ing, lyric melody in which the customary eight measure forma-
tion 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 mea-
sures, 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 con-
trasting tonality of C minor. In measure 41 there begins the
second theme, a graceful melody that is repeated with height-
ened 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 for-
mal groups of cadential chords. The Development is short and,
save for the dynamic contrasts in the middle part, not of par-
ticular 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.,
[Music]
employing it not as meaningless embroidery or to cover up de-
ficiencies in the instrument but as an integral factor in the
melodic line, thus anticipating Chopin and Wagner with his “es-
sential 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 De-
velopment 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 con-
cern 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