|6.||Charles Burney and Thomas Twining, correspondence.|
Twining, 5-6 July 1783:
(...) Haydn & Boccherini, spoil me for all other fiddle music. Haydn, I think, is much oftener charming than Boccherini. Yet when Boccherini is at his best, there is a force of serious expression, a pathos, that is not so much Haydn's fort, I think. I never see a smile upon Boccherini's face; he is all earnestness, & Tragedy. Haydn leans to Comedy: even in his adagio he is wanton, playful, & never forgets his tricks. – It is, now & then, serious comedy, but seldom, I think, amounts to Tragedy, or even to the Comedie larmoyante. Not that I mean to find fault; he is, to me, delicious, & I wish for nothing better while I am playing him. For variety, and endless resources, I know no composer like him.
Burney, 6 Sept. 1783:
(...) – I love Boccherini, as I have told you before very - very much, but I think I shall live to make you eat your words about his pathetic being superior to Haydn's, whose fort you say is not pathos. I will undertake to prove, however, when we meet, that you have not seen his merit in adagio and Cantabile movements, for want of reading more of his music...
Twining, 22 Oct. 1783:
Burney, 10-12 Nov. 1783:
(...) I'll allow that Boccherini is more constantly serious than Haydn– nay that he is always serious & Charming– but in Haydn's works, more serious Compositions in the true gran Gusto, may be selected, than B. has ever produced – & then you have all his fun, fancy, extravagant if you will & Capricious, for Gigantic players, di plus.– God bless 'em both, I say, but if I were forced to part with one of them– I should not hesitate a moment in locking Haydn fast in my Arms, & only sending a sigh after the other.