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 genius is very incomplete which does not comprise the C major Quartet, especially its heavenly Andante Cantabile; likewise the E-flat major Quartet in the slow movement of which are the following poignant dissonances--a striking anticipation of _Tristan and Isolde_.
[Footnote 124: The first three compositions are not given in the Supplement, because readily available in several standard editions. The same recommendations, as given in connection with Haydn, apply to the performance of the _G minor Symphony_.]
The F major Sonata is selected to illustrate Mozart's pianoforte style because it bubbles over with typical Mozartian melody and because the Sonata-form is the basis of all three movements; in the first and last strictly employed and in the slow movement somewhat modified. The structure, while just as clear and easy to follow as that of Haydn, represents an advance in the sustained interest of the transitional passages and in the organic treatment of the Development--this being particularly true of the Finale--the middle portion of the first movement being not so significant. The Sonata, without prelude, begins with a soaring, lyric melody in which the customary eight measure formation is expanded to twelve measures. This expansion is brought about by an imitative treatment of the fifth measure and is a convincing example of the flexible phraseology so prominent a feature in Mozart's style. A balancing sentence of eight measures, with an extended cadence, brings us to the transition which is to introduce the second theme. Observe the increasing animation of the rhythm and how the fresh entry of the second theme (in C major) is enhanced by the insistence on the contrasting tonality of C minor. In measure 41 there begins the second theme, a graceful melody that is repeated with heightened fervour and then expanded by means of various modulatory and rhythmic devices--the interest, for a number of measures, being in the bass. In measure 71 we have a piquant closing theme which ends in the "good old way" with some rather formal groups of cadential chords. The Development is short and, save for the dynamic contrasts in the middle part, not of particular import. But though a bit naïve it is neither labored nor dull. The Recapitulation with the necessary adjustments of key (both themes appearing in F major) corresponds exactly to the Exposition. In the opening melody of the Slow movement--a dreamy, sustained Adagio--we see the beautiful use Mozart made of the "turn," _e.g._,