Beethoven was our third high-priest, because his somewhat earlier appearance entitles him to precedence over his later coadjutor. The Vienna school had originated or evolved the sonata form, had endowed music with more sustained and more clearly defined melody, richer harmonic color, and dramatic power, and had greatly enriched the orchestra; so Beethoven began his work with far ampler resources at his command and more fertile traditions in which to root his art than had any of his predecessors. Beethoven was like Bach in many of his characteristics; he was self-reliant, manfully tender, and forcible without violence. His best conceptions are so high and noble that they leave human frailties far behind and suggest the music of the spheres, but he was less constant in his fidelity to art than Bach; not because he yielded to pressure from without, but because of his impatient nature, which at times impelled him to follow routine rather than wait for inspiration to outline his course. This resulted in lapses, which will, when awe has given place to discriminating judgment, lead the musical world to discard some of his now blindly accepted works. This is to be desired, for those who profess to, or actually do, derive pleasure from all of Beethoven's works are either untrue to themselves, or they are incapable of responsiveness to his supreme moments, which produced such wonders of tonal expression as "Fidelio" and the "Eroica." [Illustration: BEETHOVEN] It will not matter what forms music may assume in the course of her further evolution, Beethoven's more intensely individual creations will retain their monumental character, looking serenely upon passing generations of mankind like the Pyramids, but even less perishable than they. In scanning Beethoven's methods and the spirit which pervades his compositions, as compared with those of Bach, we must take cognizance of the different social and musical conditions which prevailed in their respective periods. Europe was, at the beginning of the nineteenth century, shaking off her powdered wigs and their attendant austerity. Culture was becoming more confident and audacious, and music reflected the features of her new environment in increased geniality and breadth of scope. Beethoven's methods were quite opposed to those employed by Bach. The former drew a grand sweep of outline, and then used counterpoint as a contributive element, whereas thematic counterpoint was the substance of Bach's creations,--the tissue which gave them form. Each was a reflex of the noblest tendencies of his time. [Illustration: SCHUBERT] By permission of E. H. Schroeder, Berlin