The tragic fire and grandeur of thought so characteristic of Beethoven have their counterpart in the geniality, humor and playfulness of Haydn. The symphonies of Beethoven may be compared with tragedies, Haydn’s with comedies. “Papa” Haydn is never tragic nor sarcastic. His seriousness is imbued with contentment, never tinged with despair. He overflows with good humor, and is fond of a musical joke now and then; yet he is intensely serious at heart, and his mirthful compositions never leave the impression of superficiality. Haydn prepared the ground for Mozart and Beethoven. One master cannot be considered without reference to the other. Mozart and Beethoven obtained the form of the symphony from Haydn; on the other hand, it was not until Mozart’s last works had appeared that Haydn produced his finest symphonies and quartets. In his use of the wind instruments, Mozart was the indispensable teacher of both Haydn and Beethoven. [Illustration: BERLIN OPERA HOUSE. _From a photograph._ ] Mozart did not enlarge the general form of the symphony, etc., as given by Haydn, but he rounded and beautified the details of the several movements. His themes and melodies are more beautiful and expressive, and their working up more impressive and emotional. Mozart’s last works have that perfection of form and depth of sentiment which belong only to the highest manifestations of genius. Mozart left his stamp on all branches of music; he is rightly considered as the universal master. It was his mission to unite and beautify the national differences of style, and give them the impress of his own rare individuality. European music, for the first time in history, was concentrated in him. Beethoven in his earlier period shows the influence of Haydn and Mozart, yet he set the stamp of originality on his very first works. He was destined to bring the higher forms of instrumental music to the highest point of development. Although he ultimately revealed a new world in his mature works, he remained true to the “sonata” form from first to last. He did not seek to revolutionize musical form; on the contrary, he built on the solid foundations already laid. Great as were his achievements as a musician, in the grand outlines and proportions, dynamic expression, thematic treatment and instrumentation of his works, we lose sight of the musician in contemplating the greater tone-poet, who touched every chord of the heart, who uplifted and broadened the minds and souls of men, whose long struggle to rise above the sorrows and ills of life endowed his music with a spirituality and religiousness beyond that of all others, and which places him among the greatest poets and prophets of humanity. Further considerations on Beethoven as composer are contained in the special article of this work. (See page 337.)