There are more instances of fantastic ideas, generally rhythmical in form, than are usually found in Mozart; this is owing, no doubt, to Haydn's influence. The slow movements are for the most part expressive of simple feeling, the andantino grazioso of the last quartet being especially tender and graceful. The closing rondos are least significant; they are not worked out, and the different parts are put together without any true connection. The demands on the instruments are increased in comparison to the earlier quartets, but there is still no bravura; the first violin leads the parts, but is not treated as a solo instrument. In fact all four instruments are treated in essentials as on an equality, so that the tone and character of the {QUINTET, 1772.} (313) whole regulate every detail, thus fulfilling a fundamental law in the composition of quartets. It must have been as a result of his Vienna studies that Mozart wrote a quintet (174 K.) after his return in December of the same year; perhaps the example of Michael Haydn had some influence. Mozart writes from Munich (October 6, 1777) that he had invited Herr Dubreil, a pupil of Tartini, and that they played "Haydn's two quintets." Joseph Haydn declares, in answer to A. Romberg, who asked him why he has not written any quintets, that he had never been commissioned to do so;[46] on the other hand, three quintets by Michael Haydn in F, C, and G major, dating between 1770 and 1780, now lie before me. Mozart's quintet shows unmistakable progress; both the plan and execution are broader, and there is more of the true Mozart spirit in the conception of the motives. It is especially interesting to compare two different elaborations of the finale which exist.[47] Mozart has taken the primary subject of the first work, and treated it independently in the second, thereby providing a just standard of criticism against himself. The first theme in the later elaboration is quite new, and gives the key to the character of the movement; then follows as a contrasting motif the chief subject of the former work with suitable alterations. Originally this consisted of eight bars, and was in three parts--[See Page Image] {INSTRUMENTAL MUSIC.} (314) but afterwards the two first bars form the subject, taken up by one part after the other; while the minims, which are appended to the rapid semiquavers, give an effect of rhythmical and harmonious climax:--[See Page Image] It results from this that the divisions next following are easier and more flowing; while, on the other hand, the preparation for the third principal motif is broader and calmer. This third motif gives occasion for an especially happy modification. Originally it ran thus--[See Page Image]