(6) The two most remarkable instances are yet to come. According to a well-known story, Prince Esterházy once discussed with his Kapellmeister the question whether Church music could not be made “at the same time religious and popular.” It is hard to realise that Haydn’s Masses were ever regarded as too severe; in any case, the Prince felt dissatisfied, and wanted a change. He had recently returned from his annual pilgrimage to Maria Zell. He had heard there music which pleased him, and he seems to have suggested that in the Eisenstadt chapel there was too much counterpoint and too little melody. Haydn listened, sent to Maria Zell for information, bided his time, and, when next year the day of the pilgrimage was approaching, wrote a “Mass” or Service to German words,[27] despatched it to the famous church, had it secretly practised, and finally found an excuse for slipping off on a holiday. The Prince came back more dissatisfied than ever. “I have heard,” he said, “a service of Church music composed and played in a style which you will never equal.” “Your Highness,” answered Haydn, “the composition was mine, and I was the organist.” [27] This story is sometimes told of the Mariazeller Mass in C major (Novello, No. 15). But first, the Mariazeller Mass was written by commission for Anton Liebe von Kreutzner; second, it is set to the usual Latin text; and third, it does not contain any of the popular melodies in question. From this “Mass,” of which at present no other trace seems to be discoverable, Dr. Kuhač quotes seven melodies on the authority of the Dominican Alois Russwurm, who was a personal friend of Haydn, and by whom the story was originally recorded. The first, “Hier liegt vor Deiner Majestät,” is the opening theme of the first number— [Music] and comes from the Croatian tune— [Music] The second, “Gott soll gepriesen werden”— [Music] is the song “Ti jabuka,” as sung in Velik-Borištov— [Music] The third, “Allmächtiger, vor Dir im Staube,”— [Music] begins remarkably like the Slavonian drinking song, “Draga moja gospodo.”[28] [Music] [28] The three-bar phrase is a common feature of early Slavonic melodies, especially when conjoined with a second phrase of four bars in irregular balance. The fourth, “O Vater, sieh vor Deinem Throne”— [Music] may fairly be regarded as a variant of the Dalmatian song, “Jedna Ciganka”— [Music] The fifth, “Betrachtet ihn in Schmerzen”— [Music] is almost identical in both parts with the following Croatian melody:— [Music] The sixth—“Nun ist das Lamm geschlachtet”— [Music] is derived partly from two separate strains in the Croatian and Slavonian versions of a convivial chorus—“Vivla compagnija”— [Music] [Music] partly from a Croatian sacred song—“Stani gori gospodar.” [Music] The seventh—“Dich wahres Oesterlamm”—which is the concluding phrase of the canticle for the Celebration,— [Music]