he sonatas, Mozart is
melodious in pure lyric pattern. These melodies of Mozart, while of
great sweetness and beauty, do not, as a rule, have much depth; they do
not sing from the soul. The soul has not "seen trouble," as folks say;
it sings with the instinctive sweetness of childhood, and thus fails to
touch the feelings of adults. The selections following illustrate
these points:

PROGRAM.

Sonata in E-flat (entire). No. 3, Schirmer edition. Haydn.
"My Mother Bids Me Bind My Hair." Canzonetta. Haydn.
Sonata in C-sharp minor (entire). No. 6, Schirmer edition. Haydn.
Trio from "The Creation," "Most Beautiful Appear." Haydn.
Soprano, tenor, and bass.
Sonata in F major. No. 6, Peters edition (first movement). Mozart.
Air of Cherubino in "The Marriage of Figaro," "Voi Che Sapete."
Mozart.
Sonata in E-flat (first and second movements only). Schirmer edition,
No. 1. Haydn.
Quintette, "Magic Flute," Mozart. Scene X, Act I, Andante. "Drei
Knaben, Knaebchen jung."
Aria of Countess from "The Marriage of Figaro," "Dove sono," Mozart.
Fantasia and Sonata in C minor. Mozart.
Trio from "The Creation," "On Thee Each Living Soul Awaits."
Haydn.

(The copies for this program are as follows: Haydn sonatas, Schirmer
edition, first volume, paper, seventy-five cents. This is a very
elegant and in every way satisfactory edition for study or for the
library. Mozart sonatas, Peters edition, $1.50 (retail). The songs
are to be had separately. Copies of "The Creation" and "The Magic
Flute" will be necessary.)

The selections above are made for the purpose of illustrating the more
prominent characteristics of the two composers mentioned. Haydn is now
beginning to be undervalued, and, in fact, his works are used mainly
for purposes of instruction, and comparatively little for that. This
is unjust, for while Haydn does not belong to the class of composers
whose music is conceived by them as a message to mankind, but rather is
conceived as an intelligent and refined form of delight, he is as
musical as Bach himself, and consequently his music remains fresh and
interesting despite the comparatively small forms. This will be
noticed in every one of the sonatas selected here. The Sonata in
E-flat, No. 3, is the one oftenest selected and studied, because it
shows Haydn in his most genial mood. The spirit is bright, pleasing,
fresh, and not a little vigorous. Practical