He was a very great and an unusual player. His style was, as we have inferred, wholly different from Mozart’s. To begin with, it was much more varied. In the matter of runs alone one finds a deeper appreciation of legato and staccato, and the shades between. Mozart’s runs are oftenest of the ‘pearly’ variety, detached and sparkling. Beethoven much more frequently than Mozart requires a close, legato manner of playing. This, in the matter of scales, will give them a sweep and curve, rather than a ripple, make them a rush of sound, rather than a series of distinct notes; as, for example, the short scale passages in the first movement of the sonata opus 7, those for the left hand in the first movement of opus 78, and the long scale passages at the end of the first movement of opus 53. In other sorts of runs the legato execution which is required makes of them almost a series of broken chords; as in the final movement of opus 26, in the first movement of the concerto in G major. Even where the playing may be slightly staccato in style the pedal is employed to give the runs more significance as harmonies than as series of separated notes; as in the third variation of the middle movement in the sonata opus 57, or the figures which build up the transitional sections of the first movement of opus 110. It is hardly to be denied, paradoxical as it may seem, that in many ways Mozart seems to demand a careful legato touch even more than Beethoven. That is perhaps because of the lighter texture of the fabric. The pedal is of less help, the fingers must do more of themselves. But the light runs which add so much to the charm of his music stand apart from this. They are intended to stand out distinctly in their separate notes. So, of course, are many in the sonatas of Beethoven, and the use of the pedal itself is an art of expression, not a makeshift to hide the clumsiness of fingers. The point of difference is that Beethoven often writes series of notes which are effective as a series; Mozart more often runs, the separate notes of which each must sparkle with its own light. With Beethoven, too, legato series of chords are frequent; in Haydn and Mozart they hardly exist. Beethoven’s use of double notes and chords is ahead of his time. Take the finale of the sonata in C major, opus 3, No. 3, as a simple example. The staccato chord motive in the last movement of opus 27, No. 2, the first movement of the G major concerto, the first movement of opus 81, are but few examples out of many that might be chosen.