, as the latest of the three, though so far contemporaneous
with them as to form part of a single moment in the progress of art,
the symphonies of Beethoven are greater in certain respects, and, as
also was to have been expected from his general depth of mind and
seriousness of purpose, they are perhaps somewhat more severe--or
elevated--in style and sentiment. Nevertheless, the ideal of the three
writers was but slightly different. All alike sought to weave tones
into a succession of agreeable and beautiful combinations, related as
representing a continued flight of spirit--a reverie of the beautiful.
Haydn has the honor of having created the form. His fortunate
innovation upon the traditions of his predecessors, by adding the
second and contrasting theme, and his happy faculty of working out the
middle part of the first movement thematically in a style of free
fantasy based upon the various devices of counterpoint and canonic
imitation, not only suggested to the later composers a way in which
an endless variety of pleasing tone pictures might be created--but
established, and demonstrated by the clearness with which he did it,
and the ever fresh variety and charm of his works, that this was _the
way_ in which symphonic material must be put together. For further
particulars relating to the sonata form, as such, the student is
referred to my "Primer of Musical Forms" (Arthur P. Schmidt, Boston,
1891).

The form thus established by Haydn, Mozart accepted, and followed in
all his symphonies, with few and unimportant variations. His additions
to the general ideal of orchestral effect were in the direction of a
sweeter _cantilena_, a vocal and song-like quality, which pervades
every movement, and which in the slow movement rises to a height of
refined and exquisite song never surpassed by any composer. Beethoven
is often more impassioned; at times more forcible. But it is never
possible to say of the pure spirit of Mozart, that this refined and
gentle soul might not have broken mountains and shaken the hills if he
had chosen to do so. His refinement is like that of a seraph, as we
see it illustrated in the feminine-looking faces of the Greek Apollos,
and the St. Michaels and archangels of Guido Reni and Raphael. It is
free from passion and toil; but no man dares set a limit to the
strength therein concealed. In the slow movements of the pianoforte
sonatas of Mozart we do not find this quality so plainly manifested.
The inst