Schubert's mode of life was in some respects similar to that of Beethoven in that he lived apart from the public. Spurred on by the example of Beethoven, he added to his series of youthful symphonies two masterpieces which are next in importance to those of his illustrious model. Both the C major and the unfinished B minor symphonies display rare skill in the handling of orchestral instruments, whether in solo passages or in combination. An intimate acquaintance with their respective characteristics was afforded him during his early training, and every bar reveals the hand of a master who without hesitation knew what effects he desired and how to obtain them. Although his orchestral works lack that depth of conception that only Beethoven possessed, Schubert nevertheless supplied the deficiency by means of beautiful melody, tender expression, forceful harmonic progressions, and, as just intimated, a perfect command of orchestral resources. Schubert enlarged the scope of practical instrumentation by discovering two exceedingly valuable and effective modes of expression that were entirely new so far as manner of treatment is concerned. No composer before him had elicited from the trombones such impressive utterance as is to be found, for instance, in the first movement of the symphony in C where the trombones _pianissimo_ intone the melody. The first innovation consisted, therefore, of employing the trombones freely as solo instruments, or again as independent factors in three-part harmony, _pianissimo_, or in unison, _forte_. The second innovation was the felicitous manner in which he contrasted solo instruments of the wood-wind group, or what Prout calls "a kind of dialogue between them." As an admirable illustration well-known to all, he calls attention to the charming dialogue between the flute, oboe, and clarinet in the two Ballet airs and in the Entr'-act in B flat of the music to "Rosamunde." Many other interesting details of instrumentation could be cited such as the effective use of the trumpet in the slow movement of the symphony in G; his chamber music, also, furnishes admirable examples of string writing. Among the most prominent are the trio in E flat, the quartet in D minor, and the quintet in C. Only in recent years has the influence of Schubert's orchestral works made itself prominently felt, for until the middle of the last century most of them had remained in manuscript. Moreover as recently as fifty odd years ago one of his symphonies was considered excessively difficult by the principal orchestra of Vienna. Grove says that "though the whole work was announced, such had been the difficulties at rehearsal that only the first two movements were given, and they were carried off by an interpolation of an air from 'Lucia' between them." V.