had his will
and his self-regard been stronger; but neither, it seems, was proof
against the blandishments of the match-making perruquier. Anxious to
secure an alliance with one who showed so much promise, Keller brought
all his powers of persuasion to bear in favour of Haydn's accepting
the hand of his eldest daughter, and, sad to relate, he succeeded.
Maria Anna was not only three years older than the man who pledged his
faith to her before the altar of St. Stephen's, but she comprised in
her nature as much of the quality of the virago as her younger sister
had exhibited of the angel. She was heartless and extravagant, prone
to outbursts of uncontrollable temper, and in every way utterly
unfitted to be the wife of a man whose fame had yet to be compassed.
Indeed, she soon showed that she had not the slightest reverence
either for her husband or his art; for all she cared, Haydn might just
as well have been a cobbler as an artist, provided he supplied her
with money to satisfy her extravagant desires.

Fortunately for Haydn, the circumstances of his life were about to
undergo an important change. Count Morzin was compelled to reduce his
establishment, and hence dismissed his band and its director. What
might otherwise have proved a great misfortune for Haydn was, however,
the means of securing for him a post which not only raised him to the
position which he had set his heart on attaining, but precluded the
possibility of his wife's living with him. Amongst those who had
visited Count Morzin's house and listened with delight to the
performance of Haydn's compositions was the then reigning Prince of
Hungary, Paul Anton Esterhazy. No sooner had the Prince been made
aware of Count Morzin's intentions than he offered Haydn the post of
second Capellmeister at his country seat of Eisenstadt. The chief
Capellmeister, whose name was Werner, was old and infirm, but the
Prince retained him in his position on account of his length of
service. To Haydn, however, was assigned the sole control of the
orchestra, as well as a free hand in regard to most of the musical
arrangements.

It is needless to recount the joyful feelings with which Haydn
received the news of his appointment, offering as it did the most
exceptional opportunities for prosecuting his beloved art. Not even in
his wildest dreams could he have pictured such magnificence as that
which greeted him on his arrival at the Palace of Eisenstadt. For
generations past the