52 ([return])
[ Sechtcr gave a technical analysis in the appendix to Marpurg's Kunst der Fuge (Wien: Diabelli) II., p. 161. Lobe, Compositionslehre, III., p. 393.]
53 ([return])
[ Nägeli (Vorlesungen, p. 162) subjects this symphony to a searching criticism, in order to prove that Mozart (to whom he allows great originality and power of combination, extolling him as the first to form the orchestra into a perfect organic whole) was wanting in repose, and often shallow and confused.]
54 ([return])
[ Ad. Kullak (Das Musikalisch Schöne, p. 80) remarks that numerous calculations undertaken by him serve to show that Hadyn and Mozart, in the majority of their works, keep pretty close to the law of proportion laid down by Zeising (according to which a whole divided into unequal parts will not give the effect of symmetry unless the smaller parts bear the same ratio to the larger as the larger to the whole), and that in some cases they follow it exactly.]
55 ([return])
[ Mendelssohn's Briefe, II., p. 337.]
56 ([return])
[ Marx, Musik. des Neunzehnten Jahrh., p. 68.]