os_ on unaccented beats, prolongation
of phrases, long dwelling on one harmony, etc.--which anticipate
Beethoven. Traces of the past, foreshadowings of the future; these are
familiar facts in evolution.

II.--Mozart

Before Mozart had reached the age of twenty he wrote six sonatas for a
certain Baron Duernitz, who, by the way, forgot to send the promised
payment in return. Of these, Otto Jahn remarks that "their healthy
freshness and finished form entitle them still to be considered as the
best foundation for a musical education." Freshness is indeed the best
term to describe both the thematic material and the developments. Four
of them (Nos. 1, 2, 3, and 5) consist of the usual three movements;
No. 4 commences with a long Adagio in two sections, each of which is
repeated. Two graceful Minuets (the second taking the place of a Trio)
follow, and the third movement is an Allegro in sonata-form. No. 6 has
for its second movement a Rondeau en Polonaise, and for its third, a
Theme with variations. The Rondo of No. 3 (in B flat) is unusually
long; it contains two episodes, one in the relative minor, the other
in the subdominant. The next three sonatas (in C, A minor, and D) are
of greater importance. They are all said to have been written at
Mannheim. The first was most probably the one mentioned in a letter of
1777 written by Mozart to his father. He describes a public concert
given on the 22nd of October, and says: "Then I played alone the last
Sonata in D, then my Concerto in B flat, then a Fugue in C minor, and
a splendid Sonata in C major out of my own head, with a Rondo at the
end." The "last Sonata in D" was the last of the set of six noticed
above. In reference to the Sonata in C, the expression "out of my own
head" would seem to indicate that it had not at that time been written
out. Mozart was right to speak of the work as "splendid." The bold
opening subject, the well-contrasted second theme, the short but
masterly development, the original leading back to the principal
subject, and the many variations in the recapitulation section, fully
justify his qualification. The slow movement is full of charm, and the
Rondo, with its elaborate middle section, is of the highest interest.
The 2nd Sonata, in A minor, is, next to the one in C minor, Mozart's
finest effort in this department of musical literature. And there is a
story connected with it. Capellmeister Cannabich's eldest daughter
Rosa had captivated the young c