the long phrases and sustained tones of the
violins. But in the sonatas for pianoforte he is equally at home. He
seems to have foreseen the possibilities of the modern piano. In his
latest sonatas there are passages which foresee the modern technique,
and suggest effects which only the pianoforte of the past thirty years
has been capable of attaining. This is the prophetic element in the
writings of this great master.

The same difference in the sweep of mind shows itself in the lighter
movements. In the minuets Haydn is playful, Mozart is occasionally
tender and arch; Beethoven alone is vigorous and humoristic in the
modern sense. And, in the finales of the sonatas there is a movement
in those of Beethoven which we look for in vain in those of the older
composers. It was not in Haydn, nor yet in Mozart, to play with tones
in this masterly spirit.

Hence the true relation of these great masters might be summed up
without intending to be disrespectful to either, as the following:
Haydn provided the form, the order of keys and the general character
of the contrasts between the two subjects. Mozart invented a myriad of
tender _nuances_ which illustrated the fine points of music, and
imparted to the works a sweetness and pleasing quality which everybody
recognized as irresistible. Beethoven added to these ingredients of
popular music a depth, a soulful quality, an earnestness and a
universal intelligibility to spirits of the necessary depth, which
have stood to all the world ever since as models. Such, in general,
are the points of relation and of contrast.

It is not to be overlooked, however, that the tendency of musical
taste is to leave the works of Mozart behind. Haydn is gaining ground,
relatively, through the admiration of musicians for the cleverness
with which he treats themes. Beethoven holds his own by reason of his
vigorous personality, which is to be felt in every page of his music.
Mozart, however, appeals less to the taste of the present time, and
his pianoforte works are now cultivated chiefly for technical
purposes, in the earlier stages of study.

[Illustration]

CHAPTER XXIX.

OPERA IN THE EIGHTEENTH CENTURY.

I.

Upon the musical side, and in one instance upon the dramatic side as
well, there were three great forces in opera during this century. The
first of these in order of time was Karl Heinrich Graun (1701-1759). A
native of Dresden, he was educated there, and having early a beaut