[23] ‘The Emperor Joseph, who objected to Haydn’s “tricks and nonsense,” requested Dittersdorf in 1786 to draw a parallel between Haydn’s and Mozart’s chamber music. Dittersdorf answered by requesting the Emperor in his turn to draw a parallel between Klopstock and Gellert; whereupon Joseph replied that both were great poets, but that Klopstock must be read repeatedly in order to understand his beauties, whereas Gellert’s beauties lay plainly exposed to the first glance. Dittersdorf’s analogy of Mozart with Klopstock, Haydn with Gellert (!), was readily accepted by the Emperor.’ Cf. Otto Jahn: ‘Life of Mozart,’ Vol. III. [24] Johann Friedrich Fasch (1688-1758) was, according to Riemann, the first to introduce this contrast. He was one of the most interesting of the minor composers of Bach’s time. Cf. Riemann’s _Collegium Musicum_, No. 10. [25] His compositions were chiefly for that instrument, and he achieved lasting merit with his _Anweisung die Flöte traversière zu spielen_ (1752). He was born in 1697 and died in 1773. [26] Surette and Mason: ‘The Appreciation of Music.’ [27] He was music master to the queen and in a way entered upon the heritage of Handel. [28] For further details concerning the Mannheim orchestra we refer the reader to Vol. VIII, Chap. II. [29] The _Concerts spirituels_, founded in 1725 by Philidor, were so called because they were held on church holidays, when theatres were closed. Mouret, Thuret, Royer, Mendonville, d’Auvergne, Gaviniès, and Le Gros succeeded Philidor in conducting them till the revolution in 1791 brought them to an end. Another series of concerts, though private, is important for us here, because of its early acceptance of Mannheim principles. This was inaugurated by a wealthy land owner, La Pouplinière, who had been an enthusiastic protector of Rameau. ‘It was he,’ said Gossec, ‘who first introduced the use of horns at his concerts, _following the counsel of the celebrated Johann Stamitz_.’ This was about 1748, and in 1754 Stamitz himself visited the orchestra, after which Gossec became its conductor and developed the new style.