=Variations=.—Embellishments of this kind are introduced invariably with such naturalness and fitness as to make them seem perfectly adapted to the subject in hand, and growing unconsciously out of it. So Mozart throws a network of _embroidery about his themes_ at their recurrence which shows their beauties to ever greater advantage. The ability to do this makes him a specially felicitous composer in the Variation form, in which some of his most attractive movements and salon pieces are written. =Piano with Other Instruments=.—His sense of fitness is shown also in the vivid _contrasts_ which occur, especially in his Fantasias, in which brilliant passages are relieved by bits of exquisite melody, in artistic proportion. All these qualities are manifested in his pianoforte concertos, which, while replete with flights of virtuosity, yet always subordinate, cause him to bring this into equal prominence with the piano, so that the one ably seconds the other in the attempt to produce a well-rounded and thoroughly genuine musical effect. The same qualities are exhibited in his sonatas for violin and piano, and in his piano trios. =Especial Characteristics=.—Mozart considered three elements necessary for the true interpretation of piano music, namely, an _expressive legato touch_, _moderation_ in the rate of _speed_ of performance, and _strictness_ in adhering to the _time_ adopted. With an unfeeling touch or a breakneck velocity he had no patience, and so had no sympathy with many noted pianists of his day, and notably Clementi. It has been said that Mozart, almost from his infancy, thought in music as others do in words; and this thought in music was regulated by a sense of artistic combination and proportion which permeated all his works. As samples of virtuosity his piano works have long been surpassed by the astonishing developments since his time, and particularly by the added resources of the instrument itself; but as samples of pure and unaffected music their worth can never be diminished. REFERENCES. Shedlock.—The Pianoforte Sonata. Parry.—Evolution of the Art of Music, Chapter XI. Naumann.—History of Music, Vol. II, Chapter XXX. Weitzmann.—History of Pianoforte Playing. Jahn.—Life of Mozart. Articles in Grove’s Dictionary on subjects treated. MUSICAL ILLUSTRATIONS. Works of Mozart, especially the Sonatas. QUESTIONS. Give a sketch of Mozart’s childhood. Give an account of Mozart’s first concert tour. Tell about the first trip to Italy. What drawbacks did he suffer from his connection with the Archbishop of Salzburg? Where did he come into contact with the piano? With a first-class orchestra? Why was his life full of financial trouble? Summarize his work in opera. What additions did Mozart make to the form of the sonata as developed by Haydn? Give an account of Mozart’s work as a virtuoso.