th
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 series 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 striking
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 combined with a perfection of utterance
which seems fairly Divine. This delicate treatment and this exquisite
finish are two prominent characteristics of Mozart's style. Truly the
Symphony is the quintessence of Mozart in terms of sound and rhythm,
and we need but to listen to his message and receive it with grateful
appreciation. The work contains the four customary movements, all of
them (save the three-part Minuet and Trio) in complete Sonata-form.
The first movement begins at once with a gracefully poised theme sung
by the violins, a theme which may be likened in its outlines to the
purity of a Greek statue. The entrancing effect of this melody cannot
be realized except on the orchestra, for it seems to float on the
gently pulsating chords of the violas like a beautiful flower.
Everyone who hears the work is at once arrested by this highly
original treatment, _e.g._

[Music]

The transition is short but leads us in a happy state of expectancy
through a change of rhythm from the graceful outlines of the first
theme to the vigorous phrase

[Music]

and by a bold run, thrice repeated, to the entrance of the second
theme in measure 43. This theme, in the customary relative major
(B-flat), illustrates Mozart's fondness for the chromatic element
which gives to many of his melodies such a haunting appeal. The
closing portion, beginning at measure 71, is an example of Mozart's
spontaneous skill in polyphonic writing. It is based entirely on the
motive of the main theme in