very seductive swing.[126] This is developed to a brilliant climax
and then closesppin 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 mi-
nor (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 re-
sumes 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, oc-
curs 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 corre-
sponds 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 trum-
pets with which the Finale of the period was expected to end.
Music is often most impressive when most subdued.
[Footnote 125: This modification became a favorite with Beethoven,
notable examples being the Slow movement of the Fifth Sonata,
where the Development is represented by a single chord; the
Slow movement of the D minor Sonata, op. 31; and, above all,
the Allegretto Scherzando of the Eighth Symphony, where a se-
ries of contrasted accents keeps the interest alive and leads most
deftly to the Recapitulation.]
[Footnote 126: In measures 20 and 21 may be found some strik-
ing syncopations—an anticipation of what now-a-days is known
as “rag-time.”]
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 com-
bined with a perfection of utterance which seems fairly Divine.
This delicate treatment and this exquisite finish are two promi-
nent characteristics of Mozart’s style. Truly the Symphony is