The vague harmonies of this introduction serve as an admirable foil to the bright opening of the first movement. The ?thetic purpose they serve is one of which Beethoven also made constant use when he desired to enhance the charm of a passage by vivid contrast of color. The opening theme of the movement (shown at (b) in Figure XLV) will be seen to be foreshadowed in the introduction (Figure XLV (a); viola part, measure 3, first violin part, measures 4-5). From the point of view of both harmony and thematic development this introduction is therefore extremely modern.

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FIGURE XLVI.

Of this andante by Mozart we can say unreservedly that it is a perfect specimen of pure classic beauty. Its translucent harmonies, its exquisite curve of melody, its clear outlines, all make it a model of its kind. The chief theme, extending to measure 12 (see Figure XLVI), should be compared with those of Handel, Haydn and Mozart shown in previous chapters. This comparison will reveal an important element in the present theme, namely, the element of organization. In our earliest musical examples quoted in the first two chapters there was a conspicuous lack of variety. "Three Blind Mice" contented itself with two motives, which were repeated over and over again. "Barbara Allen" was made up of one rhythmic figure, constantly reiterated, and even in the themes of Philip Emanuel Bach and Haydn there were many rhythmic repetitions. In the Haydn quartet movement there were but two motives, and while they were used with the greatest skill, the theme itself was entirely constructed from them. In Mozart's theme, on the contrary, there is hardly a single repetition of rhythm. An examination of the melody will reveal how great a variety is imparted to it by the many different rhythmic figures. Yet there is no sense of vagueness about it; it holds together firmly. This quality distinguishes all highly organized melodies, and is never found in folk-music. The same element may be observed in a developed language in which words have come to be flexible in their meaning, and more or less complicated sentences are possible. In this theme one does not get the sense of what the composer is trying to say until the melody ends; in simple themes, made up by repeating the same motive, one can foresee the end long before it is reached. Themes like this beautiful one of Mozart are possible only after art has become well developed, and after people in general have become sufficiently familiar with the phraseology of music to be able to follow complicated musical sentences.

A further charm is added to this movement by the free and flowing counterpoint of the several parts. This is an essential element in the string quartet, since without it, there being little variety in the tone of the four instruments, monotony would result.

VII. FORM OF MOZART'S ANDANTE.

Here, as in the Haydn slow movement, we find another example of sectional form. It may be tabulated as follows: