When we pass from considering the texture or molecular tissue of the music to an examination of its structure, or composition, the same qualities continue to impress us. There is a constant dearth of contrast, a constant simplicity that to modern ears, it may be, seems like over-simplicity. The motifs, for example, are generally expanded into complete phrases by the addition of more or less homogeneous or amorphous matter, rather than by the entrance of new motifs or figures, such as Mozart often, and Beethoven generally, uses. The schemes of balance between the phrases are generally obvious and mathematically exact, four measures answering four, or eight, eight; whereas in Beethoven, and even in Mozart, the phrase-balance is much more subtle and various. The transitional passages leading from one theme to another are so perfunctory, so conventional, that Wagner felicitously compared them to “the clattering of dishes at a royal feast.” The themes themselves, too, are often but slightly contrasted in character and style; instead of setting a dreamy or emotional second theme over against a sprightly or dashing first theme, Haydn is apt to make the second hardly more than a variation of the first. In the development portions of his first movements, again, where the logical power and ingenuity of the composer is of course most sorely taxed, Haydn is apt to resort to only the more obvious means of exploiting his subjects, to represent them literally, with merely a new figure of accompaniment, or to change a major theme to minor, or vice versa, instead of drawing forth their latent but at first sight hidden possibilities. He avoids radical transformations, either of harmony or rhythm. To put the matter in the most general terms, he is more spontaneous than thoughtful, more vivacious than logical, more bent on securing perfect transparency for his tonal web than on filling it with iridescent colors, tempting opacities, charming labyrinths of light and shade. We must remember, however, that Haydn was writing for people to whom the whole scheme of thematic form was unfamiliar. His ingenuity was taxed to be as regular as possible, rather than to introduce attractive irregularities. He was, in fact, laying down the first principles of a novel type of art; and it is the supreme virtue of first principles to be simple, fundamental, unmistakable.