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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
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