar fidelity from his assistants. The reverence he inspired is shown by the sobriquet 'Papa' generally given him during his later years.