was of every consideration except the expression of his own thought; and how comparatively limited was his productiveness, or certainly his production. As to his moodiness, it must, on the other hand, be considered that it is the peculiar function of music to express moods. Man's soul is stirred by emotions which cannot be given utterance in words, and which would remain unexpressed but for music, which to the musically organized is a means of communication and of sympathy. There is a question at least whether an art whose function it is to give expression to inward feeling too subtle for words, an expression which is above all words, which gives form to the formless and utterance to the unspeakable, is not rightfully and of necessity at times morbid and moody; whether if it were not so it would not fail in doing that which is the very reason of its being. The supremacy lies between Handel and Beethoven; and we shall find ourselves inclined to assign it now to one and now to the other, according to the mood in which we are, which will depend greatly on which of the two we have just heard. And yet, as to pure music, irrespective of psychological significance--that is, the expression of an ideal of beauty in musical form--Mozart stands first among all composers. Another mind so fertile in thoughts of the finest and highest kind of beauty is unknown in the history of any art, Shakespeare being of course always excepted. Writing, like Shakespeare, always for money, and not hesitating to put his hand to any task that would bring him a return, driven by sharp necessity almost to the prostitution of his genius, driven in his boyhood, by an exacting father, to write as an infant prodigy for the support of the family, dying at the early, and, as far as the mind is concerned, the immature, age of thirty-seven, he left behind him, in the mass of his compositions, much that was hastily produced merely to meet the needs of the moment. And yet in it all what transcendent beauty of form! He had rarely even a fitting occasion for the exercise of his faculties. Rarely is he not superior to the subject which he undertakes to illustrate. Like Shakespeare, he throws away beautiful thoughts upon mean and trivial subjects. Contrary to the supposition of the Roman Pope, with Mozart it was the jug that was begun to be made and the vase that issued from his hand.[6] "Don Giovanni" his greatest or at least his richest work, is full of examples of this incongruity between the occasion and the production. In a previous paper I pointed out an example in the _andante_ of Leporello's catalogue song. Another is the trio in masks. Only elsewhere in his own works can be found examples of an equally enchanting beauty of musical form. In its thought, and in the elevation and finish of that thought, it reaches the highest attainable pitch of perfection. This single trio is of more worth than all that many composers of repute have written in all their lives.