in works like the Waldstein sonata and 5th symphony. It is emblematic of his approach to musical architecture during his middle period. A similar emphasis on lengthier, more developmental forms is found in the Rasumovsky string quartets, in which Beethoven's interest in folk song is seen for the first time. Much of Beethoven's music of this period starts incorporating more remote modulations to chromatic mediants, rather than focusing on tonic-dominant relationships prevalent in the works of Mozart, Haydn, and Beethoven himself up to this point. This not only provides more opportunity for him to develop his motives but gives his works an added urgency (especially in his sonata form movements). Beethoven starts using larger orchestras that move the centre of the sound downwards in the orchestra, to the violas and the lower register of the violins and cellos, giving his music a heavier and darker feel than that of his two immediate predecessors. This may have been influenced by French post-revolutionary music, such as operas by Cherubini, as can be seen in the 'March Funebre' in the Eroica symphony. He expanded the range of the orchestra by the addition of instruments such as the piccolo and contrabassoon in his 5th symphony, which helped express the "heroic ideals" found in much of the music in this period. Late period After 1814, Beethoven's output dropped considerably due to turmoil in his personal life, creative exhaustion after 10 years of near-constant musical activity, and the challenge of sustaining the Classical style while other composers like Rossini and Weber were moving towards the Romantic style. This resulted in a stylistic change in Beethoven's work, but his continued adherence to the Classical forms he loved meant that the influence of these late works only became apparent after the time of his own younger contemporaries. Beethoven became more concerned with lyricism in this period. Although his melodic skills have been criticised, Beethoven previously utilised immensely lyrical melodies, and during his middle period, developed a hymn-like melodic style in his slow movements. This was intensified in his late period and was combined with a newfound "intimacy and delicacy" which was already apparent in works like the Piano Sonata in A major, op. 101. Beethoven also arranged 150 folksongs for the editor George Thomson during this time. Many melodies reminiscent of folksong appear in his late works, especially in his song-cycle An die ferne Geliebte, which was a