The symphony in E major which was finished in these summer days of 1788, has in fact, been called the Song of the Swan. Of it Hoffman, in his celebrated _Phantasiestuecken_, beautifully says: “The language of love and melancholy are heard in the sweet voices of spirits. The night breaks into a bright purple light, and, with an unspeakable longing, we follow the forms which invite us with friendly glances into their ranks as they fly through the clouds to the eternal music of the spheres.” Immediately following this came the exceedingly powerful and life-like symphony in G minor, and the Jupiter symphony. Did mortal ever before hear the quiet jubilation of all beings as it is heard in the _andante_ of this last? The man who can write such works has higher joys than the world can give or take away. His eye full of the truest happiness, is directed towards an eternal ideal which refreshes, preserves and blesses him. The grave little _adagio_ in H minor for the piano was also written in this same year, 1788. At this time, Handel, with his vigorous and manly nature entered Mozart’s domain. He was preparing for a friend and patron, the former ambassador to Berlin, Baron von Swieten, _Acis and Galatea_ and the _Messias_. Mozart’s opinion of Handel was, that he understood better than any one else the power of music, and that when he chose, he could use chorus and orchestra with overwhelming effect; even his airs in the Italian style always betokened the composer of the Messias. But he was destined soon to become acquainted with a greater genius, a man all imposing to him--Sebastian Bach. Handel’s freer form and his dramatic characterization were not new to him; and we may judge from the _Idomeneo_ that Mozart possessed a power not unlike that which was peculiar to Handel. Yet Bach opened to him, both as an artist and a man, a new world, but one which he had long half suspected and half known--that ocean of polyphony governed with such sovereign power. And yet the matter lay deeper.