his symphonies, stands first in the list of the greatest instrumental authors. In sacred music he opened a new path, by which he placed himself on a level with the most celebrated composers for the church. In theatrical music he was least successful. In that department he was only an imitator. His instrumental music consists of chamber symphonies for a greater or less number of instruments, and of symphonies for a full orchestra. The first of these divisions comprehends duets, trios, quartetts, sextetts, octetts, and divertimentos; sonatas, fantasia, variations, and capricci. In the second are contained the symphonies for the grand orchestra, concertos for different instruments, serenades, and marches.

The allegros of his symphonies are in general full of life and spirit. They generally begin with a short, easy, and intelligible theme. Gradually, and by a procedure full of genius, this theme, repeated by the different instruments, acquires a character of mingled heroism and gaiety. There is more variety in the slow movements; in these the lofty style is majestically displayed. The phrases or musical ideas in his andantes and adagios are finely and nobly developed. Sometimes the composer is carried away by his copiousness and power; but this excess of vigour does not exclude passion and sentiment. His minuetts are admirable, being rich in harmony and accumulated beauties. The general character of Haydn's instrumental music is that of romantic imagination. "Haydn," says Carpani, "è l'Ariosto della musica. Passeggi il suo genio per tutte le regioni dell'arte. La sua immaginazione apre i tesori d'ogni bellezza, e ne dispone a sua voglia." As a composer of symphonies and quartetts, he may be considered as the first who moulded them into that form which Mozart, Beethoven, and others, have adopted. The famous seven instrumental pieces called Die Sieben Worte des Heylandes am Kreuze were esteemed by the composer as his best works.

The oratorio of the Creation is replete with grandeur, sublimity, and beauty. The Seasons, with less sentiment and learning than the Creation, is equally admirable as an expressive and delightful composition. The ideal part of Haydn's masses is brilliant and dignified; the style is noble and full of fire. His Agnus Dei is full of tenderness; the Amens and Hallelujahs breathe all the reality of joy; the fugues display all the exultation of an enraptured mind. (Le Haydine de Carpani.)

Haydn, John Michael, a younger brother of Francis Joseph Haydn, was born at Rohrau in September 1737. After learning the elements of music, and how to play on the harp and harpsichord, in his father's house, he entered the imperial chapel at Vienna as a chorister. His voice had the remarkable compass of three octaves, from the lowest contralto F up to highest soprano F in alt. The emperor and empress were so much pleased with his singing, that they took him under their protection. He next studied organ-playing and composition; and, by a constant examination of classical compositions, without lessons from any master, he soon acquired skill as an organist and composer. In 1763 he was appointed music director in the chapel of the Bishop of Grosswardein, in Hungary; and in 1768 chapel-master to the Bishop of Salzburg, with the small salary of 300 florins, together with board and lodging. Afterwards this salary was raised to 600 florins. In the first year of his residence at Salzburg he married the daughter of Lipp, the organist. She bore him a daughter, who died in her third year; and the loss of this child deeply affected him for the rest of his life. At Salzburg he opened a school of composition, in which several distinguished artists were taught. In 1801 Prince Esterhazy gave him the title of his chapel-master, with a pension; but he still continued to reside at Salzburg. He died there, on 10th August 1806. He was considered by his brother Joseph as the best composer of church music of his time in Germany. He refused to allow any of his works to be published in his lifetime. Since his death, a number of his church compositions, and several of his symphonies, &c., have been published in Germany. Some pleasing specimens of his music are contained in Latrobe's Selections.