began to cut any figure in the world. But so rapid was the growth of the younger musician that he soon caught up with and distanced the elder, and Haydn became the pupil instead of Mozart. Eight years after Mozart's death, Haydn brought out the "Creation." His life extended eighteen years beyond that of the genial Mozart.
The relations between them were always of the most pleasant character, and their words always expressed a hearty admiration of each other's abilities. This was certainly a rare state of affairs. But then, of all the musical giants, perhaps, these two were the most genial and pleasant of disposition.
Haydn wrote to a friend: "Oh, Mozart! If I could instil into the soul of every lover of music the admiration I have for his matchless works, all countries would seek to be possessed of so great a treasure. Mozart is incomparable, and I am amazed that he is unable to obtain any court position. Forgive me if I get excited when speaking of him, I am so very fond of him."
Equally strong was Mozart's fondness for Haydn. When Haydn was leaving for England in 1791, the year of Mozart's death, Mozart said, in endearing phrase, "Oh, papa, you have had no training for the wide, wide world." And Haydn's answer was, "My language is spoken everywhere."
Mozart's words on that occasion, "We shall now, no doubt, take our last farewell in this world," proved true.
His defense of Haydn's music was prompt and spirited. When Kozeluch and Mozart were one day listening to a composition of Haydn's, the former called attention to certain strange progressions, asking Mozart if he should have written them so.
"I think not," replied the composer, "and for this reason: Neither you nor I would have thought of them."
One day, Mozart was approached by a Viennese professor who used to bother him by finding fault with Haydn's music. This time he had found a great error.
