cation of the first part and emphasizes the main tonality
of G major. That Haydn was not forced to this literal repetition
through any lack of fancy is shown by the skilful amplification of the
first theme, in measures 177-184. The whole movement sparkles with
sunshine; and those ponderous "heavy-weights" who criticise it because
it is not deep or "soulful" are looking for qualities which the music
does not pretend to contain. It is the work of a wholesome,
cheerful-hearted man expressing through his favorite language his joy
in life. In listening to the music we have the same delight as in
wandering by the side of a rippling brook. The three remaining
movements of the Symphony require little comment; being readily
accessible they are not given in the Supplement. The second movement,
a set of stereotyped variations, contains the explosive chord which
gave to the work its descriptive title. Needless to say that this
chord does not "surprise" _our_ modern ears to any great extent. The
Minuet is one of Haydn's best--full of queer antics in rhythm and
modulation. The Finale (Allegro di molto), in the Rondo Sonata form,
is the acme of Haydn's vivacity and is a "tour de force" of brilliant
writing for the strings. In many passages they seem fairly to burn.

[Footnote 119: All symphonic scores give a much better effect when
performed on two pianofortes than in a four-hand arrangement for a
single instrument. The freedom in control of both pedals possessed by
each player secures a greater richness and sonority of tone and it is
much easier to make prominent voices stand out in relief.]

Haydn's position in the development of music is of the first
importance. Whatever his works may "mean," they contain a rhythmic
vitality which will keep them alive for ever, and their "child-like
cheerfulness and drollery" will charm away care and sorrow as long as
the world shall last.

CHAPTER X

MOZART. THE PERFECTION OF CLASSIC STRUCTURE AND STYLE

Although Mozart, Wolfgang Amadeus[120] (1756-1791), was, in regard to
art problems, no more of a broad thinker than Haydn (Mozart and
Schubert being pre-eminently men whose whole nature centered in
music), yet on hearing his works we are aware that aspects of form and
content have certainly changed for the better. In the first place he
was more highly gifted than Haydn; he had from his infancy the
advantage of a broad cosmopolitan experience, and he was dimly
conscious of the expandi