for which he prepared the music.  For instance, in 1763 Anton, the son of Nicolaus, was married, and Haydn composed a pastoral, Acis and Galatea, which was duly performed.  Again, in 1764 Prince Nicolaus attended the coronation of the Archduke Joseph; his return was one of these events, and to celebrate it Haydn wrote a grand cantata.  A Life of him at this period would be a list of his compositions, with a few notes about the occasions that prompted them.  Such a list I am not minded to prepare.  The publishers’ catalogues exist, and as for the various fetes, one was very much like another; and those folk who do not find accounts of them insufferably tedious can find out about them in one of the larger biographies.

In 1767 the Prince, Haydn, band and all, took up their residence at the palace of Esterhaz.  A few singers and players were left at Eisenstadt to keep up the chapel services, and doubtless had an easy time; the rest were worked almost to death.  Esterhaz was a gorgeous, if solitary, residence.  Built on a morass far from the busy world, it was the scene of constant hospitality and great functions.  There were two theatres—­one, as I understand the matter, entirely for marionette shows; the scenery was regarded at the time as excellent.  Most of the operas were sung in Italian by Italian singers; even books of the words were printed.  In short, the opera at the Palace of Esterhaz seems to have been in no respect very different from the fashionable opera of to-day.  Singers were engaged for a year or a longer period; casual artists called, and were engaged for one performance or more, and having been rewarded according to their deserts, passed on their way.  Great personages visited the Prince in state, and were regally entertained, Haydn everlastingly writing special music.  Maria Theresa stayed for three days in 1773, and thus we get the Empress Theresa symphony in C, also two operas of sorts, L’Infidelta Delusa and Philemon and Baucis, specially composed for the occasion.  What with retinues of servants bustling about, banquets, balls, hunting-parties, dramas, operas, concerts, the scene must have always been lively enough—­there can have been nothing of stagnation.  When the Prince went on visits he also travelled in state, and took his band and singers with him.  When at home, we read, the artists spent their spare time at the cafe; but I cannot think that Haydn ever had much leisure.

It was not until 1769 that Prince, conductor, band, singers and all visited Vienna.  Nothing remarkable occurred.  To celebrate the great and joyful event Haydn wrote one opera, La Spezziata, which was given at the house of von Sommerau—­then they went back to Esterhaz, and saw no more of Vienna for eight years.  Of this eight years there is nothing to set down save a list of compositions.  How the man, such a man—­for in his quiet methodical way he loved pleasure—­stood it at all, I don’t know, but stand it he did.