In one sense there is a distinct difference between the symphonies of Mozart and those of Beethoven. The passionate ideal, the picture of a deep soul, tossed yet triumphant, is nearer to the latter. Whatever Mozart may have experienced in the way of "contradiction of sinners" (as St. Paul calls it), he never allows the fact to find entrance into his music, and especially into his symphonies. Whether he felt that these moments did not belong to a high ideal of orchestral pieces, or whether he was glad to find in the tone world forgetfulness of sorrows and troubles, we do not know. But Beethoven came nearer to the great time of the romantic. The inherent interest of whatever belongs to the human soul was an idea of his time, and unconsciously to himself, perhaps, it entered into and colored his work. The ninth symphony belongs to the period when Hegel was delivering his lectures upon the deepest questions of philosophy, and laying it down as a fundamental principle that it is the place of art to represent everything whatever, which sinks or swells in the human spirit; not alone all the noble and the lovely, but also the ignoble, the vicious, the unworthy, and particularly the tragic--to the end that the soul may learn to know itself, and awaken to a deeper and better self-consciousness. Beethoven felt the mental movement of his day. While his acquaintance with other prominent literary men of his time made little headway, owing in part to his deafness, and in part to his very strong self-consciousness, he read and thought, and felt himself akin with the whole human race. He was a socialist and a republican by instinct. "Man stands upon that which he really is," was a form of self-assertiveness, which, if not actually enunciated by him, at least represents his attitude toward the conventionalities and superficialities of the courts, the social orders, and the general movement of mind into which he entered. Moreover this was the time when the romantic poets of Germany had already set the world thinking their new ideas. Close by the great composer, in the same city in fact, worked a young man, worshiping almost the very ground upon which Beethoven walked, but for the most part unknown to him--Franz Schubert, who in the symphony was classic to the very highest degree, and a tone poet gifted lyrically not less than Mozart himself, a composer whose ideas have equal refinement and grace with those of Mozart, together with a certain charm peculiarly their own, and an instinct for musical coloration, which has never found its superior. This obscure young man, whose lofty genius was recognized only after his soul had taken its flight from earth, was the founder of the modern romantic school of music--the musical commentator upon the productions of all the best of German poets; a composer of such inexhaustible fertility and melodic inspiration that Schumann said of him, that if he had lived he would have set to music the whole German literature.