The second movement is simple, and rests essentially on the tuneful and artistic delivery of the cantilene; embellishments are not excluded, but they are kept in the background. The character of the movement is generally light and pleasing, but a deeper, though always a cheerful mood, sometimes makes itself felt. The tone is that of a romance; the polonaise-like rhythm of the Concerto in D major (211 K.) is peculiar to it; while the G major concerto (216 K.) has a regular and more broadly conceived adagio. An adagio in E major (261 K)--composed for Brunetti in 1776, because another, probably the interesting adagio of the A major concerto (219 K.), was too "studirt," as L. Mozart writes (October 9,1777)--maintains a kind of medium; it is more serious in expression and broader in conception than the romance-like andantes, but on the whole it is pleasing and pretty rather than grand. The last movement is, as a rule, in the form of a rondo,[50] in which the solo part moves more freely, especially in the connecting middle passages; the passages altogether have now scope for expansion, the tone being light and cheerful, the form easy. It is not unusual for passages in different time and measure to alternate in the rondo, as in the D major concerto (218 K.), where an andantino grazioso, 2-4, and an allegro ma non troppo, 6-8, alternate. In the G major {VIOLIN CONCERTOS.} (319) concerto (216 K.), a cheerful passage in 3-8 is interrupted by an andante in G minor--[See Page Image] followed by an allegretto in G major--[See Page Image] that leads back to the first subject. In the A major concerto (219 K.), the chief subject is tempo di menuetto, interrupted by a long allegro, 2-4, in A minor--[See Page Image] In both these cases the clearly expressed popular tone of the interpolated passages is remarkable, and has a striking and pleasing effect. The allusion in the letters to the concerto, "with the Strasburg" points to one of these passages: "The Strasburg dance, which consisted merely in graceful movements of the arms and poses of the body, was generally executed by a very youthful couple within the circle of waltzers."[51] A decided progress is observable in the concertante for violin and viola[52] with orchestral accompaniment (364 K.), which was probably written in 1780. It displays perfect finish in the conception of the separate subjects and passages, power and melody in the development of the orchestral accompaniments, and true artistic skill in the placing of turns and phrases where they will be most effective. It is in the usual three movements, but a more solid foundation and wider scope than usual are given to the form, in order that the two solo instruments may have free play; the {INSTRUMENTAL MUSIC.} (320)