and tender sentiment, forms the climax of the work. The animated Allegro which precedes it is, with just discrimination, toned down towards the end to prepare for the Andante, whose yearning pathos leaves the mind unsatisfied, and whose subjects are arranged to favour the transition to the lively and restless concluding movement. As a rule, however, each movement was treated as a self-contained whole, which gave freer scope for the development of a definite idea. In the formation of the separate movements the clavier sonata (in the perfect form given to it by Ph. Eman. Bach, acknowledged as a master by Haydn himself)[28] had a very considerable influence. The first allegro was always in two parts; a short slow movement, perhaps a reminiscence of the French symphony, was prefixed to it by Haydn often, by Mozart rarely. A compact arrangement of well-defined subjects takes the place of the long-drawn thread of loosely connected phrases of the older symphonies. The first subject gives the tone of the movement, a second follows, contrasting in expression and structure, and generally a third is added; the connection is by means of free passages. It was long held as a fixed rule that the first theme should close on the subdominant, and that the second theme should be in the key of the dominant, in which also the first part of the movement concludes. In the second part the elaboration of the subjects begins. The composer might please himself as to which of the subjects, or how many or in what new combinations they were to be carried on; nor was there any definite rule as to the method of elaboration, except that it always led back to the principal key and the first theme, which closed on the dominant, and was followed by the second theme, also in the principal key; the first part might either be simply repeated with these modifications, or the change of key might be thoroughly carried out. Sometimes the second part was also repeated; and then followed the final winding-up by a coda, which recurs to one or more of the chief subjects, and which was employed even when the {THE SYMPHONY.} (293) second part was not repeated. The elements of this form had already been given in the aria, with its one main idea and its contrasting motifs; but the organic perfection of the form was first attained by instrumental music.