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i'd make a few disagreements with that statement.
Orchestration: fair enough, you prefer beethoven. id have to go for mozart because of his wonderful knowledge of all the instruments, and how to write well for them, and the wonderful way he makes use of them. but i heartily agree that beethoven was great at orchestration too.
Memorable melodies, id say mozart again.
beethoven has ode to joy, 5th symphony, fur elise. that's about it.
i take it by memorable melodies you mean ones the general public know well, because he has far more than those 3.
mozart has the andante from piano concerto 21. eine kleine nachtmusik. piano sonata 16 (facile). possibly marriage of figaro overture. queen of the night aria. symphony 40 1st movement. probably some more.
btw, if you disagree, ive heard most of those as ringtones 
oh yeah, and for beethoven moonlight sonata.
but on the whole, id say mozart has more.
accessable. well some from each composer. probably mozart more.
but accessability is nothing to do with being a great composer. it maybe was at the time, when he had to compose to please certain people, but we're a different generation now, so accessability isnt a measure of greatness.
structure... i dont know. theres just something about the structure of the first movement of beehoven's fourth piano concerto that annoys me.
but apart from that his structure seems good to me. obviously he made a lot of innovations, so il give this one to Beethoven.
Mozart's structure always seems to be perfect to my ears, but he didn't make the innovations that beehoven did/ (some say that makes him greater, but come on, Beethoven hasnt got any points yet)
Counterpoint.... well Beethoven has the Grosse Fugue, and the Hammerklavier sonata, but Mozart has the Finale of the Jupiter Symphony, and finale of piano concerto 19, and the C minor fugue for two pianos (attached)
Im not sure...... maybe tie. im not familiar enough with both the composers' contrapuntal works to say.
Innovative, ok, yea Beethoven.
so thats 3:2 plus a tie.
btw, i included the midi of that mozart fugue i mentioned, because i dont think many people have heard it, and it really is good.
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Hey Dan,
I'm hearing what your saying and will partially agree.
Well let's give Beethoven some Points now.....
In terms of Memorable melodies, 2 of Beethoven's Symphonies are remembered (5,9) whereas only 1 of Mozart (out of 40 because 37 Doesnt count as Mozart's work according to me or most sane people - In that sense so shouldn't No.3
) Qualifies or rather, is popular.
Orchestration - No need to even think. Beethoven was a master of orchestration. Have a look at Symphony No.7. Look at the skill involved in using a "Mozart sized" Orchestra and getting the sound he did. Now that's skill. As for knowledge of Instruments - Beethoven did play the Violin in his early life and there is possibly no composer I'm aware of who was more interested in the working of instruments & that spent more time talking to instrument makers and finding out about instruments - they're capabilities and "When they're going to be made Better".
In terms of counterpoint & Structure, Beethoven and Brahms were the fanatics, but no need for Brahms here. Beethoven was so driven for perfection that he secretly had lessons with the famed counterpoint teacher Albreschtsberger. Examples out of 9 Symphonies are 3 of the works or sections in certain movements containing unmarked Fugues compared with 1 of Mozart's Symphonies having a "marked" fugue. Now Brahms too, like Beethoven (most of the time), never announced through title indications " FUGA " - they just weaved it into their music. Here is what I believe to be the most supreme and stupendous example of Beethoven's contrapuntal skills - (The Largo- Allegro risoluto from the 2nd Hammerklavier - Oh yes there are 2 Hammerklavier Sonatas - midi attatched Op.106). So I think that does it for counterpoint.
Oh I might mention, Beethoven just doesnt have the Grosse Fugue & the
2 Hammerklavier Sonatas, but also The last movement of Eroica as a 5 part fugue (Juipiter's last movement is also a 5 part fugue) and more than enough snippets of contrapuntal writing in No.5 (Scherzo) and No.9 (Scherzo & Finale).
Hey I love Mozart, have got nothing against him. But Beethoven, for me, has more meaning.
(Unfortunaltely the MIDI of Op.106's Largo-Allegro Risoluto is only available in 2 parts from the Classical Archives)
Akhil.G