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and by a bold run, thrice repeated, to the entrance of the second theme in measure 43. This theme, in the customary relative major (B-flat), illustrates Mozart's fondness for the chromatic element which gives to many of his melodies such a haunting appeal. The closing portion, beginning at measure 71, is an example of Mozart's spontaneous skill in polyphonic writing. It is based entirely on the motive of the main theme in delightful imitations tossed about by different sections of the orchestra. The second part is a genuine Development, since the musical life never flags in its contrapuntal vitality; the theme appears in all parts of the texture—upper, inner and lower voices—and we are carried vigorously onward by the daring modulations. Just at the close of the Development we see Mozart's constructive skill in the fusion of this part with the subsequent Recapitulation. A series of drifting chromatic chords in the flutes and oboes, like light fleecy clouds, keeps us in a state of suspended wonder when quietly there emerges the first theme and the return home has begun. It is one of the truly poetic touches in musical literature and has been often imitated—especially by Tchaikowsky in his Fifth and Sixth Symphonies.[127] The Recapitulation corresponds exactly with the Exposition, but an added pathos is given to the second theme by its appearance in the tonic key of G minor. Observe the impassioned intensity of the climax in measures 13-19 (counting back from the end). The mood of dreamy contemplation with which the Slow Movement begins cannot be translated into words; why attempt it? We have the music which, coming from the divinely gifted imagination of the composer, reveals in its own language a message of pathetic longing and ideal aspiration. The movement is very concise but in complete Sonata-form, and with an orchestration felicitous in the treatment of the horns and the wood-wind instruments. The Minuet, noteworthy for the three-measure rhythm of the opening phrase,
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shows clearly the new life which Mozart infused into the old form by his remarkable polyphonic skill. Note at the outset of the second part the vigorous effect of the theme in the bass and the frequency of biting dissonances. The charming grace and simplicity of the Trio are indescribable; here again we find an eloquent use of the wood-wind group. The Finale, in complete Sonata-form, begins with a perfectly balanced periodic theme, presented in Two-part form, i.e., two sentences of eight measures, each repeated. If from our present standpoint we feel that the tone of this movement is a bit light to follow the serious thoughts of the preceding movements, let us remember that it was composed when the Finale was meant merely to "top off" a work; and that, if it radiated a general atmosphere of sunshine and satisfaction, its purpose was fulfilled. For the Finale, which, like the glorious splendor of an autumn day, is the crowning objective towards which the other movements have been striving, we must wait for Beethoven and his modern successors. In fact we may express the general trend of a Haydn or a Mozart Symphony by a decrescendo, thus
i.e., the real genius of the composer is shown in the first three movements; whereas, beginning with Beethoven, we find an organic climactic effect[128] from the first movement to the last, thus
