great influence on the next generation of composers. These works largely departed from the Classical style. This incorporation of vocal forms also manifested in the setting of Friedrich Schiller's 'Ode to Joy' in the finale of the Ninth Symphony, this time being carrying symbolism of universal brotherhood. Another aspect of this is frequent use of recitative and arioso in instrumental works like the Piano Sonata in A-flat Major, Op. 110, and the 'belkemment' passage in the Cavatina of the String Quartet in B-flat major, op. 130. In addition, Beethoven also had an immense interest in variation form in this period. In his early Vienna period, variation movements in large works are infrequent, while they become more so in his middle period; generally, they are of the progressively more decorative variety. However, starting with the Piano Sonata in E major op. 109, Beethoven started redefining the form, resulting in variations which. take on more individual and radical reinterpretations of the original themes. The variations did not merely vary the theme, they transformed it or played with its fundamentals, as seen in some variations in the Diabelli Variations. Beethoven also developed a great interest in contrapuntal forms in this period, including fugal sections or even full-scale fugues in most of his major works. The fugal sections are embedded in the development sections of sonata form movements, as in the Hammerklavier sonata, and the full-scale fugues often contain variations on the themes within them. In effect, Beethoven integrates the fugue within the sonata style by emphasising its potential for thematic development, while also using it as a means to infuse drama into these works. Often these replace obvious uses of the dominant in this function, a process also reinforced by his increased use of 6/4 chords and experimentation with the church modes. Beethoven also looked increasingly to the past in this period. Much of his older material was published or reworked into new works, as happened in the Bagatelles, Op.119. He increased use of strict counterpoint and modes, often looking back to the academic exercises he did with Albrechtsberger. Charles Rosen also argued that Beethoven found new ways of exploiting old conventions in the classical style to produce thematic unity in works like the Piano Sonata in A-flat major, op. 110. Perhaps the most important indication of his adherence to the Classical aesthetic is the musical unity he constantly strives for, even while