Haydn's numerous examples of independent violoncello melodies are almost all either marked solo or written for such small orchestras that they would be played as solos.
Of considerable merit are also the sacred lyrical melodies of Paul Radai in his Lelki hodolds (Spiritual Homage), published at Debreczen in 1715.
Michael Grabowski (1805-1863) belongs also to this school by his fine Melodies of the Ukraine (1828).
There is a Spanish guitar player on weekends, strumming melodies reminiscent of Portugal.
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.