well-balanced form of Emanuel Bach's works
"acted as well as a master's guidance upon him, and led him to the first
steps in that style of writing which was afterwards one of his greatest
glories." The point is admirably put by Sir Hubert Parry. He says, in
effect, that what Haydn had to build upon, and what was most congenial
to him, through his origin and circumstances, was the popular songs and
dances of his native land, which, in the matter of structure, belong to
the same order of art as symphonies and sonatas; and how this kind of
music could be made on a grander scale was what he wanted to discover.
The music of Handel and Bach leaned too much towards the style of the
choral music and organ music of the church to serve him as a model. For
their art was essentially contrapuntal--the combination of several parts
each of equal importance with the rest, each in a sense pursuing its own
course. In modern music the essential principle is harmonic: the
chords formed by the combination of parts are derived and developed in
reference to roots and keys. In national dances few harmonies are used,
but they are arranged on the same principles as the harmonies of a
sonata or a symphony; and "what had to be found out in order to make
grand instrumental works was how to arrange more harmonies with the same
effect of unity as is obtained on a small scale in dances and national
songs." Haydn, whose music contains many reminiscences of popular
folk-song, had in him the instinct for this kind of art; and the study
of Philipp Emanuel's works taught him how to direct his energies in the
way that was most agreeable to him.

A Disciple of Emanuel Bach

Although much has been written about Emanuel Bach, it is probable that
the full extent of his genius remains yet to be recognized. He was the
greatest clavier player, teacher and accompanist of his day; a master
of form, and the pioneer of a style which was a complete departure from
that of his father. Haydn's enthusiasm for him can easily be explained.
"I did not leave the clavier till I had mastered all his six sonatas,"
he says, "and those who know me well must be aware that I owe very much
to Emanuel Bach, whose works I understand and have thoroughly studied.
Emanuel Bach himself once complimented me on this fact." When Haydn
began to make a name Bach hailed him with delight as a disciple,
and took occasion to send him word that, "he alone had thoroughly
comprehended his works and ma