The instruction which he received from Haydn and Albrechtsberger enriched him with new forms and media of expression and these effected a change in his mode of writing. The voices acquired greater melodic flow and independence. A certain opacity took the place of the former transparency in the musical fabric. Out of a homophonic polyphony of two or more voices, there grew a polyphony that was real. The earlier obbligato accompaniment gave way to an obbligato style of writing which rested to a greater extent on counterpoint. Beethoven has accepted the principle of polyphony; his part-writing has become purer and it is noteworthy that the compositions written immediately after the lessons are among the purest that Beethoven ever composed. True, the Mozart model still shines through the fabric, but we seek it less in the art of figuration than in the form and other things which are only indirectly associated with the obbligato style. Similarly, we can speak of other influences--that of Joseph Haydn, for instance. This influence is not contrapuntal. Beethoven built upon his acquired and inherited possessions. He assimilated the traditional forms and means of expression, gradually eliminated foreign influences and, following the pressure of his subjective nature with its inclination towards the ideal, he created his own individual style. As is known, Seyfried in his book entitled “Ludwig van Beethoven’s Studien im Generalbasse,” which appeared in 1832, gathered together all that was to be found in the way of exercises, excerpts from textbooks, etc., in Beethoven’s posthumous papers and presented them in so confused and arbitrary a manner that only the keenness and patience of a Nottebohm could point the way through the maze; Seyfried would have us believe that the entire contents of his book belonged to the studies under Albrechtsberger.