“But, gradually, the sea becomes calm, favorable breezes swell the sails and port is reached. The happy father casts anchor in the midst of the congratulations of his friends and the joyful cries of his children and of their mother, whom he at length embraces safe on shore. Everything at the end of the symphony is happiness and joy. “I cannot recollect to which of the symphonies this little romance served as a clue. I know that he mentioned it to me, as well as to Professor Pichl, but I have totally forgotten it. “For the subject of another symphony, Haydn had imagined a sort of dialogue between Jesus Christ and an obstinate sinner, and afterwards followed the parable of the Prodigal Son. “From these little romances were taken the names by which our composer sometimes designated his symphonies. Without the knowledge of this circumstance, one is at a loss to understand the meaning of the titles _The Fair Circassian_, _Roxalana_, _The Hermit_, _The Enamoured Schoolmaster_, _The Persian_, _The Poltroon_, _The Queen_, _Laudohn_, all which names indicate the little romance which guided the composer. I wish the names of Haydn’s symphonies had been retained instead of the numbers.” When Dr. Burney had nearly finished his immense _History of Music_ he wrote the following words: “I am now happily arrived at that part of my narrative where it is necessary to speak of Haydn, the admirable and matchless Haydn! from whose productions I have received more pleasure late in my life, when tired of most other Music, than I ever received in the most ignorant and rapturous part of my youth, when everything was new and the disposition to be pleased undiminished by criticism, or satiety. “The first time I met with his name in the German catalogues of Music is in that of Breitkopf of Leipzig, 1763, to a _Divertimento a Cembalo_, _3 Concerti a Cembalo_, _6 Trios_, _8 Quados_, or _Quartets_, and _6 Symphonies in four_. The chief of his early music was for the Chamber. He is said at Vienna to have composed before 1782 a hundred and twenty-four pieces for the _baryton_, for the use of his prince, who is partial to that instrument and a great performer upon it. Besides his numerous pieces for instruments he has composed many operas for the Esterhazy theatre and Church Music that has established his reputation as a deep contrapuntist. “His innumerable symphonies, quartets and other instrumental pieces, which are so original and so difficult, have the advantage of being rehearsed and performed at Esterhazy under his own direction, by a band of his own forming, who have apartments in the palace and practise from morning to night in the same room, according to Fischer’s account, like the students in the conservatories of Naples.