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The F major Sonata is selected to illustrate Mozart's pianoforte style because it bubbles over with typical Mozartian melody and because the Sonata-form is the basis of all three movements; in the first and last strictly employed and in the slow movement somewhat modified. The structure, while just as clear and easy to follow as that of Haydn, represents an advance in the sustained interest of the transitional passages and in the organic treatment of the Development—this being particularly true of the Finale—the middle portion of the first movement being not so significant. The Sonata, without prelude, begins with a soaring, lyric melody in which the customary eight measure formation is expanded to twelve measures. This expansion is brought about by an imitative treatment of the fifth measure and is a convincing example of the flexible phraseology so prominent a feature in Mozart's style. A balancing sentence of eight measures, with an extended cadence, brings us to the transition which is to introduce the second theme. Observe the increasing animation of the rhythm and how the fresh entry of the second theme (in C major) is enhanced by the insistence on the contrasting tonality of C minor. In measure 41 there begins the second theme, a graceful melody that is repeated with heightened fervour and then expanded by means of various modulatory and rhythmic devices—the interest, for a number of measures, being in the bass. In measure 71 we have a piquant closing theme which ends in the "good old way" with some rather formal groups of cadential chords. The Development is short and, save for the dynamic contrasts in the middle part, not of particular import. But though a bit naïve it is neither labored nor dull. The Recapitulation with the necessary adjustments of key (both themes appearing in F major) corresponds exactly to the Exposition. In the opening melody of the Slow movement—a dreamy, sustained Adagio—we see the beautiful use Mozart made of the "turn," e.g.,
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employing it not as meaningless embroidery or to cover up deficiencies in the instrument but as an integral factor in the melodic line, thus anticipating Chopin and Wagner with his "essential turn." The movement is in abridged[125] Sonata-form, i.e., there is a regular Exposition with two themes in the tonic and dominant and a corresponding Recapitulation, but the Development is entirely omitted and in its place we find merely two modulatory measures which take us back to the third part. Such a form arose from the feeling that the Slow Movement should be one of direct melodic and emotional appeal and should not concern itself with protracted discussion of the material. The two closing measures are of a wondrous serenity, peculiar to Mozart. The Finale, Allegro assai, in complete and elaborate Sonata-form, is one of superb vigor and dash, the happiest example possible of Mozart's "joie de vivre." It begins with a brilliant running theme in free phraseology, and then, after a cadence in measure 14, is at once followed by an out and out Waltz tune of a very seductive swing.[126] This is developed to a brilliant climax and then closes pp in a delicate, wistful manner. The transition, with some canonic imitations and stimulating sequences, leads us to the second theme at measure 50. This—one of Mozart's loveliest melodies—is rather exceptionally in the dominant minor (i.e., C minor) and with its mood of pathetic revery affords a wonderful contrast to the headlong dash of the first theme. This melody alone would prove that Mozart had his moments of deep emotion. In measure 65 begins a long closing portion which resumes the exuberant mood characteristic of the Exposition as a whole. The Development at first is based upon modulatory changes in the first theme; and then, towards the middle, occurs a passage which seems to be a counterpart of the second theme, save that it is in the major mode. We are now carried onward through a series of passages, with pungent dissonances and imitative phrases, to a fortissimo dominant chord; thence through a descending cadenza-like passage we are whirled back to the Recapitulation. In material and treatment this corresponds exactly to the Exposition and has the same pianissimo ending. Such an effect was a touch of genuine originality and was a delightful contrast to the conventional flourish of trumpets with which the Finale of the period was expected to end. Music is often most impressive when most subdued.
The G minor Symphony is universally acknowledged to be the highest achievement of 18th century instrumental music and is also premonitory of that subjective spirit peculiar to the 19th century. It will remain immortal so long as human beings are capable of being touched by a sincere revelation of emotion combined with a perfection of utterance which seems fairly Divine. This delicate treatment and this exquisite finish are two prominent characteristics of Mozart's style. Truly the Symphony is the quintessence of Mozart in terms of sound and rhythm, and we need but to listen to his message and receive it with grateful appreciation. The work contains the four customary movements, all of them (save the three-part Minuet and Trio) in complete Sonata-form. The first movement begins at once with a gracefully poised theme sung by the violins, a theme which may be likened in its outlines to the purity of a Greek statue. The entrancing effect of this melody cannot be realized except on the orchestra, for it seems to float on the gently pulsating chords of the violas like a beautiful flower. Everyone who hears the work is at once arrested by this highly original treatment, e.g.
The transition is short but leads us in a happy state of expectancy through a change of rhythm from the graceful outlines of the first theme to the vigorous phrase