Contrary since Haydn at the latest, “beauty”, “order”, “purity” and “simplicity” have stood as the essential features of the symphony, in terms of content and, thus, also of musical formality.

And so it is no coincidence when, for example, Goethe says of the music of this great symphonist: “Haydns works are an ideal language for the truth... they might be outbid, but never surpassed.”

Philipp Emanuel Bach emphasised how, in his later symphonies, Haydn devoted a fundamen- tal place to working with the motif, indeed subordinated everything else to the motif work.

He was the great master of a musical craft of future significance, which rendered up the principle of a series of themes for the benefit of motif intensification and so opened the door to polyphony for the homophonic symphony.

Thus, Mozart then subsequently made this symphonic development of Haydn’s – the unity of the counter subjects of the smallest elements into the unity of a greater elemental procedure – the main principle of his music.

And the height of this thematic work, as developed and outlined by Haydn and Mozart, also eventually reached Beethoven in his symphonic creation, and he too quite consciously used the musical language of truth for the ethical fight for natural human rights.

In the music, Haydn made the way clear for the leadership of the smallest musical elemental form, the elemental form, the motif.

If one now applies the musical motif essentially to the area of life, which in psychology is described as “individual”(see in this respect, the book “Natural Music Creation”), and which forms the cornerstones of society and, over and above this, democracy, then we cannot value too highly this musical symphonic developmental work of Haydn’s in the area of humanity.