Adagio--we see the beautiful use Mozart
made of the "turn," _e.g._,

[Music]

employing it not as meaningless embroidery or to cover up deficiencies
in the instrument but as an integral factor in the melodic line, thus
anticipating Chopin and Wagner with his "essential turn." The movement
is in abridged[125] Sonata-form, _i.e._, there is a regular Exposition
with two themes in the tonic and dominant and a corresponding
Recapitulation, but the Development is entirely omitted and in its
place we find merely two modulatory measures which take us back to the
third part. Such a form arose from the feeling that the Slow Movement
should be one of direct melodic and emotional appeal and should not
concern itself with protracted discussion of the material. The two
closing measures are of a wondrous serenity, peculiar to Mozart. The
Finale, Allegro assai, in complete and elaborate Sonata-form, is one
of superb vigor and dash, the happiest example possible of Mozart's
"joie de vivre." It begins with a brilliant running theme in free
phraseology, and then, after a cadence in measure 14, is at once
followed by an out and out Waltz tune of a very seductive swing.[126]
This is developed to a brilliant climax and then closes _pp_ in a
delicate, wistful manner. The transition, with some canonic imitations
and stimulating sequences, leads us to the second theme at measure 50.
This--one of Mozart's loveliest melodies--is rather exceptionally in
the dominant minor (_i.e._, C minor) and with its mood of pathetic
revery affords a wonderful contrast to the headlong dash of the first
theme. This melody alone would prove that Mozart had his moments of
deep emotion. In measure 65 begins a long closing portion which
resumes the exuberant mood characteristic of the Exposition as a
whole. The Development at first is based upon modulatory changes in
the first theme; and then, towards the middle, occurs a passage which
seems to be a counterpart of the second theme, save that it is in the
major mode. We are now carried onward through a series of passages,
with pungent dissonances and imitative phrases, to a fortissimo
dominant chord; thence through a descending cadenza-like passage we
are whirled back to the Recapitulation. In material and treatment this
corresponds exactly to the Exposition and has the same pianissimo
ending. Such an effect was a touch of genuine originality and was a
delightful contrast to the conventional flourish of trumpets wi