genius is
very incomplete which does not comprise the C major Quartet,
especially its heavenly Andante Cantabile; likewise the E-flat major
Quartet in the slow movement of which are the following poignant
dissonances--a striking anticipation of _Tristan and Isolde_.

[Music]

[Footnote 124: The first three compositions are not given in the
Supplement, because readily available in several standard editions.
The same recommendations, as given in connection with Haydn, apply to
the performance of the _G minor Symphony_.]

The F major Sonata is selected to illustrate Mozart's pianoforte style
because it bubbles over with typical Mozartian melody and because the
Sonata-form is the basis of all three movements; in the first and last
strictly employed and in the slow movement somewhat modified. The
structure, while just as clear and easy to follow as that of Haydn,
represents an advance in the sustained interest of the transitional
passages and in the organic treatment of the Development--this being
particularly true of the Finale--the middle portion of the first
movement being not so significant. The Sonata, without prelude, begins
with a soaring, lyric melody in which the customary eight measure
formation 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 measures, 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 contrasting tonality of C minor. In measure 41
there begins the second theme, a graceful melody that is repeated with
heightened 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 formal groups of cadential chords.
The Development is short and, save for the dynamic contrasts in the
middle part, not of particular import. But though a bit naive 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