Mozart's instrumental compositions up to the year 1772 are only interesting in so far as they show us how gradually and surely he gained possession of all the means his art could place at his command;[35] but from this date they begin to acquire an independent interest. It is remarkable that we possess no symphonies composed by Mozart between 1775 and 1777. Reflecting how carefully all the compositions of this time have been preserved, it is not probable that any can have been lost by accident. On the other hand most of the great serenades and concertos for violin and piano fall within these years; and it is quite possible that Mozart's growing discontent with his position and the displeasure of the Archbishop may have caused him to desist {MOZART'S SYMPHONIES.} (299) from writing symphonies which were primarily intended for performance at court concerts. We have further proof that Mozart wrote no symphonies during these years in a letter from his father, on September 24, 1778, where he says: "When a thing does you no credit, it is better that it should be forgotten. I have sent you none of your symphonies because I feel sure that when you have come to riper years, and have a clearer judgment, you will be glad that they are forgotten, even though you may be satisfied with them now." Even the more important among the later symphonies are sparing in the use of means, and precise in form, as indeed they were obliged to be, considering that several symphonies were performed in one evening. And yet Mozart writes to his father from Paris (September 11, 1778) that he could not produce his symphonies there, since they did not suit the French taste: "We Germans like long pieces, but in truth they are better short and good." Progress is shown in greater freedom of treatment; the first movement of a Symphony in D major (202 K.) and the last movement of the Symphonies in G major (199 K.) and C major (200 K.), all belonging to 1774, are full of life and vigour. These qualities presuppose more individuality in the details, the interludes are developed with more independence, and the loosely connected violin and violoncello passages disappear altogether. Many of Mozart's special characteristics exist side by side with turns of expression common to the time; for instance, the second theme is sometimes an offshoot from the first, and the introduction of a new subject at the close of the part often gives a new impetus to the movement. The Symphonies in G minor (183 K.) and in A major (201 K.) may serve as very opposite examples of Mozart's works of the kind. The first has a serious tone from the first subject onwards, the minuet and finale more especially being almost gloomy in tone, and the andante the same, only somewhat softened down. The second is full from beginning to end of cheerful humour and tender grace, and may serve as an example of the way in which a work of art {INSTRUMENTAL MUSIC.} (300)