18, No.6; the most striking of which is contained in the first movement of Op. 27, no.2. From this point all of Beethoven's pieces display a "striking individuality", perhaps because of the integration of these Romantic moods within a Classical approach towards form. Emblematic of this approach was Beethoven's extension of the tonal range of the Classical sonata into mediant keys, instead of the dominant key as Mozart and Haydn had done, as seen in the first movement of Op. 31, no. 1 (in this case both B major and B minor, in comparison to the tonic of G major). This expansion of the modulatory possibilities of sonata form would continue into the middle period, though the experiments in form would be sidelined in favour of the 'symphonic ideal', instead returning in his late period. Despite his experiments in the piano sonatas and chamber works, his larger-scale works were more conservative. The First Symphony has been described as "wilt[ing] when... examine[d]... for clues to future symphony greatness." though it has also been praised for its "extraordinary cohesion" The Second Symphony is more accomplished and bigger in scope; though still conservative in comparison to the piano sonatas composed at the same time, it has been described as "the longest and most powerful symphony ever written... at the time of its composition." Its use of a unifying motive (a rise from F# to G) foreshadows the emergence of the 'germ motive' in the symphonic works of the middle period, while the increased scope of the symphony suggests Beethoven had finally grasped how he could use the orchestra in a way where he could start to incorporate the formal and expressive advances seen in his piano sonatas and chamber works of the time. Middle period Beethoven's middle period is characterised by the increased scope of his compositions, a byproduct of further focus on large public works which often display elements of extra-musical sources. A pivotal work of the period is the 3rd Symphony, nicknamed Eroica. He achieves this increased scope through his creation of large, extended architectonic structures characterised by the extensive development of musical material, themes, and motifs. The 1st movement of the Eroica is an example of this; in the development section of the sonata form, the 1st theme is transformed into a variant which is often analysed as an entirely different theme. This use of a 'germ motive' also appears