=Bach and Beethoven Contrasted=.—We now consider the exact nature of the work which Beethoven did, in distinction from that of Haydn and Mozart. It has been said that Bach gave the Old Testament in music, while Beethoven gave the New; that is, that Bach consummated the old polyphonic school, while Beethoven did an equal work for the new harmonic school. Yet this is only a half truth; for Bach, besides perfecting former styles, gave glimpses of modern chromatic modulation and free expression; while Beethoven, a student of the old masters, employed polyphonic forms as well as harmonic, making all work together to translate his thought, and so moulding them into a means of portraying every emotion as to open the door forever to the untrammelled presentment of thought, through the medium of music. =Beethoven’s Gradual Development=.—But Beethoven did not arrive at this result in an instant. It is true that, even in his early works, a distinction of style is shown which removes them from a mere imitation, but, as has been shown, he _began_ practically at the point _where Haydn and Mozart left off_, with compositions which can hardly be placed on a higher level than theirs; and, in the course of a life full of strenuous experiences, he gradually _unfolded the resources_ which he had received from his predecessors, until he made them adequate to give vent to the mighty ideas which welled from his soul. Thus we find in his works a period in which _form is rigidly observed_; and we pass thence through an era of expansion, during which _form becomes more elastic_, through the added requirements placed upon it, until the thought and emotion become so paramount that the _formal lines_ have entirely _disappeared_, and are only to be traced by careful analysis. =Beethoven and the Orchestra=.—As the great exponent of instrumental music, Beethoven found the orchestra his best and fullest vehicle of expression. So his massive mind, grasping with ease the effects of manifold combinations of instruments, was able to mould his thoughts into terms of tone color in which each instrument should be employed to bring out the exact shade of feeling required. So the orchestra becomes with him a great individual instrument, responding to the slightest change of mood. =Use of the Piano=.—But as a preparation for such orchestral work, Beethoven realized the value of the pianoforte. Attaining a marvelous degree of virtuosity in the use of the keyboard at an early age, he later found this of the greatest advantage in working out his ideas, and, further, in actually trying their effects upon auditors. Thus we find in his first pianoforte sonatas effects which appeared much later in the greater elaboration of his symphonies; thus also is shown the necessary imperfection of any division of his works into distinct periods, since his pianoforte style was so greatly in advance of his orchestral.