In orchestration, Mozart combined the best characteristics of both Gluck and Haydn, and in his hands it gained counterpoise and vitality. As a natural outcome, the harpsichord was banished from the orchestra, but incidentally it should be remembered that by no means did Mozart undervalue this instrument in its proper sphere, for to him is due the ascendency of the pianoforte concerto, which he left as a direct bequest to Beethoven, who not only seized upon it with avidity, but even caused it to immortalize some of his most sublime conceptions. Mozart's writing for the orchestra is distinguishable for amalgamating as well as for contrasting the earlier polyphonic methods with the monophonic style that was being cultivated by his contemporaries. The last movement of the "Jupiter" symphony will at once be recalled as an admirable illustration of advanced orchestral polyphony.[18] As has just been said, Mozart followed and elaborated Haydn's symphonic instrumentation, but he added greater freedom to the strings,[19] more variety and contrast to the wood,[20] developed the art of combining wind accompaniment and instrumental solo effects,[21] and in general illustrated the capabilities and ideal functions of each specific instrument. Furthermore, constant application to operatic writing stimulated a desire for varied rhythm, and this attainment is reflected in his symphonic compositions. Finally, it should be said with emphasis that sensitive regard for individualistic tonal tints in instrumentation was one of the most conspicuous attributes of Mozart's genius, and despite the fact that already the masters of his epoch had had recourse to the application of variated tone-color, nevertheless Mozart is universally considered as having been the first to do so in a really successful manner. By relegating the harpsichord, it became necessary to write for the strings in such a manner as to insure independent solidity and coherence. Or, to put it the other way, Mozart's scoring for the string band made further employment of the harpsichord superfluous. This he accomplished in the face of frequent three-part writing. The danger of incurring caesuras in harmonic structure or lack in volume of sound was obviated by the skilful artifice of contrapuntal motion which, so to speak, generates warmth of tonal color--heat and motion being an equivalent one for the other, and, as Gevaërt suggests, this theorem is applicable to music. But Mozart by no means neglected four-part writing,[22] and both the violoncello and the hitherto much neglected viola were advanced to a position more in keeping with their worth. [Footnote 18: Ex. 20.] [Footnote 19: Ex. 19, 20.] [Footnote 20: Ex. 18, 22, 23.] [Footnote 21: Ex. 21.] [Footnote 22: Ex. 19.]