assert themselves, and to display in full measure their individual characteristics and expressive powers. [Footnote 23: Ex. 22, 23.] [Footnote 24: Ex. 23.] Mozart's requirements of the brass show but a slight improvement upon those of Haydn,[25] excepting that his style of writing for it betrays better judgment. A demand for more than two horns was rare, and occurs, strange to say, in his earlier works, for some of which he employed four. Later on he again exceptionally used this number in "Idomeneo." But of his representative creations, the G minor symphony is scored for but two horns, the E flat and C for two horns and two trumpets. Consistent with the usage of his predecessors, it was only in church music for redoubling the voices and in operatic works for dramatic effects that Mozart drew upon the trombones, at first sparingly, eventually, as in the "Zauberflöte," more freely; and Gluck's precedent of employing them in three-part harmony was sustained. [Footnote 25: Ex. 20.] In so brief an outline, it is not possible to more than indicate the cardinal points of evolutionary advancement as contributed to orchestration by Mozart. But one prominent feature of his preëminent versatility reveals itself in the fact that whereas the long line of his illustrious predecessors had, with the one exception of Haydn, developed the art of writing for the orchestra more as a secondary means to some one particular and all-absorbing primary end, Mozart's genius devoted itself with impartiality and parallel success just as much to instrumentation and orchestration as to the formal structures of his instrumental works or to the contents of his operas and masses. And the laurels that crown the herculean achievements of his brief life are symbolic of the æsthetic, the chaste, the ideal. III. Three prominent characteristics are associated with the name of BEETHOVEN[26] (1770-1827), the greatest universal master in the chronicles of musical history. To him must be attributed the ideal culmination of classic purity, both as to structural design and thematic development. Through him, form became subordinated to human expression. From him the Romantic Movement drew its direct inspiration. In other words, Beethoven forged the connecting link between the classicists and the romanticists, between absolute and programmatic, objective and subjective music, between the primarily formal and the essentially soulful. In the general principles of form and technical procedure, Beethoven accepted the precedents established by his immediate predecessors, and his earlier works show the influence of both Haydn and Mozart. But the impelling force of his independent and assertive genius, nurtured by the rugged characteristics peculiar to the tendencies of his Dutch and German descent, urged him to further bold and unhesitating innovations whenever novel effects could thereby be attained. [Footnote 26: See Appendix of Musical Illustrations, Examples 24 to 35.]