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,
[Music]
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 mea-
sures, each repeated. If from our present standpoint we feel
that the tone of this movement is a bit light to follow the seri-
ous 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 ob-
jective 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 Sym-
phony by a decrescendo, thus [decrescendo symbol]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 [crescendo
symbol]. But to carry such criticisms too far is ungracious and
unjust. Mozart’s themes, both the first and the second (begin-
ning in measure 55), with their tripping contredance rhythms,
fill our hearts with life and carry us irresistibly onward. And the
Development has some surprises in store, for now the dramatic
genius of Mozart asserts itself. Note the bold leaps and daring
modulations of the opening measures. Nothing trite or formal
here! The strong polyphonic treatment of the first theme, be-