Most especially fortunate was Mozart, whose numerous appointed tasks, not being merely abstract exercises, served him as studies for his works. The danger was indeed great that the influence of the schools and the force of traditional forms would tend to mechanical routine, but it afforded another proof of Mozart's creative nature, that his unintermittent labour in mastering the technicalities of his art never interfered with the spiritual side of his genius. Many forms were in use for instrumental composition during the last century, of which, at the present day, we can scarcely even distinguish the names or define the limits. The so-called French symphony (or overture) introduced by Lulli, and established through the school of Scarlatti, {SYMPHONIES OR OVERTURES.} (291) consists of a short slow movement preceding a longer and more varied one, and repeated at the close. This was opposed to the Italian symphony, which contained three movements: an allegro at the beginning and another at the end, separated by a slow movement in effective contrast to them both. The first and the last allegro were, however, different in character, the second being the quicker and more cheerful of the two. It was easy to sever the slender connection between the symphony and the opera; and operatic symphonies were soon performed alone, as may be proved by the symphonies to the "Finta Semplice," the "Sogno di Scipione" and "Lucio Silla." The continual demand for new symphonies co-operated with the increasing capacity of the instrumentalists, and the fuller appointments of the orchestra, in developing their importance and independence. In Italy, Sammartini, commissioned by the governor, Pallavicini, first wrote symphonies for full orchestra; he divided the tenors from the violoncelli, gave the second violins an independent part, and rendered service also to the technicalities of playing.[26] In Germany the composers of the Mannheim Kapelle, who were of the first rank, introduced this kind of composition with great success;[27] but Jos. Haydn, who surpassed them all in his inexhaustible wealth of productive power and in his thorough knowledge of his art, threw them quite into the shade, and may justly be considered as the creator of the symphony. The three movements were originally connected; but when the symphonies became independent of the opera, this was only exceptionally the case (74, 181, 184, K.). The last Symphony of the year 1773 shows that even in its maturity an artistic mind may cling to long-established customs. The delicately elaborated Andante, full of original {INSTRUMENTAL MUSIC.} (292)