"The perfection of the art of counterpoint is not the distinguishing characteristic of this symphony [C major] alone, but of them all [the last three]. The enthralling interest of the development of each movement in its necessary connection and continuity consists chiefly in the free and liberal use of the manifold resources of counterpoint. The ease and certainty of this mode of expression make it seem fittest for what the composer has to say. Freedom of treatment penetrates every component part of the whole, producing an independent, natural motion of each. The then novel art of employing the wind instruments in separate and combined effects was especially admired by Mozart's contemporaries. His treatment of the stringed instruments showed a progress not less advanced, as, for instance, in the free treatment of the basses, as characteristic as it was melodious. The highest quality of the symphonies, however, is their harmony of tone-color, the healthy combination of orchestral sound, which is not to be replaced by any separate effects, however charming. In this combination consists the art of making the orchestra as a living organism express the artistic idea which gives the creative impulse to the work, and controls the forces which are always ready to be set in motion. An unerring conception of the capacities for the development contained in each subject, of the relations of contrasting and conflicting elements, of the proportions of the parts composing the different movements, and of the proportions of the movements to the whole work; finally, of the proper division and blending of the tone-colors,--such are the essential conditions for the production of a work of art which is to be effective in all its parts. Few persons will wish to dispute the fact that Mozart's great symphonies display the happiest union of invention and knowledge, of feeling and taste." Haydn's later works gained much from their composer's study of the clear form, the pure orchestral idiom, and the musical beauty of Mozart's. Furthermore the orchestral descriptions of chaos, the birth of light, spring, summer, etc., in "The Creation" and "The Seasons" were made possible to Haydn by Mozart's experiments in instrumental tone-coloring. But this is aside from the present subject. It will be well for the reader now to grasp a few defined facts as to the state of the symphony when Beethoven took it up. Here I must again appeal to a master of the subject, Dr. Parry, who says:--