Here we will see how the laboratory becomes freer, with sonatas and quartets exploring new sonorities. In this way, the Sixth and Seventh Symphonies coexist with the ideas of the Appassionata and Les adieux: one impetuous, the other a portrait of separation. Alongside these symphonies come the three great final Razumovsky Quartets and the Harp Quartet, works that are longer and harmonically more daring. For all these reasons, we can say that Beethoven has now mastered the orchestra and uses it both to “paint” scenes (Sixth) and to create a kind of rhythmic hypnosis (Seventh).