The symphony (297 K.), well known, by the name of the French or Parisian Symphony, was repeated with the new andante on August 15. It consists of three movements in the customary form, except that none of the parts are repeated entire, although they are perfectly distinct. This was a concession to the Parisian taste. Wolfgang writes to his father (September 11, 1778) that his earlier symphonies would not please there: "We in Germany have a taste for lengthy performances, but in point of fact, it is better to be short and {PARISIAN SYMPHONY.} (51) good," The first and last movements are unusually animated and restless, with an almost unbroken rapidity of movement; and the different subjects offer no contrasts as to character, being all in the same light, restless style. Thematic elaboration is only hinted at, except in the well worked-out middle movement of the finale. Melodies are scattered through the whole in great abundance, often connected with each other in a highly original and attractive manner. Suspense is kept up by strong contrasts of forte and piano, by sudden breaks and imperceptible modulations, and by striking harmonic effects. The general impression given by both movements is animated and brilliant, but they are more calculated to stir the intellect than to awaken the deeper emotions, and are therefore well suited to a Parisian audience. The same is the case with the tender and beautiful andante, which only now and then, surreptitiously as it were, betrays the existence of deep feeling. There are, as has been seen, two versions of the andante, both still existing in Mozart's handwriting--the second considerably shorter than the first. The leading part is minutely given throughout the score of the whole piece (which is marked andantino), besides a fixed subject being indicated for the bass, and in some places for the other instruments. After thus laying down, as it were, the ground plan, he proceeded to details, making few alterations beyond some slight abbreviations. When, in working out the movement, he came to a passage which seemed to him tedious or superfluous, he struck it out, and went on with the next. This has been the case with several unimportant passages, and with one longer one, a transition to the theme by means of an imitative passage (after page 36, bar 6, of the score); soon after, too, a middle passage with flute and oboe solos is cut out. After thus elaborating the movement, he hastily copied it all, as it is now printed.[19] The later andante is printed in a Parisian edition of the symphony;[20] it is far less important than the first, and was {PARIS, 1778.} (52) rightly rejected by Mozart. It is worthy of remark that the violoncello is employed as a leading instrument.