One of the greatest innovations of this master, the father of orchestral color, was the knowledge of the resources of this instrument, whose voice, as Berlioz well says, is the voice of heroic love. In Mozart's works, "whether it sings with full and sonorous voice some episodic phrase or displays all the riches of its two _timbres_ in a superb adagio, everywhere it is brought fully into light, everywhere it plays an important rôle." In 1768, Mozart used the drums and one trumpet; in 1769 two bassoons; in 1770 two trumpets; in 1771, in an andante, two flutes. He was still making experiments. In 1773, for the first time, he composed a symphony in the minor mode; and in this year he first went over 200 measures in the opening allegro; he also used four horns. In 1774 he employed two viola parts. In 1778 the "Parisian" symphony was performed with great success at a _Concert Spirituel_. Never before had he developed his motives to so great a length; never before had he employed so large an orchestra; the score includes, besides the string parts, two flutes, two oboes, two clarinets, two bassoons, two horns, two trumpets, drums,--in all seventeen parts. Haydn did not use so large an orchestra until 1793. The allegros are brilliant and animated, following the French taste of the time, and they were loudly applauded; the andante did not produce so great an effect. After his return to Germany he was obliged to reduce his orchestral forces, and to cut his cloth to suit his opportunities. The "Haffner" made over from a serenade shows that the forms of the ancient serenade and modern symphony were still confounded; its allegro is not symphonic, but one theme is present and rules from beginning to end. In 1783, in the symphony in C, he first wrote an introduction to the first movement. In 1786 the symphony in D, with an introduction, was brought out at Prague with unbounded success. It contains, like the "Parisian," no minuet. It opens with a solemn adagio introduction; the allegro bears a rhythmical resemblance in its first theme to that of the "Magic Flute" overture; the andante is often cited as a perfect example of the exquisite grace of Mozart; the finale in its sparkling vivacity brings to mind a number of "Figaro." And here it may be said that the symphonic instrumentation of Mozart approaches closer dramatic formulas than that of Haydn or Beethoven. The three last symphonies of Mozart show a wonderful advance. In a certain expression and in a certain treatment they belong to the nineteenth century. There is more blood, more intensity, a dread of unmeaning formalism. Technically they are beyond criticism; and in pure expression of remarkable musical thought, in sense of euphony and proportion, in perfection of musical style they stand a marvel for all time. The one in E-flat was written in June, 1788. To gain the wished-for effects clarinets are used, and no oboes. The prevailing rhythm is ternary; and yet Mozart has so varied