Haydn is known to have studied, early in life, the works of Philipp Emanuel Bach (1714-88), and there can be little doubt that he was thereby strongly influenced. Beethoven is said to have been quite familiar with the greater (John Sebastian) Bach’s compositions, even as a child, and an argument has been based on this that Haydn’s artistic position would to-day have been different had he, too, studied the greater and not the lesser Bach. [Sidenote: =Philipp E. Bach=] The following extracts from a String Quartett by this composer, P.E. Bach, which was found in the Library of the Thomas-Schule in Leipzig, will convey, perhaps better than any mere words, an idea of the style in which he wrote, and we will thereby see what it was that influenced Haydn. The Finale Presto may specially be noted, presenting as it does features remarkably like many such movements in Haydn’s Quartetts. [Music: FROM THE 1ST MOVEMENT OF A STRING QUARTETT BY PHILIPP EMANUEL BACH.] The first movement of this work, which has also been called a Sinfonia, is connected with the second by modulation. [Music: 2ND MOVEMENT. (The commencement.)] [Music: (The last 10 bars, leading to the _Presto_.)] The orchestral tendencies of this work and its symphonic feeling are, of course, quite evident; but Dr. Hugo Riemann, in his recently published edition, entitles it a String Quartett. [Music: 3RD MOVEMENT.] [Sidenote: =Dittersdorf=] Dittersdorf (1739-99) is another chamber music composer of this period. His name is little known in England, but during his life-time he was regarded as a rival of Haydn, and although the verdict of time is against him, yet his compositions go far to justify the popular feeling in his favour. An opera of his, _The Doctor and the Apothecary_, still holds the stage in Germany, and his String Quartetts are yet occasionally heard. His twelve Orchestral Symphonies (most of them written to a programme), oratorios, and some twenty to thirty other operas are, however, now practically dead. The scores of six of his Quartetts, which are published in the Payne miniature edition, are worthy of attention, especially that in E♭, from which the following quotations are made. Special attention may be directed to the minuet, which is followed by a trio or alternativo of a very charming and dainty character. The lively finale too reminds one of Haydn, and the effect of silence, which is mentioned elsewhere, is introduced in several places in this movement. While, however, the music is spontaneous and sincere in feeling, the absence of strong ideas and of contrapuntal skill soon shows itself, and the effect tends to become insipid. [Music: FROM A STRING QUARTETT BY CARL DITTERS VON DITTERSDORF.] A noteworthy feature in the development portion of this movement is a sudden but effective modulation from E♭ to C major. [Music: MINUETTO. Leading into the Alternativo.] [Music: ALTERNATIVO.]