were simply a snare, and kept writers from seeing the importance of singing and singable melody in the coming style.  To show the difference between the old and the new at once, let me here give two bits of themes from Mozart and Haydn.  They are in appearance not so far removed from the contrapuntal type of theme, and while they sing themselves they yet served their inventors capitally for contrapuntal treatment.

[Illustration:  some bars of music]

Numberless sonatas were written about the same time.  Either the subjects were contrapuntal, formal, in build, or consisted of patterns made out of broken chord-series.  Domenico Scarlatti got some wonderful results; but his music simply tickles the ear for a moment:  meaning it has none.  Polyphonic music of every sort had now to go for a while; monodic music was coming in.  But before it could come in with any degree of security something else had to come and something else to go.  Up till now the old idea of modes had remained strong, despite Sebastian Bach and his marvellous use of chromatic harmonies.  It had to yield to the modern idea of key; a sense of key relationships had to be developed—­much, at first all, depended on that.  The new idea, hinted at by Emanuel Bach, and first seized upon by Haydn, was that a continuous stream of melody—­not necessarily always in the top or treble part—­should run through a movement, and, whatever the interest of the accompanying parts, should always be of the first importance.  For his inspiration, as well as many of his actual themes, Haydn went to his native folk-dances and folk-songs; he brought in the fresh air from the wilds, and the now dusty contrapuntalism was blown out never again to return.  We can see above the difference between the full-bottomed wig theme and the newer kind; to show, on the other hand, how near Haydn stood to Beethoven let me give bits of themes from each composer.

[Illustration:  some bars of music]

With the disappearance of the contrapuntal theme coincides the end of purely contrapuntal “working” or development.  The new kind I shall describe later in its proper place.  For the present all that need be said is that here again key relationship was of the first importance, as we shall see.  Meantime, in this peroration I have sought to outline what Haydn did.  For, let there be no mistake, it was Haydn and no other who brought about the change.  If he was not the first to write in something very like modern sonata or symphony form, he was the first to see its full possibilities.  Had he written no symphonies, but only quartets, his achievement would have been none the less remarkable, and none the less valuable to Mozart and Beethoven, for in many respects the quartet and the symphony of the eighteenth century were the same thing, and Mozart declared that it was from Haydn he learnt to write quartets.

This, then, is what Haydn did, and I shall now describe shortly what we must call his career while he was working it out.