Haydn, as well as Beethoven, generally used one staff for his first sketches; Mozart made them more clear by using two staves--one for the melody and another for the bass. Still, as the sketches are only indications to assist the memory, which is, as we have seen, in composers generally very strong, especially when their own inventions are concerned, a hasty notation is in most instances sufficient. In writing the score of an orchestral composition, Haydn, Mozart and Beethoven usually noted down the entire thread of a movement, or what may be called the melody and the bass of the piece; and having written this, they inserted the notation for the various instruments. In submitting the manuscript of a composition to a final revision, or in preparing a new edition of a published work, our great composers have not unfrequently introduced improvements which testify to their unabating study as well as to their delicacy of taste and discernment. One or two examples in support of this opinion shall be pointed out here. Others will probably occur to the musical reader. AndrÈ, in Offenbach, has published the score of the overture to the 'Zauberflˆte' (the Magic Flute), from Mozart's original manuscript, with its alterations and corrections. This interesting publication exhibits clearly the care bestowed by Mozart upon the work, and affords an excellent study for the musician. A remarkable improvement by extension occurs in Mozart's famous Symphony in C major. Mendelssohn speaks of it with admiration in a letter to Moscheles as follows: "Just now AndrÈ sends me for inspection the original score of Mozart's C major Symphony ('Jupiter'); I shall copy something from it for you which will amuse you. Eleven bars before the end of the Adagio it stood formerly thus:-- [Music] and so on, as it proceeds to the end. Mozart has written the entire repetition of the theme on an inserted leaf; he has struck out the passage, and has introduced it three bars before the end. Is that not a happy alteration? The repetition of the seven bars belongs to my most favourite portions of the whole symphony."[28] The Adagio of Beethoven's Sonata in B flat major, Op. 106, originally commenced with its present second bar thus:-- [Music] Beethoven had sent, in the year 1819, a copy of the manuscript of this sonata to Ferdinand Ries, in London, who had undertaken to superintend its publication in England. Great must have been the astonishment of Ries when, soon after the arrival of the bulky manuscript of this gigantic sonata, he received a letter from Beethoven containing the notation of an additional single bar:-- [Music] to be placed at the beginning of the Adagio. The beautiful effect obtained by the alteration is especially noteworthy, inasmuch as it serves as an example of the incessant care which Beethoven bestowed upon the improvement of his compositions up to the last moment of their publication.