and the usual cadence in the dominant key. It is considered that the Adagio chords for the trombones, interpolated between the Exposition and the Development, are suggestive of the religious element in the play that is to follow. The Development is remarkable for the spirited imitative treatment of the first theme, for the bold way in which the voices cut into each other and for the fusion of its closing measures with the Recapitulation. The chief feature in this brilliant passage is a piling up of the theme in stretto form (see measures 148-153). The Recapitulation is somewhat shortened and the melodic outline of the second theme is slightly changed; otherwise it corresponds with the Exposition. After the closing phrase we have some pungent dissonances, e.g.
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Rossini, it is said, was never tired of eulogizing this Overture and certainly for spontaneity and vigor it is unrivalled.[130]
The last illustration from Mozart is his Adagio in B minor (see Supplement No. 43) an independent piece, far too little known, in complete Sonata-form. The haunting pathos in the theme, the exquisite loveliness in the whole fabric instantly reach the hearer's heart. Analytical comment seems quite unnecessary; a child can "follow" the music, but only he with a ripe knowledge of human life can begin to fathom its deep mystery.[131] When we see such modern passages as the following, e.g.
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Tchaikowsky's love for Mozart's music is readily understood. Indeed, we cannot refrain from urging everyone to cultivate such a love himself; for in the works of Mozart are found a purity, a sanity and a delight in creation which keep them alive and make them in very truth "things of beauty and a joy forever."