dramatic music, and that his principal songs might have been written for a choir-boy. But he praised, in strong terms, the _entr'acte_ music for Zaire, which Haydn had composed in 1777, and analysed it carefully, telling his son that the Archbishop had done him the honour to say to him at table, that he could not have believed Haydn capable of composing such music; and that instead of beer he should drink nothing but Burgundy. Haydn received a reward of six kronthaler (October 1 and October 9, 1777). But when L. Mozart writes to his son: "Herr Haydn is a man whose musical merits you will not deny" (September 24, 1778), he is referring to his church music, which Wolfgang was in the habit of copying for study. Writing from Vienna, he asks for "small paper, Eberlin's Counterpoint, bound in blue, and some of Haydn's things";[8] and shortly after (March 12, 1783): "The 'Tres sunt' (M. Haydn's) is in score, in my handwriting." He wanted these things for the Sunday performances at Van Swieten's, and asked also for Michael Haydn's latest fugue. "The 'Lauda Sion,'" he writes (March 12, 1783), "was a great success; the fugue, 'In Te Domine speravi,' was much admired, as also the 'Ave Maria' and 'Tenebrae.'" Among Mozart's remains were found two fugues, 'Pignus futuræ gloriæ,' copied by his own hand from Michael Haydn's Litanies. {ADLGASSER--CHURCH FORMS.} (239) The cathedral organist, appointed in 1751, was Anton Cajetan Adlgasser (1728--1777), a pupil of Eberlin, who had been sent by the Archbishop to study in Italy, a first-rate organ-player and accompanist, whose sacred compositions were afterwards performed and highly appreciated at Salzburg. Less remarkable was the second organist, Franz Ign. Lipp, Haydn's father-in-law. The kapellmeister and organist did not confine themselves to conducting performances of church music: they made it a point of honour to provide suitable music for special festival occasions. At such time new compositions were considered indispensable; indeed, throughout the year a constant variety of music was sought to be provided. This activity in church music was of the greatest service to young composers, who never wanted an opportunity for bringing out new compositions, nor for learning by hearing and comparing.