al director and
privileged censor, to have been, in fact, what Rossini was for many
years in Paris. He was giving lessons to the mistress of Correr, the
Venetian ambassador--a "rare musical enthusiast"--and he employed Haydn
to act as accompanist during the lessons.

Menial Duties

We get a curious insight into the social conditions of the musicians of
this time in the bearing of Haydn towards Porpora and his pupil. That
Haydn should become the instructor of Fraulein Martinez in no way
compromised his dignity; nor can any reasonable objection be raised
against his filling the post of, accompanist to the ambassador's
mistress. But what shall be said of his being transported to the
ambassador's summer quarters at Mannersdorf, and doing duty there for
six ducats a month and his board--at the servants' table? The reverend
author of Music and Morals answers by reminding us that in those days
musicians were not the confidential advisers of kings like Wagner, rich
banker's sons like Meyerbeer, private gentlemen like Mendelssohn, and
members of the Imperial Parliament like Verdi. They were "poor devils"
like Haydn. Porpora was a great man, no doubt, in his own metier. But it
is surely odd to hear of Haydn acting the part of very humble servant
to the singing-master; blackening his boots and trimming his wig,
and brushing his coat, and running his errands, and playing his
accompaniments! Let us, however, remember Haydn's position and
circumstances. He was a poor man. He had never received any regular
tuition such as Handel received from Zachau, Mozart from his father, and
Mendelssohn from Zelter. He had to pick up his instruction as he went
along; and if he felt constrained to play the lackey to Porpora, it was
only with the object of receiving in return something which would help
to fit him for his profession. As he naively said, "I improved greatly
in singing, composition, and Italian." [The relations of Haydn and
Porpora are sketched in George Sand's "Consuelo."]

Emanuel Bach

In the meantime he was carrying on his private studies with the greatest
assiduity. His Fux and his Mattheson had served their turn, and he
had now supplemented them by the first six Clavier Sonatas of Philipp
Emanuel Bach, the third son of the great composer. The choice may seem
curious when we remember that Haydn had at his hand all the music of
Handel and Bach, and the masters of the old contrapuntal school. But it
was wisely made. The simple,