The pianoforte works of Haydn, Mozart, and Beethoven represent a fairly distinct epoch in the development of music for the instrument. At the beginning men belonging to a rather different period were still living, some were still at work. At the end a new era was forming itself. The insulation which seems to surround the three great composers proves, as we have said, on close inspection to be imperfect. Still, their work represents one phase of development. As such, it is easy to trace the evolution of one definite form, the sonata, under the influences which each brought to bear on it. Similarly one can trace the constant expansion of the pianoforte technique from the time when, adapted to instruments of light action and tone, it differed but little from the harpsichord technique, to the time when, formed upon the massive Broadwood pianos with their resonant tone, it brought from the instrument powerful and varied effects second only to the orchestra. The epoch has, on the other hand, more than an historical significance. It brought into music the expression of three geniuses of the highest order. Each has its own special charm, its own character, its own power. One should not be valued by comparison with the others. What Haydn gave, what Mozart gave, and what Beethoven gave, all are of lasting beauty and of lasting worth. From Haydn the common joys and a touch of the common sorrows of people here under the sun; from Mozart a grace that is more of the fairies, a voice from other stars singing a divine melody; from Beethoven the great emotions, great depths of despair, great heights of exaltation, half man, half god, of that heroic stuff of which Titans were made. FOOTNOTES: [30] _Geschichte des Klavierspiels und der Klavierlitteratur._ CHAPTER V PIANOFORTE MUSIC AT THE TIME OF BEETHOVEN The broadening of technical possibilities and its consequences--Minor disciples of Mozart and Beethoven: J. N. Hummel; J. B. Cramer; John Field; other contemporaries--The pioneers in new forms: Weber and Schubert; technical characteristics of Weber’s style; Weber’s sonatas, etc.; the _Conzertstück_; qualities of Weber’s pianoforte music--Franz Schubert as pianoforte composer; his sonatas; miscellaneous works; the impromptus; the Moments musicaux--The Weber-Schubert era and the dawn of the Romantic spirit.