The slow movement usually follows the first movement. If there are four movements, the scherzo is generally third, and the finale, instead of being merely bright and lively, is raised to an emotional importance nearly as great as that of the first movement, which it frequently follows in form. Beethoven's music has been divided into three styles, that of his earliest works showing distinctly the influence of Haydn and Mozart. Then comes a transition, to which the "Kreuzer" sonata and the "Eroica" symphony belong, and after that comes the second period, containing the works of the master's maturity, such as the piano sonata in D minor, the "Appassionata," and the fifth and seventh symphonies. The third style embodies the sorrow and bitterness of Beethoven's unhappy last years, and includes the ninth symphony and the last five piano sonatas. In the presence of Beethoven's music I always feel the helplessness of analysis or critical study. It is useless to try to reveal the why and wherefore, but it cannot be denied that Beethoven's sonatas convey to the hearer not only the presence of an imposing personality, but the conviction that the expression of the music is not simply individual, but general. There is a breadth and a depth to the utterance of these works which belong not to one man but to humanity. Beethoven succeeded in introducing into instrumental music that direct, sweeping, overwhelming proclamation of emotion which had previously been regarded as the exclusive property of the singer's voice. Beethoven's music is essentially the dramatization of pure tones. His intense expression was not the result of accident. He hungered for it and studied the means of imparting it to his music. In doing so he solidified the structure of the sonata in such a way that he made it the most symmetrical, highly organized, and yet elastic of all musical forms, and paved the way for the whole school of romantic composers who followed him, and who tried not only to make music express the great elementary emotions, as he did, but also to make it tell complete stories. Their purposes are best exemplified in their orchestral works, and I must defer discussion of them till after the reader has accompanied me in a review of the development of the orchestra and orchestral music. Chapter XI Evolution of the Orchestra Early groupings of instruments without definite plan--Significance of the work of Monteverde--Scarlatti's use of the string quartet--Handel and the foundation of the modern style--The symphonic orchestra of Beethoven--Berlioz, Wagner, and special instrumental coloring--Plan of the contemporaneous orchestra.