o, is a very light and, one might almost say,
insignificant movement, relieved only by a few moments of something
better.

The Mozart collections are calculated to show the peculiar and womanly
sweetness which Mozart introduced into music. In Haydn, moments of
sweetness do indeed occur, and in his "Creation" they are frequent; but
in his instrumental works they are not so frequent. The Sonata in F,
of Mozart, is full of pleasing melodic ideas, and the first and second
periods and the first episode are all very attractive melodies. Note
that each of these ideas comes in the form of a fully completed melody,
and not in the form of a musical motive of one, or at most two,
phrases. Each of the Mozart subjects is eight measures long. The
characteristic tone of the Mozart sonatas is this melodic sweetness,
and the stronger parts only intensify this fundamental tone. The slow
movement is rather meager, but it is also pleasing and well made. The
so-called "Alberti" bass should be played in such a manner as to
minimize the motion of the sixteenths, and to intensify the chord
feeling. This will be done by playing softly with the left hand,
bearing down a little, and using the pedal with every chord, except
where it will mix up the melody.

The Fantasia and Sonata of Mozart, which concludes the program, is a
work which is well worth studying. The fantasia opens with a very
serious subject, which is carried through a variety of delightful
changes, in a manner indicating a poetic intention. The expression
must be carefully observed in the playing, and in the elaboration,
where the subject occurs in several keys in connection, the first tone
is taken rather strong and with a slight dwelling upon it. The slow
melody in D major, as well as the adagio in E-flat, illustrate Mozart's
faculty with sweet and rather deep melodies which, while perfectly
simple in structure, nevertheless have in them the soul of the artist.
The tone has to be full, round, singing, and never loud. There are
parts of the fantasia which do not come up to the level of the others;
particularly the allegro in G minor, which is inconvenient to play, and
almost never played in a musical manner. It has, however, to be gotten
over the best one can.

The vocal selections are of peculiar attractiveness. The canzonetta of
Haydn, "My Mother Bids Me Bind My Hair," is a fresh, girlish affair,
which can not fail to please. The trio, "Most Beautiful Appear," i