tendency to bravura, the remaining instruments co-operating in such a way as to display the creative spirit of an artist in every detail, however delicate or subordinate. In the very first thematically elaborated passage the solo passages for the violin occur, which it is the chief concern of the second part to elaborate. The second place--which in the former divertimento (247 K.) was given to a simple, exceedingly graceful andante grazioso, a kind of song without words--is occupied in the latter (287 K.) by an air with variations, in which all the instruments take part, but the violin more prominently, and with more of executive bravura than any of the others. This is most apparent in the two minuets, but it is very decided also in the broadly conceived adagio, where the second violin and tenor are muted, the violoncello plays pizzicato, while the first violin leads a melody richly adorned with figures and passages, and requiring the execution of a finished performer. The use of muted strings, especially in slow movements, was very frequent at that time in accompaniments, as well as in symphonies and quartets, and was intended to produce variety of tone-colouring; the violoncello not being muted, but _pizzicato_, afforded a contrast of tone. The concluding movement is introduced by an andante with a recitative for the first violin, not too long, and so worked out that the whole compass of the instrument is characteristically displayed. A long molto allegro follows this introduction, in 3-8 time, which keeps the violinist in constant movement, and gives him an opportunity of displaying the variety of his technical skill; but the movement is carefully planned and composed, due consideration being given to each part in its place. The recitative recurs at the end, followed by a short and brilliant conclusion. The tone of this movement is not as cheerful as usual; it is full of impulsive haste and changeful humour, and its stronger accent betrays a certain intensity, even in the introductory recitative. The third divertimento, in D major (334 K.), may be most fitly noticed here, although it was not composed till 1779 or 1780, since it accords in every respect with the two last {"HARMONIEMUSIK."} (307) mentioned.[41] In breadth of conception and grandeur of composition, it stands nearest to that in B flat major; the first violin is perhaps less elaborately treated, and the tone of the whole is somewhat calmer and more cheerful. Mastery of form in plan, grouping, and arrangement is perfect in both compositions, as well as freedom and ease in the elaboration of the subjects, as if they sprang spontaneously forth as expressions of thought, each in its proper place and degree. Perhaps the first movement is grander in design, and has broader motifs than the later work; but the adagio is deeper and more elaborate, and the last movement is more original in the B flat major divertimento. The remaining movements are fairly equal.[42]