delightful imitations tossed about by
different sections of the orchestra. The second part is a genuine
Development, since the musical life never flags in its contrapuntal
vitality; the theme appears in all parts of the texture--upper, inner
and lower voices--and we are carried vigorously onward by the daring
modulations. Just at the close of the Development we see Mozart's
constructive skill in the fusion of this part with the subsequent
Recapitulation. A series of drifting chromatic chords in the flutes
and oboes, like light fleecy clouds, keeps us in a state of suspended
wonder when quietly there emerges the first theme and the return home
has begun. It is one of the truly poetic touches in musical literature
and has been often imitated--especially by Tchaikowsky in his _Fifth_
and _Sixth Symphonies_.[127] The Recapitulation corresponds exactly
with the Exposition, but an added pathos is given to the second theme
by its appearance in the tonic key of G minor. Observe the impassioned
intensity of the climax in measures 13-19 (counting back from the
end). The mood of dreamy contemplation with which the Slow Movement
begins cannot be translated into words; why attempt it? We have the
music which, coming from the divinely gifted imagination of the
composer, reveals in its own language a message of pathetic longing
and ideal aspiration. The movement is very concise but in complete
Sonata-form, and with an orchestration felicitous in the treatment of
the horns and the wood-wind instruments. The Minuet, noteworthy for
the three-measure rhythm of the opening phrase,

[Music]

shows clearly the new life which Mozart infused into the old form by
his remarkable polyphonic skill. Note at the outset of the second part
the vigorous effect of the theme in the bass and the frequency of
biting dissonances. The charming grace and simplicity of the Trio are
indescribable; here again we find an eloquent use of the wood-wind
group. The Finale, in complete Sonata-form, begins with a perfectly
balanced periodic theme, presented in Two-part form, _i.e._, two
sentences of eight measures, each repeated. If from our present
standpoint we feel that the tone of this movement is a bit light to
follow the serious thoughts of the preceding movements, let us
remember that it was composed when the Finale was meant merely to "top
off" a work; and that, if it radiated a general atmosphere of sunshine
and satisfaction, its purpose was fulfilled. For