onic
composers, _i.e._, the outpouring of individual melodies is the chief
factor in their works; but whereas in Haydn the tune is almost
invariably in the upper voice, in Mozart we find the melody appearing
in any one of the voices and often accompanied with fascinating
imitations. See, in corroboration, any of the first three movements of
the _G minor Symphony_ or the slow movement of the _E-flat major
Symphony_. In the structure of music Mozart made slight changes; the
forms were still fresh--having just been established by Haydn--and
Mozart with his genius filled them to overflowing. His one important
contribution to the development of instrumental form was the
Pianoforte Concerto; but, as a consideration of this would lead us too
far afield, the student is referred to the life of Mozart in Grove's
Dictionary and to the Oxford History, Vol. V. The literature[123]
about Mozart and his works is voluminous. Our chief attention
nevertheless should be centered on the works themselves rather than on
what anyone else writes about them. Certain of these criticisms,
however, are so suggestive and illuminating that the student should
become familiar with them.

[Footnote 123: We recommend especially the refreshing essay by Philip
Hale in _Famous Composers and Their Works_; the chapter on Mozart in
_Beethoven and His Forerunners_ by D.G. Mason; and, as throwing light
on aspects of his personality which are little known, "_Mozart
Revealed in his Own Words_" by Kerst-Krehbiel (see especially the
chapter on Mozart's religious nature, p. 142 and passim); the
fascinating _Reminiscences of Michael Kelly_, a personal friend of the
composer; and, above all, the monumental life of Mozart, unhappily as
yet incomplete, by Wyzewa and St. Foix. The third chapter of Vol. II
of _The Art of Music_ is also well worth reading; and in _Mozart's
Operas, a Critical Study_ by E.J. Dent are found valuable comments on
his dramatic style, so prominent a feature in many of his instrumental
works.]

As illustrations[124] for comment we select the _F major Sonata for
Pianoforte_, the _G minor Symphony_, the _Magic Flute Overture for
Orchestra_ and the little known but most characteristic _Adagio in B
minor for Pianoforte_. Here again, as in the case of Haydn, we must
regret that it is impracticable to give examples from the chamber
music: the String Quartets, the Quintet in G minor or from the
entrancing Clarinet Quintet. Any familiarity with Mozart's