gradual progress in mechanism and practical skill. At first there is little melodious invention, but a sense of effect and a knowledge of form always exist, and by degrees the symphonies acquire body and character. Command of the orchestra makes itself felt by degrees; first the separate parts become free and independent, a special movement is given to the second violins by characteristic passages and imitative treatment, and the basses too gain life and independence; they are in free imitation for the first time in a Symphony in G major (no K.) belonging to the year 1771. As development proceeded the subjects became fuller, and the whole work gained in consistency and substance, although it still wanted finish and elaboration. The peculiar character of the string quartet became more and more prominent; for a long time it formed the nucleus of the symphony, the wind instruments strengthening the harmonies and emphasising some particular melody, but only very gradually contributing to effects of light and shade. Oboes and horns, trumpets too (generally without drums), are combined according to rule, and gave the orchestra a sharp clear tone, which was then admired; flutes were employed in movements of a gentle character, usually with muted stringed instruments. It was not until later that the bassoons were made independent of the basses, and then they served, like the tenors, for middle parts. Many and diverse experiments were made in the employment of new instrumental forces before the various parts of the orchestra were successfully combined into a self-contained and living whole. Nothing whatever is known of Mozart's models in his instrumental music. We may take for granted that he knew Josef Haydn's symphonies, and that they were not without some influence on his genius; but few actual traces of them can be discovered, while his conception of the minuet was altogether different, and remained peculiarly his own.[34] {INSTRUMENTAL MUSIC.} (298) The jovial humour and the delight in musical drollery which are Haydn's characteristics are never predominant with Mozart; he preserves a national tone, truly, but the interest it excites is due to the ennobling and beautifying spirit which he throws into it. This side of Mozart's nature appears even in his earlier works, and makes us the more ready to ascribe any lapse into fun and drollery to the direct influence of Haydn. The last symphony, in E flat major, which is avowedly ambitious in conception, betrays undoubted external influence. Both the minuet and the lengthy and elaborate concluding rondo are decided imitations of Haydn. The andante is somewhat constrained ami unnatural, but there is a second and later andante at the close, which is much simpler.