In connection with distinctively formal treatment, the most prominent feature of this amplification lies in the development even to minuteness of inner details, the unification of thematic material, the increase of proportion, and the acquisition of breadth of style and nobility of subject-matter. But of far more momentous purport are the fruits of his spirituality and profound religiousness. Beethoven was a tone-poet to the core, and his search for emotional expression caused him to disregard fixed design whenever it interfered with freedom of thought. Thus in adapting the cyclic sonata form, he enhanced it by means of perfected monody based on the higher Folk-song, by means of richer harmonies, freer modulations, varied rhythm, greater license in the juxtaposition of tonalities, and elasticity in the application of traditional forms--Beethoven's quest for beauty of form being, moreover, only secondary in importance to its own reactionary fitness for beauty of expression. Thus Beethoven became the master of form and expression combined, reconciled, unified. Mozart and Beethoven share the same unique and unparalleled characteristics in that the genius of both of them was so universal in nature as to make the question of deciding in what particular branch of composition they excelled a difficult one. So Beethoven, greatest of symphonic exponents, enriched the world with string quartets and chamber music that are perfection exemplified, produced a mighty series of pianoforte concertos and sonatas that are unexcelled, and dedicated a host of his loftiest inspirations to the glorification of the Church. He wrote but one opera--it has become immortal; but one oratorio--the sincerity and depth of its pathos awaken sympathetic response at each renewed hearing; but one violin concerto--it is still the ideal, likewise the despair of every violin virtuoso. And upon riveting the attention solely upon the instrumentation of his orchestral pages, one finds that every bar of the score bears the impress of a master's touch, and of such a master as the world had never before produced. He discovered the utmost capabilities of each instrument, introduced innovations in the method of handling them, both as solo interpreters and in combination, and illustrated that even without the aid of a so-called modern orchestra, picture-painting can be attained. That is to say, impressions of the mind of insufficient distinctness to call forth verbal utterance, are nevertheless capable of tonal exposition. Hence arises the expression "musical language," and quite especially in connection with instrumentation one says that the orchestra "possesses the faculty of language." The Pastoral Symphony is a graphic exemplification of this truth.