Haydn also wrote about 175 works for an instrument called the baryton, a kind of viol da gamba. They were written for Prince Esterhazy, who played that instrument, but they are now practically forgotten. Some unpublished MSS. of Haydn’s are to be found in the library of the British Museum.[14] There are also, among his published works, four Sonatas for violin and clavier, and six Duets for violin and viola, as well as a number of other chamber music compositions, which, however, have no great musical value. [Footnote 14: _Dictionary of Music and Musicians_ (Grove), vol. i. p. 713.] [Sidenote: =Handel=] The following is a list of the chief chamber music works of Handel (1685-1759):— 15 Sonatas for violin, flute, or oboe, with harpsichord, or bass violin. 6 Trio Sonatas for two oboes and harpsichord. 9 Trio Sonatas for two violins, flutes, or oboes, and harpsichord, or violoncello. 7 Trio Sonatas for two violins, or German flutes, with harpsichord, or violoncello. 1 Sonata in C major for viola da gamba, and cembalo. 1 Sonata in B♭ for two violins, bass, and organ. 3 Sonatas for flute and continuo. The Sonata in A major for violin and piano (harpsichord) is of course familiar, as are others of the fifteen named above. The Trios are also of high interest, some of the slow movements being distinguished by that fine pathos which is associated with the best work of the composer of _The Messiah_. This music deserves more attention than has hitherto been accorded to it. CHAPTER IV. MOZART. Mozart’s C major Quartett—Mozart’s string quartetts—The genius of Mozart—Mozart’s other chamber music—Wagner on Mozart—Mozart’s letter to his father. “I declare to you before God, as a man of honour, that your son is the greatest composer that I know either personally or by reputation; he has taste, and, beyond that, the most consummate knowledge of the art of composition.” [Sidenote: =Mozart’s C Major Quartett=] Such are the remarkable words of Haydn, spoken to Mozart’s father. The compositions played on the occasion when this was said were the String Quartetts numbers 458, 464, and 465 of the Köchel Thematic Catalogue of Mozart’s works, the last-named in C major, being that whose introductory passage is said to have given much offence to the purists of that time, on account of the following unusual harmony, which even to-day sounds (like some of Bach’s) quite modern:— [Music: MOZART.]