Ehlert has spoken of the inexorable logic of Beethoven's music, the impossibility of rearranging the order of thought, of adding or taking away. In other words, the concentration of his musical thought is never too bold, his speech is never too laconic; nor is he tautological or diffuse. The intensely emotional and dramatic characteristics of his music impelled him to invent a great variety of dynamic changes, or rhythmical syncopations. When we compare him in this respect with his predecessors, we are struck by the great number of marks of expression. The care with which he indicated the _nuances_ is seen in all his works, but he paid more and more attention to the matter as he neared the end of his career. The Cavatina in the Quartet in B-flat, for instance, is sixty-six measures long, and there are fifty-eight marks of expression. He wished by all possible means to produce what he himself called, in reference to the Heroic Symphony, "the special and intended effect." Furthermore certain of the indications reflect his personality, as the famous directions in the Mass in D, and the "_beklemmt_" in the Cavatina before mentioned. It has been said that the criterion wherewith to judge of all music whatsoever is this: "Technical exposition being considered equal, the quality and the power of the emotional matter set forth should turn the scale between any two pieces of music." Now Beethoven not only invented a new technical language; he invented the necessity of a race of players that should speak it. The pianist that interprets properly a composition of Beethoven must clothe his mechanism with intellectuality and virile, poetic spirit. It was held by Jacob Grimm that no definite thought can exist without words, and that in giving up the words instrumental music has become an abstraction, as all thought has been left behind. It seems, however, an error to limit thought or consciousness to words. There is a state of consciousness, without verbal thinking, in which we realize great moments of existence; and this state of consciousness has its clear and powerful language. Such a spiritual language is music, and its greatest poet is Beethoven. Even those works of Beethoven which have no title to indicate the practical plan of the author are expressions of particular emotions and conceptions that cannot be explained in words, yet convey a distinct impression to the consciousness of the hearer.