Wales had just got married, and invited Haydn to stay with him a few days—­presumably to cheer him during the honeymoon.  So they made music together; Haydn even obliged his hostess by singing with a voice which is said to have been like a crow’s.  Hoppner painted the portrait which is now in Hampton Court; it was engraved by Facius in 1807.  Later, Haydn went to Cambridge; then came his second series of triumphs.

Even people who were supposed to be highly civilized showed at that epoch a considerable degree of their ancestors’ love of fighting, both in London and in continental cities.  Duels at the organ or piano, or on the violin, were commonly arranged between rival virtuosi, and art-matters were settled by votes, or by the stronger lungs or arms.  Haydn was not to be left in peace.  The professional musicians gave some concerts in opposition to Salomon’s, and they imported Haydn’s own pupil, Pleyel, as their champion.  But Pleyel, though noted in his day as a teacher of the violin, and still remembered as the author of elementary violin duets useful to beginners, was a gentle, kindly soul, perfectly aware of Haydn’s strength and his own weakness.  Fight there was none, for Haydn simply paid no attention:  but it is good to know that the two men remained friends.  I do not remember that after this another attempt was made to turn the concert-hall into a cockpit.

During this second season many of Haydn’s works of all descriptions were produced, and the concerts were as successful as those of the preceding year.  An event, which might have been far-reaching in its effects had it happened earlier in his life, was his attendance at the Handel Commemoration in Westminster Abbey.  He must have known some of Handel’s oratorios, for Mozart had rescored them for van Swieten’s concerts in Vienna; now he heard for the first time how the giant could indeed smite like a thunderbolt when he chose.  However, during his next stay in London he had fuller opportunities of listening to Handel, and we will leave the matter until a few pages later.  He attended about this time a service of charity children in St. Paul’s Cathedral, and was strangely moved by a ridiculous old chant of Peter Jones, the effect being due, of course, to the fresh children’s voices.  He remarked on it in his diary, and wise commentators have pointed out that in writing the chant down he “beautified” it with passing notes.  Of course, all organists of the period—­and until a considerably later period—­“beautified” everything they played in precisely the same fashion, and naturally the children would follow the organ.  There remain to mention now only his friendship with Bartolozzi the engraver, and Mrs. Hodges, “the loveliest woman I ever saw” (ah! that inflammable heart), and the friendship with John Hunter, the surgeon, and his wife.  Mrs. Hunter wrote the words for most of the twelve English canzonets.  Mrs. Hodges composed, and some pieces by her, copied in Haydn’s hand, with a note by him, were found amongst his papers.