music of Germany. Then Haydn made the acquaintance of Porpora, who
gave him instruction in composition and in the art of singing. And he
is also supposed to have studied the works of San Martini, an Italian
composer in the service of Prince Esterhazy. In addition, Italian
music was much played and much admired in Vienna. Emanuel Bach also,
as we have seen, came under Italian influence, but not until he had
finished his studies under his father's guidance. Once more, we may
conclude that Haydn, before he commenced writing clavier sonatas, had
made acquaintance with those of Paradies and of Alberti. These early
Italian influences should be noted, for one is apt to think rather of
the young composer as plodding through Fux's "Gradus" and playing
Emanuel Bach's sonatas on his "little worm-eaten clavier." During his
last years Haydn told his friend Griesinger that he had diligently
studied Emanuel Bach, and that he owed very much to him. From the
painter Dies, in his biographical notice of the master, we also learn
how fond he was of playing Emanuel Bach's sonatas. And this influence
was undoubtedly not only a strong, but a lasting one; in 1788, the
year in which E. Bach died, Haydn wrote to Artaria, begging the latter
to send him that master's last two works for clavier.

In reference to Haydn, musicians are apt to speak merely of his
sonatas, whereas those of Beethoven are generally described by their
key, or their opus number; or as belonging to one of the three
periods into which that master's art-work is usually divided. There is
good reason for this difference. Haydn's sonatas are not of equal
importance with those of his successor; and then some are
old-fashioned, others second-rate. Beethoven's sonatas are by no means
all of equal merit, yet there is not one but has some feature, whether
of form, or development, or technique, by which it may be
distinguished. And yet a close and careful study of Haydn's sonatas