The Esterhàzy band comprised sixteen members at the time of Haydn’s arrival, all of them excellent performers. Their enthusiasm and support did much to stimulate the new chapel master, even as his arrival infused a new spirit into the concerts. The first chapel master, Werner, a good contrapuntal scholar, took the privilege of age and scoffed at Haydn’s new ideas, calling him a ‘mere fop.’ The fact that they got on fairly well together is surely a tribute to Haydn’s good nature and genuine humbleness of spirit. The old prince soon died, being succeeded by his brother, Prince Nicolaus. When Werner died some five years later Haydn became sole director. Prince Nicolaus increased the orchestra and lent to Haydn all the support of a sympathetic lover of music, as well as princely generosity. He prepared for himself a magnificent residence, with parks, lakes, gardens, and hunting courses, at Esterhàz, where royal entertainments were constantly in progress. Daily concerts were given, besides operas and special performances for all sorts of festivals. The seclusion of the country was occasionally exchanged for brief visits to Vienna. In 1773 the Empress Maria Theresa--she who, as Electoral Princess, had studied singing with Porpora--was entertained at Esterhàz and heard the first performance of the symphony which bears her name. In 1780 Haydn wrote, for the opening of a new theatre at Esterhàz, an opera which was also performed before royalty at Vienna. He composed the ‘Last Seven Words’ in 1785, and in the same year Mozart dedicated to him six quartets in terms of affectionate admiration. By the death of Prince Nicolaus, in 1790, Haydn lost not only a patron but a friend whom he sincerely loved. His life at Esterhàz was, on the other hand, full of work and conscientious activity in conducting rehearsals, preparing for performances, and in writing new music. On the other hand, it was curiously restricted in scope, isolated from general society, and detached from all the artistic movements of his period. His relations with the prince were genial and friendly, apparently quite unruffled by discord. Esterhàzy, though very much the grandee, was indulgent, and not only allowed his chapel master much freedom in his art, but also recognized and respected his genius. The system of patronage never produced a happier example of the advantages and pleasures to be gained by both patron and follower; but, after all, a comment of Mr. Hadow seems most pertinent to the situation: ‘It is worthy of remark that the greatest musician ever fostered by a systematic patronage was the one over whose character patronage exercised the least control.’ It is Haydn, of course, who is the subject of this remark.