Subsidiary.
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Second.
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FIGURE XL.
A reference back to the first movement of the Haydn "Surprise" Symphony will show Mozart's advance in respect of rhythmical diversity.
A parallel advance in diversity of style is noteworthy. Haydn's movement is steadily homophonic in style, and grows somewhat monotonous for that reason. Mozart sets off against his homophonic exposition section a delightfully clean-cut and vigorous polyphonic passage founded on the first theme in the development section of the movement (115-134), and another similar passage in the recapitulation (the new treatment of the subsidiary, 191-217.).
Again, Mozart uses skillfully the possibilities for variety opened up to the composer by modulation and setting off against one another of different keys. A radical and fascinating change of coloring is also obtained by transposing the second and conclusion themes, on their final appearance (227 and 260), from major to minor. They are thus exhibited, as it were, in a new light, while retaining their essential character sufficiently to be perfectly recognizable.