To Thackeray her diction recalled the sound of village bells falling sweetly and softly on the ear, and it sent a shiver through John Stuart Mill, like a symphony of Haydn or Mozart.
The pianoforte trios of Haydn are perhaps the only-works of first-rate artistic importance in which there is no doubt that the earlier stages of the new art do not admit of sufficient polyphony to give the instruments fair play.
Haydn finds the pianoforte so completely capable of expressing his meaning that he is at a loss to find independent material for any accompanying instruments; and the violoncello in his trios has, except perhaps in four passages in the whole collection of thirty-three works, not a note to play that is not already in the bass of the pianoforte; while the melodies of the violin are, more often than not, doubled in the treble.
But experiment shows that in this condition much of the violin part sounds incomplete; and the truth appears to be that Haydn is thinking, like any modern composer, of the opposition of two solid bodies of tone - the pianoforte and the stringed instruments.
This was in many cases true, and it is equally true that Mozart and Haydn often had no scruple in following the customs of very bad composers.