MOZART[17] (1756-1791), universal conqueror, peerless melodist, unrivalled purist, contributed equally to the development of orchestration as to all other branches of musical art. Opera, symphony, chamber and church music alike blossomed and ripened at his magic touch; and the tonal tints of his scoring assumed a mellow guise foreign to the lighter shading of Haydn's orchestration. Mozart was a cosmopolitan in so far as that he moulded his polyphony, formal structure and orchestration in accordance with the classicism of Teutonic lineage, imbibed the limpid suavity of Italian melody, and adapted the tragic energy and emotional interpretation of the text as initiated by Gluck in France. This vivid emotionalism is plainly to be seen in the dramatic scenes of "Idomeneo" and "Don Giovanni." His perfect command of contrapuntal subtleties, thematic development, and vocal composition, combined with the most precocious creative genius, enabled him not only to build upon the heirloom of Bach's church music and Haydn's symphonies and quartets, but to establish a basis for subsequent genuinely German opera. For it is beyond question that specifically the "Zauberflöte" contains the germ of Weber's romanticism. [Footnote 17: See Appendix of Musical Illustrations, Examples 18 to 23.] For the form of his independent instrumental works, Mozart followed the precepts of Haydn, but he enlarged them, and imbued their contents with a certain strategic power for evoking more serious contemplation and enduring impressiveness. Adherence to tonality, not only in each individually complete movement, but also in successive and related complex forms, was one of the fundamental canons of Mozart's creed. This tonal consistency is to be found even in his operas, whether employed as the connecting link between the more gentle sections--suggestive of a delicate string of pearls, or as a mode of obtaining subtle continuity of thought and action in the dramatic portions.