a melody noticeable for the breaking of the four-quaver rhythm by alternate bars of six. It can hardly be doubted that when Haydn wrote this he had in his mind the old Slavonic drinking song, “Nikaj na svetu”— [Music] variants of which may still be heard in Croatia, and in the Carinthian Zillerthal. Similar instances of slight adaptation may be traced from the spring song, “Proljeće”— [Music] which appears at the beginning of the D major Quartet (Op. 17, No. 6) as— [Music] and from the dance-song “Hajde malo dere”— [Music] which is thus altered by Haydn— [Music] (2) The curious and characteristic finale of the D major Symphony (Salomon, No. 7) is founded on the following theme:— [Music] This is simply an amended version of the popular ballad, “Oj Jelena,” which belongs to the district of Kolnov, near Oedenburg, and is specially noted by Dr. Kuhač as being commonly sung in Eisenstadt. Its tune, essentially Slavonic in rhythm and cadence, runs thus:— [Music] Variants of this melody are found in Croatia proper, Servia, and Carniola.[23] [23] See Kuhač, “South Slavonic Popular Songs,” vol. iii. pp. 98-100. It is probable that the other movements of this symphony are equally influenced by folksongs; in any case, no doubt can exist as to the Symphony in E♭, “Mit dem Paukenwirbel.” The opening theme of the Allegro— [Music] is noted by Dr. Kuhač as Croatian.[24] The Andante is founded on two themes, the first minor— [Music] [24] See Kuhač, “South Slavonic Popular Songs,” vol. iii. p. 92. the second major— [Music] both of which are taken, and considerably improved, from two folksongs of the Oedenburg district, (_a_) “Na Travniku”— [Music] and (_b_) “Jur Postaje”— [Music] while the principal tune of the Finale— [Music] is that of the song “Divojčica potok gazi”— [Music] which is common among the Croats, especially those of Haydn’s district.[25] Again, the Trio of the A major Symphony (No. 11 in Haydn’s Catalogue) contains a Slavonic melody— [Music] [25] See Kuhač, “South Slavonic Popular Songs,” vol. iii. p. 82. and the first movement of its successor (D major, No. 12) suggests another— [Music] (3) There are several cases in which, without direct adaptation, Haydn has shown the same tendency of thought or phrase as the Slavonic folksongs. A favourite “curve” of his may be illustrated by the opening of the B♭ Symphony (Salomon, No. 9)— [Music] as well as by the Dalmatian Overture of Franz von Suppé and the tunes (from Zara and Borištov) on which it was founded—_e.g._, the ballad “Na placi sem stal”— [Music] Another, even more beautiful, ends the opening strain in the Adagio of the G major Quartet (Op. 77, No. 1)— [Music] and appears also in the Croatian “Čuješ doro dobro moje”— [Music] while the use of the unprepared dominant ninth, constructed out of a dominant seventh by shifting the melody a third higher, was not so common in Haydn’s day that we can afford to neglect the resemblance of— [Music]