The three masters, Haydn, Mozart and Beethoven, in relation to the symphony stand upon a plane of substantial equality, whether we estimate their merits according to the absolute worth of the compositions they produced in this form, or in the value of the additions which each in turn made to the ideal of his predecessor. Naturally, 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).