In the matter of structure, Beethoven may be said, in the main, to have followed Haydn and Mozart, but the effect of his music is, nevertheless, very different.  By overlapping of phrases; by very moderate use of full closes; by making passages of transition thoroughly thematic; by affinity and yet strong contrast between his principal and second themes; by a more organic system of development; by these and other means Beethoven surpassed his predecessors in power of continuity, intensity, and unity.  Then, again, his conception of tonality was broader, and his harmonies were more varied; the fuller, richer tone of the pianoforte of his day influenced the character of his melodies; while the consequent progress of technique, as exhibited in the works of some of his immediate predecessors and contemporaries, enabled him to present his thoughts with greater variety and more striking effect than was possible to either Haydn or Mozart.

Once more, Beethoven seemed to be elaborating some central thought; Haydn and Mozart (with few exceptions), to be deftly weaving together thoughts so as to obtain pleasing contrasts.  In a similar manner, the first and last movements of a sonata with Beethoven are of kindred mood, though perhaps of different degree.  Haydn and Mozart seem again to be aiming at contrast; after a dignified opening Allegro and a soft, graceful slow movement, they frequently wind up with a Finale of which the chief characteristics are humour, playfulness, and merriment, so that the listener may part company from them in a pleasant frame of mind.

We have been comparing the composer, and to his advantage, with Haydn and Mozart.  But the latter, however, sometimes come within near reach of the former; and had the means at their disposal been similar, they might possibly have equalled him.  And, on the other hand, Beethoven’s inspiration was sometimes at a comparatively low ebb.  Speaking generally, however, the comparison, we believe, stands good.

John Sebastian Bach devoted the greater part of his life to the art of developing themes.  His skill was wonderful, and so, too,—­considering the restrictions of the fugue-form,—­was the imagination which he displayed.  In Beethoven the old master seems to live again, only under new and more favourable conditions.  Bach was brought up in the way of the fugue, Beethoven of the sonata; and, it may be added, from these, respectively, neither ever departed.  From early youth onward, our composer was a deep student of Bach, and assimilated some of his predecessor’s methods.  One special feature of Beethoven’s mode of development was to take a few notes, or sometimes merely a figure, from his theme, and to expand them into a phrase; as, for instance, in the opening movement of the sonata in C minor (Op. 10, No. 1), in which

[Music illustration]

forms the material for the closing phrase of the exposition section.  And the opening figure of the Finale of the same sonata is employed in a similar manner at the commencement of the second section of the movement.  The Rondo of Op. 10, No. 3, furnishes good illustrations.  Now let us turn to Bach.  In the 13th Fugue of the “Well-tempered Clavier,” the closing notes of the subject